Cultural Reflections on an Embodied Life of Breath: A review of Caterina Albano, Out of Breath: Vulnerability of Air in Contemporary Art

IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY
Josephine Taylor
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Revealing the ways that air can be weaponized, and focusing on breathlessness as a site of racial political struggle, <em>In the Air</em> contends with how art and cultural work render visible air's stratification and the invisible pollutants that shape our atmosphere. Caterina Albano's <em>Out of Breath: Vulnerability of Air in Contemporary Art</em> opens with a similar premise, arguing for cultural and artistic responses to the significance of breath as a site creativity, life, and struggle. Writing during the time of the COVID-19 pandemic, a time in which the air we breathe, and breathlessness, becomes all the more urgent, she explores the \"intrinsic relation of life to air and breathing\" (ix). Albano views art as a key site to critique and challenge today's atmosphere of breathing and her analysis interweaves explorations of specific art works with an emphasis on the commonality yet individual nature of breathing. Considering the encroachment on breath, Albano's work is an important intervention in the ways that art and culture think through the problem of air toxicity, as well as an examination into the philosophical implications of an embodied ethics of breathing.</p> <p>Albano's contribution to the field of environmental humanities is to consider air from a cultural and social lens, and how artistic and creative work can contribute to and unpack the centrality and importance of clean airwaves to our physical and mental livelihoods. Just as branches of environmental humanities such as the blue humanities, energy humanities, and now the soil humanities begin to grow in importance and significance, does Albano's work help us consider another central aspect of our ecology through the lens of culture? This work invites us to ask if air has been left outside the critical lens of the field of environmental humanities. Achille Mbembe's \"The Universal Right to Breathe,\" for instance, requires us to consider the racial significance and politics of breath in the light of the COVID-19 pandemic, demanding a sense of urgency to consider the politics of airwaves. Research centres such as the Wellcome Trust alongside Bristol and Durham University also held an exhibition on the <em>Life of Breath</em> asking similar questions of the role of air in our lives beyond the medical and physical arenas. What is unique in Albano's approach is her interdisciplinary scope, considering air from the perspective of Mbeme as a domain that is racially and socially stratified, but simultaneously an area of philosophical inquiry, a cultural and artistic inspiration, and a way of understanding metaphysics. What is at stake is to consider how art and culture, and the tools of a theoretical understanding of air, can contribute as well as demand change to the urgent topic of air pollution and toxicity.</p> <p>Drawing on the philosopher Luce Irigaray, Albano highlights how an air-bound state is fundamental to being in the world: \"we are because we breathe\" (10). For Albano, breathing is a process of entanglement that involves exchange and individual action, immersing us in our environment while also integral to our individuality as a singular being. Her opening chapter, \"To Breathe,\" thinks through the ontological nature of breath, how breath is what brings us into being, while simultaneously being dependent on the surrounding atmosphere. As Albano suggests, \"to be in the world is to breathe, and life depends on the exchange between respiration and the gaseous environment that surrounds human and nonhuman living beings\" (5). Thinking through the ways we render breath visible, its release and exchange, Albano explores the installation by Rafael Lozano-Hemmer <em>Last Breath</em> (2012). It is an installation designed to store an individual's breath, made of a small brown paper bag which inflates and deflates, capturing the presence of a person's breath through mechanics of the machine, its sound...</p> </p>","PeriodicalId":55953,"journal":{"name":"POSTMODERN CULTURE","volume":"99 1","pages":""},"PeriodicalIF":0.2000,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"POSTMODERN CULTURE","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/pmc.2023.a931367","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
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Abstract

In lieu of an abstract, here is a brief excerpt of the content:

  • Cultural Reflections on an Embodied Life of BreathA review of Caterina Albano, Out of Breath: Vulnerability of Air in Contemporary Art
  • Josephine Taylor (bio)
Albano, Caterina. Out of Breath: Vulnerability of Air in Contemporary Art. U of Minnesota P, 2022.

The Wellcome Collection's exhibit in 2022, In the Air, emphasizes how the act of breathing, our common immersion in air, is a problem of politics, justice, and culture. Revealing the ways that air can be weaponized, and focusing on breathlessness as a site of racial political struggle, In the Air contends with how art and cultural work render visible air's stratification and the invisible pollutants that shape our atmosphere. Caterina Albano's Out of Breath: Vulnerability of Air in Contemporary Art opens with a similar premise, arguing for cultural and artistic responses to the significance of breath as a site creativity, life, and struggle. Writing during the time of the COVID-19 pandemic, a time in which the air we breathe, and breathlessness, becomes all the more urgent, she explores the "intrinsic relation of life to air and breathing" (ix). Albano views art as a key site to critique and challenge today's atmosphere of breathing and her analysis interweaves explorations of specific art works with an emphasis on the commonality yet individual nature of breathing. Considering the encroachment on breath, Albano's work is an important intervention in the ways that art and culture think through the problem of air toxicity, as well as an examination into the philosophical implications of an embodied ethics of breathing.

Albano's contribution to the field of environmental humanities is to consider air from a cultural and social lens, and how artistic and creative work can contribute to and unpack the centrality and importance of clean airwaves to our physical and mental livelihoods. Just as branches of environmental humanities such as the blue humanities, energy humanities, and now the soil humanities begin to grow in importance and significance, does Albano's work help us consider another central aspect of our ecology through the lens of culture? This work invites us to ask if air has been left outside the critical lens of the field of environmental humanities. Achille Mbembe's "The Universal Right to Breathe," for instance, requires us to consider the racial significance and politics of breath in the light of the COVID-19 pandemic, demanding a sense of urgency to consider the politics of airwaves. Research centres such as the Wellcome Trust alongside Bristol and Durham University also held an exhibition on the Life of Breath asking similar questions of the role of air in our lives beyond the medical and physical arenas. What is unique in Albano's approach is her interdisciplinary scope, considering air from the perspective of Mbeme as a domain that is racially and socially stratified, but simultaneously an area of philosophical inquiry, a cultural and artistic inspiration, and a way of understanding metaphysics. What is at stake is to consider how art and culture, and the tools of a theoretical understanding of air, can contribute as well as demand change to the urgent topic of air pollution and toxicity.

Drawing on the philosopher Luce Irigaray, Albano highlights how an air-bound state is fundamental to being in the world: "we are because we breathe" (10). For Albano, breathing is a process of entanglement that involves exchange and individual action, immersing us in our environment while also integral to our individuality as a singular being. Her opening chapter, "To Breathe," thinks through the ontological nature of breath, how breath is what brings us into being, while simultaneously being dependent on the surrounding atmosphere. As Albano suggests, "to be in the world is to breathe, and life depends on the exchange between respiration and the gaseous environment that surrounds human and nonhuman living beings" (5). Thinking through the ways we render breath visible, its release and exchange, Albano explores the installation by Rafael Lozano-Hemmer Last Breath (2012). It is an installation designed to store an individual's breath, made of a small brown paper bag which inflates and deflates, capturing the presence of a person's breath through mechanics of the machine, its sound...

对体现呼吸生活的文化思考:评论卡特琳娜-阿尔巴诺:《喘不过气来》:当代艺术中空气的脆弱性
以下是内容的简要摘录,以代替摘要: 对体现呼吸生活的文化反思》评述卡特琳娜-阿尔巴诺:《呼吸尽失》:约瑟芬-泰勒(Josephine Taylor)(简历) Albano, Caterina.Out of Breath:Out of Breath: Vulnerability of Air in Contemporary Art.明尼苏达大学出版社,2022 年。威康收藏在 2022 年举办的展览 "空气中 "强调了呼吸行为,即我们共同沉浸在空气中的行为,是如何成为政治、正义和文化问题的。空气中》揭示了空气被武器化的方式,并重点关注了作为种族政治斗争场所的呼吸困难,探讨了艺术和文化作品如何使空气的分层和塑造我们大气层的无形污染物变得清晰可见。卡捷琳娜-阿尔巴诺(Caterina Albano)的《透不过气》(Out of Breath):当代艺术中空气的脆弱性》以类似的前提开篇,论证了文化和艺术对呼吸作为创造力、生命和斗争场所的意义的回应。在 COVID-19 大流行期间,我们呼吸的空气和呼吸困难变得更加紧迫,她在书中探讨了 "生命与空气和呼吸的内在关系"(ix)。阿尔巴诺将艺术视为批判和挑战当今呼吸氛围的关键场所,她的分析将对具体艺术作品的探索与对呼吸的共性和个性的强调交织在一起。考虑到对呼吸的侵蚀,阿尔巴诺的作品是对艺术和文化思考空气毒性问题方式的重要干预,也是对体现呼吸伦理的哲学意义的审视。阿尔巴诺对环境人文学科的贡献在于从文化和社会的视角来思考空气问题,以及艺术和创意作品如何促进和解读清洁空气对我们身心健康的核心作用和重要性。正如环境人文学科的分支,如蓝色人文学科、能源人文学科,以及现在的土壤人文学科开始变得越来越重要和有意义,阿尔巴诺的作品是否有助于我们通过文化的视角来思考我们生态的另一个核心方面?这部作品让我们不禁要问,空气是否被排除在环境人文学科的批判视角之外?例如,阿奇尔-姆贝贝的《普遍的呼吸权》要求我们在 COVID-19 大流行的背景下考虑呼吸的种族意义和政治,要求我们有一种紧迫感来考虑电波政治。威康信托基金会等研究中心与布里斯托尔大学和达勒姆大学也举办了 "呼吸的生命 "展览,对空气在我们生活中的作用提出了类似的问题,而不仅仅局限于医学和物理领域。阿尔巴诺的方法的独特之处在于她的跨学科范围,她从 Mbeme 的角度将空气视为一个具有种族和社会分层的领域,但同时也是一个哲学探索领域、一种文化和艺术灵感,以及一种理解形而上学的方式。问题的关键在于考虑艺术和文化以及对空气的理论理解工具如何能够促进和要求改变空气污染和毒性这一紧迫问题。阿尔巴诺借鉴哲学家卢斯-伊里格拉伊(Luce Irigaray)的观点,强调了空气束缚状态是世界存在的根本:"我们之所以存在,是因为我们呼吸"(10)。对阿尔巴诺来说,呼吸是一个纠缠的过程,涉及交换和个人行动,让我们沉浸在环境中,同时也是我们作为一个独特存在的个体不可或缺的一部分。她在开篇 "呼吸 "一章中思考了呼吸的本体论性质,即呼吸如何使我们存在,同时又依赖于周围的大气。正如阿尔巴诺所言,"存在于世界中就是呼吸,而生命取决于呼吸与环绕人类和非人类生物的气体环境之间的交换"(5)。阿尔巴诺思考了我们让呼吸可见、释放和交换的方式,探讨了拉斐尔-洛萨诺-埃默的装置作品《最后的呼吸》(2012 年)。这是一个用来储存个人呼吸的装置,由一个棕色的小纸袋制成,纸袋会膨胀和放气,通过机器的机械结构、声音和声音捕捉人的呼吸。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
POSTMODERN CULTURE
POSTMODERN CULTURE HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.30
自引率
0.00%
发文量
11
期刊介绍: Founded in 1990 as a groundbreaking experiment in scholarly publishing on the Internet, Postmodern Culture has become a leading electronic journal of interdisciplinary thought on contemporary culture. PMC offers a forum for commentary, criticism, and theory on subjects ranging from identity politics to the economics of information.
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