Zukünftige Vergangenheit des Erdöls – Nachleben und petrokulturelles Erbe

Öffentlicher Vortrag der Klasse Klima, UdK Berlin, mit Alexander Klose

Die Petromoderne ist die durch Kulturtechniken des Erdöls und anderer fossiler Ressourcen geprägte Kultur unserer Zeit. Gehen wir davon aus, dass es mit ihr ein baldiges Ende hat. Was wird von ihr bleiben? In welchen Formen wird sie explizit und implizit weiterleben? In welchen Formen wird man sich zukünftig auf sie beziehen?

Der Kunsthistoriker Aby Warburg hat für das Überdauern antiker und archaischer Bildprogramme in der Kunst der Neuzeit den Begriff des Nachlebens geprägt. Dieser Sicht zugrunde liegt die Vorstellung von einer evolutionären Kulturentwicklung. Der Vorteil einer solchen Auffassung von Kulturgeschichte liegt aus heutiger Sicht darin, dass sie es erlaubt, kultur- und naturhistorische Phänomene analog zu behandeln. Denn eine der zentralen Erkenntnisse des Anthropozän-Denkens besteht darin, dass die lange für unser Weltbild konstitutive, grundsätzlich Trennung zwischen “Natur”- und “Kultur”- Machen weder ethisch noch im Lichte wissenschaftlicher Erkenntnisse noch haltbar ist.

Die manifest materiellen Hinterlassenschaften der Petromoderne – die Hinterlassenschaften von Tankerhavarien, geplatzten Pipelines, zerstörten Bohrplattformen, von gigantischen Verkehrsinfrastrukturen, vor allem aber CO2 und Mikroplastik – werden für Jahrtausende in den Ozeanen, in der Atmosphäre, auf der Erdoberfläche und in den Böden verbleiben. Sie werden die Biosphäre des Planeten nach menschlich-historischen Maßstäben für eine signifikant lange Dauer verändert haben. Wie aber steht es mit den weniger materiellen kulturellen Elementen unserer Zeit, den Verhaltensweisen, sozialen Organisationsformen, Glaubens- und Begehrensstrukturen? Wie wird man sich auf sie zukünftig beziehen? In welchem Verhältnis stehen sie zu den Monumenten petrochemischer Produktion und Mobilität und welche Rollen könnten diese spielen?

Anhand existierender Beispiele für petromoderne Kulturerbestätten und anhand der Entwürfe der Teilnehmer*innen der Klasse Klima diskutiert Alexander Klose in seinem Vortrag Szenarien zukünftiger Erinnerungs- bzw. Verdrängungskultur.


Precognitioning Post-Oil NYC

Online conversation on imaginary futures, how to conceive of, get there and avoid them

with Heather Davis, Elizabeth Hénaff, Timothy Furstnau, and Karen Pinkus. Conceived of and moderated by Alexander Klose and Chris Woebken. Hosted by 1014. With works by students of CUNY Citytech.

Thursday, Dec 3, 2020, 6-7:30 pm EST on Zoom.

A videorecording of the complete zoom talk can be seen on the bottom of this page.

Imagine, oil-eating microbionts had taken over, cleaning up our current environmental mess. But they had also done away with everything beautiful and essential made out of plastics. 

Imagine, the use of fossil fuels and all fossil-fuelled technology had been forbidden without a proper energetic substitute. Everything eventually had to be driven down. Less mobility, less luxury, no exuberance. Deserted petromodern infrastructures refueled with petronostalgia. 

Imagine the American Way of Life reloaded, a return of cheap oil due to some scientific and technical breakthroughs. More consumption, more mobility, more wars, more of everything. Utopia or nightmare?

The 1014 project space has been transformed into a hyper-reality testing environment. It is populated with experiential futures prototypes that investigate our relationships in a spectrum of post-oil scenarios. Through narrative techniques and design futures methods a design studio at CUNY Citytech led by participatory futures practitioner Chris Woebken and cultural researcher Alexander Klose has developed a series of bespoke design interventions and immersive installations throughout our upper east side townhouse project space. In a private walkthrough Heather Davis (Eugene Lang College, The New School), Elizabeth Hénaff (NYU IDM), Timothy Furstnau (Museum Of Capitalism) and Karen Pinkus (Cornell University, Atkinson Center for a Sustainable Future, Ithaca) were invited to immerse themselves into these alternative imaginations that explore new values and imaginaries for a post-petro New York City. Please join us for an online talk with our guests to delve into these precarious scenarios, and discuss and respond to new values, myths, and cultural imaginations that might emerge while being shaped by the afterlives of petro-modernity.

For more information on 1014 project space visit 1014.nyc

To take a look at all the speculative media designs go to project website at Citytech.

Initially planned as a three part series of experimental workshops in a multimedia setting at project space 1014, this is the digital Corona-version and precursor of the physical events that will hopefully take place in 2021.

As an exercise in speculative design futures, students of an advanced studio in the Emerging Media Technology program of CUNY Citytech in the fall semester of 2020 were assigned to teamwork on the development of their own speculative media environments based on one of four scenarios handed out to them and located in one of four environments (or ‘zones’):

  • The Meadowlands: New Jersey, attaching East River and crossed by Hackensack River, the industrial hinterland and backwater of NYC;
  • Newtown Creek: a very heavily polluted canal on the boarder between Brooklyn and Queens, site of a continuous flow of oil spills that had been going on for 140 years and were altogether at least 50% bigger than the infamous 1989 Exxon Valdez oil spill ;
  • Gowanus Canal: an industrial canal called by the name the indigenous inhabitants of this part of Brooklyn before the city gave its predeceasing natural waterstream, according to EPA (Unites States Environmental Protection Agency) one of the nation’s most seriously contaminated water bodies, now surrounded by heavily gentrifying areas;
  • Manhattan: the island that has been the zone per se in so many ficticious renderings of (post-)hyperurban life.

To read the 4 backdrop scenarios, click here.

Plankton and drill head – digital revue and image amplified discursive event on Norway’s petromodern past, presence and future(s)

A collaboration with Kunsthall Trondheim and Goethe-Institut Oslo.

November 5 2020, 7 – 9pm at Kunsthall Trondheim and online.

To participate online (via zoom) click here.

Proposal for 500-krone-note by Ellen Karin Mæhlum, from: Norges Bank, Forslag til motiver på ny seddelserie. Norges ny seddelserie: Havet, 2014.

In a musée imaginaire of the Norwegian history of extraction, a competition published by the Bank of Norway in 2014, calling for a new banknote design, could play a central role. The submitted sketches depict Norway as a land oriented towards the sea, in which the sea is simultaneously understood as an elementary space, a space of extraction and a molecular space of microorganisms and chemical compounds.

One of the unrealised banknote designs contrasts the natural form of a paleohistorical plankton particle that was part of oil formation with the technical shape of a drill head used for oil exploration. It is a complementary image of the molecular essence of oil technology and the opening up of natural history as a source of economic wealth by technological means. It may indeed be an image for the way Norway has approached its own petrol age.

Since the 1970s, Norway has been one of the most successful oil and gas extraction countries worldwide. Apart from other extraction countries, the depletion of fossil resources was anticipated before explorations began, giving rise to the notion of a sustainable post-oil future. Yet, the energetical base of fossil modernity on which Norway has built its social-democratic prosperity has become increasingly problematic. While the country has moved towards more sustainable means of energy production, it has not stopped its oil and gas extraction. New oil and gas fields are opening up and widening the area of exploration as far as the Arctic. The end of oil is being postponed, or so it seems. At the same time, Norway decidedly moves towards a post-fossil future by banning combustion engines on its own terrain and positioning itself as the sustainable“battery for Europe” thanks to its large reservoirs of hydro power.

We are witnessing a move from fishing to industrial whaling to oil extraction to hydrotechnology and back—and all at the same time. This event will focus from a petrocultural-comparative perspective on questions such as: How does Norwegian society cope with these ambivalent moves? How does it culturally represent its petromodern legacy? What are the grand narratives that were established to lead Norway into petromodernity and beyond? Have they changed?

»True Oil« Paradigmen und Glaubenssätze der Petromoderne, Internationales Symposium am Kunstmuseum Wolfsburg 10/2018

Öl befeuert nicht nur die Maschinen, sondern auch die Phantasien. Wissenschaftliche und technische sowie metaphysische und spirituelle Vorstellungen und Erwartungen verbinden sich mit diesem schillernden Material – einem schwarzen Spiegel unserer Zeitläufte. TRUE OIL blickt dezidiert in diesen ebenso faszinierenden wie erschreckenden Spiegel, um den mannigfachen Bedeutungen des Materials Erdöl näher zu kommen.

Vortragende: Ralf Beil / Alexander Klose / Benjamin Steininger / Heather Davis / Karen Pinkus / Ursula Baatz / Oxana Timofeeva / Bronislaw Szerszynski / Sofia Ahlberg / Dominic Boyer / Claus Pias / Andrew Barry /

»Hydrocarbons. Revue Petro Noir« by Beauty of Oil at »1948-unbound«, 12/2017, HKW-Berlin

“Hydrocarbons” plunges into the complexities and contradictions of the oil era and thereby into the molecular basis of the technosphere. It is set within a multichannel multimedia installation that includes emblematic short scenes from the feature film Le salaire de la peur (The Wages of Fear, 1953). The section examines the geopolitical-industrial complex that drives petrochemistry and, by consequence, mobility, consumption, waste and adventure.

Installation view ©Joachim Dette

Experts: Dieter Hiller / Oxana Timofeeva / Jens Soentgen / Stephanie Lemenager / Alexander Ilitchevsky / Benjamin Steininger / Alexander Klose / Bernd Hopfengärtner


Related Publication by Benjamin Steininger: Ein Füllhorn des 20. Jahrhunderts, from 1948- Unbound. Entfesselung der technischen Gegenwart, Beilage in taz-die Tageszeitung, 30. November 2017