“When scientific information such as place and date, genus and species, or climate and temperature are recorded alongside haiku it will be easier for future generations to understand the changes in the complexity of the natural world and its relation to culture. Some haikuists report that their morning routines include checking not only the weather forecasts but also information about radiological dosage in the air, the diffusion of PM 2.5, yellow dust and cedar pollen.”

                                       From Climate Change is Changing Haiku by David McMurray

“Wrong Season” functions as a mise-en-scène for a fictional season. Moving beyond traditional, romanticized notions of the four seaons, the exhibition envisions a poetics of weather that places humans as integral to nature, while also attuning to the subtler rhythms and changes of the world.

An electronic diffuser releases the fragrance ROSE NEO 5.6 at regular intervals — a rose scent designed by Sean Raspet, composed entirely of synthetic molecules that do not exist in nature. Paul Levack’s pictorialist, wall-sized photograph depicts a sunset landscape in Mannheim during flooding of the Neckar. Ko Sin Tung obscures the window view by transferring the shedded, top layer of the walls – situated alongside fragments of a scaffolding structure. Min Yoon’s oversized and “withered” version of fallen leaves are the result of repetitive hand sewing and the material behavior of commercial leather. Tomomi Yamakawa uses threads made from nylon and mung beans to invite a subtle spring rain from ceiling and floor.