Mairi Dare by University of Dundee Research

MAIRI DARE

The Fragilit of Being: An E ploration of Human Impact Within Cosmic, Societal and Environmental S stems

May 2025

Fine Art BA Hons Dissertation

DOI 10.20933/100001379

Except where other wise noted, the text in this disser tation is licensed under the Creative Commons Attribution-Non Commercial-No Derivatives 4 0 International (CC BY-NC-ND 4.0) license.

All images, figures, and other third-par ty materials included in this disser tation are the copyright of their respective rights holders, unless other wise stated. Reuse of these materials may require separate permission

ACKNOWLEDGEMENTS

INTRODUCTION Page 1

CHAPTER ONE – CURATORIAL THESIS

• THE PARADOX OF HUMAN EXISTENCE Page 4

• ECOLOGICAL AWARENESS Page 7

CHAPTER TWO – CURATORIAL AIMS

• VENUE Page 9

• INTENDED AUDIENCE Page 11

CHAPTER THREE – CURATORIAL CHOICES

• ARTISTS AND ARTWORKS Page 13

• GALLERY ARRANGEMENT AND SPATIAL PRESENTATION Page 24

CHAPTER FOUR – CURATORIAL INFLUENCES

• KEY TEXTS Page 30

• EXISTING EXHIBITIONS Page 32 CONCLUSION Page 33

ACKNOWLEDGEMENTS

I would like to extend my gratitude to everyone who has supported me throughout the development of this dissertation.

I am thankful to Gair Dunlop for his guidance and feedback. I also wish to acknowledge the faculty and staX at Duncan of Jordanstone College of Art and Design for providing the resources and opportunities that enabled me to pursue my research. I am especially thankful to Helen Görril for the immense dedication, time and encouragement throughout this process as well as all my artist friends I have the privilege to work alongside at university.

A heartfelt thank you goes to my family and friends for their patience, understanding, and encouragement.

Lastly, I would like to thank the artists, writers, and theorists whose work inspired and informed this dissertation. Their creativity and critical thinking have shaped the concepts and themes that underpin The Fragility of Being: An Exploration of Human Impact within Cosmic, Societal and Environmental Systems.

LIST OF FIGURES

Figure 2.1, Page 11, Illustrative ﬂoor plan of DCA gallery space. Digital illustration created in Adobe Illustrator, Mairi Dare, 2024

Figure 2.2, Page 12, Illustrative ﬂoor plan of DCA gallery with added walls, curtains, and benches speciﬁc to proposed exhibition. Digital illustration created in Adobe Illustrator, Mairi Dare, 2024

Figure 3.1, Page 14, Katie Paterson, ‘Totality’ (2016), Printed mirror ball, motor, and lights, 85 cm. diameter. Image courtesy of Katie Paterson Studio. [Exhibition photograph]

Figure 3.2, Page 15, Zoe Leonard, ‘You See I am Here After All’, (2008), 3,851 vintage postcards, 11 × 10 1/2 × 147 ft. (3.35 × 3.2 × 44.8 m) overall. Image courtesy of Dia: Beacon, Beacon, New York. [Exhibition photograph]

Figure 3.3, Page 16, Janine Antoni, ‘Touch’ (2002), Video installation – single- channel video projection displayed on screen, Duration: 9:37-minute loop, Projection size: 14 ft 8 in × 13 ft 2 in (447.04 × 401.32 cm). Image courtesy of Janine Antoni Studio. [Video still].

Figure 3.4, Page 17, Janine Antoni, ‘Moor’ (2001), Dimensions variable. rope made from variety of materials provided by family and friends. Installation view, Free Port, at Magasin 3 Stockholm Konsthalle, Sweden. Courtesy of the artist and Luhring Augustine. [Exhibition photograph]

Figure 3.5, Page 18, Pierre Huyghe, ‘Timekeeper’ (1999), Painted wall layers sanded in sections; occasionally a physically removed segment of the gallery wall, dimensions variable Image courtesy of Architectural Review. [Exhibition photograph]

Figure 3.5, Page 19, Yayoi Kusama, ‘The Obliteration Room’ (2002) All white room and furniture, multicoloured vinyl dot stickers applied by visitors. Installation view as part of Yayoi Kusama: Look Now, See Forever, Gallery of Modern Art, 2011. © Yayoi Kusama, Yayoi Kusama Studio Inc. Image courtesy of Mark Sherwood.

Figure 3.6, Page 20, Felix Gonzalez-Torres, ‘Untitled (Portrait of Ross in L.A.)’ (1991), Candies in variously coloured wrappers, endless supply. Overall dimensions vary with installation; ideal weight: 175 lbs. Courtesy of the Felix Gonzalez-Torres Foundation. [Exhibition photograph]

Figure 3.7, Page 21, Roman Ondák, ‘Measuring the Universe’ (2007), Participatory installation using black marker pens and wall surfaces. Dimensions variable. Presented at Tate St Ives, 2011. Courtesy of the artist. [Exhibition photograph]

Figure 3.9, Page 22, Rafael Lozano -Hemmer, ‘Pulse Room’ (2006), Interactive installation with incandescent light bulbs, voltage controllers, heart rate sensors, computer, and metal sculpture. Courtesy of Rafael Lozano -Hemmer Studio. [Exhibition photograph]

Figure 3.10, Page 23, Marco Evaristti, ‘Helena’ (2000), Blender, water, and goldﬁsh. Dimensions variable. Courtesy of the artist. [Exhibition photograph]

Figure 3.11, Page 24, Olafur Eliasson, ‘Ice Watch’ (2014), Installation featuring 12 blocks of glacial ice. Presented at Bankside, outside Tate Modern, London, 2018. Courtesy of the artist. Photo by Justin SutcliXe.

Figure 3.12, Page 25, Aerial view of proposed exhibition layout, illustrating artwork placement within gallery space, including corresponding numbers and artworks, scaled model diagram created by Mairi Dare, 2024

Figure 3.13, Page 28, Placement of Moor (2001) extending through the gallery space and out the window. Digital illustration created in Adobe Illustrator by Mairi Dare, 2024

ABSTRACT

We live in a time where we are more aware than ever of both human impact and human fragility. Globalisation, technology and science have shown us how much we can shape and change our environments, while also revealing how small and fleeting our existence is in the vastness of the universe. The Fragility of Being: An Exploration of Human Impact Within Cosmic, Societal, and Environmental Systems is a proposed exhibition examining the paradox of human existence In response to existential and ecological crises, the exhibition reflects these constant tensions we face in the modern world today where we are connected and aware of the intricate details of daily life across the globe and beyond, while also being deeply aware of our own limitations and vulnerabilities. By exploring this duality, the exhibition invites reflection on the ways we navigate our place within these vast and interconnected systems, highlighting both our influence and impermanence.

Grounded in the philosophical insights of Albert Camus, Ernst Becker, and Timothy Morton, and inﬂuenced by contemporary exhibitions and texts, the curatorial approach fosters engagement through immersive installations. Selected works, including those by Katie Paterson, Zoe Leonard, Rafael Lozano - Hemmer and Yayoi Kusama, explore cosmic perspectives, environmental impact, and collective participation. By integrating theoretical reﬂection with interactive experience, the exhibition highlights the complexity of our place in the universe, urging audiences to consider their role and responsibilities within cosmic, societal and environmental systems.

INTRODUCTION

“In a world facing unprecedented peril and unimaginable challenges, survival demands more than resilience; it requires an acknowledgment of the beauty, purpose, and patterns discernible in the universe, the interconnectedness of all things, and the urgent need to restore balance.”

(Ellcock, 2022)

This proposed exhibition titled, The Fragility of Being: An exploration of human impact within cosmic, societal, and environmental systems embodies Ellcock’s vision, oXering a space to reflect on the interconnected systems that shape our existence. In a time of existential threats, from the environmental crisis to the deepening divides within communities, there is a need for reflection on our shared fragility and collective impact. By engaging with the tensions between fragility and agency, personal actions, and global systems, the exhibition seeks to deepen our understanding of humanity’s role within these networks, highlighting both our profound significance and our humbling insignificance.

Structured into four chapters, this dissertation examines the philosophical, practical, and creative decisions that inform the curation of the exhibition. Chapter One, the Curatorial Thesis, explores the theoretical foundations, focusing on existential paradoxes, ecological interconnectedness, and the role of art. Chapter Two, Curatorial Aims, outlines the choice of Dundee Contemporary Arts (DCA) as the venue, and the eXorts to ensure audience accessibility. Chapter Three, Curatorial Choices, analyses the selected artworks and their spatial arrangement within the gallery, while Chapter Four reﬂects on additional inﬂuences, including academic texts, and relevant exhibitions.

At its core, The Fragility of Being seeks to illuminate the paradoxes of human existence, our simultaneous fragility and agency, within the intricate systems we inhabit. Inspired by the existential philosophy of Shlomo Cohen and Albert Camus, as well as Timothy Morton’s ecological thought, the exhibition explores humanity’s capacity to shape the world while confronting its inherent vulnerability. By bridging the personal and the collective, the fragile and the impactful, the exhibition creates a dynamic exploration of the interconnectedness that deﬁnes our shared existence.

The exhibition brings these theoretical ideas to life through carefully selected contemporary artworks. Katie Paterson’s Totality and Pierre Huyghe’s Timekeeper evoke awe at cosmic and temporal scales, grounding humanity within broader ecological and existential systems. Meanwhile, participatory pieces like Yayoi Kusama’s, The Obliteration Room and Roman Ondák’s, Measuring the Universe invite visitors to actively contribute, transforming them from passive viewers into co - creators. This dual focus, spanning cosmic reflection and participatory engagement, creates a dialogue between contemplation and action, paving the way for an exhibition that encourages deep self-reflection while confronting the responsibilities we share. Furthermore, ethical considerations surrounding Marco Evaristti's Helena reflect the careful thought required in curating an exhibition that encourages both introspection and accountability. The arrangement of artworks and gallery layout is designed to guide viewers through a narrative journey, leading them from moments of introspection to physical engagement with the artworks. By grounding the curatorial process in participatory and multisensory experiences, the exhibition aspires to create a space where viewers not only observe but also contribute to the narrative, embodying the interconnectedness it seeks to highlight.

The exhibition also draws inspiration from existing exhibitions such as Our Time on Earth at the

Barbican Centre as well as books like Artificial Hells by Claire Bishop and Rachel Plotnick’s Power Button. These influences shape its emphasis on participatory and interactive practices as tools for engagement and reflection, creating a compelling narrative that juxtaposes humanity’s cosmic insignificance with its profound ability to shape the world. The Fragility of Being: An exploration of human impact within cosmic, societal, and environmental systems is designed to foster connection, introspection, and a heightened awareness of our own existence. By examining the paradoxes of human existence and oXering both participatory and contemplative experiences, the exhibition encourages audiences to engage with the complexities of life and the interconnected systems that sustain it. This dissertation focuses attention on how art can foster understanding and emotional connection, oXering a powerful way to reflect on our place in the universe.

CHAPTER ONE – CURATORIAL THESIS

The Paradox of Human Existence

Human existence is filled with contradictions, it involves a mix of opposites that are deeply connected. In Human Being as Existential Paradox, Shlomo Cohen identifies the "givens" of human existence as; freedom, death, meaning, isolation, and agency, all which are universal aspects that shape the human experience (Cohen, 2014). These concepts, however, are inherently paradoxical. For example, freedom grants us the power of choice but also brings the burden of consequences; death gives life urgency and meaning in our actions yet, its inevitability instils a sense of fragility and fear. Similarly, we search for meaning in a universe that oXers none inherently, there is no universal guidebook to follow, leaving us to forge significance in its absence. Despite our shared humanity, each of us is ultimately isolated within our own consciousness and uniquely personal experience. And finally, agency gives us the power to act and shape our world, but we are constantly reminded of how little control we have over the larger systems around us.

Recognising and more importantly, accepting the paradoxical nature of life is crucial not only for understanding our place within the interconnectedness of existence but also for navigating day-to - day living (Camus, 1942). This paradox is famously explored in Albert Camus’ The Myth of Sisyphus (1942), which introduces the concept of the absurd through the story of Sisyphus endlessly rolling a boulder uphill. The paradox lies in the tension between humanity’s deep longing for purpose and the universe’s silence and indiXerence, leaving us in a state of absurdity (Camus, 1942). While we cannot escape the absurdity of life, we can choose how to respond to it. Camus argues that by embracing the absurd, we can live more freely and honestly, without hiding behind false ideas of meaning (Camus, 1942).

Ernst Becker argues in The Denial of Death that humans have a natural fear of death, and much of human behaviour is shaped by our attempts to avoid confronting this reality (Becker, 1973).

However, while we try to deny death, it is precisely our awareness of mortality and the recognition that we will not live forever that create a sense of urgency to make our actions and choices meaningful. The paradox is that our very desire to live meaningfully arises from the fact that life will end. Becker further argues that humans cope with this tension by engaging in what he calls “immortality projects”, eXorts to achieve symbolic permanence through acts that outlive us. These projects take many forms, such as pursuing religious or spiritual practices, building institutions, establishing families, achieving societal or personal milestones, or creating art (Bufill, 2023). This tension highlights the uniquely human struggle to find purpose in a world where the inevitability of death contrasts with our desire for permanence and significance.

The concept of "absurd creation," as proposed by both Camus and Becker, underscores how human creativity serves as a vital response to the paradoxes of existence (River, 2021). For Camus, absurd creation is not an escape from the absurd but a direct confrontation with it. Becker, meanwhile, views cultural and artistic achievements as mechanisms through which humans symbolically defy death, leaving behind a legacy that provides their lives with a sense of permanence and signiﬁcance (Becker, 1973). Susan Andrews, in her article Albert Camus on Absurd Creation: Art as a Reaction to Meaninglessness (2023), highlights Camus's idea that artistic creation is one of the primary ways to cope with the awareness of the absurd. She explains that, through creative expression, artists impose structure and meaning on a chaotic world:

“Through art, humans can recreate reality, giving order to a disorganised world. Creators can play God, fabricating universes and inventing closed- oX realm where they can

control the knowledge that deﬁnes their society. The characters one might write in a novel can engage with their surroundings and other inhabitants without feelings of alienation. A vibrant version of the true material world be developed to bring life to harsh actualities.” (Andrews, 2023)

In The Myth of Sisyphus (1942), Camus describes the act of creation, whether through art, literature, or other forms of expression, as the highest form of joy. He characterises all creators as “absurd” because the act of creation itself reﬂects humanity’s attempt to derive meaning in a world devoid of inherent purpose (Camus, 1942). This creative eXort, even if unconscious, embodies the paradox of existence: a recognition of life’s futility paired with the persistent drive to aXirm and shape it through imagination. Therefore, through this process art becomes a means of addressing existential questions indirectly, oXering both the creators and viewers a way to explore the paradoxes of life. While it does not solve these paradoxes, art provides a space to engage with them meaningfully.

Hans-Georg Gadamer's philosophy on art emphasises that understanding is an active and ongoing dialogue between the viewer and the artwork. According to Gadamer, the meaning of art is neither fixed nor final; it emerges in the interaction between the artwork and the viewer, shaped by the viewer's unique background and perspective. This dynamic process embodies the paradoxical nature of existence, the viewer interprets the artwork, yet the artwork also shapes the viewer's understanding, making meaning fluid and ever- evolving (Gadamer, 1989). By framing meaning as a collaborative process, Gadamer positions art as a vital medium for engaging with the complexities and contradictions of life. Art becomes a space where both individual and collective understanding can unfold and deepen, inviting reflection on the interplay of interpretation and influence.

The title of the exhibition, The Fragility of Being: An Exploration of Human Impact on Cosmic, Environmental, and Societal Systems Through Contemporary Art, encapsulates the tension between human vulnerability and our capacity for agency. This paradox serves as the conceptual backbone of the exhibition. Drawing from the insights of thinkers such as Camus, Becker, and Gadamer, the exhibition provides a space for reﬂection, where art functions both as a mirror and as a means of confronting life’s contradictions. Through carefully selected works, many of which invite active participation, the tension between fragility and agency is explored. By engaging with these interactive pieces, visitors themselves become part of the creative process, mirroring the absurdity of existence while embracing the opportunity to shape meaning. This process fulﬁls the exhibition's aim: demonstrating that while life may be fragile and uncertain, actively engaging with it (through art, creativity, and agency) can oXer a deeper sense of meaning.

Ecological Awareness

The interconnectedness inherent in human paradoxes becomes even more apparent when examined through the lens of ecological awareness. Timothy Morton, in The Ecological Thought (2010), explains that ecological thinking is not solely about nature or the environment but about recognising the profound connections between all living and non-living things. The concept of "nature" as something separate from human existence is limiting, often preventing us from fully understanding our role within the larger systems that sustain us. As Morton observes, “Ecology shows us that all beings are connected”, highlighting that our actions reverberate far beyond ourselves (Morton, 2010). This perspective directly aligns with the exhibition’s exploration of humanity’s fragile yet inﬂuential place within these interconnected systems, encouraging reﬂection on our collective impact and responsibility.

In The Ecological Thought (2010), Morton states, “the modern age compels us to think big”, arguing that the constraints of modern life have hindered us from fully considering the vast interconnected systems that surround us. However, today’s ecological and existential crises force us to confront this “totality”. As Morton explains, “Totality looms like a giant skyscraper shadow into the ﬂimsiest thought about, say, the weather”. This phrasing underscores how the scale and complexity of global systems, from the environment to politics, are no longer distant or abstract but deeply embedded in our daily lives. Even something as mundane as weather reﬂects the ripple eXects of these larger forces. Morton calls for embracing this interconnected reality, not as something to fear but as an undeniable reality that shapes every part of our lives. This act of “thinking big” challenges us to confront these issues holistically, without oversimplifying or avoiding the pressing problems we can no longer ignore.

This expanded sense of interconnectedness is central to the themes of my exhibition, drawing attention to the fragile yet profound impact of human existence within broader societal, ecological, and cosmic systems. Morton’s call to “think big” challenges us to confront the complexity of these systems and recognise our place within them, urging us to move beyond a limited view of nature as separate from humanity. By understanding our actions as part of an intricate web of connections, we are reminded of both our responsibility and the limits of our control. This mirrors the existential paradox: while we strive for agency and meaning, we must accept the ambiguity and transience of our inﬂuence. Through the lens of ecological awareness, the exhibition not only deepens its exploration of fragility and interdependence but also encourages a shift in perspective, inviting audiences to see themselves as active participants within these vast systems that sustain life.

CHAPTER TWO – CURATORIAL AIMS

The curatorial aims of The Fragility of Being focus on crafting an accessible yet thought provoking exhibition, prioritising meaningful engagement through intentional choices in venue, audience, and design.

VENUE

‘The Fragility of Being: An exploration of human impact within cosmic, societal and environmental systems through contemporary art’ will be a single exhibition hosted at Dundee Contemporary Arts (DCA).

The Serpentine Galleries in London were initially considered for their association with Hans Ulrich Obrist, a prominent advocate of Timothy Morton’s ecological philosophy. Obrist’s description of Morton’s work as “among the pre- eminent cultural works of our time” (Blasdel, 2017) reﬂects the gallery’s commitment to exploring themes of interconnectedness and fragility. However, London’s position as a global hub for contemporary art has already seen signiﬁcant exhibitions on similar themes, such as Our Time on Earth at the Barbican (2022) and Pollution

Pods at Somerset House (2018). Hosting the exhibition at Dundee Contemporary Arts (DCA) oXers an opportunity to engage a broader, more regionally diverse audience, fostering dialogue beyond major capital cities.

Dynamic Earth in Edinburgh was also considered. Its focus on exploring Earth’s natural systems aligns well with the exhibition’s themes. However, the venue’s unconventional layout and the potential for visitor entrance fees posed challenges for accessibility and the seamless ﬂow I envisioned for the exhibition. These factors solidiﬁed the DCA as the ideal choice.

The DCA’s gallery spaces oXer the flexibility and functionality needed for the exhibition. It features two galleries connected by a narrower corridor, providing ample space for the ten artworks, including larger installations. The two - door configuration, as shown in Figure 2.1, provides a natural entrance and exit, ensuring a clear flow through the exhibition. The entrance is designated through Gallery 2 and the exit through Gallery 1, as this arrangement better suits the spatial and sequential requirements of the artworks, supporting a cohesive and intuitive visitor experience.

Figure 2.2 highlights the additional walls, curtains, and benches incorporated into the gallery spaces. Red lines indicate walls added to separate artworks requiring enclosed spaces, such as video installations or participatory works. A curtain, marked in blue, situated just before transitioning from Gallery 2 to Gallery 1ensures the correct lighting conditions. Benches, highlighted in beige, are strategically placed to provide visitors with moments of rest and reﬂection, particularly in front of video work or emotionally impactful works. This careful spatial arrangement supports the exhibition’s thematic progression, creating a balance between introspection, interaction, and engagement while accommodating the speciﬁc needs of each artwork.

GALLERY 1

Figure 2.1 – Illustrative ﬂoor plan of DCA gallery space

Figure 2.2 – Illustrative ﬂoor plan of DCA gallery with added walls, curtains and benches speciﬁc for ‘The Fragility of Being’ exhibition.

INTENDED AUDIENCE

The intended audience for The Fragility of Being is broad and diverse, as its themes reﬂect universal human experience. It welcomes both those familiar with contemporary art and those who may feel intimidated by the exclusivity and prestige often associated with art institutions. The themes transcend artistic knowledge, inviting all visitors to engage meaningfully with the works and reﬂect on the human experience.

Grayson Perry, in Playing to the Gallery, argues that “anyone is eligible to enjoy art or become an artist” (Perry, 2014) emphasising the idea that art should not be conﬁned to an elite or academic audience. This perspective underpins the exhibition’s participatory elements, such as Measuring the Universe and The Obliteration Room, which invite visitors to contribute directly to the artworks. This approach fosters a sense of involvement and empowerment, breaking down traditional barriers between the viewer and the artwork, and encouraging visitors to see themselves as integral to the artistic process.

Jon Sleigh’s What Are Museums For? echoes this sentiment by advocating for museums and galleries to serve as inclusive spaces that bridge societal divides and challenge perceptions of

who art is for (Sleigh, 2024). The DCA’s free entry policy and central location further align with this ethos, ensuring that economic barriers do not hinder participation, particularly welcoming local communities and families, providing a meaningful cultural experience for visitors of all ages and backgrounds. In addition to appealing to general audiences, the exhibition seeks to engage students, educators, and philosophy enthusiasts, oXering thought-provoking content on human existence, ecological awareness, and societal systems.

CHAPTER THREE – CURATORIAL CHOICES

ARTISTS AND ARTWORKS

These are the chosen artworks that make up the exhibition.

Figure 3.1

1. Katie Paterson – ‘Totality’ (2016), Printed mirror ball, motor, and lights, 85 cm diameter

‘Totality’ is an artwork by Katie Paterson, a Scottish artist known for her exploration of cosmic themes and humanity’s connection to the universe. The installation features a rotating mirror ball covered with over 10,000 unique images of social eclipses, sourced from various points in history. These images span from ancient drawings to modern photographs taken with cuttingedge telescopic technology. When illuminated, the ball projects these images around the room, creating an otherworldly atmosphere that evokes the experience of a total solar eclipse.

Totality captures the delicate balance between fragility and agency. The fact that Paterson was able to source so many documented solar eclipses, and from as early as 1778, symbolises humanities eXorts to continuously try to understand and preserve fleeting moments of cosmic significance. It was Paterson who merged the vastness of time and space into an intimate setting, drawing attention to our connections with larger systems, celestial, ecological and societal. This brings to light both human significance and insignificance.

3.2

2. Zoe Leonard – ‘You See I am Here After All’, (2008), 3,851 vintage postcards, 11 × 10 1/2 × 147 ft. (3.35 × 3.2 × 44.8 m) overall.

Leonard’s statement, “Making work for me is being in the world, but it’s also being specific about being in the world” (Prentiss, 2016), underscores her deep engagement with the immediacy of the human experience and her nuanced understanding of our interconnectedness within larger systems. This perspective is vividly expressed in You See I Am Here After All, where Leonard assembles thousands of postcards of Niagara Falls to explore the interplay between personal perception and collective narratives. By transforming a static, commodified image into a linear arrangement, she reveals the fragility of how meaning is constructed, prompting viewers to reflect on the ways societal systems, such as consumerism and media, shape our relationships with the natural world. These themes align closely with the exhibition’s focus on the tension between human agency and fragility, as well as the complex systems that sustain life. As an artist contributing to The Fragility of Being, Leonard’s work and philosophy are profoundly relevant to the exhibition’s exploration of human impact and interconnectedness, making her voice an essential part of its narrative.

Figure

3. Janine Antoni - ‘Touch’ (2002), Video Installation- a single- channel video projection displayed on screen, duration: 9:37 minute loop

Projection size: 14 feet 8 inches x 13 feet 2 inches (447.04 x 401.32 cm)

Janine Antoni's Touch (2002) is a video installation that examines themes of desire, impossibility, and humanity’s connection to the natural world. Walking a tightrope aligned with the horizon at her childhood home, Antoni reflects on the horizon as a symbol of both hope and unattainability, what she describes as “a very hopeful image: it’s about the future, about the imagination” (Art21, 2003). The horizon represents a paradox: it inspires exploration while remaining perpetually out of reach, mirroring the philosophical concept of the absurd and humanity’s endless search for meaning. As Antoni walks the tightrope, the rope dips under her weight, briefly touching the horizon, a fleeting moment that captures the fragility and transience of human eXort. Antoni deliberately chose not to manipulate the video to create the illusion of constant contact with the horizon, noting that doing so would diminish the emotional weight of the work. This decision highlights the authenticity of the tension between human fragility and natural forces, echoing the vulnerability of existence itself. Antoni’s act of walking the line becomes both a literal and symbolic exploration of human perseverance and the delicate balance between aspiration and reality, making Touch a poignant reflection of the exhibition’s overarching themes.

Figure 3.3

4. Janine Antoni- ‘Moor’ (2001) - Installation, rope made from variety of materials provided by family and friends, dimensions variable.

‘Moor’ is rope created from objects gifted to Antoni by friends and family, each carrying personal memories and history. The items woven into the rope, ranging from cat hairs and dental floss to Christmas lights and plant samples, represent the diverse and often fragile elements of human relationships. This juxtaposition between sentimental, delicate objects and the traditionally strong, functional nature of rope highlights the precarious balance between resilience and fragility in human existence. This rope, which grows over time as Antoni collects more items, functions as a physical manifestation of the emotional and social connections that shape human existence. In many ways, Moor reflects the complexities and interconnections that define the human experience, oXering a visual metaphor for how individual lives are interwoven, each person’s story contributing to the larger collective. This piece reflects the fragility of human existence by emphasising how our personal connections shape our identity and ability to endure. It underscores the existential significance of relationships in a world defined by impermanence and vulnerability.

Figure 3.4

3.5

5. Pierre Huyghe – ‘Timekeeper’, (1999) Painted wall layers, sanded in sections; occasionally a physically removed segment of the gallery wall, dimensions variable.

Timekeeper is an installation that explores time, transformation, human intervention, and memory. First presented in 1999 at Huyghe’s solo exhibition Le procès du temps libre at the Vienna Secession, the work involves sanding down sections of a gallery wall to reveal layers of paint from previous exhibitions. Huyghe uses time as a material force, both physical and conceptual, with the sanding process introducing an organic rhythm of destruction that mirrors natural processes like weathering and decay. The exposed layers resemble tree rings, visually chronicling the history of the space and evoking the cycles of growth and decay found in nature. The paradox of Timekeeper lies in how the act of destruction (removing parts of the wall) underlines both the presence and transience of human actions. This tension embodies the paradox of human existence, where our agency is both impactful and ephemeral, directly aligning with the themes of The Fragility of Being. Huyghe’s work captures the interconnected forces of time and space, illustrating how human actions contribute to a collective understanding of our place within larger systems.

Figure

3.6

6. Yayoi Kusama – ‘The Obliteration Room’ (2002) All white room and furniture, multicoloured vinyl dot stickers applied by visitors

The Obliteration Room is a participatory artwork that evolves through audience interaction. An entirely white domestic space transforms into an explosion of colour as visitors place dot stickers on every surface. Each choice where to place a dot, its colour, and its arrangement relative to others represents a moment of personal, creative expression contributing to a collective process. The piece explores the interplay between permanence and impermanence, with stickers symbolising the fleeting nature of human impact. Unlike more permanent materials like paint or glue, stickers can be removed, making participation less intimidating and encouraging greater engagement. This accessibility allows visitors to leave a visible mark while remaining aware of its transitory nature. The work reflects Kusama’s themes of self- obliteration, infinity, and blending self with the environment, aligning seamlessly with the exhibition’s focus on interconnectedness and human impact. It unites diverse individuals through shared participation, with each visitor’s contribution merging into a single, collective expression. Even if visitors never physically encounter one another, their actions layer to create a unified whole, illustrating how human experiences are inherently interconnected. This emphasis on the accumulation of individual acts highlights the fragility and significance of our interactions with each other and our environment, resonating deeply with the exhibition’s themes.

Figure

7. Felix Gonzalez-Torres – ‘Untitled (Portrait of Ross in L.A.)’ (1991) Candies in variously coloured wrappers, endless supply, Overall dimensions vary with installation; Ideal weight: 175 lbs

Untitled (Portrait of Ross in L.A.) is a deeply personal artwork exploring themes of loss, replenishment, and shared humanity. The piece consists of a 175-pound pile of brightly coloured candies, the ideal body weight of Gonzalez-Torres’ partner, Ross Laycock, who died of AIDS. Visitors are invited to take a piece, symbolizing the gradual toll of illness on Ross’ body and embodying the impermanence and fragility of life. This act of participation transforms the work, underscoring the interconnectedness of individual actions within collective systems. The replenishment of the pile throughout the exhibition introduces a regenerative element, reﬂecting resilience and care. It suggests the capacity of human systems, whether social, ecological, or personal, to sustain and restore themselves despite vulnerability. By intertwining personal loss with collective engagement, the work becomes a microcosm of larger networks, illustrating how shared responsibility and participation can foster continuity even in the face of impermanence.

Figure 3.7

3.8

8. Roman Ondak – ‘Measuring the Universe’ (2007), Participatory installation using black marker pens and wall surfaces, dimensions variable

Measuring the Universe invites visitors to have their height measured and marked on the gallery walls, alongside their first name and the date of their visit. Over time, the walls become densely layered with these inscriptions, creating a visual representation of the diverse individuals who participated. Each measurement represents a fleeting moment in time, a trace of one’s presence. This simple act transforms the space into a dense constellation of marks, where each individual contribution is layered with countless others. While the wall becomes saturated with marks, no single contribution dominates. Instead, the work celebrates the shared act of participation, underscoring resilience and continuity within systems that outlast any one individual. By transforming something as simple as a height measurement into a shared ritual, Ondak emphasises the transformative potential of small, everyday actions. This mirrors the larger dynamics of human presence within collective systems and reinforces the idea that our individual lives are intertwined with broader societal and ecological systems. The title of this work suggests a playful yet profound attempt to quantify something infinite and unmeasurable to through human actions.

Figure

3.9

9. Rafael Lozano -Hemmer – ‘Pulse Room’, (2006), Incandescent light bulbs, voltage controllers, heart rate sensors, computer and metal sculpture

Rafael Lozano -Hemmer’s Pulse Room is an interactive installation that transforms biometric data into a captivating display of light and rhythm. The work invites participants to hold a sensor, which records their heartbeat, causing the nearest bulb to ﬂash in sync with their heart. Once they release the sensor, their pulse rhythm travels down the line, eventually merging into the collective rhythm of the space as the next participant’s heartbeat takes its place. By capturing individual heartbeats and translating them into a pulsating display of light, the installation celebrates the uniqueness of every person while also creating a shared, collective rhythm that symbolises our interconnected existence. This aligns closely with Morton’s ecological philosophy, which challenges us to see ourselves as inseparable from the systems and environments around us, breaking down the artiﬁcial barriers between human and nature. The use of technology in Pulse Room is integral, as it bridges the gap between the physical and the conceptual. The heart-rate sensors and digital programming transform intimate, invisible signals, the beat of a human heart, into a tangible and visual experience.

Figure

3.10

10. Marco Evaristti- ‘Helena’ (2000), Blender, water and goldﬁsh, dimensions variable

Helena presents a live goldfish inside a blender, which visitors can activate with a button, potentially harming the fish. This work challenges viewers to confront the ethical dimensions of their actions, particularly their impact on other living beings and ecosystems. By placing the audience in direct control of another life, Helena highlights the fragility and vulnerability inherent in existence. The act of turning on the blender symbolizes human power over life, forcing viewers to reflect on the profound consequences of their choices, not just on immediate surroundings but on living creatures and the environment. The piece also aligns with the theme of impermanence, showing how actions whether deliberate or accidental shape our relationship with the world. Evaristti’s installation starkly reminds us that human agency, while powerful, comes with significant responsibility

Figure

Olafur Eliasson – Ice Watch (2014), 12 blocks of glacial ice

Olafur Eliasson’s Ice Watch would provide a powerful addition to The Fragility of Being by amplifying the themes of human agency, ecological fragility, and interconnectivity. Positioned in Dundee city centre, the twelve blocks of glacial ice melting over time would allow the public to engage directly with the material reality of climate change, making the environmental crisis tangible and immediate. By encouraging physical interaction, the visitor directly contributes to the ice's melting, symbolically embodying humanity’s role in accelerating environmental change. By collapsing the boundary between the natural and urban environments, Ice Watch aligns closely with Timothy Morton’s ecological philosophy, emphasising the interconnectedness of social, ecological, and personal systems.

However, I ultimately decided against including Ice Watch in the exhibition due to the environmental and logistical challenges it presents. Transporting glacial ice to Dundee would conﬂict with the ecological values of the exhibition, undermining its message of responsibility. Additionally, the work’s grandeur risks overshadowing other pieces, shifting focus from the collective dialogue the exhibition seeks to foster.

Figure 3.11

GALLERY ARRANGEMENT AND SPATIAL PRESENTATION

1. Katie Paterson – ‘Totality’, (2016)

3.12 – Aerial view of proposed exhibition layout, illustrating artwork placement

2. Zoe Leonard - ‘You See I Am Here After All’, (2008)

3. Janine Antoni – ‘Touch’, (2002)

4. Janine Antoni – ‘Moor’, (2001)

5. Pierre Huyghe – ‘Timekeeper’, (1999)

6. Yayoi Kusama – ‘The Obliteration Room’ (2002)

7. Felix Gonzalez-Torres – ‘Untitled (Portrait of Ross in L.A.)’ (1991)

8. Roman Ondak – ‘Measuing the Universe’ (2007)

9. Rafael Lozano -Hemmer – ‘Pulse Room’, (2006)

10. Marco Evaristti - ‘Helena’ (2000)

The exhibition opens with Katie Paterson’s Totality, displayed in a dark, enclosed room.

Darkness in gallery spaces has been shown to slow the body, sharpen awareness, and enhance engagement (Jones, 2024), making it an ideal introduction. With no other artworks in view, this

Figure

focused environment ensures the viewer’s attention remains solely on Totality, fully immersing the audience in the work and encouraging reﬂection on their presence within the room. In turn, this prompts a deeper contemplation of their existence within the vast cosmos, oXering a moment of awe and setting the tone for the entire exhibition by inviting visitors to consider humanity’s place, fragility and interconnectedness within larger systems. Opening with a Scottish artist also creates a meaningful connection between the local and the universal, grounding the exhibition in its cultural context.

Exiting Totality, visitors move through a corridor designed to dynamically engage with Zoe Leonard’s You See I Am Here After All. Walking alongside the postcards emphasises shifting perspectives and the impact of movement on the viewer’s experience. Both Totality and Leonard’s work employ repetition, Totality through solar eclipses, and Leonard’s through postcards of the same landscape. This repetition in both pieces highlights the human desire to document, preserve, and understand the world, making Leonard’s work a natural progression after Totality grounding the cosmic perspective into a human, cultural context.

After walking along the wall of Leonard’s You See I Am Here After All, the viewer naturally follows the work as it curves around the gallery corner into a more open space. This transition is significant, as Joohee Kim (2019) notes that open spaces, such as those at MoMA and the Guggenheim, encourage interaction not only with the artwork but also with other viewers, fostering a dynamic environment that promotes reflection and connection. From here, visitors encounter Janine Antoni’s video installation Touch, situated on the opposite side of the corridor that led them away from Totality. The installation benefits from the surrounding walls as it dims the lighting, ensuring the projection’s colours and imagery are vividly seen. To further support the experience, a bench is positioned in front of the video. Providing seating for Touch was important, as Antoni’s tightrope walk invites suspense and prolonged focus.

Touch by Janine Antoni shifts the exhibition from the broad reﬂections of You See I Am Here After

All to a more intimate engagement with nature. The video contrasts with Leonard’s static imagery, inviting viewers to move from reﬂecting on humanity’s constructed narratives of nature to a more emotional, embodied experience. The horizon in Touch, both unreachable and hopeful, ties back to the existential themes of Totality, reinforcing the cosmic scale while grounding the exhibition in personal struggles. This shift deepens the exploration of fragility and interconnectedness, prompting reﬂection on humanity ’s vulnerability within the systems we are part of.

Antoni’s second piece, Moor, is next in the space, running along the gallery ﬂoor and complementing Touch by exploring the tension between strength and fragility through the symbolic and literal use of rope. Together, these works create a seamless transition from personal engagement with nature to the emotional dynamics of human connection. In earlier exhibitions, Moor extended beyond the gallery, such as during the 2001 Free Port exhibition at Magasin III in Stockholm, where the rope stretched outside to a lifeboat in the harbour (Magasin III, 2001). In this exhibition, as shown in Figure 3.13, the rope begins in the open gallery space and leads visitors into the smaller adjoining room, exiting through a window overlooking the

Figure 3.13 – Placement of Moor (2001) extending through gallery space and out the window

DCA’s rear. This placement underscores the exhibition’s themes of interconnectedness, as the rope metaphorically links internal and external worlds, reﬂecting how personal and collective connections extend across societal and environmental boundaries.

Upon re- entering the main gallery, Pierre Huyghe’s Timekeeper is displayed on the right-hand wall at eye level, measuring approximately 50 x 50 cm. This modest scale invites close, personal engagement. Placed at the exhibition’s midpoint, Timekeeper bridges the introspective works and the interactive pieces that follow, showcasing an accumulation of human traces and prompting reﬂection on individual impact.

The next work, Yayoi Kusama's The Obliteration Room, is situated in a partitioned room. Its placement directly after Timekeeper shifts the focus from observing traces of past actions to actively contributing new ones. This transition highlights the viewer's agency in shaping shared environments, reinforcing the exhibition's themes of interconnectedness and human impact.

Upon exiting The Obliteration Room from the opposite side of their entry, visitors naturally progress to a space where two artworks are displayed. To their right, in the corner, they encounter Felix Gonzalez-Torres’ Untitled (Portrait of Ross in L.A.), while on the left-hand wall, is Roman Ondák’s Measuring the Universe. While the colourful candy in Portrait of Ross in L.A. echoes the playful energy of The Obliteration Room, it introduces deeper themes of loss, love, and impermanence, marking a subtle shift in tone. This pairing of Roman Ondák’s and Felix Gonzalez-Torres’ artworks in the same area invite visitors to navigate the complexities of connection and memory. The body weight represented in Untitled (Portrait of Ross in L.A), and the body height recorded in Measuring the Universe both serve as deeply personal yet universal markers of human presence. Together, these works extend the thread of participation, with Measuring the Universe inviting viewers to add their mark, while in Untitled (Portrait of Ross in

L.A), the act of taking a candy symbolically diminishes the presence of someone else. This interplay highlights the fragile yet profound impact of human existence and participation.

I’ve included a bench in this area, providing a space to pause and reﬂect on the emotional weight of Untitled (Portrait of Ross in L.A), and encourage the participation in Measuring the Universe. By sitting there is the opportunity to absorb the poignant themes of loss, memory, and human connection represented in these works. Additionally, the bench subtly emphasises the transition between participation and introspection, inviting viewers to consider the impact of their own actions within the exhibition's overarching exploration of human presence and fragility.

The space between Gallery 2 and Gallery 1 narrows into a corridor, guiding visitors towards Pulse Room. The added curtain before entering serves both a practical and conceptual purpose. Practically, it helps maintain the darkened lighting essential for the experience of Pulse Room, ensuring the ﬂickering bulbs are fully visible and impactful. Conceptually, the curtain creates a sense of anticipation and transition, signalling a shift in tone as visitors move from the reﬂective and participatory nature of Measuring the Universe into a more sensory, technology- driven exploration of connection and presence.

The placement of Pulse Room as one of the final artworks creates a meaningful dialogue with Totality, which opened the exhibition. While Totality opens with a cosmic scale, immersing viewers in the vastness of the universe, Pulse Room mirrors its aesthetic with its darkened room and flickering lights but narrows the focus to the deeply personal, reflecting individual heartbeats. This connection underscores the exhibition’s overarching themes of interconnectedness, creating a cyclical narrative that brings the journey full circle from the universal to the intimate.

Visitors will encounter Marco Evaristti’s Helena upon exiting Pulse Room, with the gallery’s exit now in view. This placement heightens its impact, prompting visitors to reflect on the impact of their choices beyond the exhibition. It is important to note, the inclusion of Helena was not without hesitation. This artwork’s ethical controversy demanded careful consideration, as it raises significant dilemmas about potential harm to living creatures and the moral responsibilities of both the artist and the audience. Ultimately, I chose to include Helena because its ability to provoke critical reflection aligns directly with the overarching themes of The Fragility of Being. As Claire Bishop suggests in Artificial Hells, participatory artworks gain their value through their capacity to challenge viewers to confront uncomfortable truths and moral complexities. (Bishop, 2012). Helena exemplifies this, confronting audiences with the tension between agency and consequence, and the fragility inherent in life itself.

Measures have been implemented to ensure the goldﬁsh’s safety, including explicit guidelines and staX supervision to prevent harm. Positioned as the ﬁnal piece, Helena serves as a culmination of the exhibition’s journey. By experiencing Helena within the context of the exhibition’s earlier works, each exploring fragility, interconnectedness, and impact, viewers are invited to engage with its ethical challenge from a heightened perspective of awareness and responsibility.

CHAPTER FOUR – ADDITIONAL INFLUENCES

KEY TEXTS

The Cosmic Dance has profoundly shaped the conceptual framework of this exhibition, with its journey 'from the microcosm to the macrocosm' (Ellcock, 2022) emphasising the deep interconnection between the small and the large, illustrating how local, individual, or minute elements both contribute to and reﬂect the vast, universal whole. This perspective closely aligns with the exhibition’s themes, acting as both an inspiration and a foundation that enhances the relevance of the selected artworks to today’s pressing existential and ecological challenges.

Rachel Plotnick’s book, Power Button also shaped the exhibition’s exploration of human agency and its consequences. Her analysis of buttons as symbols of control emphasising the commanding dynamic between the actor and the action directly informs the conceptual foundation of Marco Evaristti’s Helena. Plotnick’s assertion that “the essential dynamic between the person pushing and the person or mechanism ‘pushed’ into motion reflects the forceful and commanding nature of the act” (Plotnick, 2018) finds a visceral application in Helena. Here, the button represents not only agency but also its ethical dimensions, urging viewers to confront how even the simplest actions ripple outward with profound consequences. By presenting this dilemma in the context of the exhibition’s broader themes of fragility and interconnectedness, Helena challenges audiences to critically reflect on the power and weight of their decisions within larger systems.

Rachel Plotnick’s focus on reimagining physical engagement complements John Dewey’s assertion that “every experience is the result of interaction between a live creature and some

aspect of the world in which he lives” (Dewey, 1934). Plotnick highlights how even the simplest physical gestures, such as pressing a button, carry profound implications of control, inﬂuence, and agency. As she notes, “just as modes of listening, hearing, or seeing may have changed, creating new kinds of ‘soundscapes,’ so did acts of touching and the very deﬁnition and purpose of hands undergo a process of reimagining that deserves attention” (Plotnick, 2018). This insight underscores the evolving ways humans interact with their environments, illustrating how seemingly mundane physical actions are imbued with symbolic meaning and shaped by cultural and technological contexts.

This interplay of action and environment, as Dewey describes, underpins the participatory elements of The Fragility of Being. Human gestures, however small, become symbolic acts of connection and meaning making within larger ecological, societal, and cosmic systems. Works like The Obliteration Room, Untitled (Portrait of Ross in L.A.), Measuring the Universe, Pulse Room, and Helena invite visitors to physically engage with the art, embodying Plotnick and Dewey’s notion that experience is co - created through interaction. By encouraging gestures like sticking, touching, or writing, these pieces transform viewers from passive observers into active participants, showing how small actions ripple outward to shape collective experiences. This participatory dynamic aligns with Claire Bishop’s Artiﬁcial Hells (2012), which highlights how participatory art disrupts traditional artist-audience roles, fostering a shared space for meaning making. By shifting focus from individual creativity to collective interaction, these works reinforce the exhibition’s exploration of interconnectedness, fragility, and agency, illustrating how individual choices inﬂuence broader systems of meaning.

EXISTING EXHIBITIONS

Building on these theoretical foundations, existing exhibitions have shaped the conceptual and practical elements of The Fragility of Being. The 2022 Our Time on Earth exhibition at the Barbican Centre explored humanity’s relationship with the planet through a multidisciplinary approach, emphasising interconnectedness and ecological awareness, themes central to my exhibition (Barbican Centre, 2022). Its participatory and immersive experiences provided valuable insights for my curatorial approach. For instance, Treehugger: Wawona by Marshmallow Laser Feast used cuttingedge technology to create emotional connections with the natural world, turning abstract ecological concerns into tangible experiences (Marshmallow Laser Feast, 2022a). Similarly, In the Eyes of the Animal allowed audiences to view life from nonhuman perspectives, fostering empathy and ecological awareness, key aims mirrored in my exhibition (Marshmallow Laser Feast, 2022b). By presenting participatory works, Our Time on Earth demonstrated how immersive art transforms individual actions and perceptions, highlighting our collective understanding of ecological fragility and interdependence.

László Máthé’s exhibition Paradox (Máthé, 2024) further resonates with The Fragility of Being. Máthé’s exploration of dualities, such as pain and transformation, aligns with the paradoxes the exhibition seeks to illuminate. By using everyday subjects as metaphors for emotional and psychological complexities, Máthé creates accessible yet reﬂective works. His approach supports the objective of making profound existential and ecological themes relatable, encouraging personal and collective engagement. Together, these inﬂuences highlight the potential of art to foster dialogue about humanity’s role within fragile, interconnected systems.

CONCLUSION

The Fragility of Being: An Exploration of Human Impact within Cosmic, Societal, and Environmental Systems is an exhibition designed to foster connection, introspection, and a heightened awareness of our existence within systems we inhabit. This dissertation has unpacked the philosophical foundations, curatorial decisions, and broader inﬂuences that have shaped the exhibition, oXering viewers a meaningful encounter with the paradoxes of human existence. Rather than oXering answers or resolving contradictions, the exhibition creates a space where the complexities of life are acknowledged and thoughtfully confronted. Through artworks and curatorial design, it demonstrates art’s capacity to convey the nuances of the human experience in ways that transcend language. Pieces like, Touch, You See I Am Here After All, and Timekeeper engage viewers with questions of memory, perspective, and our relationship with time and place, while Felix Gonzalez-Torres’ Untitled (Portrait of Ross in L.A.) and Rafael Lozano Hemmer’s Pulse Room explore humanities shared rhythms of connection and loss. These works collectively reﬂect our fragility and impact in life, exploring the paradox of human existence, and the interconnectedness of all things.

The curatorial decisions, from ensuring the venue has free entry and in a central location, to the thoughtful arrangement of artworks, were instrumental in shaping the exhibition’s accessibility and inclusivity. The spacious, adaptable and flexible gallery space was ideal for exhibiting large interactive installations that required specific lighting and space for active participation as well contemplative installations like Antoni’s Moor and Touch which utilised the gallery’s layout to invite stillness and reflection. Together, these choices fostered an immersive narrative flow, guiding audiences through themes of fragility, agency, and interdependence.

By embracing the tension between fragility and agency, individual influence and collective interdependence, the exhibition reflects the philosophical insights of thinkers like Camus, Cohen, and Morton, who advocate for confronting life’s paradoxes rather than seeking to escape them. In doing so, The Fragility of Being oXers not just an experience of art but a dynamic space for grappling with questions that define our shared existence. In a world dominated by constant communication, quick scrolls, and fleeting connections, this exhibition oXers a chance to slow down, pause and engage with the complexities of human existence an opportunity that often feels out of reach due to the pace of modern life.

Ultimately, the exhibition serves as both a reﬂection and a call to action. By creating a space where art becomes a medium for connection, accountability, and empathy, it underscores the power of creativity to inspire meaningful engagement with the challenges and paradoxes of modern life.

REFERENCES

Andrews, S., 2023. 'Albert Camus on Absurd Creation: Art as a Reaction to Meaninglessness'. The Collector, 28 July. Available at: https://www.thecollector.com/albert- camusabsurdcreation/ [Accessed 6 January 2025].

Antoni, J., 2001. Moor [Sculpture Installation]. Available at: https://www.janineantoni.net/#/moor/ [Accessed 30 December 2024]. Antoni, J., 2002. Touch [Video Projection Installation]. Available at: https://www.janineantoni.net/touch [Accessed 30 December 2024]. Art21, 2003. '“Touch” and “Moor” Art21'. Art21, [online] Available at: https://art21.org/read/janine-antoni-touch-and-moor/ [Accessed 6 January 2025]. Barbican Centre, 2022. Our Time on Earth. Exhibition, 5 May - 29 August 2022, London: Barbican Centre.

Becker, E., 1973. The Denial of Death. New York: Free Press. Bishop, C., 2012. Artiﬁcial Hells: Participatory Art and the Politics of Spectatorship. London: Verso.

Blasdel, A., 2017. 'A reckoning for our species: the philosopher prophet of the Anthropocene'. The Guardian, 15 June. Available at: https://www.theguardian.com/world/2017/jun/15/timothymorton-anthropocene-philosopher [Accessed 6 January 2025].

Buﬁll, J.A., 2023. ‘“Death” at Fifty: Ernest Becker and the Immortality Project’. The Public Discourse, 4 October. Available at: https://www.thepublicdiscourse.com/2023/10/91327/ (Accessed: 30 December 2024).

Camus, A., 2005. The Myth of Sisyphus. Translated by J. O'Brien. London: Penguin Books Cohen, S., 2014. 'Human Being as Existential Paradox'. Appraisal, 10(1), pp.28-32 Eliasson, O., 2014. Ice Watch [Site-speciﬁc Installation]. Available at: https://olafureliasson.net/artwork/ice-watch-2014/ [Accessed 30 December 2024]. Ellcock, S., 2022. The Cosmic Dance: Finding Patterns and Pathways in a Chaotic Universe. London: Thames & Hudson

Evaristti, M., 2001. Helena [Interactive Installation]. Available at: https://en.wikipedia.org/wiki/Helena_%28artwork%29#/media/File:Helena_2001__Trapholt__2007.jpg (Accessed: 30 December 2024). Licensed under CC BY-SA 3.0. Gadamer, H.-G., 1989. Truth and Method. 2nd ed. Translated by J. Weinsheimer and D.G. Marshall. London: Sheed & Ward.

González-Torres, F., 1991. Untitled (Portrait of Ross in L.A.) [Interactive Installation]. Available at: http://www.inquiriesjournal.com/articles/1838/felix-gonzalez-torress-portrait- of-rossbeyondform-and- content [Accessed 30 December 2024].

Huyghe, P., 1999. Timekeeper [Site-Speciﬁc Installation]. Available at: https://www.architectural-review.com/essays/folio/folio -timekeeper-by-pierre-huyghe [Accessed 30 December 2024].

Jones, J., 2024. Artist Talk: Contemporary Art Practice Speakers Programme Jesse Jones, 12:30pm, 20 November, D’Arcy Thompson Lecture Theatre, University of Dundee, Dundee. Kim, J., 2019. 'Gazes and Open Spaces in Art Museums: About Visitors’ Behavior'. The Museum Scholar, 3(1). Available at: https://articles.themuseumscholar.org/2019/08/27/vol3no1kim/ [Accessed 6 January 2025].

Kusama, Y., 2002. The Obliteration Room [Interactive Installation]. Available at:

https://play.qagoma.qld.gov.au/looknowseeforever/works/obliteration_room/ [Accessed 30 December 2024].

Leonard, Z., 2008. You See I Am Here After All [Photo -based Installation]. Dia: Beacon, Beacon, New York. Available at: https://www.galeriecapitain.de/exhibitions/zoe-leonard-14/ [Accessed 30 December 2024].

Lozano -Hemmer, R., 2006. Pulse Room [Participatory Installation]. Available at: https://www.lozanohemmer.com/showimage_emb.php?proj=pulse_room&img=mexico_2020&i dproj=22&type=art work&id=8 [Accessed 30 December 2024].

Magasin III, 2001. 'Moor by Janine Antoni'. Magasin III. Available at: https://magasin3.com/en/artwork/moor-2/ [Accessed 6 January 2025].

Morton, T., 2007. Ecology Without Nature: Rethinking Environmental Aesthetics. Cambridge, MA: Harvard University Press.

Morton, T., 2010. The Ecological Thought. Cambridge, MA: Harvard University Press. Ondák, R., 2007. Measuring the Universe [Participatory Installation]. Tate. Available at: https://www.tate.org.uk/research/publications/performance-at-tate/casestudies/romanondak-measuring-universe [Accessed 30 December 2024].

Paterson, K., 2016. Totality [Installation]. Available at: https://katiepaterson.org/exhibitions/totality/ [Accessed 30 December 2024].

Plotnick, R., 2018. Power Button: A History of Pleasure, Panic, and the Politics of Pushing. Cambridge, MA: MIT Press.

Prentiss, M., 2016. 'Zoe Leonard'. Interview Magazine, 13 September. Available at: https://www.interviewmagazine.com/art/zoe-leonard [Accessed 6 January 2025].

River, J., 2021. 'Accepting the Paradoxical Nature of Human Existence: A Dialogue'. Medium, 9 July. Available at: https://johnriver.medium.com/accepting-the-paradoxical-nature- ofhumanexistence-a- dialogue-380b2c56e1e7 [Accessed 6 January 2025].

Sleigh, J., 2024. What Are Museums For?. Bristol: Bristol University Press. Somerset House, 2018. Pollution Pods. Exhibition, 18 - 22 April 2018, London: Somerset House.

Mairi Dare

MAIRI DARE

ACKNOWLEDGEMENTS

LIST OF FIGURES

ABSTRACT

INTRODUCTION

CHAPTER ONE – CURATORIAL THESIS

The Paradox of Human Existence

Ecological Awareness

CHAPTER TWO – CURATORIAL AIMS

VENUE

INTENDED AUDIENCE

CHAPTER THREE – CURATORIAL CHOICES

ARTISTS AND ARTWORKS

GALLERY ARRANGEMENT AND SPATIAL PRESENTATION

CHAPTER FOUR – ADDITIONAL INFLUENCES

KEY TEXTS

EXISTING EXHIBITIONS

CONCLUSION

REFERENCES

FURTHER READING