San Antonio-based artist Jason Limon (previously) conjures paper sculptures of 18th Century-style gowns, organs, and hollowed skulls with acrylic paint. The uncanny structures trap his recurring skeletal characters in cramped boxes and funhouse-esque constructions, where they attempt to disentangle themselves from their surroundings. Rendered in muted pigments, or what the artist calls “repressed tones,” the paintings utilize the anonymity and ubiquity of the bony figures to invoke emotional narratives. Limon explains:
It is widely understood that thawing permafrost can lead to significant amounts of methane being released. However, new research shows that in some areas, this release of methane could be a tenth of the amount predicted from a thaw. A crucial, yet an open question is how much precipitation the future will bring.
Permafrost runs like a frozen belt of soil and sediment around Earth’s northern arctic and sub-arctic tundra. As permafrost thaws, microorganisms are able to break down thousands of years-old accumulations of organic matter. This process releases a number of greenhouse gases. One of the most critical gasses is methane; the same gas emitted by cattle whenever they burp and fart.
Because of this, scientists and public agencies have long feared methane emissions from permafrost to rise in step with global temperatures. But, in some places, it turns out that methane emissions are lower than once presumed.
Declining native species could be planted in urban green spaces. Researchers from the German Centre for Integrative Biodiversity Research (iDiv), the Martin Luther University Halle-Wittenberg (MLU), Leipzig University and other institutions describe how to use this great potential for species protection. In their most recent study, published in the journal Nature Sustainability, they recommend practical conservation gardening methods in a bid to restructure the horticultural industry and reverse plant species declines.
Despite global efforts to protect biodiversity, many plant species are still declining. In Germany, this includes 70 percent of all plant species, with almost a third (27.5 percent) threatened, and 76 species are already considered extinct. Much of this loss can be attributed to the decline in natural habitats, in part due to increasing urbanization. Ten percent of the total area of Germany, for example, is settlement area.
However, it is precisely these settlement areas that hold enormous—albeit untapped—potential for nature conservation. After all, these areas include millions of private gardens, balconies and green roofs, as well as parks and other public green spaces. Researchers from iDiv, the Universities of Halle and Leipzig and other institutions propose using these potentially available areas for conservation gardening.
MAI-THU PERRET SURPRISED HERSELF recently by producing a quasi-classical statue. Debuting this week at the Frieze Art Fair in New York, it’s a startling object: an updated version of the goddess Diana, standing straight-backed, made in ceramic except for the hands, which are finely cast in bronze. The sleek 5-foot-tall figure wears a sheath dress resembling a tunic, and her feet are clad, incongruously, in sneakers. But the strangest touch is an agglomeration of breast-like lumps around her midsection, a surreal motif drawn from another ancient source: the Ephesian Artemis, a fertility deity.
Diana’s uncanny quality is not what Perret finds surprising. It is, rather, the idea of creating a traditional statue at all. During her more than twenty years of making sculpture—with mannequins, clay, neon, and other materials—the Swiss artist has studiously avoided conventional figurative modes, preferring instead the messier arena of found objects and contingent art-making, aslant conventional models of artistic authorship.
A viewer with The hundred flowers that come with the spring, for whom do they bloom? I, 2022, ceramic, 40 1/2 by 35 1/2 by 55 inches. Photo Mareike Tocha
Michelle Segre, “I Talk to the Trees” (2021), yarns, canvas, muslin, acrylic polymer, wire, thread, sponges, and lotus root, 144 x 187 x 33 inches (all images courtesy the artist and Derek Eller Gallery, NY. Photos by Adam Reich)
Instead of looking in awe at the latest testimony to precision fabrication, we stand in front of a large handmade object in which craft is neither obvious nor fetishized. What about the fact that the yarn and the loose, impermanent weaving of frayed strips of colored cloth invite viewers to closely examine how the work was made, as we might do while looking at the layered skeins of paint in Jackson Pollock’s “Autumn Rhythm (Number 30)” (1950)? What do we make of the disarray, the unfixed weavings and joinings? I cannot think of anyone else who makes artworks like Segre’s, particularly on this scale. And yet they don’t feel monumental or overwhelming.
The Kardar-Parisi-Zhang universality combines classical everyday phenomena such as coffee stains with quantum mechanical spin chains in a surprising way. Credit: Max Planck Institute of Quantum Optics
The behavior of microscopic quantum magnets has long been a subject taught in lectures in theoretical physics. However, investigating the dynamics of systems that are far out of equilibrium and watching them “live” has been difficult so far. Now, researchers at the Max Planck Institute of Quantum Optics in Garching have accomplished precisely this, using a quantum gas microscope. With this tool, quantum systems can be manipulated and then imaged with such high resolution that even individual atoms are visible. The results of the experiments on linear chains of spins show that the way their orientation propagates corresponds to the so-called Kardar-Parisi-Zhang superdiffusion. This confirms a conjecture that recently emerged from theoretical considerations.
