Despite myths of its dematerialization, capitalism continues to deepen its reliance on resource extraction. Performances by Otobong Nkanga and Seba Calfuqueo confront this trend, mapping it onto longer histories of expropriation in Namibia and Chile, respectively. By activating sculptural objects composed of mined raw materials, both artists make visible the colonial and ongoing forms of extractive violence that underpin automation and the socalled green energy transition.
Michael Shane Boyle (Mon,) studied this question.
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