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Open a larger version of the following image in a popup: Johan Ibraham Adam, The Evolution of Birds #4, 2019

Johan Ibraham Adam Swedish, b. 1989

The Evolution of Birds #4, 2019
Oil, spray, acrylic, oil pastels, markers, collage, graphite on canvas
130 x 130 cm
kr 18,000.00
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Evolution of Birds (2019) In this four-part cycle, the myth of the bird slowly unravels. An elegant dinosaur appears before us—its song lilting through the air, its plumage shimmering...
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Evolution of Birds (2019)

In this four-part cycle, the myth of the bird slowly unravels.


An elegant dinosaur appears before us—its song lilting through the air, its plumage shimmering like that of a prehistoric bird of paradise.



Centuries pass. In the 1600s the dodo shuffles through the forests, heavy and earthbound. Dutch colonists, who first recorded its presence, dismissed it as fat, clumsy, and stupid. Within only a few decades, it was gone. With the loss of the dodo, humankind first caught sight of its own hand in the extinction of a species.



Our image of the dodo has hardened into caricature, and in the second chapter of the work it is placed against the backdrop of today’s industrial bird farming. Yet modern excavations of bone remains tell another story: the dodo was, in truth, a creature finely tuned to its world. Now jackdaws pick at the scraps of their fried kin—a sorrowful tableau in which the descendants of enchanted dinosaurs have been reduced to scavengers of our waste.



In the final part, the machinery of consumption whirls: food and money spin between industry and consumer in a fevered carousel of excess. What vision of birds—and of ourselves—allows this to continue? And how does it entwine with the ancient memory of their ancestors, the dinosaurs?


_______________

Här studeras den oundvikliga nedbrytningen av objektet för mytologin genom en måleriserie i fyra delar. Vi får möta en elegant dinosaurie och lyssna till dess vackra sång och beundra den vackra fjäderdräkten, likt en förhistorisk paradisfågel. Miljontals år senare, under 1600-talet, vandrar den klumpiga dronten genom skogarna. Av nederländska kolonisatörer, som var först med att observera Dronten, beskrivs den som fet, klumpig och korkad. Bara några årtionden senare varden utrotad. Det var i samband med Drontens utrotning som människans roll i arters utdöende uppmärksammades för första gången. Vår bild av Dronten kan näst intill liknas vid en nidbild av en djurart som i verkets andra del ställs mot dagens fågel industri. Det är värt att nämna att arkeologiska fynd av benrester i modern tid har visat tydliga bevis på att Dronten var en fågelart mycket väl anpassad till sin miljö. Kajorna som hackar i sig rester av sina friterade kusiner är en sorglig scen där dessa ättlingar till de magiska dinosaurierna har reducerats till bevingade skadedjur som lever av vårt avfall på våra gator. Maskineriet som driver denna nedbrytning gestaltas iden sista delen i serien där pengar och mat cirkulerar mellan konsument och industri i en febrig överflödes karusell. Vad har vi skapat oss för bild av fåglarna och av oss själva som tillåter detta och hur hänger det ihop med vår bild av dinosaurierna, fåglarnas förfäder?
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