Abstract
Abstract Images of the North Pacific Vortex have been circulating all over the world since the 1980 s and are meanwhile a central part of the project of ecological historiography. They visualize what cannot be seen with the naked eye, i. e., the enormous pollution of our oceans that can take on the form of bizarre shapes that can have horrendous consequences for the non-human environment. On the example of two art projects and an exhibit about waste production this essay examines artistic strategies of critique of acceleration processes. All three examples focus on the image of the ocean as the final resting point from a variety of different perspectives and utilizing different rhetorical strategies. They all stage the cultural dimension of water. Thanks to these approaches the harmful disruption of closed circuits, specifically the perversion of water circuits and the mythopoetic re-imagination of our oceans into the final resting point for industrial products becomes perceivable to its full extent. The invisibility of the phenomenon is staged in these curatorial and artistic strategies and becomes the object of critical reflection. Rhetoric and history can be experienced in their interwovenness with a focus on their ecological dimension.
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