Yearly Archives: 2015

CLIMARTE at ArtCOP21 Paris, Melbourne, New York #artcop #cop21

With the support of Creative Victoria and Bank Australia CLIMARTE is curating an exhibition as part of ArtCOP21, the cultural response to the COP21 UN Climate Change Conference in Paris. The artwork we have selected is an impressive video work Counting One to Four: Nature morte by Melbourne artist Debbie Symons.

Counting One to Four: Nature morte visualises the predicted consequences of our warming atmosphere on the Earth’s biodiversity in a seven-minute video. This ground breaking work is also being screened as part of ArtCOP21 in Paris, Melbourne and New York.

By presenting Counting One to Four: Nature morte at ArtCOP21 we call on delegates and the peoples of the world to take bold and hopeful action at COP21 Paris for a safe climate and a sustainable future.

Paris: 12 November to 9 December 2015, at PRODROMUS gallery, 46 Rue Saint-Sébastien, 75011 Paris.

Melbourne: 21 November 2015, 6pm-6:30pm; then 10:00 am daily, 30 November to 11 December 2015, at Federation Square, Cnr Swanston and Flinders Streets, Melbourne, 3000.

New York: 14 September 2015, 6:30-9:00pm, Streaming Museum at Dag Hammarskjold Plaza, E 47th St, New York, NY 10017.


From Eco-Art to Biopolitical Struggle on the Eve of COP21 – The Brooklyn Rail #artcop #cop21

Here is an interesting read on ArtCOP from the Brooklyn Rail by Yates McKee:

The timing of this questionnaire is canny. It appears at a moment in which we are witnessing the daily intensification of climate crisis, the strengthening of the climate justice movement, and the radicalization of artists in the orbit of insurgent political formations over the past few years including Occupy, Rising Tide North America, and Black Lives Matter. In just a few weeks, thousands of activists will descend upon the streets of Paris to antagonistically highlight the limitations of the UN’s COP21 and advance visions of what Naomi Klein calls a “just transition” from carbon-fueled capitalist growth to a planetary commons for all informed by principles of racial justice and climate reparations. Artists will have substantial presence in these mobilizations, ranging from the neo-Situationist street tactics of Climate Games to the launch of a new coalition that includes the Natural History Museum and Liberate Tate targeting art institutions as sites for an emerging “cultural divestment” front, which in tandem with the broader fossil-fuels divestment movement recently made inroads with universities, churches, and municipalities.

Read the Full article:

IMAGE: Climate Games, preparatory sketch of Tools for Action deployment at COP21 Summit, Paris, December 2015 (image courtesy of Climate Games)

ARTPORT_making waves at #COP21 UN Climate Change Conference #ArtCop21

Paris, November 30-December 9, 2015
Le Grand Palais, Columbia Global Center, Le Bourget, Musée de la Chasse et de la Nature, École Massillon.

ARTPORT_making waves will present COP21 ARTPORT_Satellites, a series of art interventions, workshops, and panels to propose creative solutions for a more sustainable planet at COP21 UN Climate Change Conference in Paris, one of the most critical conferences on climate change to date



November 30, 2015
Columbia Global Centers | Europe
Reid Hall, 4 rue de Chevreuse, 75006 Paris

10 am-6 pm

Screening of Cool Stories For When The Planet Gets Hot IV
Free and open to the public

Cool Stories IV is a collection of the winning videos from the fourth international biennial competition of short art videos and animations on climate change launched by ARTPORT_making waves. This edition focuses on food production and consumption.

12-2 pm

World Café Workshop: From Monoprix to Locavore

A workshop with students from the Columbia Undergraduate School will explore movements in France away from unsustainable foods and towards local food production that resembles Brooklyn’s farm-to-table trends. With Flore Cercellier, Associate Director, Positive Effect Consulting; Ana Islas, Project Associate, Teachers College Columbia University; and Eugenia Manwelyan, Co-Founder and Co-Director, Eco Practicum.

7-9 pm  

Panel Discussion: Creative Ingredients For A Sustainable Food System

Followed by a reception
Reid Hall
Free and open to the public

Experts from different disciplines will discuss creative solutions for sustainable food production and consumption as the world faces severe challenges due to climate change. With Corinne Erni, Co-Founder and Co-Director, ARTPORT_making waves; Eugenia Manwelyan, Co-founder and Co-Director, Eco Practicum; Maxime de Rostolan, Founder, Fermes d’Avenir; George Steinmann, Artist; Emily Dilling, Founder,; and Patrick L. Kinney, Director, Climate and Health Program, Department of Environmental Health Sciences, Mailman School of Public Health, Columbia University (moderator).


Symbioses of Responsibility
November 30–December 8, 2015
Le Bourget (closed to the public) and Grand Palais (open to the public),
3 Avenue du Général Eisenhower, 75008 Paris

What is an artist’s role at a political conference? George Steinmann, who works at the intersection of art, science, and politics, will answer this question at the COP21 UN Climate Change Conference and produce mind maps, drawings, and photographs which will be posted online and exhibited.


Little Sun-Light is Life Chain
December 3, 2015, 6-8 pm
École Massillon, 2 Quai des Célestins, 75004 Paris

Private event, for press please rsvp to

March and renewable light chain at École Massillon (since public marches are banned from the streets of Paris due to recent events, we changed the location).  Hundreds of Little Suns—small, solar-powered lamps—will be carried by children to light up the Ecole Massillon and to draw attention to the importance of low-cost, grassroots solutions. Organized in collaboration with the École Massillon.


Bandjoun Station, Film Screening and Workshop
December 7 & 8, 2015, 12-6 pm
Espace Forum at Grand Palais, 3 Av du Général Eisenhower, 75008 Paris
Free and open to the public

Screening of the documentary “Bandjoun Station” (dir. Thierry Spitzer), about the integrated artist residency and farm created by Toguo in Cameroon, and workshops to create a collective artwork with students from the Lycée Maximilien Vox. On December 8 only, photographer Maxime Riché – founder of Climate Heroes – will conduct an introductory Climate Heroes photo workshop.


December 9, 2015 Doors open at 7 pm.
Screening at 7:30 pm, Panel at 8 pm.

Musée de la Chasse et de la Nature, 62, rue des Archives 75003 Paris. Open and free to the public.
Reservation requested at

A screening of Cool Stories For When The Planet Gets Hot IV will be followed by a panel discussion on sustainable food production with Marion Guillou-Charpin, Director, Agreenium (TBC); Anne-Marie Melster, Co-Founder and Co-Director, ARTPORT_making waves; Kevin Morel, agronomist engineer; Maxime de Rostolan, Founder, Fermes d’Avenir; Barthélémy Toguo, artist; moderated by Anne De Malleray, Director of Billebaude, Musée de la Chasse et de la Nature.


Summit of Creatives, ArtCOP21
La Gaïté Lyrique,
3bis rue Papin 75003 Paris
December 1, 2015, 2:30-5 pm
Open to the public. Reservation requested under

ARTPORT_making waves Co-Founder and Co-Director Anne-Marie Melster will participate in the opening ceremony talk together with speakers like – Cynthia Rosenzweig, climatologist (GIEC, NASA), David Buckland (Cape Farewell) and others.

Summit of Creatives, ArtCOP21
La Gaïté Lyrique,
3bis rue Papin 75003 Paris
December 4, 2015, 5-6 pm
Open to the public

Face à Face with the ARTPORT_making waves artist George Steinmann who will talk about his role and responsibility as an artist at the intersection of art, science and climate change.

ABOUT ARTPORT_making waves

ARTPORT_making waves is an international curatorial practice that raises awareness about environmental issues, with a focus on climate change, through art exhibitions, video projects, residency programs, advisory and educational programs as well as collaborations linking the arts, science, and politics with the aim to inspire social and policy change.



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October Green Tease Reflections #artcop21

This post comes from Creative Carbon Scotland

The Green Tease events are a monthly opportunity for people interested in arts, sustainability or both to come together and discuss various ways in which the arts can engage with sustainability issues. This month, we invited individuals to hear more about the upcoming Conference of the Parties (COP21) in Paris and learn how art can play a role in climate change and sustainability.

For those who missed the event, we decided to sit down with our director, Ben Twist, to help us fully understand what COP is and what we can and can’t expect to see at the conference.

What the UNFCCC is COP21?

COP 21 is the 21st annual Conference of the Parties to the United Nations Framework Convention on Climate Change (the UNFCCC). (Other meetings of sub-groups also take place but the COP is the main event.) The UNFCCC was adopted at the Rio (or Earth) Summit in 1992 and entered into force in 1994 once governments (rather than summit representatives) had ratified it in 196 countries. The UNFCCC is ‘broad but shallow’, in that it was deliberately made undemanding in terms of action against climate change so that nearly every country in the world could sign up to it: the aim was to get consensus. But it was quickly realised that action was necessary so a sharper-toothed agreement was negotiated in 1997 which is ‘narrow but deep’: the Kyoto Protocol. It committed countries listed in Annexe 1 (ie the developed world) to reduce their carbon emissions by 5% against 1990 levels by 2012. There was much controversy over the Kyoto Protocol (KP), at least partly because the US senate wouldn’t ratify it. Eventually in 2005 (eight years later!) it was ratified by enough countries to cover 68% of the world’s carbon emissions, which was required by the KP for it to come into force. But even that took a deal with Russia which allowed them to join the World Trade Organisation in return for their ratifying the KP – the climate change talks are all about geopolitics.

But even as the KP came into force, it was realised that time was short and a new treaty was needed for the period after 2012, when the agreement to reduce carbon emissions would run out. So the negotiations on post-2012 started in 2005 and COP15 in Copenhagen in 2009 was meant to be the occasion when a new agreement would be reached. However, it ended in chaos as the parties failed to agree post-2012 targets. COP15 was marred by accusations of a lack of transparency because a last ditch deal, ‘the Copenhagen Accord’, was stitched together by the US, China, Brazil, India and South Africa then presented as a done deal to the rest of the world. COP15 was also riven with division because the rich world was focusing on climate change and carbon reduction whilst the poorer countries were saying ‘we need to develop, get clean water and electricity for the 20-25% of the world’s population which don’t have them’. They also wanted more focus on adaptation to the effects of climate change, which their people were already feeling, and more financial support to help them transition to low carbon economies.

Copenhagen; however, in my view, wasn’t a total failure, as it provoked much discussion and action – and probably the expectations before the COP had been too high (the same is true this year). In Cancun in 2010, development and adaptation was much more in focus and importantly the COP agreed a target of a maximum global temperature rise of 2°C – no target had ever been set before. It also agreed on a Green Climate Fund and technology transfer mechanisms to enable poorer countries to develop along a lower carbon pathway. And the discussions at the COPs became much more transparent and inclusive.

Since 2010, there has been much work on developing binding carbon reduction agreements in place for 2016 onwards – and this is what COP21 aims to finalise.

For anyone interested in a more detailed history of the climate change talks (and it is interesting, in a geeky sort of way), I’d recommend looking at the Earth Negotiations Bulletin summary of the most recent interim talks at

What happens at a COP?

The COP aims to finish negotiations on a text which can then be agreed by all parties – the UN works by consensus rather than majority voting. In between COPs, there are ‘intercessional’ meetings at which negotiators hammer out the broad framework so that at the big meeting the details can be agreed. Before the COP, they will confirm with their governments what they can commit to at the COP and in the first week or so of the COP, they will try to finalise the text which the politicians can jet in to sign off during the ‘high level section’ which takes place towards the end of the conference. What follows is a bit of the text for COP21. The square brackets […] indicate bits of text which aren’t yet agreed. The job of the negotiators is to get rid of all the square brackets so the text is acceptable to all. As you can see, there is quite a lot of work to do.

[The Parties to this Agreement,

Pp1`Being Parties to the United Nations Framework Convention on Climate Change, hereinafter referred to as “the Convention”,

Pp2      In furtherance] [pursuit] of the objective, [principles and provisions] of the Convention [as set out in Articles 2, 3 and 4], [including the principles of equity and common but differentiated responsibilities^ and respective capabilities in light of different national circumstances,]]

Pp3      Recalling decisions 1/CP.17, 2/CP.18, 1/CP.19, and 1/CP 20,

Pp4      [Taking account of the [particular vulnerabilities and specific needs of][particularly vulnerable][urgent and immediate needs and special circumstances of] developing country Parties, especially [those that are particularly vulnerable, including] the least developed country (LDC) Parties[ and other Parties identified in Article 4.8 of the Convention], small island developing states (SIDS) [, small mountainous developing states] and Africa, [and the central American isthmus]][Taking full account of the specific needs and special situations of the least developed countries and small island developing states arising from the adverse impacts of climate change],

There will be separate groups working on different bits of the text in different rooms, with groups of delegations trying to work out common positions on certain areas. Every now and then, everyone will come together in the main plenary sessions to discuss where they have got to. Not much work gets done in the plenary sessions, which are very unmanageable with 196 countries all wanting to have their say (in many different languages – there is simultaneous translation always available). The action is all in the smaller groups.

Of course, it’s in the nature of negotiations that nobody cedes much ground until they have to at the very end of the process and the negotiators – who will be constantly in touch with their governments by phone – are not able to make concessions that they don’t think their Prime Ministers and Presidents will be able to get through their parliaments. In the end, only the top dogs can do the final deal. So although the plan is to get everything sorted before they arrive, it won’t happen. The politicians will fly in (and for COP21 they are being encouraged to arrive earlier than normal) and then the horse trading will start. Although the COP is due to finish on Friday 11 December, the negotiations will continue through the night until Saturday and probably Sunday, with exhausted politicians being brow-beaten and deals being done in side rooms.

What to look out for:

Here is my list of some of the important things to look out for which will be discussed and we hope agreed at COP21

  • Carbon reduction &/or adaptation targets for each country (INDCs) Will they be realistic and achievable; and will they be ambitious enough? (no, and no is the answer)
  • Increasing the ambition of the process See above
  • Adaptation (costing $150/yr (2030) – $500bn/yr (2050)) This may be one area where agreement is possible.
  • Financing for developing countries ($100bn/year from 2020) This will be provided by the rich countries. This may also be achieved, we are hearing.
  • The transition to low-carbon economies ie finance and technology transfer (ie rich countries letting poor countries have access to their new and more efficient technology at reduced rates)
  • The UN Sustainable Development Goals An interesting development is the fact that the SDGs were agreed by the UN earlier this year and they have bearing on all the development issues above. Unlike at Copenhagen in 2009, development will be high on the agenda.
  • Binding ‘legal’ commitments This is tricky, because the US Congress will be reluctant to let Obama agree to binding commitments, but the rest of the world wants them
  • Transparency Has the process been fair and transparent.
  • ‘Common but differentiated responsibilities’ This is the term in the UNFCCC which notes that although this is a joint problem, some countries (the rich ones) have the ability to put more into the pot; that some (like the UK) emitted lots of CO2 in the past which is still causing the problem; and that some (like China) are becoming big emitters although that is relatively recent.

Although the process is flawed and much criticised, I think that’s perhaps unfair. It’s an impossible task. The whole UN process is about putting the world’s collective good above that of one’s own government, one’s own people. That isn’t generally in human nature, and the UN and the UNFCCC could be argued to be an attempt to be better together than we are on our own. At a time of great individualism, that’s a great and noble thing. It’s better to try than to give up. As Samuel Beckett said in Worstward Ho (1983):Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better.’

The post October Green Tease Reflections 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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Public art projects that double as renewable energy sources – The Guardian

We wanted to highlight this feature you might have missed about the integration of public art and renewables from LAGI!

What happens when renewable energy meets public art? The Land Art Generator Initiative, or Lagi, founded by Pittsburgh-based artists Elizabeth Monoian and Robert Ferry, is trying to find the answer with several proposed public art structures designed to generate power while inspiring and educating their viewers.

The initiative has collected hundreds of designs from competitions held in Abu Dhabi, New York City and Copenhagen. At the 2016 competition, which will be held in Santa Monica, California, entrants will design structures that harvest clean energy or generate clean drinking water.

Read the full article from earlier this month here:

IMAGE:  This rendering shows an aquatic bird concept, designed by a group of London-based designers, which would be outfitted with enough hydraulic turbines and solar cells to power an entire neighborhood. Designed to educate, it would sink lower when energy demand increases, and would have an open interior area where visitors can see how it works.

Water: A Necessary Conversation – A Southern California Women’s Caucus for Art Exhibition

November 14-December 6, 2015

The Southern California Women’s Caucus for Art (SCWCA) in partnership with Avenue 50 Studio presents Water: A Necessary Conversation, an engaging exhibition that opens on Saturday, November 14, 2015. The decision by curator Susan King to hang contemporary artworks alongside activist posters strikes a lively visual dialogue between past and present artistic treatments of this important subject. In King’s words: “it emphasizes the enduring human need to manage water resources and the usefulness of art in conveying that message.” The abstract and representational works by twenty artists from across the country range from painting, prints and video to iPhone photography. The activist posters including two Robbie Canal posters are courtesy of the Center for the Study of Political Graphics.  A stakeholders conversation will take place on Sunday, December 6, 2015 to further expand the public dialogue.

Participating artists include: Elaine Alibrandi, Melissa Richardson Banks, Mariona Barkus, Andrea Broyles, Danielle Eubank, Karen Hansen, Shelley Hefler, Brenda Hurst, Ann Isolde, J. J. L’Heureux, Yana Marshall, Andrea Monroe, Eva Montealegre, Therese Moriarty, Sandra Mueller, Seda Saar, Karen Schifman, Susie Stockholm, Stephanie Sydney, Teresa Young and the “Artists Formerly Known as Women” collective.  The historical posters including two works by Robbie Conal are courtesy of The Center for The Study of Political Graphics.More at

Opening Reception: November 14. 2015 

Dates: November 14-December 6, 2015

Hours: 10-4 pm, Tues.-Sunday (closed Friday)

Closing: Stakeholders
Conversation: Sunday, Dec. 6, 2-4 pm<

Venue: Avenue 50 Studio, 131 N Avenue 50, Los Angeles, CA 90042

ABOUT SCWCA: The Women’s Caucus for Art is the leading national membership organization for women in the visual arts professions. Founded in 1976, the Southern California chapter provides programs, workshops and exhibitions opportunities. Visit

ABOUT AVENUE 50 STUDIO: Avenue 50 Studio is an arts presentation organization grounded in Latina/o culture, visual arts, and the Northeast Los Angeles Community, that seeks to bridge cultures through artistic expression, using content-driven art to educate and to stimulate intercultural understanding. Visit

ABOUT THE CURATOR: Curator Susan King is an art historian and artist who currently teaches at Loyola Marymount College and Laguna College of Art and Design. Her areas of expertise include modern and contemporary art and design. She will become national president of WCA in February 2016

EARTH CAN YOU HEAR US? ArtCop21 Summit Launch #artcop #cop21

‘In response to the tragic recent events in Paris, we – COAL and Cape Farewell – believe spearheading an inspiring, collaborative and creative global culture to mark and amplify COP21 negotiations is more important than ever.’  Read full statement


On the first day of COP21, Monday 30th November at St Pancras Station, London – ArtCop21 partners with 100% renewable firm Good Energy, to bring a live and loud array of performances calling for major climate action.

EARTH CAN YOU HEAR US? will fill the station’s Grand Terrace with music, poetry and talks, as UK delegates board the trains bound for Paris to participate in the most crucial United Nations summit in history.

Hosted by BBC Radio 1 presenter Gemma Cairney, and starring UN Climate Poet Kathy Jetnil-Kijiner and internationally acclaimed beatboxer Shlomo.

Also speaking will be David Buckland, Director of Cape Farewell – the UK organisation behind the ArtCop21 programme – and Juliet Davenport, founder of Good Energy.

EARTH CAN YOU HEAR US? will also feature a very special surprise mid-set celebrating the power of collaboration and community to bring about positive change – so whatever you do, don’t miss out – join the event on Facebook!

ArtsBuild Ontario Workshop Info: Dollars to $ense Energy Conservation Workshop

ArtsBuild Ontario is excited to be partnering with Natural Resources Canada and Toronto Hydro to offer our organizations this valuable energy conservation training experience. Designed specifically for arts facilities, participants  get to know energy basics and discover cost-saving opportunities from the experts. Whether you’re involved in a new build, renovation or ongoing maintenance in your facility, Energy Conservation can help you realize potential saving –and this workshop will help you understand how!


When: Tuesday, December 1 at 8am – 4pm

Where: Gladstone Hotel (1214 Queen St W, Toronto, M6J 1J6)

Cost: $40+ HST per person, which includes a catered lunch and breaks

Register here:

ArtCOP Scotland: Beautiful Renewables Event

This post comes from Creative Carbon Scotland

ArtCOP Scotland got off to a flying start on Wednesday when CCS hosted a talk by the Land Art Generator Initiative at the Edinburgh Centre for Carbon Innovation. ArtCOP Scotland is Scotland’s Climate Change Arts Season, coordinated by Creative Carbon Scotland but incorporating events and commissions from many different partners and all over the country. Check out the website for more details.

Diphoto 1rectors of the Land Art Generator Initiative Robert Ferry & Elizabeth Monoian gave a good and very varied crowd a lightning tour of the project, which aims to combine public art with reasonably large scale renewable energy generation, and therefore, make renewables both more acceptable and more wonderful! The project started with a competition in Abu Dhabi in 2010, an open call seeking inspirational projects from teams of artists, engineers and architects to design beautiful renewables for the low carbon city of Masdar. This was followed by further competitions in New York (2012) and Copenhagen (2014). The next competition will be for Santa Monica in California in 2016, but Glasgow is hosting a mini LAGI this year.

Robert and Elizabeth showed us fascinating slides of projects as pedestrian (but obvious – why doesn’t this happen as a matter of course?) as long strips of photovoltaic cells along the side of motorways to extraordinary forests of poles that sway in the wind, squeezing piezoelectric actuators to generate electricity whilst creating a magical place to walk and play. Some of the projects are eminently do-able, others are on the edge of sci-fi. Although few (if any) of the designs have yet been built, there are some in the pipeline and it’s surely a great thing to have over 600 developed ideas in the bank, inspiring others, setting the agenda and creating the future. (There’s a long history of sci-fi leading to innovation.)

The mini-LAGI in Glasgow is a different sort of competition. Chris Fremantle of eco/art/scot/land co-hosted the ArtCOP Scotland event. He has worked with Sustainable Glasgow to enable LAGI to invite three successful teams from previous competitions to work with Scottish architects and artists to produce designs for beautiful renewable projects for a site at Dundashill in north Glasgow. (We were thrilled to hear that the project came out of an early Green Tease when Chris got talking with Heather Claridge from Sustainable Glasgow! That’s what the Green Teases are for. Get the next one in your diary now.) Dundashill is an exciting site urban site that is earmarked for development. It has wind potential (clue: it’s on a hill…) and possibilities in the canal that’s nearby. The teams are meeting now and they’ll work remotely over the next few months, reconvening in February with developed designs. Watch this space…

One interesting thing about the LAGI approach is the cross fertilisation that happens when you bring together disparate teams of artists, engineers, architects and others from different backgrounds. That’s precisely what we at Creative Carbon Scotland are trying to do, mashing up art and sustainability; that’s the very aim of the ECCI where we held the event; and that was the very nature of the audience. We had engineers, artists, students, educationalists, funders, energy managers… all mixed together in a glorious and fertile mix. I remembered how on a trip in a biosphere in Mexico I had been struck by the fecundity of that point where sea water meets river water – suddenly the mixture of different kinds leads to enormous variety of life forms. We ended the session with an invitation to the audience get talking to someone they didn’t know, from a different field. It came to a noisy and joyous conclusion.

Also in ArtCOP Scotland are a couple of other projects that link to the Land Art Generator Initiative. Ellie Harrison’s Radical Renewable Art + Activism Fund will use a wind turbine to generate energy to fund a ‘no strings attached’ grant scheme for art-activist projects in the UK. She’s launching the project outside the CCA on December 17th at 6.30pm. A Fairer Greener Scotland by 2030 will provide a different way of looking at the future, asking participants for ideas about how they want the future to look. The discussions are taking place in Edinburgh and Glasgow, so sign up now and maybe take a look at the blog about our Mull Sustainability/Arts residency in 2014 which imagined scenarios of a future Scotland. Or just browse the ArtCOP Scotland site for other events. A glorious mix of artistic responses to climate change.

The post ArtCOP Scotland: Beautiful Renewables Event 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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Cock and Bull (and other events for ArtCOP Scotland)

This post comes to you from EcoArtScotland

Cock and Bull is a performance piece by Nic Green with Laura Bradshaw & Rosana Cade taking place on Sunday 6 December @ 3:00 – 4:00 pm, at the CCA in Glasgow.  It’s part of the ArtCOP Scotland programme of performances, exhibitions, talks (including Beautiful Renewables with the Land Art Generator Initiative on 18 November).

Halfway through the UN COP21 climate change talks in Paris, three females convene to perform their own, alternative conference of parties. Exploring power, voice, agency and sustainability they use the most heard phrases from governmental rhetoric, to dismantle and redress dominant paradigms of power and politics.

The UN Climate Change COP meetings are arguably the most important international events since those equivalent meetings about nuclear weapons that occurred in the 80s, but this time instead of just a few ‘major powers’, everyone is there, and the small countries and fringe programmes are significant too.

The French environment and arts organisation COAL have co-ordinated events in Paris, and Creative Carbon Scotland working with a consortium of other arts organisations in Scotland (including from the North East Deveron Arts and South West The Stove Network, as well as Gayfield, Firefly, Lifecycle of Stuff and the Royal Conservatoire) are mounting a programme in Scotland – you can find all the details on the ArtCOP Scotland website.

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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