{"id":488,"date":"2025-10-22T17:56:41","date_gmt":"2025-10-22T17:56:41","guid":{"rendered":"https:\/\/www.lab27.it\/?p=488"},"modified":"2026-01-16T11:57:31","modified_gmt":"2026-01-16T11:57:31","slug":"brevi-storie-sullanimale-strumentale","status":"publish","type":"post","link":"https:\/\/www.lab27.it\/en\/brevi-storie-sullanimale-strumentale\/","title":{"rendered":"Brief Stories on the Instrumental Animal"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":694,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[3],"class_list":["post-488","post","type-post","status-publish","has-post-thumbnail","hentry","category-mostre","tag-mostra"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Brief Stories on the Instrumental Animal - LAB27<\/title>\n<meta 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  \"cont\": \"<h1 class=\\\"_H1\\\">Brief Stories on the Instrumental Animal<br \/><span class=\\\"_H1_Grey\\\">9.10 \u2013 25.10.2020<\/span><\/h1>\",\r\n      \"align\": \"middle\",\r\n      \"row\": 0,\r\n      \"col\": 0,\r\n      \"colspan\": 5,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 4,\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p><span class=\\\"_Def_Grey\\\">Works of<\/span><br \/>Kirk Crippens &amp; Gretchen LeMaistre, Gary Green, Simon Gush, David Wilson<\/p><p><span class=\\\"_Def_Grey\\\">Curated by<\/span><br \/><span>Steve Bisson<\/span><\/p><p><span><span class=\\\"_Def_Grey\\\">Orari<\/span><br \/><\/span><span>Sunday 4:30pm\u20137:30pm<\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 1,\r\n      \"col\": 0,\r\n      \"colspan\": 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This theme is central to <\/span><b>Simon Gush<\/b><span>\u2019s work. In the film \\\"Lazy Nigel, the South African\\\" filmmaker offers glimpses of an alienated everyday life, anonymous architecture, and a landscape subordinated to productivity. The project \\\"Live Burls\\\" by <\/span><b>Kirk Crippens and Gretchen LeMaistre<\/b><span> documents a shocking cruelty inflicted upon the majestic sacred trees of the American West Coast. In 2013, Redwood National Park and other Northern California parks, home to some of the world\u2019s greatest trees, suffered a severe attack by poachers that threatened the survival of the entire ecosystem. From coast to mountain, human intervention unfolds.<\/span><br \/><br \/><span>In \\\"Shores Plains Mountains\\\", <\/span><b>David Wilson<\/b><span> engages with the idea of constructed landscape within his own region, presenting views that document the fragmentation of space while also expressing a desire for abstraction beyond a defined destination. <\/span><b>Gary Green<\/b><span>, on the other hand, reflects on the landscape through water, as if seeking reconciliation with his surroundings, offering a quiet contemplation of a self that is inseparable from nature. Inspired by a stanza from Wallace Stevens\u2019 poem \\\"Thirteen Ways of Looking at a Blackbird\\\", Green\u2019s latest work (\\\"The River is Moving \/ The Blackbird Must be Flying)\\\" presents a series of serene observations along the banks of a waterway in his hometown of Waterville, Maine.<\/span><br \/><br \/><span>In the exhibition \\\"Brief Stories on the Instrumental Animal\\\", the curator Steve Bisson invites viewers to recognize in the landscape more than just a collage of fragments. Paraphrasing Juan Manuel Palerm Salazar, it proposes different interpretations of nature capable of generating new meanings and directions, including in a design or conceptual context. 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This theme is central to <\/span><b>Simon Gush<\/b><span>\u2019s work. In the film \\\"Lazy Nigel, the South African\\\" filmmaker offers glimpses of an alienated everyday life, anonymous architecture, and a landscape subordinated to productivity. The project \\\"Live Burls\\\" by <\/span><b>Kirk Crippens and Gretchen LeMaistre<\/b><span> documents a shocking cruelty inflicted upon the majestic sacred trees of the American West Coast. In 2013, Redwood National Park and other Northern California parks, home to some of the world\u2019s greatest trees, suffered a severe attack by poachers that threatened the survival of the entire ecosystem. From coast to mountain, human intervention unfolds.<\/span><br \/><br \/><span>In \\\"Shores Plains Mountains\\\", <\/span><b>David Wilson<\/b><span> engages with the idea of constructed landscape within his own region, presenting views that document the fragmentation of space while also expressing a desire for abstraction beyond a defined destination. <\/span><b>Gary Green<\/b><span>, on the other hand, reflects on the landscape through water, as if seeking reconciliation with his surroundings, offering a quiet contemplation of a self that is inseparable from nature. Inspired by a stanza from Wallace Stevens\u2019 poem \\\"Thirteen Ways of Looking at a Blackbird\\\", Green\u2019s latest work (\\\"The River is Moving \/ The Blackbird Must be Flying)\\\" presents a series of serene observations along the banks of a waterway in his hometown of Waterville, Maine.<\/span><br \/><br \/><span>In the exhibition \\\"Brief Stories on the Instrumental Animal\\\", the curator Steve Bisson invites viewers to recognize in the landscape more than just a collage of fragments. Paraphrasing Juan Manuel Palerm Salazar, it proposes different interpretations of nature capable of generating new meanings and directions, including in a design or conceptual context. 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