2.7°

2019

Exhibition

2.7°

Institution

Carrie Secrist Gallery, Chicago

Date

January 26th – March 9th, 2019

Details

Carrie Secrist Gallery is pleased to announce 2.7°, a group exhibition featuring five artists investigating the variegations of climate change and the implications of weather on humanity. This exhibition opens January 26 and will be on view through March 9, 2019, with an opening on January 26 from 5 – 8 PM.

Artists included:

Cynthia Daignault
Justin Brice Guariglia
Allison Janae Hamilton
Christine Tarkowski
Margo Wolowiec

“‘No documented historic precedent.’” – The New York Times*

In October 2018 the New York Times broke the news of an astounding, globally impacting report by the IPCC (The Intergovernmental Panel on Climate Change). 2.7°F was announced as the new global rise in temperature degrees that will be reached by the year 2040. This counters previous research that predicted the Earth would see catastrophic consequences from climate change in the next 100 years with a global rise in temperatures by 3.6°F. As such, scientists predict that if changes to our industry and energy production are not made immediately, in twenty-one years, the Earth and all of its residents will experience life-threatening results. This news galvanized an already dire issue, making it pressing not just to scientists and lovers of green energy. This urgency is felt across all paths, all fields, including the arts.

2.7° contextualizes a variety of artists processes, approaches, and attitudes towards the environment around them. It is through the interpretation and examination of data visualization, social dynamics and the earth’s alchemic power, which the artwork on display here hints at, cajoles and forces the implications for us. The inevitability of dramatic change to our environment is denied by some and overlooked by others. Similar to the way scientists compound this important information with time stamps (2040) and numerical degree change (2.7°F or 1.5°C), the cumulative effect of a group of artists aestheticizing the consequences serves as a new alternative form of documentation.

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