Abstract

Concentrating on contemporary art, visual culture and politics in Hawaiʻi, this article articulates a specific kind of abolitionist aesthetics that has ecology at its core and through which traces of a demilitarised futurity are interwoven. The work of anonymous collectives, artists and architects ‒including Hui Menehune, Tropic Zine, Jane Chang Mi, Drew Kahuʻāina Broderick and Sean Connelly ‒ stretches abolitionism to consider the role US militarism in Hawaiʻi plays in maintaining and enforcing global capitalism, holding captive alternative ways of organising society and the possibility of an environmentally just future. Analysing experimental residencies, video work, socially engaged proposals and other public interventions produced in relation to movements for racial justice, demilitarisation and Hawaiian sovereignty, these projects offer the provocation that the US might have to burn before the world, both spatially – in terms of being visible for all to see – and temporally, a prerequisite to mitigating the worst of climate catastrophe.

摘要

这篇文章专注于夏威夷的当代艺术、视觉文化和政治，阐明了一种特定的废奴主义美学，它以生态为核心，交织着非军事化未来的痕迹。匿名集体、艺术家和建筑师的作品——包括 Hui Menehune、Tropic Zine、Jane Chang Mi、Drew Kahuʻāina Broderick 和 Sean Connelly——将废奴主义延伸到考虑夏威夷的美国军国主义在维持和加强全球资本主义、控制替代方式方面的作用组织社会和环境公正的未来的可能性。分析与种族正义、非军事化和夏威夷主权运动相关的实验性驻留项目、视频作品、社会参与提案和其他公共干预措施，在世界之前，无论是在空间上——就所有人都能看到而言——还是在时间上，这是减轻最严重气候灾难的先决条件。