The exhibition Critical Zones – Horizonte einer neuen Erdpolitik (2020–2022) at the ZKM Karlsruhe is a renewed attempt to unite artistic, philosophical, and scientific knowledge production in the medium of the ›Gedankenausstellung‹ (thought exhibition). The thematic orientation of the exhibition draws upon the writings of Bruno Latour, one of the curators. The article analyzes how his research on the critical zone, the terrestrial, and the Gaia hypothesis has been transformed into an exhibition format, intending a transmedial spatialization of thoughts combined (...) with the visitor’s experience ›how to land on earth‹. Based on a detailed exhibition analysis, it examines the curation and mediation of Latour’s earth-political thoughts and concepts in both the physical exhibition and the digital exhibition platform that evolved in response to the Covid-19 pandemic. (shrink)

The term “view from above” does not merely describe an aerial perspective using digital technologies. According to Macarena Gómez-Barris, it is an extractive and neoliberal tool for transforming territories into areas to be exploited. In contrast, she introduces “submerged perspectives,” which can always be found in these territories and are characterized by relations on the ground. An argument based on opposites should always make one suspicious, especially when considering contemporary artistic practices. This article demonstrates that contemporary works of art can (...) unleash the critical potential of the view from above. Two works, one by Carolina Caycedo and the other by Forensic Architecture, are analyzed to demonstrate a substantial expansion of the view from above. Contemporary art has the capability to counter-appropriate a supposedly hegemonic instrument and, thus, offers the possibility of rejecting constructed and abstract dichotomies. (shrink)