This article draws attention to how photography is changing art, by imagining a politics through which to structure a future around something other than the failed visions of technological modernization and nuclear expansion. Focusing on the ongoing environmental damage of events such as Chernobyl 32 years later, the author considers the Swedish artist Lina Selander’s ‘Lenin’s Lamp Glows in the Peasant Hut’ to examine how photography and video may work together to address the present and future force of that disaster’s ongoing environmental aftermath with history’s failed Soviet dream of progress. She proposes that ‘Lenin’s Lamp’, in its work with the temporality of material remains and impressions, is a work of hauntological environmental art that engages viewers in hope and dread. How the work stages this dual affective response through its work with the temporalities of photographic and filmic artifacts is the subject of this article.

中文翻译：

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闹鬼的环境艺术：丽娜·塞兰德（Lina Selander）的列宁灯中切尔诺贝利的摄影框架和核来世

本文关注摄影如何改变艺术，想象一种政治，通过这种政治，可以围绕技术现代化和核扩张的失败愿景以外的事物构建未来。作者着眼于 32 年后切尔诺贝利等事件对环境的持续破坏，考虑瑞典艺术家莉娜·塞兰德 (Lina Selander) 的“农民小屋里的列宁灯火”，以研究摄影和视频如何协同工作，以应对当前和未来的影响灾难持续的环境后果与历史上失败的苏联进步梦想。她提出，“列宁的灯”，在其与物质遗存和印象的时间性的作品中，是一件使观众充满希望和恐惧的鬼魂环境艺术作品。