Volume 2, Fall 2019
Edited by Vanina Saracino
Aimed at overcoming human exceptionalism and engaging the readers in post-anthropocentric worldviews, the SCB Journal, Ecologies – lost, found and continued broadly inquires into art’s agency in creating awareness and mobilization towards climate justice. With contributions by academics, artists, curators and activists, the journal deepens the Biennial’s art program with theoretical research that outlines the current state of climate imbalance and breakdown, as seen and experienced from the perspective of moving image art.
The journal sheds light on the endangered marine ecologies with particular attention to the effects of climate imbalance on the Nordic countries and in the Arctic ocean. It speculatively inquires into the language of non-human animals as a rehearsal in perceiving a more-than-human world. When we envision this language, we render those beings as capable of communication and grasp, ourselves, how other minds should be considered rather than neglected, enhancing our understanding of the environment as a delicate balance of irreplaceable ecosystems. The journal also addresses issues of human overpopulation and scarcity of resources, and the subsequent challenges that the legacy of our time will imply for the future generations. It reflects on questions like: what philosophical and spiritual ecologies of thinking does the art practice engage? How does art engage with material and technological ecologies of space? How does art engage and affect ecologies of hybrid environments?
The SCB Journal Ecologies – lost, found and continued is filled with a desire to reflect on how visual art, and moving image art in particular, can contribute to the current discussion on climate change. The journal aims to increase awareness and visibility, but also inspire individual and collective action towards climate justice.
SCB Journal Ecologies – lost, found and continued includes contributions by T. J. Demos (professor of History of Art and Visual Culture at the University of California, Santa Cruz; founding director of the Center for Creative Ecologies), Vanina Saracino (independent curator, co-curator at SCB), Taru Elfving (artistic director of CAA Contemporary Art Archipelago), Tanya Toft Ag (research fellow at the City University of Hong Kong, School of Creative Media; founding director of Urban Media Art Academy), Gabriel Bogossian (adjunct curator at Associação Cultural Videobrasil), Martin Lee Müller (researcher and author of the book Being Salmon, Being Human, 2017), Randi Nygård (artist and co-editor of the book The Wild Living Marine Resources Belong to Society as a Whole, 2017), Teresa Dillon (artist and researcher, professor of City Futures, University of the West of England), Barnaby Drabble (writer, curator and researcher), Oliver Ressler (artist), Kati Ilves (curator at Kumu Art Museum, Tallinn), Kristina Õllek (artist), Nathanja van Dijk (independent curator and founder of A Tale of a Tub, Rotterdam), Mikhail Karikis (artist), Les Knight (activist and founder of VHEMT, Voluntary Human Extinction Movement), Andrew Berardini (writer and art critic), Emilija Škarnulytė (artist), Tuomas A. Laitinen (artist) and Jenni Nurmenniemi (curator, Fiskars Village Art & Design Biennale).
Cover photo: Black Marble, NASA / Goddard Space Flight Center