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Full Description
This third volume of Naturally Hypernatural explores contemporary concepts of landscape in the humanities and the arts in relation to the notion that our age is defined by a 'geology of the human' and that this reckoning constitutes a new epoch, aptly named the anthropocene.
The thesis of this volume - that there is no homogeneous concept of landscape, just as there is no uniform definition of nature or culture - was developed concurrently at a conference at the University of Graz and at a series of exhibitions centered on film, painting and photography at the Kunsthaus Graz. This thesis has been fortified by registering the simultaneity of land art, the ecological movement and the view of the earth from space.
Art since the modern period reveals how divergent ideas of landscape are intertwined with differently chanted conceptions of subjectivity, perception and space.
Contents
Bruno Latour: Agency at the Time of the Anthropocene - Markus Jeschaunig: Agency in Biosphere - Gerhard Scharbert: Movement and Perception. Landscapes of modernity - Dirck Moellmann: Die Leinwand ist voll. Politische Landschaft. Kunst Widerstand Salzkammergut - Irene J. Klaver: Water, Mud, and Sand: Dutch Re-scaping the Land - Graham Harman: The Third Table - Sabine Flach: Tree-Ness. Roxy Paine's altered States of Art and Nature - Nadine Marker: What has that to do with Trees? Zu den Raumkompositionen von Gordon Matta-Clark - Elisabeth Fiedler: TUE GREENFORT. Vom kaleidoskopischen Blick zu AMILKORKIM - Katrin Bucher Trantow: Landschaft in Bewegung - Dagmar Probst: Sedes Pacis Martis Austriaci seu Palatium et Hortus Serenissimi principis Eugenii. Die Anlage des Belvedere als barockes Beispiel für einen gestalteten Landschaftsraum - Robert Smithson: The Spiral Jetty - Susanne Knaller: Robert Smithson: Writing Landscape - Gary Sherman: A Force of Nature: Surface Tensions - Klaus Schafler: Hacking the Future and Planet - Matthias Kessler/Susie S. Lee: Geography is History (Geologische Zeit, Zeit Orte und Räume, Sehnsuchtsträume).
