ecoartscotland

Partial history of artists and bioremediation

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The video posted by A Blade of Grass as well as the information on their website highlighting Jan Mun’s work with Greenpoint Bioremediation Project on Newtown Creek, a polluted industrial maritime waterway and Superfund site, is great. An artist doing useful ecologically-focused work, engaging the symbolism of mushrooms and fairy rings to address the significant pollution of Newtown Creek in New York. And this piece is not intended to diminish the importance of the project, the support of a major funder of social practice, or the involvement of artists in addressing polluted land.

But the way this work is presented misses out the history of the practice in this particular field. We end up with a sense of ‘innovation’ and novelty, “WOW, an artist working with mushrooms to clean up an industrial accident! How cool is that! Awesome.”

It’s important to understand that bioremediation is a major area of scientific, technological and also engineering work which uses organisms to remove or neutralise pollution in a particular location.Phytoremediation specifically uses plants both transgenic (genetically modified to accumulate pollution more effectively) and natural to absorb pollutants. Mycoremediation specifically uses fungi. These are described as technologies.

There is also a history in ecological art for these practices. A number of artists interested in working with scientists and engineers have been involved in the development of this ‘field’, although now bioremediation (and its specialisms) are largely undertaken by engineers and governed by Environmental Protection regulation.

A few key artists whose work might form a lineage for this are Mel Chin, who working with Rufus Chaney, a senior research scientist at the US Department of Agriculture, and funded by the National Endowment for the Arts, developed the first field trial of phytoremediation at the Pig’s Eye Landfill in Minnesota in an artwork entitled Revival Field (1990 ongoing). For background on this project and Chin’s articulation of the art, see the Ecovention exhibition catalogue which is fully reproduced on Greenmuseum.org

Other artists who have developed work in this field include Georg Dietzler and Frances Whitehead. Georg Dietzler’s work (1999 involved using Oyster Mushrooms to remediate PCBs and was framed as research, with research questions, and conducted as an experiment (Concept).

Frances Whitehead’s Slow Clean-up (2008-2012) focused on multiple sites of abandoned gas stations across Chicago.  This work is firmly based on her concern with the embedded artist, relies as all these projects do on collaboration with scientists, engineers and environmental managers.  Her documentation of the project, available on the website, highlights her assessment of her own innovation focused on thinking about the meaning of time in relation to site and what short and long timescales for this sort of work enable and exclude.

Clearly early examples of this are innovative by any account, but its worth offering some criteria for innovation against which to examine other projects. Tim Collins suggests that innovation is usually in at least one of the following categories: formal, social or technical. Obviously Mel Chin and Rufus Cheney’s field experiment starting in 1991 was technically innovative – no-one had tested the potential for specific plants (or any plants infact) to remediate pollution. Their experiment both tested specific plants, but also tested the principle which up until that point had been a hypothesis. Revival Field is in itself socially innovative in presenting a scientific experiment as an artwork. Curiously in terms of formal innovation, Chin has described the work in terms of the most basic sculptural process of reduction. He argued that the work is like carving but in this case using biochemistry as the chisel, though eventually this process of reduction, carving away the pollution from the soil, will become obvious in the form of new growth on the site (see herefor Mel Chin’s own description).

To be able to ascertain the innovation in Jan Mun’s work on the Greenpoint Bioremediation Project we need a better and more detailed description of the work, whether through a deep description of the concept allowing us to understand the artist’s intention to do something innovative, or retrospectively by a description of the project’s emergent innovative elements (pacem Elizabeth Hallam and Tim Ingold who argue that we can only see innovation retrospectively and in the moment only improvise).

This is a brief and partial indication of the history of artists involvement in bioremediation. It’s also worth reading Tim Collins’ comments here – he references other people not mentioned above.

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.

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Why Land Art Generator in Scotland?

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Video from the Test Unit Pecha Kucha at the Whisky Bond, Glasgow, July 2016, which provides a context for LAGI Glasgow.  Thanks to TAKTAL for the opportunity.Filed under: energy, Fremantle writing, News Tagged: Brent Spar, Greenpeace, land Art Generator, Peter Fend, PLATFORM London

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.

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Tim Ingold: ‘The Sustainability of Everything’

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There was an interesting piece in the NY Times recently entitled Against Sustainability questioning the meaningfulness of ‘sustainability’ and offering a critique of the nostalgia-based version,

We will get a very different ‘take’ on this issue from Tim Ingold, Professor of Anthropology at the University of Aberdeen, activist for better universities, and author of numerous books including Line: A Brief History (2007),Being Alive (2011), Making (2013) and The Life of Lines(2015).  Ingold’s anthropology is more humanities than social science and he is frequently cited by artists.  His current European Research Council funded project Knowing from the Inside involves a number of artists.

Ingold will ask,

Saturday 10th September, 11am
Fairfield Hall, The Pearce Institute, 840-860 Govan Rd, Glasgow G51 3UU

This public talk is free to attend, although we ask for donations towards the room rent and future CHE/GFU events. Please book your ticket here as places are limited: http://www.brownpapertickets.com/event/2591625

Please spread the word by sharing the attached poster (The_Sustainability_of_Everything) among your relevant networks, or on social media. Thanks!

Event facebook page: https://www.facebook.com/events/1104818026253422/

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.

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Meghan Moe Beitiks reviews Soil Culture

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SoilCulture: bringing the arts down to earth, from theCentre for Contemporary Art in the Natural World (CCANW) and Falmouth Art Gallery published in collaboration with Gaia Projects is the culmination of years of work—comprehensive documentation of a significant exhibition, nine curated artist residencies, and a Soil Culture Forum. It includes photographs and essays detailing the contributions of the artists involved, as well as personal reflections on theForum, and descriptions of events held at Plymouth University, and at Create, Bristol City Council’s environmental centre, all coordinated to coincide with the United Nations International Year of Soils in 2015.

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Floodplain soil developed in sand, North Wales.  Photo: Bruce Lascelles

After a brief introduction by the directors of the CCANW, we are, fittingly, introduced to soil – both in an “Homage” by Patrick Holden, and more in-depth, in “What is Soil?” by Dr. Bruce Lascelles. It’s really refreshing to pick up an art book about a given subject and begin reading about that subject from the point of view of a scientific researcher. We do not begin with say, soils’ depiction in art through the ages, or with some overly poetic meandering about the modern cultural meanings of soil (though Daro Montag gives a good overview of soil in culture in “Speaking of Soil,” detailing soils’ relationships to language). Instead, we begin with a very practical overview of what soil is, on a scientific level, after an extended essay from Holden about the importance of microbial communities, comparing the function of the soil to that of the human gut.

In beginning with these scientific facts and research on soil, the book reminds us that soil is a global entity, and something upon which we are interdependent. It acknowledges that within the UK there are several hundred varieties of soil, and opens up space for potentially complex dialogue. While there are a diverse number of approaches to making art with/and/about soil included in the book, they remain rooted in conceptual methodologies and approaches. A workshop described later in the book as replicating a Japanese technique for making soil-balls is one of the rare non-Western perspectives that the book holds. It makes sense, to a certain extent, that a UK-based exploration of soil would be culturally- and site-specific in nature, and the examination of work within the contemporary conceptual is in-depth. But the potential for an even more global, expansive dialogue is sometimes lost.

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Stills from ‘Alma Silueta en Fuego (Silueto de Cenizas)’ 1975.  Super-8 colour silent film transferred to DVD. Photo: The Estate of Ana Mendieta Collection

From its material, scientific beginning, the book goes on to detail a major traveling exhibition, Deep Roots, featuring the works of known artists like Mel Chin, Richard Long and Ana Mendieta, as well as potentially less internationally known names, such as Paolo Barrile. Within these works, we see soil positioned as a pigment, a currency, and as a site for research.

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Claire Pentecost, Soil Erg, installation in dOCUMENTA(13) in Germany 2012. Image courtesy of the artist.

It’s great to see Claire Pentecost’s work Soil Erg featured, a re-imagining of soil as a currency, complete with soil ingots and soil-paper currency notes (full disclosure: I was a student of Pentecost’s at the School of the Art Institute of Chicago). Each artist is given a two-page spread in the book, with large images and text. The work is primarily contemporary conceptual: there’s no attempt to incorporate, say, more traditional clay sculpture, or other folks forms of making art with soil. But overall, the exhibition documentation gives a good overview of soil as engaged with by a series of contemporary, established artists.

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Mel Chin, Revival Field, 1991-ongoing

One point of disappointment, especially given the books’ promising relationship to science, is the treatment given to the research connected to Mel Chin’s Revival Field. This work is so singularly important to environmental art it has become a kind of sacred cow. While it’s true that Revival Field has a significant impact on research in phytoremediation, Sue Spaid has noted previously that it was concerns about perceptions of the validity of the science that prompted subsequent re-plantings.* In SoilCulture, these re-mountings are referred to simply as other versions of the project. There’s a limited amount of space given to each artist in the book, but it’s a shame that more time wasn’t taken in this volume to unpack the relationship between the scientific research and this project over time, as this is a less-often discussed but important aspect of the legacy of the work. Moments like this represent opportunities lost for a more expansive, critical discourse, especially since this art/soil/science relationship proves to be consistently important to the documented programming. If this was something that was expanded on in the live events, it isn’t made clear in the publication.

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Karen Guthrie, Residency 2014, Hauser & Wirth Somerset

The book moves on to focus on nine emerging artists who were given the opportunity to embed themselves in various context to explore soil with scientists, at farms, and in a botanical garden, in a section called Young Shoots. These explorations include a distilled soil work by Karen Guthrie, a “Brest Plough o’ metric” by Paul Chaney, and an attempt to manufacture soil by Something & Son. The works bridge the scientific and the artistic in engaging and effective ways, and speak to emerging interdisciplinary practices. In these projects, soil and its culture are regarded as inspirational material in-and-of-itself, a further remove from historical art cannons, informed by science, engineering, and ecological imperatives.

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Detail of ‘Breast Plough’o’metric’. Photo: Martyn Windsor

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This bridges very well into Soil Culture: Dig it, a chapter based on an exhibition of the same name, in which the studio and the scientific laboratory are brought into the same space. Residency artist Lisa Hirmer (DodoLab) worked alongside Dr. Rob Parkinson, an Associate Professor in Soil Sciences and some colleagues from the School of Biological Sciences in Plymouth University, exploring peat and atmospheric carbon, among other collaborations, and the exhibition space displayed research tools and samples from scientific as well as creative explorations. A fitting exploration for the arc of the project.

It’s followed by Soil Culture at Create, an overview of live and educational programming at Bristol City Council’s environmental centre. A series of “Soil Saturdays” framed workshops, talks, culinary demonstrations, performances, and artistic interventions around the theme of soil, in temporary explorations. It serves well as documentation (each Saturday has a photo and a summary), but is probably best read by itself in a separate sitting, since at that point the reader has been steadily subsumed in the art/soil/science exploration, and it is a condensed format.

Thankfully, the next section is a series of short essays in response to the Soil Culture Forum, a three-day symposium converged by Research in Art, Nature & Environment (RANE) at Falmouth University. This section of the book is both satisfying and frustrating. Its personal tone and short form makes the reader feel a bit like they were in a room with a bunch of well-informed folks reminiscing, reflecting both on soil and on the event of the Forum. Valid questions are raised about culture’s relationship to soil: one of the most satisfying passages comes from Mat Osmond’s report on Richard Kerridge,

Of course, this comes after Holden’s assertion that the micro-organism is drastically important to the soil, so rather than reframe the arts as small, humble, or insignificant, this statement has the effect of positioning the arts as deeply embedded, important, in dialogue with its surroundings. I personally deeply appreciated this reframing.

Unfortunately, it is followed in other shorter essays by familiar tropes in sustainability culture, like the demand for a universal spiritual connection to the Earth, or a singular definition of love that includes the non-human (Stephen Harding’s assertion, for instance, that ‘the only way we can address these problems is through love’). These demands do much to flatten the attempts at diversity in the dialogue. It’s a common problem in the creation and discussion of environmental work that the overwhelming impetus to celebrate has the effect of universalizing, normalizing, and undermining safe spaces for questioning or critical discourse. It’s easy to make such beautiful statements—who can argue with love? But they unintentionally undermine a greater diversity of respectful relationships to soil.

microscopesSoilCulture is, ultimately, the documentation of a strong collection of artists exploring soil at a time when its importance and preciousness is politically and ecologically pressing. This puts some artworks in the position of celebrating or propagandizing. While these efforts may be needed, the conversation that SoilCulture frames also points to the importance of diversity and critical discourse in ecological/cultural work, largely because such elements are sometimes lacking in its own curation. Regardless, the projects put forth solid juxtapositions of scientific and artistic research with soil, including artist/scientist collaborations, and research processes reframed. It is a fascinating snapshot in time of artists engaging with a crucial issue.

* 2002. Ecovention: current art to transform ecologies, Cincinatti, Ohio: The Contemporary Art Center, p.7

Full disclosure: the author is colleagues with one of the residency artists, formerly worked for one of the Soil Culture Forum presenters, and was, as noted above, a student of Claire Pentecost, one of the professionally exhibited artists featured in the book.

All images provided by the publishers.

BIOGRAPHY
Meghan Moe Beitiks is an artist and writer working with associations and disassociations of culture/nature/structure.  She analyzes perceptions of ecology though the lenses of site, history, emotions, and her own body in order to produce work that analyzes relationships with the non-human. She was a Fulbright Student Fellow, a recipient of the Claire Rosen and Samuel Edes Foundation Prize for Emerging Artists, and a MacDowell Colony fellow. She has taught performance at the School of the Art Institute of Chicago and exhibited her work at the I-Park Environmental Art Biennale, Grace Exhibition Space in Brooklyn, Defibrillator Performance Art Gallery in Chicago, the Victoria and Albert Museum in London, the House of Artists in Moscow, and other locations in California, Chicago, Australia and the UK. She received her BA in Theater Arts from the University of California, Santa Cruz and her MFA in Performance Art from the School of the Art Institute of Chicago. www.meghanmoebeitiks.com

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.

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Opportunity: Nature and Culture to Revitalize an Island

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International Creative Workshop in Megijima, Japan
2016 October 2-9 (long session) / October 8-9 (short session)
hosted by SocieCity and Final Straw
with Patrick M. Lydon, Suhee Kang, and Kaori Tsuji

Ecological activism, creative practice, and community building come together on the Island of Megijima, Japan this October, and we want you to be a part of it.

The team at SocieCity & Final Straw are assembling an international cast of creative thinkers and doers to join us in a small Japanese village, where we will discover and highlight the social and ecological treasures of this island together. This is a once in a lifetime opportunity to explore in depth, the nature and culture of a small island together with other creative minds from around the world, and to help build an ecological future for this community.

patrick-natureart-workshop

Our program begins with participants enjoying an in-depth look at the island, it’s nature, and its people. We have arranged special tours of the island’s ecological and cultural history, and participants will interact directly with locals to hear their stories of the island, it’s natural resources, its farms, and its folklore.

The second half of the program focuses on synthesizing our experiences – the ecology, stories, and personal reactions – into creative prototypes for small products that can be made using local materials. The prototypes are mean both as talismans (souvenirs) for visitors, and celebrations of the island’s unique nature and culture.

All prototypes produced by workshop participants will be voted on by the local villagers, with the winning design having a chance to be put into production locally in order to support the island.

Participants can choose to stay for only the intensive course (October 8th – 9th), or an extended internship (October 2nd – 9th) that will include becoming part of the larger community regeneration activities we are undertaking on the island. The extended internship, though not required, is especially recommended for international visitors.

To Apply, please send the following topatrick@finalstraw.org by Sept 1, 2016:

  • Your Name / Street Address / Email / Phone / and Website (if available)
  • Either five still images or five minutes of video showing previous work. Images must be JPEG format and around 500kb – 1mb in size each, attached to the email. Videos must be submitted as a links to YouTube, Vimeo, or another streaming service. If a video is longer than 5 minutes, please note that we can only watch the first 5 minutes.
  • An image list with location, title, and short description for each image or video
  • A short statement (less than 300 words) about your practice
  • A short statement (less than 300 words) about why you wish to join the workshop
    Please include all text in the body of the email, not as an attachment.

Conditions (Please Read Before Applying):

Accommodation – The rate for accommodation is $40 (2 days / 1 night) or $180USD (7 days / 6 nights). This covers the cost of private room hotel accommodation on the island.
Tuition – The workshop tuition is done using the “pay it forward” system. This means that there is no predetermined rate for tuition, and participants are welcome to pay what they can. However, Pay it Forward also means that your project coordinators are volunteering their time, they are not getting paid to produce and lead these workshops. Your tuition payment is the only way we can continue to conduct more workshops for future participants.

Travel and Meals – All participants must cover their own travel and expenses of getting to Japan and during their stay. Meals are not included in the tuition fee, though there are a few options for eating on the island, and group-cooked dinners will be arranged for those who wish to take part in them.

Applicants are expected to be proficient in speaking English. Japanese language experience is a bonus, but certainly not required.

Previous experience with community engaged arts, craft skills, or creative practice, although not explicitly required, is recommended and should be reflected in your work and statement.

Learn More About Our Work:
SocieCity / Creative actions for inspiring tomorrow –www.sociecity.org
Final Straw / Food, Earth, Happiness – www.finalstraw.org

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.

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Outlook: Exploring Geddes in the 21st Century

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To coincide with Scotland’s Year of Innovation, Architecture and Design 2016, a two-day international conference (18-19 August, 2016) will celebrate the impact and legacy of Sir Patrick Geddes, polymath, botanist and founding father of town planning.

The conference will be opened by Cabinet Secretary for Culture, Fiona Hyslop MSP.

The conference will involve a series of interactive seminars and workshops, fusing together strands of academic and practice-based thinking from Scotland and all around the world.

The first day will hear from young people about their sense of place as well as a range of leading thinkers, artists, architects, educationalists and planners.
Day two will provide opportunities for creative, hands-on art and design workshops inspired by Geddes, involving students from Art, Space + Nature Masters Programme at ECA.

Further information and booking here.

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.

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Julia Barton: Collecting new rock samples in Scotland’s GeoParks

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Featured Image: plastic rock reveal. NH 093 988 Isle Martin. J Barton

Julia Barton sent us the following information on her current work:

Artist Julia Barton is presently collecting classifying samples of a new rock now found on beaches in the remotest places on the North West Coast and Shetland, the rocks have become the focus of her Littoral Art Project which is investigating beach litter around Scotland.

Littoral meaning, the zone between the low and the high tide marks.

In 2013 a Canadian geological team named this rock ‘Plastiglomerate’ a category now acknowledged by scientists as a geological marker of our time (the Anthropocene) .  These ‘rocks’ lumps of melted plastic are now common on some beaches, as people turn to burning the increasing volumes of plastic waste which accumulates on beaches.  Every year 8 million tonnes of plastic reaches the world’s ocean and 100,000 sharks, turtles, dolphins and whales die from eating plastic according to the Marine Conservation Society.

The ‘plastic rocks’ are difficult to distinguish from natural beach rocks, and often go un-noticed, each has a unique molecular composition, their toxicity and timeline is unknown.  The ‘rocks’ collected will be used to construct the principal piece of an exhibition opening at Da Gadderie, Shetland Museum – 8th Oct-12 Nov and at An Talla Solais Caledonian Gallery in 2017 (dates to be confirmed).

It is intended that the exhibition will then travel to Edinburgh and internationally. Julia is presently producing a ‘Guide to Beach Litter’ to accompany the exhibition. This exhibition has received part funding from the National Lottery through Creative Scotland Open Project Funding.

Littoral Art Project was set up in 2013 by artist Julia Barton in response to her fear of drowning in litter which she experienced whilst walking on a beach on the North West coast of Scotland. Since then Julia has surveyed and mapped litter on over 20 Scottish beaches engaging local communities in her interactive investigations some of which can be viewed

The aim of the project and exhibition is to encourage understanding of the threat that beach and marine litter presents and to promote change by allowing people to see litter in different ways and consider the long term environmental implications.

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.

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We need a Percent for Art for Energy

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Elizabeth Monoian and Robert Ferry, Directors of the Land Art Generator Initiative, reflect on another aspect to emerge from the ‘Beautiful Renewables’ workshop hosted by Creative Carbon Scotland.

Cities that recognize the value of arts and culture have long benefited from percent for art programs. It has become expected (and in many cases required) for large-scale development projects to invest at least 1% in the arts, especially when there is public funding involved, either by bringing an artist onto the project team to produce a local outcome, or by investing in a fund that is pooled for larger projects throughout the city.

As we increase our focus on large-scale environmental and climate design solutions—resilient infrastructures, environmental remediation, regenerative water and energy projects—it is high time that a similar percent for art requirement be placed on these projects as well. This simple policy standard would bring great benefit to communities that otherwise find themselves left out of the process. Even when their net benefit to the environment is clear, if these projects have not been considered from a cultural perspective, they risk being ignored at best. And at worst they risk alienating the public and sparking push-back against similar future projects.

Involving artists in the process can instead deliver a more holistic approach to sustainability that addresses social equity, environmental justice, aesthetics, local needs, and other important cultural considerations. As we have said from the founding of LAGI in 2008, “sustainability is not only about resources, but it is also about social harmony.”

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.

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Green Tease: Land Art Generator Initiative – Creative Carbon Scotland

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What would a renewable energy project for Glasgow look like if the design process was led by artists, architects, landscape architects, and urban planners, working in collaboration with engineers?

Over the past ten months, three interdisciplinary design teams have worked together on proposals for a new renewable energy generation site in Port Dundas, Glasgow in association with the internationally acclaimed Land Art Generator Initiative. The teams have included artists Alec Finlay, Dalziel + Scullion and public art agency Pidgin Perfect.

Coinciding with an exhibition of the resulting designs at the Lighthouse, you are invited to join Creative Carbon Scotland and partners from Land Art Generator Initiative Glasgow – Chris Fremantle (eco/art/scot/land) and Heather Claridge (Glasgow City Council) – for a discussion of the role of creative processes in the development of renewable energy infrastructure in Glasgow.

Timings

On June 20 The event will begin with a viewing of the LAGI Glasgow exhibition in Galleries 4 and 5 of the Lighthouse (from 5:30 – 6pm) followed by a facilitated by a talk and discussion with refreshments provided (6 – 7:30pm).

Go here for booking:  http://www.creativecarbonscotland.com/event/green-tease-land-art-generator-initiative/

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.

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Active Energy: About the project

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We just received an update from the ActiveEnergy project in London. The following comes from the ‘About’ page on the website.

ActiveEnergy is a project promoting citizen-led innovation led by artist Loraine Leeson in collaboration with The Geezers, a group of senior men in Bow East London, and engineer Toby Borland. Also supporting the project at different times have been social scientist Ann Light, ex-rocket scientist Stephen Dodds and SPACE Studios, who commissioned Active Energy.

The project is being realised through a participatory arts process that facilitates technological expertise in the creation and application of prototype renewable energy devices, which are used as a means of disseminating knowledge at community level while influencing wider practice and policy.

GeezerPower from Loraine Leeson on Vimeo. Camerawork © Jim Prevett, SPACE 2007.

Work so far by this group has involved a practical proposal for installing tidal turbines at the Thames Barrier. Also a renewable energy project at a local school, a wind-driven public light-work for the roof of an Age UK centre and prototyping workshops at University of East London organised by SPACE. Our current project is to create a turbine for installation on a barge opposite the Houses of Parliament to prompt national debate on use of the River Thames as a source of energy for the city.

The effectiveness of this project has lain in its use of art as a means of creative facilitation, production and collaboration that harnesses community initiative. Most importantly, the experience of community elders has provided a foundation for new ideas that have addressed real need and enabled specific local knowledge to create innovative solutions that could impact on all our futures.

Source: Active Energy: About the project

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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