South African Nuclear Necropolitics in Helmut Starcke’s Study for “Vaalputs Madonna”

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Art provides a meaningful instrument with which to understand, reflect, and communicate history, humanity, scientific progress, and societal threats. Nuclear art is a particular and critical art form that deals with the duality of the nuclear chain reaction which is either used for peaceful purposes such as nuclear medicine and food irradiation, or for weapons of mass destruction such as nuclear bombs. Despite South Africa’s long nuclear history and unprecedented voluntary nuclear weapons disarmament, nuclear art as a visual practice is underdeveloped in the country. This article considers German-born South African artist Helmut Starcke’s Study for “Vaalputs Madonna” (2007) as a visual expression of South African nuclear art, and the nuclear necropolitics related to the Vaalputs National Radioactive Waste Disposal Facility in South Africa’s Northern Cape province. Starcke’s use of Marian iconography and his juxtaposition of European and African art symbolises the violence of nuclear colonialism, while he also confirms the realities of the nuclear necropolitics of apartheid and post-apartheid South Africa.

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