Yearly Archives: 2014

Can Festivals Change the World? #edfringe

August 14 @ 4:00 pm – 5:30 pm

Hosted in partnership with Festivals Edinburgh, the “Can Festivals Change the World?” seminar will bring together those working in the arts and cultural sector to discuss the various reactions and interactions between politics, the environment and art. We aim to investigate the place of festivals in our altering society and ask:

What is art’s role in a changing climate? How can artists be part of changing the world for the better? And what can festivals do for sustainability?

During the event, we will hear from Di Robson, who has extensive experience on the Scottish and international festivals circuit – including the Exhibition Road Festival as part of the London 2012 Olympics. We will then open up the floor to a thought provoking discussion on the potential roles of the arts sector in affecting the world around us.

We want to gather a range of festival organisers, participants, artists, attendees and admirers in order to spark new ways of thinking and working around festival arts and sustainability.

Please RSVP via Eventbrite here.


Open Call: Applications Now Open for Sustaining Creativity Data Lab

JBsustainingcreativity.102840From the 7 – 8th October 2014 Julie’s Bicycle and Watershed will host an Environmental Data Lab at the Watershed’s Pervasive Media Studio, Bristol.

Applications are now open until 9am Monday 1st September 2014 for participants. There will also be public showcase of the Lab outcomes and works-in-progress on the 8th October.

See below for further details of the open call.

About the Lab

As the world gets more connected, we are surrounded by devices, networks and infrastructure which carry data about the buildings and places in which we live and work. But whilst we collect data on everything from energy consumption to WiFi signal strength, weather predictions to traffic, this data often feels abstract and inscrutable. Would we feel and act differently if it was made more tangible, more accessible? Would it help us to understand and trace our own environmental impact if we could interact with the data in more human-centred ways? The cultural sector has a real opportunity to connect with other disciplines to make interventions which explore the value, meaning and potential of environmental data and what we do with it.

Focusing on the environmental data that we collect from cultural organisations and our immediate surroundings, including both pre-prepared and live data sets, Julie’s Bicycle and Watershed will run an exploratory Lab on 7 and 8th October 2014.

The two-day Lab aims to make the ‘invisible’ environmental data around us visible by bringing together a diverse community of artists, technologists, data analysts and designers, to explore how environmental data might be visualised and made tangible in creative ways to increase public engagement and data literacy, and inspire long-term behaviour change.

Through a two-day process of thinking through making, we will engage in playful enquiry, and prototype new ideas for sustainable futures.

Open call for applications

This Lab invites creative individuals and/or cultural organisations who would like to explore the opportunities inherent in environmental data sets, to submit an application to attend.

There are three spaces available to individuals and/or organisations with a strong vision for participation. Applications will be particularly welcomed from those that can bring one or more of the following skills and approaches:

  • Interest and/or experience in how data can be creatively translated to drive change
  • Ability to analyse data from a technical and/or creative perspective
  • Ability to develop code
  • Some level of environmental literacy as relevant to the arts and culture
  • Experience of behavioural and/or organisational change approaches
What support is on offer?

Lab participants will receive:

  • £300 bursary for two days participation, including travel.
  • One night’s accommodation in Bristol, where necessary.
  • Breakfast, lunch and refreshments on both days. Pizza will be provided at the end of day one.
  • A variety of materials for use during the Lab.
  • A structured process featuring making, discussion and a sharing event.
  • A peer community of potential collaborators for current and future projects.
What do we expect from you?
  • Participation in an online conversation prior to the Lab, to help with planning.
  • Attendance and participation in all Lab activities over two days.
  • An open, rigorous, experimental approach.
  • An informal group presentation of a work in progress prototype as part of a sharing event at the end of day two of the Lab.
  • Completion of a short evaluation following the Lab.

The Lab will be hosted at Watershed’s Pervasive Media Studio. Located within the Watershed building in Bristol’s historic Harbourside, the Studio brings together an active network of over 150 artists, creative companies, scientists, technologists and academics to work on new and emerging ideas.

  • Open for applications: 10th July 2014
  • Close to applications: 9am, 1st September 2014
  • If your application is successful you will hear by: 10th September 2014
  • Successful applicants announced: 15th September 2014
  • Lab takes place: 7-8th October 2014
How to apply

If you are interested in applying for the Lab, please complete a short application form and return it to by 9am Monday 1st September 2014. Click here to download the application form.


If you have any questions or queries please contact:

Sholeh Johnston, Arts Manager, Julie’s Bicycle | | +44 (0)20 8746 0400

Ground-breaking For New Royal Opera House Costume Centre

Construction is underway on the Royal Opera House’s new Costume Centre at High House Production Park and JB were pleased to join our Culture Change partners to mark the occasion.

Designed by Nicholas Hare architects, the Centre will join the Bob and Tamar Manoukian Production Workshop – where all the ROH’s sets and scenery are made – on the 14-acre site in Thurrock. The Costume Centre is a partnership between the Royal Opera House, South Essex College and Thurrock Borough Council with support from the East of England European Regional Development Programme and the Foyle Foundation.

It will house all the costumes for opera and ballet productions currently in the repertory, which will enable the stock to be managed more efficiently, as well as reducing road mileage, transport costs and carbon footprint. The site will also house costumes obsolete productions so that designers may reuse or refashion costumes. The costumes will be kept in carefully controlled conditions to ensure they are properly conserved.

The building itself will be of the highest environmental standards, set to achieveBREEAM excellent status, best practice in sustainable building design.


How do artists survive? Free Ebook “Making Your Life as an Artist”

“Making Your Life as an Artist,” a free ebook, takes a serious and at times mordantly humorous look at the creative process of surviving and thriving as a professional artist

The arts in America are thriving. And American artists are astonishingly hard-working, driven, and adaptable. So why are so many artists exhausted, overwhelmed, and broke?

In his new book Making Your Life as an Artist, Andrew Simonet – choreographer, writer and, for 20 years, Co-Director of Headlong Dance Theater – offers answers to why anyone would choose the life of an artist, and how to manage that life. He shares what artists already know: building a life as an artist is a creative act, and using your artistic skills outside the studio can make it sustainable.

The book is downloadable at:

Simonet’s book does not offer “how-to” steps to succeed in the art world. You won’t gain gallery representation or get your play produced by reading it. Instead it shares carefully considered—and mordantly humorous—survival skills and techniques for sustaining a creative life.

As part of Simonet’s mission to put tools in the hands of artists, the e-book of Making Your Life as an Artist is free and available to all. It can be downloaded at

Simonet identifies artists’ skills at adapting to and navigating the ‘new economy’ by piecing together multiple jobs and blending wage work with entrepreneurship. Our part-time, self- generated, freelance, startup economy, says Simonet, is exactly the world artists have lived in for decades. Making shares artists’ insights for thriving under these conditions.

Making Your Life as an Artist challenges silly and damaging myths about artists:

Artists don’t contribute to society. Artists are cultural researchers, asking questions about thought, image, and the agreements that bind our society together. Artistic work anticipates, and then contextualizes, social movements like civil rights, feminism, and gay rights. In a culture where change is accelerating, artists generate resilience and reflection, new insights into our shifting lives.

Artists are lazy. Artists work incredibly hard, often too hard. Imagine having full-time work to support yourself and a second full-time job making art. Most artists in America are, at best, earning enough money from their art to cover the costs of making it.

Artists are bad with money. Artists are amazing with money; they usually don’t have enough of it. Through barter, reuse, problem-solving, and resourcefulness, artists produce large-scale projects with very little cash. Making art with limited resources requires incredible financial skill.

If I’m lucky as an artist I will “make it.” Inside and outside the art world, being “discovered” is the presumed route to success, and the myth that leads a lot of artist suffering. The vast majority of artists create and re-create their systems of support and survival every year.


The Rare Earth Catalog (and Research Group): Tools for Reckoning with the Anthropocene

This post comes to you from EcoArtScotland

Originally posted on Discard Studies:

Posted on behalf of the Rare Earth Catalog group:

The Rare Earth Catalog will present a collection of images and short texts that illuminate the racism, classicism and eco-cidal requirements of industrial-scale life. This collection will explore the latent social and political opportunities that are emerging in the anthropocene, an era of human-induced climate change that is in the process of reconfiguring all life on earth. The catalog will pull together examples of resistance and devastation, as well as tools aimed at challenging and transforming the status quo. We aim to generate a lucid and fearless accounting of the entangled elements constituting our precarious lives on this planet.

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
It has been established by Chris Fremantle, producer and research associate with On The Edge ResearchGray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
Go to EcoArtScotland

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12th station of the exhibition ETF! in Essen, Germany

OPENING JULY 18, 2014 at 7pm

Welterbe Zollverein – Areal A
[Schacht XII], Halle 6 [A6] Gelsenkirchener Straße 181
45309 Essen


Interdisciplinary Symposium (including a night of theater): 16. AUGUST 2014

Exhibition: 18/07/2014 – 04/09/2014

Expeditions in aesthetic and sustainability is distinguished by the German UNESCO Commission as Decade Project of the UN Decade in Education for Sustainable Development 2014.


The finiteness of the energy reserves, the threat of climate change, the erosion of biodiversity are also penetrated deep into the public perception before the failed world climate summits in Copenhagen and Cancun, as a concern. After the peaks arises urgent than ever the question of individual possibilities.

We need visions of a sustainable life, with sense (sensitivity), desire and passion of one’s actions combine. recommended to imitation! focuses on the cultural and aesthetic dimensions of sustainability into the sense awareness, to counter so the observable Vernutzung of the term. You aware that sustainability, which sees itself as shaping, can not do without the arts and sciences; of them is to learn to think in transitions, temporaries, models and projects.

Artistic questions and concepts for action increasingly aim at the multi-faceted action fields of ecology and increasing attention to increase their social resonance chamber. Sustainability requires a development space, in which the multiple links of the existing wealth of knowledge and experience in the arts and sciences can only truly develop and at the same time the idea that each | individual can have them share.

recommended to imitation! expeditions in aesthetics and sustainability is the first comprehensive exhibition in the Federal Republic, which focuses on the cultural dimension of sustainability to the center by establishing the links between sustainability and aesthetics. About 40 national and international positions from art, science, film and architecture to face the questions of survival on the risk in all respects planet.
It shows artistic practices that will contribute to the preservation of the planet and to influence conscious consumer behavior, are economically viable and artistic positions in which dissolve the boundaries between art, activism and inventions, and the experience and practice of environmental initiatives with artistic approaches connect.

Sustainability needs expanding perception in interaction. But the boundaries between artistic and technical creativity are aware canceled between feasibility and idea. The sensuality is the unifying element in the works and presentations of visual artists, inventors and scientists as well as in exemplary works of design and architecture, but also in examples of sustainable management, the challenge in their own particular way, the individual dimension of action.
In addition to technical innovations and materials participatory projects and networks will be presented in the field of renewable energy, water and climate change, ecology and Re | upcycling.

An integral part of the concept to be touring the exhibition, in order thus to escape the fast pace of the art market and weave at each other exhibition the peculiarities of the local, artistic, scientific and umweltaktivistischen competence. After kicking off the shores halls in Berlin-Wedding, was recommended to imitation! Kunstverein Gartow, the Federal Environment Agency and the Bauhaus University in Dessau, at the same time in the three Bavarian art associations Oberpfaffenhofen, Ingolstadt and Neuburg. By the end of August 2011, the exhibition at the Water Tower Bremen was a guest now, since 9.9. 2011 she is in Hamburg, overseas HafenCity quarter. 2012 lead us the expeditions to Bombay, to Addis Ababa and Beijing, respectively, in cooperation with the Goethe-Institut.

We appreciate great appreciation for the sophisticated publication, published by Hatje Cantz. She received the Art Directors Club Award in 2011 and the red dot award 2011 in the category of editorial design. And for an art project unusual was recommended to imitation! with two environmental awards: the media Special Prize of the German Environmental Aid and as a project workshop north of the Council for Sustainable Development.

Artists in the exhibition

Aziza Alaoui (MEX | MOR), Jennifer Allora & Guillermo Calzadilla (U.S. | CU), Francis Alÿs (MEX | BEL), Nele Azevedo (BR), Richard Box (GB), Joseph Beuys (D), Ines Doujak (A) Adib Fricke (D), gallery of landscape art (D), Studio Lukas Feireiss and Tomorrow’s Thoughts Today with Luis Berríos-Negrón (D | UK | PR), Dionisio González (e), Emiliano Godoy (MEX), Tue Green Fort (DK ), Hermann Josef Hack (D), Henrik Håkansson (S), Ilkka Halso (FIN), Cornelia Hesse-Honegger (CH), Folke Köbberling | Martin cold water (D), Christian Kuhtz (D), Christin Lahr (D), Antal Lakner (HU), Jae Rhim Lee (KR | U.S.), Till Leeser (D), Marlen Liebau | Marc Lingk (D), Gustavo Lipkau (MEX), Susanne Lorenz (D), Petra Maitz (A), Gordon Matta -Clark (U.S.) (adaptation), Gerd Niemöller (D), Dan Peterman (U.S.), Nana Petzet (D), Clement Price-Thomas (U.S.), Dodi Reifenberg (IL | D), Pedro Reyes (MEX), Ariel Rojo (MEX), Gustavo Romano (AR), Miguel Rothschild (AR), Michael Saup (D), Ursula Schulz-Dornburg (D), Dina Shenhav (IL), David Smithson (U.S.), Robert Smithson (U.S.), Superflex (DK), Jakub Szczesny (PL) The Yes Men (U.S.), Maria Vedder (D), Gudrun F. Widlok (D), Xing Danwen (CN), home power plant (D), interim Report (D).

Set up Essen

The NEW RURALS – research seminar for artists, curators and academics

This post comes to you from EcoArtScotland

Ian Hunter of Littoral asked us to highlight this interesting discussion,

Merz Meadow – scythers cutting hay on the meadow above Kurt Schwitters Merz Barn, Cumbria July 2011

The NEW RURALS – research seminar for artists, curators and academics

(12.00 noon – 5.00pm) Friday 25th July at the Kurt Schwitters Merz Barn site, Elterwater, Cumbria LA22 9JB

One of a series of practitioner meetings and seminars being organised in Ireland, the USA and England during the course of the summer. Partly framed in response to some recent publications and events that are proposing other challenging new critical contexts and related curatorial and cultural research agendas for artists and curators active in (non-metropolitan) regional and rural areas:

These include: Encampment #1 workshop at Kestle Barton/Field Club “..a large body of projects, practical research, and Neo-Agrosophy – a weird fusion of agriculture, futurology and contemporary philosophy”; the recent ‘Arrow Arrow’ – meeting at the Good Hatchery (Offly, Ireland) “The Good Hatchery’s main objective is to support the development of innovative, ambitious art practices that consider their own relation to [rural] place”. The Workers Symposium (18th July) which proposed to examine “..[new] contemporary modes of practice in rural contexts” (Roscommon Arts, Ireland); the publication of ‘A Decade of Country Hits, art on the rural frontier’ by Colorado-based M12 Collective, “ interdisciplinary group that creates and supports experiential projects exploring the value of rural communities and their surrounding landscapes”.; the Rural Cultural Forum’s revised rural cultural strategy ” ..towards a radical rethinking of arts and cultural policy from new rural and agricultural perspectives.” and also proposed as a response to Arts Council England’s recent Arts and Rural Communities ‘position paper’.

The Seminar is being organised by the Littoral Arts Trust in partnership with Grizedale Arts and includes distinguished speakers artists and curators from Spain, Australia and UK; Fernando Garcia Dory (Campo Adentro), Esther Anatolitis CEO Regional Arts Victoria, Australia, Nick Hunt Director Mid-Pennine Arts,, Helen Ratcliffe/Alan Smith AllenHead Arts, Christine Ross Visual Arts in Rural Communities VARC, Green Close Studios, Steve Messam (ex-Fold Gallery) (tbc), and Ian Hunter, Director Littoral Arts/Rural Cultural Forum

Other speakers to be confirmed shortly.
Lunch* and seminar are free but please register to attend with:
(*Donation of £4 appreciated)
Littoral Arts Trust/Merz Barn project: e.
Tel. 015394 37309


ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
It has been established by Chris Fremantle, producer and research associate with On The Edge ResearchGray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
Go to EcoArtScotland

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Seeking global collaborators for an art project embodying climate change

HOLOSCENESstatic.squarespace is a public performance and series of multi-platform artworks that embody the trauma of flooding, as well as a cross-disciplinary research driven by the concern that our troubled relationship to water will become the central issue of the 21st century.

The creative team — behind presentations at The Whitney Museum and The Sundance Film Festival and led by TED Senior Fellow Lars Jan — is asking you to collaborate by recording a video of ANY everyday activity that you or someone you know perform (brushing your teeth, making food, exercising, etc.) posting it online, and including it in the larger project by submitting a link through our website. Inside custom designed aquariums, performers will simulate these documented behaviors while flood waters rise and recede around them.

The result will be large scale performance installations in several cities crediting you as collaborator, and an online video series featuring your submission.

To submit, go to our project site,, and click the “collaborate” button. From there you will be directed to a form where you can send us the link to your video and information about your activity.

We are hoping to find collaborators of all ages, from all over the world to help realize HOLOSCENES. Please participate, and please spread the word!


One week remaining to apply for the Edinburgh Fringe Sustainable Practice Award #edfringe

This post comes from Creative Carbon Scotland

Open call to all Fringe productions

EFSPA-Green-LogoEnter your production in the Edinburgh Fringe Sustainable Practice Award to be chosen as a leading example of sustainability at the Edinburgh Festival Fringe. The award, supported by the Center for Sustainable Practice in the Arts, Creative Carbon Scotland and media partner The List, recognises artists and companies whom address sustainability in myriad ways during the Fringe.

Applicants are assessed on a written questionnaire as well as the implementation and execution of their production during the Edinburgh Festival Fringe. To enter, complete the application from the Center for Sustainable Practice in the Arts, located here.

Applications are due 18 July 2014, with a short list of applicants to be published in The List in due course. The award will be given at the Edinburgh Fringe Sustainable Practice Award ceremony 22 July 4-5pm at Fringe Central. More event info, as well as a list of past award winners can be found here.

Apply now.


Image: 2013 Fringe Sustainable Practice Award winner Daniel Bye with Kathryn Beaumont in “How to Occupy an Oil Rig”. Image courtesy Reed Ingram Weir.

The post Only one week remaining- apply for the Edinburgh Fringe Sustainable Practice Award appeared first on Creative Carbon Scotland.


Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

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NY Daily News: “The Great White Way goes green”

This post comes to you from the Broadway Green Alliance



Wednesday, July 2, 2014, 11:43 AM

More than 11.5 million people gave their regards to Broadway last year, generating almost $1.2 billion for New York City’s theater district — and countless greenhouse gas emissions. While Kinky Boots are always welcome on the Great White Way, a colossal carbon footprint is something the entertainment thoroughfare would prefer to do without.

Looking to limit its environmental impact in a meaningful way, Manhattan’s  professional theaters have banned together through an industrywide initiative called the Broadway Green Alliance to help Broadway get greener.

“We know that Broadway is not only economically and culturally important to New York City, but people from around the country and around the world come to New York to see a Broadway show, so we know that becoming more energy- and resource-efficient is good for our industry, for our city and our world,” says Rebekah Sale, coordinator of Broadway Green Alliance.

The alliance started as an ad hoc committee of the Broadway League in 2008 before becoming an affiliate program of Broadway Cares Equity Fights AIDS, which is the theater world’s principal non-profit fund-raiser and grant-making organization. “We’re a group of theater professionals, students and fans who come together to work on greening Broadway in a grass-roots way,” Sale says.

When it comes to implementing environmentally friendlier practices, the old adage “go big or go home” need not apply. Sale says that although the alliance is equally as interested is discussing sustainable design or infrastructure improvements with theatres, as it is with organizing recycling programs to make the opening and closing of shows more resource-efficient, sometimes it’s the small stuff, like battery and light bulb upgrades, that makes the biggest difference.

“Most shows now use rechargeable batteries in microphones and flashlights, keeping thousands of toxic disposable batteries from the waste stream every month,” Sale says. “It is easy, saves money, and is better for the environment. ‘Wicked’ went from using 15,000 batteries a year to just under 100.”

“Green captains,” from left, A.J. Fisher, Kimilee Bryant, Rhea Patterson and Jessica Lea Patty help promote an environmental message at theatrical productions.

The lights of Broadway have been, burning bright since the turn of the 20th century, Broadway Green Alliance liaison for their production,” Sale says. “This season we had Bryan Cranston, Audra McDonald and Michael C. Hall volunteer. They all volunteered to be the green captains on their production, which is nice because of the legitimacy (it adds) among the whole cast and crew.”

Convincing New York’s theaters that energy and resource efficiency doesn’t require them to sacrifice anything in terms of creative integrity of artistic mission has gone a long way toward getting the industry as a whole to embrace the alliance’s grassroots efforts. “Donyale Werle literally went dumpster diving to create the set of ‘Peter and the Starcatcher’ in 2012, and she ended up winning that year’s Tony Award for best scenic design,” Sale says. “It was a totally upcycled set.”

The alliance relies on ambassadors called “green captains” to help relay its message to the casts and crews of every play and musical participating in the program. “We ask for a volunteer at the first rehearsal of every Broadway show, somebody who will be the go-to green person and the Broadway Green Alliance liaison for their production,” Sale says. “This season we had Bryan Cranston, Audra McDonald and Michael C. Hall volunteer. They all volunteered to be the green captains on their production, which is nice because of the legitimacy (it adds) among the whole cast and crew.”

Support from Broadway’s brightest stars is huge, but Sale stresses that greening the Great White Way is really a group effort — one that requires the assistance of both the people on the stage and those in the seats. For the past five years, the Broadway Green Alliance has held four public collection drives a year in New York City. It’s managed to recycle 15 tons of electronic waste and nearly 10,000 pounds of clothing and textiles so far to date.

“We want people to see what we do,” Sale says. “We want to make sure that they see that we’re challenging ourselves. We just want to show people that green is something that this industry cares about and is working on.”



The Broadway Green Alliance was founded in 2008 in collaboration with the Natural Resources Defense Council. The Broadway Green Alliance (BGA) is an ad hoc committee of The Broadway League and a fiscal program of Broadway Cares/Equity Fights Aids. Along with Julie’s Bicycle in the UK, the BGA is a founding member of the International Green Theatre Alliance. The BGA has reached tens of thousands of fans through Facebook, Twitter, YouTube and other media.

At the BGA, we recognize that it is impossible to be 100% “green” while continuing activity and – as there is no litmus test for green activity – we ask instead that our members commit to being greener and doing better each day. As climate change does not result from one large negative action, but rather from the cumulative effect of billions of small actions, progress comes from millions of us doing a bit better each day. To become a member of the Broadway Green Alliance we ask only that you commit to becoming greener, that you name a point person to be our liaison, and that you will tell us about your green-er journey.

The BGA is co-chaired by Susan Sampliner, Company Manager of the Broadway company of WICKED, and Charlie Deull, Executive Vice President at Clark Transfer<. Rebekah Sale is the BGA’s full-time Coordinator.

Go to the Broadway Green Alliance

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