»Ammonia / Ammoniak« – contribution by Benjamin Steininger to the glossary of »Planetary Peasents«, exhibition publication, concept and editing by Alexander Klose

Christian Philipsen (ed.): »Planetary Peasents – Agriculture, Art, Revolution« , Leipzig: MMKoehn 2025

[download the pdf-proofs in English/German here, link zu den Fahnen des Artikels in Deutsch und Englisch hier]

If all the ammonia plants used to produce agrochemical fertilizer were immediately shut down, a third of the world’s population would starve. Half the nitrogen molecules in our bodies have passed through a Haber-Bosch reactor. Industry now extracts as much nitrogen from the air as all natural bacterial processes on Earth combined. These staggering statistics on ammonia synthesis have been compiled by geographers such as Vaclav Smil and chemical historians like Jens Soentgen. It would be difficult to cite a chemical process with more troubling implications. It affects us more closely than we realize, and its reach is far greater than we might imagine.

The high-pressure synthesis of ammonia (NH3), in which a catalyst – usually a compound of iron (Fe), aluminum (Al) and potassium (K) – binds nitrogen (N) and hydrogen (H), was developed by BASF before the First World War. This process has since become one of the most problematical monuments to twentieth-century science and industry. The artificial molecules it generates, and the processes they drive, are omnipresent – not just in all ecosystems and human bodies, but at every level of twentieth-century history itself. The Haber-Bosch process is tied to not only global nutrition but also destruction on a global scale and vice versa. Even before they were used to manufacture artificial fertilizer, the first ammonia factories in Ludwigshafen and later Leuna supplied ammunition for the First World War. The production facilities built for this war of attrition were then repurposed for agriculture. ‘Bread and death from the air’ was coined to cover the ambivalence in the 1920s.

Industrial fertilizer production can be linked to large-scale and planetary contexts in two ways. The construction of its infrastructure requires planetary networks, processes and strategic considerations. And in turn, planetary networks, processes and strategic considerations arise from its products.

The technical process, the individuals involved, and the great wheels of world history which ammonia synthesis immediately set in motion after its development have been the subject of countless accounts – from academic histories of science and geography to sensationalist industrial novels printed in the hundreds of thou-sands, which from the 1930s to the 1950s mythologized German chemists. The story has all the hallmarks of a classic technological drama: ‘ingenious inventors’ such as Carl Bosch, tragic figures” like Fritz Haber – whose wife Clara Immerwahr shot herself with his service revolver as he refined chemical warfare – a world war and the ‘solution to world hunger’.

Yet the familiar narrative requires rethinking. The setting, the framework and the dilemma have shifted in recent decades. With the emergence of the Anthropocene and the realization that human-industrial activity is transforming Earth’s systems and natural history in the long term, ammonia synthesis also appears in a new light. Regarded for nearly a century as a technological triumph that alleviated global crises, it is now a planetary crisis in itself. Even as its destructive potential was acknowledged – most recently in the 2020 Beirut explosion, when an ammonium nitrate storage facility blew up – its role as an existential problem remained largely overlooked.

Almost all the hockey stick graphs mapping the Great Acceleration of Earth system and sociocultural parameters in the second half of the twentieth century – CO, emissions, biodiversity loss, erosion, ocean acidification, resource depletion – are directly linked to the global production of artificial fertilizers. The Green Revolution reshaped agriculture, fuelling population explosion, urbanization, and the transformation of entire eco-systems. Artificial molecules don’t merely shape world history for nations and humans (as was already evident around 1914); they also inscribe themselves into Earth’s history, affecting all other forms of life. And they do so in ways that deviate from their original intended purpose.

At the upper end of time scales that are only abstractly comprehensible to humans – at the level of the natural history of the future – previously unforeseeable processes must now be factored into the overall picture of ammonia synthesis’s effects. This, in turn, calls for a reassessment of all other scales embedded in the broader process. Artificially fertilized agriculture is planetary agriculture; the chemical industry of artificial fertilizers is a planetary chemical industry. The significance – and destructiveness – of this technology lies in its partly intentional, partly unintentional entanglement of vastly different scales, processes and systems.

Ammonia synthesis became a paradigmatic case for the concept of ‘planetary technology’, a term used by cultural and epistemological theorists since the 1920s. Under the impact of the attrition of the First World War, which was itself driven by this technology, writers such as Ernst Jünger, Walter Benjamin and Martin Heidegger explored the deeply ambivalent nature of a technoscience that not only endowed humanity with planetary power, yet also subjected it to ‘gigantic’ structures no longer within its control.

A century later, ammonia synthesis presents multiple, highly specific manifestations of the ‘planetary’ and the ‘technical. Its history is one of extremes. The Year Without a Summer in 1816, when volcanic ash from Mount Tambora’s eruption the previous year in Indonesia triggered global famines, inspired Justus von Liebig to establish the foundations of agricultural chemistry, recognizing the need for a precise understanding of the chemical requirements of plants and soils. Agriculture, he observed, depends on the continuous supply of phosphorus, potash and nitrate (i.e, nitrogen compounds). The depletion of soils had been understood since antiquity, yet solutions remained elusive, whether in Mesopotamia, Italy or North Africa. Soils that remain stable over long periods in their natural state depend on specific geological and climatic factors. In the Nile Valley, their fertility relies on the continental influx of mineral and organic silt from the tropics, while in the fertile loess plains and black earth regions in Ukraine and the American Midwest, they are sustained by fossil forest soils transported across continents by glaciers.

In the nineteenth century, global trade networks were established to supply German fields with nitrates unavailable in Europe, sourced from Chile or the guano islands of the Southern Hemisphere – a dependency that proved disastrous during wartime naval blockades but became surmountable once the atmosphere itself, above all the nitrogen it contains, was harnessed as a chemical resource. But according to Haber-Bosch, nitrogen could only be converted into ammonia at a pressure of 300 atmospheres and at high temperatures close to the point where iron begins to glow red-hot. Even then, a catalyst was required to accelerate the reaction. In Haber’s early experiments, this was osmium – one of the hardest, rarest and most expensive metals in the Earth’s crust. However, due to its extreme scarcity with the global supply at the time amounting to a mere 40 kilo-grams, it was entirely unsuitable for industrial-scale operations.

To conserve this limited stock, artificial metal compounds were developed and tested in 6,000 experiments conducted up until 1912 in search of a viable alternative. This led to a cascade of technical hybrids: food through plants through fertilizer through nitrogen through an iron-based catalyst enhanced with aluminium and potassium compounds, which is still in use to this day. Yet, despite the advent of electron microscopy and femtosecond lasers (1 fs = 0.000,000,000,000,001 sec) in the 198os, as well as Al-driven advances in physics and chemistry, its precise function on an atomic scale remains incompletely understood.

Thanks to its factories in Ludwigshafen-Oppau opened in 1913 and the Leuna works built in just nine months near Merseburg in 1917, Germany was able to fight the First World War – but also to lose it, as the Treaty of Versailles transferred its patents to the victorious powers. The petrochemical industry – driving the production of plastics, high-performance fuels and solvents – was built on an almost identical infrastructure through transatlantic collaboration between German coal chemistry and American petrochemistry, spearheaded by I.G. Farben and Standard Oil.

By the time of the postwar Wirtschaftswunder (economic miracle), ammonia synthesis had merged with petrochemistry: the hydrogen needed to synthesize ammonia from nitrogen no longer came from water but from cheap natural gas. Today, the process spans the globe – from China, the Volga and the Caribbean to Louisiana and the Persian Gulf – acting as a planetary reactor fusing atmospheric nitrogen with lithospheric hydrogen in order to feed it into the biosphere. However, nearly 70 per cent of the nitrates applied to fields don’t end up in crops, animals or on dinner plates. Instead, they leach into rivers and oceans, fuelling explosive algal blooms and creating oxygen-depleted dead zones from the Baltic Sea to the Gulf of Mexico.

Resolving the contradictions between growth and destruction – between what began as a kind of ‘liberation’ from age-old agricultural constraints during the Green Revolution and today’s critical, once again tightly constrained predicament, in which every scale, from the nitrogen molecule to the entire biosphere, is entangled – will take time, if it ever succeeds at all. The first step is to recognize, articulate and expose the contradictions. They are laid out before us, undeniable and immediate.

Consider this: within the EU, consumers can reliably expect food labels to disclose the presence of potential allergens such as celery or peanuts. Yet, in stark contrast, there is no equivalent labelling for the Anthropocene imprint on our plates – no indication of the chemical-biotic synthesis behind the ingredients we consume, a synthesis shaped by processes spanning all geohistorical layers, systemic spheres, and both quantitative and qualitative planetary scales.

»Planetary Peasants« – Alexander Klose on the planetary condition as seen from agriculture, on the 500th anniversary of the German Peasants’ War, and on the concept of an exhibition that took place at Kunstmuseum Moritzburg Halle from May to September 2025.

The text is an overworked and extended version of the initial concept for the Werkleitz festival 2025 exhibition Planetary Peasants by Daniel Herrmann, artistic director of Werkleitz and Alexander Klose. It was written for and published in The Laboratory Planet No. 6, May 2024.

»Soldier and peasent looking at the ammonia plant Merseburg« (Leuna), sketch by Fritz Bertsch 1917-18, used to plan a painting at the Leuna cantina, building was destroyed in WW2

Spring 2025 marks the 500th anniversary of the German Peasants’ War. According to Marxist historiography it was the first revolution on German soil, the “climax of the early bourgeois revolution, [and] one of the greatest class battles in the age of feudalism”. … Other types of revolutions have reshaped the world since, though, namely socio-technological ones. … Parallel to political and socio-economical turns, a potentially even more profound revolutionary dynamic has transformed things around the globe, on all political sides: the development of modern agronomy and the mechanization, industrialization and “chemicalization” of agriculture. […]

The rendering of an “agricultural biological chemistry” and the development of the first artificial phosphate fertilizer by the chemist Justus von Liebig (1803-1873) in the 1840s, who taught and lived in Gießen in the state of Hesse-Darmstadt and later in Munich, were a pillar of the emerging chemical industries of Germany and other nations. When the new “Badische Anilin und Soda Fabrik” (BASF) Ammonia Synthesis Factory Merseburg opened in 1916 (…), its production was directed towards ammunition for the ongoing war (replacing the saltpetre from Chile that was no longer accessible because of the British Naval Blockade) and towards artificial fertilizers for an intensified agriculture.

The invention and large-scale deployment of artificial fertilizers, together with the mechanization and industrialization of work, instigated by far the most profound changes in agriculture since its invention. Following tractor tracks and artificial fertilizer traces of phosphor, potash and nitrogen leads us to regions around the globe and across political borders. The same machines were put to work, the same substances used, even in the strictly politically divided countries on both sides of the “iron curtain”. The tracks and traces of agriculture’s industrialization lead to fields of maximized productivity, as well as to exhausted and eroded soils and to areas of excessive accumulation akin to the dead zones that result from the over-nitrification of runoff water close to ocean estuaries around the globe. Today’s planetary condition is to a significant degree defined by such—human-made, intended or unintended—migration of organic and inorganic substances linked to agricultural activities: plants and animals, but also, and mainly, chemical compounds such as CO2 or ammonium-nitrates and their accumulation in the Earth’s ecosystems. …

full text of the article can be downloaded here.

an overview and documentation of the exhibition Planetary Peasants can be accessed here.

»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!)

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.