{"id":9804,"date":"2021-06-30T10:20:35","date_gmt":"2021-06-30T08:20:35","guid":{"rendered":"https:\/\/www.kunstmuseum.de\/?p=9804"},"modified":"2022-08-22T12:28:04","modified_gmt":"2022-08-22T10:28:04","slug":"oil-beauty-and-horror-in-the-petrol-age","status":"publish","type":"post","link":"https:\/\/www.kunstmuseum.de\/en\/2021\/06\/oil-beauty-and-horror-in-the-petrol-age\/","title":{"rendered":"Oil. Beauty and Horror in the Petrol Age"},"content":{"rendered":"\n

No other substance will have shaped societies in the twentieth and early twenty-first centuries as much as oil\u2014countless materials and key techno\u00adlo\u00adgies, cultural products, ways of life, knowledge, visions, values and emotions, as well as conflicts, injus\u00adtices, and abysses of our time owe their existence to the energy density and trans\u00adforma\u00adbi\u00adlity of the ambiva\u00adlently shimme\u00adring \u201cblack gold.\u201d Concerns about oil wells running dry are as old as the Petrol Age itself. It is, however, not the finite nature of the resource, but rather the fight against global warming and mountains of plastic waste that is now heralding the dusk of the \u201cPetrol Age.\u201d From a fictional future, the exhibi\u00adtion Oil. Beauty and Horror in the Petrol Age<\/em> takes a look back at the petro\u00admo\u00adder\u00adnism that has lasted roughly 100 years: What is typical of this time, what is great and beautiful, what is ugly and terrible, and how is all this reflected in art and culture?<\/strong><\/p>\n\n\n\n

John Gerrard<\/strong>\u2019s Western Flag (Spind\u00adletop, Texas)<\/em> marks the beginning and end of the petro\u00admo\u00addern era. His digitally generated black flag poses urgent questions about the reorde\u00adring of the world while reminding us of the greatest petro\u00admo\u00addern excesses. Petroleum was the basis of the most important weapons systems of the twentieth century and both world wars. The Byzan\u00adtines had already directed their Greek fire, a petroleum-based incen\u00addiary weapon, at their enemies. With gasoline-based napalm, a combat agent used in the Vietnam War, oil was in turn used as a weapon against human bodies but also against the environ\u00adment. Wolf Vostell<\/strong> and Martha Rosler<\/strong> refer to this expansion of the combat zone.<\/p>\n\n\n\n

The extrac\u00adtion and utiliz\u00ada\u00adtion of oil leaves traces globally: in ecosys\u00adtems and societies, but also in bodies and souls. The encounter with local cultures and the resulting possi\u00adbi\u00adli\u00adties and imposi\u00adtions are referred to as \u201coil encoun\u00adters.\u201d Ursula Biemann<\/strong> thus sheds light on life along a newly built pipeline. Entang Wiharso<\/strong> addresses the tense relati\u00adonship between extrac\u00adtion, proces\u00adsing, and consump\u00adtion in Indonesia. The clash of regional and capita\u00adlist interests is revealed by Taryn Simon<\/strong> and Ana Alenso<\/strong>, while Hans Haacke<\/strong> criti\u00adcally questions the patronage of oil companies. Fluctua\u00adting oil prices and stock market movements are tracked by Mark Lombardi<\/strong> and Mark Boulos<\/strong>. Romuald Hazoum\u00e8<\/strong> refers to preca\u00adrious trade practices that have estab\u00adlished themselves in the local market parallel to the global market.<\/p>\n\n\n\n

The euphoria of the Futurists at the beginning of the twentieth century already drew on the new technical achie\u00adve\u00adments of the Petrol Age. Speed and flight became leitmo\u00adtifs for the repre\u00adsen\u00adta\u00adtives of so-called Aeropit\u00adtura<\/em>, among whom was Gerado Dottori<\/strong>. Flying thus became the greatest petro\u00admo\u00addern promise, as William Eggleston<\/strong> demons\u00adtrates, while utopias of leaving the planet echo in the works of Michael Najjar<\/strong>. Sylvie Fleury<\/strong> comments ironi\u00adcally on the aeronau\u00adtical project with a collapsed rocket as a symbol of failed potency and hope. <\/p>\n\n\n\n

The smallest but central form of mobiliz\u00ada\u00adtion takes place covertly at the molecular level. It was only in chemical refine\u00adries, such as those painted by Carl Grossberg<\/strong>, that fossil natural substances become accele\u00adra\u00adtors of modern culture: fuels, plastics, artifi\u00adcial ferti\u00adli\u00adzers, pharmaceu\u00adti\u00adcals. This modern form of alchemy is the theme of Atelier Van Lieshout<\/strong>\u2019s Naphta Cracker<\/em>, for example. The techno\u00adlo\u00adgical achie\u00adve\u00adments of petro\u00adche\u00admi\u00adstry have literally made people\u2019s everyday lives more colorful. Claus Goedicke<\/strong> puts the bright colors and organic mallea\u00adbi\u00adlity at the center of his photo\u00adgraphs. Tony Cragg<\/strong>\u2019s Menschen\u00admenge<\/em> (Crowd) refers to a new human species brought about by the Petrol Age, Homo plasticus<\/em>.<\/p>\n\n\n\n

Edward Burtynsky<\/strong>\u2019s photos of the sites of oil produc\u00adtion have long been etched into the collec\u00adtive visual memory. An idea of the vertical penetra\u00adtion of the earth\u2019s body is conveyed by Walter de Maria<\/strong>\u2019s Earth Kilometer<\/em> and Monira al Qadiri<\/strong>\u2019s relent\u00adlessly rotating drill head. The use of naturally occurring asphalt goes back to ancient times when it served as mortar in the construc\u00adtion of the Babylo\u00adnian Proces\u00adsional Way. The ichthyosaur\u2014excavated between Wolfsburg and Braunschweig\u2014places petroleum in the context of a larger natural history.<\/p>\n\n\n\n

The exhibi\u00adtion archi\u00adtec\u00adture is reminis\u00adcent of an archaeo\u00adlo\u00adgical excava\u00adtion site, allowing a temporal distance to our petroleum-based culture. However, the combi\u00adna\u00adtion of exhibi\u00adtion walls running diago\u00adnally through the hall also repres\u00adents abstracted layers of earth. Concep\u00adtually, the exhibi\u00adtion takes the perspec\u00adtive of a fictional archaeo\u00adlo\u00adgical distance that simul\u00adta\u00adne\u00adously seeks thematic and emotional proximity. It confronts artistic works from the canon of Western modernism, as well as from oil regions around the globe, with objects from natural science and techno\u00adlogy, pop culture and everyday life.<\/p>\n\n\n\n

The exhibi\u00adtion will be accom\u00adpa\u00adnied by a compre\u00adhen\u00adsive publication:<\/p>\n\n\n\n

Oil. Beauty and Horror in the Petrol Age <\/em>edited by Andreas Beitin, Alexander Klose, and Benjamin Steininger, Verlag der Buchhand\u00adlung Walther und Franz K\u00f6nig, design by Jan Kiess\u00adwetter, separate German and English editions, each approx. 400 pages, approx. 450 illus\u00adtra\u00adtions, with a foreword by Andreas Beitin, an intro\u00adduc\u00adtion by Alexander Klose and Benjamin Steininger, and texts by Akintunde Akinleye, Leila Alieva, Dominic Boyer, Jan von Brevern, Heather Davis, Elena Engelbrechter, Christoph Engemann, Timothy Furstnau, Eckhart Gillen, R\u00fcdiger Graf, Helmut H\u00f6ge, Bernd Hopfen\u00adg\u00e4rtner, Isabel Piniella, Karen Pinkus, Christian Schwarke, Suwarno Wisetro\u00adtomo, and Susanne Witzgall.<\/p>\n\n\n\n

Available for \u20ac 39 in the museum shop or at kunstmuseum.de\/shop.<\/p>\n\n\n\n

Curators: Alexander Klose and Benjamin Steininger from the collec\u00adtive Beauty of Oil, Ralf Beil (2016\u20132018), and Andreas Beitin (2019\u20132021)<\/p>\n\n\n\n

Curato\u00adrial Assistants: Elena Engelbrechter and Regine Epp<\/p>\n\n\n\n

The exhibi\u00adtion and publi\u00adca\u00adtion project is generously sponsored by:<\/p>\n\n\n\n

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No other substance will have shaped societies in the twentieth and early twenty-first centuries as much as oil\u2014countless materials and key techno\u00adlo\u00adgies, cultural products, ways of life, knowledge, visions, values and emotions, as well as conflicts, injus\u00adtices, and abysses of our time owe their existence to the energy density and trans\u00adforma\u00adbi\u00adlity of the ambiva\u00adlently shimmering [\u2026]<\/p>\n","protected":false},"author":5,"featured_media":10326,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"wp_typography_post_enhancements_disabled":false,"kunstmuseum_formatted_page_title":"Oil. Beauty and Horror in the Petrol Age"},"categories":[13],"tags":[],"yoast_head":"\nOil. 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