One of the defining theme of global discourses of recent years has been the role of human activity in the climate crisis. There are several published studies, that have suggested that this crisis is caused by a historically defined system of socio-economic relations, capitalism. Therefore, instead of the Anthropocene, the term Capitalocene would be more adequate, according to Jason W. Moore. So „man” (anthropos) is replaced with capital.
The relationship between nature and capitalism has been analyzed by many people, in many ways, but still, most of the attentions has focused on Moore’s work, which draws on eco-marxist and eco-feminist traditions.
However, the question is still the same: can the economical obstacles that appear to be objective at present be overcome by some combination of scientific, technological innovation and geographic expansion, or have we really reached the limits of the Earth’ exploitability?
At the same time, we can see countless solutions in Hollywood sci-fi. Twelve Monkeys, Blade Runner, 2001: A Space Odyssey, The Terminator, Solyaris, and I could go on and on about movies, all pop-culture, dystopian works, that provide some sort of specific solution to the more and more topical issues of the last decades through the world of imagination.
In Sándor Dávid Papp’s exhibition „Solaris”, sunlight (as the ultraviolet radiation from the sun) gets a prominent role as an imaging tool, as well as the real and online components of the consumer segment of society. The foundations of the artworks are found objects and micro-collections, in which dysfunctionality and the structure of objects highlighted from their original environment become important.