A growing number of transdisciplinary art-science projects across the world are taking up the challenge of representing geological and cosmic time and of rendering visible, audible and tangible the powerful forces that shape the planet’s systems. While art historians have often found the earth art movement to exemplify a new awareness of the geological impact of human activity on the planet, I argue that art may engender a more genuinely planetary perspective when it pays attention to those forces we cannot compel. Gesturing towards the limits of human agency with regard to the Earth may ultimately be a more effective way of challenging anthropocentrism, and of locating human history within planetary time. My analysis draws on works by four contemporary artists – Rafael Lozano-Hemmer (Canada/Mexico), Claudia Müller (Chile), Paul Rosero Contreras (Ecuador) and Michelle-Marie Letelier (Germany/Chile) – that explore the science of turbulent dynamics that are impervious to human action, such as solar flares, earthquakes, winds, tides, tsunamis and volcanic eruptions. As Nigel Clark argues, the fundamental asymmetry that governs our relationship with a volatile planet is often lost in accounts of the entanglement of human and nonhumans that have recently prevailed in the humanities and social sciences. The works I discuss revise the practices of earth art to create a ‘planetary art’, cultivating a sense of the planet beyond the human that allows us to understand its dynamics more fully, and to resituate human agency more properly within geohistories of matter and energy. In many cases, this art remains fully alert to the geopolitics of the Anthropocene, focusing on the increased vulnerability of the Global South to climate change and environmental disaster, and gesturing towards a decolonial critique of the objectification of nature and the dissociative, rationalist knowledge produced by modern science.

世界各地越来越多的跨学科艺术科学项目正面临着挑战，即代表地质和宇宙时间，以及使可见，可听和有形的塑造行星系统的强大力量面临挑战。尽管艺术史学家经常发现地球艺术运动是对人类活动对地球的地质影响的新认识的例证，但我认为，当艺术关注那些我们无法强迫的力量时，可能会产生更真实的行星视角。打手势以人类对于地球的活动极限为最终目标可能是一种更有效的方式来挑战人类中心主义，并确定人类在行星时间内的历史。我的分析借鉴了四位当代艺术家的作品-拉斐尔·洛萨诺·海默（加拿大）/墨西哥，克劳迪娅·穆勒（智利），Paul Rosero Contreras（厄瓜多尔）和Michelle-Marie Letelier（德国/智利）–研究了湍流动力学的科学，这些动力学对人类的活动是不可渗透的，例如太阳耀斑，地震，风，潮汐，海啸和火山爆发。正如奈杰尔·克拉克（Nigel Clark）所论证的那样，支配我们与动荡的星球之间关系的基本不对称性常常由于人类和非人类的纠缠而消失，这是因为人类和非人类最近在人文科学和社会科学中普遍存在。我讨论的作品修改了地球艺术的实践，从而创造了“行星艺术”，在人类之外培养了对地球的感觉，使我们能够更全面地了解其动力，并在物质和能量的地理历史中更适当地重新定位人类的行为。 。在许多情况下，这种艺术对人类世的地缘政治始终保持高度警惕，