Artists in the face of threats of climate change

In contemporary visual culture, the subject of climate change and the need for commitment to counteract it (Demos, 2016, Körber et al., 2017, Tsing et al., 2017) are increasingly being addressed. The artists' observation concerns not only the natural effects of climate change but also their impact on the social and cultural heritage of the inhabitants of regions of the most endangered areas. Areas most vulnerable to destruction: oceans, coral reefs and polar regions are becoming a particular subject of interest for artists. A reflection of this interest can be the increasing number of exhibitions devoted to the current state of the environment (i.e. the project Plasticity of the Planet presented in 2019 in Ujazdowski Castle Centre for Contemporary Art in Warsaw). In the article selected artistic strategies to publicize the problems of ecology will be indicated. The first strategy is the exhibition of the beauty of the natural environment and the melancholy associated with its disappearance. An example of this can be Art of the Arctic by environmental photographer Kerry Koeping who focuses the audience's attention on ocean literacy by means of affecting landscapes of the Arctic or the artistic residence in PAN Hornsund Polar Station of Janusz Oleksa. The second way is to indicate the physical and biological effects of climate change. An example would be the work of Kelly Jazvac who, in collaboration with an oceanographer Charles Moore and a geologist Patricia Corcoran, presents plastiglomerate by Agnieszka Kurant – new forms of fossils, resulting from the combination of shells and stones with plastics or artificial compounds. The third method is the presentation of the residents' experience. The examples are works of Subhankar Banerjee, who draws inspiration from ethnographic research and documentary films and Jakub Witek's documentary about Polish emigrants living in Iceland. The artist presents the consequences of climate change for the inhabitants of the polar regions. The fourth way is to build a metaphor for the presence of a ‘stranger’ – a traveller, an explorer or a scientist. An example is a photographic performance entitled Polaris Summer by Kuba Bąkowski conducted during a scientific expedition to Spitsbergen, or three-screen projection by John Akomfrah's showing the relationship between man and oceans in the context of exploitation of natural and human resources. For the artistic practices described in the article, I use the theoretical framework of environmental art that binds together aesthetics, ethics and politics. The purpose of the article is to check whether such a connection can be attractive to the audience.