The idea of viewing an exhibition about climate change was inviting if a little worrying. Climate change-related issues can be complex, and explaining them can end up in mire. But I was wrong to be concerned. This exhibition is successful in keeping it simple. The earth is warming up and we know why. Furthermore, this show creates space for people to ponder the issue in their own way. It is positive too – it points to the fact that we can do something about the future and its title suggests as much.
Was I wrong to be anxious about conveying this subject to a wider audience? I don’t think so. Making an exhibition does not come naturally to most of us. Navigating complex current issues is not for people with an inclination towards carelessness. Neglecting aspects of it has proved easy, even for experts.
The archway leading into the exhibition is painted black and white, representing a stark theme that continues throughout. The black on the left represents the past, that which we cannot change; the white, a canvas that we can write on, a future not
set in stone.
No grey area
Once inside, this monochromatic theme is repeated in the entrance hall. A quote from the astronaut Sigmund Jähn (the first German to enter space) while he viewed our planet from space is the only thing interrupting a huge white wall. There are no towering icebergs in various states of collapse, no dramatic representations of rising sea levels or crispy mud-cracked former puddles with mummified animal remains. There is nothing grandiose, grotesque or shocking.
The space is peaceful, like a cave, away from sound. Though, judging by the many notes left by children on the big central wall, it certainly is not always quiet there.
Breaking the stark black and whiteness are playful peppered moths hanging from the ceiling. This is a species that began as white with black speckles – hence the name peppered – but evolved to be black to camouflage itself during the smoggy industrial revolution. The moth device is explained and used well.
The black wall leads viewers to the first cabinet, which displays fossils from the carboniferous period as a visual device to illustrate carbon. These plant fossils are delicate and pretty and have the effect of making fossil fuel somehow appear cute.
Time for reflection
There is just enough text, which frames the cabinets, to explain how greenhouse gases function like a blanket around the earth. The interpretation is clear, factual and undemonstrative.
Here, the black “past” section takes visitors around a corner to a section with arctic wildlife, relocated from Manchester Museum’s natural history cabinets, including a fox and, of course, a polar bear. A chair is placed by the bear, inviting visitors to ponder its plight. The animals are the first bit of white, where the black unalterable past stops and the white changeable future begins.
The white central wall divides the space and invites visitors to add black dots to represent their carbon footprint. There are lots of black dots already, creating what looks like a black and white polka dot duvet cover.
In the white section a variety of aspects are covered. Most striking is a dividing wall – variously sized white stickers covering one side are pencilled with climate-themed solutions brought by visitors to Climate Control. It is a good idea to fill this space up with people’s ideas. Many of these stickers convey visitors’ concerns about the plight of bees. Trees get a fair amount of attention too. People have drawn things well, including lots of animals. This wall provides a useful bit of democracy and reflection.
Accepting the problem
I thought the exhibition ended here and left after walking around for a second time, impressed and happy that people took the time to make a thoughtful display. But then I wandered through the rest of the museum and found more links to the Climate Control show in the main Natural History gallery.
A careful selection of quotes, including some from Vincent van Gogh and Aristotle, introduced more themes from the exhibition I had just seen. The quotes all represent the acceptance of nature. Moreover, they explore ways in which to positively change the future, and not just by reducing our carbon footprint. It is playfully profound, but this time surrounded by the colours of non-arctic wildlife.
Manchester Museum is fun and engaging, and this exhibition fits well – it is small but certainly big enough.
What did I like best about the exhibition? It is simple and understated. There is an acceptance that we have a big problem. There are no arguments about what kind of carbon pollution is worse, or about what solution may or may not be better. Ideas and solutions are invited from visitors, and expanses of black and white allow for
thought – all without noise.
The acceptance of having a problem is powerful.
Remmert Schouten is a conservator of natural history collections
Lead curator Henry McGhie
Exhibition design MET Studio
Exhibition ends 4 September 2016
Admission free
Was I wrong to be anxious about conveying this subject to a wider audience? I don’t think so. Making an exhibition does not come naturally to most of us. Navigating complex current issues is not for people with an inclination towards carelessness. Neglecting aspects of it has proved easy, even for experts.
The archway leading into the exhibition is painted black and white, representing a stark theme that continues throughout. The black on the left represents the past, that which we cannot change; the white, a canvas that we can write on, a future not
set in stone.
No grey area
Once inside, this monochromatic theme is repeated in the entrance hall. A quote from the astronaut Sigmund Jähn (the first German to enter space) while he viewed our planet from space is the only thing interrupting a huge white wall. There are no towering icebergs in various states of collapse, no dramatic representations of rising sea levels or crispy mud-cracked former puddles with mummified animal remains. There is nothing grandiose, grotesque or shocking.
The space is peaceful, like a cave, away from sound. Though, judging by the many notes left by children on the big central wall, it certainly is not always quiet there.
Breaking the stark black and whiteness are playful peppered moths hanging from the ceiling. This is a species that began as white with black speckles – hence the name peppered – but evolved to be black to camouflage itself during the smoggy industrial revolution. The moth device is explained and used well.
The black wall leads viewers to the first cabinet, which displays fossils from the carboniferous period as a visual device to illustrate carbon. These plant fossils are delicate and pretty and have the effect of making fossil fuel somehow appear cute.
Time for reflection
There is just enough text, which frames the cabinets, to explain how greenhouse gases function like a blanket around the earth. The interpretation is clear, factual and undemonstrative.
Here, the black “past” section takes visitors around a corner to a section with arctic wildlife, relocated from Manchester Museum’s natural history cabinets, including a fox and, of course, a polar bear. A chair is placed by the bear, inviting visitors to ponder its plight. The animals are the first bit of white, where the black unalterable past stops and the white changeable future begins.
The white central wall divides the space and invites visitors to add black dots to represent their carbon footprint. There are lots of black dots already, creating what looks like a black and white polka dot duvet cover.
In the white section a variety of aspects are covered. Most striking is a dividing wall – variously sized white stickers covering one side are pencilled with climate-themed solutions brought by visitors to Climate Control. It is a good idea to fill this space up with people’s ideas. Many of these stickers convey visitors’ concerns about the plight of bees. Trees get a fair amount of attention too. People have drawn things well, including lots of animals. This wall provides a useful bit of democracy and reflection.
Accepting the problem
I thought the exhibition ended here and left after walking around for a second time, impressed and happy that people took the time to make a thoughtful display. But then I wandered through the rest of the museum and found more links to the Climate Control show in the main Natural History gallery.
A careful selection of quotes, including some from Vincent van Gogh and Aristotle, introduced more themes from the exhibition I had just seen. The quotes all represent the acceptance of nature. Moreover, they explore ways in which to positively change the future, and not just by reducing our carbon footprint. It is playfully profound, but this time surrounded by the colours of non-arctic wildlife.
Manchester Museum is fun and engaging, and this exhibition fits well – it is small but certainly big enough.
What did I like best about the exhibition? It is simple and understated. There is an acceptance that we have a big problem. There are no arguments about what kind of carbon pollution is worse, or about what solution may or may not be better. Ideas and solutions are invited from visitors, and expanses of black and white allow for
thought – all without noise.
The acceptance of having a problem is powerful.
Remmert Schouten is a conservator of natural history collections
Project data
Cost £120,000Lead curator Henry McGhie
Exhibition design MET Studio
Exhibition ends 4 September 2016
Admission free
