Manifesto for the Anthropocene: Art in the Age of Consequence

Anthropocene: Art in the Age of Consequence

The Anthropocene —a convenient definition forged by the indelible imprint of human ambition— if it retains any utility as an expression of a space-time action, it is to serve as a vivid testament to our collective arrogance and ingenuity. Perhaps, by shedding our arrogance and admitting how little we truly understand—about ourselves as individuals, as societies, and about the workings of this planet and the universe—we might remove the “drama” from the tragic and catastrophic approach that has monopolised the discourse. It may even be fortuitous that (Anthropocene) such a loaded term has not received the strict scientific validation of being classified as a “geological age.” Such categorisation might have constrained its broader exploratory potential.

If we are to speak of the Anthropocene, it could be approached in broader terms. It may be embraced as a moment of acceleration—an acceleration that is neither wholly negative nor wholly positive, but simply a force in motion. In this way, we might avoid the temptation to fall into simplistic ideological affiliations, leaving space for ideas that illuminate rather than divide.

Could this moment reflects a reality that we are within an era of art shaped by the age of consequences? These consequences, however, might best be examined through lenses of absolute freedom and openness, unclouded by prejudice or preconception, enabling us to explore new narratives and uncover unexpected possibilities.

At mono30, artists, designers, and creatives are welcomed to bring the fullness of their expression to the themes this concept evokes. Within this modest yet ambitious space, there is room to explore the Anthropocene through a multiplicity of languages and perspectives. Whatever the craft—whether shaped by a specific technique, discipline, or thematic focus—each creative contribution may offer unique ways of engaging with the notion of acceleration.

This acceleration touches not only on humanity’s profound impact on the environment but also on the ways we continuously shape and reshape ourselves. It opens portals to countless avenues of exploration: The hum of eco-anxiety beneath fragile hopes for escaping unsustainable cultural models; the spectre of vanishing communities; the hyper-acceleration or even artificialisation of the human experience; the elusive nature of privacy; the diminishing respect for humanity as economic systems grow increasingly entrenched. Most intriguingly of all, the emergence of inorganic super-intelligences—forms that, if ever self-aware, could render the speculative fictions of today quaintly romantic.

This is a time of mourning and reckoning, a moment to reflect on life’s brevity and the shifting dynamics of what we call existence. Yet it is also, perhaps, a moment of radical hope.

The Anthropocene as acceleration is neither a monologue nor a lecture. It does not seek resolution, nor does it claim to heal the wounds of this “convenient definition.” Instead, it offers a space to question how we might narrate or reflect on these accelerations—how we might unsettle or soothe the spirit, even for a fleeting moment. Through personal stories and variant observations, mono30 aims to uncover new ways of thinking and being with forms of expression that resonate most powerfully when they are simply and unapologetically thought provoking.

That said, let’s not fall in to self deception of “luxury beliefs”: if we were truly serious about saving the planet or redistributing resources equitably, we’d know the answer is to change everything—including much of our artistic activity, which, when accounted for in terms of carbon emissions, only adds weight to the scale. Producing robotic arms to sculpt marble replicas or running servers for a 3D or AI-generated render doesn’t make us any better, in principle, than others. Let us face the truth—we are not saving the planet (yet). As is often the way, we find ourselves acting in outright contradiction.

It could be prudent to ponder the following quotes and consider which one you relate to more readily.

Umberto Eco: “La bellezza e la cultura non salveranno affatto il mondo”—beauty and culture will not save the world, and Bertolt Brecht “Art is not a mirror held up to reality but a hammer with which to shape it.”

Arts and culture are, at best, fleeting glimpses of meaning amidst the chaos, powerful distractions in our endless balancing act of contradictions.

Image: Errol Sari, medallion 0, 60∅ Repurposed plastic, January 2021.

S. Vuga, Temporary Curator mono30 Barcelona