By Heather Davis, Etienne Turpin (eds.)

Taking as its premise that the proposed geologic epoch of the Anthropocene is unavoidably a classy occasion, this booklet explores the connection among modern paintings and data construction in an period of ecological predicament, with contributions from artists, curators, theorists and activists. members comprise Amy Balkin, Ursula Biemann, Amanda Boetzkes, Lindsay Bremner, Joshua Clover & Juliana Spahr, Heather Davis, Sara Dean, Elizabeth Ellsworth & Jamie Kruse (smudge studio), Irmgard Emmelhainz, Anselm Franke, Peter Galison, Fabien Giraud & Ida Soulard, Laurent Gutierrez & Valérie Portefaix (MAP Office), Terike Haapoja & Laura Gustafsson, Laura corridor, Ilana Halperin, Donna Haraway & Martha Kenney, Ho Tzu Nyen, Bruno Latour, Jeffrey Malecki, Mary Mattingly, Mixrice (Cho Jieun & Yang Chulmo), Natasha Myers, Jean-Luc Nancy & John Paul Ricco, Vincent Normand, Richard Pell & Emily Kutil, Tomás Saraceno, Sasha Engelmann & Bronislaw Szerszynski, Ada Smailbegovic, Karolina Sobecka, Zoe Todd, Richard Streitmatter-Tran & Vi Le, Anna-Sophie Springer, Sylvère Lotringer, Peter Sloterdijk, Etienne Turpin, Pinar Yoldas, and Una Chaudhuri, Fritz Ertl, Oliver Kellhammer & Marina Zurkow.

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As Irmgard Emmelheinz makes abundantly clear in her contribution to this collection, images do not show a way home; art is not a palliative mode of reconciliation. Quoting Jean-Luc Godard and Anne-Marie Miéville, “The human species has blown up and dispersed in the stars. We can neither deal with the past nor with the present, and the future takes us more and more away from the concept of home. ”115 We like to think that the credulous pseudonym Homo sapiens—that perpetrator also known as anthropos by the social scientists—is merely a place-holder, an empty if ambitious sign whose substantive articulation is both held in abeyance and articulated by the work of the work of art: art’s labour is both a sensing and a spacing of the shared separation of the Anthropocene.

Here more sustainability means more growth; and this manifests as a kind of growth with unsustainable effects. Fig. 03 Edenic Apocalypse | Natasha Myers 33 Fig. 04 34 I enter The Cloud Forest, an ecological simulation of epic proportions. Moist, cooling air licks at my skin, which is still radiating heat from the sun on this 34°C day. A forty-two metre mountain covered in lush vegetation sweeps my gaze upward. The spectacle is overwhelming. I can barely take it all in. That is until my eyes lock in on a body tethered to a long rope and swinging through the mist.

It’s a very seductive concept, which I think is both its strength and weakness. BL It has a couple of advantages. One is that you don’t have to say anything about science studies anymore. At the time of the Anthropocene, you don’t have to show again that science and politics are related, so that speeds things up. But to re-present this question at the time of the Anthropocene, nothing is simplified, because all the apparatuses of Man—Man dominating Nature—come back, except it takes a slightly dystopian version, which can be shifted a little bit and it becomes utopian again.

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