Abstract
ABSTRACT David Claerbout is a contemporary artist working in the field of photography, film and digital animation, employing a range of aesthetic strategies to address shifting ideologies of vision: attention to light and time; the erasure of narrative in cinematic representation. This paper considers the political import of such strategies from an Australian perspective, in light of recent environmental catastrophe and extinction in the Anthropocene, whereby the depiction of worlds without humans occupies a space in the collective imagination signifying ruination. The paper examines Claerbout’s recent works, Olympia (the Real-Time Disintegration into Ruins of the Berlin Olympic Stadium over the Course of a Thousand Years) (2016) and The pure necessity (2016). It argues for the relevance of his work to posthumanist writings on extinction; for instance, Claire Colebrook and Joanna Zylinska, whereby the human desire to visualize ‘the world without us’ is problematized as an overtly anthropocentric celebration of human vision. I argue that Claerbout's expanded photo-filmic practice reveals how artistic production might tackle the problem of responsibly providing frameworks to consider the world outside of an anthropocentric viewpoint. Considering his work from such a framework, I ask, what does it take to represent the world without us?
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