Artists in the face of threats of climate change

• Autorzy: Michałowska Marianna

Identyfikatory

DOI

10.1016/j.oceano.2020.03.003

• Języki publikacji: EN

Abstrakty

EN

In contemporary visual culture, the subject of climate change and the need for commitment to counteract it (Demos, 2016, Körber et al., 2017, Tsing et al., 2017) are increasingly being addressed. The artists' observation concerns not only the natural effects of climate change but also their impact on the social and cultural heritage of the inhabitants of regions of the most endangered areas. Areas most vulnerable to destruction: oceans, coral reefs and polar regions are becoming a particular subject of interest for artists. A reflection of this interest can be the increasing number of exhibitions devoted to the current state of the environment (i.e. the project Plasticity of the Planet presented in 2019 in Ujazdowski Castle Centre for Contemporary Art in Warsaw). In the article selected artistic strategies to publicize the problems of ecology will be indicated. The first strategy is the exhibition of the beauty of the natural environment and the melancholy associated with its disappearance. An example of this can be Art of the Arctic by environmental photographer Kerry Koeping who focuses the audience's attention on ocean literacy by means of affecting landscapes of the Arctic or the artistic residence in PAN Hornsund Polar Station of Janusz Oleksa. The second way is to indicate the physical and biological effects of climate change. An example would be the work of Kelly Jazvac who, in collaboration with an oceanographer Charles Moore and a geologist Patricia Corcoran, presents plastiglomerate by Agnieszka Kurant – new forms of fossils, resulting from the combination of shells and stones with plastics or artificial compounds. The third method is the presentation of the residents' experience. The examples are works of Subhankar Banerjee, who draws inspiration from ethnographic research and documentary films and Jakub Witek's documentary about Polish emigrants living in Iceland. The artist presents the consequences of climate change for the inhabitants of the polar regions. The fourth way is to build a metaphor for the presence of a ‘stranger’ – a traveller, an explorer or a scientist. An example is a photographic performance entitled Polaris Summer by Kuba Bąkowski conducted during a scientific expedition to Spitsbergen, or three-screen projection by John Akomfrah's showing the relationship between man and oceans in the context of exploitation of natural and human resources. For the artistic practices described in the article, I use the theoretical framework of environmental art that binds together aesthetics, ethics and politics. The purpose of the article is to check whether such a connection can be attractive to the audience.

Słowa kluczowe

EN

ocean literacy; climate change; environmental art; environmental photography; social impact of science

• Wydawca: Polish Academy of Sciences, Institute of Oceanology ; Elsevier
• Czasopismo: Oceanologia
• Rocznik: 2020
• Tom: No. 62 (4PB)
• Strony: 565--575
• Opis fizyczny: Bibliogr. 52 poz., fot.

Twórcy

autor

Michałowska Marianna

• Institute of Cultural Studies, Adam Mickiewicz University, Szamarzewskiego 89, 60-568 Poznań, Poland

Bibliografia

• [1] Armitage, D., Rathwell, K. J., 2016. Art and artistic processes bridge knowledge systems about social-ecological change: An empirical examination with Inuit artists from Nunavut, Canada. Ecol. Soc, 21 (2), art. no. 21, http://dx.doi.org/10.5751/ES-08369-210221.
• [2] Bakke, M., 2010. Bio-transfiguracje. Sztuka i estetyka posthumanizmu, Wydawnictwo Naukowe UAM, Poznań, 272 pp.
• [3] Bal, M., 1999. Introduction. In: Bal, M. (Ed.), The practice of cultural analysis. Exposing Interdisciplinary Interpretation. Stanford Univ. Press, Stanford, California, 6-9.
• [4] Bal, M., 2007. What If? The Language of Affect. In: Beer, G. (Ed.), In(ter)discipline. New Languages for Criticism. Routledge, London, 6-23, https://doi.org/10.4324/9781351195195.
• [5] Bal, M., 2013. Lexicon for cultural analysis. In: Babka, A., Finzi, D., Ruthner, C. (Eds.), Die Lust an der Kulturtheorie. Transdisziplinäre Interventionen für Wolfgang Müller-Funk. Turia + Kant, Wien, Berlin, 12 p., p. 60, 49-81.
• [6] Banerjee, S., 2012. Arctic Voices: Resistance at the Tipping Point. Seven Stories Press, New York, 576 pp.
• [7] Berleant, A., 2000. The Aesthetic Field. A Phenomenology of Aesthetic Experience. Cybereditions, p. 92.
• [8] Berlińska A., 2013. Ekskursje: Węzeł na Spitsbergenie. Rozmowa z Kubą Bąkowskim, Dwutygodnik 113, https://www.dwutygodnik.com/artykul/4684-ekskursje-wezel-na-spitsbergenie.html.
• [9] Bishop, C., 2012. Artificial Hells. Participatory Art and the Politics of Spectatorship. Verso, London-New York, 383 pp.
• [10] Bloom, L., Glasberg, E., 2012. Disappearing Ice and Missing Data: Visual Culture of the Polar Regions and Global Warming. In: Polli, A., Marsching, J. (Eds.), Far Fields: Digital Culture, Climate Change, and the Poles. Intellect Press, Bristol, Chicago, 117-142.
• [11] Bourrieud, N., 1998. Relational Aesthetics, Les presse du réel. Dijon, p. 56.
• [12] Braidotti, R., 2013. The Posthuman. Polity Press, Cambridge, 180 pp.
• [13] Brockman, J., 1995. Third Culture: Beyond the Scientific Revolution. Simon and Schuster, New York, 416 pp.
• [14] Condon, R., 1989. The History and Development of Arctic Photography. Arctic Anthropol 26 (1), 46-87, http://www.jstor.org/stable/40316177.
• [15] Curtis, D. J., Reid, N., Reeve, I., 2014. Towards ecological sustainability: observations on the role of the arts. S.A.P.I.EN.S [Online] 7 (1), 1-15, http://journals.openedition.org/sapiens/1655.
• [16] Demos, T. J., 2016. Decolonizing Nature. In: Contemporary Art and the Politics of Ecology. Sternberg Press, Berlin, 272 pp.
• [17] Demos, T. J., 2017. Against the Anthropocene. In: Visual Culture and Environment Today. Sternberg Press, Berlin, 132 pp.
• [18] Eisner, E. W., Barone, T., 2012. Art Based Research, SAGE, Los Angeles, 204 pp.
• [19] Elkins, J., 1996. What Do We Want Pictures to Be? Reply to Mieke Bal. Crit. Inquiry 22 (3), p. 591, 590-602.
• [20] Enge, E., Spencer, S., Stricchiola, J., Fishkin, R., 2012. The Art of SEO. In: Mastering Search Engine Optimalization. O’Reilly Media, Sebastopol CA, 671 pp.
• [21] Fuentes, A., 2010. Naturalcultural Encounters in Bali: Monkeys, Temples, Tourists, and Ethno-primatology. Cult. Anthropol. 25, 600-624, https://doi.org/10.1111/j.1548-1360.2010.01071.x.
• [22] Groys, B., 2016. In: In the Flow, 44. Verso, London-New York, p. 44, p. 60.
• [23] Haraway, D. J., 1985. Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980s. Socialist Rev. 80, 65-108.
• [24] Haraway, D. J., 2003. In: The Companion Species Manifesto: Dogs, People, and Significant Otherness, Vol.1. Prickly Paradigm Press, Chicago, 112 pp.
• [25] Kaczmarek, J., 2001. Joseph Beuys. Od sztuki do społecznej utopii, Wyd. Nauk. UAM, Poznań, 151 pp.
• [26] Kaganovsky, L., MacKenzie, S., Westerstahl Stenport, A., 2019. Arctic Cinemas and the Documentary Ethos. Indiana Univ. Press, Bloomington, 392 pp.
• [27] Kant, I., 2011. Observations on the Feeling of the Beautiful and Sublime and Other Writings, edited by P. Frierson and P. Guyer. Cambridge Univ. Press, Cambridge, p. 16, 348 pp., https://tcnjpainting.files.wordpress.com/2016/07/kant observationsonthefeelingofthebeautifulandsublimeandother writingscambridge.pdf.
• [28] Kay, A., 2000. Art and community development: the role the arts have in regenerating communities. Community Dev. J. 35 (4), 414-424, https://doi.org/10.1093/cdj/35.4.414.
• [29] Klein, N., 2014. This Changes Everything. Capitalism vs. the Climate. Simon & Schuster, New York, 576 pp.
• [30] Kluszczyński, R. W., 2011. Trzecia kultura. O współczesnych związkach sztuki, nauk i technologii. Prz. Kulturozn. 1 (9), 24-36.
• [31] Kmita, J., 2007. Konieczne serio ironisty. O przekształcaniu się problemów filozoficznych w kulturoznawcze, Wyd. Nauk. UAM, Poznań, 139 pp.
• [32] Körber, L-A., MacKenzie, S., Westerståhl Stenport, A. (Eds.), 2017, Arctic Environmental Modernities: From the Age of Polar Exploration to the Era of the Anthropocene. Palgrave Macmillan, 273 pp.
• [33] Kosińska, M., 2016. Między autonomią a epifanią. Art based research, badania jakościowe i teoria sztuki. Sztuka i Dokumentacja 14, 12-18.
• [34] Latour, B., Woolgar, S., 1986. Laboratory Life. The Construction of Scientific Facts. Princeton Univ. Press, Princeton, 296 pp.
• [35] Latour, B., 2018. Facing Gaia: eight lectures on the new climatic regime, translated by Catherine Porter. Polity Press, Cambridge, Medford, 327 pp.
• [36] Leavy, P., 2009. Method Meets Art: Arts-Based Research Practice. The Guilford Press, New York, 286 pp.
• [37] Lewis-Jones, H., 2017. Imagining the Arctic Heroism, Spectacle and Polar Exploration. I.B. Tauris, London, New York, 448 pp.
• [38] Lucas, K., Brooks, M., Darnton, A., Jones, J. E., 2008. Promoting pro-environmental behaviour: existing evidence and policy implications. Environ.l Sci. Policy 11 (5), 456-466, https://doi.org/10.1016/j.envsci.2008.03.001.
• [39] Lyotard, J.-F., 1991. The Inhuman. Reflection on Time, translated by Goeffrey Bennington and Rachel Bowlby. Polity Press, Cambridge, Oxford, 224 pp.
• [40] MacKenzie, S., Westerstahl Stenport, A., 2015. Film on Ice: Cinemas of the Arctic. Edinburgh Univ. Press, Edinburgh, 348 pp.
• [41] Malabou, C., 2010. Plasticity at the Dusk of Writing, translated by Carolyn Shread. Columbia Univ. Press, New York, 136 pp.
• [42] Maldonato, M., 2017. Posthuman: Consciousness and Pathic Engagement. Sussex Acad. Press, Portland, Oregon, 224 pp., http://search-1ebscohost-1com-1002dcdm24ed6.han.amu.edu.pl/login.aspx?direct=true&db=nlebk&AN=1531672&lang=pl&site=eds-live.
• [43] Malm, A., 2016. The Rise of Steam Power and the Roots of Global Warming. Verso, London-New York, 496 pp.
• [44] Manzoor, H., Saeed, S., Panhwar, A., 2019. Use of Discourse Analysis in Various Disciplines. Int. J. Eng. Linguistics 9 (3), 301-309, https://doi.org/10.5539/ijel.v9n3p301.
• [45] Maryl, M., 2013. Sztuka czytania? Mieke Bal w teorii i w praktyce. Teksty Drugie 4, 320-321.
• [46] Olsen, B., 2010. In Defence of Things: Archaeology and the Ontology of Objects. AltaMira Press, Plymouth, 214 pp.
• [47] Robertson, R., 2012. Globalisation or glocalisation? J. Int. Communication 18 (2), 191-208, https://doi.org/10.1080/13216597.2012.709925.
• [48] Shanks, M., 1992. Experiencing the Past: On the Character of Archaeology. Routledge, New York, 194 pp.
• [49] Snow, C. P., 1959. The Two Cultures. Cambridge Univ. Press, London, 101 pp.
• [50] Steffen, W., Grinevald, J., Crutzen, P., McNeill, J., 2011. The Anthropocene: Conceptual and historical perspectives. Philosophical Transactions: Mathematical. Phys. Eng. Sci. 369 (1938), 842-867, http://www-1jstor-1org-1f8k82pg10409.han.amu.edu.pl/stable/41061703.
• [51] Thornes, J. E., 2008. A Rough Guide to Environmental Art. Ann. Rev. Environ. Resour 33 (1), 391-411, https://doi.org/10.1146/annurev.environ.31.042605.134920.
• [52] Tsing, A., Lowenhaupt, H., Swanson, A., Gan, E., Bubandt, N. (Eds.), 2017, Arts of Living on a Damaged Planet. Ghosts and Monsters of the Anthropocene. Minnesota Univ. Press, Minneapolis, 352 pp.