In order to broaden the possibilities for further, in-depth analysis of contemporary art in the light of climate change, the essay identifies and explores a recurrent phenomenon within contemporary art today: The frequent use of rocks and stones. Stones have, of course, played a quite significant role in the history of art, not least through skillfully crafted marble and grand earthworks. Within contemporary art today, however, everyday pebbles, cobbles and boulders have become a means to address the ecological crisis. By drawing upon the ongoing debate about the reorganization of knowledge, fostered by the awareness of climate change and discussed by Matthew Omelsky and Ian Baucom amongst others, this essay examines when and how stones became such a means. By reflecting upon artworks by Jimmie Durham, Adriane Wachholz, Silvia Noronha and Julian Charrière, it is suggested that stones are often used as a medium to transgress habitual and anthropocentric notions of time and temporality. Further, through their work, these artists have the potential to make us believe, in times of make-believe: Not only in the urgency of climate change, but also in a future to come.

中文翻译：

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坚如磐石：相信时代的信仰

为了拓宽根据气候变化对当代艺术进行进一步深入分析的可能性，本文确定并探索了当今当代艺术中的一种经常性现象：频繁使用岩石和石头。当然，石头在艺术史上起着相当重要的作用，尤其是通过精心制作的大理石和大型土方工程。然而，在当今的当代艺术中，日常的鹅卵石，鹅卵石和巨石已成为解决生态危机的一种手段。通过利用关于气候变化的意识并由马修·奥梅斯基（Matthew Omelsky）和伊恩·鲍科姆（Ian Baucom）等人进行的关于知识重组的持续辩论，本文探讨了石头何时以及如何成为这种手段。通过反思吉米·达勒姆（Jimmie Durham），阿德里亚娜·沃霍尔兹（Adriane Wachholz）的艺术品，西尔维娅·诺罗尼亚（Silvia Noronha）和朱利安·查里埃（JulianCharrière）认为，石头经常被用作超越时间和时间的习惯和人类中心概念的媒介。此外，通过他们的工作，这些艺术家有潜力使我们相信：相信气候变化的紧迫性，以及未来的未来。