| Abstrakt: |
This article demonstrates that ecological art is a very specific art form that follows its own methods of creation and, consequently, of dealing with material and its definitions. This view of ecological art is directed by art theory factors and fundamental questions of art history. Therefore, the main question in discussions on material and the functions of art is that of what contemporary ecological art produces in terms of the concepts 'natural' and 'nature-fair.' By analysing the artists Thomas Dambo, Aviva Rahmani and Tomás Saraceno, this article finds that, compared to various artistic forms that deal with ecology and the environment, ecological art acts more in the physical reality of the environment and ecosystems. Subsequently, what ecological art is actually producing is 'a nature thing', meaning a concrete effect on or intervention in the environment with gestures of appropriation, regeneration and coexistence, being above all 'art for nature.' The article shows that, in ecological art, the linear relationship between material and artwork, in that the artist transforms the material to its final form, namely the artwork, is absent. In ecological art, the aim is an ongoing process in which material can have different facets: the material can be a mere auxiliary instrument, the art object itself can become material for something else and the material in general can be understood as an overarching aim and motive: nature. [ABSTRACT FROM AUTHOR] |
