Climate Summit Art. Art and Political Event, 1972-2022

气候峰会艺术与政治活动，1972-2022

• 批准号: 451978827
• 负责人: Dr. Linn Burchert
• 金额: --
• 依托单位: Institut für Kunst- und Bildgeschichte
• 依托单位国家: 德国
• 项目类别: Research Grants
• 资助国家: 德国
• 项目状态: 未结题
• 来源: https://gepris.dfg.de/gepris/projekt/451978827?language=en
• 关键词: Climate; Summit; Art.; Art; Political

Already during the first World Climate Summit of 1972 in Stockholm and the first Conference of Parties (COP1) of the United Nations (UN) in 1995 which was held Berlin, artists took the opportunity to produce artworks that concerned themselves with climate protection. In 1995, the UN established the COPs as an annual international forum for negotiations by delegates from the realms of politics, science, economics as well as NGOs on measures against climate change. The countless artistic and curatorial projects that typically occupy the urban space and various institutions on account of these climate conferences are an established concomitant of the summits. The history and development of this phenomenon are unresearched to date. It is paradigmatic for the novel relationship of the arts to politics, society and science since the 1960s. In acknowledgement of this background, this project aims to analyze the situation and institutionalization of art in the framework of political events as exemplified by international climate summits. On the one hand, the project is driven by the observation that since the 1990s, a new type of exhibition developed that thematically accompanied climate conferences. On the other hand, artists have also increasingly reacted to political mass events individually since the 2000s – producing performances, sculptural interventions, participatory art and activism. Through this analysis, a fundamental methodical desideratum of art history is faced: to gain a comprehensive account of the conditions of curatorial and artistic practices, curatorial and artistic concepts will be analyzed within their institutional positioning as well as in their cultural-political and social context. The project is powered by the thesis that exhibitions and artistic projects dealing with climate change in the context of political media events are not to be seen as internal developments of the art world. Rather, material and institutional conditions, such as the context within specific cultural-political frameworks and funding programs, are essential for the creation and the unique design of such projects. The available and potential infrastructure inherently determine which art reaches the public in what form. This study offers a new perspective on the phenomenon of ecologically engaged art. Within the historical context of the last fifty years (1972–2022), the history of political functions of particular presentations of art as well as the phenomenon of art’s globalization will also be researched. By connecting art historical analyses with art sociological questions, these investigations will constitute a model study in line with an art historical practice that is aware of the arts' broader contexts.

早在1972年在斯德哥尔摩举行的第一届世界气候峰会和1995年在柏林举行的联合国第一次缔约方会议（COP 1）期间，艺术家们就抓住机会制作了与气候保护有关的艺术品。1995年，联合国设立了缔约方会议，作为政治、科学、经济和非政府组织代表就应对气候变化措施进行谈判的年度国际论坛。无数的艺术和策展项目通常占据城市空间和各种机构，因为这些气候会议是峰会的既定伴随物。这一现象的历史和发展至今尚未研究。它是20世纪60年代以来艺术与政治、社会和科学的新关系的典范。在此背景下，本项目旨在以国际气候峰会为例，分析政治事件框架下艺术的现状和制度化。一方面，该项目的推动力是，自1990年代以来，开发了一种新的展览类型，主题是伴随气候会议。另一方面，自2000年代以来，艺术家也越来越多地对政治群体事件做出个人反应-制作表演，雕塑干预，参与性艺术和行动主义。通过这种分析，艺术史的一个基本的方法论的迫切需要面临的：获得策展和艺术实践的条件，策展和艺术概念的综合帐户将在其机构定位，以及在其文化，政治和社会背景下进行分析。该项目的主旨是，在政治媒体事件的背景下处理气候变化的展览和艺术项目不应被视为艺术世界的内部发展。相反，物质和体制条件，如特定文化政治框架和供资方案内的背景，对此类项目的创建和独特设计至关重要。现有的和潜在的基础设施本质上决定了哪些艺术以何种形式到达公众手中。本研究提供了一个新的视角来研究生态参与艺术现象，并将在过去50年（1972-2022）的历史背景下，研究特定艺术表现形式的政治功能史以及艺术全球化现象。通过将艺术史分析与艺术社会学问题联系起来，这些调查将构成一个符合艺术史实践的模式研究，这种艺术史实践意识到艺术的更广泛背景。