What makes the ecological crisis of today a ‘crisis’? Is it the human activities that impact nature or the sociality wherein the crisis is articulated? This visual essay analyzes this form of sociality by looking at articulations of the crisis in contemporary art, with the 16th Istanbul Biennial (2019) as a case study. The biennial exhibited a 'continent' made of trash floating in the Pacific Ocean. While this continent emerged as a result of human-oriented production and consumption processes, it exists outside of human sociality because it is no longer controllable by humans.
The essay focuses on the critical re-examination of the concept of ‘inclusion’. By drawing upon the works of Nicolas Bourriaud, Claire Bishop, Bruno Latour, and Jacques Rancière, the author challenges both the dichotomy of an involved/uninvolved audience and the classical for the post-colonial discourse focus on the maximum involvement of different groups in creating and consuming art. The main message of this work is that attempts to make art more inclusive or to find the ‘right’ inclusion are highly controversial.