Artists focusing on problems about usage of room have reached the leading type of a vital research concerning the contours into the future, in both its material type and social company. A number of these performers are challenging the existing expansion of capitalist and colonial techniques into space, specially compared to so-called accumulation that is“primitive” the using of land and resources for private usage. They notice that a lot of the tremendous money amassed during the early 2000s e-commerce and technology growth happens to be being funneled into astronomically expensive “New Space” projects such as for example SpaceX, a business funded by PayPal cofounder Elon Musk, and Blue Origin, the area enterprise of Amazon’s Jeff Bezos. 2
In reaction, a number of artistic performers are checking out visions of “free” room, of star as being general public commons and put of projective imagination. This essay draws on R. Buckminster Fuller’s (1895–1983) concept of “Spaceship Earth” and his “We are all astronauts” rhetoric of engineered bodies and technologized nature to contextualize and understand such work. 3 In current German and US curatorial projects charting the impact of Fuller in the work of contemporary artists—including MARTa Herford’s “We Are All Astronauts: The Universe of Richard Buckminster Fuller as Reflected in Contemporary Art” (2011); Haus der Kulturen der Welt’s “The Whole Earth: Ca in addition to Disappearance regarding the Outs >4 Fuller hoped to reorient life that is mundane a greater understanding of world as embedded into the wider cosmos, yet the eccentricity of their metaphor of Spaceship Earth, which characterizes architecture as an enhanced technical vehicle that will supplant normal ecologies in sustaining life, has already established lasting impacts in the way the future is envisioned as human-authored and technologically dependent. Continue Reading