The works in this programme frame time in zoological, vegetal, geological, and bacterial terms, shifting away from purely human perception. Layering different materials, textures, and perspectives, they articulate the entanglements between diverse ecosystems and their interconnection with culture, religion, history, and politics.

Shireen Seno’s video essay To Pick a Flower (2021) reflects on the exploitation of nature under capitalism and colonialism through archival photographs of the Philippines. Tomonari Nishikawa’s Lumphini 2552 (2009) puts into dialogue the different timescales of still photography, film, the Buddhist calendar, and the lifecycle of grass. Roxlee’s Mix One and Two (1990) presents a dystopian vision of deforestation in the Philippines, while As a Bird that Briefly Perches (2024) by Dorothy Cheung reimagines notions of departure and arrival through geology and agriculture. Xuan Ha’s experimental animation Grandmadead’s Mole Cosmos (2017) plays on the formal resemblance and temporal difference between the growth of seeds and bacteria. In Their Bird (2010–2012), Rei Hayama restages her childhood memory of forests and her fantasy of becoming a bird.