The research group Art & Spatial Praxis focuses on artistic practices that broaden our imaginations of alternative social orders and ways of living within capitalist city structures.

Introducing Müge Yilmaz
Partner on the Materiality research studio of the Climate Imaginaries at Sea project

We are happy to announce that LASP has invited artist Müge Yilmaz to partner on the Materiality research studio of the Climate Imaginaries at Sea project. Her research proposal S.A.L.T is intended to look into the effects of salinization on qualities of soil, architecture and ecology. One of the immediate consequences of rising sea levels and ground subsidence is saline water entering flows of sweet water and soil. While saline soil is considered to be not fertile for agriculture, there are already experimental farms where salt tolerant crops and specific plants called halophytes are being grown. In many parts of the world where regular floods are a reality, biosaline farming and aquaculture are already practised. The research project will observe these realities and look further into other possibilities of using salt as an architectural and artistic material together with its real-time and speculative interactions in urban and non-urban areas.

Born in Istanbul, Müge Yılmaz lives and works in Amsterdam. Her research presents speculations influenced by feminist science fiction and proposes narratives about the future through installation, performance and photography. Recent exhibitions include The Milk of Dreams, 59th Venice Biennial, 2022, The Seventh Continent, 16th Istanbul Biennial, 2019; Why Not Ask Again? 11th Shanghai Biennial, 2016; Tenminste Houdbaar Tot, Museum Arnhem, 2022; Posterity Hill (solo) at Wilfried Lentz, 2022; On Protection (solo), Bureau Postjesweg, 2021; That Those Beings Be Not Being, W139, Amsterdam, 2021.  She has been a resident artist at ACC and is alumna of Rijksakademie van Beeldende Kunsten, Amsterdam.

In her work, she examines the paradoxes around the concept of protection with focus on community, survival and belief (faith). Through performances, photographs and installations she creates immersive environments inspired by feminist science-fiction. Following the concept of three ecologies for observing the mental (subjective), societal and environmental developments in a parallel method, she uses these mediums as tools for envisioning potential futures. While keeping protection as a common denominator, her research creates speculations on preservation and scarcity. She constantly looks for trigger points in shape of visual manifestations that provoke subconscious reactions and reflexes.