With great sadness we announce the death of James van Sickle (1938-2024)

James van Sickle was a generous friend of our project since in 2013 he opened his family archives to our work, those of a Scottish-Huguenot Canadian-Galician-Romanian-Austrian oilman. In 2022, he became the only private sponsor of the translation of our German language ‘Atlas of Petromodernity’ into his English mother tongue—putting the name of van Sickle alongside those of the Goethe- and a Max Planck Institutes. In fact, at least three essays in our book (‘Pumpjack’, ‘Adventurers’, ‘Animals in Oil Fields’), have a direct relation to him and his archive. We were happy to send him the news that the book was finally published this summer, though he could not see the result any more.

James van Sickle was born in London in 1938. He lived in Vienna, Austria since 1961. Until he sold the company in the 1990s to OMV AG (Österreichische Mineralölverwaltung AG), he was head of what was founded as ‘Tiefbohrunternehmen Richard Keith van Sickle’ in 1937 by his father Richard Keith (1899-1961) and handed over to James in the early 1970s after an agonizingly long inheritance dispute.

James was the descendent of one of the families of adventurers who followed the global routes of oil in the late nineteenth century. Through his mother Dorothea Alice Cooke-Yarborough he also had an aristocratic background. To explain to his children “why we are nomads” he wrote a family chronicle that stretches from Sudan, Canada, the Middle East, and Austria. His grandfather and uncle had started drilling on oil in Petrolia, Ontario in the nineteenth century, then as many Canadian specialists from that place—called ‘hard oilers’—went to Galicia in the Habsburg Empire (now Ukraine), and further to Australia and Romania.

There, in Câmpina, James’ father, Richard Keith van Sickle, was born in 1899. His story connects family and world history in the most intimate way which made it the subject of our ‘Adventurer’ essay in the atlas. And since it was James who brought all this to us, by his archival material, hís chronicle, and his detailed explainings, is seems right to retell his father’s story in our orbituary to him. Keith van Sickle studied mechanical engineering in Cambridge and after working in oilfields in Romania in the 1920s, he turned towards Austria. For some years he owned a small castle and manor at Marbach in Upper Austria, at a place that by coincidence later lay some hundred meters away from the Mauthausen concentration camp. In the mid-1930s, he acquired mining claims at Neusield/Zaya at the Vienna Bassin. As early as 1937 van Sickle was forced to cede part to Deutsche Petroleum AG. It was here where, after the Anschluss—the annexation of Austria by Nazi Germany in 1938—that on behalf of Deutsche Petroleum AG, van Sickle drilled the most productive oil well in the territory of Greater Germany at St Ulrich, Neusiedl/Zaya. On Kodak color amateur footage from 1939 we see Reichsstatthalter Arthur Seyss-Inquart walking by at the festivities to open the well, and then van Sickle. While a dual power of attorney, granted to his lover Elfriede Krasa and trustee Hermann Fritsche, took care of business during wartime, van Sickle himself was to be found on the other side of the front, fighting against an army fuelled by this oil. He trained as a pilot in the First World War, and from 1939 onwards, he served as a major in the British Royal Engineers Corps in North Africa, and later as lieutenant colonel and oil-attaché in Baghdad and Tehran. Meanwhile, in London, the German Luftwaffe was laying waste to his wife Dorothea’s mansion in genteel Sumner Place Nr. 2, once used to mortgage Austrian mining claims. In 1945, van Sickle returned to Vienna via Indonesia. His oil fields had suffered thoroughly through brutal German war exploitation and they sat in the Soviet zone. But van Sickle was used to dealing with Soviets from his time in Tehran, and decided to stand up to them. Based on a Russian tip, he acquired a magnificent mansion in Baden near Vienna, and was named in the Staatsvertrag, the treaty which guaranteed Austria’s independence in 1955. He died in 1961 from bladder cancer, and Elfriede Krasa fought desperately to not let James get hold of the company.

After a long decade of missed investment into the old infrastructure James van Sickle could restart with his team in early 1970s. Photo albums show the life of both the company and family at Neusiedl, and the challenges to operate with old and outdated machinery. A refinery and laboratory that was put into place to also profit from downstream added value was managed not at least by help of Marion, James’ wife who was trained as a chemist. And we see long trains with his logo shipping van Sickle oil and products into the world. But productivity was difficult to keep, and in the 1990s James sold the company, the wells and infrastructure to OMV. His former employees still kept the spirit of a certain independence. When we started in 2012 with Rohstoff-Geschichte to access unofficial documentations of the Austrian oil industry we could integrate a lot of photographs and even films from proud van Sickle workers into our digital collection and in one case later into our atlas.

It was during this project, in 2013, when James van Sickle kindly opened his private archives to our research. More than a thousand documents such as letters, photographs, a drilling diary from Romania 1925, and some unique amateur film footage from the oil fields from the 1930s were digitized and put into the archives of the Geological Survey of Austria (GBA, now GeoSphere Austria).

In long meetings at the lobby of Hotel Bristol in Vienna or at his home at one of the most beautiful places of Vienna in the middle of vineyards, we got to know James van Sickle as a subtle and witty storyteller—in his distinguished Austrian German with just a slight and genteel British accent. We learned about his racing cars (a Lotus Eleven) in his “playboy years”, about leading a company in 70s and 80s Austria, about war times between London, Vienna, and Neusiedl—about global oil history in the twentieth Century through the intimate looking glass of a family history—that in this unique case we luckily were offered by James.

We express our deep condolences to his wife and three children, and we hope to keep James van Sickle’s and his family’s memory alive through our work.

»Tank oder Teller« – Werkleitz Festival 2024 in Halle (Saale) kuratiert von Daniel Herrmann und Alexander Klose, Mitarbeit an der Ausstellung Benjamin Steininger

Energieraps oder Weizen? Kartoffeln oder Sonnenkollektoren? Angesichts der Vielfalt gegenwärtiger Gefahrenlagen fragen sich viele, ob es richtig ist, landwirtschaftliche Flächen für Energie zu verwenden statt für die Ernährung. Sie, die Besucher:innen unserer Ausstellung, sind eingeladen, sich auf einen Parcours der Sichtweisen und Gefühlslagen über die Landwirtschaft zu begeben. Dort finden Sie keine eindeutigen Antworten, aber historische und aktuelle, spekulative und spielerische, wissenschaftliche und künstlerische Anregungen zu einer Neubetrachtung. Der Parcours erstreckt sich über zwei Stockwerke und korrespondiert mit den in fünf Boxen gezeigten Filmen.

Alles fängt mit den Aktivitäten im und um den Boden an und mit dem direkten und indirekten Zuströmen der Energie der Sonne. Beileibe nicht zum ersten Mal wird es heute als krisenhaft empfunden. Dass Landwirtschaft, Kultur und Gesellschaft aufs Engste zusammenhängen, zeigen die auf einer „crazy wall“ versammelten Bilder der Landwirtschaft aus mehreren Jahrtausenden. Nichts hat in dieser langen Geschichte so weitreichende Folgen gezeitigt wie die Industrialisierung. Wie viel fossile Energie steckt in heutigen landwirtschaftlichen Produkten? Auf einer „detective wall“ zur Stickstoff-Verschwörung können Sie einigen zentralen Zusammenhängen dieser Veränderungen auf die Schliche kommen. In einem Pflanzregal im ersten Stock schließlich begegnen sich die Spur des Traktors – die auch auf das Schlachtfeld führt –, ein Kulturpflanzen-Quartett, die „glokale“ Geschichte des Zuckers und die historische Dynamik von Kollektivierung und Kapitalisierung.

(bald mehr!)

»Kurven und Beton,« Beitrag von Benjamin Steininger im Themenheft »Autobahn« des Goethe-Instituts 5/2024 (dt./engl.)

»Es gibt Dinge, die sind zu selbstverständlich, als dass man versteht, dass sie eigentlich zu kompliziert sind, um sie zu verstehen. Die Autobahn ist so ein „Ding.“ Und dabei geht es gar nicht nur um die offensichtlich ökologische oder die politisch-historische Belastung. Die Nazis haben die „Pyramiden des Dritten Reichs“ – mit Rainer Stommers mittlerweile selbst historischem Buchtitel – zwar bekanntermaßen nicht erfunden, aber sie haben sie doch maßgeblich gebaut. Und mit ihren Plänen, die Autobahn zur expliziten Inszenierung von „Landschaft“ einzusetzen, haben sie nicht nur Verkehrsentscheidungen, sondern auch Erfahrungsräume über Jahrzehnte festgelegt. Dies ist aber nur Teil einer Komplikation, die auch in ihren unauffälligeren Aspekten Wirkung hat.«

Link zum materialreichen Magazin »Zeitgeister – Das Kulturmagazin des Goethe-Instituts« » Autobahn« mit insgesamt dreiundzwanzig Beiträgen hier (englische Ausgabe hier)

Forthcoming this spring! »Klose/Steininger: Atlas of Petromodernity. Santa Barbara: punctumbooks 2024«

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

Alexander Klose / Benjamin Steininger »Petromoderne Permanenz und Wiederkehr«, Gespräch mit Birgit Schneider, im Rahmen der Veranstaltung »Abschied von den Fossilkulturen«, Literaturforum im Brecht-Haus, Berlin, 17.1.2024, 17:30

Kalte Asche und Petromelancholie. Energie ist nicht nur, was aus Leitungen kommt. Energieformen prägen Kulturformen – in ihrer materiellen Gestalt wie in ihren Denkmöglichkeiten. Darüber hinaus ist »energeia« seit Aristoteles eine Wirkkraft, die ein Potenzielles ins Sein bringt, etwas vor Augen führen kann – und damit eine genuin poetologische Kategorie. Was bedeutet es für die Literatur als energetische Kunst, dass sich ein Abschied von den Fossilkulturen abzeichnet?

Zu diesen Fragen fanden am 17.1.2024 zwei Diskussionsrunden im Brecht-Haus Berlin statt, eingeleitet von Steffen Richter. (mehr Infos)

17:30, Alexander Klose / Benjamin Steininger, »Petromoderne Permanenz und Wiederkehr«, Impulsvortrag und Gespräch mit Birgit Schneider.

20:00, »Energiekämpfe in der Gegenwart«. Mit Burkhard Spinnen (»Rückwind«, 2019), Susanne Stephan (»Der Held und seine Heizung. Brennstoffe der Literatur«, 2023) und Theresa Hannig (»Pantopia«, 2022). Moderation Matthias Bertsch.

Video der gesamten Veranstaltung:

Ein dichter und inspirierender Einführungstext zur Veranstaltung von Steffen Richter, der am 16.01.2024 im tagesspiegel erschienen ist, kann hier abgerufen werden.

»Ukraine | Auf den Grenzen der Petromoderne«, ein Beitrag von Alexander Klose und Benjamin Steininger in der Zeitschrift »Dritte Natur. Technik Kapital Umwelt« Matthes&Seitz Berlin 2023, S.7-40.

Seit dem russischen Krieg in der Ukraine ist sie Thema politischer, ökonomischer und kultureller Debatten: Energie. Sabotierte Pipelines, gebrochene Staudämme und beschossene Atomkraftwerke machen die Verletzlichkeit unserer Energieinfrastrukturen greifbar – und die unserer gesamten energieintensiven Lebensform. Das fossile Zeitalter hat Karbon- und Petromoderne ermöglicht und weitreichende Freiheitsroutinen etabliert. Zugleich aber untergräbt es unsere Lebensgrundlagen. Damit überlagern sich die vom Krieg angefachten Diskussionen über Versorgungssicherheit mit Debatten, die seit langem über die Notwendigkeit einer postfossilen Kultur geführt werden. Energieformen nämlich prägen Kulturformen. Und Geschichte lässt sich immer schon als Geschichte von Energiewenden und Konflikten zwischen Energieregimen lesen. Diese Ausgabe der Zeitschrift »Dritte Natur. Technik – Kapital – Umwelt« widmet sich in ihrem Schwerpunkt verschiedenen Facetten von Energiekulturen – etwa dem Energiemanagement der Finanzmärkte, autofreien Sonntagen in der alten Bundesrepublik oder Windradromanen der Gegenwartsliteratur.

[https://www.matthes-seitz-berlin.de/buch/dritte-natur-06-1.2023.html]

Petromelancholia – documentation

Walkthrough with curatorial advice from the future

Video: Alessia Taló. Sound: Bernd Hopfengärtner. Text: Alex Close&Bernd Hopfengärtner. Montage: Alex Close.

All the artworks in the show – Chapter 1: In bed with petroleum (slides)

Christoph Girardet – Fountain, 2021 – Video 21:30 min. Sound: Chris Jones

Marina Zurkow – Petroleum Manga, 2014/2023 – detail

Marina Zurkow – Petroleum Manga, 2014/2023

Timo Demollin – Stb.1966,271-16625-20649, 2023

Vanessa Billy- Empty the Earth to fill the Sky, 2013

Aaditi Joshi, Suffocation, 2008 – Video 49 sec

Olaf Mooij – Fontein der tranen, 2022

Rachel Youn – Revival, 2020/2022

Rachel Youn – Revival, 2020/2022 – detail

PetroPropagandaStation, f.l.t.r.: Beauty of Oil, Youtube Videoclip Montage, 2023, 9:40 min; Uwe Belz, Elaste aus Schkopau, 1968, 10:25 min; Hugo Niebeling, Petrol Kraftstoff Carburant, 1964, 14 min

All photos by Aad Hoogendorn, if not mentioned otherwise

All the artworks in the show – Chapter 2: Oil Encounters (15 slides)

Tanja Engelberts – Decom, 2021 – Video 15 min

Tanja Engelberts – Cities of desire, 2016

Alain Resnais – Le Chant du Styrène, 1958 – Video 13 min

Sanaz Sohrabi – Specters of the Subterranean (part 1): Rhymes and Songs for the Oil Minister, 2021 – ongoing

Sanaz Sohrabi – Specters of the Subterranean (part 1): Rhymes and Songs for the Oil Minister, 2021 – detail

Gunhild Vatn – Ocean Viking, 2018 + In Remembrance, 2018

Gunhild Vatn – Ocean Viking, 2018 – detail

Rumiko Hagiwara – Shell’s Metamorphosis, 2023 + I Want to Be a Shell, 2019/2023 – Video 25 min

Rumiko Hagiwara – Shell’s Metamorphosis, 2023 – detail

Imani Jacqueline Brown – What remains at the ends of the earth? – 2022

Imani Jacqueline Brown – What remains at the ends of the earth? – textboard

Bernhard Hopfengärtner – Oil tracks. Audio interventions from the future, 2021/2023 – 7 audio files in 4 audiostations, Station 3

Kevin van Braak & Ipeh Nur – Silence would be treason, 2023 (commissioned by Brutus for Petromelancholia)

Kevin van Braak & Ipeh Nur – Silence would be treason, 2023

Kevin van Braak & Ipeh Nur – Silence would be treason, 2023

All photos by Aad Hoogendorn

All the artworks in the show – Chapter 3: Toxic Legacies and the Museum of Petromodern Futures (15 slides)

Rowan van As – TAXI, 2019 – ongoing

Leonhard Müllner & Robin Klengel – Operation Jane Walk, 2018 – Online Performance Video: 16:14 min

Konstantin Schimanowski – A Drop of Sunlight Shadow – hanging sculpture + audio 11:40 min

Johannes Steendam – Big Oilfield, 2023

Johannes Steendam – Oilfield, 2023 (photo by Alex Close)

Miriam Sentler – Fossil Fuel Mnemosyne: Oil & Myth, 2022 + Mining Myths, 2023

Miriam Sentler – Fossil Fuel Mnemosyne: Oil & Myth, 2022, 2023

Miriam Sentler – Mining Myths, 2023

Alessandro Balteo-Yazbeck – Last oil barrel, date postponed

Alessandro Balteo-Yazbeck – Last oil barrel – detail

Diann Bauer – Prologue: Politics as Palliative Care of the Species, 2019 – Video 11:20 min. + XFAST, 2019 – Introductory video for ‘If Nature is Unjust, Change Nature’ talk, 5:20 min

Jan Eric Visser – Untitled, 2023, #1+2

Jan Eric Visser – Untitled, 2023, #3

Jan Eric Visser – Untitled, 2023, #4

Yuri Ancarani – The Challenge, 2016 – Video 70 min

All photos by Aad Hoogendorn, if not mentioned otherwise

All the artworks in the show – Chapter 4: Arts of Living on a Damaged Planet (8 slides)

Andrew Castrucci – Fracktured lives, 2021

Andrew Castrucci – Fracktured lives, 2021 – artist book

Booktable (photo by Alessia Taló)

Chto Delat collective – School of Emergencies, 2023: Lecture performance by Oxana Timofeeva – Video 44 min + Between Shadow and Light, 2023 – Video 70 min + Inside the Diagram – Video 11 min

Chto Delat collective – School of Emergencies, 2023 – detail

Chto Delat collective – School of Emergencies, 2023 – detail

Kevin van Braak & Ipeh Nur – Silence would be treason, 2023

Kevin van Braak & Ipeh Nur – Silence would be treason, 2023 – detail

All photos by Aad Hoogendorn, if not mentioned otherwise.

Exhibition spaces and scenography (slide show).

Atelier van Lieshout Sculpture Garden Entrance. Photo: Alex Close

Rowan van As’ Taxi on the sidewalk in front of Brutus. Photo: Alex Close

Brutus street entrance, Keileweg 18. Photo: Alex Close

Entrance to Petromelancholia through AVL sculpture garden.
Photo: Alex Close

Opening speeches in AVL sculpture garden. Photo: Caro Linares

Entrance Petromelancholia on opening night. Photo Caro Linares

Exhibition space “Kathedraal” during build-up. Photo: Alex Close

Installing Marina Zurkow’s Petroleum Manga in “Kathedraal”.
Photo: Alex Close

Entrance situation “Kathedraal”. Photo: Aad Hoogendorn

Back wall “Kathedraal”. Photo: Aad Hoogendorn

Situation in “Hal 1” during opening. Photo: Caro Linares

Situation in exhibition space “Barbaar”. Photo: Aad Hoogendorn

Sneak preview at Gunhild Vatn’s installation in “Barbaar”. Photo: Alex Close

Situation in “Barbaar” during build-up. Photo: Alex Close

Visitors in exhibition space “Laadruimte” during opening.
Photo: Benjamin Steininger

View from “Laadruimte” to walltext 3 at the entrance to exhibition spaces “Ruin” and “Barbarella”. Photo: Aad Hoogendorn

Miriam Sentler explaining her works in one of the rooms in exhibition space “Ruin”. Photo: Alex Close

Hallway with scenographic orange wrapping film during opening night.
Photo: Caro Linares

Rooms in exhibition space “Ruin” during opening night. Photo: Caro Linares

Walltext 4. Photo: Alex Close

Exhibition space “Bureel” during Opening night. Photo: Caro Linares

A description of all the artworks in the show can be found on the brutus website archive.

In bed with petroleum; Oil Encounters; Toxic Legacies and the Museum of Petromodern Futures; Arts of Living on a Damaged Planetwalltexts of all four chapters for download as pdf.

Petromelancholia – essay version

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.

“We all have to die some day. Shell helps.” Sticker on street sign in The Hague, spring 2022 ©Alex Close

“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?

Elevated view of the Brutus/Atelier van Lieshout compound, taken from the residency flat in spring 2022. The large blue building in the background right, a former granary, referred to as ‘Kathedraal’, is the entrance of the exhibition. ©Alex Close

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).