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Towards a Time After “The Animal”

Towards a Time After “The Animal”

In: Museum of Nonhumanity (Ed. Gustafsson&Haapoja, 2020)
In: Taiteen kanssa maailman äärillä (Toim. Seppä, Anita ja Johansson, Hanna. Parvs, 2021)


Museum of Nonhumanity is a utopian museum in the form of a 70-minute, 10-channel video installation that displays the division between human and animal, and the resultant oppression. The content of the video installation is made up of archive materials, selected quotations from key works of the tradition of western thought, and dictionary or encyclopaedia definitions that exemplify the mechanics of animalization in the history of western culture.

The Museum interrogates the way we interpret ‘animal’ and ‘human’ as ecological and biological species concepts, and suggests that moves towards inter-species justice overlook the ways in which conceptual discrimination between human and animal in western thought has acted as a tool for marginalizing and oppressing humans and other species. Here I will examine the distinction made between animal and human via three different conceptual frameworks: first, as a species concept that references biological categories; then as a key question for posthumanist thought about the structural connection between the concepts of human and animal; and finally as a demand, arising from decolonial frameworks, to locate the boundary between human and animal within the colonialist paradigm of racialization.

Speciesism and the circle of rights

In human-rights discussions the animal-rights movement is often seen as a pastime of a white elite, which betrays that elite’s lack of concern for human-rights issues. Inside the animal-rights movement, meanwhile, the accentuation of the intrinsic value of humanity looks like a negation of the rights of nature and other species. Underlying this conflict is often the way in which the two sides view the human/animal distinction primarily as a species question. When humanity is seen as a synonym for the species Homo sapiens, and animality, in turn, as a common denominator for all other species, “animals” are seen as a single group who compete with marginalized human groups for recognition of their rights.

The concept of speciesism made famous by the moral philosopher Peter Singer derives from this basic configuration.i The term speciesism identifies the same mechanism as being behind the oppression of animals as is behind racism or sexism: an arbitrary marker (skin colour, gender, species) has been co-opted to justify oppression, even if in reality the issue is simply one of subjugation. The background to Singer’s thinking is Kant’s moral theory, which roots human dignity in the capacity for self-reflection and autonomous thought.ii According to Kant, animals do not have these capacities, and are consequently only means, not ends in themselves. Singer points out that, in reality many animals are capable of self-reflection and are also autonomous, while many humans – for example, those with severe disabilities or illnesses, the very young or old – are not.iii For the argument to be coherent, the inherent value of a living being and its fundamental rights should be formulated according to the individual’s actual attributes, and not species boundaries. This would potentially move some humans into a category with limited human rights, and correspondingly make some animals the holders of a variety of fundamental rights to be determined case by case. To those who are worried that shifting human rights onto a sliding scale makes human individuals vulnerable to exploitation, Singer replies that in current thinking the price of that fear is paid by the billions of animals who have no rights at all.iv

The notion of non-human animals possessing cognitive capacities that forms the basis of Singer’s argument is nowadays a universally acknowledged fact in zoology and other science disciplines. Research data on the abilities of non-human animals to use language, form social relationships, use tools, and even view the world aesthetically – all abilities that were previously seen as exclusively human characteristics – has shattered the idea that human beings differ biologically from all other creatures. Faced with scientific evidence and the sixth extinction the idea of animals having legal rights has broken out of the margins and moved closer to the mainstream.

The Nonhuman Rights Project founded by the US lawyer Steven Wise has long campaigned for the recognition of the fundamental rights of non-human animals, and in recent years NHRP campaigns have reached as high as the state supreme court.v The NHRP’s arguments echo Kant’s moral theory and the Singerian conceptualization of speciesism: According to Wise, it is specifically the capacity for autonomy that is the basis of human rights, and if we take this seriously, many autonomous animals that also have human-like cognitive abilities, such as chimpanzees, orcas and elephants, should be moved from the category of objects to the category of persons possessing legal rights.vi

NHRP’s strategy is to bring court cases on behalf of captive animals with the aid of the habeas corpus method. A writ of habeas corpus demands that the court investigate whether the detention or imprisonment of a person has been done lawfully, and compels the prosecutor either to free the detained person or to charge them with a crime.vii This judicial procedure, which dates back to the middle ages, has been used in historic anti-slavery trials, which have then served as precedents in proving the illegality of slavery. Underlying the NHRP’s argument is the idea of the historical advance of fundamental rights in ever-expanding circles: first, slavery was banned; then came recognition of the rights of women, children, people with disabilities and other minorities; and now it is the animals’ turn. So, the NHRP’s approach, although radical, does not call into question the figure of the autonomous, Kantian human being as the norm for determining legal rights. That is why its potential for bringing non-human beings within the circle of rights is limited: the less human-like a being is, the harder it is to justify its inclusion in the category of persons with rights.

Another problem with the concept of speciesism is the way it overlooks the fact that universal, equal human rights have not been implemented fairly, and that a large portion of the world’s human beings are still excluded from rights. The understanding of the concepts of animal and human as a division rooted in biological species is echoed in discussions of social justice in which human uniqueness is specifically seen as the foundation of human dignity and legal rights.viii From this viewpoint the biggest problem is not the division between human and animal, but the porousness of that divide: a substantial portion of humans are in reality treated “like animals”. When the concept of justice is founded on human exceptionality, any attempt to dismantle the division between human and animal endangers the whole basis for social justice. The way the NHRP compares the plights of enslaved humans and of animals kept in zoos has prompted criticism for precisely that reason: after all, throughout the ages, the oppression of humans has been justified specifically by comparing them to animals.ix

The inability of the mainstream animal-rights movement to answer this challenge deepens the rift between the two fronts. Carol Adams applies the linguistics concept ‘absent referent’ in her examination of the violence hidden underneath language.x For example, “meat” is a referent that conceals beneath it the real animal and its actual suffering. According to Adams, the way animal-rights movements compare the treatment of animals to slavery operates on the same mechanism: the oppression of humans becomes a rhetorical tool used to talk about animal suffering, and thus violence experienced by humans is concealed or even instrumentalized.xi In the process, a mechanism that nullifies violence and makes it invisible, and under which countless humans still live, is reproduced. When the human/animal division is understood as referring to a boundary that divides species, the consequence is almost inevitably a conflict in which human rights and animal rights are opposed to each other, or even mutually exclusive. Posthumanist thinking seeks to bridge that chasm by viewing the concepts of human and animal not as biological categories, but as social constructs.

The unstable construct of humanity

Human and animal are not in reality biological concepts that refer to species. Homo sapiens is one of the great apes and belongs to the continuum of species just as other animals do. Modern zoology has overturned every attempt to define human uniqueness on the basis of biological difference. Science has failed to demonstrate that there exists any property that is unique to the human species, and which is absent from all other species, nor is there any one factor that unites all other species, and which is correspondingly absent from humans. As Matthew Calarco writes, the question of the animal actually contains two different questions: one concerns conceptual opposition between human and animal, the other the concrete relationships between humans and other species.xii But it is impossible to dismantle the violent relationship between humans and other species without first confronting the construction of the binary opposition human/animal in the Western tradition of thought.

The numerous strands of posthumanism are united by their critical approach to Greco-Roman political theory and to the essentialist understanding of the figure of the human being in Enlightenment thinking. Zakiyyah Iman Jackson writes about how these discussions often draw on the writings of poststructuralism and especially of Michel Foucault, which present the human figure as a construct tied to a particular paradigm of knowledge, not as a natural state of affairs. If the distinctive ‘being’ of the human is replaced by the idea that the human is a product of a particular historical and socio-epistemic system, it is also possible to call into question and dismantle the concept of the human.xiii

One main starting point for posthumanist theories is that humans have humanized themselves by rejecting their own animality. Dismantling the human/animal opposition is thus a crucial measure for re-imagining the concept of the human. Giorgio Agamben applies Foucault’s analysis of the relationships between biopolitics and democracy to the construction of the human/animal polarity in a way that is useful for critical animal studies and posthumanism. In The Open – Man and Animal (2004) Agamben traces the distinction between human and animal from the wellsprings of western thought to modern philosophy.xiv Agamben uses numerous examples to demonstrate how the attempt to separate humanity from its animal body constitutes a constantly recurring problem for western thought.xv A common feature of Agamben’s examples is the inability that recurs throughout history to define the human in positive terms – the definition is always done through a negation of the animal. The western conception of the human is founded on this negation process, which perpetually and forever unsuccessfully seeks to separate humanity from the animal. This process is possible because, ever since Antiquity, it has been thought that the human is made up of two different levels: on the one hand, the human being is the basis of organic life or the animal-body, and on the other hand, it is, as it were, the layer of humanity that exists on top of it.

In ancient Greek thought, which also defined Aristotle’s philosophy, zoē describes the basic form of life common to all living things, while bios describes the good, political life characteristic solely of humans. The human is the only being that combines both zoē and biosbios is, as it were, the layer of social life on top of the basic form of life. It is precisely this dual nature and the juncture or fissure that it produces that makes it possible to strip away the humanity from a human – i.e. returning the person in the eyes of the law to being the animal-body hidden beneath the form of “humanity”, so that the laws that protect a person who possesses legal rights and obligations do not apply. Agamben calls this historical process the “anthropological machine” – a lethal mechanism at the core of western thinking that makes anyone potentially “bare life”.xvi

But Agamben is not interested in the figure of the animal or in the plight of concrete animals. The figure of the animal is linked in his thinking with the mechanisms of violence of western political theory, mechanisms that ultimately make totalitarianism and extermination camps possible.xvii For posthumanist thought Agamben’s theory offers tools for interpreting the concepts of the human and the animal, not as species concepts, but as terms that define a being’s relationship with the law and the rights conferred by law. If there is no natural positive basis for humanity and the only thing that separates the human from the animal is that the human “recognizes itself as human”, then an animal can be literally anyone or anything. Human and animal are, thus, not biological, but social and moral categories. Cora Diamond criticizes Singer’s speciesism by pointing out that in the real world moral categories do not come about by observing differences in the natural world, but by naming. The naming of one being as “human” and another as “animal” discursively produces two mutually different beings that are subject to different moral norms and legal principles.xviii

Dehumanization is thus not such an effective mechanism of violence because some humans are more like animals. It works because “animal” is not a species concept. “Animal” means a being that is killable, which in law means a non-human, and hence also a non-person that cannot have rights. In the conceptual system in which human and animal are each other’s binary opposites, everything that is associated with the human (dignity, rights, status) is absent from the very outset from the definition of animal.xix Violence directed at literal non-human animals thus also produces the category of ‘humanity’ protected from violence. As Maneesha Deckha writes, human-to-human violence that resembles the normalized violence directed at animals makes that violence more acceptable, precisely because violence directed at non-human animals constitutes the foundation of humanity. Violence directed at animals thus also constitutes an example and testing ground for the dehumanization of humans.xx The animal thus emerges as a category whose most important function is to create a space where it is possible to commit violence in broad daylight. Because the category of ‘animal’ exists, anyone can be thrust into that space, where they can then be treated “like an animal”.

The category of animal can thus in practice include anything and anyone, regardless of species. Because the ideal human of the western tradition of thought is the white, European man, anyone who deviates from that norm is in danger of being animalized. Seen from this viewpoint racism, sexism and xenophobia are all forms of animalization: the structure of animalization is itself a necessary precondition for them. Cary Wolfe sees the biopolitical field as a “species grid” or matrix, its nodes being humanized human, humanized animal, animalized human, and animalized animal.xxi Instead of a binary division into human/animal, the biopolitical hierarchy appears in the light of Wolfe’s thinking more like a pyramid, with the protected zone of the rights-bearing subject located at its pinnacle, and the substratum of object-beings made to be killed on its lowest level. The concepts of human and animal act as levers in this structure, ceaselessly moving beings up and down.

Posthumanist thinking thus approaches the concepts of human and animal as social constructs intrinsically bound up with the mechanisms of biopower and violence. Thus, the conceptual opposition of human/animal already produces the structures in which any encounter with other species occurs: already beforehand, animalization governs how we approach other species. Seen through the lens of animalization non-human animals are irrational, bloodthirsty, hypersexual, primitive, simple – in other words “women”, “blacks”, “natives”, “homosexuals”, “the disabled”, i.e. everyone that is categorically rejected by the ideal of humanity as defined by Eurocentric white supremacy and the patriarchy.

No analysis of the encounter with other species can be made without taking into account how the mechanics of animalization also enable the oppression of human groups and individuals. Consequently, it is not an adequate goal of rights struggles to get one or a few species across the human/animal dividing line if that very line is to be left where it is. The ultimate goal should be a fundamental questioning of that division and the construction of a non-anthropocentric ethics.

Racialized animal – animalized human

Several thinkers who approach the concept of the animal from the viewpoint of postcolonial and decolonial thinking criticize both the mainstream animal-rights movement and the posthumanism that derives from the Continental philosophy tradition for not taking into account the relationship between modern racism and the human/animal polarity. According to them, the critique of the western conception of the human and the related mechanism of animalization also has a long history in non-western traditions of thought and in postcolonial theory, which posthumanist thinking rarely takes into account.xxii In these traditions dismantling the concepts of animal and human is not just a theoretical problem, but literally a deadly serious task that affects the necessary preconditions for human life and liberty. From this viewpoint posthumanist thought that disregards non-western and postcolonial traditions of thought and the knowledge they produce is in danger of reviving the ideals of colonialist European thinking.

According to the sociologist Ramón Grosfoguel, the universalization of the western conception of knowledge was preceded by a wave of genocides and epistemicides.xxiii The idea of the objectivity and universality of the western tradition of thought and its methods – still often prevalent in western academic research – is only possible because other traditions of thought have been concretely destroyed. Grosfoguel identifies four genocides/epistemicides that preceded the universalization of the knowledge ideals of the enlightenment: against Muslims and Jews in the conquest of Al-Andalus; against the indigenous peoples of the Americas; the enslavement of large sections of the African population; and the destruction of women’s traditional knowledge in witch hunts. Descartes’ famous phrase “I think, therefore I am” was only possible because it was preceded by centuries of white Europe’s “I conquer, therefore I am”.xxiv Western science is founded on colonialist violence. At the same time, it is also a foundation for the current conception of the human, which is determined by the logic of racializationdo s (de to afctual genoocide which the old way of being human is endangered .

The philosopher Syl Ko writes that the mechanism of racialization produced by European colonialism also fundamentally changed the way the concepts of human and animal are understood.xxv Ko points out that understanding the human/animal divide within the framework of today’s world also requires taking into account the logic of racialization. As Grosfoguel says, the encounter between the Spanish colonialists and the indigenous peoples of the Americas put into question the humanity of what in the eyes of the colonialists were “people without religion”, and who thus also potentially had no soul. If, in the 16th-century European worldview, humanity was primarily defined by the individual’s relationship with God, a human being with no relationship with the divine recognizable to Europeans appeared to be a person who lacked the most essential element of what makes someone human. Eurocentric racism thus emerged as a way for European colonialist conquerors to construct within the concept of the human an ontological hierarchy that divides humans proper from ‘sub-humanity’.xxvi The transatlantic slave trade universalized this principle and inscribed blackness as a signifier for ‘sub-humanity’, while white Europeanness signified pure humanity.

As Ko says, the construction of humanity in such a thought model is fundamentally different from what is proposed by a universalist, posthumanist critique. The conceptual opposite presumed by the human proper is no longer so much the non-human animal as the racialized ‘sub-human’.xxvii Other species and their historical oppression get drawn into this configuration and accordingly racialized, the grounds for this being their assumed proximity to the ‘sub-human’ in the great chain of being. The animal and the racialized human are thus not distinct positions in the identity game, positions that compete with each other for recognition, but two different manifestations of the Other required to maintain the Eurocentric, colonialist image of humanity. This also has consequences for the human-rights viewpoint: According to Deckha, humanism’s idea of universal, equal human rights never really secures minorities’ rights, because the humanist conception of the human is founded on the exclusion of racialized and animalized others.xxviii Destabilizing the conceptual boundary between human and animal would be a better approach. On the other hand, talking about animal rights as an expansion of the circle of human rights does not take into account the interweaving of racialization and animalization. As Che Gossett writes: “For many in animal liberation and animal studies, abolition is imagined as teleological; first slavery was abolished and now forms of animal captivity must be, too. It is as though animal is the new black even though blackness has already been racialized through animalization.”xxix Thus, the concepts of human or animal cannot be dismantled without also dismantling the mechanisms of racism – and correspondingly, as Syl Ko emphasizes, dismantling racism requires a re-conceptualization of the relationship between human and animal.

For Agamben the concentration camp is an extreme manifestation of modern biopower without a historical parallel.xxxAlexander Weheliye, nevertheless, asks what Agamben’s analysis would look like if he had taken the transatlantic slave trade and not the holocaust as his starting point.xxxi From this viewpoint, within the realm of the sovereign we can see a third possible position: that of an object that can be owned. Being able to be owned links both non-human animals and racialized, enslaved humans to the sovereign field. In the biopolitical arena the object (of rights) is thus neither an outlawed human being nor a sovereign power, but the thing that makes them possible and which is their foundation (land, animals, anonymous nature as a resource, enslaved humans, wombs controlled by the patriarchy, and so on). Although Agamben criticizes the ‘anthropological machine’ that violently produces the division between human and animal in western thought, he still inhabits an anthropocentric, Eurocentric framework, seen from which the racialization of the concept of the animal is invisible. Zakiyyah Iman Jackson also criticizes posthumanism’s blindness to non-western traditions of thought and their critique of the enlightenment’s conception of the human. Other ways of conceptualizing the human have always existed, and still do. Jackson asks whether it might be the case that the ‘beyond humanity’ proposed by posthumanism points not to a temporal, but to a geographical beyond – an area beyond the west.xxxii

Bringing racialization into the “animal question” opens up a channel to the constructive articulation of the relationships between human rights and other species. This viewpoint also makes possible an alliance between antiracist action and the animal-rights movement in a way that is difficult, if the posthumanist critique does not take into account the link between racism and the modern world’s animalizing mechanisms, or non-western critiques of the enlightenment conception of the human; and even impossible, if the human/animal polarity is understood as following a species boundary. In their bookAphro-Ism – Essays on Pop Culture, Feminism, and Black Veganism from Two Sisters (2017) Syl Ko and Aph Ko set out an antiracist vegan practice, Black Veganism.xxxiii The sisters stress that Black Veganism is not only a veganism practised by non-white people, but also an ethical theory. Refusing to take part in the oppression of non-human animals is also a resistance to white supremacy and the logic of animalization inscribed in it.

Thus, anyone can practise Black Veganism, but racialized humans have special experiential knowledge of what it is like to be shut outside of humanity. That experience can lead to an understanding that ‘animal’ is a polymorphous social construct that includes both humans and other species.xxxiv Hence, the viewpoint of Black Veganism offers a place from which the human rights movement can approach other species via an antiracist, inter-species alliance. As Ko points out, by the same token the animalization of other species is inscribed into their embodied experience. But even if the animals assigned as other species experience oppression, they do not internalize their own animalization like humans do. The oppression of humans and other species are thus not psychologically identical: other species can hardly have the ontological experience of a lack of humanity resulting from internalized racism of the kind Syl Ko describes. In Ko’s words, they have epistemic resilience to the logic of animalization,xxxv which makes them good allies for critics of Eurocentric humanism.

In Conclusion

The transatlantic slave trade is the foundation of modern capitalism. For example, the British cotton factories and working class could not have come about without cotton plantations run on slave labour. Thus, the mechanisms of animalization cannot be understood without their links to the history of European racism, colonialist violence and capitalism. Capitalism needs animal bodies: it is dependent on the non-human beyond the reach of rights and made killable, whose labour, body and reproduction are a central precondition for capitalist production. This class is not defined according to species boundaries, but is in constant motion: the pinnacle of the biopolitical pyramid takes the form of a white space of humanity and legal rights, to which, for example, charismatic megafauna – lions, tigers, orcas, chimpanzees, elephants – can be raised, while the base of the pyramid is constituted by an ever-greater number of humans and individuals of other species who have been instrumentalized as disposable parts of the production economy. A critique of capitalism thus has to begin by challenging not only the concept of class, race and gender, but also that of the animal.

If posthumanist art or critical animal studies view the animal question solely as a problem related to the question of species, it wastes an opportunity to create a connection with movements promoting social justice. The worrisome whiteness of posthumanist and animal-rights discourses does not solely tell us that these academic and art spaces are closed structures of privilege. Rather, it says that their way of articulating the question of what comes after humanity does not appear meaningful to those humans who find themselves concrete objects of the violence associated with the concepts of animal and human. It is also problematic to produce information about a phenomenon if an essential aspect of it – in this case, the connection between the concept of the animal and structural racism – is seen as a side issue in the discourse. Thus, at the worst, the knowledge produced, instead of calling into question an epistemology based on colonialist violence, actually carries on the epistemicide referred to by Grosfoguel.

Intersectionality and decolonization are terms that are also in danger of being diluted if they are adopted as part of the Eurocentric academic tradition, without challenging the underlying values of this canon and the institutions and practices that support it. It is crucial to understand that decolonization is not a metaphor, as Eve Tuck powerfully argues.xxxvi Along with many other things, decolonization means restoring the land rights of indigenous peoples and recognizing their right to national self-determination and self-governance. Every act of knowledge production that aims at the decolonization – i.e. at side-lining the white, Western perspective – should also commit to supporting this concrete goal.

The ‘after humanity’ called for by posthumanism will not come about if we do not let go of the concept of the human elevated to the status of universal. That universality is a smokescreen that conceals the ascendancy of whiteness and Eurocentricism. The “human” of the modern, western tradition of thought is always defined by racialization . This challenge also presents itself in the opposite direction: in social-justice movements it is often difficult, if not impossible, to elevate the rights of nature and other species alongside human-rights struggles, because in the short term humanity appears as a refuge from the violence of animalization. That is why in the critique of humanism put forward by posthumanism there needs to be an emphasis on an analysis in which the racist, colonialist roots of humanism are made visible. Only then will we be ready to break out of the paradigm of the human into a time beyond animality.

Museum of Nonhumanity makes visible the way that the concepts of sub-human and animal are rhetorical devices that justify violence. The Museum reveals the conception of the human at the core of the western tradition of thought to be the basis for the oppression directed at both human and non-human beings. Dehumanization generally occurs first on the level of language and conceptualization, and then in action. The ten different themes of the Museum of Nonhumanity exhibition examine this act of definition as it occurs on the level of language in different sub-areas of western culture. The final theme of the exhibition is “the museum”, which as a historical institution is an intrinsic part of the mechanics of dehumanization. The institutions that produce and display knowledge justify hierarchies that have material consequences, often deadly ones. A museum can speak something into truth, in which case it becomes a part of social reality. Thus Museum of Nonhumanity is, in Laura Gustafsson’s words, “a performance in which the actor’s role is played by the public, which by believing in the Museum’s narrative of the end of dehumanization makes it momentarily true.” At the same time, the term museum expands also to refer to institutions that are responsible for showing art more broadly. If posthumanism aims at a world in which the normative “human” produced by white supremacy and patriarchy as an image of themselves has been side-lined, what will that world’s museum or its viewers be like? Can a museum – an institution whose history is specifically rooted in the construction of that normative image of the human and in the maintenance of othering representations – truly be decolonized, or do we need to seek to move towards traditions in which not only the conception of the human, but also the conception of art and creativity, are situated differently?

In Museum of Nonhumanity these and other open questions are considered in various venues in the form of discussions, lectures and workshops tailored to match the local situation. Through these discussions Museum of Nonhumanity also calls into question the premises for its own existence. It does not seek to be a solution, nor to paint an image of a new paradigm. Utopian thinking becomes dangerous if it projects onto the future an idealized, totalized version of the current value system. Museum of Nonhumanity is a bridge towards something that we cannot even imagine; a bridge that has been built to break through to the other side that follows the transition.




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Weheliye, Alexander G. 2014. Habeas Viscus – Racializing Assemblages, Biopolitics and Black Feminist Theories of the Human. Durham and London: Duke University Press.

Wolfe, Cary 2013. Before the Law: Humans and Other Animals in a Biopolitical Framework. London and Chicago: University of Chicago Press.

Wolfe, Cary 2003. Animal Rites: American Culture, the Discourse of Species, and Posthumanist Theory. London and Chicago: University of Chicago Press.

Press and online sources:

Hubara, Koko 2016. Sikamaista vertailua. Ruskeat Tytöt blog, Lily.fi. 26.5.2016.

https://www.lily.fi/blogit/ruskeat-tytot/sikamaista-vertailua/ (11.11.2019)

Julia Marsh 2019. Lab chimps likened to enslaved blacks at animal-rights trial. New York Post 27.5.2015.https://nypost.com/2015/05/27/lab-chimps-likened-to-enslaved-blacks-at-animal-rights-trial/ (11.11.2019)

The Nonhuman Rights Project

https://www.nonhumanrights.org (23.5.2019)

https://www.nonhumanrights.org/litigation/ (23.5.2019)

Museum of Nonhumanity – Epäihmisyyden museo

http://museumofnonhumanity.org (23.5.2019)

i The concept of “speciesism” was developed by the philosopher Richard Ryder in 1970 (see Ryder, 2010). It was subsequently brought to the awareness of the general public in Peter Singer’s Animal Liberation – A New Ethics for Our Treatment of Animals (1975).

ii Kant 1997. “Animals are not self-conscious and are there merely as a means to an end. That end is man.” Kant 1963, 239.

iii Singer 1990, 568-570.

iv Singer 1990, 578-581.

v The Nonhuman Rights Project, https://www.nonhumanrights.org

vi The Nonhuman Rights Project website puts it like this: “The Nonhuman Rights Project is leading the fight to secure actual legal rights for nonhuman animals through a state-by-state, country-by-country, long-term litigation campaign. Our groundbreaking habeas corpus lawsuits demand recognition of the legal personhood and fundamental right to bodily liberty of individual great apes, elephants, dolphins, and whales held in captivity across the US. With the support of world-renowned scientists, we argue that common law courts must free these self-aware, autonomous beings to appropriate sanctuaries not out of concern for their welfare, but respect for their rights.” https://www.nonhumanrights.org/litigation/ (11.11.2019)

vii See Nonhuman Rights Project website: “Habeas corpus is a centuries-old means of testing the lawfulness of one’s imprisonment before a court. It was used extensively in the 18th and 19th centuries to fight human slavery, and abolitionists often petitioned for common law writs of habeas corpus on behalf of enslaved individuals. The most well known such case is Somerset v. Steuart (1772) in which the Lord Chief Justice of England and Wales granted the writ to a human slave, freeing him unequivocally and essentially transforming him from a legal thing to a legal person. We argue common law courts should do the same for our nonhuman clients.” https://www.nonhumanrights.org/litigation/ (11.11.2019)

viii The “argument for marginal cases” is a term used in animal rights theory and linked to a problem that arises out of the partial overlap between the cognitive abilities of humans and other species. The argument seeks to show that any categorical moral separation of human and animal is impossible, because some animals have abilities that not all humans have. For example, a new-born human does not have a capacity for language or autonomy, while many nonhuman animals are able to express themselves in language as soon as they are born. According to the counterargument moral categories are based on generalizations behind which are the average differences between species: because humans in general are independent, they should be treated as a coherent moral category. (see, e.g. Tanner, 2009.)

ix For example, New York Post headlined an action taken by the Nonhuman Rights Project in New York state’s supreme court as follows: “Lab chimps likened to enslaved blacks at animal-rights trial” NY Post, 2015, https://nypost.com/2015/05/27/lab-chimps-likened-to-enslaved-blacks-at-animal-rights-trial (11.11.2019)

x Adams says on the Earthling Liberation Kollective website: “The absent referent is a term I politicized in “The Sexual Politics of Meat”. The absent referent is the literal being who disappears in the eating of dead bodies. There are three ways I see the absent referent functioning. Literally, an animal killed to become food or “meat”. Physically, the animal is dismembered – cut up, generally – sold off as body parts. So the reminder that the animal was a full being, living a life, disappears. Then the third way is metaphorically. Their oppression, someone else’s oppression, becomes a metaphor for another group’s oppression. Where being treated “like a piece of meat” is, would be an example of the metaphor of the absent referent.” https://humanrightsareanimalrights.com/2016/01/01/carol-j-adams-politics-and-the-absent-referent-in-2014/ (11.11.2019)

xi In 2015, the essayist Antti Nylén wrote a column in Suomen Luonto (Nature of Finland) magazine with the heading “Sika on maailman N-” (the pig is the N- of the world). The text appropriated Yoko Ono’s famous saying: “Woman is the N- of the world”. The text, to my mind justifiably, enraged many minorities, and is a model example of the absent referent: In Nylén’s case a globally oppressed human group was made a means for speaking about the subjugation of another being. (Nylen 2015. See also Hubara 2016).

xii Calarco 2008, 2.

xiii Jackson 2013, 670.

xiv Agamben 2004.

xv Agamben 2004. For Agamben the Ancient Greek terms describing “life” zoē and bios form the foundation for Aristotle’s thinking, in which life is for the first time arranged hierarchically; the organic lifeforce that unites all of life and the sensoriness that links all animals culminate in human rationality. Starting with Aristotle’s thinking, these levels are discernible in the human figure: the level of general life, the level of the animal, and the highest level of the human being. This structure is echoed at the roots/origins of modern science in the thinking of the enlightenment thinker and anatomist Marie François Xavier Bichat, in which the being of organisms is seen through a kind of double exposure: present in an animal, on the one hand, is its “organic life” and, on the other hand, its sensory or perceptual life. For Christian eschatology the Resurrection is a headache, since even if specifically the human soul comes from God, it inhabits an animal body. What, then, happens to the animal body in Heaven? From the viewpoint of modern science and taxonomy the attempt to define an essential difference between humans and other great apes is an impossible task, which the father of modern taxonomy, Carl Linnaeus, tries to get out of by saying that the human is an ape that “recognizes itself as human”. In Heidegger’s thinking, in turn, between Dasein and the animal there is an “unbridgeable chasm”. Agamben also deals with the problem of the end of history in 20th century critical theory in the light of the human/animal distinction.

xvi As Agamben says: “Both [the premodern and the modern anthropological] machines are able to function only by establishing a zone of indifference at their centers, within which – like a ‘missing link’ which is always lacking because it is already virtually present – the articulation between human and animal, man and non-man, speaking being and living being, must take place. Like every space of exception, this zone is, in truth, perfectly empty, and the truly human being who should occur there is only the place of a ceaselessly updated decision in which the caesurae and their rearticulation are always dislocated and displaced anew. What would thus be obtained, however, is neither and animal life nor a human life, but only a life that is separated and excluded from itself – only a bare life.” (Agamben 2004, 37-38.)

xvii Agamben 1998, passim.

xviii Diamond 1978, 470.

xix Ko 2017, 111

xx Deckha 2010, 37.

xxi Wolfe 2003, 101.

xxii See, e.g. Ko 2017; Gossett 2015; Jackson 2013, 2015 and 2016.

xxiii Grosfoguel, 2013.

xxiv Grosfoguel 2013, 77.

xxv Ko 2017.

xxvi Grosfoguel, 2013, 81. See also Ko 2013 and Palang 2019.

xxvii Palang 2013, 10-11.

xxviii Deckha 2010, 45-46.

xxix Gossett describes this idea, for instance, like this: “In contrast to the vision of abolition offered by Douglass, for many in animal liberation and animal studies, abolition is imagined as teleological; first slavery was abolished and now forms of animal captivity must be, too. It is as though animal is the new black even though blackness has already been racialized through animalization. Critiques of “human exceptionalism” and anthropocentrism in critical animal studies often presume that the human in the human/animal divide is a universally inhabited and privileged category, rather than a contested and fractured one. Blackness and its relation to animality and abolition is often left in what Saidiya Hartman and Frank Wilderson call “the position of the unthought.” (Gossett 2015)

xxx Agamben 2000, 37-49.

xxxi Weheliye 2014, 33-36.

xxxii Jackson 2013, 681.

xxxiii Ko 2017, 50-56, 120-127.

xxxiv Ko 2017, 124.

xxxv Palang 2019, 20

xxxvi Tuck, 2012.

UPCOMING

Feb 18, 2025
Talk: Animals, Biocapital and Left Politics
Art Laboratory Berlin

Feb 26, 2025
Keynote lecture: Ihmiskeskeisyyttä purkamassa
Puistokatu 4, Helsinki

April 15, 2025
Keynote, Münster Lectures
Kunstakademie Münster, Germany

April 29, 2025
Roundtable: What’s Left for the Animals
CUNY Graduate Center, New York

June 8, 2025
Exhibition: Working Animal’s Party
Kulttuurikeskus Stoa, Helsinki


PAST

Dec 12 2024 
Online lecture
LuoTo-Hanke, Inspiraatiota kestävyystyöhön -luentosarja

Nov 5, 2024 
Lecture: What’s Left for the Animals
Museum of Impossible Forms, Helsinki

Oct 9 2024
Lecture
What’s Left for the Animals
Rensselaer Polytechnic Institute, Albany, NY

Sep 2023 
Gustafsson&Haapoja: Waiting Room
Exhibition: Animal Power
Montoro12 Gallery, Brussels

Jun 2023 
Inhale-Exhale
Permanent exhibition: Periferia
Hyytiälä Forest Station 

April 2024 
Gustafsson&Haapoja: Embrace Your Empathy
Exhibition: How to Look at Nature
Croatian Association of Visual Artists 

April 13 – June 29 
Gustafsson&Haapoja: Untitled (Alive)
Exhibition: Little John
Pragovka gallery, Prague

March 22. 2023 
To Be Given Over
Performance: Multiplie Festival Trondheim 
In collaboration with WAUHAUS 

Oct 22, 2022
Symposium: Visitations: Art, Agency and Belonging
Reykjavik Art Museum, Iceland

Sep 22, 2022 – Jan 31, 2023
Exhibition: Synthetic Ecology
BATB, Beijing Art and Technology Biennale, Beijing

14.9. 2022 Helsinki
LECTURE
Studia Generalia Lecture series

Sep 7-11. 2022
Venice Climate Camp
Art for Radical Ecologies workshop

Sep 10. 2022 – 14.1. 2023
Exhibition: And I Trust You
Miettinen Collection, Berlin

May 2. 2022
LECTURE
University of Oregon

March 30 – Sep 9. 2022
Gustafsson&Haapoja: Museum of the History of Cattle
Exhibition: Visual Natures
MAAT Museum of Art, Architecture and Technology, Lisbon

Oct 3 – Nov 30. 2021
Gustafsson&Haapoja: Becoming
Bucharest Biennale

Sept 29. 2021  – Jan 8. 2022
Gustafsson&Haapoja: Siat – Pigs
SOLO EXHIBITION: Seinäjoki Kunsthalle

Sept 24. 2021 – Jan 9. 2022
Gustafsson&Haapoja: Becoming
Exhibition / The World as We Don’t Know It
Droog Gallery, Amsterdam

Sept 2 – Oct 17 2021
Gustafsson&Haapoja: Becoming
SOLO EXHIBITION / Display Gallery
Fotograf Festival, Prague

Sept 2 – Oct 10 2021
Gustafsson&Haapoja
Exhibition: Living Matter
The New Tretyakov Gallery, Moscov

Sept 16 – Oct 3. 2021
Exhibition: From Seeing to Acting

Sept 1 – Oct 17 2021
Exhibition: Intensive Places at Tallinn Photomonth

Aug 31 – Dec 3 2021
Exhibition: Earthly Observatory
SAIC gallery, Chicago

Jun 12 – Nov 28. 2021
Gustafsson&Haapoja
Exhibition: Science Friction – Living Amongst Companion Species
CCCB, Barcelona

Aug 20 – Sept 5. 2021
Exhibition: Aistit – Senses | Coming to Our Senses
Helsinki Kunsthalle
Aisit – Senses

May 22 – June 8. 2021
Exhibition: Aistit – Senses | Resonant Bodies
Kindl, Berlin
Aistit – Senses 

May 22 – Aug 1. 2021
Exhibition: Aistit – Senses | When Our Eyes Touch
Maison Louis Carré, Paris
Aistit – Senses 

Feb 6 – May 9. 2021
SOLO EXHIBITION / Gustafsson&Haapoja: The Museum of the History of Cattle
Kalmar konstmuseum

Jan 30 – Mar 21. 2021
SOLO EXHIBITION / Gustafsson&Haapoja: Becoming
Kyoto University Arts Gallery @KCUA

Nov 1. – Dec 6. 2020
SOLO EXHIBITION / Muse – Dialogues on Love and Art
Gallery Forum Box, Helsinki

June 2. 2020 – Jan 17. 2021
SOLO EXHIBITION / Gustafsson&Haapoja: Museum of Becoming
HAM Helsinki Art Museum / Helsinki Biennial

Oct 10-Dec 16. 2019
SOLO EXHIBITION / Between Thingness and Being
Gallery@calitz, UC San Diego

Oct 5 – Dec 5. 2019
EXHIBITION/ Research: Nature/Life
The European Center for Art Upper Bavaria
www.schafhof-kuenstlerhaus.de

Sept 8- Nov 15. 2019
SOLO EXHIBITION / Waiting Room / Gustafsson&Haapoja
Exhibition of a new commission by Zone2Source, Amsterdam
Gallery Zone2Source

Aug 25-Sept 30. 2019
EXHIBITION / The Archive of Nonhumanity / Gustafsson&Haapoja
Sixty-Eight Art InstituteCopenhagen, Denmark

Aug 15 -Sep 15. 2019
EXHIBITION / Embrace Your Empathy / Gustafsson&Haapoja
Wäinö Aaltosen Museo, Turku

June 15-2019
EXHIBITION
Eco-Visionaries, Matadero, Madrid

April 26. 2019 – March 1.2020
EXHIBITION
Coexistence
Kiasma Museum of Contemporary Art, Helsinki

Feb 5. 2019
TALK
GIDEST Seminar
The New School, New York

March 18. 2019
TALK
School of the Art Institute of Chicago SAIC

Feb 21. 2019
PANEL
How to Live: EARTH
The 8th Floor, New York
Organised by Leonore Malen

Feb 12. 2019
ROUNDTABLE
Ecology as Intrasectionality– Radicalising Arts of Climate Justice
NYU Barney Bld, Einstein Auditorium, New York 7pm

Feb 2-24. 2019
EXHIBITION
Earth Rights
Kunsthalle Turku

Nov 17. 2018 – March 10. 2019
EXHIBITION / Museum of Nonhumanity / Gustafsson&Haapoja
Taipei Biennale
Museum of Nonhumanity

Oct 24. 2018
TALK
Kenyon College, Ohio

Aug 30 – Nov 11. 2018
EXHIBITION
Eco-Visionaries – New Media and Ecology After the Anthropocene
House of Electronic Arts Basel

Aug 25 – Nov 25. 2018
EXHIBITION / Gustafsson&Haapoja
And Tomorrow And
Index Gallery, Stockholm

Aug 16. 2018
TALK
Turner Contemporary, UK

Jul 14 – Sept 1. 2018
EXHIBITION
You Are Just a Piece of Action – Works from the Miettinen Collection
Salon Dalhman, Berlin

Jun 26 – Aug 17. 2018
EXHIBITION
The Shores of the World (communality and interlingual politics)
Display gallery, Prague

Jun 18. 2018
Keynote Lecture
InSEA Congress, Aalto University, Helsinki

May 25 – Sep 30. 2018
EXHIBITION / The Archive of Nonhumanity / Gustafsson&Haapoja
Animals and Us
Turner Contemporary, UK

April 27. 2018
TALK
Why Do Animal Studies Now
Conference, Chicago

April 20.2018
TALK
Queens College, Social Practice Queens, New York

Feb 11. 2018
DISCUSSION
Unlearning Dystopias – Ecotopia
Art in General, New York

Jan 27. 2018
SYMPOSIUM
Beyond Binaries – Towards New Constructs of Personhood and Gender
ISCP New York

Nov 11.2017
TALK
SLSA Conference Out of Time
Arizona Stte University, Phoenix

Sept 22-23. 2017
SOLO EXHIBITION AND BOOK PREVIEW
ANTI-Festival, Kuopio

Sept 11- Dec 23. 2017
EXHIBITION
Gravitation
Salon Dalhman, Berlin

Jun 16- Jul 10. 2017
SOLO EXHIBITION
Museum of Nonhumanity
Santarcangelo Festival, Italy

Jun 16 – Oct 1. 2017
EXHIBITION
Museum of Nonhumanity
Momentum Biennale, Norway

Jun 3 – Sept 3. 2017
SOLO EXHIBITION
Closed Circuit – Open Duration
Chronus Art Center, Shanghai

Jun 3. 2017
TALK
Chronus Art Center, Shanghai

Mar 6. 2017
BOOK LAUNCH
Next Helsinki – Public Alternatives to Guggeheim’s Model of Culture Driven Development
Institute for Public Knowledge, NYU, New York

Nov 2. 2016 – Jan 27. 2017
EXHIBITION
Animal Mirror
ISCP New York

Oct 14 – 16. 2016
TALK
Creative Time Summit DC

Sept 1-30. 2016
SOLO EXHIBITION
Gustafsson&Haapoja: Museum of Nonhumanity
Helsinki

Haastattelu: Maailma on Eläinten työllä rakennettu 
Eläinoikeusakatemia, 2024

“We Belong to the Microbes”
Ferment Radio, 2023

In the Studio: Terike Haapoja
Collectors Agenda, 2020
Text Rasmus Kyllönen

‘Art as a practice of vulnerability’
– A Conversation with Terike Haapoja of the artist duo Gustafsson & Haapoja

Metropolis M, 27.01.2021. Text Alice Smits

Interspecies Politics, Animality and Silence
Terike Haapoja and Pablo José Ramírez in conversation
In: Infrasonica, April 2020



Witnessing Mortality
– On Duration, Being-With and the Anthropocene 
Heather Davis in conversation with Terike Haapoja 
In: Vulnerability, Animality, Community (Garret, 2020)


HD: How did you come to work on these subjects and themes, of animals and natureculture and mortality? 

TH: I grew up in the countryside where I was completely immersed in a natural environment that was inhabited by all kinds of species. When I started to work with art I always had an issue with visual representations as two dimensional images, because I felt that a kind of spatial material connect- edness to my surroundings was far more accurate a reflection of how I actually experienced reality. At some point I then discovered imaging technologies such as the infrared camera, and that was the first media that I somehow got, because it reveals its quality as a mediator. You can’t look through it; instead you face a very material surface that’s translating the reality outside your senses. So the question of how we know the world through these sensory interfaces was already there. Entropy was the first video work I made with this technology. I still feel it’s really important to me. 

A more personal path to that work is that there was a death in my family at the time and I felt an urgency to deal with the experience. Through this work I tried to understand this process of someone being a subject and transforming into being an object, without anything visible changing, a process that is almost incomprehensible to us, and to make it tangible. 

I think these two approaches, the formal and the personal opened a door to a lot of things that then followed, that had to do with how to interpret external reality and how to engage with the world beyond our experiences or beyond our understanding through these technologies, but also with how our connection to the world is deeply human in that it is emotional and personal, too. 

HD: I was looking back through your work and reading this beautiful book, which is actually a long conversation between Donna Haraway and Thyrza Nichols Goodeve. In it Donna Haraway says: “From my point of view the affirmation of dying seems absolutely fundamental. Affirmation not in the sense of glorifying death, but in the sense – to put it bluntly – that without mortality we’re nothing. In other words the fantasy of transcend- ing death is opposed to everything I care about.”1 And I think that this really resonates with your work, especially with your earlier work includ- ing Entropy, The Present, Community and Inhale – Exhale as well as the fetus images in Mind Over Matter Over Mind. 

There is something really interesting about the ways in which you are taking up the processes of mortality. You require the viewer to actually sit and be with the creature who is losing heat, who is going through this process of death. I was really intrigued when I noticed that both Entropy and In and Out of Time are long: In and Out of Time is four and an half hours and Entropy is 25 minutes. Even 25 minutes is fairly long for a gallery piece. It’s a long amount of time for an audience member to sit and be with the work. But I think there’s something really important about that length of time. It forces this kind of witnessing and asks of the viewer to be in a temporal space that’s more akin to the reality of death, even though both of those pieces are still really sped up. There’s something about the fact of the works’ duration that I think is really important in terms of witnessing mortality. 

TH: The shooting of those pieces have always been like wakes beside the bodies I’m with. It was important for me to repeat that process in the work. I think that a very core function of art is to provide interfaces through which we can be in relation to that which we cannot understand. In that sense it has to do with spirituality. I’m not religious, but I think these metaphors or these symbolic spaces allow us to form a relation to something we cannot ever rationally or cognitively understand – things such as the disappearance of subjectivity, which we can never really experience. 

HD: It is hard not to see these works without thinking of the ongoing massive extinctions of plants, animals and human entangled ways of life. The extinction of a species is often visualized not as the death of a particular individual, but as the disappearance of a mass, a genus. And what I like about your approach to this topic is the way you’re asking the viewer to be witness to the death of a particular creature. I realize that some of the infrared works aren’t necessarily directly related to the theme of extinction, but Community, which is kind of an amalgamation of much of the infrared works, is. When you’re asking the viewer to witness the transformation of a creature from subjectivity to a community of bacteria and other creatures that start taking hold of a body after it’s no longer its own… there is some- thing about being with an individual that I think implicates the viewer in a different way than witnessing something en mass. 

TH: I think forming emotional connection is necessary – I don’t know if you can say it’s necessary in order to evoke action. It’s not action that I try to evoke with my work directly, especially not with these works, but rather some kind of emotional connection that’s related to one’s own body and one’s own life experience as a being. It’s not anthropomorphization, it’s more a realization of the fact that we are bodily and that is what we share. 

HD: The way that you approach these questions of mortality and the limits of knowledge, and the cyclical nature of time are infused with a lot of ethics, and Emmanuel Levinas’ thinking in particular. You even cite him when you say, in relation to The Presence: “The French philosopher Emmanuel Levinas describes the inner sense of time as a foundation of an ethical encounter. The other is not merely an object in my time, she or he also has a past and a future that are not accessible to me.” The passage from life to death in a lot of ways is the passage from being in time to no longer being in time, to not being bound by the passage of time. I think that there’s also a way in which you ask the viewer to just be in this durational moment with another creature. Despite the fact that Levinas never extends his ethics to other creatures I think there’s something about the ways in which he conceptualizes ethics that seems to inform so much of your work. 

TH: His ideas have been important, especially exactly those parts of his think- ing about time. Another book that affected me a lot back when I started my studies was Roland Barthes’ Camera Lucida. It’s kind of an art school cliché. But it contains the kind of analysis of a medium that is about our existential being in the world that I felt I could relate to as an artist. He doesn’t just provide a semiotic theory, but opens up this space where it becomes visible how meanings are bound to our emotional, human exis- tence in the world. Through my early experiences of nature I’ve gained a very strong sense that this kind of being in the world is something that exists for all life forms, not just for humans. 

HD: In “Involutionary Momentum” scholars Natasha Myers and Carla Hustak talk about orchids and Darwin, and the ways in which Darwin had to embody the movements of an insect in order to get the orchids to react. There’s a communicational system that is real amongst all kinds of non-human crea- tures, including plants, where they can warn other plants about the infesta- tion of particular insects and alter their bodily chemistry in order to get rid of insects that might be feeding on them. There’s such an amazing respon- siveness and a kind of knowledge about the world in them that it’s hard to think that the ways in which we use language are exceptional. 

TH: The exhibition Closed Circuit – Open Duration was really a manifestation of the idea that when beings are born into time they are also born into mean- ings and meaningfulness. There was one work that was not really an inde- pendent piece but it was still very important for me to include in the exhibi- tion. The work consists of a video animation of a quote from the book Writing by Marguerite Duras. In that particular chapter she is trying to describe witnessing the death of a fly. It’s as if she’s trying to access that experience through language, and even if it’s impossible it is still a trial to bring meanings into a shareable form. I wanted to address this aspect of existence also, and not just our material connectedness. Natural sciences work so much on a reductionist basis where everything you can measure is pulled into the cumulative system of knowledge. And I feel that’s also one reason why, even though there is a danger of anthropomorphization, it is still very important to address the subjective and the particular, too. 

HD: Bruno Latour has talked a lot throughout his career about the liveliness of the ways in which scientists describe the creatures that they’re work- ing with. Despite the fact that there is this tendency, within a Western scientific epistomology, to say that this or that is just an automatic response, in the writing of the scientific documents there are moments where the liveliness of the world betrays the impulse to scientific objectivism. For Latour there’s always a tension in scientific work between those two modalities. I think a lot of scientists, especially biologists or ethologists study what they do because of the fact that they are deeply attached to these creatures or plants. 

Philosopher of science Vinciane Despret describes the ways in which the creatures that scientists are working with have meaning systems and have their own schematics of interpretation. Lab rats, for example, are actually interpreting what you are doing to them, and have their own meaning systems around what the experiments are. But they can get bored and start to be uncooperative, so coming up with better scientific results is about develop- ing a relationship with an animal. In the case of Darwin and his orchids, he’s developing a relationship with an orchid while trying to figure out what an orchid will respond to and what an orchid won’t respond to. It actually requires that kind of deep engagement that I think necessarily has to also be emotional, even if in the scientific literature that part often gets taken out. 

Could you describe what it was like to put together the Closed Circuit – Open Duration show and your collaboration with the scientists? 

TH: I had been working with infrared and ultrasound imaging technologies in the works that dealt with disappearance and death and that which is beyond life. Then I started to think that I want to use these scientific media as interfaces between organic processes that you usually see as somehow inert or dead – which of course they are not – and to allow for a real-time ethical relationship with the work and the viewer to take place. I started to work on this exhibition in 2007, and at that time there was not that much discourse around these issues. I first exhibited this show in 2008, and updated the work for the Venice Biennale in 2013. 

During the initial research I found these incredible people from Helsinki University, such as ecologist Eija Juurola and engineer Toivo Pohja, who has been hand-building measuring devices for Helsinki University’s Hyytiälä Forestry Field Station for decades. It was fascinating to see how, for exam- ple, research on the carbon cycle is conducted through these small scale experiments where they measure the fixing of carbon from a single branch of a tree, and then make this huge generalization of that data. Science is so much about making generalizations. In that sense, the particular tree func- tions merely as a foundation from which that general knowledge is then extracted. I, in contrast, was interested in the particular experience of a particular tree, because our common sense experience of trees is that they are individuals like us. 

The same is true with the work Inhale – Exhale. I ran into this concept of soil respiration that is used in forestry research for describing the process of decomposing, and how in that process carbon is released back into the atmosphere. I found that notion extremely poetic. I started to think of carbon flow and of the fact that we are stardust, as Joni Mitchell puts it. I am part of the carbon cycle and my mortality is a by-product of that cycle. But what my mortality means to me is not something scientific, but very personal. So I created this sculpture that would offer a way of internalizing what the carbon flow means for us as humans, that would include the sceintific reading as well. 

HD: There’s something that I have be interested in lately, which is that our imaginations are increasingly framed by the figure of the molecular. We think about gender in relation to how much estrogen or testosterone we have in our body, we think about the climate through how much carbon or methane is there. I think one of the reasons there is a lack of action around things like climate change is that when you say carbon and methane, or talk through the figure of the molecule, it’s such an abstract thing. I think that what is really interesting about Inhale – Exhale and Dialogue is the ways in which you develop a personal relationship to a molecule. In doing that you actually show how it’s not just about this molecule, but that we’re connected through this cycle of decay. I find it a really potent image. It is anthropomorphizing to a certain degree, but I think that it has to be; we are human after all. There are limits to our understanding. 

The early 20th century biologist Jakob von Uexküll describes the way in which each species has its own world. In Uexküll’s thinking species’ worlds overlap, but they remain distinct. The idea of there being one world is thus false: there’s actually multiple worlds that co-exist side-by-side, intertwined and entangled. Humans live in a world that’s particular to us, because of the ways in which we are able to sense and perceive our environment. Each creature has its own world, and it’s important to recognize that we are not going to be able to move out of our own sensoriums completely. However, I often think of trying to see or feel through other creature’s sensations is a kind of active empathy. This is what a lot of our technologies allow us to do – to extend our sensorium. I also think that that is what your work asks us to do, to make connections with plants and animals on an emotional scale that are enabled through the apparatus of technology and art. I realize that there is a danger in this move, a danger of subsuming the other into the self, but it’s also about trying to find a connection, a shared meaning or commu- nication. And it’s clear, from anyone who has ever paid attention, that it is quite possible to communicate across species. 

HD: There seems to be a difference between some of your earlier work, like the Closed Circuit – Open Duration exhibition, and all the earlier infrared works, and the newer works which are more directly political, like the work by Gustafsson&Haapoja and also The Party of Others. What sparked you to make that kind of turn in your work, or do you see a continuity? 

TH: It’s kind of continuous. After working on the Closed Circuit – Open Duration exhibition I started to feel, again, frustrated by the limits of working in the white cube and making these prototypes of theory. The whole exhibition was a manifestation of my world view in a way, a manifestation of what I thought of as an intertwined, more ethical relationship with the non-human world and our own mortality. I do think that the kind of poetics that these works hopefully can put into play is affecting people and has a political effect. 

But if you think about what actually defines our relationship with the non-hu- man world, it is the law and the way in which the non-human world is actually represented in our decision making processes. And then you can easily see that notions of nature-cultures or hybridity are absent from those structures that in practice define our possibilities to interact with the non-human world. It made sense to look to legislation and parliamentary decision-making processes as sites where nature is really created as “the other”. Because that’s how it is: everything in nature is still considered to be a legal object, whereas almost everything human-made is considered to be a legal person. So I started to look into what it would look like if we brought these radical thoughts into the realm of decision-making. In that sense The Party of Others is a continuation of that line of thought. It’s a utopian project and a platform for thinking of what could be an utopian model of governance where everybody would be represented equally. Of course it’s a way of showing the limitations of representational democracy: a way of demonstrating how the core structures of our society are based on exclusion and how the idea of inclusion is not compatible with the basic idea which is essentially premised on the division between humans and nonhumans. It was a way of looking at how these theories actually radical- ize our whole notion of the state and the nation state, and the way we govern our reality at the moment. 

HD: When you staged the participatory performance The Trial, what were the arguments that were given and how did the jury members react? 

TH: The Trial was a play. We had actors who performed the parts and a script, 

the rights of nature into our legal apparatus. I do think that law is a kind of ultimate reality-creating interface. Art is always somehow distanced from reality and everything you do in art becomes a representation. The only place where you can actually make reality is if you make laws. Because that’s where reality is somehow affected directly or created. The Trial was an attempt trial to show how, if you actually have a different kind of a matrix, a different kind of vocabulary through which you have to make the verdicts, how it actually would change our practical reality. I’m continuing this line of thought through a new project called the Transmodern-Modern Dictio- nary, which is a spin off from The Party of Others project and aims at introducing more ecocentric concepts to Western legislation through collaboration with Indigenous language groups. I do feel that I approach law exactly the same way as I approach an infrared camera: it’s a very material medium that somehow allows us to be in a relationship with the outside world. 

HD: I was just reading about the Transmodern-Modern Dictionary. The new concepts that are used in workshops to rewrite selected passages of relevant local legislation in order to demonstrate how ideas really change political reality is a really brilliant intervention. It highlights the way in which the law itself is a representative medium and how people – judges and lawyers and legislators – are interpreting it constantly. So there’s always this process of representation and interpretation which is happening. The idea of changing the language to demonstrate how that would force a shift in policy is such an interesting idea, because it really ties in with notions of performativity of language itself and how that performativity is so mate- rial. 

TH: We’ve worked very closely with the local community and have tried to be conscious about not just going somewhere and extracting some kind of artistic content from the local people. It’s more of a platform than an art work, though there is this poetic element of translation that I’m really interested in: How to translate thoughts between languages and between cultures, from non-human realities to this very human construct of law. I feel that my expertise is in tweaking that part, which is something that the activists or the legal scholars won’t be focusing on. 

TH: Back when I started to work on these issues over ten years ago, the scene was very marginal. The mainstream art world really didn’t talk about these issues: definitely not about animals, but not even about the Anthropocene or climate crises. All of that was introduced later, in 2006 or 2007. How do you see the whole discourse around the Anthropocene and the booming of all these themes in the arts in recent years? 

HD: I feel that it’s so present in art and contemporary theory simply because we can no longer ignore it. It’s not that in the early 2000s things were sig- nificantly better, but I think that there’s just a growing realization of the situation of ecological crisis. We are now seeing the immediate effects of climate change in a very real way, and are living through the sixth mass extinction event. So ecology becomes an important thing even to people who might not be drawn to these themes otherwise. Philosopher Isabelle Stengers talks about the ways in which “Gaia intrudes,” and I think that this is precisely what’s happening. Gaia is intruding on our imaginaries and our world – on the climatical world, environmental world, social world, on our political worlds. For me, the fact that artists are taking this up is a really good thing. 

Even if it’s incredibly important for there to be political action, I also think it’s important for us to grapple emotionally and psychically with what is happening. Art is one of the best places to do that, because it holds a space where you can have what media theorist and curator Joanna Zylisnka has called an “a-moral response”. She doesn’t mean it in a sense of immoral, but in the sense of a space that can be held together in contradiction, a space of contested realities. I think that in order for us to really begin to imagine the world that is going to be confronting us, we need to have a plurality of vision. For me art is one of the best places to do that. 

TH: It took, depending on how you count it, 400 or 2000 or 10 000 years (laughs) for us to get into this mess. It’s going to take a while for the paradigm to actually change. It’s not going to be over in the next 50 years. Collective thinking is slow. In that sense I feel that I can try to be rigorous in this tiny little space I have. It can effect change only so far, but we can still think that we are part of a bigger wave and that maybe in 100 years or 150 years it will have achieved something. For me this is a good way of not becoming desperate, but also of not freeing me from responsibility. It gives me a place of relief, personally, where I still can be satisfied with doing what I do, and feel that if I can just do the tasks at hand well, that’s enough. 

HD: There’s something good in thinking about these kinds of time scales, and 

in the long duration and being-with quality of your work–of certain videos, like Entropy, but also in terms of projects like The Party of Others and Transmodern – Modern Dictionary. They are taking that long view. Under- standing oneself as just a small part of a much larger system is helpful in terms of orienting ourselves to a much longer term politics. There is a necessity in thinking about political action as sustainable, sustaining over a long period of time. 

TH: I do think it’s important. I was just talking with my father, who is a sculptor. My childhood home is in the woods, and that surrounding has affected both of us very deeply. He said that that presence of that forest is so important to him because it constantly reminds him of eternity, in that silent indifferent way that nature does. And that for him art is a way of managing his relation to that eternity. It’s a very beautiful way of putting it and I can relate to that. 

HD: I love the expression “the silent indifference of nature.” I think that’s something that’s important to keep in mind, when dealing with all these other questions. 

TH: I think that’s a good place to stop. 



Heather Davis is an assistant professor of Culture and Media at Eugene Lang College, The New School. As an interdisciplinary scholar working in environmental humanities, media studies, and visual culture, she is interested in how the saturation of fossil fuels has shaped contemporary culture. Her recent book, Plastic Matter (Duke 2022), argues that plastic is the emblematic material of life in the twentieth and twenty-first centuries, showing how intimately oil has coated nearly every fabric of being, how the synthetic cannot be disentangled from the natural, and how a generalized toxicity is producing queer realities. She is a member of the Synthetic Collective, an interdisciplinary team of scientists, humanities scholars, and artists, who investigate and make visible plastic pollution in the Great Lakes. She is the co-editor of Art in the Anthropocene: Encounters Among Aesthetics, Politics, Environments and Epistemologies (Open Humanities Press, 2015) and editor of Desire Change: Contemporary Feminist Art in Canada (MAWA and McGill Queen’s UP, 2017).


Lecture at Museum of Impossible Forms, Helsinki, 5.11.2024.
Lecture at Puistokatu4, Helsinki, 26.2.2025 (in Finnish)
Presentation at Sonic Acts Academy, 2020.
Presentation at Creative Time Summit DC, 2017.
An interview with Laura Gustafsson at Taipei Biennale, 2018.