In this paper, we investigate five activist-artistic approaches to argue for a sensory politics of the Anthropocene. Our aim is to highlight the affective and speculative potentials of art by examining how artists engage with the senses to make air pollution and its political implications visible, tangible, or otherwise experiential. The paper touches on widerreaching discourses on the politics of sensing, sensible politics, and sensory studies. Rather than situating air pollution within a policy framework, such as that of the international sustainable development goals, we locate our arguments within recent scholarship on postpolitics and the Anthropocene. Despite its epistemological slipperiness, we consider the Anthropocene to be a potent heuristic as well as a rich resource of ideas, data, and collaborative and antagonistic potential for artists working on issues of air pollution. The five case studies are each grounded in an explicit engagement with at least one of the five basic senses and include works by Amy Balkin, Hanna Husberg, Zane Cerpina and Stahl Stenslie, Lingling Zhang, Kitchen Budapest and Baltan Laboratories (NL). Clustered into three lines of argumentation, we demonstrate the ways in which these works contribute to the politicization of air: first, by framing air as a contested common good that problematizes the commodification of clean air; second, by integrating artistic research and environmental communication strategies; and third, by providing sensory experiences of the complicated constellations of agency and perception in the interscalar phenomenon of air pollution. Although our analysis is not exhaustive, three particularities could be identified in the works: an openness to other forms of knowledge and communication; a potent critique of the Anthropocene; and a radical questioning of ‘the political’. In conclusion, we argue that art can mobilize a sense of urgency and empowerment towards a multi-sensory politics of the Anthropocene.

在本文中，我们研究了五种激进主义艺术方法，为人类世间的感官政治辩护。我们的目标是通过检查艺术家如何与感官互动，使空气污染及其政治影响可见，有形或具有体验性，从而突出艺术的情感和投机潜力。本文触及了关于感官政治，理智政治和感官研究的广泛讨论。我们不是将空气污染置于诸如国际可持续发展目标之类的政策框架之内，而是将我们的论点置于最近关于后政治和人类世系的学术研究之内。尽管存在认识论上的滑坡，但我们认为人类世是一种有效的启发式方法，也是丰富的思想，数据，对于从事空气污染问题的艺术家具有协作和对抗的潜力。这五个案例研究均基于至少五个基本意义之一的明确参与，包括艾米·巴尔金（Amy Balkin），汉娜·赫斯伯格（Hanna Husberg），赞恩·塞皮纳（Zane Cerpina）和斯塔尔·斯滕斯利（Stahl Stenslie），张玲玲，布达佩斯厨房和巴尔坦实验室（NL）的作品。我们分为三个论点，我们展示了这些工作促进空气政治化的方式：首先，将空气定为一种有争议的共同利益，使清洁空气的商品化成为问题；第二，整合艺术研究和环境传播策略；第三，通过提供复杂的代理机构的感知体验和对标量间空气污染现象的感知。尽管我们的分析并不详尽，在作品中可以发现三个特点：对其他形式的知识和交流的开放性；对人类世的强烈批评；以及对“政治”的激进质疑。总而言之，我们认为艺术可以调动一种紧迫感和赋予人类对世新世代的多重感官政治的意识。