Abstract

Through an examination of the geological, political, cultural, industrial and aesthetic aspects of work by Nicholas Mangan and Therese Keogh, this article argues for a reading of these artworks in relation to histories that are both human and nonhuman. In the case of Mangan's various artworks, exploring the mining of phosphate on Nauru, the dynamic encounter activates both the long history and material core connecting colonial legacies to contemporary political events. Works by Keogh and Mangan perform a geo-dermatology, taking up Deleuze's challenge for artists to be symptomologists in that they survey disfigurements, investigate lesions, analyse abrasions and their associated dynamics. In each case they draw on specific geological aspects of a region that connect its topography with historical and economic forces registered in subjective and social assemblages. These works connect multiple forces that make evident that the surface of the earth is not so much a limit as a membrane of exchanges. It is the capacity of this surface to register the passage of forces that these artworks call attention to, a confrontation of forces that the Anthropocene marks.