Ecology

Sinkholes are geological accidents that indicate the emptying of underground aquifers, places where the earth collapses and caves in, yielding to gravity and creating cavities of varying depths. Although they can occur for natural reasons, they are mostly the result of human activity: changes in river courses, intensive exploitation of water resources, mining activity and abandonment of mining sites. Over the last few decades, their number has increased considerably on the Iranian plateau.

This book presents Kimia Kamvari’s exploration of these cavities between 2019 and 2021. It showcases the core of the work, consisting of a careful and methodical series of photographs, accompanied by cartographic sheets and texts that help to understand the artist’s perspective on the phenomenon and stimulate the reader’s own.

Kimia Kamvari (Cologne, 1986) has a degree in painting from the Azad University of Art and Architecture in Tehran and a master’s degree in Art Research and Creation from the UPV-EHU. Since 2015 she has been living and working in Astigarreta, a small town in the interior of Gipuzkoa. His works go from figurative painting to an increasingly conceptual look that explores new formats and materials. Proof of this are his latest exhibitions Apeiron (Dastan Gallery, 2018), Nature Change (Fundación Cristina Enea, 2019), Event Horizon (Dastan Gallery, 2019) Alef (San Telmo Museoa, 2022) and Larruak eta Izurrak (Tabakalera, 2024)

Accumulations (air a-la-mode) is an autotextual reflection on climate control and its relation to the history of labour, in the context of Singapore and through excursions to Victorian-era West Bengal, ancient Rome and current-day Netherlands.

Plant Space: Territories, Architectures and Technologies of the Vegetal  brings together eighteen international contributors working across critical theory, philosophy, art, design, architecture, and critical ecology to radically reimagine the role of plants in shaping the built environment and its overlapping economies and ecologies. Framed by the entangled histories of extraction, enclosure, and domestication, this volume resituates plants not as passive scenery or symbolic decoration, but as formative presences: agents of spatial composition, political tension, and epistemic possibility. Developed in the context of the exhibition “Bordering Plants” at the Academy of Fine Arts Vienna, essays and experimental formats examine the infrastructures, colonial residues, and aesthetic regimes that renderplant life visible, governable, or expendable. From houseplants, the imperial gardens of Vienna, and the global circuits of plant trade, to AI-rendered plants and satellite images in herbicidal warfare, the volume traverses the architectures, imaginaries, and techniques through which vegetal life is organized and resists.

Contributions by Elizabeth Bandason, Morgane Billuart, Carla Bobadilla, Laÿna Droz, Carmen Lael Hines, Michelle Howard, Adam Hudec, Roberto Majano, Hannah Meszaros Martin, Michelle Mlati & Pablo Barrios Martínez, Sandro Mezzadra, Serena Moscardelli, Ido Nahari, Akil Scafe-Smith, Caterina Selva & Lucia Stach, Lucia Gregorová Stach, Gabriel Alonso / Institute for Postnatural Studies.

Log: Notes on Building-with documents the construction of a wooden structure in Topolò/Topolove and expands it into a reflection on craft, collaboration and situated making. Through photographs and texts, the book approaches the idea of building-with from four different angles: building-with context, building-with materials, building-with tools and building-with others.

Contributions by: Diogo Amaro, Antônio Frederico Lasalvia, Elena Rucli, Madalena Vidigal, Ola Korbańska, Aljaž Škrlep.

A beautiful, expansive essay about care, dependence, and what it means to breathe in an age of environmental catastrophe. 

A few moments after birth we begin to use our lungs for the first time. From then on, we must continue breathing for as long as we are alive. And although this mostly happens unconsciously, in a society plagued by anxiety, climate change, environmental racism, and illness, there are more and more instances that ‘teach us about the privilege that is breathing.’

Why do we so easily forget the air that we breathe in common? What does it mean to breathe when the environment that sustains life now threatens it? And how can life continue to flourish under conditions that are increasingly toxic?

To approach these questions, Jamieson Webster draws on psychoanalytic theory and reflects on her own experiences as an asthmatic teenager, a deep-sea diver, a palliative psychologist during covid, a psychoanalyst attentive to the somatic, and a new mother. The result is a compassionate and timely exploration of air and breathing as a way to undo the pervasive myth of the individual by considering our dependence on invisible systems, on one another, and the way we have violently neglected this important aspect of life.

EcoRove’s Land Keepers Reader brings together writers, activists, journalists, farmers, and ecologists from across Bilad al-Sham — Lebanon, Syria, and Palestine — to tell stories of green resistance in the Jabal al-Sheikh ecological zone. Spanning South Lebanon, the occupied Jawlan, and the occupied Galilee, this landscape faces ongoing ecocide, defined as the deliberate destruction of land and ecologies used by the settler-colonial regime to erode livelihoods, cultures, and environments. The Reader highlights these struggles through essays, research and testimonies that show how native communities remain rooted in place, resisting colonial environmental orientalism, greenwashing, and scorched-earth tactics. As part of a wider body of work that includes a documentary film, tapestries, and sculptural pieces, the Reader amplifies indigenous ecological knowledge and envisions regenerative futures for threatened landscapes.

with contributions by Mahdi Sabbagh, Hamza Hamouchene, Public Works, Hussein Chaabane, Hisham Younes, Nadine El-Khoury, Michelle Eid, and Munira Khayyat

From the intro by Ecorove:
"Return, Al’Awda in Arabic, signals the right of return to homeland, a central tenet of the Palestinian struggle. Al’Awda affirms the fundamental historical, legal, collective, and individual right of Palestinians to return to their homeland. But how do we return to the earth after it has been damaged and scorched? In landscapes marked by war, ruins, rubbles, and ecological destruction, can Al’Awda take another form? Can generations of Palestinian diaspora exercise Al’Awda differently? At a time when international legal systems and institutions have failed to secure justice, can return to land be understood beyond legal definitions alone? In times of mass displacement and ecological devastation, Al’Awda may therefore exceed juridical meaning, and live through those who remain on the land and their acts of love, labour, and agriculture."

Each book comes with a 2-color, double-sided risograph-printed bookmark.
Ecorove is Iyad Abou Gaida and Jumanah Abbas.

'EURO—VISION: Undergrounding the Critical Material' explores extraction beyond the removal of minerals, delving into their financialization, management, and policy-driven circulation through the lens of the EU’s Critical Raw Materials Act. This volume examines resource extraction’s genealogies, valuation paradigms, and structural entanglements, offering a critical reassessment of extractive practices. Part of K. Verlag’s Processing Process series, the book features interviews with scholars, activists, and journalists, alongside commissioned texts and visual essays from FRAUD’s research. By interrogating the “extractive gaze” embedded in EUpolicies, it unveils the material poetics and transformative potential of minerals, fostering reflections on their complex entanglements.

Lithium, copper, uranium, child labor, and the bed of the deep sea—the mining sector is one of the most contested and problematic arenas of consumer complicity today. EURO—VISION: Undergrounding the Critical Mineral begins not with a location or a specific resource, but with a fundamental question: what counts as extraction today? While we might picture drills and quarries, the deeper story unfolds across financial markets, trade policies, legal frameworks, and the metrics used to define what is “critical” in the first place. Taking the EU’s Critical Raw Materials Act as a point of departure, this richly layered volume traces the hidden infrastructures and governing logics that shape how the mining industry moves substances from and across the Earth—and what these minerals, in turn, move with them.

Developed by the artist duo FRAUD (Francisco Gallardo & Audrey Samson) in close collaboration with environmental humanities scholar Michaela Büsse, the book gathers a wide range of voices—artists, scholars, economists, activists, lawyers, and journalists—to reflect on the long genealogies of resource extraction, the valuation paradigms that uphold them, and the terminologies that give them legitimacy. But the story doesn’t stop there. In the context of EURO–VISION, “undergrounding” becomes a tactic: a means of unsettling the structural violence concealed behind seemingly neutral data, and of turning toward the mineral itself—its material presence, its histories, its speculative potential.

Published in K. Verlag’s Processing Process series, EURO—VISION draws on FRAUD’s ongoing, research-led inquiry into critical mineral governance. Combining interviews, visual essays, and commissioned texts, it opens new pathways for thinking about the entanglements between geology, economy, and power. At once analytical and imaginative, the book invites us to see the subterranean anew—not simply as a resource, but as a site of resistance, relation, and possible futures.

Edited by Francisco Gallardo & Audrey Samson (FRAUD) in collaboration with Michaela Büsse. With essays and visual contributions by Adekeye Adebajo, Michaela Büsse, Liam Campling, Stephen Cornford, Jeff Diamanti, FRAUD, Matthew Fuller, Iman Ganji, Peo Hansen, Stefan Jonsson, Bahar Noorizadeh, Sophia Pickles, Ndongo Samba Sylla, Jennifer Telesca, Aleksandra Wojewska, and Mi You. Design by K. Verlag with Wolfgang Hückel & Katharina Tauer. Processing Process series editors: Anna-Sophie Springer & Etienne Turpin.

Foraging Fireflies is a publication rooted in archiving, memory, and refusal amid ongoing violence and erasure in Palestine. Through personal stories, recipes, and reflections on foraging, farming and land-based knowledge, it insists on the presence of Palestinian lives, histories, and enduring connections to the land.

Gathering voices across generations, the publication documents practices of care, sustenance, and resistance—countering dispossession, greenwashing and colonial narratives. In a moment of attempted annihilation, preserving memory and knowledge becomes an act of defiance, continuity, and hope.

The publication naturally gives priority to Arabic in the design, allowing it to fully spread on the page, while English appears on narrower pages at the end of each contribution, unfolding like a booklet. The magazine is organized into four color-coded sections, each comprising multiple contributions that open with a full-page illustration by Aude Aboul-Nasr, portraying the land and its keepers. Printed in risograph, the colors gain a rich, vibrant texture. The publication also includes a poster and two postcards.

Creative Direction: SuperMelon | Besma Ben Said
Graphic Design: Chiara Vincenti Zakhia
Illustration: Aude Aboul-Nasr

Originally published in 1987, Saving Seeds: Metaphors of Lesbian Growth, a special issue of Maize: A Lesbian Country Magazine, was created by artist and writer Jenna Weston as a tribute to "magical female-oriented gardens."

From her Introduction: "I have found that, generally speaking, lesbian gardens are works of art. We make intricate designs with twine between sapling posts. Later, these weavings support tomato vines. Bright colored ribbons flutter from the tops of tall bean poles. Raised vegetable beds are sculpted into various graceful shapes. The winding paths are edged in pieces of broken pottery and stones we've found. We build altars in the centers of our gardens, and hold rituals between the onions and the lettuce."

"I asked wimmin to send me drawings and photos and descriptions of their magical female-oriented gardens. The replies came from near and far, and make up a part of this book. The rest of the book contains poems and prose that came directly from my experiences as a gardener and a lesbian."

This reissue reimagines the black and white stapled original in a bounty of earth tones: different colored French Papers are risograph printed in green, brown, and orange ink. The book is handsewn with gradient thread. Also included is a recent interview with Jenna Weston printed as an 11x17 leaflet, reversed with a poster of one of the garden diagrams in the book.

Terra Nova combines fragments from a novel in the making by Esther De Soomer, in which she explores the parallels between the loss of language and forest dieback, between climate grief and linguistic mourning. Reflecting on her own relationship with language and multilingualism, she traces the feelings of grief that accompany the loss of German, one of her mother tongues. Drawing on existing narratives — such as fairy tales and family stories — she examines the critical state of the disappearing Hambacher Wald in Western Germany and presents language as a means to name and hold on to things.

As our treatment of nonhuman animals is increasingly implicated in planetary crises—from climate change to global pandemics to unprecedented rates of biodiversity loss and species extinction—it’s clear that an urgent reconsideration of our relationship to other animals is not only necessary but overdue.

How we write about animals, how we represent them in our poems and stories, doesn’t simply reflect how we relate to them in the world; it also shapes how we treat them. Any cultural shift in how we conceive of other animals requires a shift in how we read and write about them. The New Sentience seeks to help catalyze this shift by ushering in a new kind of animal poetry, what editors Ashley Capps and Allison Titus dub “kinpoetics.” Whereas animals in Western poetry have disproportionately functioned as symbols, the poems in this anthology foreground a meaningful awareness of animal sentience and subjectivity, depicting other animals as individuals with dynamic selfhood, personalities, and emotional lives.

Stylistically wide-ranging, the poets featured here, among them Wendell Berry, Lucille Clifton, E. E. Cummings, Mary Oliver, Ross Gay, and Margaret Atwood, apply scrutinous lyrical attention to the animal experience in such surprising and illuminating ways that the reader can’t avoid an earnest reexamination of what humans owe our more-than-human kin. With humility, empathy, and curiosity, the work in this anthology reaffirms the vital connections between humans, animals, and the natural world. This pioneering book will impel readers to a deeper understanding of the lives of the creatures that share our planet and will inspire poets and writers to a more compassionate, meaningful engagement with animal subjects and lives.

Mud … and the Earth System explores groundbreaking research in Earth system sciences and highlights the challenges of communicating these findings to the public.

As once-stable “mudscapes” transform, they become both symptoms and symbols of a rapidly warming planet. This book delves into humanity’s connection to these changes through the study of ancient organic and inorganic compounds that have come alive after millennia. It poses essential questions about what these evolving ‘mud’ compounds reveal about Earth’s deep past and our imminent future.

Born from collaborative research led by artist Rikke Luther at the Interdisciplinary Research of Ocean, Climate and Society (ROCS) at the University of Copenhagen in collaboration with Earth scientist, Professor Katherine Richardson, this publication showcases how artistic practices – such as image-making, conceptual mapping, and filmmaking – enhance scientific representation.

Mud… and the Earth System features commissioned essays from experts in Earth Science, Political Aesthetics, and Molecular Geobiology. The book pairs their insights with compelling artwork, including large-scale maps of emerging ‘mudscapes’ in Svalbard, Iceland, Greenland, and Gotland.

The essays give perspectives on the DNA that is collected and stored in mud, which connects life across timescales as an evolutionary resource framing the interactions of human societies with the extreme complexities of the Earth system. Esther Leslie’s “Mud Crystal and Polar Thinking” sets the scene, followed by Karina K. Sand’s “Death and Life:  in Mud: Two Million Years in a Split Second,” and Earth scientist Katherine Richardson’s contribution “A Muddy Diary.”

As Richardson sums up, “Mud is an important medium for storing the archives that describe the history of both life and climate on Earth, and we are only just beginning to understand the fantastic stories that mud can tell.”

Contributions by Esther Leslie, Rikke Luther, Katherine Richardson, Karina Sand

Things Bigger Than What Can Be Seen is a collection of Oraib Toukan’s essays, translated to Arabic for the first time. In close dialogue with Palestinian pedagogue Munir Fasheh on the topic of turbeh (local soil in Arabic), Toukan crafts a haptic perspective on images from what she terms their ‘soil grain’.

I acquired Sonia’s copy of Fraser Darlingʼs book in 2010 when my cousins, sister, and I were going through Soniaʼs house following her death. From one of her glassed-in bookshelves, the spineʼs distinctive artwork caught my eye. When I put my hand in to grab it, it was immediately apparent there was something odd. Turning it over, I realised the book contained enclosures. It had been used as a flower press. Between its pages were eleven sheets of specimens, each sheet masked off with two pieces of neatly arranged blotting paper. All the sheets were titled in pencil: ‘Aviemore—May 1961’. 

Sonia Campbell Penney was a professional gardener, keen botanist, and the author’s aunt. Her ‘book’ is a copy of Natural History in the Highlands and Islands by F. Fraser Darling, interleaved with eleven sheets of plant specimens, guarded by blotting paper, which Sonia collected around Aviemore in the Scottish Highlands in May 1961. Functionally, if sporadically, annotated with plant names and, occasionally, places of finding, these sheets might be interpreted as a form of nature writing or a holiday diary almost without words. Sixty years on, Bridget Penney asks what a close, though thoroughly unscientific, consideration of these unmediated traces might reveal.

More than a mere extension of the hands, the garden tool is what helps the gardener materialise their vision. Much like the painter’s brush and the sculptor’s chisel – without it, one would be helpless. This issue of Pleasant Place dives into the world of garden tools, the essential, the practical, and the beautiful. 

Including:
Instruments of Care – An introduction by Norbert Peeters with some philosophical remarks on garden tools.
Wardens of Good – A visual essay of the wonderful objects of Garden and Wood, a business selling vintage garden tools and ephemera.
Trusted Tools – Gardeners like Piet Oudolf and Jonny Bruce talk about their favourite tools that are illustrated in detail by artist Floris Tilanus.
Passing the Trowel – A visit to Sneeboer, the Netherlands most famous garden tool company, where the trowel has been passed down for four generations.
Toolmorrow – Artists are challenged to create new types of garden tools, for lazy gardening, stylish gardening and collective gardening.

Cover by Lou-Lou van Staaveren
Inside cover by José Quintanar
Centrefold miniatures by Zilan Zhao

Graphic design is by fanfare
Concept and editing by Guus Kaandorp, Floor Kortman and Lou-Lou van Staaveren

Allow us to introduce to you, the meaning of life, Compost Almighty.

Including:
“I’m orange peels, I’m coffee grounds, I’m wisdom” – Marjory the Trash Heap tells the future
Compost: An introduction – what, why and how to compost, with illustrations by Noa Zuidervaart
Comfrey Cocktail – make your own Comfrey Feed
Worms are great and this is why – an ode to worms by Joline van Berkestijn with images by Jaap Scheeren
What to do with a whole lot of poo – Ton Hilhorst and Savitri Groag from Artis, the Amsterdam zoo, about their compost-system that thrives on elephant poo
Digital Compost – composting in Minecraft, the biggest videogame in the world

A set of garden miniatures by Hanna Something

The cover and inside cover are by Lou-Lou van Staaveren and Guus Kaandorp and graphic design is by fanfare

A layered and polyphonic investigation that, setting out from the Orobic Alpine territory in Northern Italy, explores the mountainside not merely as a natural backdrop but as an epistemological lens through which to understand and rethink the contemporary world.

The book originated as an online magazine and an expansion of the biennial program Thinking Like a Mountain (2024–25), a project inspired by Aldo Leopold's exhortation to abandon an anthropocentric gaze in favor of a geological outlook on the peaks, thereby acknowledging the intrinsic value of every natural element. An Orobic Journey developed independently from the exhibition program and is not limited to mere documentation; instead, it functions as a parallel research tool articulated through essays, conversations, and visual documentation, featuring contributions from artists, scientists, researchers, anthropologists, ornithologists, curators, academics, architects, writers, and other experts. 

Embracing Ursula K. Le Guin's "carrier bag theory," An Orobic Journey brings together non-heroic tales of resistance, adaptation, and cohabitation. The book opens with a reflection on species migration and "migratory restlessness": a condition that does not only concern the spontaneous return of wolves to the Alps or the transit of birdlife, but becomes a metaphor for a shared condition of continuous movement and searching. The future of the mountain—amid tourist monocultures and acts of transformative care—is investigated by conceiving the Alpine landscape as a political space shaped by power relations, images, and collective memories, and inhabited by multispecies communities that dwell in a place, weaving intergenerational relationships. With both a poetic and political approach, An Orobic Journey attempts to rethink ways of looking at the mountain landscape while imagining new collective rituals.

An ‘end-times’ philosophical enquiry in which the author argues with stones and geological time to compose a suite of interlinked fragments. An act of lapidary; a five-part antagonisation of the elements; an essay on representation, visualisation and prediction; an ecologue on ecology.

Our age is characterised by the increasing humanisation of a planet that is more and more subject to metaphoric representation and visualisation. 

The memorialisation, anthropomorphism, and narratological charge of time has birthed an intellectual industry in which the summation of history plays out like a hand of cards. A game in which retrospect and hindsight informs our present and sits us ever at the mercy of prediction and chance in a time increasingly defined by catastrophe, and as emergent crises affect every stratum of life and lived experience. We are currently witnessing a mutation of our thinking that disrupts the mythical imaginary that had hitherto confined viruses, climate change and atmospheric turbulence to an unalterable background in the all-too-human narrative of the struggle against nature.

Tusa’s Terra Cosmica / Traces of Georealism is the result of a series of lectures and essays—a quintet of pieces published over the course of a four-year period—that, woven together into a new collation of interlinked fragments, calls time on time to consider the new form of planetary realism resultant of this restructuring of the imagination. Tusa presents a cosmic remapping of our modes of thinking that assumes that our contemporary moment is absented from its representability, its history of representations, and all means of explanation, thus remaining open to a sense of its own infinity… Open to an encounter with that which remains absent and unknowable, with neither horizon nor memory available as any weathervane for comprehension and action. Tusa’s work is a scrutiny of our exosystemic condition; a suite of exploratory antagonisms on the need for a new philosophical perspectivism of time, of earth, and a new charter for the foundations of thought and thinking.

Being together in the dark awaiting a film or play, we’re actually readying ourselves for a threshold experience, for something else to appear: ‘We catch a glimpse of how the possible and the impossible are in fact threaded together, always have been.’ In these essays on the intersection of theatre, ecology, magic and darkness, Augusto Corrieri unearths forms of knowledge and attention repressed by Western modernity. How can we explore particular modes of attending to worldly things, he wonders, ‘modes of attending that value impossibility, multiplicity, drift, impermanence and dislocation, that hold dear the importance of the un-seen, the un-extracted, the un-consumed. There are things not meant for human eyes.’

Augusto Corrieri is an artist and writer. In his work he deconstructs the apparatus of theatre, inviting spectators to reflect on questions of spectacle and ecology in the twenty-first century. He presents sleight-of-hand magic performances under the pseudonym Vincent Gambini. www.vincentgambini.com

Tendrils threads through grief, joy and solidarity toward futures shaped by collaboration and care. Reaching through ecological crises, these poems seek new ways of living kinship in the more-than-human world.

This anthology gathers international voices that entangle, illuminate and resist: a collective turn to the future with renewal and possibility.

Edited and introduced by fieldnotes collective: Pratyusha, Jessica J. Lee, Alycia Pirmohamed and Nina Mingya Powles.

With contributions by Shasta Hanif Ali, Hala Alyan, Hana Pera Aoake, Polly Atkin, Kara Barlow, Khairani Barokka, Kat Benedict, Ahimsa Timoteo Bodhrán, Corinna Board, Jody Chan, Supriya Kaur Dhaliwal, Kerri ní Dochartaigh, Carlina Duan, Chloe Elliott, Zoë Fay-Stindt, Sophie Hoyle, Petero Kalulé (petals), Bhanu Kapil, Jayant Kashyap, Maija Makela, Lola Olufemi, Carl Phillips, Nat Raha, Shumin Tan, Dženana Vucic and Alice Willitts.

What is this life if, full of care,
We have no time to stand and stare? –

A facsimile of a 1973 Something Else Press gardening book – the press had then relocated to Vermont, with a shift towards the publication of such lifestyle guides. Hand-drawn and ilustrated by Linda Larisch.

Let’s get to know this monumental Mediterranean thistle, a sweetheart that deserves a place in both gardens and kitchens alike!

Including:
Artichokes: A Botanical Introduction – with botanical illustrations by Scheltens & Abbenes
Chokes in Art History – an overview of artichokes in the art history
Future Finials – Six new garden ornaments
Artichokes: Palatably Plated – A culinary history from around the world
Nostrale from Niscemi – Cultivating artichokes on Sicily

A set of garden miniatures by Kazuma Eekman

The cover is by by Scheltens & Abbenes, the inside cover is by Stephanie Hardy, and graphic design is by fanfare.

A contemplative photographic series by Jochen Lempert, created during a residency at the Moulin des Ribes in Grasse, a former mill nestled in the Provençal landscape.

Known for his background in biology and his distinctive analogue black-and-white photography, Lempert brings a scientific sensitivity and poetic restraint to his exploration of the site's immediate environment.

Shot entirely on location, the images focus on subtle interactions between natural forms and their surroundings. Rather than constructing grand ecological narratives, Lempert observes everyday life in and around the mill, drawing attention to the interdependencies and ephemeral presences that define a place.

With the intimacy of field notes and the tactility of silver gelatin prints, Local Ecology. Moulin des Ribes is both a document and a meditation. It reveals the overlooked ecologies that persist on the periphery of human attention, transforming the act of looking into a form of ecological engagement. In the silence of these photographs, Lempert proposes a different kind of knowledge—rooted in slowness, attunement, and care.

The photographs included in this publication were taken in the summer of 2021 during a residency at La Società delle Api, Moulin des Ribes, Grasse, based on an idea by Cristiano Raimondi.

Jochen Lempert (born 1958 in Moers) is a German photographer. Trained as a biologist specializing in dragonflies, he began his career as a photographer in 1989, at the age of 31, developing an artistic practice based on this scientific heritage, marked by images of nature where the animal and vegetal go hand in hand.

The 71 storyboards in this publication are the result of a collaborative process between G.C. Heemskerk and Bernice Nauta, and function as the foundation for their short film The Plantiarchy (2025). The project proposes a parallel reality in which the relation between plants and humans are drastically transformed. In this proposed universe, the plant is the protagonist: it playfully and critically tells a story of colonial expansion, botany, more-than-human eroticism and speculative plant-sentience, flipping the historicised script of control and dependency.

The Plantiarchy comprises a residency period at Hotel Maria Kapel (Hoorn, NL) and various exhibitions including Museum de Lakenhal (Leiden, NL), IKOB Museum (Eupen, BE) and Marres (Maastricht, NL), followed by the short film which premiered at Go Short (Nijmegen, NL) in 2025.

Introduction by Annosh Urbanke
Edited by Jan-Pieter ‘t Hart
Designed by Tjobo Kho with Lucas M. Franco & Vlad Omelianenko