Rem Koolhaass architectural practice OMA has created an audacious design for an Europe-wide power network tapping into the different regions various renewable energy capabilities. Commissioned by the European Climate Foundation, the proposal claims it would cut carbon emissions in Europe by 80% by 2050. OMAs proposal also cheekily redraws the map of Europe as Eneropa, with countries forming new regions according to what type of energy they would supply to the grid
red, black and GREEN: a blues (rbGb), is a full-length, multimedia theater work that lands at the intersection of green economics and black psychology, written by USA Rockefeller Fellow Marc Bamuthi Joseph. Through a collaboration with installation artist Theaster Gates (Whitney Biennial 2010), Joseph uses music, movement, poetry, and gallery performance to jumpstart a conversation about collective responsibility in a climactic era of climate change.
They are currently seeking resources to support a rehearsal residency at Theater Artaud in San Francisco that will produce the first 20 minutes of the piece. The full debut of rbGb is tentatively scheduled for June 2011 at REDCAT in Los Angeles with additional performances confirmed in Houston, San Francisco, Massachusetts, Chapel Hill, and New York through 2012.
red, black and GREEN: a blues uses performance to document the process of creating single day, eco-themed hip hop festivals in Black neighborhoods across the country. The festivals, called LIFE IS LIVING, are co-organized by Joseph’s Living Word Project and local partners with the specific intention of re-framing environmentalism in underused parks in underserved communities.
Support the project here:
A piece on Inhabitat from Moe Beitiks. We’ll have some news from Nick Vida and Brent Heyning’s talk at CalArts on designing the Solar Array and Lighting from the Crimson Collective’s Acension Soon!
Solely reliant on the sun for its power, the piece changes in synch with nature, offering visitors clear auditory cues into the cycles that occur over a normal day. Each individual is strongly encouraged to wander the field and experience the evolution of music in relation to their position within the space, as well as the intensity of the sunlight – the Sun Boxes will adjust to the light accordingly, and stop playing music when the sun sets. Given the variation in volume and sound, each person is able to create their own experience specific to the path they take within the space.
Focusing on women’s unique perspectives we collaborate internationally to further the field and understanding of ecological and social justice art.
- To provide information regarding the ecoart and social justice art fields to artists, curators, writers, art and public art administrators, educators in art and ecology, cross-disciplinary professionals and others.
- To facilitate international networking among artists working with ecological and social justice issues.
- To further the fields of, and the understanding of environmental and social justice art.
OPEN TO ALL WOMEN ARTS PROFESSIONALS, REGARDLESS OF MEDIA, WHOSE WORK EXPLORES, EDUCATES &/OR COMMENTS ON ECOLOGICAL & SOCIAL JUSTICE ISSUES.
WEAD is not juried. Our goal is to be inclusive of the broadest spectrum of women’s contemporary eco and social justice art. The Wead website provides a place for women arts professionals to define themselves and their work. Each writes her own entry, describing interests, intents, materials, philosophy, and aesthetics.
WEAD does not proscribe to a single definition for ecofeminism or ecoart, nor one set of cultural, political, or social beliefs. Instead, WEAD celebrates a spectrum of differences under the colorful collective umbrella called ecofeminist art. WEAD women speak in their own voices, definite their own work and map its place in the world. Together we work toward a just, sane, healthy world for all.
In 1996 Jo Hanson, Susan Leibovitz Steinman and Estelle Akamine created WEAD in response to increasing requests for artist referrals and for designing ecoart exhibits and programs. Rather than create one static program, they decided it was best to develop a programming tool that others could continue to use to develop more programs. Word-of-mouth networking started in January, by WEAD’s presentation in March at the Regional N. CA. Women’s Caucus for the Arts, there were more than 100 listing artists. From 1996 to 2004, with more than 200 listees, editions were labor intensive cut-and-paste, xerox editions. In 1998 Estelle retired, and Jo and Susan were joined by a brilliant new group of 10 activist women artists, creating the WEAD Board of Directors, a collective volunteer creative force that continues to produce and direct all WEAD publications and outreach programs. In 2004-2006 editions were digitally mastered, a slick step up in the publishing world. But our website, begun in 1999 was our most successful form of communication, reaching by far the largest audience with the smallest carbon footprint and cost. In 2008 we suspended printing on paper. Now in 2010, at the ripe age of 15, WEAD launches this newly expanded and greatly improved interactive website. Please join us, spread the word, and use the site well and often.
EDITORS’ RESERVATION RE LISTINGS
WEAD reserves the right to refuse listings that are inappropriate in any way, and/or commercial in intent.
We are a member of INTERSECTION INCUBATOR
Intersection Incubator connects artists with funding resources, management consultants, discount classes, networking events, and collaboration opportunities. This is a program of Intersection for the Arts, San Francisco’s oldest alternative arts space, presenting ground-breaking work in the literary, performing, visual and interdisciplinary arts.
Info & applications are available online www.theintersection.org Or call (415) 626-2787
The “Über Lebenskunst” project is turning the city of Berlin into a showcase for initiatives that bring together culture and sustainability and examine new models for action.
Whether neighborhood gardens, urban beekeepers, carrot mobs, Wiki woods, sewing cafés or climate pirates on the Berlin’s Spree River – around the world, new forms of ecologically sustainable living models are being put to the test.
The Call for Future is directed at everyone who wants to come up with ideas both in and for Berlin. We are looking for art projects and social initiatives conceived to go beyond what we think is possible. That make the impossible a reality. The art of sustainable living in the 21st century needs not only global expertise, it needs the dedication and the innovative spirit of local initiatives.
Application deadine: May 24, 2010
“Everyone’s a part” – the trailer for the Call for Future.
HOW TO BECOME AN ARTIST FOR SUSTAINABLE LIVING
It’s easy. Please fill out our form (making sure it’s legible) and submit it in either German or English by May 24, 2010.
Please download the form here:
In a two-phase selection process, applicants who are selected in the initial round will be asked to submit supplementary material (business plan, information about relevant previous projects, project planning, etc.) at the beginning of June 2010. An international jury made up of representatives from the realms of art, culture, media, politics, science and civil society will confer on which projects should receive funding by the the end of June 2010. The successful participants will be invited to present their projects at a kick-off workshop September 7-9 at the House of World Cultures in Berlin. The chosen projects will be given conceptual and financial support up through the theme festival to be held in June 2011.
How to submit your application
The application deadline is May 24, 2010 (postmark date/date of e-mail)
# by e-mail to firstname.lastname@example.org
# by mail to
House of World Cultures
The “Über Lebenskunst” project
… or submit your application in person at the reception.
The House of World Cultures at
If you have questions about the Call for Future, you can contact the Über Lebenskunst team.
Just send an e-mail to Info@ueber-lebenskunst.org or call us:
Mon-Fri from 2 p.m. to 4 p.m.
Tel. 030 397 872-20
Frequently asked questions about the Call For Future
1. Who can apply?
Anyone can apply. Individuals, groups, families, residential communities, citizens’ initiatives, associations or organizations from the realms of art, culture, media, architecture and urban development, science and research. Applicants who are NOT residents of Berlin have to work together with a local partner. Because the idea is to focus on model artistic projects and social initiatives that build on models from elsewhere both in and for Berlin, we are expressly seeking these types of partnerships.
2. Which application documents have to be submitted?
For the pre-selection process, it is sufficient to submit the form (in German or English) which you have personally filled out and signed. Supplementary materials such as drawing, photos, manuscripts, recordings, audio files or DVDs can also be submitted. These materials will not be sent back. They will remain in the House of World Cultures.
3. How are projects selected?
As part of a two-phase selection process, a pre-selection will be made on the basis of the application documents submitted. The preselected applicants will be informed in writing at the beginning of June and asked to submit additional information about the planned project (résumé, business plan, information about previous projects, etc.). The Über Lebenskunst jury will confer on project funding at the end of June 2010.
4. What kind of funding can I expect?
In addition to financial funding of up to €20,000 per project, initiatives may receive both technical and/or conception all advice for project implementation from the Über Lebenskunst team. The participants selected by the jury will present their concepts at an (internal) kick-off workshop to be held September 7-9, 2010.
All participants that make the second round will be invited to a dinner the day before the kick-off workshop. The focus here will be getting to know each other in person and networking among the relevant actors in Berlin.
5. Can third-party resources be incorporated into the project?
Co-funding is possible.
6. Why is the call limited to Berlin?
In the 21st century, local ideas always have to be applied globally. Which is why we are primarily directing our call to local initiatives or to people who will implement their ideas and projects together with partners in Berlin, focusing (implicitly or explicitly) on global issues.
In addition, the future of humanity lies in the urban realm. Already today, more people live in urban regions than in rural regions around the world. Global urban co-existence must be conceptualized in a way that gives new value to living and is continuously reinvented. Today, people from roughly 190 different countries live together in Berlin. This is just one more reason that Berlin is a model city for ecologically sustainable living models for the 21st century.
Any fellowship program that respects artists will not set out like missionaries to train them to be good citizens, which will do as much to reinforce the popular assumption that artists are irresponsible children as supporting facile aesthetic tantrums . . . The visual arts field should be seen as en ecosystem in which many different kinds of art must be able to flourish.
– Michael Brenson, “Visionaries and Outcasts”
Last year at the UN talks in Copenhagen there was an awful lot of art. I mean a big glorious bucketful. I mean exhibitions and performances and people-hosting-people-as-art, and there was a great amount of debate as to how that was going to affect policy. If at all. In an interview with me for Inhabitat.com, Ian Garrett of the Center for Sustainable Practice in the Arts reported that in Copenhagen, “These creative ventures, in talking about climate change, are reinforcing what people are feeling around town here and they have an increasing voice with the policy makers of the world,” while admitting that the influence art had on policy was indirect at best.
So now what? Tonight, in New York, at the Metropolitan Museum of Art, there was a gathering of minds looking to answer exactly that question. Part of the PEN World Voices of International Literature, the even was called Weather Report: What Can We Do? and featured, among others, Bill McKibben, author of the 350.org campaign, Skeptical Environmentalist Bjorn Lomborg, Climatologist James Hansen and Dot Earthist Andrew Revkin.
Would love to read somebody’s lecture notes. In the meantime, I’ll be “doing” some blogging and art-ing.