Summary The postcritical movement in academia has served to highlight the rhetorical strategies and attitudes of critique that have become so habitual in the humanities that they tend to be confused with political participation. In this article, I examine one critical strategy that have become just as habitual in art practices, namely the attempt at negating aesthetic distancing. By contrasting two artworks that address environmental issues – a series of interventions in the public space by the Canadian collective ATSA, Attacks #! (2003–2007), and a video essay by Swiss artist Ursula Biemann, Deep Weather (2013) – I call attention to the different meanings and purposes of critique and demonstrate the relevance of a postcritical approach in art, one that restore the notion of a productive aesthetic distance and broadens the scope of critique beyond the field of the social. Specifically, I look into instances of what I call “eco-realist” approaches, more particularly Biemann’s video, that contribute to our ecological consciousness by producing new, eye-opening visualities of our planetary condition.

中文翻译：

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在审美距离内：从行动主义到生态现实主义的艺术批判

总结学术界的后批评运动一直在强调人文科学中的惯用修辞策略和批评态度，以致于它们往往与政治参与相混淆。在本文中，我研究了一种在艺术实践中已变得十分习惯的重要策略，即消除审美差异的尝试。通过对比处理环境问题的两件艺术品–加拿大ATSA集体在公共空间进行的一系列干预，Attacks＃！（2003–2007），以及瑞士艺术家Ursula Biemann的一段视频短文，《深度天气》（2013）–我呼吁人们关注批评的不同含义和目的，并论证后批评方法在艺术中的相关性，它恢复了生产性审美距离的观念，并扩大了批评的范围，超越了社会领域。具体来说，我研究了所谓的“生态现实”方法的实例，尤其是比曼的视频，这些实例通过产生有关行星状况的崭新的，令人大开眼界的视觉形象，有助于我们的生态意识。