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Authors
Advisor(s)
Abstract(s)
Nos últimos anos, alguns museus europeus têm sido palco de ações disruptivas por jovens ativistas que denunciam as causas antropogénicas da crise climática. Tinta negra, sopa de tomate ou puré de batata foram arremessados a obras-primas de Goya, da Vinci e Monet, entre outros. Os ativistas optaram pela desobediência civil, argumentando que os canais formais de comunicação com os representantes do poder político e económico estão esgotados. No entanto, as autoridades têm classificado estas ações como atos de desobediência criminal. Estaremos, assim, perante uma guerra entre a geração que enfrenta o apocalipse anunciado e os decisores de cabelos grisalhos que, em aparente estado de acrasia coletiva em relação às alterações climáticas, não estarão presentes para prestar contas? Serão moralmente justificáveis as ações que vandalizam obras-de-arte em nome do protesto climático? É legítimo exigir aos jovens ativistas que continuem a observar os limites da não-violência?
In recent years, some European museums have been the scene of disruptive actions by young activists who denounce the anthropogenic causes of the climate crisis. Black paint, tomato soup, and mashed potatoes have been thrown at masterpieces by Goya, da Vinci, Monet, among others. The activists have opted for civil disobedience, arguing that formal channels of communication with political and economic power representatives have been exhausted. However, the authorities have classified these actions as acts of criminal disobedience. Are we thus facing a war between the generation confronting the announced apocalypse and the grey-haired decision-makers who, in an apparent state of collective inaction regarding climate change, will not be present to be held accountable? Will actions that vandalize works of art in the name of climate protest be morally justifiable? Is it legitimate to demand that young activists continue to observe the limits of non-violence?
In recent years, some European museums have been the scene of disruptive actions by young activists who denounce the anthropogenic causes of the climate crisis. Black paint, tomato soup, and mashed potatoes have been thrown at masterpieces by Goya, da Vinci, Monet, among others. The activists have opted for civil disobedience, arguing that formal channels of communication with political and economic power representatives have been exhausted. However, the authorities have classified these actions as acts of criminal disobedience. Are we thus facing a war between the generation confronting the announced apocalypse and the grey-haired decision-makers who, in an apparent state of collective inaction regarding climate change, will not be present to be held accountable? Will actions that vandalize works of art in the name of climate protest be morally justifiable? Is it legitimate to demand that young activists continue to observe the limits of non-violence?
Description
Capítulo do livro "Todas as Artes, Todos os Nomes", Volume 4, publicado em julho de 2025, organizado por Paula Guerra e Sofia Sousa e editado pela Editora da Universidade do Porto.
Keywords
Acrasia coletiva Ativismo climático Arte e Natureza Desobediência civil Não-violência Collective akrasia Climate activism Art and nature Civil disobedience
Pedagogical Context
Citation
Sousa Basto, R. (2025). Arte e natureza em oposição a pretexto da crise climática. In P. Guerra & S. Sousa (Orgs.), Todas as Artes | Todos os Nomes (Vol. 4, pp. 288–301). Universidade do Porto, Faculdade de Letras. https://doi.org/10.21747/9789899082908O
Publisher
Universidade do Porto