Abstract:

The performativity of plant life in the museum space has opened new thinking around temporality and survival. This essay examines the installations Extinct in New York, an exhibition of extinct plant life once native to New York City but now unable to grow in the wild due to urbanization, and Ori Gersht’s Fragile Land, a photography project of native endangered Israeli flora shown at the explosive moment of being shot by an air rifle. The use of plants in installation practice asks wildlife to perform for viewers on the stage of the museum pedestal, and thus raising performative questions beyond their biological realities. Survival comes to mean more than mere life, and instead an analytic of radical survival is introduced to incorporate the rooted, immanent nature embedded in these exhibitions. The essay considers the survival tactics learned and experienced by these plants, and how these new lessons of liveness and presence can serve us “now.”

摘要：

博物馆空间中植物生命的表演性开启了关于时间性和生存的新思维。这篇文章探讨了纽约灭绝的装置，展览展示了曾经原产于纽约市但现在由于城市化而无法在野外生长的灭绝植物，以及 Ori Gersht 的脆弱土地，以色列本土濒临灭绝植物的摄影项目，展示了被气步枪击中的爆炸性时刻。在装置实践中植物的使用要求野生动物在博物馆基座的舞台上为观众表演，从而提出了超出其生物现实的表演问题。生存不仅仅意味着生命，而是引入了对激进生存的分析，以结合这些展览中根深蒂固的内在本质。这篇文章考虑了这些植物所学到和经历的生存策略，以及这些关于活力和存在的新课程如何“现在”为我们服务。