Teatro della terra alienata, Australian national pavilion at the XXII Milan Triennial, 2019

Sanchez-Velasco, A; Valiente Oriol, J; Valiente, G; Rodriguez-Casellas, M

Teatro della terra alienata, Australian national pavilion at the XXII Milan Triennial, 2019

Sanchez-Velasco, A

Valiente Oriol, J

Valiente, G

Rodriguez-Casellas, M

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Publisher:: Electa
Publication Type:: Event
Citation:: XXII TRIENNALE DI MILANO: BROKEN NATURE

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Field	Value	Language
dc.contributor.author	Sanchez-Velasco, A https://orcid.org/0000-0001-7198-077X
dc.contributor.author	Valiente Oriol, J https://orcid.org/0000-0002-4890-8005
dc.contributor.author	Valiente, G https://orcid.org/0000-0003-0580-078X
dc.contributor.author	Rodriguez-Casellas, M
dc.date	2019-03-01
dc.date.accessioned	2020-05-26T11:55:56Z
dc.date.available	2020-05-26T11:55:56Z
dc.identifier.citation	XXII TRIENNALE DI MILANO: BROKEN NATURE
dc.identifier.isbn	9788891824226
dc.identifier.uri	http://hdl.handle.net/10453/140961
dc.description.abstract	Teatro Della Terra Alienata responds to the recent mass coral bleaching events that rendered visible the plausible death of the Great Barrier Reef (GBR). The exhibition frames the decay of the GBR as a wicked problem that demands alternative political imaginaries and addresses the urgency raised by recent United Nations IPCC reports. In 2018, the Australian government decided to partially outsource the preservation of the earth's largest living structure to the Great Barrier Reef Foundation, a charity supported by major mining and insurance companies, banks, and airlines. The current preservation of the GBR is driven by technocratic strategies in which a technological apparatus monitors and manicures the “natural spectacle.” The exhibition portrays this technological arsenal as a theatre of distraction that conceals the biggest threats to the GBR’s survival: the global dependency on fossil fuels and unbridled growth, and the impacts of a local economy devoted to mining, fracking, and intensive agriculture. Inspired by the Xenofeminist Manifesto, the Teatro proposes the reappropriation and resignification of preexisting technologies and infrastructures of natural preservation and mineral extraction. It stages a fictional territorial alienation of the GBR and its catchment areas from the domain of extractivist capitalism and imagines its reterritorialization through an economic rationality centered on the notion of joy.
dc.format	INSTALLATION AND AUDIOVISUAL PIECE
dc.format.extent	1
dc.language	en
dc.publisher	Electa
dc.relation.ispartof	XXII TRIENNALE DI MILANO: BROKEN NATURE
dc.rights	info:eu-repo/semantics/openAccess
dc.title	Teatro della terra alienata, Australian national pavilion at the XXII Milan Triennial, 2019
dc.type	Event
utslib.location.activity	MILAN, ITALY
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Architecture
pubs.organisational-group	/University of Technology Sydney
utslib.copyright.status	open_access	*
pubs.consider-herdc	true
dc.date.updated	2020-05-26T11:55:52Z
pubs.finish-date	2019-09-01
pubs.start-date	2019-03-01

Abstract:

Teatro Della Terra Alienata responds to the recent mass coral bleaching events that rendered visible the plausible death of the Great Barrier Reef (GBR). The exhibition frames the decay of the GBR as a wicked problem that demands alternative political imaginaries and addresses the urgency raised by recent United Nations IPCC reports. In 2018, the Australian government decided to partially outsource the preservation of the earth's largest living structure to the Great Barrier Reef Foundation, a charity supported by major mining and insurance companies, banks, and airlines. The current preservation of the GBR is driven by technocratic strategies in which a technological apparatus monitors and manicures the “natural spectacle.” The exhibition portrays this technological arsenal as a theatre of distraction that conceals the biggest threats to the GBR’s survival: the global dependency on fossil fuels and unbridled growth, and the impacts of a local economy devoted to mining, fracking, and intensive agriculture. Inspired by the Xenofeminist Manifesto, the Teatro proposes the reappropriation and resignification of preexisting technologies and infrastructures of natural preservation and mineral extraction. It stages a fictional territorial alienation of the GBR and its catchment areas from the domain of extractivist capitalism and imagines its reterritorialization through an economic rationality centered on the notion of joy.

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http://hdl.handle.net/10453/140961