A 2011 study found that people’s attitudes towards climate change differ depending on the temperatures they face at the time – that those sitting, for example, in a warm office are more likely to consider global warming as a critical threat.

Now, at the 2022 United Nations Climate Change Conference (COP27) in Sharm el-Sheikh, Egypt, a new art installation literalizes this phenomenon. The idea, according to the project description, is to “make people feel part of our collective future and lead the action to make change possible.”

The work, called Heaven and Hell in the Anthropocene, includes a pair of identical parts. Inside, visitors are confronted with different sights, sounds, temperatures and smells, depending on which of the two spaces they chose to enter. One coin represents heaven, the other hell.

“For many, the perception of eternity is divided between the two poles of heaven in hell,” explained artist Bahia Shehab, who designed the installation in collaboration with the creative studio Fine deeds.

Bahia Shehab in front of her installation Heaven and Hell in the Anthropocene (2022) at the 2022 United Nations Climate Change Conference. Courtesy of Fine Acts.

“Living in the Anthropocene – the most recent period in Earth’s history when human activity has begun to have a significant impact on the planet’s climate and ecosystems – we have to ask ourselves what our world will really be like. eternity?” Shehab continued. “Are we going to heaven or are we going to hell?

Shehab’s work will remain on view at the COP 27 “Green Zone” pavilion until the exhibition closes on November 18. After that, Fine Acts will publish an online manual for others to recreate. Heaven and Hell in the Anthropocene elsewhere under an open license.

The project is one of many products produced to accompany the conference, as artists use their work to inspire action from the nearly 100 heads of state in attendance, without sticking to famous paintings, it’s -to say.

At the World Health Organization (WHO) Health Pavilion, a 21-foot-long recycled aluminum sculpture cast from fallen branches from Lebanon resembles a pair of lungs. It resonates at the frequency of the human body, 7.5 hertz, and vibrates when touched.

The artwork, co-designed by creative director Jon Bausor and the Yorkshire-based art studio invisible herddraws a parallel plane between the sustenance of the human body with that of the planet.

“We are the environment and the environment is us – we cannot be separated,” said Invisible Flock artist Victoria Pratt. Guardian sculpture, called Bodies joined by an air molecule.

Elsewhere in the WHO pavilion, other artistic projects selected by Invisible Flock, including How to make an ocean, an installation of 12 marble-sized bottles filled with human tears and North Sea algae. Each bottle comes with text explaining when the tears were cried and why.

“Can environmental health be an indicator of our own health? reads a text by the artist behind the work, Kasia Molga.

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