Art and climate change: contribution or contradiction?

In December 2018, the South Bank esplanade in London was transformed into a scene of stark beauty. Blocks of ice, ripped from the heart of the Arctic, materialized among the buildings and lights of the city thanks to the artistic intervention of Olafur Eliasson, who wanted to raise awareness of the dramatic melting of glaciers with his work Ice Watch. The contrast was powerful: visitors could touch an otherwise distant reality, feel the bitter cold and observe the slow and inevitable melting of the ice. However, beyond the visual and conceptual impact, a more uncomfortable question took shape: at what environmental cost?

Transporting huge blocks of ice from the Arctic to London is not a sustainable undertaking. The means used, the resources employed, and the carbon footprint generated clash with the ecological message of the work itself. This tension, between the content of the message and the means used to convey it, represents a contradiction that is becoming increasingly evident incontemporary art dealing with environmental issues. Eliasson’s work is just one example that invites reflection on the role of art in the face of the climate crisis: is it really possible to raise awareness without contributing, to some extent, to the problem?

In the contemporary scene, many artists have grappled with the issue of sustainability. Agnes Denes, a pioneer of environmental art, in 1982 created Wheatfield - A Confrontation, a wheat field in the heart of Manhattan, surrounded by skyscrapers. The project was a powerful gesture: an act of resistance against unbridled urbanization, a reminder of the urgency of restoring a balance between nature and culture. Denes demonstrated how art can become a ground for dialogue, questioning our relationship to land and resource production.

But while works like Denes’s celebrate sustainability, the art system itself is often anything but. Large international fairs like Art Basel or Frieze attract collectors, gallerists, and artists from around the world, but at what cost? Intercontinental transportation of works, booth set-up, packaging and even travel by participants represent a significant ecological footprint. And then there are the materials: resins, paints, metals and other elements that are often difficult to recycle or dispose of. The very notion of permanence, so dear to the art market, is at odds with the values of transience and circularity that are fundamental to a sustainable approach.

This contradiction is not limited to the most famous artists or major events: even in the context of local galleries and independent projects, the challenge of sustainability is felt. Artworks often require resources not only to be made, but also to be stored, protected, and transported. A canvas needs to be mounted, an installation needs to be powered, and a sculpture may need specific treatments to withstand the wear and tear of time. Every detail, from the choice of materials to the energy consumed in the artist’s studio, has an environmental impact that cannot be ignored.

The real challenge for contemporary art seems to be this: not only to raise awareness, but to demonstrate a consistency with the values it promotes. If art really wants to address environmental issues, it must question its own production models. Is it possible to imagine an art system that reduces its ecological footprint without sacrificing the emotional and intellectual impact of the works? Some artists are already trying to answer this question. The duo of Lucy and Jorge Orta, for example, create works that combine activism and sustainable practices. Their OrtaWater series explores the global water crisis, but does so using recycled materials and low-impact production processes. Similarly, numerous initiatives are emerging to rethink the dynamics of fairs and exhibitions: virtual exhibits, transportation by ship instead of air, or the use of local and sustainable materials for the construction of exhibits.

Another significant example is that of art residencies focused on sustainability. These not only offer artists the opportunity to work closely with the local area, but also encourage an approach that values local production and waste reduction. These models represent an attempt to integrate art into the fabric of the communities in which it is developed while minimizing its environmental impact.

The climate crisis represents a watershed not only for society, but also for art. It is not enough for art to talk about sustainability: it must embody it. This means not only creating works that address environmental issues, but also redefining the very system that produces and distributes them.

Perhaps, contemporary art could be inspired by the philosophy of less is more. It could embrace the idea that the effectiveness of a message lies not in the monumental scale of a work or its global display, but in its ability to transform individual and collective perspectives. In this sense, even a minimal gesture, a local action, a conscious choice of materials, a zero-mile exhibition, can have a profound impact.

In the end, art has always had the power to anticipate social and cultural change , and in the context of the climate crisis, this power is more urgent than ever. Art is not only called upon to represent the crisis, but to become part of the solution. Will it be able to meet this challenge without betraying itself?

The dialogue is open and, as always, the answers will come from the works, gestures and choices of those who live and create art. And as the debate continues, a broader reflection emerges: art, with its ability to question and provoke, can perhaps teach us to look beyond the logic of consumption and waste. It can guide us toward a more empathetic and conscious approach, one that not only recognizes the planet’s limits but embraces them as an essential part of our creative future.

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