Norwegian | English

  • Art and Political Ecology (II)
    Our second issue in this short series continues exploring the field of art and political ecology, focusing particularly on our journal’s central question of art and its meaningfulness/ agency as a local phenomenon.
  • Appealing for an Alternative: Ecology and Environmentalism in Joseph Beuys’ Projects of Social Sculpture
    The concept of social sculpture, which Beuys developed in the early 1970s, centered on the belief that art could include the entire process of living — thoughts, actions, conversation, and objects — and therefore could be enacted by a wide range of people beyond artists.
  • An eco-aesthetic for economization? Non-modern social practices of art and ecology.
    Theorists of new economic geography give cities the advise that they should facilitate the participation of artists and creatives from various sectors to encourage economic and urban development. If art and creativity have become a central factor in the economic development, the next, crucial question would be: have they lost all critical possibilities?
  • Eco-Specificity: Performing the Heterogeneous Centre of The Ecological Imperative
    Sites of performance, of exhibition or display are revealed to be culturally specific situations that generate particular contexts, ethics and narratives regarding art, art history and society. Community involvement and the social division between the notions of the public and the private, is strongly associated to the ethos that is generated during the performance of site and eco-specific art projects.
  • Allora and Calzadilla’s tangible ecologies
    While eco-political art is usually directly related to activism or specific ecological problems, another – less direct but more sensory – artistic approach brings abstract concepts such as ecology, climate change or nature, closer to human experience. Some of the most effective artists working in this sensory realm are the duo Jennifer Allora and Guillermo Calzadilla, whose artworks reignite our connection with the Earth and in doing so make ecology palpable.
  • KEPONE. A Performance Triptych against Soil Poisoning
    Chlordécone was classified as endocrine disruptor as early as in 1979 by the World Health Organization (Boughriet, 2012). The first identification of high Chlordecone rates happened at the border customs in Le Havre (France), where a sweet patato shipment actually was refused entry to Metropolitan territory. Thus, the struggle against Chlordecone started in Metropolitan France and was not initiated in the impacted territories straight away.
  • Urban Songlines: (re-) thinking coownership of public space
    These Urban Songlines tell the stories of places, the possibility for relating to them through their histories, presents and futures, linked to the symbols of our culture already familiar to us; myths, legends, fairytales, scientific inventions, popular belief and poetry. The buildings, bridges and squares are translated into music to give voice to our architecture, unlocking the potential to see our daily environment in different ways by listening to spaces as opposed to seeing or inhabiting.
  • Interview: Hans Ulrich Obrist
    - There is a sort of expansion where the walls of the silos are becoming porous, but where this is not necessarily a question of art or architecture. Alexander Dorner, the famous director of the State Museum of Hanover at the beginning of the 20th century, said that it was necessary to find « ways beyond art ».
  • Yuko Hasegawa: New Sensorium – Exiting from the Failures of Modernization
    - Human beings make decisions and balances. Ecology, however, is a question of for what, and for whom? Bacterias and virus are also part of the ecology, we have to start thinking about them as equivalent platforms to ours. Ecology is too much thinking from a human being point of view, from a utilitarian perspective.