1. Introduction
Throughout history, humanity has interacted with nature, oscillating between phases of subjugation to nature and attempts to dominate it. This evolving relationship between humans and nature has been explored across a spectrum of philosophical thoughts and artistic expressions. Today, issues such as environmental degradation and the loss of ecological balance drive thinkers, artists, and scientists to examine this relationship more deeply. This paper aims to discuss the interaction between ecology and art, exploring the role of nature in human life and art practice. It focuses on the significance of the concept of new materialism in this context, investigating how art interprets nature and addresses the impact of human activities on the environment. Various art projects and intellectual approaches aiming to enhance our understanding of the relationship between nature and art will be examined, highlighting their potential to increase environmental sensitivity and raise awareness of ecological issues.
2. The Relationship Between Ecological Art and New Materialism
Humans, as life forms on Earth, have evolved from the primitive era marked by the discovery of fire to become a dominant force on the planet. Among the many phases humanity has undergone, the Anthropocene—marked by the Industrial Revolution—is often described as the most destructive. Geology, the study of Earth's evolution and changes over time, categorizes the past into different eras, such as the Paleozoic, Mesozoic, and Cenozoic. In our current era, the Holocene, which has persisted for the past ten thousand years, Nobel Laureate chemist Paul Crutzen proposed the term "Anthropocene" in 2000 to describe the last two centuries of the Holocene due to increased fossil fuel use, agricultural activities, deforestation, and the proliferation of cattle farming (Esgün, 2022: 32).
The knowledge and skills developed through industrialization and urbanization have enabled us to experience and reshape nature in unprecedented ways, effectively rendering it a resource entirely subject to human control and manipulation. This urge to intervene in nature mirrors Descartes' concepts of "domination" and "ownership" (Serres, 1994: 41-45). This rationalist approach underpins the consumer economy, emerging in parallel with the individualization of humans and shaping a consumption-driven society.
"Humanity's excessive consumption, skewed political relations, and money-centered lifestyle not only reduce the diversity of life on Earth but also contribute to large-scale disasters like global warming, thereby endangering human existence itself. The environmental awareness that began to rise post-1960 brought issues such as climate crisis and global warming to the fore in the realms of philosophy, sociology, and art under the theme of ‘ecology.’ In the 1970s, scientists and civil organizations became increasingly interested in pollution, natural area preservation, rapid population growth, food, energy consumption, and biodiversity. The first 'Earth Day' was held at Stanford on April 22, 1970, and the 1970s came to be known as the 'Decade of the Environment.' However, in the 1980s and 1990s, environmental issues receded into the background while political concerns like unemployment, rising crime rates, the Cold War, income inequality, government budgets, and social justice became more prominent. Entering the 21st century, environmental issues once again came to the forefront as the Earth's degradation by humans accelerated" (Yüksel and Yüksel, 2022: 1780).
The relationship between art and nature has also undergone a similar transformation. Whereas artists once reflected the essence, impressions, or emotions of nature through observation, a radical shift occurred after the 1960s. Artists began working within a conceptual framework, embracing new technological media over traditional materials, expanding into activist actions and passive critiques. Reassessing ecological concerns in art history through contemporary concepts offers valuable insights into both the past and the present.
One example is Hans Haacke’s work Grass Grow, which demonstrates a critical perspective on the human-nature relationship by using biological systems to convey the sensitivity of art objects to environmental interactions and natural processes. In Grass Grow, exhibited at Cornell University's Earth Art Exhibition in 1969, Haacke grew grass without chemical agents on a mound of soil, offering viewers an interactive experience that challenged traditional notions of art objects as static. In his manifesto, Haacke called for a paradigm shift in art’s relationship with nature, advocating for art objects that interact with their viewers and embody living, mutable qualities (Saygı, 2016: 8). Through Grass Grow, Haacke not only presented an avant-garde stance within artistic production but also opened a window into the intellectual practices of his era.
Contemporary ecological philosopher Arne Naess introduced the concept of "deep ecology" in the 1970s, proposing an alternative to the anthropocentric environmental views prevalent at the time. He differentiated "shallow ecology," focused on combating resource depletion and pollution, from "deep ecology," which regards nature as inherently valuable beyond its utility to humans (Cihanalp, 2019: 37). Deep ecology advocates for an eco-centric perspective where humans are part of a larger life web, emphasizing the intrinsic worth of non-human nature (Çüçen, 2011: 6). This notion of self-realization within a web of life aligns closely with new materialist perspectives that emphasize the interdependence of humans and matter.
Amid these intellectual shifts, German activist artist Joseph Beuys initiated the 7000 Oaks project as part of Documenta 7. This project involved the symbolic planting of 7,000 oak trees in Kassel, Germany, demonstrating Beuys' belief in the potential for art to foster a harmonious relationship between humanity and nature. Beuys described this project as "a step toward a new concept of art" where human skill symbolizes a connection with nature (Saygı, 2016: 7). Similarly, Agnes Denes critiques urbanization through site-specific works in urban centers, such as her iconic Wheatfield - A Confrontation, created in 1982 on the former site of the World Trade Center. By cultivating over 1,000 kilograms of wheat on this economically significant plot, Denes criticized both capitalism and the human domination of nature, positioning art as an instrument of ecological reflection (Ünal, 2019: 193).
In the 21st century, artists and thinkers have moved from an anthropocentric to a post-anthropocentric attitude, also known as "new materialism." This perspective, originating in philosophy, regards matter as dynamic, performative, and self-generating rather than passive and inert. American theorist Karen Barad, for example, emphasizes that matter is not merely a "substance" but an "inherent relational action," challenging Cartesian-Newtonian dualism by arguing that agency extends beyond humans to all matter (Toprak, 2022: 185). This approach has influenced a new wave of ecological art, as seen in Mel Chin's Revival Field and Michel Blazy's Pull Over Time, both of which highlight art’s capacity for ecological intervention and interaction with matter itself (Ünal, 2019: 194).
3. Conclusion
Artistic and philosophical productions have historically accompanied human evolution, bearing witness to social realities, highlighting issues, and fostering reflection. In the Anthropocene era, an awareness has emerged that nature, as humanity has known it, is undergoing irreversible transformations. This paper explored how contemporary art interacts with the concept of ecology and how this interaction is shaped through the lens of new materialism.
Human relationships with nature have changed significantly over time, with current environmental crises motivating a reevaluation of this relationship by thinkers, artists, and scientists. The concept of new materialism, as defined within this article, diverges from traditional materialism by describing matter as active, self-forming, and dynamic. This perspective, which opposes human dominance over nature, suggests that matter continually reproduces itself through its internal relations, thereby contributing to an eco-centered approach that is fundamental to ecological art.
Projects by artists like Hans Haacke, Joseph Beuys, and Mel Chin not only integrate nature’s active participation but also question the connections between humans and nature, critiquing anthropocentric views and emphasizing the dynamism of matter.
In conclusion, the deep bond between ecology and art is further enriched through the lens of new materialism. While new perspectives on ecological philosophy aim to challenge our modes of engagement with our surroundings, in art, this manifests as genuine interventions or healing processes. By positioning nature not merely as a theme but as an active participant, contemporary art contributes to increased environmental awareness, fostering a more conscientious approach to ecological issues. New materialist thought encourages a more profound understanding of the human-nature relationship and steps toward a sustainable future. Artistic and intellectual efforts within the domain of ecology, though unlikely to provoke vast sociological shifts, represent positive actions toward increased ecological awareness and an improved, inclusive dialogue with nature.
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