ABSTRACT

As the effects of climate change are felt with increasing violence along its multifarious front lines in the Global South, the futures of human and non-human life on the state-demarcated peripheral are cancelled out by both naturalising Euro-American discourse and the disavowal of what has been termed “climate colonialism”. Speculatively thinking with two photographs from South African visual activist Zanele Muholi’s series Somnyama Ngonyama (2012–ongoing), the article explores the theoretical landscape of the “anthropocene” through the prism of creative and academic work by Black, queer and indigenous practitioners whose works resists its homogenising narrative. Utilising bell hooks’ notion of the “oppositional gaze” and Ursula K. Le Guin’s Carrier Bag Theory of Fiction, the article reflects on how Muholi’s seemingly exposing photography in turn exposes the depoliticisation of ecological neocolonialism. The science-fictional and resistant practices of the artist reimagine the agential capacity of queer Black bodies in relation to environmentally changed futures.

摘要

随着气候变化的影响随着全球南方众多前线的暴力冲突的加剧而逐渐显现，因此，通过自然化的欧美话语和对自然保护主义的拒绝，抵消了国家划界周边地区人类和非人类生活的未来。所谓的“气候殖民主义”。通过思考，从南非视觉激进主义者Zanele Muholi的系列Somnyama Ngonyama（2012-进行中）中拍摄了两张照片，本文通过黑人，酷儿和土著从业者的创造性和学术性作品探索了“人类世”的理论景观。它的同质叙事。利用钟形钩的“对立注视”概念和厄休拉·勒·吉因的“手提袋小说理论”，这篇文章反映了穆霍里（Muholi）看似暴露摄影的方式又如何暴露了生态新殖民主义的去政治化。艺术家的科幻小说和抗拒性实践重新构想了酷儿黑体与环境变化的未来有关的代理能力。