In Mngrv artist Susanne Kriemann proposes the classification of a new plant species: a hybrid of plant and plastic, nature and culture, emerging in Southeast Asian mangroves as their rhizomatic roots, constantly exposed and dependent on the rhythm of the tides, get entangled with fishnets, plastic waste, and oil remnants. “Neither rope nor root, nylon nor plant, Mngrv is a material witness to the intertidal processes’ ‘Kriemann writes’. Using chunks of raw oil found on site in Sri Lanka as pigment, the artist imprints the photographs she took with a material analogues to the objects depicted. In this way, Kriemann explores the manner by which her own practice is inevitably embedded in petroculture, implicated by the forces of capitalism and colonialism which have produced the landscape documented. As in much of Kriemann’s work, the material ecology of image production and display is made explicit. As she writes “The work thus has a circular nature: I brings plastic waste found in Indonesia and Sri Lanka back to the EU, where much of it came from in the first place, and returns funding to the mangrove movement Desa Wisata Pengudang of Bintan, Indonesia to support their efforts and collaborations.” For Chennai Photo Biennale’s Maps of Disquiet, Kriemann sourced refuse from local mangroves, which is shown as part of her photo installation.