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Annual Review of Environment and Resources
Artistic Practices in the
Anthropocene
Marina Souza Lobo Guzzo,1Susana Oliveira Dias,2
Alana Moraes,3Guilherme Moura Fagundes,4
Walmeri Ribeiro,5Kidauane Regina Alves,6
and Renzo Taddei7
1Body and Art Lab, Department of Health, Clinic and Institutions, Institute of Health and
Society, Federal University of São Paulo, Santos, Brazil; email: marina.guzzo@unifesp.br
2Laboratory for Advanced Studies in Journalism, University of Campinas, Campinas, Brazil
3Brazilian Institute of Information in Science and Technology, Federal University of Rio de
Janeiro, Rio de Janeiro, Brazil
4Department of Anthropology, University of São Paulo, São Paulo, Brazil
5Department of Arts and Cultural Studies, Federal Fluminense University, Niteroi, Brazil
6Interdisciplinary Program in Health Sciences, Institute of Health and Society, Federal
University of São Paulo, Santos, Brazil
7Institute of Marine Studies, Federal University of São Paulo, Santos, Brazil
Annu. Rev. Environ. Resour. 2024. 49:223–47
The Annual Review of Environment and Resources is
online at environ.annualreviews.org
https://doi.org/10.1146/annurev-environ-112922-
112400
Copyright © 2024 by the author(s). This work is
licensed under a Creative Commons Attribution 4.0
International License, which permits unrestricted
use, distribution, and reproduction in any medium,
provided the original author and source are credited.
See credit lines of images or other third-party
material in this article for license information.
Keywords
art, Anthropocene, climate change
Abstract
This article reviews Western perspectives—in a fruitful dialogue with non-
Western perspectives—on the climate emergency and artistic experiences
amid the ongoing debate about futures currently at stake in the climate cri-
sis or climate emergency. Moving beyond the various ways of naming this
crisis, we focus on how art can communicate, envision, and activate ways of
inhabiting this problem, opening communities to an other-than-human co-
existence and reconguring matters as we understand them in a geological,
natural, or material sense. The analyses indicate that, instead of aiming at
a singular solution, multiple exercises and imaginative and speculative av-
enues of narratives can tell different stories and envision alternative futures.
If the climate crisis ignited in the Anthropocene is a shared crisis—both po-
litical and aesthetic—then art, inseparable from life and hence nature, holds
a crucial role in nurturing care and the potency of imagining other possible
worlds.
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Contents
INTRODUCTION .............................................................. 224
CONCEPTUALFRAMES....................................................... 227
FROM ICETOLAND........................................................... 229
FEELING WITHTHEEARTH ................................................. 233
OTHER-THAN-HUMAN ENTANGLEMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
EMERGENTECOLOGIES...................................................... 235
THE FUTURE ISVEGETAL.................................................... 237
PLATFORMS AND PARTICIPATION NETWORKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
CONCLUSIONS ................................................................ 240
INTRODUCTION
The Anthropocene brings forth a multitude of challenges for human existence and other forms
of life. Climate change is perhaps the most acute.1As summarized by Latour & Schultz, “climate
change intensies or dramatically metamorphoses the forces that ensure the continuity and sur-
vival of societies. The production system has become synonymous with the destruction system”
(1, p. 27).For most individuals engaged with this issue, the immediate way to respond to this state
of affairs is to link such challenges to the material dimensions of existence, such as risks associ-
ated with energy or food production or exposure to extreme atmospheric events. However, the
Anthropocene also implies a crisis in how we imagine, feel, and represent the world,which carries
profound consequences (2–5). The evidence of this dimension of the problem is far from scarce:
Nature is not what Enlightenment Western thought envisaged (4), and scientic descriptions of
the numerous dimensions of the problem do not seem capable of effectively altering institutional
operational patterns or collective human behaviors (5). The hope that the production and dissem-
ination of quality scientic information would trigger the necessary social transformations not
only proved to be illusory but also revealed that the challenge of comprehending social transfor-
mation mechanisms is as pronounced as, if not more signicant than, that of understanding the
environment itself (1, 4, 6).
Latour & Schultz (1) suggest that climatic collapse, compared to previous sociopolitical emer-
gencies such as major wars, episodes of national reconstruction, and geopolitical disputes around
globalization, appears to possess a somewhat more disturbing specicity. Today, the “certainty
of catastrophe seems to paralyze action. At the very least, there is no alignment between repre-
sentations of the world, the energies to be unleashed, and the values to be defended” (1, p. 31).
The authors point to what they identify as the central impasse facing the climate crisis issue:
the impotence to act collectively. Taking action to change this state of paralysis would require
transformations in the regimes of sensibility, aesthetics, and passions that engage people with the
world—no longer modern passions tied to a sense of a progressive history carrying an irreversible
future, but rather those capable of generating new sensitive, material engagements and composi-
tions between humans and other-than-humans and recreating habitability conditions in a damaged
world (2, 3, 7).
1We acknowledge that climate change is just one dimension of the Anthropocene. It was chosen as the focus
of this work for methodological reasons, given the impracticability of working with the vast literature on the
new geological epoch.
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Our ability to think and make sense of the challenges of the contemporary condition is an un-
avoidable axis of the issue. The humanities, arts, social and behavioral sciences have been devoted
to this theme (2–5). However, the effort to understand how the problem has manifested itself and
remains present brings with it the necessity for reection on the appropriateness and effectiveness
of ingrained paradigms and patterns of thought and meaning attribution—especially for entities
in the world that, because they exist on extremely elongated temporal and spatial scales, such as
climate and its transformations, challenge human thought patterns and capacities (8).
In this context, some questions are unavoidable: Are the narratives, interpretative frameworks,
and epistemological strategies characterizing the most prominent arenas and institutions of the
contemporary world sufcient to create steadfast engagement and responses to the challenges
posed by emerging issues? Does the critique of what is recognized as the causes of the climate
crisis, present in intergovernmental spaces and forums and within scientic institutions dedicated
to environmental research or distributive justice, for example, possess the necessary efcacy to
address the challenges of an increasingly dystopian future? Or do these ways of understanding
the world share the same paradigms that initially generated the crisis, ultimately making them
counterproductive?
These are challenging questions that the contemporary debate cannot evade. Such a state of
affairs demands reevaluating the perception of the scientic endeavor,its contexts, and its sociopo-
litical implications. We argue that the effort to produce new strategies of imagination and thought,
and to create possible futures in extended communities, as suggested by Funtowicz & Ravetz
(9), has been developed and sustained through artistic practices in conversation with scientic
practices and territories and populations affected by the new climate regime (4).
This article synthesizes, albeit partially and provisionally, the responses to this new climate
regime and the Anthropocene developed within the realm of the arts. Artistic creation presents
itself as a vibrant eld for exploring these questions, combining experimentation, practice, and
reection, and has a greater degree of freedom than nearly all other research instances, including
transdisciplinary approaches. It also has the capacity to explore the future through speculative elab-
oration strategies and the potential for experimenting with alternative realities through careful,
involved, and responsible approaches.
As we demonstrate below, the recent artistic production landscape indicates that, within
this domain, there is a unanimous diagnosis that the paradigms of perception and thought
of Western modernity—distinctly its individual-utilitarian, developmentist, extractivist, and
speciesist-anthropocentric dimensions, to name a few—are part of the problem and need to be
abandoned. Reections on and reactions to how the “modern world has organized human and
nonhuman natures” (10, p. 27) come to light as the backdrop of this artistic endeavor. Such orga-
nization still denes the fabric of the everyday world for vast segments of the global population,
thus becoming naturalized and invisible.
In this manner, art positions itself as an instrument for disorganizing established grammars of
perception, aiming to bring new visibility to the violence and inequities buried beneath inertial
patterns of behavior and relationships with the world. Simultaneously, artistic processes can evoke
“practices capable of conferring the power to feel, think, and decide together what a situation
demands” (11, p.398). The disruption of the present is a strategy in the struggle for futures. After
all, to contemplate the relationship between art and the Anthropocene is also to discuss the crisis
of critical thinking (12) and, consequently, the crisis of imagination. Thus, this review focuses
on academic and artistic works that foster discussions about art and the climate crisis, especially
within contemporary art and its various forms of expression. It also encompasses artistic practice
as a source of discourse and reection.
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The proposition to bring art closer to the issue of the climate crisis arises from the need to
amplify voices, images, and ways of existing in the face of the problem.The sciences must circulate
and dialogue with other political and social sectors in a world on the brink of a climate catastrophe
governed by disaster capitalism (13). Bridges between scientists, laboratories,and communities are
necessary and need to be built daily—and many artists have been doing that, in different ways, as
we see next.
Through multiple narratives, artistic practices highlight the ambiguity and contradictions of
our ways of existing and feeling on Earth and how we understand and relate to its other inhabitants
and materials, treating them as resources or structures. A central element of the discussion here is
the fact that art can bring us closer to the problem through a politics of sensibility, attention, and
care without separating what is human from what is other-than-human, making more tangible the
concept that “knowing and thinking are inconceivable without a multiplicity of relations that also
make possible the worlds we think with” (14, p. 198).
Authors such as Latour (4), Stengers (6), Haraway (2), and Tsing (7) point out that the
conceptual separation between nature and culture is empirically unjustied and politically coun-
terproductive. As a result, political relations cannot continue to reproduce the human-centered
character they hold in Western thought. The philosophical, artistic, and political constructions
of the history of Western civilization were based on the climatic stability that characterized the
Holocene—that is, ecological conditions stable enough for Western perception to eventually stop
perceiving and feeling the agency of other-than-human agents in matters of existence and collec-
tivity, creating the idea of a Nature that exists as an inert backdrop or stage upon which human
action unfolds (15). Isabelle Stengers (6) employs the phrase “intrusion of Gaia” to refer to the in-
trusion of a living Earth into politics, where atmospheric, hydrological, geological, and biological
processes cease to reproduce historical patterns (known or not), thus disorganizing human affairs
on unprecedented scales. In the author’s words, the most severe issue is not that capitalism does
not care about the atmosphere but rather that the atmosphere does not care about capitalism (6).
In light of this, it is important to expand the political meanings of the arts to create new forms
of relationships between living beings. The aesthetic regime of the arts, in this way, operates far
beyond questions of beauty or the sublime; it is responsible for activating “partitions of the sensi-
ble, of the sayable, the visible, and the invisible,” which in turn activate “new collective modes of
enunciation” (16) and perception, creating unexpected vectors of subjectivation and new forms of
life. This sharing and distribution of the sensible arise from the expressive force of artistic material.
In this sense, it is important to clarify that, instead of evoking a broad and universal conception
of art, most works presented in this review subscribe to an understanding that aligns with the
proposition of Dénetém Touam Bona: Art is a practice that bears witness to “the intolerable, the
lthy, the destruction of the world: be it the sixth mass extinction of living species or the sinister
agony of the right to asylum” (17, p.34). This entails the promotion of artistic practices genuinely
engaged in forms of social transformation rather than just reproducing what the art market deems
urgent. Art is approached here, following Erin Manning (18), as a way or mode, meaning that
artists are less concerned about the objects and more interested in processes or what is yet to come.
Art proposed from this perspective can offer us ways to imagine other senses, practices, bodies,
movements, materials, and alliances. It is an artistic practice that speaks less of purely aesthetic
concerns and more of ethical-political ways of making art, proposing new modes of creation, en-
gagement, and artistic production ow, as well as breaking away from the strict focus on objects or
works that is so prevalent in mainstream art. Constructing this mode of artistic practice demands
the proposal of new methods and creation procedures and a new vocabulary for artists, curators,
and critics. In other words, it is a new way of thinking and acting directly related to the power of
art and its propositional action in constructing sensitive and critical thinking (19).
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The relationship between art and ecology is of particular interest within the broad spectrum of
practices treated here. Ruth Wallen (20) points out that such a relationship is founded on extensive
interdisciplinary knowledge and an ecological ethic that addresses the interrelatedness of physical,
biological, cultural, political, and historical aspects of ecosystems. With “provocative questions,
powerful metaphors, identifying patterns, weaving stories, offering restoration and remediation,
creatively using renewable materials, and reimagining systems, ecological artists inspire,advocate,
and innovate, revealing and/or enhancing ecological relationships while shaping ecological values”
(20, p. 235).This entails a technology of invention and existence, of imaginative, subjective, and so-
cial production of well-being (21). It is an ecology of practices (6), from which it is possible to think,
decide, and produce boundaries between what is visible and invisible amid the contest for futures.
In the face of all that has been presented thus far, the point is not to assume that art will
produce solutions for the crisis that technology has been unable to construct. Instead, it is about
disarticulating the epistemological and political games of Western developmental modernity.The
new regimes of perception, imagination, and action that artistic practice has turned toward reveal
more profound and complex existential problems—in human relationships with other life forms,
for instance—that will not be solved with more technology. Sociopolitical practices and relations
must transform so that human collectivities assume responsibility and the ability to respond to the
effects of their presence without the utopia that problems will be solved effectively and denitively.
As Haraway (3) tells us, we will stay with the problem, and it is necessary to construct ways of
inhabiting it—through imaginative and speculative avenues, narratives capable of producing other
stories and worlds (Supplemental Figure 1).
The article puts theoretical contributions and artistic works that we consider important for
their narrative and political potential into conversation. Interweaving exhibitions, artworks,artis-
tic actions, and activism, along with signicant theoretical contributions, the article presents an
overview that traces the development of the relationship between art and the Anthropocene over
the past 20 years. We begin with the matter of the names and narratives that dene the Anthro-
pocene and the new climatic regime, mentioning exhibitions addressing scientic data; moving
through projects involving immersion and connection to territories and landscapes; and culmi-
nating in decolonial, identity, and queer issues. The text concludes by emphasizing the role of
collectives, platforms, and groups that advocate for the common(s) as a key element around which
to propose, think, and create art in the face of the climate crisis.
CONCEPTUAL FRAMES
The Anthropocene and its associated crises and emergencies need, above all, to be imagined.
How we do it is a crucial part of the problem. While it is uncontroversial that the crisis is a
result of human action, the fact that the most usual ofcial responses point to more investment
in science and technology, now on a planetary scale (for example, in the form of geoengineering;
see Reference 22), demonstrates that how we perceive the matter is often unacknowledged as an
essential variable.
The immense difculties involved in dealing with the scientic and political aspects of the
problem highlight that it cannot be tacitly assumed that the central actors (in the UN system, for
instance) possess the epistemic, cognitive, emotional, and material tools and strategies to address
it. In the words of Danowski & Viveiros de Castro (23), without the necessary conceptual and per-
ceptual tools, the world can end without us being able to perceive the fact (and thereby experience
it inarticulately, through chaos and terror) (15).
The eld of humanities signaled, stemming from the proposition of the new geological
epoch, that the imagination behind the Anthropos it inspired was not only mistaken but also
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politically dangerous (24). The controversy that followed, with the proposal of alternative names—
Capitalocene (25), Pyrocene (26), Chthulucene (2), Plantationocene (7), and Negrocene (27),
among others—demonstrates the existence of a struggle for imagination, although none of the
alternative propositions have proven effective outside of the arts, humanities, and social sciences.
Elizabeth Povinelli (28) asserts that it would be more appropriate to think of an “ancestral catas-
trophe,” suggesting that what we are experiencing now are multiple expressions of a catastrophe
that has already occurred in the past through the planetary colonial endeavor and its eradicator
settlement, in Achille Mbembe’s (29) expression.
Malcom Ferdinand (27) correlates the environmental crisis with the ways of inhabiting the
world characteristic of European colonialism, demonstrating that violence against ecosystems and
violence against racialized and enslaved bodies are intrinsically linked. The author demonstrates
the mechanisms through which violence can engender relations of alienation in the face of other
bodies and other lives, with profound repercussions for ecological relationships. Ferdinand makes
evident that quilombola2ways of existence were constituted as resistance to colonial habitation
and thus present themselves as the horizon of a new ecology, which knew how to make worlds
together with other-than-humans and in the midst of the colonial storm that underlies the current
ecological and climatic crisis.
Inhabiting the Anthropocene (30) is an urgent task to be carried out “without falling into pes-
simism, as if we had nothing left to do” (31, p. 61). Matthieu Duperrex (32) proposes the idea of
“inhabiting the disposable/waste” as a strong program for “art in the Anthropocene.” According
to the author,the Anthropocene would be the expression of the material production of modernity
based on the loss and disposal of what is considered growth. He mentions the World of Mat-
ter (http://worldofmatter.net) platform that investigates the existence of primary materials in a
critique of the concept of resources and the violent ecological alienation on which its existence
depends. The proposition is not for a “utopia of refuge” but for art that reminds us that “[w]e
are part of an end-of-the-world odyssey, where life and death, the mechanical and the organic,
the means of production and the commodity can whirl in a ‘phantasmagoric circle’ in the eye of a
dying sh” (32, paragraph 41).
Artistic practices can help us imagine and narrate other endings that do not necessarily cul-
minate in catastrophe or nality. They also help us to imagine and practice other sciences and
technologies and to understand the crisis as an opportunity to reconsider how we feel and live on
Earth, moving from the perspective of collapse to the standpoint of action and necessary change
(33). In doing so, they postpone the end of the world, as proposed by Ailton Krenak (34).
As a counterpoint, Malcolm Miles (35) states that the arts have the potential to stimulate atti-
tude changes. Still, when they present themselves merely as another form of representation, they
distance themselves from the problems they announce. He concludes that art can draw attention
to emerging issues and point out contradictions.
Julien Knebusch (36), in contrast, asserts that art can assist us in experiencing and revealing our
engagement with the climate, the disruption of its balance, and its signicance for our world in the
same way that landscape artists reshaped the relationship between humans and their environment.
Knebusch points to literature that documents both (a) the relationship between landscape painting
and the creation of perceptions about the environment that led to conservationism (37) and (b) the
construction of a particular perspective dissociated from the other-than-human world coexisting
with the development of still life painting (38).
2Quilombolas refers to the enslaved Africans who escaped from plantations and other oppressive relations in
the Portuguese colonial context. These days, the Quilombola communities also congure a powerful political
and territorial movement alongside Indigenous and other traditional peoples in Brazil.
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Artistic practices also play a critical role in reecting upon our representations and forms of
understanding environmental changes, from scenario building to metaphors, ethical frames, and
all sorts of inscriptions produced by material investigations (38). It is through imagination that
we can see, feel, think, and dream, creating the conditions for material interventions and political
sensitivities in the world (39), says Guzzo (21), highlighting artistic practices as a possibility for
envisioning futures and refuges.
Roosen et al. (40) further delve into the issue from a psychological standpoint, stating that art
often employs metaphors, analogies, or narratives frequently absent in communications about the
climate issue. This is especially important, as many people still perceive climate issues as abstract
problems that do not pose a direct threat. The authors argue that art can also help establish a
collective identity and provide a sense of support in efforts to address the key issues and problems
involved in the crisis.
The art world has been increasingly and critically addressing climate issues and, more broadly,
the relationship between humanity and nature (40–42). Artists, curators, programmers, and cul-
tural producers have undertaken numerous works on the topic (43–45) within the art circuit and
through critical interventions in public arenas, as demonstrated by their engaged presence at the
UN Climate Change Conference (COP21) in Paris (46). Two impactful actions that took place
in public spaces during that event were Olafur Eliasson & Minik Rosing’s Ice Watch (https://
icewatchparis.com) at the Place du Panthéon (see Figure 1) and Yann Toma’s Units of Artistic En-
ergy intervention (http://www.artists4climate.com/en/artists/yann-toma/) at the Eiffel Tower.
Another 15 works were commissioned and sold to raise funds for climate-related actions (46).
FROM ICE TO LAND
Examples of recent art exhibitions on this theme start with simulation-immersion exhibitions and
transition to other approaches. One of the rst instances occurred in 2004 through a simulation-
immersion exhibition about climate change at the Cité des Sciences et de l’Industrie (48) in
Paris. Climax (Supplemental Figure 2) proposed a visual immersion into the future planet Earth,
imagining transformations of our environment and living conditions according to different antici-
pation scenarios. In this display, scientic data,information, and future projections were organized
around the concept of immersion. The viewer was invited to enter the issue through a shock.
Many other similar activities followed, and little by little, the immersion experience for crit-
ical reection was transformed, as we can see in The Ship: The Art of Climate Change (49) and
Weather Report: Art and Climate Change (50). A signicant increase occurred from 2015 onward,
with highlights including Critical Zones (51) (2020–2022) in Germany, Back to Earth (52) (part of
the thirty-second São Paulo Biennial3) in Brazil, Simbiología: prácticas artísticas en un planeta en emer-
gencia (https://simbiologia.cck.gob.ar) (2021) in Argentina, A Clearing in the Forest (53), When I
Image the Earth, I Imagine Another (54), We Are History (55), Eco-Visionaries (56), Our Time on Earth
(57), Adaptation: A Reconnected Earth (58), and Our Ecology (59), among others, in many different
places of the world.
Nurmis (60) argues that the relationship between art and climate change has notably evolved as
an inherently artistic expression rather than a purely propagandistic or activist approach. Despite
various criticisms, art plays a fundamental role in prompting the audience to reconsider the impact
3The thirty-second Biennial de São Paulo, the most important contemporary art exhibition in Latin America,
took place in 2016 and presented works based on overlapping types of knowledge about the world, moving
between art, science, and religion.The exhibition was curated by Jochen Volz and aimed to trace cosmological
thoughts, environmental and collective intelligence, and natural and systemic ecologies. Many of the works
dealt with the climate crisis and other forms of relation between humans and nature.
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Figure 1
Ice Watch, 2014. The installation involved melting 12 ice blocks in a public square (Place du Panthéon, Paris)
in 2015. The artists are Olafur Eliasson and Minik Rosing. Photograph by Martin Argyroglo; courtesy of
neugerriemschneider, Berlin, and Tanya Bonakdar Gallery, New York/Los Angeles (47).
of human beings’ daily actions on the irreversible transformation of the climate system, thereby
contributing to solidifying the concept of the Anthropocene as an integral part of our cultural
reality. Her review of various art exhibitions on the climate crisis points to a solid artistic trend
toward images of the apocalyptic sublime. Although this results in poignant art, it contradicts
the stated motivations of artists and curators seeking to raise awareness about the Anthropocene
without romanticizing it (61).
Scientists, journalists, artists, critics, and curators frame climate change in specic ways and
make the issue signicant in everyday discourse (62). Certain types of climate images seem to
have gained prominence and greater status than others, promoting particular forms of under-
standing climate change and marginalizing alternative ones. For instance, the image of melting
ice (Figure 2) appears to have been and continues to be a source of inspiration for many artistic
actions and expeditions (Supplemental Figure 3).
Despite the contemporaneity of the cryopolitical imagery (64), we are witnessing a gradual shift
in the media iconography of global warming and climate change (65). The emblematic gure of
the polar bear agonizing on a block of ice is being replaced on newspaper covers and television
reports by images of forest res and charred or eeing animals (Supplemental Figures 4–6).
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Figure 2
Minimum Monument by Néle Azevedo (2018). Photograph by Néle Azevedo, Middlebury, Vermont, USA.
Courtesy of the artist (63).
However, as pointed out by Ferdinand (27), such images can reify a fractured imaginary be-
tween environmental and colonial issues, directing attention to human whiteness, their charismatic
animals, and noble phytophysionomies to monopolize our empathy. This leads to the erasure of
Indigenous and quilombola worlds, as well as other underestimated life forms that are also con-
sumed by re. In this sense, the artistic and symbolic production about the crisis plays a crucial
role in engaging the cultural politics of climate change. Additionally, Walsh (66) warns that the
usual forms of visualizing climate change work against, rather than in favor of, effective political
actions, as their rhetorical choices often privilege technical charts that are difcult to access and
comprehend.
In response, a series of exhibitions and artistic movements aims to do more than just dis-
seminate data, immersions, and information about the crisis by also denouncing the abuses and
genocides already underway in the colonial history of the planet. These artistic events propose an
opportunity to reshape the boundaries between the human and the other-than-human and actively
incorporate new skills, techniques, and passions into the articulation of environmental governance
(5, 67).
Davis & Turpin (5) afrm the Anthropocene as an aesthetic issue and, from this standpoint, or-
ganize a series of responses to the climate emergency,reecting on the need to reinforce the sense
of political urgency in each developed artistic action. Another book, edited by Nunzia Borrelli and
colleagues (68) and titled Ecomuseums and Climate Change, discusses climate change’s impacts on
the arts and museum activities (69, 70).
In Sensing Earth: Cultural Quests Across a Heated Globe (71), artists and cultural initiatives are
revealed to be caught in a dilemma, as they require cultural circulation to allow ideas to intersect
and create connections. These same circulation systems also contribute to the ecological decline
of the planet. This, in turn, highlights the economic precarity of artists, particularly those from
and in the Global South.
At the same time, it is important to bear in mind the importance of considering art in terms
of affective alliances, which, according to Krenak & Cesarino (72), are exchanges that do not
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Figure 3
No title (Catrimani), from the series “The Forest,” 1972–1974. Photograph by Claudia Andujar. Courtesy of
Galeria Vermelho (74).
presuppose only immediate interests but extend beyond the realm of sociopolitical relationships
and ideas. Affective alliances expand our understanding of life, relationships, and the possibil-
ities of being in the world from multiple perspectives. This critical exercise of alterity in the
face of the climate crisis affects not only humans but also other beings that inhabit the planet
(73).
In the same vein, we highlight the work of photographer Claudia Andujar (Supplemental
Figure 7), who had a signicant exhibition in 2020 at the Fondation Cartier in Paris (74) and
later at the Instituto Moreira Salles in São Paulo, titled Claudia Andujar—La Lutte Yanomami.
The exhibition presents the immense beauty of her photographs taken in Indigenous lands in the
1970s and her essential role as a human rights activist in defense of the Yanomami. Thanks to
her work and her ght alongside the Yanomami, their lands were demarcated, creating the largest
Indigenous territory in Brazil, in the heart of the Amazon (75–77).
Works like Claudia Andujar’s (Figure 3) reveal the peoples who, in some way, live in a dif-
ferent system of relationship with nature and manage to protect it from destruction over time.
In this case, art puts the assumption of a supposed incompatibility between human dwelling and
ecosystem preservation in check and helps reveal that the extractive and colonial capitalist system
is responsible for the crisis. Therefore, many forms of art and activism intertwine with regard to
the climate crisis.
The understanding of contemporary Indigenous artistic expressions as signicant voices to be
heard in the face of this emergency is also growing. Artists such as Jaider Esbell (http://www.
jaideresbell.com.br/site/sobre-o-artista/), Daiara Tukano (https://www.daiaratukano.com),
Ailton Krenak (https://bibliotecaailtonkrenak.notion.site/Biblioteca-do-Ailton-Krenak-
BAK-cd46ab5c7c4448ffb3111f3c9ef833d9), and Denilson Baniwa (https://www.premiopipa.
com/denilson-baniwa/;Supplemental Figure 8), among many others from various parts of
the world, are blending poetry and activism, creating impactful works on the need for nature
preservation and its connection to the respect for the autonomy and sovereignty of Indigenous
peoples (Supplemental Figure 9). These are works that show us how capitalism “bewitches”
(78) bodies, narratives, and imaginations, thus summoning us to consider necessary dis- and
counterenchantment to confront the Anthropocene (79).
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FEELING WITH THE EARTH
Feeling the earth, or the Earth, or feeling with the planet,has been the subject and practice of many
contemporary artists. The recent exhibition by lmmaker, visual artist, and new media researcher
Lucas Bambozzi, Solastalgia (80; Supplemental Figure 10), employs the concept of this sentiment
dened as “mental and/or existential distress caused by abrupt environmental changes, not only
due to natural consequences, but also due to harmful extractive models” (80). This way of feeling
guides and gives title to the exhibition, composed of images that lay bare an extractive logic that
shatters ways of life in the name of an archaic notion of progress.
Many artists turn their works into protests to express the collective indignation about de-
struction. An example of this is the work of Cecylia Malik, which turned into a viral action in
Poland against the destruction of the Białowie˙
za Forest (Polish Mothers on Tree Stumps; see https://
cecyliamalik.pl/en/portfolio/PolishMothersOnTreeStumps). The area is one of the last and
largest remaining parts of Europe’s once immense forest and serves as a natural laboratory for
studying species and climate (Supplemental Figure 11).
In São Paulo, the protest performance A Reviravolta de Gaia (The Gaia Turnaround)
(Figure 4) has repeatedly been in street demonstrations since 2021. The work by Rivane
Neuenschwander (https://www.inhotim.org.br/item-do-acervo/rivane-neuenschwander/)
and Mariana Lacerda (https://select.art.br/politicas-interespecies) features various animals
holding protest signs and dancing, akin to a carnival parade. It highlights how social struggles
intersect with environmental struggles and vice versa. The rst public appearance of the artists’
forest project took place in August 2021, during voting on legislation detrimental to the Indige-
nous populations by the Brazilian Supreme Court. Among the most recent events, it took part in
a protest in defense of the Democratic State and the Brazilian electoral system on the morning of
Figure 4
A Reviralvolta de Gaia demonstration. Photograph by Isadora Fonseca; adapted with permission from
Reference 81.
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August 11, 2022. People, turtles, alligators, frogs, macaws, herons, caterpillars, sloths, and jaguars,
among many other animals and plants of the forest, attended with signs and cried out for “wild
rights” (81, 82).
Maja & Reuben Fowkes (83) argue that, by transforming our perceptions and sensations
regarding nature, artists expose the processes and consequences of monoculture, extractivism,syn-
thetic fuels, and nuclear energy. In some ways, the works, creations, and narratives participate in
the breaking of the spell of the promise of technological progress and economic growth, revealing
their harmful consequences and denouncing what Jason W. Moore (25) terms the Capitalocene.
The artistic practices in this article unveil racial-colonial capitalism and its relationship with the
ecological crisis, exploring relationships of restoration, reparation, and care. They explore episte-
mologies that emerge from collective and communal practices based on principles of recognizing
the existence and rights of more-than-human entities, other-than-humans, or beyond-humans,
such as mountains, rivers, and trees, which, from this perspective, are not merely natural or geo-
logical resources, but beings that inhabit the Earth (84, 85). “In the face of dystopias to come, the
most urgent action is imagination, and hence the importance of discussing artistic practices that
can fabulate and inspire possible paths” (86, p. 8).
OTHER-THAN-HUMAN ENTANGLEMENTS
Transdisciplinarity is a signicant hallmark of artistic works aiming to engage with the climate cri-
sis. This occurs through collaborations between artists and scientic endeavors and, conversely,
through scientists collaborating with artists by providing data, information, and images.An exam-
ple is the catalog Feral Atlas, curated and edited by Tsing et al. (87). In a digital experience, with
an interplay among maps, beings, and infrastructures, the publication explores ecological worlds
formed when other-than-human entities become entangled with human infrastructure projects.
Daniel Fetzner & Martin Dornberg (88) propose an open project of artistic research whose
essence is the renegotiation of the grammar of space, boundaries, and scales within what has been
conventionally termed globalization. “DE\GLOBALIZE: An Artistic Research About How to
Deglobalize the Global” is a multimedia ethnographic investigation into climate change that stems
from three main questions: (a) How do we conceive of and respond to the Earth in a deglobalized
topology? (b) How do we contemplate meshes, alterities, entanglements,and relational references
in the Anthropocene? (c) How can we narrate critical zones, more intensely affected by climate
disruptions, through media ecologies? Suggesting deglobalization of the climate change problem,
the artists propose experimenting with compositional forms and symbiogenesis, and mutualistic
and parasitic relationships become vital gures: “Melted and intertwined with the world we lost
any last founding or transcendental ground to explain the world or to guide behavior and science
monocausally or systematically” (88, p. 3).
Heather Davis & Etienne Turpin (5), in their turn, pose the question: How can aesthetic prac-
tices address crystallizing social and political spheres? These authors bring together a multitude
of interdisciplinary conversations related to art and aesthetics emerging around the Anthro-
pocene thesis, gathering artists, curators,scientists, theorists, and activists to address this geological
repositioning. They thus mark a need for interdisciplinary action in approaching the topic.
Traditional knowledge holders, such as riverbank dwellers, quilombolas, shermen, and farm-
ers, are also involved in this larger movement. Many individuals from these groups interact
with nature in their daily practices and have perceptions of its transformations rooted in prac-
tice. An example of this entanglement is the artwork The Fish by Jonathas de Andrade (89;
Supplemental Figure 12). Situated in a hybrid territory between documentary and ction, the
work engages with the audiovisual ethnographic tradition. It follows shermen through the tides
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and mangroves of Alagoas, Brazil, employing traditional shing techniques such as nets and har-
poons, waiting for the right moment to capture their prey. The shermen perform a sort of ritual:
They cradle the sh in their arms until the moment of death, a kind of embrace between predator
and prey,life and death, laborer and labor’s fruit, in which the gaze—of the sherman, the sh, the
camera, and the viewer—plays a crucial role. The work is distressing, as it places us right there in
the unsettling moment of death and the certainty of our lack of control over many aspects of life.
The engagement with animals, especially the fox, is also a focal point of Rubiane Maia’s work
Where Everyone Sees (90; Supplemental Figure 13). She performs for two hours in a cage while
locking eyes with a taxidermized fox. The objectication of the black woman’s body and the animal
itself stand side by side within the extractivist/capitalist system, dehumanizing, as well,the human
species itself through racism (91, 92).
EMERGENT ECOLOGIES
The term emergent ecologies (93, 94) allows us to consider alternative perspectives on the cli-
mate crisis, focusing on peripheral territorial relations that experience various forms of violence
and marginalized populations within a hetero-cis-white-neoliberal normative framework. This
concept, as presented by Ojeda et al. (95), sheds light on “ecologies always in the process of be-
coming, capable of defending and subverting oppression based on gender, race, ethnicity, class,
sexuality, caste, ability, species, and other forms of discrimination—and therefore, capable of pro-
tecting and defending life and living worlds” (95, p. 149). The very understanding of the end of
the world as a decisive image, a condemnation, or a possibility for salvation and transcendence
(96) is transformed by these artists and their works, as the world has already ended many times for
those who have fallen victim to ecocide—such as Indigenous populations in the Americas (97).
As K. Yusoff (98) aptly reminds us: “If the Anthropocene proclaims a sudden concern for ex-
posing environmental harm to white liberal communities, it does so in the wake of stories in
which this damage was consciously exported to Black and brown communities under the rubric
of civilization, progress, modernization, and capitalism” (p. 11).
From this perspective, these artistic practices create the condition for understanding other
necessary experiences in the composition of diverse living worlds. In this regard, decolonial,Afro-
diasporic, indigenous, queer, and feminist experiences offer different ways of looking at the climate
crisis, not only from an unmarked theoretical standpoint but also through an artistic, radical, lo-
calized, and narrative perspective. Denise Ferreira da Silva (99) invites us to consider aesthetic
spaces of investigation into what can end worlds where racial/colonial violence continues to make
sense. The goal is to end an “Ordered World before which decolonization, or the restoration of
the total value expropriated from native lands and enslaved bodies, is as unlikely as it is incom-
prehensible” (99, p. 37). Other representative works are those of Ana Mendieta (100), Uýra (101),
Jota Mombaça (102; Supplemental Figure 14), Davi de Jesus do Nascimento (Figure 5), and
many other artists (Supplemental Figures 15 and 16) who denounce violence inicted on their
bodies while ritualizing an intimate connection with the land and landscape elements.
Similarly, these works do not overlook the mechanisms of capture and valorization that the
art system can employ at the expense of racialized bodies. In 2020, Jota Mombaça (103) raised
questions regarding what she identies as the cognitive plantation, integrated into the valuation
and circulation system of decolonial contemporary art. For her, “[t]he objectication and sale of
the Black body within the framework of the Plantation economy seem to be a force that inscribes
itself, in more or less brutal ways, into how, in the context of slavery’s survival, Black culture and
forms of symbolic production are consumed and appropriated” (103, p. 5). The author discusses
the paradox of the decolonization movement in art, acknowledging that it aligns with the systemic
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Figure 5
Exorcismo de Dor, by Davi de Jesus do Nascimento. Adapted with permission from Reference 107.
plane of neoliberal capitalism that is “not only formed from the complete expropriation of the
value of Black labor (the economic foundation of the Plantation), but also sustained by an arsenal of
epistemic, juridical, and ontological devices of Raciality (the ethical foundation of the Plantation)”
(103, p. 6).
The term queer ecology, according to Sandilands (104), refers to various interdisciplinary ap-
proaches that, in several ways, question the heterosexist discursive narratives and institutional
structures that dominate the relationship between sexuality, nature, and the Earth. Many artists
embrace these approaches to reinterpret evolutionary dynamics, ecological interactions, and re-
lated political issues through the lenses of queer and ecofeminist theory.These practices highlight
the complexity of contemporary biopolitics, establish essential connections between the material
and cultural dimensions of environmental issues and gender politics, and insist on “an articula-
tory practice in which sex and nature are understood in light of multiple trajectories of power and
matter” (104, p. 169).
In 2019, the EcoFutures (105) festival brought together artists, activists,and theorists to create
an experimental platform around climate emergency issues from a queer and decolonial perspec-
tive. Another collective project in this vein is Queer Nature, which denes itself as an educational
project based on critical naturalist studies that develop survival skills through recognizing colo-
nial and Indigenous land histories, facilitating listening, and building relationships with ecological
systems and their inhabitants. The project, blending knowledge and artistic practices, is aimed at
individuals who have been marginalized and even represented as non-natural (105).
Paul Preciado, one of the leading gures in queer theory, organized a colloquium at the
Museum of Contemporary Art in Barcelona titled Descolonizar el Museo (Decolonizing the
Museum) at the end of 2014 (106), bringing together artists, activists, and thinkers. In this
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gathering, the relationship between the end of worlds, colonialism, and the complicity of es-
tablished art institutions was taken as a central object of reection. In the introduction to the
event, some critical questions resonated: “If the museum was invented as a colonial technology
capable of unifying historical narration, as a collective memory prosthesis seeking to write the
past and pregure the future to legitimize hegemony, is it possible to think of a decolonial use of
the museum? How can we produce knowledge capable of accounting for the historical agency of
subjects subalternized by colonization?” (106).
THE FUTURE IS VEGETAL
Many artists and philosophers also draw inspiration from the recent vegetal turn (108) to bring
plants and their multiple cosmologies closer to cultural works. The philosophy of mixture pro-
posed by Emanuele Coccia (109) stems from plant life and presents us with a way to understand a
world through plants, with their surface of sensations, leaves producing the atmosphere,roots ac-
quainting themselves with the Earth, and owers as cosmic forces. As Susana Dias (110) suggests,
the possibility of communication with the living world can occur only when humans cease to be
the center of communicative processes, when humans allow themselves to become and be popu-
lated by other-than-human forces. Other authors in contemporary philosophy and anthropology
are important to mention, as they directly inuence and underpin a series of interdisciplinary ac-
tions related to the arts, including participation in artist residencies, seminars, workshops, and
other forms of engagement to ponder the issue of the climate crisis. Among them are Stefano
Mancuso (111), Isabelle Stengers (11), Tim Ingold (112), Anna Tsing (113), Natasha Myers (114),
and Donna Haraway (2, 3). Their works point to alternative, interspecic—other-than-human—
worlds as forms of resistance to the Anthropocene, Plantationocene, and Capitalocene, bringing
perspectives that allude to cosmopolitics within plant and animal worlds.
The exhibition Trees (115; Supplemental Figure 17), which took place in 2019 and 2020 at the
Fondation Cartier in Paris, aimed to restore trees to the place from which they had been removed
by anthropocentrism. The artistic endeavor, which turned into a beautiful book catalog, brought
together artists and scientists who celebrated the plant world and brought us closer to its beauty
and essential role in enabling human life on Earth.
Many other artistic projects address the issue of food, agriculture, and the relationship with
the city in the context of raising awareness and educating people about climate issues (see http://
cidadeoresta.com.br,https://ciudad-huerto.org,https://www.haenke.cz,https://silo.org.
br,https://jardinalidades.wixsite.com). Also, many artists are addressing the vegetable relation;
one example is Brazilian Jorge Menna Barreto, who presented a work termed Restauro (116). The
piece raises questions about the development of dietary habits and their relationship with the
environment, landscape, climate, and life on Earth. In the work, we are led to understand both
our digestive system as a sculptural tool through which diners become participants in an ongoing
environmental sculpture and how the act of nourishing regenerates and shapes the landscape in
which we live (116).
Another example is the installation Brain Forest Quipu by Cecilia Vicuña (http://www.
ceciliavicuna.com), composed of sculpture, sound, music, and video. This work invites visitors
to reect on the destruction of our forests, the impact of climate change, the violence against
Indigenous peoples, and how we can come together to promote change and initiate reparation
processes. As part of Vicuña’s project, she created Quipu of Encounters: Rituals and Assemblies. It
consists of a series of international events, or knots of action, that unite people in the poetic and
political protection of our planet. The rst event took place at Tate Modern on October 14, 2022
(117), encouraging visitors to engage in preventing the climate catastrophe.
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PLATFORMS AND PARTICIPATION NETWORKS
Burke and colleagues (118) concluded that, although there is a growing number of artistic inter-
ventions related to climate change and growing importance emphasized in these actions, there
has not been a systematic application of interpretative techniques from the social sciences to un-
derstand whether these artistic interventions can or cannot effectively engage the public on the
subject. The authors analyze the literature in the elds of social psychology and participatory arts
to demonstrate why participatory artistic interventions related to climate change can be a key to
more effective approaches to engaging diverse audiences in behavior change related to climate,
pointing to the possibility of new and signicant research agendas and political action for the
future.
Uncertainty, contingency, and experimentation—necessary characteristics of responses to
climate change—can generate emerging forms of practice that require new approaches in the
arts, sciences, and education. Cubillos Barragán’s research (119) in a high–socioenvironmental
risk community in Colombia states that the use of artistic language as a mediator in socioenviron-
mental conicts related to climate change calls for action from those who were once spectators,
promoting a greater possibility of understanding and transformation. It is essential to highlight
the role of young people in the face of the crisis and how art and education can strengthen this
understanding and engagement (120). According to Jacobson et al. (121), integrating scientic
knowledge into collective and educational practices can promote more effective communication
about the climate crisis.
The convergence of arts and sciences has become essential for developing new transdisciplinary
research, creation, and education methodologies. In this sense, several projects of colearning and
collaborative research were created by scientic research institutions in collaboration with institu-
tions in the eld of the arts, exploring how art has the potential to connect emotions, subjectivities,
and engagement with critical issues (122, 123). One example is the Anthropocene Curriculum
project, resulting from a partnership between the Max Planck Institute and HKW (Haus der
Kulturen der Welt). Initiated in 2013 as a colearning project that brought together researchers
from various elds, including artists, its initial goal was to discuss what kind of knowledge we
need to produce to live in this era and what changes are needed in how knowledge is shared
and sensitized. The project expanded and generated the Anthropocene Commons (https://www.
anthropocene-curriculum.org/anthropocene- commons), a network of researchers, educa-
tors, activists, artists, and scientists from around the world who work transdisciplinarily on the
Anthropocene, becoming a platform that encompasses numerous actions in different countries,
including exhibitions and publications in arts and sciences.
It is important to note that collaborations between arts and sciences have existed long before
discussions about climate change and the Anthropocene. However, this convergence is growing
and exploring ways in which transdisciplinarity can contribute to rethinking the importance of
cultural and creative responses to environmental changes (124).
Many contemporary projects mix and integrate these artistic practices into training net-
works, exchange, and artistic residencies, thus promoting platforms where participation can
occur both online and in person. In this sense, many actions, research, and platforms have
emerged over the past few years. Examples that are worth mentioning are Art Works for
Change with the exhibition De Mucho Unos, E Pluribus Unum (https://www.artworksforchange.
org/de-muchos-uno-e-pluribus-unum/); Creative Carbon Scotland; Ecoartspace (https://
ecoartspace.org); Sensitive Territories (https://www.territoriossensiveis.com); SILO—
Art and Rural Latitude (https://silo.org.br); Terra Batida (https://terrabatida.org); Ensayos
(https://ensayostierradelfuego.net); entre—ríos (https://entre-rios.net); Take Me to the River
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(https://takemetotheriver.net); Traces of Nitrate (https://www.tracesofnitrate.org/About);
Hidroscopia/Mapocho (https://www.claudiagonzalez.cl/projects/hidroscopia-mapocho/);4
The Land (https://www.thelandfoundation.org); and Selvagem (https://selvagemciclo.com.
br) among many others.
Artistic networks and platforms that bridge art, ecology, and emerging issues of the climate
crisis are often rooted in concepts of care,5the commons, and repair. The commons are taken in
a way that extends beyond resource organization, protocols, and communities (125, 126) into a
mutual establishment (127, 128) that implies readiness for encounters, a “porous body” (19) that
is permeable, capable of sensing, listening, and incorporating (embodiment) micromovements,
microsonorities, tactile sensations, and temporalities. It also encompasses macromovements and
the breadth of the system in which it is embedded, producing joy in moving and perceiving itself
as part of a commonality (129).
This commonality presupposes collaborative practices and coexistence in the weaving of sup-
port bonds guided by democratic, community-oriented values and shared power—including the
power of the artist. Or, as Cohen-Cruz (130) suggests, given the current context of demanding
sociopolitical challenges, we need to consider how artists and their propositions can reveal the
nuances we have in common, seeking more people to generate ideas on how to manifest the most
diverse experiences of the world, as observed in the actions and projects of the aforementioned
platforms.
However, in many projects, the notion of the common emerges through a diagram of con-
icts, inequalities, and socioterritorial clashes that reveal the intrinsic power relations within what
can be abstractly termed climate collapse. Many artists from Latin America, for instance, have
been addressing the issue of mineral extraction, its traces of violence and contamination, and
the increased devastation against territories and communities, as seen in the work Flujos Min-
erales by Alejandro Gómez Arias (131); in the productions of the Peruvian artists Edi Hirose and
Nancy La Rosa (132); and in Ignacio Acosta’s work, where the idea of archaeology of sacrice
(http://ignacioacosta.com/archaeolgy-of- sacrice) is developed. The work of Paula Serani
(133) provides an overview of artworks and artistic endeavors in Argentina and other parts of
Latin America that have been responding to the advancement of extractivism in the region. For
the author, such works present images of a conict of worlds between diverse ways of living and
ontological systems.
Marisol de la Cadena, examining socioterritorial conicts in Latin American contexts, draws
attention to the fact that “those who oppose the transformation of universal nature into resources
[are perceived to] oppose the possibility of the common good as the mission of the nation-
state and, thus, are enemies of the State, deserving at the very least to be imprisoned” (134,
p. 105). Such conicts make visible what the anthropologist refers to as “a war against those
who oppose the translation of nature into resources” (134, p. 107). This also gives rise to the
emerging critique of the notion of the common, which in some contexts can imply a world (a
river, a forest, a mountain, an entire territory) as a shared ground already taken for granted, often
translated as natural resources available for appropriation and administration by national govern-
ments (135). In such cases, “the common emerges at the cost of subordinating a set of practices
through an action that aims to ‘resemble’—that is, an equivalence is proclaimed (and accepted)
where, in fact, a divergence truly operates” (136, p. 190). Artistic practices that address these
4In this case, the artistic processes are conceived and grounded in the composition of regimes of visibility and
perception of the common.
5The concept of relationships of care, inspired by how Indigenous thinking in the Americas considers the
environment, was also the theme of the 2023 edition of the Artissima fair, held annually in Turin.
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matters are, among many others, 3Ecologies (https://3ecologies.org), The Center for Land Use
Interpretation (https://clui.org), TAP (Temporary Art Platform) (https://togetherwetap.art),
The Plant Studies Collaboratory (https://plantstudies.wordpress.com), LAB VERDE (https://
www.labverde.com), and Cidade Floresta (http://cidadeoresta.com.br). These practices have
managed, in some way, to give tactility to previously invisible and unspeakable ideas and inter-
rogations associated with the climate crisis, creating new visibilities and languages. As Mauro
Barbosa de Almeida notes: “the existence and non-existence of beings is a eld of struggle and
power, and not just a matter of epistemology or ways of knowing” (137, p. 24). In this sense,
artistic practices can shift the question from “how to see better?” to “what is there to see?” (138,
p. 339).
CONCLUSIONS
As evidenced throughout this article, contemporary artistic productions offer multiple responses
to the challenges brought about by the Anthropocene. However, none of these responses seek a
conceptual closure or a purely epistemological resolution to the matters at hand. Instead, they
suggest that answers emerge through the multiplication of relationships that foster and promote
life in all its diversity—biodiversity, diversity of ideas, diversity of worlds. Understanding that a
response is not necessarily a closure or an act of reducing complexity or disciplining relationships,
as often presented in politics and science, implies that this article cannot conclude with anything
other than a signal toward multiplication and openness.
Artistic practices aid us in engaging with and addressing environmental concerns, which have
never been separate from us except through the modern illusion of a division between cultures
and nature. As Félix Guattari pointed out in 1989 in The Three Ecologies (139), the social, envi-
ronmental, and mental realms, when united, constitute an existential territory, an ethical-aesthetic
vision of totality, enabling effective transformations of the capitalist behaviors that underlie the
contemporary condition.
Artistic projects demonstrate the myriad possible paths of approach, engagement, and sensi-
tization (Supplemental Figures 18–21). The ongoing creation and exploration, in various ways
and across networks, promote an understanding of shared issues. Affective alliances expand our
ways of comprehending and perceiving life, relationships, and the possibilities of existence in the
world from multiple perspectives. This experience has widened affective alliances between indi-
viduals who were distant not only territorially but also symbolically and culturally, enhancing the
potential for the expansion of realities and artistic actions. This is a signicant exercise in alterity
in the face of the climate crisis, which affects not only humans but also other beings that inhabit
the planet.
All of us lack refuge in the face of the climate emergency, although we know that more de-
veloped countries will have better conditions for coping. Besides broadening the possibilities for
artistic actions and inventive approaches in such obscure times, possibilities for the connection be-
tween art and life have been highlighted and established through sharing—particularly sensitive
sharing of imaginaries and exchanges (21).
The artistic and creative exercises offer us spaces of affection, hope, and beauty. These refuges
are physical, concrete, structural, symbolic, virtual, and imaginary. Antônio Santos (140) argues
that quilombos6have been and continue to be persecuted not primarily because of racial aspects
6Originally, the term quilombo derived from the Bantu language and referred to territories established by
Africans who escaped plantations and other oppressive relationships during the slavery period. In the 1970s
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but mainly because they offer an alternative way of life. This is why—this proclaimer of quilombola
knowledge and practices continues—the countercolonial posture is an “organic way of life” dis-
tinct from the synthetic machination of labor (both human and other-than-human) supporting the
Plantationocene. An important role of art in times of crisis is thus to create quilombo-like spaces.
Rancière (16) asserts that a battle once centered on the promises of emancipation from history
is now fought in the aesthetic realm. With the conicts and disagreements of the Anthropocene,
the aesthetic experience becomes a privileged space for challenging our stance in political disputes.
Art and politics share a common ground: bodies’ positions and movements, the functions of words,
and divisions between the visible and the invisible (16). By sowing worlds through poetic actions,
the aesthetic experience generates, in some manner, an experimentation of equality and freedom
or an experience of refuge in the face of crisis.
If the climate crisis ignited in the Anthropocene is a shared political and aesthetic crisis, then
art, inseparable from life and hence nature, holds a crucial role in nurturing care and the potency
of imagining other possible worlds. The poetic experience enables the apprehension of the world
as a living totality, with the experience of community, the common, encompassing everything
that traverses and constitutes us: plants, minerals, waters, air, and other individuals. Beyond mere
objects, art can proclaim what is not yet and what can be.
SUMMARY POINTS
1. This article outlines the contributions of artistic practices in the Anthropocene and the
climate crisis, highlighting the narratives and materialities composing various innovative
forms of actions and thought.
2. If the climate crisis ignited in the Anthropocene is a shared political and aesthetic crisis,
then art, inseparable from life and hence nature, holds a crucial role in nurturing care
and the potency of imagining other possible worlds.
3. Different ways of naming the crisis constitute a key issue that unfolds throughout the
article, with various perspectives and poetic positions. The terms Anthropocene, Cap-
italocene, Chthulucene, Plantationocene, Planthropocene, Pyrocene, and Negrocene
offer clues that naming is also an act of creating and narrating reality.
4. Various theoretical efforts are presented to justify the importance of the arts in raising
awareness about the climate issue. A central element is the perception of the inefcacy
of the traditional ways of framing the problem, in science communication, for instance,
to generate the societal transformations required to address the issue.
5. We discuss the forms and contents through which artistic works engage with this
theme, from immersive exhibitions to collaborations and collective action on platforms,
encompassing journeys, residencies, and performances.
6. Transdisciplinary practices indicate a direction for future engagement and action
between scientists, artists, and activists about the climate crisis.
and 1980s, the Brazilian black movement appropriated the term as a form of resistance and organization in
antiracist struggles. Alongside palenques in Colombia and marrons in the Caribbean, quilombos also encom-
pass contemporary groups identifying as traditional peoples in Brazil, enjoying specic cultural and territorial
rights. These days, the act of organizing Quilombos (aquilombar) has inspired artists and philosophers to
imagine refuges of biodiversity and sociodiversity against the Plantationocene. See more in Reference 141.
www.annualreviews.org •Artistic Practices in the Anthropocene 241
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7. Artists working from within emerging and emancipatory ecologies arise as agents
capable of challenging and subverting deeply ingrained attitudes toward modes of be-
ing and other-than-human forms of life, denaturalizing colonial processes, patriarchal
exploitation, and violence.
8. By sowing worlds through the creative power of poetic action, aesthetic experiences
generate the conditions for the constitution of refuge sites in the face of the crisis.
FUTURE ISSUES
1. To justify the signicance of the arts in approaching and communicating the climate
crisis, it is essential to understand that artistic practices can help us imagine and narrate
other endings—ones that do not necessarily culminate in catastrophe or nality. They
also help us imagine and practice other sciences and technologies and understand the
crisis as an opportunity to reconsider how we feel and live on Earth, moving from the
perspective of collapse to one of action and necessary change.
2. Practices that challenge and subvert the devaluation of sensory and affective experiences,
including arts and artistic practices, must be promoted, as they are crucial for transform-
ing sensibilities and raising awareness about the necessary changes demanded by the new
climate regime.
3. Rethinking how to create and produce art is crucial, encompassing inclusive practices
that align with social, economic, and cultural aspects of ecological issues.
4. The contributions and voices of queer, feminist, community-based, and grassroots
artists are essential, as they have critiqued patriarchal and colonial perspectives and
sustainability projects grounded in them.
5. It is important to reconsider the notion of the common, fostering collaborative and co-
existing practices in weaving relationships guided by democratic, communal, and shared
power values—including the power of artistic creation.
6. The artistic and symbolic production related to the crisis plays a fundamental role in
engaging the cultural politics of climate change in meaningful ways. As a result, further
research in this area is necessary.
DISCLOSURE STATEMENT
The authors are not aware of any afliations, memberships, funding, or nancial holdings that
might be perceived as affecting the objectivity of this review.
ACKNOWLEDGMENTS
The authors would like to thank Dr. Gilberto Jannuzzi. The researchers were funded, at different
times, by the Sao Paulo Research Foundation (FAPESP, grants 2014/50848-9 and 2022/05981-9),
the Brazilian National Council for Scientic and Technological Development (CNPq, grants
465501/2014-1 and 315824/2023-9), and the Brazilian Federal Agency for Support and Evaluation
of Graduate Education (CAPES, grant 88887.136402-00).
242 Guzzo et al.
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