2018 November 10 / 17:00
Round Table
Inge Hinterwaldner

In the twentieth century the sky no longer fascinated artists as just a visual motif but increasingly as something formable or as a place of formation. Since most works of sky art or space art are large-scale productions, artists often connote their works in terms of a democratization of art. After all, one need only turn one’s gaze toward the sky to be able to view them. Since they must be put into place with airplanes or rockets, however, they are by no means modest but in fact a potentially political issue. Placing one’ s own stamp on remote places – which offer the advantage of increased visibility – can be interpreted as a territorial act. The fact that it need not remain purely symbolic is shown by projects closely tied with geoengineering. This paper compares artistic works from the 1960s to 1980s with contemporary approaches in an attempt to highlight shifts in political and ecological thought about this subject.


Currently Inge Hinterwaldner is professor of Art and Visual History, Modern and Contemporary Art, at the Humboldt University of Berlin. She received her PhD in 2009 (dissertation: The Systemic Image (published in German by Fink in 2010, in English by MIT Press in 2017). Further studies include research fellowships at MECS/Lüneburg, Duke University/Durham, and MIT/Cambridge. Her main areas of research include computer-based art and architecture, the interweaving of art and science, and theories of images and models.

Credits: Steve Poleskie flying his biplane in front of The World Trade Center Towers, New York 1978.