| Summary: | The emphasis in landscape studies on human agency and needs can obscure the complex relationships between non-human living things and their animate and inanimate contexts. Diverse authors have pointed out that this anthropocentric outlook is problematic, destructive, and neo-colonial. How might it be possible to approach a landscape, i.e., land itself, and all that lives on it, in a way that foregrounds the realities and risks of that site, without falling back on familiar humanistic and anthropocentric tropes? In this essay, I explore three recent artworks that each engage with a different landscape: <i>Requiem for a Glacier</i> by artist and composer Paul Walde (2013); the <i>Urban Prairie</i> designed by landscape architects Claude Cormier + Associés (2012); and <i>The</i> <i>Boreal Poetry Garden</i> by visual artist Marlene Creates (born 2005-). By analyzing these artists’ and designers’ creative strategies in relation to these landscapes, I delve into the question of ecological collaboration in each project, and explore the ways in which the non-human aspects of the landscape do, or do not, take centre stage. In so doing, this essay has a second aim: to explore the extent to which, in performing a didactic relationship with their sites, these three projects contribute to an activist and pedagogical ethos around climate change, habitat, and ecology.
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