Abstract

Despite the attention drawn to the plastic crisis by the media and environmental campaigns, much of the practice around single-use plastic has remained unchanged. It appears that, although many know the correct position to assume regarding the issue, the ‘talk’ does not necessarily translate into action. This incongruity can be explained with reference to Heidegger’s theory on the everydayness of discourse which suggests that a lack of authenticity underlies our everyday interactions and that what is needed is a different kind of encounter with the world. In the light of this we consider Ranciere’s theory on the potential of a political artwork to disrupt the everyday and prompt a different response. Within the framework of these theories, this paper discusses a performance artwork protesting plastic pollution – namely 12 Plastic Monsters by Luke Rudman - as an alternative strategy to prompt a fresh engagement with the issue.

摘要

尽管媒体和环保运动引起了对塑料危机的关注，但围绕一次性塑料的大部分做法仍未改变。看来，虽然许多人知道对这个问题采取的正确立场，但“谈话”并不一定会转化为行动。这种不一致可以参考海德格尔关于话语日常性的理论来解释，该理论表明缺乏真实性是我们日常互动的基础，而我们需要的是一种不同的与世界的相遇。有鉴于此，我们考虑了朗西埃关于政治艺术作品有可能扰乱日常生活并引发不同反应的理论。在这些理论的框架内，本文讨论了一种抗议塑料污染的行为艺术——即卢克·鲁德曼 (Luke Rudman) 的《12 个塑料怪物》 ——作为促使人们重新参与该问题的另一种策略。