Periodic Reporting for period 1 - EcoLandscapes (Ecocritical Study of Landscape Representations in Contemporary Art)
Período documentado: 2021-04-15 hasta 2023-04-14
This research project addresses four interrelated problems and aims: 1. To establish interdisciplinary meeting point for the study of art, ecology, aesthetics and philosophy; 2. Evaluate the role of new imaging technologies in the evolution of landscape as a genre; 3. Reclaim art historical methodologies as the tools of ecological research, thereby 4. Contributing to the re-invigoration of art history as a discipline.
This research is important for society because it addresses one of the most urgent global priorities, identified in The UN Sustainable Development Goals as Goal 13: Climate Action. Given that in Europe ecocritical art history is in an early stage of development, this project will help to build a critical mass of European scientific excellence in this field, as well as contributing more generally to formulating a cultural response to the current environmental crisis.
The overall objectives for this project are dual. The overall historical aim was to produce a study of contemporary developments in the genre of landscape by approaching new imaging technologies (photography, digital, animation) as not just technical or material supports, but as active participants in the evolution of the genre. The main theoretical aim of the project was to develop new tools for the study of landscape in an ecocritical perspective, through visual and contextual analysis of select case studies, drawn from the work of artists with a sustained engagement with the genre of landscape.
This research is important for society because it addresses one of the most urgent global priorities, identified in The UN Sustainable Development Goals as Goal 13: Climate Action. Given that in Europe ecocritical art history is in an early stage of development, this project will help to build a critical mass of European scientific excellence in this field, as well as contributing more generally to formulating a cultural response to the current environmental crisis.
The overall objectives for this project are dual. The overall historical aim was to produce a study of contemporary developments in the genre of landscape by approaching new imaging technologies (photography, digital, animation) as not just technical or material supports, but as active participants in the evolution of the genre. The main theoretical aim of the project was to develop new tools for the study of landscape in an ecocritical perspective, through visual and contextual analysis of select case studies, drawn from the work of artists with a sustained engagement with the genre of landscape.
The overall aim of this project was to produce a study of contemporary developments in the genre of landscape. Within this objective, the project intended to 1. Bring greater materialist perspective to the field of the environmental humanities by drawing on art historical study of the art objects; 2. Redeem art historical methods as favourable and indeed requisite to an ecocritical inquiry.
Having completed on time Tasks and Deliverables associated with WP1 (T1, T2, D1.1) I have progressed to WP3, focusing on Tasks 1, 2 and 3. Following presentations at conferences (WP 4, D4.1.1-3) including notably at the Association for Art History Annual Conference, 2021, the results were submitted for publication to Environmental Humanities journal under the title ‘Apocalyptic Landscapes and ‘Terror’ of The Sublime: Confronting Nature in The Anthropocene’. This material will also form the basis for Chapter 2 of my monograph (WP 3, D3.1 and D3.2).
Simultaneously I worked on Tasks and Deliverables listed under WP2 and WP4. The results were presented at several conferences including: ‘Strategies of Resistance as Ecocritical Aesthetics,’ International Conference Towards a Sustainable Attitude, Ca’Foscari University, Venice (2022), The Anthropocene Campus. Ca’ Foscari University/Max Planck Institute for the History of Science, Venice (2022), and ‘Paysages post-humains’, Conference Arts contemporains et anthropocène, Saint-Étienne University (2021). This relates to WP4 T1.
The results of research carried out under WP2 were submitted for publication (WP4 T3, D4.2.2) and are already published as ‘Décentrer la perspective humaine: Le paysage dans l’Anthropocène’, in Danièle Méaux and Jonathan Tichit (eds), Arts Contemporains et Anthropocène (Paris: Éditions Hermann, 2022). In addition, I published ‘Climate Migration,’ in Christina Baldacci, Pietro Daniel Omodeo and Shaul Bassi (eds), Venice and the Anthropocene: An Ecocritical Guide (Venice: Wetlands Books, 2022). This relates to results in WP2 D2.1 and D2.2.
Organising and convening research events (WP4 T4, M4.1 D4.3) has taken a greater role in the fellowship plan than anticipated, and had consequently greater impact. In collaboration with Prof. Andrew Patrizio (University of Edinburgh) and with the support of the Vienna Anthropocene Network I have organised a series of workshops under the title of ‘Towards Ecocritical Art History: Methods and Practices (2021-2022). With two events held online and on in person, they attracted a combined audience of some 400 people. Jointly with Prof. Patrizio I have prepared a book proposal for a publication that will gather the proceedings from this workshop, which is currently under review with Penn State University Press (WP4 T5). By responding to my research objective of establishing art history as favourable and indeed requisite to an ecocritical inquiry, these results will make a significant contribution to the state of research in the field.
With regards to results emerging from public engagement initiatives (WP5) I have successfully completed T.1 T2, T.3 and D.5.2-4. I have given public talks in major art venues including Jeu de Paume, Paris (2022), Paris Photo, Paris (2022) and The Photographers Gallery, London (2022). I also gave interview about my practice as a writer which was published in Lucy Soutter and Duncan Woolridge (eds), Writer Conversations (London: 1000 words, 2022). My proposal for an exhibition of contemporary art is currently under consideration by c/o Berlin, Germany. I have not completed tasks related to blog entries (D.5.5) although I maintained an active social media presence via Twitter and Instagram where I published regularly news related to my research (T.3).
Within training and project management (WP6) I have achieved T1, T3 and T.4. Despite attending several courses for grant writing (M6.6) I did not submit projected applications (D.6.6) instead focusing on job applications, with a positive outcome (see below).
While in my original research and training proposal I did not include a secondment, I have taken the opportunity to conduct further training at Ca’Foscari University, Venice, Italy, for a period of 8 February – 15 April 2023. This provided an invaluable training opportunity in line with the aim of expanding my teaching experience (TO5), by delivering a series of seminars for the MA programme in Environmental Humanities, Ca Foscari University, Venice. In addition, through an affiliated position at THE NEW INSTITUTE Centre for Environmental Humanities (NICHE), I gave a series of research presentations. This resulted in being invited to become affiliate member of the NICHE, thus extending further my research network.
Having completed on time Tasks and Deliverables associated with WP1 (T1, T2, D1.1) I have progressed to WP3, focusing on Tasks 1, 2 and 3. Following presentations at conferences (WP 4, D4.1.1-3) including notably at the Association for Art History Annual Conference, 2021, the results were submitted for publication to Environmental Humanities journal under the title ‘Apocalyptic Landscapes and ‘Terror’ of The Sublime: Confronting Nature in The Anthropocene’. This material will also form the basis for Chapter 2 of my monograph (WP 3, D3.1 and D3.2).
Simultaneously I worked on Tasks and Deliverables listed under WP2 and WP4. The results were presented at several conferences including: ‘Strategies of Resistance as Ecocritical Aesthetics,’ International Conference Towards a Sustainable Attitude, Ca’Foscari University, Venice (2022), The Anthropocene Campus. Ca’ Foscari University/Max Planck Institute for the History of Science, Venice (2022), and ‘Paysages post-humains’, Conference Arts contemporains et anthropocène, Saint-Étienne University (2021). This relates to WP4 T1.
The results of research carried out under WP2 were submitted for publication (WP4 T3, D4.2.2) and are already published as ‘Décentrer la perspective humaine: Le paysage dans l’Anthropocène’, in Danièle Méaux and Jonathan Tichit (eds), Arts Contemporains et Anthropocène (Paris: Éditions Hermann, 2022). In addition, I published ‘Climate Migration,’ in Christina Baldacci, Pietro Daniel Omodeo and Shaul Bassi (eds), Venice and the Anthropocene: An Ecocritical Guide (Venice: Wetlands Books, 2022). This relates to results in WP2 D2.1 and D2.2.
Organising and convening research events (WP4 T4, M4.1 D4.3) has taken a greater role in the fellowship plan than anticipated, and had consequently greater impact. In collaboration with Prof. Andrew Patrizio (University of Edinburgh) and with the support of the Vienna Anthropocene Network I have organised a series of workshops under the title of ‘Towards Ecocritical Art History: Methods and Practices (2021-2022). With two events held online and on in person, they attracted a combined audience of some 400 people. Jointly with Prof. Patrizio I have prepared a book proposal for a publication that will gather the proceedings from this workshop, which is currently under review with Penn State University Press (WP4 T5). By responding to my research objective of establishing art history as favourable and indeed requisite to an ecocritical inquiry, these results will make a significant contribution to the state of research in the field.
With regards to results emerging from public engagement initiatives (WP5) I have successfully completed T.1 T2, T.3 and D.5.2-4. I have given public talks in major art venues including Jeu de Paume, Paris (2022), Paris Photo, Paris (2022) and The Photographers Gallery, London (2022). I also gave interview about my practice as a writer which was published in Lucy Soutter and Duncan Woolridge (eds), Writer Conversations (London: 1000 words, 2022). My proposal for an exhibition of contemporary art is currently under consideration by c/o Berlin, Germany. I have not completed tasks related to blog entries (D.5.5) although I maintained an active social media presence via Twitter and Instagram where I published regularly news related to my research (T.3).
Within training and project management (WP6) I have achieved T1, T3 and T.4. Despite attending several courses for grant writing (M6.6) I did not submit projected applications (D.6.6) instead focusing on job applications, with a positive outcome (see below).
While in my original research and training proposal I did not include a secondment, I have taken the opportunity to conduct further training at Ca’Foscari University, Venice, Italy, for a period of 8 February – 15 April 2023. This provided an invaluable training opportunity in line with the aim of expanding my teaching experience (TO5), by delivering a series of seminars for the MA programme in Environmental Humanities, Ca Foscari University, Venice. In addition, through an affiliated position at THE NEW INSTITUTE Centre for Environmental Humanities (NICHE), I gave a series of research presentations. This resulted in being invited to become affiliate member of the NICHE, thus extending further my research network.
Progress beyond the state of art.
As a genre that is explicitly concerned with the representations of physical environments, landscape offers especially rich material for an ecocritical study, although few such studies exist, within art history or outside the discipline. This project progressed the state of art by conducting a critical analysis of the representations of landscapes in contemporary art (1980s-present day) that is informed by an ecocritical interpretative framework.
Expected results until the end of the project and potential impacts (including the socio-economic impact and the wider societal implications of the project so far).
This project laid the foundations for a major publication (single-authored book), with a projected completion date in 2024. It also produced several outcomes, disseminated to both academic and non-expert audiences, including research publications, workshops and conferences, as well as outreach initiatives, including public talks.
As a genre that is explicitly concerned with the representations of physical environments, landscape offers especially rich material for an ecocritical study, although few such studies exist, within art history or outside the discipline. This project progressed the state of art by conducting a critical analysis of the representations of landscapes in contemporary art (1980s-present day) that is informed by an ecocritical interpretative framework.
Expected results until the end of the project and potential impacts (including the socio-economic impact and the wider societal implications of the project so far).
This project laid the foundations for a major publication (single-authored book), with a projected completion date in 2024. It also produced several outcomes, disseminated to both academic and non-expert audiences, including research publications, workshops and conferences, as well as outreach initiatives, including public talks.