Santiago Mostyn

The Warming Plateau
2018

Solo exhibition at Andréhn-Schiptjenko, Stockholm

The Warming Plateau refers to a set of statistics often used to justify climate change skepticism as they appear to indicate that global average temperatures have been declining over the past fifteen years. However, if one has a more long-term view it is clear that each of these plateaus has been higher than the last, and the world is actually heating up very quickly. The Warming Plateau serves here as a metaphor for looking at the objects and films in the exhibition, in that what may appear as a formalist arrangement – of plants, a wooden sculpture, photographs, a film – is to be understood as connected gestures that relate both to ways of looking at a colonialized past, and to our anthropogenic present.

Read more here.

Installation photographs: Jean-Baptiste Béranger



The Warming Plateau (film)
2018

16mm to 2K transfer, stereo sound, colour/black & white, 12’00”

Stills and excerpt courtesy the artist and Andréhn-Schiptjenko. 



Possible Islands
2017

Mixed media installation, including:

Tuff (1995), painted wooden sculpture by Luise Kimme
Grand Courland Bay (2017), silent super 16 mm film loop, colour, 10’30”
Asyncronous audio loop (2017), 12’00” 
Enlarged plaster cast of a batik stamp found by the artist’s mother in Ghana
Svenska minnen på utländska orter (1874), published by P.G. Berg
Red Dracena Marginata plants
Found postcard
Photo studio backdrop 

Exhibited as part of Nordic Trouble at Konsthall C, Stockholm.
Images courtesy the artist. 

Citizen
2015-2017

Two-channel HD video with sound, 4 hr 12’ 00”
Oars
Archival inkjet print on cotton

Mostyn’s work Citizen documents a recent action in which the artist rowed a small boat across the Aegean Sea, from Dilek Peninsula in Turkey to Samos in Greece. Presented as a double-projection, the work follows the journey in real time. One side documents the artist departing Turkey and rowing away in the direction of Greece, and the other shows Mostyn approaching and arriving on  the Greek coastline. Most of what we see is the serenity of the artist in his boat surrounded by the sea, in a vast space of openness and surrender. It is also significant that the artist undertook this action without the necessary permissions, aware that Europe has a policy to protect its borders against mass migration. In undertaking this journey, mirroring that taken by asylum seekers in recent years, Mostyn acknowledges that the history of the Mediterranean has been significant in understanding both the origins and development of modern societies, and the European self-image. The ocean is something integral to sustaining life, yet also to death—not least, considering the number of undocumented migrants drowning during their journey across the Mediterranean.

Installation views from Göteborg International Biennial for Contemporary Art, 2017, Göteborgs Konsthall, Hendrik Zeitler.

With support from the Swedish Arts Grants Committee.