Building on the foundation of Field/Works I (EASA Lisbon, 2020), which emphasised “kaleidoscopic” fieldwork practices, Field/Works II draws inspiration from Isabelle Stengers and Didier Debaise’s critique of the suspicion-based epistemology prevalent in modern sciences and embraces Félix Guattari’s concept of the “polyphonic arts”. In an era “after progress,” in which the “one world” ontology has lost its legitimising grip, we explore how to (re)generate trust, by creating spaces for healing and coexistence that honour multiple worlds and modes of existence.

The selected works explore various modes of living with: with nature, infrastructures, family – through connections to fish, plants, water, land, and sound. From the Salish sea, to plant life in Africa, considering sound and water pollution in Barcelona, and food and seeds in New Zealand. Themes of loss occur, including losses of quality, memory, presence, time, labour, resources, intimacy, and voice. The losses must be embraced in order to trust, trusting in the empirical possibility of a better life together through shared inquiries, trusting in the generative multiplicities of interdependencies. Most of these projects are collaborative, involving collectives or indigenous groups in the creation of these works. Featuring diverse digital media, including film, photography, drawing, graphic work, and soundscapes, this online-only exhibition is accessible through our new Field/Works dedicated project platform.

This exhibition is funded by EASA as part of the EASA2024 conference in Barcelona. We extend our gratitude to EASA, the Local Committee, and Nomad IT for their support and assistance.

We are grateful to Natalija Miodragovic for permission to use the mycelium photograph from her work "Softicity" (Field/Works 1, 2020).

— Jen Clarke and Maxime Le Calvé.

Building on the foundation of Field/Works I (EASA Lisbon, 2020), which emphasised “kaleidoscopic” fieldwork practices, Field/Works II draws inspiration from Isabelle Stengers and Didier Debaise’s critique of the suspicion-based epistemology prevalent in modern sciences and embraces Félix Guattari’s concept of the “polyphonic arts”. In an era “after progress,” in which the “one world” ontology has lost its legitimising grip, we explore how to (re)generate trust, by creating spaces for healing and coexistence that honour multiple worlds and modes of existence.

The selected works explore various modes of living with: with nature, infrastructures, family – through connections to fish, plants, water, land, and sound. From the Salish sea, to plant life in Africa, considering sound and water pollution in Barcelona, and food and seeds in New Zealand. Themes of loss occur, including losses of quality, memory, presence, time, labour, resources, intimacy, and voice. The losses must be embraced in order to trust, trusting in the empirical possibility of a better life together through shared inquiries, trusting in the generative multiplicities of interdependencies. Most of these projects are collaborative, involving collectives or indigenous groups in the creation of these works. Featuring diverse digital media, including film, photography, drawing, graphic work, and soundscapes, this online-only exhibition is accessible through our new Field/Works dedicated project platform.

This exhibition is funded by EASA as part of the EASA2024 conference in Barcelona. We extend our gratitude to EASA, the Local Committee, and Nomad IT for their support and assistance.

We are grateful to Natalija Miodragovic for permission to use the mycelium photograph from her work "Softicity" (Field/Works 1, 2020).

— Jen Clarke and Maxime Le Calvé.