Abstract
What do a scuba-diving artist (Nicolas Floc’h); one of Asia’s most important contemporary art biennials (Shanghai) claiming the concept of proregress; a nomadic biennial (Manifesta) slipping between the cracks of Palermo; and an artist (Uriel Orlow) working on the vernacular knowledge of plants, have in common? At first glance, not much, although in one way or another, the issues raised by these practices all partake in a form of ecology. However, it is difficult to apprehend and circumscribe...
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