Anthropozine is a zine of interviews and collages on the Anthropocene – not only as a geological epoch but as a manifold metaphor for our planetary concerns. Including interviews with Will Steffen, Natalie Jeremijenko, Manfred Laubichler, Amita Baviskar, Maya Kóvskaya and more. Borne of the Anthropocene Campus symposium at the Haus der Kulturen der Welt (HKW) in Berlin, Nov 2014.
Deadline for Applications: Jan 15, 2016 11:59 EST
The Arctic Circle 2016, Summer Solstice Expedition: June 11 th – June 29th, 2016 International Territory of Svalbard
The Arctic Circle 2016, Autumn Art & Science Expedition: Oct 1 st – Oct 19th , 2016 International Territory of Svalbard
In 2016, The Arctic Circle program embarks on two high Arctic expeditions aboard an ice-class expedition sailing vessel. International artists of all disciplines, architects, scientists and educators alike are invited to apply.
The Arctic Circle 2016 programming takes place in the international territory of Svalbard, a mountainous Arctic archipelago just 10 degrees from the North Pole. Each expedition provides the opportunity for artists and innovators to pursue their personal projects on board while exploring collaborations with the expedition’s fellow participants. Our vessel and home during our time in the remote Arctic, a traditionally rigged Barquentine, is equipped with workspace, common areas, and ample room for privacy and creativity.
The Arctic Circle 2016, Summer Solstice Expedition: June 11 th – June 29th, 2016
The Arctic Circle 2016, Autumn Art & Science Expedition: Oct 1st – Oct 19th , 2016
Included are: • Hotel accommodation pre and post sailing, Longyearbyen, Svalbard • Transfers from airport to hotel, and hotel to ship, Longyearbyen, Svalbard • Accommodation on board from our point of departure to return • All meals on board • All shore excursions • Access to on board facilities Selected participants are responsible for transportation to/ from Longyearbyen, Svalbard. Selected participants are provided with a list of required items and appropriate dress to bring, and in-depth, comprehensive assistance in all areas of expedition preparation. Our ship is equipped and certified for Arctic waters. The Captain and crew are fully qualified and experienced in High Arctic sailing.
Program costs are subsidized in part by The Farm, Inc. and our partners, and in part by participant fees. We, The Farm, Inc., commit to keeping the participant fees to a minimum. The participant fee for The Arctic Circle 2016 is $ 6300 USD.
Applications are vetted by jury based on artistic/ scientific merit and project description (where applicable). We assist all selected participants with funding efforts. The applicant’s ability to work with funders to realize a project should be reflected in the application.
To apply: We ask applicants to submit all materials by email only to: email@example.com. There are no application fees. Application Deadline is 11:59pm (EST) January 15, 2016 Artists & Scientists Please Provide: A letter of interest (PDF ~300 words).
- A letter of reference (preferably from a related arts, educational, or science institution). The letter of reference may be included with application materials or sent separately by the author, by email, to firstname.lastname@example.org.
- Resume/ Bio (for artists, please include artist statement) PDF
- For visual artists; examples of previous work, approx. 8- 10 JPEG images sized and labeled appropriately. See page 05 for instructions.
- For scientists: provide an abstract of proposed project, PDF ~300 words
- For artists; provide project details PDF (if a specific project or body of work is the focus of your participation).
- URL if applicable Complete contact information including physical address
Written acknowledgment of the participant fee and the commitment to meet financial requirements. Please include in this acknowledgment whether you wish to be considered for either of the two 2016 expeditions or if you are applying for one specific expedition (and identify which expedition, summer or autumn).
Educators of Science, Geography, Art, History, from grades 3-12, we want to hear from you!
The Arctic Circle program is placing an emphasis on developing our education programming. We are seeking applications from international educators interested to work within our program to gain knowledge in order to use for curriculum building and in-school collaborations, with the primary goal being to foster the explorer’s spirit in today’s youth and awareness-raising of important global issues.
The educator’s application process differs slightly from our scientists and artists. Please follow to the guidelines on page 03 while incorporating the instructions below.
Your letter of interest should outline, in brief, your reasons for wanting to join the expedition including a project outline of how you will use The Arctic Circle residency to the advantage of your students, and how you might collaborate with other educators and schools. You may submit questions to email@example.com to help form your proposal. The educator’s letter of interest may exceed the 300 word guideline (to ~600 words). Your resume should demonstrate the desire to contribute to curriculum and show some history of developing or participating in extra-curricular student programs. Visual examples of work are not necessary for the educator applicant but you may feel free to include visuals relevant to your application.
Educators, please note, we ask for two letters of recommendation from you. One should be from your school’s director (if your school is to be involved in your fiscal sponsorship it should be stated in this letter). The second letter may be from a professional colleague that can speak to your qualifications relevant to your proposal.
Work sample guidelines:
JPEG images should be accompanied with full description; Title, work dimensions, media, and year. Image descriptions may be on the image(s) provided or listed on a separate document (PDF) with corresponding numbers to the images provided. Preferable JPEG image size is ~ 800 x 600 px, at 72dpi.
Video work may be submitted as part of an application. We prefer to receive a URL where the work may be viewed on-line. Or other common digital formats may also be submitted as part of the application.
From writers, we accept writing samples (PDFs please). As all submitted material is reviewed please provide a manageable amount. As a general guideline consider less than 10,000 words total.
From musicians and composers, audio files (MP3 or other common digital formats) are accepted.
Note to all applicants: -All applicants will receive email confirmation of your complete application being received. If you do not receive confirmation by January 20th, 2016, please contact us at firstname.lastname@example.org. -1 st round jury results (shortlisted applicants) are announced ~ Feb 18 th, 2016. Final selection will take place during the following weeks.
Selected participants will be responsible for a deposit toward the participant fee, of $2000 USD, 30 days post selection. -All applicants will be informed of jury-selection results. We look forward to reviewing your submissions.
Please feel free to contact us with questions about The Arctic Circle program at email@example.com. Available positions in our 2016 programming are limited. In order to accommodate applicants of interest we have introduced a policy wherein jury-shortlisted applicants may be issued an invitation to join the following year’s (2017) expedition program. Institutional nominations: Cultural institutions, galleries, educational institutions, and government departments interested in nominating and sponsoring a participant please contact: Aaron T. O’Connor Director, The Arctic Circle, firstname.lastname@example.org.
On Dec. 8, a humanitarian coalition comprised of Paul G. Allen’s Vulcan Inc., the Li Ka Shing Foundation andOkeanos, in partnership with The Oceanic Preservation Society andObscura Digital, and under the auspices of theWorld Bank Group‘s Connect4Climate initiative, presented a gift of contemporary public art entitled “Fiat Lux: Illuminating our Common Home” to Pope Francis on the opening day of the Extraordinary Jubilee of Mercy. At this unprecedented and historic event, beautiful images of our shared natural world was projected onto the façade of St. Peter’s Basilica in a contemporary work of public art that tells the visual story of the interdependency of humans and life on earth with the planet, in order to educate and inspire change around the climate crisis across generations, cultures, languages, religions and class.
The large-scale architectural public art installation is inspired by the themes of climate change, human dignity and the earth’s living creatures in the Encyclical “Laudato Si’” of Pope Francis. Programmed to coincide not only with the Jubilee, but also with COP21 inParis, the historic occasion will call on citizens of the world to join a global movement to protect our common home.
The cinematic event will feature the work of some of the world’s most notable humanistic and nature photographers and filmmakers including Sebastião Salgado and (Genesi and Contrasto), Joel Sartore (National Geographic Photo Ark), Yann Arthus Bertrand(Human), David Doubilet, Ron Fricke and Mark Magidson(Samsara),Howard Hall, Shawn Heinrichs, Greg Huglin, Chris Jordan,Steve McCurry, Paul Nicklen and Louie Schwartzberg. The projection is curated by Louie Psihoyos and Travis Threlkel, and produced by Obscura Digital
The post, Illuminating Our Common Home | Obscura Digital | Fiat Lux, appeared first on MELD.
meld is an ongoing interactive global art platform and collaborative catalyst to commission, produce and present ground-breaking and evocative works of art embedded in the issues and consequences of climate change. meld invites exceptional artists and innovative thinkers dedicated to the moving image and committed to fostering awareness and education to join us in our campaign for social change. Through a collaborative dialogue, we hope to provoke new perceptions, broaden awareness and education and find creative solutions concerning climate change, its consequences and its solutions.
meld was formed by a devoted group of individuals guided by a passionate belief in the power of art to convey personal experience and cultivate social progress. meld is inspired by the idea that when art melds into the public realm, it has the power to reach people beyond the traditional limitations of class, age, race and education and encourage public action.
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reCreate Featured Artist Veronica Cianfrano Artist Reception
Saturday December 19th, 4pm-6pm
Installation in Gallery Dec 2nd thru the 31st
The fear of forgetting and being forgotten is practically universal. I am interested in how contemporary communication and digital photography have altered our memories, social interactions, and psychology. I use this connecting thread of memory to establish an emotional connection to the viewer by incorporating objects and images that are loaded with nostalgia or sentimentality. Aesthetic references to memory, degradation, ephemera, and family photographs are common themes in my layered, multi-media works. As I often comment on the negative psychosocial impact of public, global, digital communication, I tend to create large-scale installations that encourage viewer interaction with the space and each other. It is my hope that these interactions help reinforce a physical and emotionally responsible connection to each other and the space around us.
Veronica Cianfrano is a multimedia artist who has been examining “the communication break down” through photographic images and memories of her familial ties and through our current reliance on digital communication.
Her work serves as a display for these vignettes of examination whether it be through memory decay, new meanings found in old footage, or the effects of the news media on our state of mind. Since receiving her MFA from the University of the Arts in 2010, Veronica Cianfrano has served as both Co-Founder and Curator for Manifesto-ish and Champions of Empty Rooms. She has also served as a Mentor and Teacher for pre-college and college level art students as well as professional artists.
Find out more about Veronica and her work on her website.
New Year’s Time Capsules with reCreate Featured Artist Veronica Cianfrano
Sunday, December 20th
Come to The Resource Exchange to build your own time capsule with reCreate Featured Artist Veronica Cianfrano! Using scrap wood, paints, wallpaper, and more salvaged materials, participants will build and decorate their personalized time capsules. They could be filled with memorabilia that mark your personal timeline, traditional items that exemplify the here and now, or conceptual items that take a political stance or tell a specific story. During the workshop, Veronica will assist participants in finding the right materials in our store, building the personalized forms, planning for what goes inside, and preparing to seal them. After the workshop, participants will take their capsules home, fill them, seal them, and bury them in honor of the new year. Participants will be encouraged to document their process in photos and share them with Veronica, the re team, and each other.$5 workshop fee + the cost of supplies chosen by participants from our warehouse full of reclaimed and discounted making materials.
Space is limited, so please RSVP
Changing the way homeless and marginalized youth see and are seen through film.
A creative outlet is essential for healing from trauma, for gaining essential skills for self sufficiency and getting on the path to self actualization. Portland has one of the highest concentrations of homeless youth in the country. It also has some of the best wrap around social services for homeless youth in the country. However, most agencies providing life saving services do not have the capacity for consistent creative programming or cutting edge technological training.
Outside the Frame was created to fill this void.
Join us in building a community of change-makers, passionate about combining creativity and ecological action.
Every industry must engage with the reality of ecological consequences and the performing arts can be a unique and powerful platform to imagine and inspire new realities. The ecostage pledge is about commitment and values, because with a conscious set of shared values we have a greater capacity to take action.
What: The ecostage pledge (www.ecostagepledge.com) is a new global initiative for the performing arts sector that aims to place ecological thinking at the heart of creative practice.
Why: Envisioned as a public declaration and conversation starter to help raise awareness of ecological issues, the pledge is intended as a platform for advocating change. It consists of a set of ecological values and provocations aimed at engaging with ecological practice as a creative endeavour that deepens our relationship to the more-than-human world.
Who: The pledge is for performance makers, directors, designers, choreographers, producers, administrators, technicians, video and sound artists, performers and playwrights (basically anyone who is passionate about sustainability in the performing arts!).
How: To join a community of ecologically-minded theatre makers, go to www.ecostagepledge.com and take the pledge and download the ‘ecostage pledge stamp’.
This initiative has been instigated by three ecoscenographers (Tanja Beer, Andrea Carr and Alice Malia) and will be launched globally in 2015/2016. Beginning at ArtCop in Paris on the 4th of December, the ecostage pledge will launch in Australia at Cop-Out (Arts House, Melbourne) on the 11th of December.
Ecoscenography.com has been instigated by designer Tanja Beer – a PhD candidate at the University of Melbourne, Australia, investigating the application of ecological design principles to theatre.
Tanja Beer is a researcher and practitioner in ecological design for performance and the creator of The Living Stage – an ecoscenographic work that combines stage design, permaculture and community engagement to create recyclable, biodegradable and edible performance spaces. Tanja has more than 15 years professional experience, including creating over 50 designs for a variety of theatre companies and festivals in Australia (Sydney Opera House, Melbourne International Arts Festival, Queensland Theatre Company, Melbourne Theatre Company, Arts Centre) and overseas (including projects in Vienna, London, Cardiff and Tokyo).
Since 2011, Tanja has been investigating sustainable practices in the theatre. International projects have included a 2011 Asialink Residency (Australia Council for the Arts) with the Tokyo Institute of Technology and a residency with the Royal Central School of Speech and Drama (London) funded by a Norman Macgeorge Scholarship from the University of Melbourne. In 2013, Tanja worked as “activist-in-residence” at Julie’s Bicycle (London), and featured her work at the 2013 World Stage Design Congress (Cardiff)
Tanja has a Masters in Stage Design (KUG, Austria), a Graduate Diploma in Performance Making (VCA, Australia) and is currently a PhD candidate at the University of Melbourne where she also teaches subjects in Design Research, Scenography and Climate Change. A passionate teacher and facilitator, Tanja has been invited as a guest lecturer and speaker at performing arts schools and events in Australia, Canada, the USA and UK. Her design work has been featured in The Age and The Guardian and can be viewed at www.tanjabeer.com
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Curated by artists Camilla Nelson (Reading & Writing with a Tree) and Alex Metcalf (Tree-Listening). The guest artist is artist Tim Knowles.
Are you an artist, writer or performer looking to take your practice in a new direction? Are you a thinker in search of practical experiment? Are you a tree enthusiast keen to create? Or do you just want to have fun with trees?
Branching Out is facilitated by three contemporary artists and thinkers whose unique ways of working with trees include writing, performance, drawing, sound and installation. We aim to inspire and support you to explore new ideas and techniques, to work with unusual materials in novel environments, but no specialist knowledge is required. We welcome both amateurs and experts alike!
Branching Out expands conceptions of what constitutes human and other-than-human intra-action through a creative examination of being-with-trees. Our robustly researched creative exercises combine practical investigation with a thorough examination of the history of human-tree relations (as fuel, shelter, transport, weapons, tools etc.) and the imaginative tree works devised by artists through the ages (from early Japanese charcoal drawings to Giuseppe Penone’s Branches of Thought, Ana Mendieta’s Tree of Life, Andy Goldsworthy’s natural sculptures and Katie Paterson’s Future Library… to name but a few).
We will explore the shift in perception that comes from tying yourself to a tree (Charles Ray), the discombobulation of acoustically penetrating a tree’s internal workings (Tree Listening) and the mind-opening excitement of embodying tree-being (Other Spaces), among other innovative tree-led strategies designed to remake your sense of human-tree relations. Branching Out fosters a radical reconception of the ways we inhabit the world in relation to other organisms.<
Camilla is a poet, text-artist, researcher and collaborator across a range of disciplines. Her collaboration with Rhys Trimble, ‘Tidal Voices’, was short-listed for the Tidal Bay Swansea Lagoon World-First Art Commission (link is external)(Cape Farewell) and her first full collection Apples & Other Languages(forthcoming with Knives Forks and Spoons) was long-listed for the 2015 Melita Hume Poetry Prize (link is external). She is poetry editor for The Goose (link is external) and founding editor of Singing Apple Press (link is external). Herpoetry (link is external), reviews (link is external) and criticism have been published and documented in national and international magazines, journals,newspapers (link is external), books (link is external) and anthologies (link is external), in print and online. She performs and exhibits her text-work (link is external) and research (link is external) at conferences and festivals across the UK and abroad. Beyond her preoccupation with avant-garde poetics her research circles around intermedia and alternative approaches to knowledge formation. She was awarded her doctorate in Reading and Writing with a Tree: Practising Nature Writing as Enquiry (link is external) by Falmouth University in 2013. She is particularly interested in plants.
Alex is an installation artist with a long history of working intimately with trees. His work has been commissioned and exhibited across Europe and in the US, and he is perhaps best known for his work with ‘tree listening’ which allows us to listen to the inner life of the tree as sap rises and falls throughout the day, and the vibrations of the surrounding environment are absorbed into the tree’s body. Exhibitions include art venues such as MoMa (NY), Yorkshire Sculpture Park, Fermynwoods Contemporary Arts, Tate Britain, and CCANW. Much of his work is shown in non-art venues however. These include the John Innes Centre, the Natural History Museum (Los Angeles), Woburn Abbey, WWF Nature Reserves, Alnwick Castle, Royal Botanical Gardens Kew, and RHS Harlow. His work has featured widely in print and media, including BBC1 Look North, BBC2 Autumnwatch, BBC Radio 2, 4, and World Service, and in The Observer, The Irish Times, The Times, and The Guardian newspapers.
Tim Knowles is best known for making visible what is, by nature or by design, unseen. Working in a range of media from photography and video to drawing and light installation, Knowles creates process-oriented works that rely on chance and environmental elements. Known for incorporating nature into his projects, in 2009 Knowles mounted a kite-like weathervane onto a helmet and followed the wind’s momentum wherever it led, recording the experience with a series of long-exposure photographs entitled “Wanderlust.” Knowles’ foray into a more man-made process resulted in “Recorded Delivery” (2011). To create this collection of video and still images, Knowles attached a camera and GPS device to a package and recorded over 20 hours of the object’s journey through the U.K.’s postal system.
The Guardian says: While land artist Richard Long has tramped the earth in an attempt to understand its mass, Tim Knowles walks to comprehend its power. His art is beholden to the vagaries of the British weather, and in particular the wind, which he follows doggedly across the countryside wearing a Heath Robinson-style device that indicates its direction and the path he should follow. These journeys have ranged from a perilous two-day excursion across Dartmoor to wandering through the lamp-lit streets of London at midnight. Each of these endeavours is captured on film. When Knowles returns to the studio, he refers to the GPS and redraws the route, creating a finely wrought image that charts his meandering walk across the countryside. ￼These expeditions were inspired by a hot-air balloon accident in which Knowles broke his leg. Far from scaring him off adventure for life, the frustrating period of recuperation proved the spur for a series of arduous challenges. Perhaps the riskiest was an ongoing project he calls Nightwalks, a series of excursions across the countryside conducted during new moons last year. The artist sets up a large-format camera on a long exposure, then scales treacherous ridges and inches along precipices for an hour while carrying three flashlights. The resulting images reveal thin streaks of amber light, shuddering across the pitch black.
LOS ANGELES LAUNCHES FIRST PUBLIC ART BIENNIAL – SUMMER 2016
PUBLIC ART DIVISION – Request for Qualifications (RFQ) DEADLINE: MONDAY, DECEMBER 14, 2015
In June 2015, the City of Los Angeles was selected as one of four cities to receive up to $1 million as part of the Bloomberg Philanthropies Public Art Challenge, a new program to support temporary public art projects that celebrate creativity, enhance urban identity, encourage public-private partnerships and drive economic development. LA’s winning project, CURRENT:LA Water, will establish the City’s first Public Art Biennial for Los Angeles.
Developed by the City’s Department of Cultural Affairs (DCA) Public Art Division, CURRENT:LA is an ongoing, biannual initiative that aims to establish a new paradigm for public art in Los Angeles, one that is transformative and contributes to the creation of social capital and public discourse on shared issues locally, nationally, and globally. CURRENT:LA seeks to maximize the unique capacity for temporary public art to create dialogue and help us understand and respond to these shared issues. The inaugural presentation of CURRENT, taking place in late summer 2016 for one month, will respond to the issue of water. Led by DCA’s Public Art Division, the initiative will utilize public sites located throughout LA to present temporary public art and public programs that generate civic discourse on the issue of water, and allied topics such as infrastructure, drought, ecology, and conservation, among others.
DESCRIPTION OF OPPORTUNITY
Through this Request for Qualifications (RFQ), DCA is seeking submissions from nonprofit organizations, individual artists and artist teams interested in developing and executing free public programs that will offer LA’s diverse residents and visitors a range of unique opportunities for engagement with water-related issue(s) and/or the temporary public art projects commissioned from other artists/teams as part of CURRENT:LA Water. Each public program selected to receive a funding award as a result of this RFQ will be presented at a site located within the City of Los Angeles for a maximum duration/timeframe of one (1) month. The public programs selected for CURRENT:LA Water may include a variety of pop-up programming approaches such as workshops, discussions, film/video screenings, mobile activities, perfor- mances, readings, speakers and/or symposia.
Successful respondents to this RFQ must demonstrate the professional and creative capacity to plan and execute innovative public programs for audiences and/or participants that reflect the diverse populations of Los Angeles, and have experience in providing public programs that: are conceptually strong; successfully connect individuals and communities to broader social issues and/or ideas; utilize thoughtful and creative strategies for audience development, outreach, and engagement; incorporate modes of accessibility across varied cultural, geographic and/or demographic landscapes; and incorporate a solid understanding and/or relationship to site context. Team submissions should demonstrate these qualifications for the team’s work together on past and/or ongoing projects, as well as the qualifications and roles for individual members of the team. All respondents must be available to attend multiple meetings with DCA, City contractors, other City agencies, the public and others as required.
This RFQ is open to nonprofit organizations in any field, individual artists, and artist teams based in the County of Los Angeles. Respondents selected as finalists through this RFQ will be eligible to receive but will not be guaranteed funding awards for the public programs to be presented as part of CURRENT:LA Water. If selected to receive a funding award, members specified for the project team of a nonprofit organization or an artist team may not change prior to the presentation of the commissioned public program. Nonprofit organizations, artists and artist teams pre-qualified for other DCA-administered public art opportunities, or active grantees of DCA, are not prevented from responding to this RFQ. Employees of the City of Los Angeles are ineligible to apply.
The maximum funding award for each commissioned public program will be $10,000. Funding awards will be based on all-inclusive public program budgets that cover all expenses including but not limited to program development, audience development and outreach, production and presentation, as well as any presentations, approvals, subcontracted services and/or City permits that may be required. CURRENT:LA Water is funded by DCA and Bloomberg Philanthropies through its Public Art Challenge initiative.
Proposal submissions are due by Monday, December 14, 2015. Late submissions will not be accepted and incomplete submissions will not be reviewed.
A Curatorial Committee of Los Angeles-based professional curators will review qualifications submitted by all respondents to this RFQ and select a shortlist of finalists based upon the stated criteria. Finalists will be eligible to develop proposals and/or present concepts for public programs. Subsequently, based upon finalist interviews and review of finalist proposals and/or conceptual presentations, the Committee will select at least ten (10) nonprofit organizations, artists and/or artist teams to receive funding awards to provide public programs as part of CURRENT:LA Water. Any respondent not selected to receive a funding award through this RFQ will remain eligible to submit programs to be considered for in-kind, Citywide cross-marketing support from DCA as part of CURRENT:LA Water through a separate call for calendars that will be issued in January 2016.
POTENTIAL PROJECT SITES
Although respondents may visit and research the ten (10) sites included on the preliminary list of CURRENT:LA Water sites, an updated list of sites will be provided to finalists and commissioned public programs will be assigned to sites at the time of funding awards. Any site-related inquiries must be directed to DCA only, not to onsite staff or other City agencies or officials.
HOW TO APPLY
Complete proposals must be submitted via SlideRoom <culturela.slideroom.com> and include:
- CONTACT INFORMATION for nonprofit organization project team member(s), artist, or artist team member(s);
- LETTER OF INTEREST [max 3000 characters] in being part of CURRENT:LA Water;
- PROGRAMMING APPROACH [max 6000 characters] introducing the respondent, creative and/or organizational focus, any standard methodologies, examples of past programs with total budgets noted, typical engagement strategies and, if applicable, indicate any specific relationship or understanding of any preliminary CURRENT:LA site(s);
- BIO(s) / RÉSUMÉ(s) / CV(s) [file upload(s)] bio for each member of a nonprofit organization’s project team, or resume/CV for an individual artist or each member of an artist team; and
- PAST PROJECT DOCUMENTATION / MEDIA ITEMS [max fifteen (15) file uploads] of images, video and/or audio, with annotation for each file including title of the documented program, programming frequency and duration, any materials and/or artworks utilized, general description of the program, location and budget, and project client if applicable; teams are encouraged to include programs executed by the
RIGHTS + RESPONSIBILITIES
DCA reserves the right to decline all applications to this RFQ, and/or cancel this RFQ at any time. This RFQ is subject to the City’s Campaign Finance, Contractor Responsibility, Equal Benefits, Equal Opportunity, Living Wage, Minority/Women Business Enterprise and Slavery Disclosure Ordinances, and any other ordinances in effect in the City of Los Angeles.
DCA manages the City of LA’s public art programs. DCA supports the creativity of local artists by funding and partnering with the City’s arts and cultural communities. The City demonstrates an ongoing commitment to arts and culture through DCA’s ongoing activities, including community arts programming, cultural grants, marketing, public arts and youth arts and education programs, to stimulate and foster the creation of arts and cultural experiences throughout the diverse neighborhoods of LA.
This RFQ is available online.
December 15, 2015 6:30pm
June 21st overture destroyed by Spectra. Photo by Aviva Rahmani, November 23, 2015.
Aviva Rahmani will perform the first three movements of Blued Trees, a five-part symphony that began with an overture in Peekskill, New York during the summer solstice in June 2015 and will conclude on Election Day in 2016.Newtown Creek is the second movement of the symphony, and is conceived in relation to the exhibition Aqueous Earth. Blued Trees at ISCP will be a musical installation with live performers and projections and will include a requiem for the lost habitat of Newtown Creek that has become a Superfund site.
Peekskill was chosen for the overture of Blues Trees because plans for expanded pipelines there would pass within 105 feet of the flawed Indian Point nuclear plant which is only 30 miles from New York City. The music for Peekskill was installed as a series of vertical symbols painted on trees with ultramarine blue and buttermilk, to grow moss and reflect the connection between trees and water. The designated pattern of the painted trees was aerially conceived as one-third-mile-long musical measures. One tree equaled one note. Blued Trees has or will be been installed in 20 sites internationally, and is copyrighted to initiate litigation against the pipeline companies.
We are pleased to invite you to the premiere of the first three movements of Blued Trees, a live performance with media, at ISCP in New York City (http://www.iscpnyc.org/
The overture trees were cut down by the Spectra Corporation for high volume natural gas pipeline. The destruction was in defiance of the Cease and Desist notification meant to protect Blued Trees and the habitat and community they were a part of for the overture in Peekskill, NY. This is still a critical site because the expanded, high-pressure pipeline would pass 105′ from a decrepit nuclear plant (Indian Point) situated just 30 miles from New York City.
You may enjoy this new article about the project: http://cornellsun.com/2015/12/
The Blued Trees overture from June 21, 2015 can be found here: https://vimeo.com/
Please consider making a donation to help cover the cost of the legal work needed to stop pipelines with Blued Trees: Blued Trees Defense 2.
This program is supported by the National Endowment for the Arts.
Echoing the COP21, COAL and lyric Gaîté invite 200 artists, professionals, scientists, thinkers and doers to imagine all other narratives and other perspectives to reinvent our worlds.
14.30 – The Arctic Is Paris, Carte blanche to Mel Chin and writer Gretel Ehrlich
Mel Chin, artist (USA), Gretel Ehrlich, writer (USA), Jens Danielsen and Mamarut Kristiansen, elite hunters of Greenland, representatives of Pacific islands, Nuuk an interpreter. Moderated by Neal Conan, journalist (NBA). ++
17.00 – Face to face with Lucy + Jorge Orta artists (ARG and UK),an internationally acclaimed duo for 25 years that explores the major concerns of the 21st century ++
12:00 to 7:00 p.m. Performance Bureau of Linguistical Reality
Heidi Quante Escott and Alicia (USA), work on the words to facilitate cultural change around climate change. ++
14.30 – Face to face with the artist Stefan Shankland (FR).
Artist winner COAL Art & Environment Prize 2011, which conducts art projects integrated with the transformation process at work in urban settings, industrial and natural. ++
15.30 – Introduction to survival in the global brain.
With Gwenola Wagon and Stéphane Degoutin, artists, researchers and directors of the film essay World Brain (FR), Pierre Cassou-Nogues, philosopher and writer (FR), Julien Imbert, graphic designer (FR), Emmanuel Ferrand, mathematician (FR). ++
18h – Screening of “World Brain”
In partnership with Arte. ++
14.30 – The race for technological innovation
With Renewable Futures, Rasa Smite and Raitis, artists and co-founders of RIXC (LVA), Cédric Carles and the Paleo-Energy Laboratory (FR), Yacine Ait Kaci, artist (FR), Kevin Anderson, Director of the Tyndall Centre for Climate Change Research (UK), Alice Bowes researcher (UK). Moderated by Andrew Simms, writer and co-founder of the New Weather Institute (UK). ++
17h – Face to face with Shaun Gladwell, artist (AUS).
Finalist prices COAL Art & Environment 2015 for its Climate Change Hip Hop opera project, Shaun Gladwell puts dialogue magnitude of natural phenomena and the practice of extreme sports. ++
14h – Language as a battlefield
Nathalie Blanc, researcher and artist, and David Christoffel, writer (FR), Heidi Quante and Alicia Escott Bureau of Linguistical Reality, artists (USA), Magali Daniaux & Cédric Pigot, artists, (FR), Led by Shannon Jackson, Director of the Research Centre for Arts Berkeley University (USA). ++
17.00 – Face to face with Anaïs Clipper, artist (FR).
Fed literature, scientific experiments in laboratories or historical research, the mise-en-narratives take shape from shipping in areas on the border of reality and asks another habitable earth. ++
15h – Rebuilding common
Jeremy Leggett, scientist and activist (UK), Michael Pinsky, artist (UK), Akootchook Allison Warden, representative activist Alaskan Native (USA), Beka Economopoulos, activist, founder of Not an alternative (USA), Juan Carlos Sanchez, a former member of the IPCC and Nobel Peace Prize (VEN). Led by Patrick Degeorges, Philosopher, Special Adviser to the Ministry of Ecology, Sustainable Development and Energy (FR). ++
6:00 p.m. Closing Ceremony of ArtCOP21
See until December 7
Ackroyd & Harvey, The tree ceremony
In continuation of the work of the 7000 oaks Joseph Beuys, the artist duo Ackroyd & Harvey realizes the monumental installation of a majestic oak in front of a live grass drapery to celebrate the role of trees in the adapting cities to climate change. A COAL event – the National Museum of Natural History, Au Jardin des Plantes +
ARTCOP21 ONLINE – THE GLOBAL CLIMATE ART FESTIVAL
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CULTURAL AGENDA ON CLIMATE 2015 PARIS ONLINE ARTCOP21.COM