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ISSUE 69 — SPRING 2026

This is one of realism’s central paradoxes: in order to make nature appear truthful, it often has to render it less alive. What it privileges is not life’s flux but its arresting surface. A scientific plate, a detailed wildlife painting, or a high-resolution nature photograph may produce extraordinary knowledge of appearance, but appearance is never the same as being. Realism gives us the contour of a leaf while concealing the fungal networks beneath the soil; it reveals the plumage of a bird while obscuring migratory routes, ecological collapse, or the violence of collecting and classification. The more exact the image, the easier it becomes to forget the operations that made such exactitude possible.

 

When realism enters the terrain of landscape, its ideological stakes deepen further. The realism of western landscape painting has historically claimed to present nature as setting, vista, or territory. But landscapes are never just views. They are political arrangements of space, agencies, and relations. They teach us how to look, and by extension, how to possess or commune. European landscape traditions often transformed land into property through perspective, composition, and Christian imbued values of light and darkness. The horizon was not merely optical; it was juridical and colonial. Forests, mountains, rivers, and fields appeared available to the eye because they had already been organized for extraction, travel, mapping, or settlement. Realism in this context uncovered the grandeur of place
while obscuring histories of displacement, labor, and Indigenous presence.

​

The nature of realism, then, is not to tell the truth about the world, but to make certain truths appear self-evident. That is why realism matters so deeply. It does not just show us nature. It teaches us what nature is allowed to mean.

 

This issue of Antennae, and the two that will follow, are dedicated to realism as a critical tool in ecology and the representation of the more than-human world. My gratitude goes to all the contributors to this issue, to Antennae’s academic board for its ceaseless support and expertise and to everyone else who has made this exploration possible.

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Dr. Giovanni Aloi
Editor in Chief

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in this issue

Giovanni Aloi

Sara Angelucci

Ian Brown

Paula Burleigh 

Sofi a Crespo

Elizabeth Hodson

 

Jenny Kendler

Netta Laufer

Ryan Lobo

Egle Oddo 

Anisha Palat

Lorraine Shannon

Hanna Tuulikki

Sangwoo Yoo 

Suvi Vepsä

Adriana Vignoli

Ryan Lobo: ritual, death, and the everyday

 

text: Anisha Palat images: Ryan Lobo

​

Jallikattu, a traditional bull-taming ritual practiced in Tamil Nadu during the annual Pongal harvest festival, stages a dramatic encounter between men and bulls, testing courage, strength, and endurance on both sides. This essay examines Ryan Lobo’s 2012 photographic series on Jallikattu to
consider how realism opens a space for multispecies co-presences and entanglements within ritual and everyday life.

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text: Elizabeth Hodson images: Hanna Tuulikki

​

The Ròn Mòr’s Touch

Gaelic folklore is replete with instances of the power of skin through touch and its material aff ect: from the MacCodrum selkies, in which the seal sheds its skin to become human for a time to the water-horse of Poll nan Craobhan, these tales of human-animal  transformation are now read as

revealing a different form of

relationality with the environment

that answers the crisis of the

Anthropocene.

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Boca de fogo

 

text and images: Adriana Vignoli

 

Through a bodily and sculptural
phenomenological experience in the Cedro Community Quilombo, Brazil, Adriana Vignoli’s text describes what occurs when a sense of encounter and belonging emerge. The essay examines the role of realism in art and philosophy by focusing on site-specific materials, plants and ceramics, within a unique area, where an original black territory exists in the Brazilian Cerrado savanna biome.

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Operational realism and the interlaced touch of more-than-
human worlds


in conversation: Egle Oddo and Suvi Vepsä

​

In this dialogue, Oddo and Vepsä
move towards an understanding of
realism from a more-than-human
perspective by introducing the
concept of operational realism, as
coined by Oddo, to describe a form of imagination-in-practice.

Orchid unknown

 

​text and images: Ian Brown

​

The focus on plant/human relations,between scientific study and popular culture, allows for a consideration of the othering of nature in documentary and fictional storytelling. The narrative weaves factual accounts and fictional speculation to connect a group of detailed orchid models to a collection of miscellaneous reports related to economic botany and global colonial networks.

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Dactylopius opuntiae (Tzabar)

 

text and images: Netta Laufer

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 A live sabra cactus, visibly deteriorating from an infestation of the prickly pear cochineal (Dactylopius opuntiae), stands in this installation. The insect’s toxins coat the pads in a white film, slowly yellowing and weakening the plant. While the decay unfolds in real time, offering a raw, seemingly objective encounter with nature, the work invites reflection on the powerful symbolism of the sabra itself.

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Rethinking realism
in Sofi a Crespo’s
Critically Extant

This essay analyzes Critically Extant
(2021–2022) by Lisbon-based artist
Sofi a Crespo as a case study for
rethinking realism in an era in which concepts of truth have become increasingly unstable and contested. Critically Extant comprises a series of AI-generated animated images of plants, animals, and fungi that display varying degrees of visual implausibility.

​

itext: Paula Burleigh images: Sofi a Crespo

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Co-creative practices of a biomestizo

 

text: Lorraine Shannon​

​

The tallgrass prairie is a critically
endangered ecosystem in the state of Iowa. The Westbrook Artists’ Site (WAS) began reestablishing native prairie over 20 years ago. The creative practice of tending to the land through controlled burns began nearly 10 years ago. Prairie Fire is a game designed through direct experience of the reintroduction of fi re on prairie covering 160 acres at WAS. The intent of the game is immersing players in a realistic execution of a burn program.

Material Innovation Practice

 

​in conversation: Sangwoo Yoo and

Giovanni Aloi

​

Artist Sangwoo Yoo refl ects on a
practice rooted in transformation,
ephemerality, and ecological relation. Yoo discusses how discarded materials, like retired Christmas trees, become pigments, scent, paper, incense that carry memory, cultural history, and the traces of use. Moving between making and philosophy, the interview explores phenomenology, new materialism, decay, ritual, realism and sustainability, while foregrounding the sensory life of matter itself.

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Prairie Death Mask

 

​in conversation: Jenny Kendler and

Giovanni Aloi

​

Giovanni Aloi and Jenny Kendler
refl ect on the destruction of Bell
Bowl Prairie, an ancient Illinois
dolomite prairie destroyed by
infrastructural expansion, and
on the artistic collaboration that
emerged in response.

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Seeing with my whole being: Nocturnal Botanical

In Nocturnal Botanical, artist Sara Angelucci, orients herself to a close study of plants in her proximity. Working at night, her visual perception and orientation is ungrounded. Feeling her way through the tall grasses, her senses are on heightened alert.

 

text and images: Sara Angelucci

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This realism is not about illusion or imitation, but about presenting a bi-
ological process within an artistic context. What we witness is neither staged
nor simulated. The prickly pear cochineal infestation advances regardless of hu-
man intervention.

Netta Laufer p 99

Another photograph, taken in a field, depicts a man with his bull in what initially appears to be a scene of ordinary rural life. Yet the caption transforms its meaning: “He is my Innova. He is my Scorpio. 

Anisha Palat p 13

The prairie was invisible in many ways. It was not only physically inaccessible because of the high levels of security that surround airports, but also because people don’t think about prairies and often don’t even know they exist anymore. They’ve passed out of living memory.

Jenny Kendler p 150

If you’ve ever sat late by a crackling campfire and gazed up at the endless starry canopy, you’ll know what I mean; it’s an aloneness that collapses time and space. You’re alone, but not lonely. Looking up, there is a kind of reality that is not always visible, that comes through an inherent bodily perception—intuited, wondered at.

Sara Angelucci p 161

​

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