Two Perspectives on Ecological Art

Abstract

In the paper “Two perspectives on ecological art”, we will compare two perspectives on sustainability and the practicality of an ecological artwork. One perspective is from Latvian media artist Maija Demitere, researching slow media art, deep sustainability, and food production. Demitere uses micro-gardening prototypes as an instrument to inform the public on the problems of food production (local food, biodiversity, pesticides, herbicides, pollution caused by agriculture). Demitere uses gardening in combination with DIY (Do it Yourself) technologies to talk about slow living, ecology of the mind, and mindfulness. The second perspective is offered by Jan Glöckner. Glöckner is a German artist and researcher. His research interests are collaborations between fungi and Hominidae. Glöckner reaches out with diplomatic gestures towards fungi to re-localise humans within the larger domain of living entities. He is working on an ethical framework that draws from deep ecology and Tibetian Buddhism to ensure the rights of microorganisms and macroorganisms in artistic, industrial, and research setups. The first part of the paper will focus on recycling, waste management, waste produced by households, and the artists’ perspective on the problem. The second part will focus on a specific case of the exhibition “Life” by Olafur Eliasson at the Foundation Beyeler in Riehen, Switzerland. The second part will also look at the idea of “artistic greenwashing”. The last part of the article will attempt to conclude what can be considered an actual sustainable artwork and propose possible key points that describe a (deep) ecological artwork. The paper uses such methods as case studies, literature analysis, and autoethnography.