In her essay, the Art Historian Rosalind Krauss explores how the traditional form of sculpture as a monument developed into
a „Sculpture in the expanded field. “ 1
We will explore examples in Land Art, Performance Art, and Art Activism that emerged in the 1960s that widened the boundaries
of sculpture and the Ecofeminism that articulated a critique on the exploitation of women and nature. We will discuss and
challenge the relationship between sculpture and environment in the light of Anthropocene and Capitalocene today. How much
space does a sculpture occupy? Whose space is it? What does the material character of artwork tell us about its observer?
Reading works by eco- and xenofeminists, such as Donna Haraway, Vandana Shiva, Maria Mies, the Labria Cuboniks collective,
Stacey Alaimo, among other students, will consider the contributions and limits of both Ecofeminism and xenofeminism to an
understanding of capitalism, modernity, and environmental politics.
1 Rosalind Krauss, Sculpture in the Expanded Field, in: October, Vol. 8. (Spring, 1979), pp. 30-44.