Publicação
WithIN the park: a posthuman account of immaterial performances in landscape art encounters
| Resumo: | This article traces the author’s land art practice using Karen Barad’s (2007) notion of the apparatus in order to offer a possible reimagining of methods for making, engaging, and thinking about land art. This reimagining frames the immaterial collaboration between (human) artist and more-than-human forces as the instance of art-happening, and the material assemblage produced through the encounter as a fleeting archive of the immaterial performance, rather than the art-object itself. This piece consists of a personal account of the author’s land art practice that focuses on the immaterial encounters between (human) artist and more-than-human collaborators. Framing the (human) artist as an apparatus redefines the artist as a practitioner of “boundary-making” (Barad 2007, 148) that functions as a translation device to render the presence and agency of more-than-human collaborators legible. By bringing normatively understood ‘materials’ into view as agential collaborators that both offer and deny, land art is refigured as an artistic practice that collapses binary relational distinctions between subject and object. Although this practice can produce an ephemeral materiality, the goal of this article is to demonstrate that the core of the artistic practice should instead be seen as the ongoing moment of immaterial open-ended collaboration between human and more-than-human. As the wind whips away the leaves I’ve arranged, any fantasies of my own authority collapse. |
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| Autores principais: | Berke, Moss R. |
| Assunto: | Landscape art Land art Ephemeral archive Apparatus Posthumanism Immateriality Performance Public space More-than-human |
| Ano: | 2025 |
| País: | Portugal |
| Tipo de documento: | artigo |
| Tipo de acesso: | unknown |
| Instituição associada: | Universidade Católica Portuguesa |
| Idioma: | inglês |
| Origem: | Diffractions |
| Resumo: | This article traces the author’s land art practice using Karen Barad’s (2007) notion of the apparatus in order to offer a possible reimagining of methods for making, engaging, and thinking about land art. This reimagining frames the immaterial collaboration between (human) artist and more-than-human forces as the instance of art-happening, and the material assemblage produced through the encounter as a fleeting archive of the immaterial performance, rather than the art-object itself. This piece consists of a personal account of the author’s land art practice that focuses on the immaterial encounters between (human) artist and more-than-human collaborators. Framing the (human) artist as an apparatus redefines the artist as a practitioner of “boundary-making” (Barad 2007, 148) that functions as a translation device to render the presence and agency of more-than-human collaborators legible. By bringing normatively understood ‘materials’ into view as agential collaborators that both offer and deny, land art is refigured as an artistic practice that collapses binary relational distinctions between subject and object. Although this practice can produce an ephemeral materiality, the goal of this article is to demonstrate that the core of the artistic practice should instead be seen as the ongoing moment of immaterial open-ended collaboration between human and more-than-human. As the wind whips away the leaves I’ve arranged, any fantasies of my own authority collapse. |
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