Activities

It is a pleasure to announce the publication of the American edition of our »Atlas« – updated and extended version with a new foreword by Stephanie LeMenager and a new long closing chapter (‘Zombie’) on the Ukraine war and the still not closed case of petromodern destruction.

Open access and paper copies! Download and order the book here!

We stroll through Baku, Rotterdam, and Louisiana, into Manchuria and through the Vienna Basin. We read Bertolt Brecht, technical manuals, and petroculture theory, and we listen to Neil Young. We go to the moon, through refineries and over highways emptied by the COVID-19 pandemic. We confront petrochemistry with petromelancholy, catalysis with catharsis, cosmos with cosmetics. The Atlas of Premodernity tackles the contradictory ambivalences of a substance that has been vital for our epoch, and whose roles and meanings need to be understood in order to be able to leave this epoch behind.

»#1 New Release in Petroleum Engineering« at Amazon (whatever this means, let’s keep it there!)

English translation of our Atlas by Ayça Türkoğlu, updated and enlarged edition with a new introduction by Stephanie LeMenager and a new concluding chapter, »Zombie«, on the still not closed case of petromodern destruction. In print and open access!

“The Atlas of Petromodernity offers us the chance to be a flaneur within its distinctively curated and therefore somewhat realistic world. Enter at your own risk, with the affinity for risk that may well define you, even still.” Stephanie LeMenager

For more details on publication, dates, and availability see here: punctumbooks.com

Exhibition at Brutus, in the port of Rotterdam, NL, Sept 1 to Nov 19

In bed with petroleum. 
In the air.
On the road. On the plate. 
All over and inside bodies. 
It’s a love affair that modern industrial civilization has been having with oil (and gas), its fuels and the materials created from it. More than that: it’s a love of life, profoundly influencing how people live, move, eat, dress, love, experience, aspire, and believe. A love, though, that has increasingly expressed destructive aspects, excess, exhaustion, abuse, addiction, and contamination.

“Petromelancholia” is the condition that the US energy humanities scholar Stephanie LeMenager diagnosed as being at the core of her home country’s cultural and political struggle to hang on to “oil culture“. The more people realize that the age of oil is eventually going to end—and has to in regard to the state of the planet—the harder they cling on to it. Following this diagnosis, the world has lately been swept by waves of petromelancholia. Acknowledging the long-lasting success of these dynamics of denial, which started 50 years ago, a mere “energy transition” might turn out to be not enough to get over modernity’s true love. 

Wouldn’t we also need acceptance and grief, reconciliation and reparations—processes that eventually lead to profound cultural, political and economic transitions?

Upon opening of our OIL-exhibition in Wolfsburg two years ago, Joep van Lieshout, one of the participating artists, asked if we wanted to curate a  follow-up show at his newly founded „artist-driven space“ Brutus in the port of Rotterdam.

Rotterdam! One of the oil capitals of Europe, largest port, largest refinery, largest petroleum storage and processing capacities. Largely and radically rebuilt after WW2 in all kinds of modernist style — a through and through petromodern city.

And since our 2017 visit to a Delft ‘Petroleumscapes’ conference, the region had played a role in our own petroleumscapes research, resulting in ‘Greenhause’, a chapter of our Atlas and in some smaller essays and publications).

Though a comparably low-budget project, the possibility to bring our curatorial research there was tempting.

After one and a half years of preparation, with a short residency and a petrosalon at Goethe Institut Rotterdam in april last year as startig points and deciding additional help and motivation, the exhibition opened on Friday, Sept 1st! Other than our Wolfsburg exhibition, which claimed to show the first retrospective of 100 years of petromodern art, „Petromelancholia“ is largely dedicated to our contemporary petromodern states of heart and mind. 

The exhibition consists of four chapters:
1 In Bed with Oil
2 Oil Encounters
3 Toxic Legacy and the Museum of Petromodern Futures
4 Arts of Living on a Damaged Planet.

The opening paragraphs of this entry are from the wall-text of the first chapter. All four wall-texts can be downloaded as a pdf here.

Click here to see a photo documentation of all the works in the exhibition.

The exhibition is spread over the complete Brutus-compound and consists of four chapters. Here’s a floorplan (click on image to enlarge or download as pdf).

» […] The boldness of the authors is to be applauded, for petroleum is not only a basic supplier of energy but also a basic material of the modern world. Almost everything in our modern world is linked to petroleum. Coping with this omnipresence is possible only by limiting oneself spatially, temporally, and methodologically. Various studies on petroleum that have appeared recently have taken this approach, such as the justly well-regarded work of Stephanie LeMenager. Klose and Steininger choose a different option. Their book consists of shorter articles, each picking out individual aspects. This creates a kaleidoscope of impressions: a master story is not told—and shall not be told.

The very well written book takes on the form of the ironic encyclopedia that has been popular since the nineteenth century, as a parody of the great encyclopedias of the Enlightenment era. Impressive color illustrations complement the text and, according to the authors, justify the “Atlas” of the subtitle (p. 15). In their individual glosses, the authors almost always succeed in offering interesting and often novel discoveries. For example, the topic of drilling is presented in a well-founded and stimulating manner in a brief account. The catalytically controlled chemical transformation of petroleum constituents is also solidly presented under the heading “Molecular Mobilization” (pp. 49–57). Often, the reader’s expectations are deliberately played with—as, for example, when the essay entitled “Animals in the Oil Field” (pp. 199–203) deals not with seabirds that are glued together and dying but, rather, with animals that visit drilling grounds. This approach arouses interest and curiosity but also increases perplexity. The reader is left alone with the material and must tell his own story.

And this is precisely the goal; it also fits the form of the ironic encyclopedia, which from the outset does not lead one to expect that an overview will be presented. The history of oil is a history that crashes over us. “Erdöl: Ein Atlas der Petromoderne” aims to use brief spotlights, from very different perspectives, to draw attention to a substance that is part of the everyday life of modernity. It succeeds in doing so; at the same time, the well documented individual articles offer suggestions for further study and some connections that may be new even to researchers who have been in the field for some time. An English edition is in preparation.«