This post comes to you from EcoArtScotland
Art after nature: TJ Demos on the post natural condition, in Artforum (April 2012) is, as Suzaan Boettger pointed out, important because it represents a key moment demonstrating that ecoart is impacting on mainstream contemporary art’s discourses (maybe).
Perhaps more importantly, the piece concludes with the work of artists who are at this moment, as has happened at key points in the past, choosing to position the focus of their work outside the artworld. Artists such as Nils Norman, whose work Demos focuses on, as well as Fritz Haeg, Superflex, Marjetica Potrc, Art not Oil, Allora & Calzadilla and The Yes Men all engage directly with the biopolitical and the eco-financial (though the work of many of these can be seen in galleries and museums pretty regularly, e.g. Haeg’s Animal Estates 1.0 was included in the Whitney Biennial in 2008). It would be trite to say that economic crisis turns art away from the market, and in any case it wouldn’t be true of the artists profiled in this article, most of whom have been pursuing critiques of markets for decades.
This isn’t Demos’ first foray into art and ecology: he wrote one of the introductory essays for the 2010 Radical Nature show at the Barbican and has also written about the work of Nils Norman in other contexts.
The double entendre in the title Art after nature, alluding to both Timothy Morton‘s Ecology without Nature: Rethinking Environmental Aesthetics and also to art chasing nature, signals the philosophical and phenomenal complexities of the issues he is engaging.
He opens with a discussion of the installation Black Shoals Stock Market Planetarium (Autogena and Portway, 2001/04) and, through unpacking the denatured core of this work, frames the challenge through Frederic Jameson‘s challenge to the naturalisation of finance. Is the market part of human nature? Jameson argues that the naturalisation of the market “cannot be allowed to stand unchallenged.” This is of course a key theme of the moment, demonstrated not least in the occupy movement.
Curiously Jane Jacobs, who, whilst not being a Marxist, you might assume to be on the same side of the argument, made a case for economics precisely as natural. Her text, The Nature of Economies, argues that economics works in the same way as natural systems, not metaphorically, but literally. Jameson is directly challenging the consequences of this line of thinking. Whether Jacobs is right in her argument (see here), the wider issues of the naturalisation of economics and in particular markets is deeply problematic.
Demos summarises the relationship between economics and environmental crisis, and uses key art works to frame questions around whether environmental crisis should be understood wholly within economic terms (as it is in the Stern Report of 2006, commissioned by the UK Government).
Dave Pritchard’s comments based on a deep understanding of environmental policy and politics, (previously highlighted here) also question this assumption. Pritchard highlights the trajectory of environmental thinking from the emergence of deep ecology through the increasing reliance on the economising (for instance as ecological services) of the environment as a tactic adopted by the environmental movement to engage politicians and economists.
This double process of economising, by both the mainstream culture and the environmental movement, provides a context for recent statements from George Osborne, UK Chancellor of the Exchequer, that the UK cannot afford the green agenda (“…environmentally sustainable has to be fiscally sustainable too…”). He couldn’t make this argument effectively if it was not already accepted that economics was the ‘natural’, or pre-eminent, mode of assessment.
Demos highlights Amy Balkin’s Public Smog (2006-11) which provides another point of critique of the financialisation of the environment and raises some deeply ironic moments in relation to assumed value. The reportage of a conversation with a bureaucrat around the need for international agreement on the “outstanding universal value” of the atmosphere in order for it to be designated a UNESCO World Heritage site, is frankly, priceless.
Demos next turns to the 2007 Sharjah Biennial entitled Still Life: Art, Ecology and the Politics of Change, and in particular Tue Greenfort‘s work Exceeding 2 Degrees (2007). Demos, framing it as an evolution of current tropes of contemporary art, introduces the idea of eco-institutional critique. Greenfort’s work draws together a number of elements globalised production framing environmental crisis through an installation comprising room temperature and furniture. A thermo-hydrograph installed in the gallery demonstrates that the air conditioning of the museum has been reduced allowing the space to be warmer by 2 degrees Celsius (the target maximum increase identified in the Stern Report as a limit around which Climate Change Policy should be constructed). The thermo-hydrograph sat on a table made in Japan out of Malaysian wood and sold in Dubai. The money saved by reducing the cooling of the Art Museum was donated to a Danish environmental organisation to protect an area of two square miles of rain forest in Ecuador. The work is fully entangled in the complexities and paradoxes of globalisation and environmental crisis. Demos says, “…although it rescued only a tiny plot of land, Greenfort’s work successfully demonstrated the connections between economic, ecological, and institutional systems.”
Demos tips his hat to the pioneers who were, from the late 60s, creating works “within a ‘mesh’ of social, political and phenomenal relations.” His list includes Joseph Beuys, Agnes Denes, Peter Fend, Hans Haacke, Helen Mayer Harrison and Newton Harrison, and Alan Sonfist. He draws out a key point: they go beyond the simplistic glorification of nature which tended to “posit nature as a separate realm of purity needing protection from industrial degredation, pollution and economic exploitation.”
The question of positioning, framed in terms of creative practices, is in Demos’ interpretation a microcosm of the larger arguments around the status of ‘nature’. Those who argue against, for instance, GM crops (e.g. Vandana Shiva) are according to Demos, “necessarily maintain[ing] a nostalgic belief in the natural and defend[ing] it as a sphere in need of protection.” Demos seems to miss the real territory of debate: he refers to the argument for naming the reality of the ‘Anthropocene‘, but he misses the argument from Deep Ecology for the valuing of all living things and the acknowledgement of interconnectedness. This is a critical issue, because environmental philosophy is not polarised around those who are nostalgically arguing for the protection of nature, versus those who embrace the human shaping of the whole world. Rather the key is to challenge human hubris. The argument for the current geological age being called the Anthropocene is that human activity is affecting all aspects of the planet and that evidence of human activity is manifest in all environments: plastic particles in the oceans, CO2 levels in the atmosphere, consequent mass extinction. In this respect the naming is accurate. But humanity has sought to control the environment through the modern period, shaping it to suit our convenience, first in relation to habitation, but increasingly in relation to all our desires. If the conceptualisation of Anthropocene reinforces an assumption of ‘use’ rather than, for instance, ‘stewardship,’ or if it underestimates our capacity to precipitate broad-scale accidental calamity, then it is in significant danger of reinforcing the destructive aspects of human culture. Does using the term ‘Anthropocene’ sharpen the question around our place in the world, or does it re-package an existing assumption of dominance?
But returning to Demos’ narrative, he concludes by focusing on the ways in which some practices of art and ecology move beyond the tropes of institutional critique. In this he picks up on remarks made by Nils Norman (e.g. on the Bad at Sports interview), in which Norman questions the effectiveness of institutional critique and suggests that artists need to reduce their mobility and focus on development of work in particular locations. This is a practice adopted by others (including PLATFORM who take great care in judging where to travel, using trains even when travelling to the Middle East, and only travel when the reason includes practical ways of engaging with local activists and artists).
Demos draws out the implications of Norman’s project Edible Park, undertaken with Stroom den Haag, initially by juxtaposing with the previous proposal for the site developed by Rem Koolhaas’ Office for Metropolitan Architecture (OMA). Where OMA developed a masterplan for the Binkhorst area of the Hague incorporating an Formula 1 racetrack, skyscrapers, a beach, amusement park and leisure facilities, “Norman’s low-tech ‘counter master plan’ joined organic agriculture and practices such as rainwater harvesting, forest gardening, and composting to craft his model of eco-communalism and bioregionalism, realised in collaboration with a local group of permaculture activists. Norman also worked with Dutch architect Michel Post to build a central place-making structure, a “roundhouse” with passive solar front windows and strawbale construction.”
Demos relates this project as an initiative which responds intelligently to the crisis in the economics of capitalism. His juxtaposition of Edible Park with the OMA masterplan highlights its function as embedded or durational critique, not merely an ecological version of institutional critique. The contrast with Tue Greenfort’s Exceeding 2 Degrees for the Sharjah Biennial is informative. The latter is the tactics of the avant garde attempting to shock the audience through the cleverly formulated and intensely referential highlighting of weakness (mea culpa, mea culpa). But it never leaves the artworld. In contrast Edible Park is a durational and engaged work which negotiates between local ambition and critical positioning, seeking ways to draw attention to alternative configurations of the city, within the city and through the city.
Norman raises the question clearly in The Guide to This World & Nearer Ones (2009), Creative Time’s temporary public art project on New York’s Governors Island. He’s quoted saying,
“I’ve been looking at the history of bohemian artist movements to find a possible place of dissention. Is Bohemia still a place where artists can experiment and develop strategies outside the mainstream? The normalising effect of the market makes this now almost completely impossible, and Bohemia has been instrumentalised by people who make direct links to ‘creatives,’ bohemian lifestyles and a new class of urban entrepreneurs through city regeneration. Where can alternatives be developed? Where is it possible to drop out and develop new languages and codes.”
From this perspective, is it good that Artforum is paying attention to ecoart?
Thanks to Dave Pritchard for additional comments.
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