Capitalist Cocktails and Moscow Mules: The Art World and Alter-globalization Protest
In: Globalizations, Band 8, Heft 4, S. 473-486
ISSN: 1474-774X
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In: Globalizations, Band 8, Heft 4, S. 473-486
ISSN: 1474-774X
In: Utopian studies, Band 22, Heft 2, S. 342-343
ISSN: 2154-9648
In: Utopian studies, Band 22, Heft 2, S. 197-200
ISSN: 2154-9648
In: Laura J. Murray, S. Tina Piper and Kirsty Robertson, Putting Intellectual Property in Its Place: Rights Discourses, Creative Labor, and the Everyday, Oxford University Press, Forthcoming
SSRN
In: Open library of humanities: OLH, Band 9, Heft 2
ISSN: 2056-6700
This article explores the exhibition Plastic Heart: Surface All the Way Through. Curated by the Synthetic Collective, the exhibition emerged from a scientific study aimed at tracking plastic pellet pollution on the strandlines of beaches of the Great Lakes. This lake system crosses the border of the United States and Canada and contains more than 20% of the world’s surface freshwater reserves. Utilizing this study as a starting point, Plastic Heart also examined the role of plastics in the art world, the challenges of conserving plastics in museum collections, and the potential for art-science collaboration. Importantly, Plastic Heart also aimed for a minimal carbon impact, driving decisions throughout the process to mitigate the energy footprint and waste generated during curation. Using Plastic Heart as a case study, the authors address the strengths and weaknesses of the curatorial approach employed in the exhibition and argue for curatorial strategies grounded in complexity as a method of addressing environmental issues.