Kent Chan, Alvin Luong, Solveig Qu Suess @ Art Museum at the University of Toronto - "Dwelling Under Distant Suns" Exhibition Curated by Yantong Li

Dwelling Under Distant Suns

Kent Chan, Alvin Luong, Solveig Qu Suess

Curated by Yantong Li 

Art Museum at the University of Toronto

September 4 – December 20, 2025

Kent Chan

Future Tropics, 2023–24 

Film still composite 

Two-channel video 

© Kent Chan. Image courtesy of the artist

Alvin Luong 

Film still of Endowment, 2024 

Video, 11:05 min 

© Alvin Luong. Courtesy of the artist

Solveig Qu Suess 

Film still of Holding Rivers, Becoming Mountains. Video, 2025

© Solveig Qu Suess. Courtesy of the artist

The Art Museum at the University of Toronto presents the exhibition Dwelling Under Distant Suns, curated by Master of Visual Studies in Curatorial Studies graduate student Yantong Li, which addresses environmental precarity by highlighting the struggle to make visible the increasingly unpredictable landscape.

Works by Kent Chan, Alvin Luong, and Solveig Qu Suess

Dwelling Under Distant Suns grapples with the challenge of representing our planet’s growing climate crisis, especially environmental dangers that feel distant or out of sight. The artists in the exhibition turn to speculative storytelling and myth-making to bring a sense of immediacy to these realities, while interrogating the way we currently consume media about environmental precarity with a focus solely on the spectacular and dramatic, with little patience for things that require more time and attention.

“On a recent trip back home to Yunnan, I was struck by the fact that I could no longer see snow and ice on the peaks of the Cangshan Mountain, which has maintained frozen terrain for decades,” says Yantong Li. “An unstable climate has made the mountainous environment precarious, with native vegetation in gradual decline and water cycles becoming unpredictable. This sight was a direct visualization of climate-induced catastrophe — sensed only in longue durée — and I wanted to locate methodologies to represent these disparate sites across time and space. I included film-based works in this exhibition because representations of catastrophe across digital media have wreaked havoc on our attention span, rendering viewers as passive voyeurs. All the film works in the exhibition require lengthy sit-ins, denying immediate consumption but also extending an invitation to viewers to engage in a dialogue, with the only prerequisite being the willingness to sit with it.”

Alvin Luong 

Cyanide Debt, 2025

Video still

© Alvin Luong. Courtesy of the artist

The exhibition features a new commissioned film by Alvin Luong, Cyanide Debt (2025), which restages and reimagines a mass cyanide poisoning in Bangkok as the artist creates a weak solution of cyanide using cassava, Thailand’s primary agricultural export. 

Solveig Qu Suess 

Film still of Holding Rivers, Becoming Mountains 

Video, 2025

© Solveig Qu Suess. Courtesy of the artist

Solveig Qu Suess 

Film still of Holding Rivers, Becoming Mountains 

Video, 2025

© Solveig Qu Suess. Courtesy of the artist

Solveig Qu Suess also uses archival materials that complicate our understanding of historical events by meditating on the downstream politics of hydroelectric development affecting the Mekong River. 

Kent Chan

Film still of Future Tropics, 2023–24

Two-channel video 

© Kent Chan. Image courtesy of the artist

Kent Chan

Film still of Solar Orders, 2024

Two-channel video, 17’41

© Kent Chan

In Kent Chan’s work, the artist pushes observations of tropical expansion due to the climate crisis to extreme ends, arriving upon a fictional scenario of a future global tropic that blurs geographies, histories, and cultures.

ART MUSEUM AT THE UNIVERSITY OF TORONTO

Justina M. Barnicke Gallery

7 Hart House Circle, Toronto, Ontario M5S 3H3

artmuseum.utoronto.ca

Ohan Breiding: Belly of a Glacier @ MASS MoCA, North Adams

Ohan Breiding: Belly of a Glacier

MASS MoCA, North Adams

Through December 14, 2025

Ohan Breiding

To dress a wound from the light that 

shines from it (Belly of a Glacier)

111 Giclée Prints on Fine Art Luster Paper

128.55 in x 266.93 in / 326.5 cm x 678 cm

Ohan Breiding

To dress a wound from the light that 

shines from it (Belly of a Glacier) [detail]

111 Giclée Prints on Fine Art Luster Paper

128.55 in x 266.93 in / 326.5 cm x 678 cm

Ohan Breiding

To dress a wound from the light that 

shines from it (Belly of a Glacier) [detail]

111 Giclée Prints on Fine Art Luster Paper

128.55 in x 266.93 in / 326.5 cm x 678 cm

MASS MoCA (Massachusetts Museum of Contemporary Art) in North Adams, in collaboration with The Williams College Museum of Art (WCMA), presents the exhibition Ohan Breiding: Belly of a Glacier, a series of photographs and video that ruminates on the imminent loss of the Rhône glacier, amplifying the current state of climate emergency while expressing the intimate entanglement of human and environmental well-being. 

In 2019, Iceland constructed the first memorial to mark the death of its Okjökull glacier. Since then, funerals have been held around the world to mark the melting of glacier bodies. Consisting of an experimental documentary film and a photographic installation, Breiding’s Belly of a Glacier captures the efforts of the residents of Obergoms, Switzerland, to drape the nearby Rhône Glacier with thermal blankets to insulate it from rising temperatures. Despite these hope-filled actions of ecological care, scientists predict the Rhône will have fully melted by 2050.

“Ohan Breiding’s work is a powerful, intimate portrait of a dying glacier,” said Susan Cross, MASS MoCA Senior Curator. “The stunning photographs and video make the loss feel very personal—as it should, given that we are part of the ecosystem being forever transformed by climate change.”

Ohan Breiding

Belly of a Glacier, 2024

HD video, with sound, 32:55 min.

Courtesy of the artist and OCHI Gallery, Los Angeles

Ohan Breiding

Belly of a Glacier, 2024

HD video, with sound, 32:55 min.

Courtesy of the artist and OCHI Gallery, Los Angeles

Ohan Breiding

Belly of a Glacier, 2024

HD video, with sound, 32:55 min.

Courtesy of the artist and OCHI Gallery, Los Angeles

The film documents the community at the National Science Foundation’s Ice Core Facility in Lakewood, Colorado, who are preserving ancient ice cores for future generations. Ice is like a time capsule, storing atmospheric debris, including volcanic ash and greenhouse gasses, that can tell us about major natural disasters as well as resulting human activity over thousands over years. Breiding’s project connects acts of mourning to ongoing practices of care that strive to protect the ice — a material that contains both remnants of the past and the conditions of a future world.

“WCMA and MASS MoCA joining together to present Ohan Breiding’s deeply moving and thought-provoking installation exemplifies the best of what our Berkshire arts ecosystem can provide to our visitors and local community,” said Pamela Franks, WCMA Class of 1956 Director. “We are thrilled to have the opportunity to collaborate across institutions in this way.”

ARTIST OHAN BREIDING

Ohan Breiding is a Swiss-American artist, raised in a Swiss village and living between Brooklyn, N.Y., and Williamstown, MA. They work with photography, photographic and filmic archives, and video in a collaborative practice that reinterprets historical events, putting the past into a meaningful transformative relation with the present. They employ a trans-feminist lens to the discussion of ecological care to amplify the systemic failures and violence of the Anthropocene.

Ohan Breiding has presented their work at numerous museums, galleries, and film festivals including ICA LA, Photo LA, the Armory Center for the Arts, LAMAG, LAXART, Human Resources, Oakland Museum of California, Berkeley Art Museum and Pacific Film Archive, Haus N Athens, Sharjah Art Foundation, IKOB Museum of Contemporary Art, Kunsthaus Zürich, Hallwalls Contemporary Arts Center (Buffalo, N.Y.), Frac des Pays de la Loire and Oceanside Museum (as part of the Getty’s PST Art — Pacific Standard Time).

Ohan Breiding is a 2024 A.I.R. Fellow, a 2024 FIAR resident, a 2024 Triangle Artist Resident, a 2021 TBA (Thyssen-Bornemisza Art Contemporary) Academy Ocean Space Fellow, a 2019 Millay Colony Resident and a 2018 Shandaken: Storm King resident. They are the recipient of the 1945 World Fellowship Award, the Hellman Award, the SIFF (Swiss International Film Festival) Award for The Rebel Body, a short film made with Shoghig Halajian and the participation of Silvia Federici, the Rema Hort Mann Emerging Artist Award, and the DAAD Award. Their practice has been written about in Artforum, Art in America, BOMB, e-flux, Hyperallergic and Whitewall.

Ohan Breiding is an assistant professor in the Art Department at Williams College and is represented by OCHI Gallery in Los Angeles.

MASS MoCA

Massachusetts Museum of Contemporary Art

1040 MASS MoCA Way, North Adams, MA 01247

www.massmoca.org

Ohan Breiding: Belly of a Glacier

MASS MoCA, North Adams, February - December 14, 2025

The Shape of a Circle in the Mind of a Fish, Edited by Lucia Pietroiusti and Filipa Ramos, Hatje Cantz + Serpentine

The Shape of a Circle in the Mind of a Fish

Edited by Lucia Pietroiusti and Filipa Ramos

Hatje Cantz + Serpentine

The Shape of a Circle in the Mind of a Fish

Edited by Lucia Pietroiusti and Filipa Ramos

Hatje Cantz + Serpentine

Serpentine announces the launch of The Shape of a Circle in the Mind of a Fish, a book edited by Lucia Pietroiusti, Head of Serpentine Ecologies and curator and lecturer at the Academy of Art and Design of Basel Filipa Ramos. The launch event of the publication, which includes 100 contributors across the arts and sciences, will take place in London at the Royal College of Art on 27th October 2025.

 

The Shape of a Circle in the Mind of a Fish is a publication that brings together interventions across the arts, the humanities and the sciences to investigate the history and cutting-edge of more-than-human theories, from animal, plant and fungal intelligence, consciousness and affect, machine sentience and interspecies communication. This publication is an important landmark in Serpentine’s long-term research project of the same name, begun in 2018 to inaugurate Serpentine’s General Ecology project.

 

The publication includes original conversations, essays, interviews, meditations, poems and artwork representations by 100 of the most celebrated environmental thinkers and creatives across disciplines – anthropologists, artists, biologists, ecologists, gardeners, musicians, philosophers, theologians and more, including Sophia Al-Maria, Ted Chiang, Emanuele Coccia, Peter Gabriel, Tim Ingold, Elizabeth A. Povinelli and Karrabing Film Collective, Maria Puig de la Bellacasa, Himali Singh Soin, Merlin Sheldrake, Superflex, Jenna Sutela, Anna L. Tsing, Chris Watson and many more.

 

The Shape of a Circle in the Mind of a Fish is arranged in five chapters. The first, titled Worlds, focuses on principles of symbiosis and coevolution, anthropological approaches to more-than-human beings; and radical reimaginings of the planet. The second, Beings, presents more-than-human beings as collaborators, co-thinkers, and interlocutors – from the sound of a forest stretching and shifting to the swarming messiness of the soil, through to the body language of animals. The third, entitled Grounds, hosts debates concerning more-than-human and planetary life within the social and political entanglements of anthropocentrism, and calls for more-than-human and environmental practices of justice. Odes, the fourth chapter, brings to the fore an understanding of mythology, storytelling, and meaning-making as planetary manifestations, tracing human/more-than-human relations across deep time. In Oracles, the book’s closing chapter, the spiritual realm and advanced technologies (human and non-human) meet at the porous and uncertain edges of planetary computation and complexity.

 

Publication launches are planned internationally throughout 2025, including at IMMA Dublin on 14th September and then a launch at the Royal College of Art, London, on October 27th 2025, which will feature a Serpentine Cinema programme as well as the presentation of Filipa Ramos’ latest monograph, The Artist as Ecologist (London: Lund Humphreys, October 2025), which discusses the ways in which contemporary artists embrace practices of environmentalism. The London event will include a lecture performance by Elizabeth A. Povinelli. The first launch of the publication took place at E-WERK Luckenwalde, Germany as part of the festival’s sixth iteration, subtitled Love and Lament, and presented by Schering Stiftung, Berlin.

 

Art Direction by Giles Round. Contributors: Andrew Adamatzky; Yussef Agbo-Ola/Olaniyi Studio; Sophia Al-Maria; Allora & Calzadilla; Saelia Aparicio; Chloe Aridjis; Heather Barnett; Antoine Bertin; Lynne Boddy; Elizabeth-Jane Burnett; Vivian Caccuri; Mariana Caló & Francisco Queimadela; Federico Campagna; Teresa Castro; Alex Cecchetti; Vint Cerf; Ted Chiang; Sean Cho A.; Nicola Clayton; Emanuele Coccia; Revital Cohen; & Tuur Van Balen; The Coven Intelligence Program; Marisol de la Cadena; Michela de Mattei; Onome Ekeh; Cru Encarnação; James Fairhead; Adham Faramawy; Simone Forti; Claire Filmon; Rosalind Fowler; Peter Gabriel; Elaine Gan; Jay Gao; Sabine Hauert; Daisy Hildyard; Amy Hollywood; Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser); Tim Ingold; Derek Jarman; Alex Jordan; Karrabing Film Collective; Leah Kelly; Asim Khan; Kapwani Kiwanga; Dominique Knowles; Bettina Korek; Simone Kotva; Daisy Lafarge; Hannah Landecker; Yasmeen Lari; Long Litt Woon; Annea Lockwood; Thandi Loewenson; Miranda Lowe; Sophie Lunn-Rockliffe; Marcos Lutyens; Carlos Magdalena; Michael Marder; Alex McBratney; Natasha Myers; Nahum; Rasmus Nielsen/ SUPERFLEX; Hatis Noit; Hans Ulrich Obrist; Angelica Patterson; Lucia Pietroiusti; Elizabeth A. Povinelli; Maria Puig de la Bellacasa; Filipa Ramos; Asad Raza; Diana Reiss; Tabita Rezaire; Ben Rivers; Giles Round; Merlin Sheldrake; Kostas Stasinopoulos; Jenna Sutela; bones tan jones; Phoebe Tickell; Anaïs Tondeur & Germain Meulemans; Laurence Totelin; Anna L. Tsing; Oula A. Valkeapäa & Leena Valkeapäa; Sumayya Vally; Kim Walker; Chris Watson; Elvia Wilk; Rain Wu & Mariana Sanchez Salvador.

 

Published by Hatje Cantz, The Shape of a Circle in the Mind of a Fish is distributed worldwide as well as on Serpentine’s website.

The Shape of a Circle in the Mind of a Fish 

History of the programme

The Shape of a Circle in the Mind of a Fish began as a multi-year symposium, podcast and research project investigating consciousness and intelligence across species and beings and was launched in 2018 at the London Zoo. Since 2018, it has welcomed over 10,000 audience members and viewers and been a pioneer in environmental and ecological convenings.

 

2018 at the London Zoo: PART 1 LANGUAGE: On interspecies communications, with Ted Chiang, Vint Cerf, Peter Gabriel and more.

 

2018 at Ambika P3: we have never been one: On Gaia theory and micro-organisms, with Anna Lowenhaupt Tsing, Sophia Al-Maria and more.

 

2019 at EartH Hackney: with plants: on plant consciousness, plant intelligence and communication with the vegetal world, with Tabita Rezaire, Chris Watson and more.

2020 online: the understory of the understory: on land, earth, soil, fungi, with Elizabeth A. Povinelli and Merlin Sheldrake and more. This event marked the launch of Sheldrake’s landmark publication, Entangled Life.

 

2022, Galeria da Biodiversidade, Porto, Portugal: The Shape of a Circle in the Dream of a Fish: on dreams in the non-human world, with Alex Jordan, Onome Ekeh, Federico Campagna and more.

2025, E-WERK Luckenwalde/Schering Stiftung: The Shape of a Circle in the Mind of a Fish: Love and Lament: on grief and intimacy in a more-than-human world, with Aslak Aamot Helm, Antoine Bertin, Kapwani Kiwanga, Michael Ohl, Alejandra Pombo Su, Elizabeth Povinelli, Claudia Rankine, Asad Raza, Giles Round, Jenna Sutela, Jovana Maksic, Staci Bu Shea and Revital Cohen & Tuur Van Balen.

 

In addition, releases on Serpentine Podcast’s series: “On General Ecology” and collaborations with renowned environmental podcast Future Ecologies brought together some 60,000 listeners to dive deeper into the ideas and experimentations of the series.

About Serpentine Ecologies

Since 2014’s Extinction Marathon with artist Gustav Metzger, Serpentine has been at the forefront of environmental action and thought. Since the establishment of the General Ecology project in 2018,  the Ecologies initiatives nurture Serpentine’s ongoing engagement with ecology, climate breakdown, more-than-human consciousness, environmental justice and complexity in a changing world. Stretching across all of Serpentine’s activities, infrastructures and networks, Serpentine Ecologies takes a speculative and active stance towards embedding alternative narratives and deep ecological principles into the everyday. Ecologies’ initiatives manifested with projects such as Court for Intergenerational Climate Crimes: The British East India Company on Trial in April 2025, Back to Earth, (2020- 2022), Infinite Ecologies Marathon in 2023, and Daisy Ginsberg’s Pollinator Pathmaker in Kensington Gardens among many other projects. As part of Serpentine’s Back to Earth project, Serpentine and Penguin Press published 140 Artists’ Ideas for Planet Earth, a book inviting artists to re-think the climate emergency.

SERPENTINE GALLERIES

www.serpentinegalleries.org

Noelle Phares, Chelsea Kajah: Tracking Time @ BMoCA, Boulder, CO - Boulder Museum of Contemporary Art

Noelle Phares, Chelsea Kajah 

Tracking Time

BMoCA, Boulder, CO

May 23 - September 2, 2024

Chelsea Kaiah 

Ndee (detail), 2024 

Leather, red mylar, leather glue, rope, wood frame 

Courtesy of the artist 

Noelle Phares 

This Fickle Bounty (detail), 2024 

Oil, acrylic, oil pastel, and colored pencil on wood panel 

Courtesy of the artist 

Tracking Time is a two-person exhibition featuring newly commissioned work by painter Noelle Phares and multi-disciplinary artist Chelsea Kaiah. The work on view situates two different interpretations of our evolving relationship to the natural world through the lenses of environmental studies and Native American cosmology, respectively. 

Anchored by seven personally relevant sites along the Colorado River, Noelle Phares translates the human impact on land and water in her signature painting style. Chelsea Kaiah employs recurring materials associated with her indigenous hunting practice, including animal hides and blue plastic tarps, to reinvent traditional Ute and Apache symbolism.

Each body of work serves as a map to help navigate the current conversation around our ecological crisis and as a reflection of our interrelated past, present, and future.

BMoCA - BOULDER MUSEUM OF CONTEMPORARY ART

1750 13th Street, Boulder, Colorado 80302

bmoca.org

After the Sun—Forecasts from the North @ Buffalo AKG Art Museum + Gammel Strand, Copenhagen

After the Sun—Forecasts from the North

Buffalo AKG Art Museum

April 26 - August 19, 2024

The Buffalo AKG Art Museum presents After the Sun—Forecasts from the North, a new exhibition that surveys a generational response to the precarious state of our natural environment. Organized by Helga Christoffersen, Curator-at-Large and Curator of the Nordic Art & Culture Initiative at the Buffalo AKG, After the Sun is on view in the new Jeffrey E. Gundlach Building, after which it will travel to Gammel Strand in Copenhagen, Denmark.

Featuring the work of twenty artists with strong ties to Denmark, Finland, Iceland, Norway, and Sweden, After the Sun considers how emergencies at a Northern latitude reverberate globally. The exhibition presents new artistic engagements that build on the Nordic region’s tradition of depicting the natural world, and asks what art is generated in response to the intensifying global climate crisis.

“As the inaugural exhibition of the Nordic Art & Culture Initiative at the Buffalo AKG, After the Sun is a fitting example of the prescient, global projects that define the Buffalo AKG,” said Janne Sirén, Peggy Pierce Elvin Director. “The Nordic Art & Culture Initiative creates an unprecedented international platform for new art and pressing subject matter. We are honored to present After the Sun and to partner with Gammel Strand in Copenhagen to extend the exhibition’s reach across the Atlantic.”

Cathleen Chaffee, Charles Balbach Chief Curator, observed, “This remarkable exhibition envisions the scope of our vulnerability as a species, as we navigate an existence that is increasingly, consistently in extremis. Encompassing artists who approach the pressing subject of climate change from vastly different perspectives, it is a case study for the ways artists can help us see otherwise opaque aspects of life in a time of natural and manmade crises.”

The exhibition’s title is drawn from Danish writer Jonas Eika’s collection of short stories Efter Solen (After the Sun), winner of the Nordic Literature Prize in 2019. Eike has said that the book emerged from a sense of personal and political exhaustion, a feeling that he believes is shared by many: “That the way we imagine the future is mostly just a continuation of what there is today. The future, as a potential for change and a source of political energy, seems to be missing.” 

As Eika’s book addresses the profound challenge of responding to forces that pull us apart, the artists included in After the Sun grapple with how artistic practice may or may not succeed at meaningfully shaping the future world.

Occupying the entire first floor of the Buffalo AKG’s new Jeffrey E. Gundlach Building’s special exhibition galleries along with outdoor space on the museum campus, After the Sun presents artistic responses to the climate crisis that range from the analytical to the speculative, the poetic to the political. Some artists consider the repercussions of temporary solutions to climate change, among them Lea Porsager (born Frederikssund, Denmark, 1981, lives in Copenhagen, Denmark), in whose hands a sequence of massive disused windmill blade fragments become poignant ruins. Amitai Romm’s (born Jerusalem, 1985, lives in Copenhagen, Denmark) slight but throbbing sculptures and sound work are among several in the exhibition to approach science and data related to the environment from a visceral, embodied position. Olof Marsja’s (born Gällivare, Lapland, Sweden, 1986, lives in Gothenburg, Sweden) plant-human hybrid sculptures are contemporary guardian figures, related to indigenous knowledge and the artist’s own Sámi tradition. These, and all the artists in After the Sun explore what a meaningful engagement with nature might mean today and how we might forge practical, theoretical, and metaphysical paths forward.

Participating Artists

Sigurður Ámundason (b. 1986, Reykjavik, lives in Reykjavik, Iceland),  

Felipe de Ávila Franco (b. 1982, Belo Horizonte, Brazil, lives in Helsinki, Finland), 

Á. Birna Björnsdóttir (b. 1990, Reykjavik, lives in Amsterdam, The Netherlands), 

Ragna Bley (b. 1986, Uppsala, Sweden, lives in Oslo, Norway), 

Sara-Vide Ericson (b. 1983, Bollnäs, Sweden, lives in Älvkarhed, Sweden),  

Carola Grahn (b. 1982, Jåhkåmåhkke, Lapland, Sweden, lives in Malmö, Sweden), 

Alma Heikkilä (b. 1984, Pälkäne, Finland, lives in Helsinki, Finland),  

Jane Jin Kaisen (b. 1980, Jeju Island, South Korea, lives in Copenhagen, Denmark),  

Juha Pekka Matias Laakkonen (b. 1982, Helsinki, lives in Helsinki, Finland),  

Linda Lamignan (b. 1988, Stavanger, Norway, lives in Copenhagen, Denmark), 

Timimie Märak (b. 1988, Stockholm, lives in Stockholm, Sweden),  

Olof Marsja (b. 1986, Gällivare, Lapland, Sweden, lives in Gothenburg, Sweden), 

Santiago Mostyn (b. 1981, San Francisco, lives in Stockholm, Sweden),  

Lea Porsager (b. 1981, Frederikssund, Denmark, lives in Copenhagen, Denmark), 

Amitai Romm (b. 1985, Jerusalem, lives in Copenhagen, Denmark),  

Vidha Saumya (b. 1984, Patna, India, lives in Helsinki, Finland),  

Inuuteq Storch (b. 1989, Sisimiut, lives in Sisimiut, Greenland),  

Jenna Sutela (b. 1983, Turku, Finland, lives in Berlin),  

Apichaya [Piya] Wanthiang (b. 1987, Bangkok, lives in Oslo, Norway),  

Simon Daniel Tegnander Wenzel (b. 1988, Hamburg, lives in Oslo, Norway)  

After the Sun—Forecasts from the North is the inaugural exhibition of the Buffalo AKG Nordic Art & Culture Initiative. It is co-organized by the Buffalo AKG Art Museum and Gammel Strand, Copenhagen, Denmark.

The Buffalo AKG Nordic Art & Culture Initiative is a unique platform in North America for art of the Nordic region in a broad sense, encompassing artists whose practices are tied to a landmass that includes Denmark, Finland, Iceland, Norway, Sweden, the Faroe Islands, Greenland, and the Åland Islands. The Initiative is dedicated to organizing programs and exhibitions at the Buffalo AKG and in the Buffalo community with artists and cultural producers across disciplines who are substantively associated with the Nordic region. As part of the Initiative, over the next sixty years the Buffalo AKG will develop North America’s leading collection of contemporary art from the Nordic region.

BUFFALO AKG ART MUSEUM

1285 Elmwood Avenue, Buffalo, New York 14222

buffaloakg.org

Ricoh supports Poznan Communique on Climate Change

Press Release

Tokyo December 9, 2008, Ricoh Company, Ltd. (CEO Shiro Kondo) is pleased to announce its participation in the Poznan Communique, an initiative by 140 leading global corporations to highlight the need for action on climate change. The communiqué was developed by the Prince of Wales’s Corporate Leaders Group on Climate Change (managed by the University of Cambridge Programme for Industry). Its launch will coincide with the second week of climate negotiations taking place in Poznan, Poland.

The Communique states that “climate change poses global social, environmental and economic risks and demands a transformational change in how we manage our global economy” and that “we must deliver deep and rapid cuts in greenhouse gas emissions.” It adds that “any credible comprehensive agreement must include mechanisms to reduce topical deforestation” as the continuing destruction of these ecosystems accounts for up to one fifth of annual greenhouse emissions.

Ricoh is the only major Japanese corporation to have supported the Communique. A pioneer in corporate environmentalism, Ricoh was also the first Japanese company to come out in support of the Kyoto Protocol, under Masamitsu Sakurai’s leadership, Ricoh’s chief executive at the time. Kiyoshi Sakai, Chief Technology Officer and Corporate Executive Vice President of Ricoh said: “We believe we must achieve a sustainable society where our environmental impact is limited to what the Earth can deal with, handing on our precious Earth to future generations. In order to do this, we must create a system enabling us to tackle climate change actively, and altogether – that’s why we signed the Poznan Communique.”