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Performing Ecological Loss in Contemporary Art

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Performing Ecological Loss in Contemporary Art The Art of Losing: Performing Ecological Loss in Contemporary Art Hana Nikčević Department of Art History and Communication Studies McGill University, Montreal, Quebec March 2021 A thesis submitted in partial fulfillment of the degree of Master of Arts in Art History © Hana Nikčević, 2021 TABLE OF CONTENTS ABSTRACT ...................................................................................................................................... 3 ACKNOWLEDGEMENTS .............................................................................................................. 4 INTRODUCTION: The art of losing............................................................................................... 5 Loss and representation ............................................................................................................................. 7 Performing loss........................................................................................................................................ 12 Three-chapter structure............................................................................................................................ 13 CHAPTER ONE: The arts of noticing: Mark Dion’s The Life of a Dead Tree ............................ 16 Ecological noticing .................................................................................................................................. 21 Seeing like a naturalist; seeing like an ethnographer .............................................................................. 25 The scientific laboratory .......................................................................................................................... 31 CHAPTER TWO: Dead air: Sally Ann McIntyre’s Twin signals at Silver Stream (fragments of a landscape for specimens #50.766 & #50.767) .............................................................................. 44 Melancholic representations .................................................................................................................... 45 Signalling/signifying silence ................................................................................................................... 50 Eco-hauntology ....................................................................................................................................... 54 Perceiving loss ......................................................................................................................................... 59 CHAPTER THREE: Elemental medium: Katie Paterson’s Vatnajökull (the sound of) ............... 69 Eco-acoustics ........................................................................................................................................... 73 Close listening ......................................................................................................................................... 77 Elemental media ...................................................................................................................................... 82 Glacial media ........................................................................................................................................... 87 Environment/media: conditions of possibility ........................................................................................ 93 CONCLUSION .............................................................................................................................. 98 BIBLIOGRAPHY......................................................................................................................... 102 FIGURES .................................................................................................................................... 116 2 ABSTRACT In this moment of global environmental crisis, the accurate representation of ecological loss has arisen as an area of concern. What formal strategies best depict the diffuse, the protracted, the barely perceptible? In this thesis, I demonstrate that one strand of contemporary ecological art assumes a negative position: ecological loss, certain artists propose, is beyond representation. I demonstrate this premise across three chapters, each of which deals with one contemporary ecological artwork: American artist Mark Dion’s The Life of a Dead Tree (2019), New Zealand artist Sally Ann McIntyre’s Twin signals at Silver Stream (fragments of a landscape for specimens #50.766 and #50.767) (2016–18), and Scottish artist Katie Paterson’s Vatnajökull (the sound of) (2007–8). While each of these works deploys unique aesthetic tactics to treat its individual environmental issue and claim, the definitive aesthetic strategy in each of these artworks, I suggest, is that the artwork does not represent but instead performs ecological loss. Peggy Phelan has stated of performance that it “becomes itself through disappearance” and consequently resists representation; performance is by its nature ephemeral, and the crucial, final element of loss cannot be represented. This idea, I argue, underpins the three artworks I discuss. Conceiving of ecological loss as akin to performance in Phelan’s terms and thus acknowledging that the loss central to both exceeds representation, these works opt to perform ecological loss over representing it. In this way, each work formally rehearses the nature of the loss it treats instead of describing it. Ultimately, enacting ecological loss allows the artwork to resist contradicting the ontological status of loss as a passing-out-of-existence, thus disclosing ecological loss to be irreversible. RESUME Dans le contexte actuel d’une crise écologique mondiale, une représentation juste de la perte écologique est un problème auquel on attache une grande importance. Quelles stratégies formelles représentent le mieux ce qui est répandu, prolongé, à peine perceptible ? Cette thèse servira à démontrer qu’un element de l'art écologique contemporain assume une position négative : selon les artistes de ce mouvement, cette perte écologique dépasse la sphère de la représentation. Les trois chapitres suivants soutiennent ce postulat au moyen d’une analyse d’une œuvre d’art écologique contemporain à chacun : The Life of a Dead Tree (2019) de l’artiste americain Mark Dion, Twin signals at Silver Stream (fragments of a landscape for specimens #50.766 and #50.767) (2018) de l’artiste neo-zélandaise Sally Ann McIntyre et Vatnajökull (the sound of) (2007–8) de l’artiste ecossaise Katie Paterson. Bien que chacune de ces œuvres traite sa problématique environnementale à sa propre manière esthétique, je soutien que chacune des stratégies esthétiques definitives employees dans ces œuvres ne consiste pas en la representation de perte ecologique, mais plutôt en la performance de la perte ecologique. Au sujet de l’être de la performance, Peggy Phelan a dit qu’il « devient lui-même par la disparition » et, par conséquent, résiste à la représentation ; la performance est par nature éphémère, et donc on ne peut pas représenter ce dernier élément essentiel de la perte. Je conviens que cette idee est etayee par les trois œuvres d’art discutees. La conception de la perte ecologique est analogue à l’être de la performance selon Phelan et ainsi reconnaître que la perte essentielle aux deux dépasse la sphère de la représentation, ces œuvres d’art s’agissent donc de la performance de la perte ecologique plutôt que de sa representation. De cette manière, chaque œuvre ‘joue’ le genre de la perte qu’elle traite plutôt que de la décrire. Enfin, ce théâtre de la perte ecologique permet à l’œuvre d’art de resister le statut ontologique de la perte comme évanouissement, ce qui dévoile que la perte écologique est irréversible. 3 ACKNOWLEDGEMENTS This thesis has benefitted immeasurably from the support and contributions of numerous individuals. Christine Ross, my supervisor, offered the endless insight, generosity, and patience that made this project possible; for challenging me, always, to think more precisely and more creatively, I can’t thank her enough. Angela Vanhaelen, in addition to teaching two excellent seminars, gave invaluable comments as examiner. Mary Hunter reminded me of the productivity of close looking and description. Alexandra Ntoukas took the time to answer my questions about The Life of a Dead Tree as well as discuss her own critiques and ideas (and she also––and I’ll never forget this––let me into the lab). Mark Cheetham, at the University of Toronto, introduced me to ecological art. Molly Kay kindly and expertly translated my abstract. Tara Allen-Flanagan read every chapter in its most dubious state and, more importantly, made this whole experience consistently and profoundly enjoyable. I couldn’t have undertaken this project without the financial support of the Social Sciences and Humanities Research Council of Canada, the Department of Art History and Communication Studies at McGill University, and Victoria University in the University of Toronto. 4 INTRODUCTION: The art of losing “The Anthropocene,” write Heather Davis and Etienne Turpin, “is primarily a sensorial phenomenon: the experience of living in an increasingly diminished and toxic world.”1 Comprising the interrelated crises of global warming, deforestation, melting polar ice and rising water levels, ocean acidification, desertification, and the galloping loss of biodiversity identified as the sixth mass extinction,2 the current era inspires a sensory experience described by philosopher Rosi Braidotti as an “all-pervasive
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