{"id":3375,"date":"2021-10-13T17:55:41","date_gmt":"2021-10-13T17:55:41","guid":{"rendered":"http:\/\/www.simonings.net\/?p=3375"},"modified":"2021-10-17T18:04:49","modified_gmt":"2021-10-17T18:04:49","slug":"82-8-per-cent-perfect","status":"publish","type":"post","link":"http:\/\/www.simonings.net\/?p=3375","title":{"rendered":"82.8 per cent perfect"},"content":{"rendered":"

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Visiting Amazonia at London’s Science Museum for the Telegraph, 13 October 2021<\/a><\/p>\n

The much-garlanded Brazilian photographer Sebasti\u00e3o Salgado is at London\u2019s Science Museum to launch a seven-plus-years-in-the-making exhibition of photographs from Amaz\u00f4nia — and, not coincidentally, there\u2019s barely a fortnight to go before the 26th United Nations Climate Change Conference convenes in Glasgow.<\/p>\n

Salgado speaks to the urgency of the moment. We must save the Amazon rainforest for many reasons, but chiefly because the world\u2019s rainfall patterns depend on it. We should stop buying Amazonian wood; we should stop buying beef fed on Amazonian soya; we should stop investing in companies who have interests in Amazonian mining.<\/p>\n

There are only so many ways to say these things, and only so many times a poor mortal can hear them. On the face of it, Salgado\u2019s enormous exhibition, set to an immersive soundscape by Seventies new-age pioneer Jean-Michel Jarre, sounds more impressive than impactful. Selgado is everyone\u2019s idea of an engaged artist — his photographs of workers at the Serra Pelada gold mine in Brazil are world-famous — but is it even in us, now, to feel more<\/em> concerned about the rainforest?<\/p>\n

Turns out that it is. Jarre\u2019s music plays a significant part in this show, curated and designed by Sebastiao\u2019s wife Lelia Wanick Salgado. Assembled from audio archives in Geneva, it manages to be both politely ambient and often quite frightening in its dizzying assemblage of elemental roars (touches of J\u00f3hann J\u00f3hannsson, there), bird calls, forest sounds and human voices. And Selgado\u2019s epic visions of the Amazon more than earn such St\u00fcrm und Drang<\/em>.<\/p>\n

This is not an exhibition about the 17.2 per cent of the rainforest that is already lost us. It\u2019s not about logging companies or soy farms, gold mines or cattle ranches. It\u2019s about what\u2019s left. Ecologically the region\u2019s losses are catastrophic; but there\u2019s still plenty to save and, for a photographer, plenty to see.<\/p>\n

Here, rendered in Selgado\u2019s exquisitely detailed, thumpingly immediate monochrome, is Anavilhanas, the world\u2019s largest freshwater archipelago, a wetland so complex and mutable, no-one has ever been able to settle there. There are mountains, \u201cinselbergs\u201d, rising out of the forest like volcanic islands in some fantastical South China Sea. There are bravura performances of the developer\u2019s art: rivers turned to tin-foil, and leaves turned to photographic grain, and rainstorms turned to atom-bomb explosions, and clouds caught at angles that reveal what they truly are: airborn rivers. As they spill over the edge of Brazil, they dump more moisture into the Atlantic than the mighty Amazon itself.<\/p>\n

Dotted about the exhibition space are oval \u201cforest shelters\u201d: dwellings for intimate portraits of twelve different forest peoples. Selgado acknowledges this anthropological effort merely scratches the surface: Amazonia\u2019s 192 distinct groups constitute the most culturally and linguistically diverse region on the planet. Capturing and communicating that diversity conveys the scale of the region even better than those cloud shots.<\/p>\n

The Ashaninka used to trade with the Incas. When the Spanish came, their supreme god Pawa turned all the wise men into animals to keep the region\u2019s secrets. The highland Korubo (handy with a war club) became known as mud people, lathering themselves with the stuff against mosquitoes whenever they came down off their hill. The Zo\u2019\u00e9 place nuts in the mouths of the wild pigs they have killed so the meal can join in with its own feast. The Suruwah\u00e1 quite happily consume the deadly spear-tip toxin timb\u00f3, figuring its better to die young and healthy (and many do).<\/p>\n

The more we explore, the more we find it\u2019s the profound and sometimes disturbing differences between these peoples that matter; not their surface exoticism. In the end, faced with such extraordinary diversity, we can only look in the mirror and admit our own oddness, and with it our kinship. We, too — this is the show\u2019s deepest lesson — are, in every possible regard, like the playful, charming, touching, sometimes terrifying subjects of Selgado\u2019s portraits, quite impossibly strange.<\/p>\n","protected":false},"excerpt":{"rendered":"

Visiting Amazonia at London’s Science Museum for the Telegraph, 13 October 2021 The much-garlanded Brazilian photographer Sebasti\u00e3o Salgado is at London\u2019s Science Museum to launch a seven-plus-years-in-the-making exhibition of photographs from Amaz\u00f4nia — and, not coincidentally, there\u2019s barely a fortnight … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[616,619,78],"tags":[554,932,151,718,648,241,261,287],"class_list":["post-3375","post","type-post","status-publish","format-standard","hentry","category-art","category-museums","category-reviews-and-opinion","tag-anthropology","tag-brazil","tag-climate-change","tag-forests","tag-language","tag-photography","tag-science-museum","tag-telegraph"],"_links":{"self":[{"href":"http:\/\/www.simonings.net\/index.php?rest_route=\/wp\/v2\/posts\/3375","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.simonings.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.simonings.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.simonings.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.simonings.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3375"}],"version-history":[{"count":1,"href":"http:\/\/www.simonings.net\/index.php?rest_route=\/wp\/v2\/posts\/3375\/revisions"}],"predecessor-version":[{"id":3377,"href":"http:\/\/www.simonings.net\/index.php?rest_route=\/wp\/v2\/posts\/3375\/revisions\/3377"}],"wp:attachment":[{"href":"http:\/\/www.simonings.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3375"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.simonings.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3375"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.simonings.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3375"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}