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Est.ética de Futuro: programar sobre o abismo
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Entre a comunidade científica há a convicção generalizada de que a actividade humana terá causado, sobretudo através das emissões de gases com efeito de estufa, o aquecimento do planeta. A consciência ecológica sobre as ameaças associdas ao aquecimento global há muito extravasou dos laboratórios de investigação para os media, destes para a população em geral, e desta para os decisores políticos.
A produção e despejo descontrolados de plásticos é outra preocupação ambiental de enorme relevância. Existem actualmente milhões de toneladas de plástico acumuladas nos oceanos com um fluxo de milhões toneladas de plásticos a serem despejadas anualmente. A invasão do plástico no ecossistema marinho resulta, evidentemente, numa indesejável perturbação e degradação de habitats marinhos. A propagação pelos plásticos, dos oceanos tem uma transmutação especialmente aliciante na arte ecológica na criação,
por Ana Pêgo, dos Plasticus maritimus, concebidos como uma nova monstruosa espécie invasora.
O discurso ecológico invadiu rapidamente a esfera da produção artística. Com a eclosão da arte ecológica, e sobretudo com a arte da terra, a ecologia passou a ser o objecto da produção artística e os materiais extraídos da terra ganharam o palco central. Procurou-se usar a arte como meio de consciencialização ecológica. Actualmente a preocupação central radica, sobretudo, na redução da emissão de carbono associada às manifestações artísticas, seja nos materiais utilizados, seja nos dispositivos de exposição, seja nos
comportamentos do público, ou seja, nos transportes dos visitantes. O caso de estudo que aqui será aprofundado será a Bienal de Veneza. Há quatro razões que concorrem para a escolha desta manifestação artística: em primeiro lugar, Veneza é uma encantadora cidade flutuante ameaçada pela subida das águas devido ao aquecimento global; em segundo lugar, porque, em 2021, os organizadores da bienal decidiram pela neutralidade carbónica do evento; e em terceiro lugar, Veneza assistiu a uma das primeiras demonstrações de Land Art da terra quando, em 19 de Junho de 1968, Garcia Uriburu, tingiu as águas do Grande Canal de Veneza de verde, utilizando fluoresceína; em quarto lugar, porque o destino último da exposição Fertile Futures, que tem por objecto sete bacias hidrográficas portuguesas, integrou a 18ª Mostra Internacional de Arquitecura da Bienal de Veneza. O projecto artístico aqui desenvolvido contempla uma exposição feita em colaboração com a bióloga e artista Ana Pêgo. A exposição será centrada nas criações de Ana Pêgo a partir de objectos de plástico e, em especial, através da entidade Plasticus maritimus. O conceito da exposição será assente na associação entre monstro e demonstro. Mais, a ideia de monstro será manipulada para invocar monstros marinhos que ajudam a melhor compreender os efeitos da poluição pelos plásticos, atribuindo-lhe, assim, uma função didática. Quando assistimos à sua difusão ubíqua é útil promover a reflexão sobre o que é a estética da ecologia e sustentabilidade, é importante pensar sobre como nos devemos alfabetizar para ler o mundo e assim determinar a melhor direcção face às várias encruzilhadas.
Among the scientific community there is a widespread perception that human activity has caused, mainly through greenhouse gas emissions, the warming of the planet. Ecological awareness about the threats associated with global warming has long spilled over from research laboratories to the media, to the general population, and from there to political decision-makers. The uncontrolled production and dumping of plastics is another critical important environmental concern. There are currently millions of tons of plastic accumulated in the oceans with a flow of millions of tons of plastic being dumped annually. The invasion of plastic into the marine ecosystem evidently results in undesirable disturbance and degradation of marine habitats. The propagation of plastics in the oceans has an especially attractive transmutation in ecological art in the creation, by Ana Pêgo, of Plasticus maritimus, conceived as a new monstrous invasive species. Ecological discourse quickly invaded the sphere of artistic production. With the emergence of ecological art, and especially with Land art, ecology became the object of artistic production and materials extracted from the earth took center stage. We sought to use art as a means of ecological awareness. Currently, the central concern lies, above all, in reducing carbon emissions associated with artistic events, whether in the materials used, in the exhibition devices, or in the public's behavior, that is, in the transport of visitors. This project considers a shift in discourse felt in the context of artistic programming. The case study that will be explored in depth here will be the Venice Biennale. There are four reasons for choosing this artistic manifestation: firstly, Venice is a charming floating city threatened by rising waters due to global warming; secondly, because, in 2021, the organizers of the biennial decided to make the event carbon neutral; and thirdly, Venice witnessed one of the first demonstrations of Land Art on earth when, on June 19, 1968, Garcia Uriburu, dyed the waters of Venice's Grand Canal green, using fluorescein; fourthly, because the final destination of the Fertile Futures exhibition, which focuses on seven Portuguese river basins, was part of the 18th International Architecture Exhibition of the Venice Biennale. The artistic project that will be developed is an exhibition made in collaboration with the biologist and artist Ana Pêgo. The exhibition will focus on Ana Pêgo's creations using plastic objects and through the entity Plasticus maritimus. The concept of the exhibition will be based on the association between monster and demonstrate. The idea of a monster will be used to invoke image of sea monsters to help us to better understand the effects of plastic pollution, thus giving it a didactic function. When we witness its ubiquitous diffusion, it is useful to promote reflection on what the aesthetics of ecology and sustainability are. It is important to think about how we should become literate to read the world and thus determine the best direction given the various crossroads.
Among the scientific community there is a widespread perception that human activity has caused, mainly through greenhouse gas emissions, the warming of the planet. Ecological awareness about the threats associated with global warming has long spilled over from research laboratories to the media, to the general population, and from there to political decision-makers. The uncontrolled production and dumping of plastics is another critical important environmental concern. There are currently millions of tons of plastic accumulated in the oceans with a flow of millions of tons of plastic being dumped annually. The invasion of plastic into the marine ecosystem evidently results in undesirable disturbance and degradation of marine habitats. The propagation of plastics in the oceans has an especially attractive transmutation in ecological art in the creation, by Ana Pêgo, of Plasticus maritimus, conceived as a new monstrous invasive species. Ecological discourse quickly invaded the sphere of artistic production. With the emergence of ecological art, and especially with Land art, ecology became the object of artistic production and materials extracted from the earth took center stage. We sought to use art as a means of ecological awareness. Currently, the central concern lies, above all, in reducing carbon emissions associated with artistic events, whether in the materials used, in the exhibition devices, or in the public's behavior, that is, in the transport of visitors. This project considers a shift in discourse felt in the context of artistic programming. The case study that will be explored in depth here will be the Venice Biennale. There are four reasons for choosing this artistic manifestation: firstly, Venice is a charming floating city threatened by rising waters due to global warming; secondly, because, in 2021, the organizers of the biennial decided to make the event carbon neutral; and thirdly, Venice witnessed one of the first demonstrations of Land Art on earth when, on June 19, 1968, Garcia Uriburu, dyed the waters of Venice's Grand Canal green, using fluorescein; fourthly, because the final destination of the Fertile Futures exhibition, which focuses on seven Portuguese river basins, was part of the 18th International Architecture Exhibition of the Venice Biennale. The artistic project that will be developed is an exhibition made in collaboration with the biologist and artist Ana Pêgo. The exhibition will focus on Ana Pêgo's creations using plastic objects and through the entity Plasticus maritimus. The concept of the exhibition will be based on the association between monster and demonstrate. The idea of a monster will be used to invoke image of sea monsters to help us to better understand the effects of plastic pollution, thus giving it a didactic function. When we witness its ubiquitous diffusion, it is useful to promote reflection on what the aesthetics of ecology and sustainability are. It is important to think about how we should become literate to read the world and thus determine the best direction given the various crossroads.
Descrição
Palavras-chave
Futuro Ecocriticismo Plástico marinho Future Ecocritic Marine plastic