Libby Robin compares two major museum exhibitions on climate change that rely heavily on the IPCC models: Uppdrag Klimat (Mission: Climate Earth), at the Royal Natural History Museum in Stockholm (Naturhistoriska Riksmuseet), Sweden; and EcoLogic, at the Powerhouse Museum, Sydney.
Libby Robin discusses the implication of Sir Colin MacKenzie’s initiative to collect Australian marsupials.
Ecoartspace is a nonprofit platform providing opportunities for artists who address the human/nature relationship in the visual arts.
In this chapter of the virtual exhibition “Ludwig Leichhardt: A German Explorer’s Letters Home from Australia,” cultural studies researcher Heike Hartmann presents the deeds, fate, and legacy of Dr. Leichhardt’s companion John Gilbert.
Seventeen letters sent by Ludwig Leichhardt from 1842–48 vividly depict his stay in Australia. In this exhibition curated by historian Heike Hartmann, we are introducing a brand new English translation of the letters and a timeline tool with which to view those, this virtual exhibition documents Leichhardt’s adventurous stay in Australia and opens up new perspectives for the environmental history of the land, Europeans’ engagement with its indigenous population, and international scientific networks at the time.
Heike Hartmann
This is a presentation of historian Nina Möllers—author of the virtual exhibition “Welcome to the Anthropocene: The Earth in Our Hands.”
Together with the Rachel Carson Center for Environment and Society, the Deutsches Museum hosted a major special exhibition on the Anthropocene from December 2014 – September 2016, which was curated by Nina Möllers. Coined by the atmospheric chemist and Nobel Prize laureate Paul J. Crutzen, the term “Anthropocene” describes the idea of a new geological era shaped by deep interventions into nature by humans as biological and geological agents.
Nina Möllers
This is a chapter of the virtual exhibition “Welcome to the Anthropocene: The Earth in Our Hands”—written and curated by historian Nina Möllers.
Together with the Rachel Carson Center for Environment and Society, the Deutsches Museum hosted a major special exhibition on the Anthropocene from December 2014 – September 2016, which was curated by Nina Möllers. Coined by the atmospheric chemist and Nobel Prize laureate Paul J. Crutzen, the term “Anthropocene” describes the idea of a new geological era shaped by deep interventions into nature by humans as biological and geological agents.
Nina Möllers This is a chapter of the virtual exhibition “Welcome to the Anthropocene: The Earth in Our Hands”—written and curated by historian Nina Möllers.
Together with the Rachel Carson Center for Environment and Society, the Deutsches Museum hosted a major special exhibition on the Anthropocene from December 2014 – September 2016, which was curated by Nina Möllers. Coined by the atmospheric chemist and Nobel Prize laureate Paul J. Crutzen, the term “Anthropocene” describes the idea of a new geological era shaped by deep interventions into nature by humans as biological and geological agents.
Nina Möllers Museum exhibitions offer a unique space for creating a three-dimensional experience of the systemic interconnectedness that characterizes the Anthropocene, as well as encouraging reflection and participatory discussion. The Deutsches Museum has decided to tackle the challenges of this new age head-on and become the first museum to create a major exhibition on the Anthropocene. While curating an exhibition, we also tackle the question of how to “curate” the planet in its literal sense of taking care of it and curing it.
As agents of knowledge and appropriators of technology, exhibitions (and most notably museum exhibitions) have played an important role in the early twentieth century, when gas and electricity, the quintessential modern energy sources, aimed to oust wood, coal, and peat while simultaneously competing intensely with each other.
What does it mean to live in the Anthropocene? What are our responsibilities in a world where the boundaries between nature and culture are no longer clear? How do we visualize and teach the challenges of the future? The articles in this issue of RCC Perspectives reflect upon the ethics, aesthetics, and didactics of an “Age of Humans.”
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