Moreover, this ongoing mass extinction event is one of the most significant in Earth’s history, with nearly 900 animal species disappearing from the face of the Earth in just the past 500 years. The extinction affects numerous systematic groups of fauna and flora, including mammals, birds, amphibians, reptiles, fish, and invertebrates. Currently, more than 35,500 species of animals and plants are threatened with extinction, including 40% of all amphibian species and 25% of mammal species.
Over the last 100–200 years, populations of most wild animal species (except synanthropes) have drastically declined due to habitat loss caused by human activities, direct human destruction, competition with introduced alien species, and other human-related causes. In the 21st century, the pace of the sixth mass extinction has only accelerated. Overpopulation (and continued population growth), coupled with wasteful consumption leading to significant land-use changes, deforestation, intensive meat consumption, overfishing, ocean acidification, and poaching are the primary drivers behind the global decline in biodiversity today. For example, up to 20 percent of African elephants could be killed within the next ten years if illegal poaching continues at its current rate. According to the 2019 Global Assessment Report on Biodiversity and Ecosystem Services published by the Intergovernmental Science-Policy Platform on Biodiversity and Ecosystem Services (IPBES), by 2050, about a million plant and animal species will be on the brink of extinction due to anthropogenic impacts.
Over the last 100–200 years, populations of most wild animal species (except synanthropes) have drastically declined due to habitat loss caused by human activities, direct human destruction, competition with introduced alien species, and other human-related causes. In the 21st century, the pace of the sixth mass extinction has only accelerated. Overpopulation (and continued population growth), coupled with wasteful consumption leading to significant land-use changes, deforestation, intensive meat consumption, overfishing, ocean acidification, and poaching are the primary drivers behind the global decline in biodiversity today. For example, up to 20 percent of African elephants could be killed within the next ten years if illegal poaching continues at its current rate. According to the 2019 Global Assessment Report on Biodiversity and Ecosystem Services published by the Intergovernmental Science-Policy Platform on Biodiversity and Ecosystem Services (IPBES), by 2050, about a million plant and animal species will be on the brink of extinction due to anthropogenic impacts.
However, if Dion's play with scale comes across as a cautionary call to action, far removed from direct activism, Vasil Akulov, in his series of accompanying ceramic tiles, offers his own poetic approach to healing wounds and repairing the damage inflicted on nature. The artist shatters the ceramic tiles he has created, depicting animals, and then meticulously reassembles them from the fragments, developing his own personal method of care and resurrection. In doing so, Akulov draws clear inspiration from kintsugi, the Japanese technique of restoring ceramic objects using a special natural lacquer derived from the urushi tree, mixed with precious metals, most often gold. In kintsugi, the cracks in the pottery are not concealed but rather deliberately emphasized. The philosophy behind kintsugi originates from Zen Buddhism and the aesthetics of wabi-sabi—the humble simplicity and beauty of imperfection.
Through his adaptation of kintsugi, Akulov discovers an artistic resolution to the ecological catastrophes and mass extinctions plaguing our world, finding solace in the Japanese philosophy of wabi-sabi, which appreciates beauty in imperfection, transience, and incompletion. These broken and restored ceramic pieces symbolize resilience and acceptance of change as an essential aspect of life. Each repaired crack signifies that destruction and renewal can bring not merely loss but also transformative value. Kintsugi embodies respect for objects, their histories, and their usage, promoting mindful consumption and a reverential attitude toward nature's gifts, as damaged items are not discarded but refurbished, imbued with renewed purpose. This process underscores the importance of nurturing both material possessions and their past, reminding us that fractures and flaws can serve as sources of fortitude and splendor. The technique adopted by Akulov teaches us to cherish experiences, empathize with others’ pain, suffering, and wounds. It is often through tragedy and disappointment that individuals "break," only to piece themselves back together, emerging wiser, deeper, and more beautiful. Kintsugi celebrates the beauty of scars that shape our identities—making us unique, seasoned individuals—and shows how, by acknowledging our imperfections and the damage inflicted upon nature, we can undoubtedly strive to improve ourselves.
Through his adaptation of kintsugi, Akulov discovers an artistic resolution to the ecological catastrophes and mass extinctions plaguing our world, finding solace in the Japanese philosophy of wabi-sabi, which appreciates beauty in imperfection, transience, and incompletion. These broken and restored ceramic pieces symbolize resilience and acceptance of change as an essential aspect of life. Each repaired crack signifies that destruction and renewal can bring not merely loss but also transformative value. Kintsugi embodies respect for objects, their histories, and their usage, promoting mindful consumption and a reverential attitude toward nature's gifts, as damaged items are not discarded but refurbished, imbued with renewed purpose. This process underscores the importance of nurturing both material possessions and their past, reminding us that fractures and flaws can serve as sources of fortitude and splendor. The technique adopted by Akulov teaches us to cherish experiences, empathize with others’ pain, suffering, and wounds. It is often through tragedy and disappointment that individuals "break," only to piece themselves back together, emerging wiser, deeper, and more beautiful. Kintsugi celebrates the beauty of scars that shape our identities—making us unique, seasoned individuals—and shows how, by acknowledging our imperfections and the damage inflicted upon nature, we can undoubtedly strive to improve ourselves.
The specter of extinction looms over how we understand our existence in the modern world: environmental degradation, nuclear weapons, threats to communities and languages, global warming, economic collapses, natural disasters, the destruction of life through genocide, disease, and famine—the constellation of themes surrounding extinction is constantly expanding and seems to be becoming the new norm for humanity, forcing us to adapt to a life of constant disappearance and extinction, which will have global existential consequences and profound changes in people's sense of self, accompanied by relentless loss.
In "Theater of Extinction," American artist Mark Dion, fascinated by the classification systems and practices employed by natural history museums, biologists, naturalists, curators, and researchers, subverts the notion that the logic constituting these systems is immutable and authoritative. He introduces irrational elements or other illogical components into his works, thereby undermining the seemingly rational picture they present. His cabinets, inspired by cabinets of curiosity and Wunderkammern—a common format used in early modern Europe to display disparate collections of valuable objects—frame models of animals or animal parts (such as skulls, tusks, and teeth) in individual compartments, evoking the detailed displays typical of natural history museums. However, the scale of the animal models is distorted, particularly with the inclusion of a miniature dinosaur and mastodon, as well as a rhinoceros that is not scientifically accurate but instead resembles the animal depicted in a famous woodcut by Albrecht Dürer. For Dion, this manipulation of size serves as a critique of fatal anthropocentrism—the complacent human belief in its own exceptionalism and superiority over other animal species—which has proven disastrous for the planet.
In "Theater of Extinction," American artist Mark Dion, fascinated by the classification systems and practices employed by natural history museums, biologists, naturalists, curators, and researchers, subverts the notion that the logic constituting these systems is immutable and authoritative. He introduces irrational elements or other illogical components into his works, thereby undermining the seemingly rational picture they present. His cabinets, inspired by cabinets of curiosity and Wunderkammern—a common format used in early modern Europe to display disparate collections of valuable objects—frame models of animals or animal parts (such as skulls, tusks, and teeth) in individual compartments, evoking the detailed displays typical of natural history museums. However, the scale of the animal models is distorted, particularly with the inclusion of a miniature dinosaur and mastodon, as well as a rhinoceros that is not scientifically accurate but instead resembles the animal depicted in a famous woodcut by Albrecht Dürer. For Dion, this manipulation of size serves as a critique of fatal anthropocentrism—the complacent human belief in its own exceptionalism and superiority over other animal species—which has proven disastrous for the planet.
Unlike Warhol’s paintings, the animals in Vasil Akulov’s paintings are rendered in black and white, which lends them a special expressiveness, depth, and drama. Simultaneously, the monochromatic blue whale, snow rams, golden eagle, polar bear, Siamese crocodile, Grevy’s zebra, giraffe, snowy owl, mandrill, and Caucasian tortoise stare at the viewer from canvases in which the silhouettes of their young are cut out—with this radical artistic gesture, Akulov directly confronts the viewer with the stark reality of the near future, when our children may no longer see the young of many animal species, even those well known to us today. The laconicism of the images in Akulov’s paintings helps to focus on the most important thing—the importance of protecting our natural heritage and the inhabitants of our environment. By leaving holes in the “wounded” canvas, Akulov metaphorically makes visible the damage that humanity is causing to biodiversity on the planet. Is it possible to find a way to fill the void with other species? Would the prospect of “de-extinction” change the way we think about extinction? Does the extinction of a species leave a “gap in nature” that can only be filled by bringing the species back to life and into the wild? Or would a functionally close relative suffice? If it is too difficult and expensive to de-extinct all species, what are the criteria for deciding which ones are worth working on and which ones should be prioritized? Ultimately, what animal ethics and aesthetics should guide these decisions?
One of the most recognizable artistic series dedicated to endangered species was created as screen prints by Andy Warhol, the godfather of pop art, in 1983 at the request of renowned gallerists Ronald and Freyda Feldman. At the time, the Feldmans were instrumental in introducing American pop art to the world, later becoming deeply involved in environmental issues.
After being exhibited at a special exhibition, the works were sold, and the proceeds went towards nature conservation efforts. Sadly, even 40 years after the creation of the series, eight out of the ten depicted animals remain on the list of endangered species, serving as a living testament to the enduring relevance of the issue. The Amur tiger, African elephant, black rhino, Grevy's zebra, giant panda, bald eagle, snow sheep, and tree frog from the hylid family were colored by Warhol in unexpected and unnatural psychedelic tones, seemingly taken from avant-garde cinema or animation rather than from the wilderness. However, according to the vision of the pop-art patriarch, who typically worked with critiques of the entertainment industry and show business, such a vibrant palette was intended to attract even more attention to those truly deserving of public focus.
After being exhibited at a special exhibition, the works were sold, and the proceeds went towards nature conservation efforts. Sadly, even 40 years after the creation of the series, eight out of the ten depicted animals remain on the list of endangered species, serving as a living testament to the enduring relevance of the issue. The Amur tiger, African elephant, black rhino, Grevy's zebra, giant panda, bald eagle, snow sheep, and tree frog from the hylid family were colored by Warhol in unexpected and unnatural psychedelic tones, seemingly taken from avant-garde cinema or animation rather than from the wilderness. However, according to the vision of the pop-art patriarch, who typically worked with critiques of the entertainment industry and show business, such a vibrant palette was intended to attract even more attention to those truly deserving of public focus.
The issue of preserving endangered species holds particular significance for Russian artist Vasily Akulov, whose fascination with the world of wildlife and its fragility dates back to his youth. In his recent project, "Animals. Red Book," Akulov utilizes his art to highlight the challenges of conserving unique animal species and the severance of connections with other animal species. He expresses deep concern over the daily crimes perpetrated by humanity against its fellow creatures, driven by the logic of Western progress, extractivism, and exploitation for personal gain and the survival of a single species—humans—who have forgotten their interdependence with other animal species. To Akulov, the killing of animals amounts to a collective suicide of humanity, condemning it to a path of gradual self-annihilation. The concept of "environmental crimes" emerged only in the late 1990s but has quickly become one of the gravest threats to the survival of numerous plant and animal populations. Climate change represents yet another way in which humans imperil the very existence of species. There is intense interest in understanding how species ranging from polar bears to honeybees might react to climate change, and predictions vary widely, but scientists concur that climate change is having a catastrophic effect on our communities, wildlife, and their habitats, as we collectively confront heightened uncertainty and extinction risks.
"Grevy's Zebra," 120 x 120 cm, Repin canvas, oil, frame
"Blue Whale," diptych, 160 x 120 cm each part, Repin canvas, oil, frame
"Golden Eagle," 40 x 51 cm, ceramics, gold leaf
"Golden Eagle," 120 x 120 cm, Repin canvas, oil, frame
"Snowy Owl," 120 x 120 cm, Repin canvas, oil, frame
"Mandrill," 120 x 120 cm, Repin canvas, oil, frame
"Caucasian Tortoise," 120 x 120 cm, Repin canvas, oil, frame
"White Bear," 160 x 120 cm, Repin canvas, oil, frame
Alexander Burenkov
Curator, Researcher, Educator, Critic
Curator, Researcher, Educator, Critic
Red Book. Animals
For thousands of years, animal species have gone extinct due to natural disasters, evolutionary whims, or more recently, reckless human development on the planet. Throughout Earth's history, there have been five mass extinctions, with the last occurring approximately 66 million years ago when roughly three-quarters of all species disappeared. However, a sixth mass extinction—the Holocene extinction—is currently underway due to illegal hunting, overfishing, habitat degradation, natural disasters, diseases, and other factors. This period of extinction coincides with the current Holocene epoch, which began about 12,000 years ago, and is almost entirely driven by human activity.
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