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Cash, Clash, & Climate Exhibition Extended Until 26th November!

MASLEN & MEHRA in collaboration with street artists, Shuby and Delete
1 September – EXTENDED until 26th November

Hastings Museum & Art Gallery
John’s Place, Hastings TN34

Maslen & Mehra consider their more recent work to be ‘micro’. By that, they mean they are honing in on very specific political and environmental dilemmas. This requires a completely different methodology to previous work in order to explore detailed narratives. The sculptures in their current series have been based on ceramic plates researched in museums around the world. These include the Victoria & Albert and British Museums, London; Hastings Museum, UK; Mares Museum, Barcelona; the Metropolitan Museum, New York; the Archaeological Museum and the Turkish and Islamic Art Museum, Istanbul; the Asian Museum of Civilization in Singapore and the Museo Internazionale delle Ceramiche in Faenza, Italy. Maslen & Mehra fashion the sculptures from humble materials: wire and papier-mâché, completed with a decoupage technique of small tiles of archival prints. The narrative of each original plate is altered to highlight a variety of ideas tied to three themes: Cash, Clash and Climate.

The Cash series draws attention to bank bailouts; Doughnut Economics; credit culture; housing bubbles; tampon tax; quantitative easing; war as big business; the commodification of food staples; and the almost religious status that money has reached in our times. The Clash series embodies social unrest from London to Athens; Article 475; the refugee crisis; Grenfell; Greece and the Eurozone; social media to organise protests; fracking; gun control vs gun rights; and the Dakota Access Pipeline.  Lastly, the Climate series highlights environmental topics such as global coral bleaching events; chronic pollution as a heavy cost for economic power in China; melting ice caps; the opposing views of climate change; El Niño; Natural Capital; and the legacy of radiation from Japan’s nuclear disaster in Fukushima. The artists have made bespoke stands for the sculptures and invited local street artists, Shuby and Delete, to add to their surfaces, responding to each theme. This exhibition at the Hastings Museum draws together pieces from the three collections for the first time, representing years of work.

The sculptures individually pose questions about political, social and economic structures but together they ask how they, in turn, relate to social unrest and environmental issues. Some themes may be familiar to the viewer such as the piece, Polarized, which confronts us with opposing slogans: ‘Global warming is a cruel hoax’ and ‘Climate can’t wait’. Others are less obvious, such as the piece Article 475 which encourages the viewer to look further if they don’t understand the reference. Faith in Fiat questions the shift from commodity money to a fiat system which is effectively a promise. Is it sustainable to have such blind faith? The largest piece in the collection, Natural Capital references a system by which natural assets (water, geology, biodiversity, soil, air) and ecosystem services (pollination by insects, recreation, natural flood defences etc.) are given a financial value. Could this alternate economic system be the key? Maslen & Mehra have created the framework Cash, Clash and Climate in order to ponder questions about the complexities of living today and they invite viewers to follow their train of thought.

Hasting Museum and Art Gallery has an extensive ceramics collection. This exhibition will be in the newly refurbished Ceramics Gallery which showcases pottery production over the past 5000 years.

Hastings Museum and Art Gallery
Telephone: 01424 451052
Or you can contact us via Twitter or Facebook
https://twitter.com/hastings_museum
https://www.facebook.com/HBC-Hastings-Museum-Art-Gallery-218155741717952/

Admission is free. We are open all year:
April – October: Tuesday – Saturday 10am – 5pmSunday 12noon – 5pm. Last admission 4.30pm
November – March: Tuesday – Saturday 10am – 4pmSunday 12noon – 4pm. Last admission 3.30pm
The Museum has full wheelchair access throughout and disabled toilet facilities.
Free parking available outside Museum, including 1 disabled parking bay.



MASLEN & MEHRA Biography



Tim Maslen (b. 1968, Australia) studied Fine Art at Curtin University, Perth and completed an MA at Goldsmiths University, London in 1997. Jennifer Mehra (b. 1970, London) studied Fine Art at City Art Institute, Sydney and the National Arts School, Australia. Mehra was a founder of VOID, an East London artists’ – run space, which staged dozens of exhibitions for four years from 1997 – 2000.

Maslen & Mehra have worked collaboratively since 2000. They are recipients of a grant award from the Arts Council of England for their ongoing work Cash, Clash & Climate (2015 – 2017). Work from this series was included in an exhibition curated by Jenni Lomax, Melanie Manchot and Brian Cass at the Towner Contemporary (July 2016). They exhibited work from this series in the exhibition The Fall Of The Rebel Angels in Venice in 2015.

In 2014, they staged a solo exhibition at Lucy Bell Gallery for the Hastings Photo Festival. They were selected by Paul Noble for Creekside, London 2013, and were included in LUMINOUSFLUX at the Lawrence Wilson Art Gallery as part of the Perth International Arts Festival. In 2011, they were shortlisted for the Latitude Contemporary Art Prize alongside Graham Dolphin, Delaine Le Bas, Andy Harper and Alice Anderson.

The work of Maslen & Mehra can be found in collections such as Tattinger Switzerland, Galila Collection Brussels, Art EsCollecion Madrid, numerous international private collections and the Altered Landscape Collection, Nevada Museum of Art. Maslen & Mehra are featured in the stunning accompanying book titled The Altered Landscape published by Rizzoli.

Solo exhibitions have been staged in New York, London, Paris, Rome, Barcelona, Dubai, Istanbul, Toronto, Perth, Sydney and Berlin. In 2011 there was a solo presentation of their work for the Scotiabank CONTACT International Festival, Toronto. A monograph, Mirrored – Maslen & Mehra was published by Verlag für moderne Kunst Nürnberg in 2008 with texts by Hamburger Bahnhof Museum Curator, Eugen Blume and art historian, Edward Lucie-Smith. Earlier projects include an installation at the Frissiras Museum, Athens during the Olympics (2004), a sculpture installation exhibited at Artspace, Sydney (2002), and a solo project at Dilston Grove, London achieved with awards from the Henry Moore Foundation and London Arts (2001).

Sonica 2017 special offer for Conference attendees

This post comes from Creative Carbon Scotland

We are pleased to announce a special offer for registered (and not-yet-registered) attendees for The Green Arts Conference. 

Cryptic, a member of the Green Arts Initiative, is offering a discount to attend the opening night of their climate-change-themed music/theatre production Shorelines, which follows directly from the conference drinks reception at 7.30pm on November 1st at Tramway in Glasgow.

About Shorelines

Shorelines is part of Sonica 2017, and has strong sustainability themes, exploring the impacts of a natural disaster, and mankind’s relationship with the natural world. As part of the Green Arts Conference this year, we’ll be exploring the artistic programming emerging along such themes (including hearing from artist Kathy Hinde, also part of Sonica 2017), and this is an opportunity for you to see some of it for yourself.

The Green Arts Conference

The Green Arts Conference: Spotlight on Sustainability is crafted specifically for those working on sustainability in organisations in the cultural sector, and those interested in the intersections between the arts and sustainability. This full-day conference will explore current best practice, and deliver practical, hands-on workshops on topics such as travel recording; staff green team engagement, and carbon management planning for arts organisations. Perfect for green champions in the arts, screen and creative industries, and for members of the Green Arts Initiative.

Delegates for the Green Arts Conference can get tickets for Shorelines on 1st November for £8 (instead of £15), contact us for details.

Find out more about Shorelines

Book your place at The Green Arts Conference: Spotlight on Sustainability

 



The post Sonica 2017 special offer for Conference attendees appeared first on Creative Carbon Scotland.



 

About 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

Fermynwoods Contemporary Art Launches Art Work Placement

Fermynwoods Contemporary Art launches Art Work Placement –
Art and Creativity driving innovation and change in Northamptonshire businesses

Northamptonshire organisation Fermynwoods Contemporary Art has launched Art Work Placement, a pioneering initiative in collaboration with a group of key businesses in the County. For the first time, 5 professional artists will be placed in 5 of Northamptonshire’s key businesses to help employees develop creative solutions to today’s business challenges. Funded by Arts Council England, Art Work Placement is an innovative, new idea involving artists working with the businesses to explore how integrating art into daily working life can not only enrich the workplace, but create change.

During each Art Work Placement residency the artists will be meeting staff and making art work and, as a result, understand how creativity makes a difference in finding new ways of thinking about the workplace and company culture. The programme is inspired by Fermynwoods’ aim to ensure that art infiltrates every day life and by the belief, shared by their business partners, that the arts and culture an essential part of making Northamptonshire a great place to live, work, play and learn.

The artists are all Associates Artists with Fermynwoods and the four residencies confirmed to date are:

Art Work Placement is being delivered by Fermynwoods with Culture Consultant, Morag Ballantyne, and Organisational Psychologist, Kirstin Irving.

Director of Fermynwoods Contemporary Art, Yasmin Canvin, said, “We are delighted to have had such a positive and enthusiastic reaction to Art Work Placement from businesses across the County. Artists are specialists in helping us to see the world differently and looking between the lines, so the expectation is that artists working in these organisation can help unlock further innovation and creativity”.

Nick Greenway, Director of Marketing for the iconic Northamptonshire motorsport and engineering company, Cosworth, added: “As a business we know that in order to succeed we need imagination, innovation and creativity, but we also need to retain the very best talent, that’s a source of business advantage – and, of course, we want our staff to be happy and motivated. I’m excited at seeing how having Virginie working with us challenges us to capture what we’re about and to see it more clearly”.

Fermynwoods and the participating businesses expect to see a range of benefits to communication and productivity as well as contributing to quality of life at work and the wellbeing of staff.


About Fermynwoods Contemporary Art:

Fermynwoods Contemporary Art commissions innovative and meaningful ways for
visual artists to engage with audiences, in public spaces across Northamptonshire and
online. Recent projects have included: The Twelfth Player, a collaboration
with Northampton Town Football Club and Royal&Dernagte, which blended film and live
performance to take audiences on an immersive tour of Sixfields Stadium; and Space
Programme, when young people worked with artists to launch thermochromatic
sculptures 20,000km into space and document the journey.
www.fermynwoods.org

[Int21] Residential Short Course and Evening Talk (UK)

Environmental artist Chris Drury and writer Kay Syrad lead a residential short course with guest artist David Buckland from Monday 30 October to Friday 3 November 2017. Chris will also offer a public talk on the evening of Wednesday November 1st.

Part of art.earth’s compelling new programme of short courses and talks. Context and Form, Art and Writing is facilitated by Chris Drury and Kay Syrad. Their special guest is David Buckland, Founding Director of Cape Farewell. Both events take place at Dartington in SW England and are open to all.

In this five-day intensive, Chris Drury shares his renowned practice of working with form, including whirlpool and vortex, fractal and wave patterns, exploring and investigating how aesthetic forms have the universal enfolded within them but are at the same time particular to individual experience.

Kay Syrad has collaborated closely with Chris on a number of art-text projects and brings her rich knowledge and experience of narrative and poetic form.

The programme days assume a regular pattern of immersion in the landscape: walking, collecting, making; reflecting and working inside, with short lectures, shared conversation and discussion, individual tuition, and studio time exploring visual and/or written forms that are personal and universal.

The course includes:
– a series of short lectures on context and form in art and writing
– meditative and sense-based engagement with the landscape
– a chance to experiment together and individually with different forms in language and image
– the opportunity to work outside and inside in dialogue with the tutors

Further information and booking can be found at http://artdotearth.org/context-and-form-art-and-writing/

On the Wednesday evening, Chris Drury will offer a public talk Wandering: earth, art and context.
Tickets are £5 and information can be found at http://artdotearth.org/chris-drury-wandering-earth-art-and-context/

500 Years of Resistance Presented By: Dancing Earth Creations and Cuicacalli Dance Company

“500 YEARS OF RESISTANCE”

SAN FRANCISCO, CA — Dancing Earth Creations in collaboration with Cuicacalli Dance Company are proud to present “500 Years of Resistance” Festival at the newly renovated Brava Theater in the Mission District in San Francisco on Dec 1-2, 2017 . The Festival celebrates the tenth anniversary of the Cuicacalli Danza, the associate year round training program of Dancing Earth.

Two different programs will be presented from December 1-2, 2017 :

  • The Opening Night concert on December 1st will focus on contemporary Indigenous choreographies with themes of; honoring of Native land and water rights  and honoring of treaties,  the renewal of ancestral ties though memory and dreaming; the spiritual, cultural and practical exploration of notions of Renewable Energy; diasporic resilience and resistance in solidarity with all struggles and commonality of people of color; and resistance prayers and  protests tied to local issues advised by our California First Nations consultants.
  • The Closing Night concert on December 2nd features brilliant full  scale production of Ballet Folklorico Mexicano by Cuicacalli Dance Company, as created and directed by Jesús “JACOH” Cortés, former soloist with Ballet Folklorico de Mexico, as well as select contemporary Indigenous choreographies

    (Cuicacalli Dance Company Performance Photo by Robbie Sweeny)

The programs will be featuring Dancing Earth’s collaborating Indigenous performing artists, Cuicacalli professional danzantes and advanced apprentices, special  guest artists, and our honored cultural artist ambassadors of local California First Nations including Ohlone, Pomo and Wappo.

This festival is made possible by San Francisco Arts Commission grants, in-kind support from Dance Mission and Brava Theater, and the immeasurable cultural legacy of our Indigenous cultural consultants and collaborators.

(Cuicacalli Dance Company Performance Photo by Robbie Sweeny)

Calendar Listing:

WHO:   Dancing Earth,  Cuicacalli Dance Company and guest artists including local California       First Nations honored representatives

WHAT:   “500 Years of Resistance” Festival

WHEN:   Program A, Dec. 1 , 2017 ; Program B Dec.  2, 2017

TIME:   7 pm

WHERE:    Brava Theater, 2781 24th Street, San Francisco, CA 94110

WEBSITE:   https://www.brava.org/visit

WHY:   On the days following Native history month— and the national holiday   known as Thanksgiving by some, but known as ThanksTaking by many– we reclaim  the mythology on which this holiday has been imagined with vital and compelling truths of Indigenous survival and resilience of the original peoples of , as well as inter-tribal and Indigenous people who have made the Bay Area their home.

We honor and embody local and hemispheric resistance efforts protecting Indigenous eco-cultural rights to exist, with vibrant rituals of contemporary Indigenous dance that celebrates our continuance, and welcomes community to gather in solidarity and unity.



Ticket Details:



$30 – General Tickets

$25 – Advance Tickets

$20 – for Students with ID, seniors, and youth under 10 yrs old

*Ticket covers cost of Performance and helps support scholarships for deserving low income students of Cuicacalli Dance Company

Tickets are available after October 15 at https://www.brava.org/ or call 415-641-7657

Website: www.dancingearth.org

About “ 500 Years Of Resistance “

INTENTION: To offer dances as vital contemporary  rituals for transformation that  heighten awareness and understanding of Indigenous presence and issues for our extended Bay Area community. At this important time in history, Native people are being recognized as the leaders of the ecological movement by bringing spiritual, cultural and creative resonance,  connecting all living beings.

INSPIRATION: We honor the rich heritage of California First Nations’ songs and dances that have kept the land, waters, and all living beings in balance and harmony until colonial times. We are energized by the history of inter-tribal solidarity such as the 1970s takeover of Alcatraz, commemorated annually with gatherings on Indigenous Peoples Day and Thanks(Taking) Day, with this performance falling just after that national holiday. Rich source material emerges from consultation with inter-tribal elders, culture carriers, and activists, as well as individual Indigenous artists bringing their unique cultural perspective to the collaborative creative process in a shimmering mosaic of historical and ancestral memory, imagined futurities, and embodied present.

CREATIVE PROCESS: Dancing Earth works closely with Indigenous collaborators and inter-tribal elders and consultants including representatives of regional California First Nations with creative explorations in seasonal intensives at indoor and outdoor locations,  activating the inner and outer landscapes in a process  described by Dancing Earth’s Founding Director and Choreographer, Rulan Tangen, as “Re-Story-ing”

About Dancing Earth and Director Rulan Tangen:

(On Photo: Rulan Tangen, Dancing Earth Images)

DIRECTOR BIO: RULAN TANGEN (Director, Choreographer, Dancer) is an internationally accomplished dance artist and the Founding Artistic Director and Choreographer of DANCING EARTH. As a performer and choreographer, she has worked in ballet, modern dance, circus, TV, film, theater, opera and Native contemporary productions in the United States, Canada, France, Norway, Mexico, Brazil and Argentina.

Her work values movement as an expression of Indigenous worldview,  honoring  matriarchal leadership, dance as functional ritual for transformation and healing, the process of decolonizing the body, and the animistic energetic connection with all forms of life on Earth. She has recruited and nurtured a new generation of Indigenous contemporary dancers and holds the belief that “to dance is to live, to live is to dance.”

Rulan has been recognized with:

  • Costo Medal for Education, Research and Service by UC Riverside’s Chair of Native Affairs
  • Native Arts and Cultures Foundation for their first dance Fellowship for Artistic Innovation
  • Top ten finalist across all disciplines for Nathan Cummings Fellowship for Social ChangeArts and Healing Network’s Arts for Social Change Award
  • A Blade Of Grass fellowship for socially engaged art
  • Nomination for Action in Film award

In April 2018, she is honored to be a recipient  of the Kennedy Center Citizen Artist Award.

(On Photo: Rulan Tangen, Dancing Earth Images)

ABOUT DANCING EARTH:

DANCING EARTH (DE) debuted at Dance Mission in 2004 and has emerged as a unique force in the dance world. DE’s work gathers inter-tribal collaborators to re-envision contemporary dance, embodying Indigenous ecological philosophies with renewed relevance as evidenced by extensive national and international touring invitations.

Director Tangen’s founding vision for DE is to serve a need not met in the United States, giving hope and opportunity to Native talent who are outside of mainstream performance because of lack of access and resources. As Native dancers, composers, customers, filmmakers, and spoken word artists, we challenge notions of what comprises a professional artist, the role of the audience, and the boundaries and purpose of performance. Our tribal values honor dance and songs as essential ritual for transformation which we expand to socio-environmental change. Reviewer T. Hassett  describes Dancing Earth as having “Taken the beauty, power, and wit of that sensibility further, combining powwow, ballet, modern dance, circus arts, capoeira, and b-boying into something acutely mythological.”

We are one of few companies who work with Native communities in gymnasiums and open spaces for people who may have never seen theatrical dance as well as in festivals in Opera houses for audiences who have never met a Native person. We also serve our circles with extensive local and national dance instruction, engagement workshops, and community-made art.

We dance the rich diversity of our contemporary heritage with the intent to promote ecological awareness, cultural diversity, healing and understanding between peoples. Our aesthetic embodies the spirituality inherent on Earth, and is created by, with, and for the land and the peoples of the land.

Recognition include:

  • Medallions from the US Embassy for Cultural Ambassadorship
  • National Museum of American Indian’s Expressive Arts Award
  • Mention as one of ”25 To Watch” by Dance Magazine
  • National Dance Project’s Production and Touring awards in 2009 and 2016
  • MAP FUND award for GROUNDWORKS, a project to debut in Bay Area in 2018

DE evokes critical review such as that found in Santa Fe’s THE magazine: “The visionary note easily persists in the accomplished miracles of speed, agility, grace, and sensuality that articulate … Rulan Tangen’s extraordinary choreography.”

(Dancing Earth Images)

About Cuicacalli Compania and Director Jesus Jacoh Cortes

DIRECTOR BIO: Jesús “JACOH” Cortés, began his training in Mexican folk dance when he was 6 years old under the direction of his great uncle, Juan Natoli. In 2000, he started dancing with Ballet Folklórico de Mexico de Amalia Hernandez in the Palace of Fine Arts in Mexico City after he was trained as a Deer Dancer under the direction of Lucas Zarate Lobato. He was a soloist in the role of The Deer Dance “La Danza Del Venado” for Ballet Folklorico de Mexico de Amalia Hernandez, and has toured Mexico, Europe and the United States. He was the company choreographer and lead teacher for Los Niños de Santa Fe y Compañia. In addition to performance, he has also taught hundreds of elementary school children as part of the Arts in the Schools program in Española, New Mexico.

Currently, Jacoh lives in San Francisco and works as an artist in residence with the SFUSD and Brava Theater. He is founder and Artistic Director of Cuicacalli (meaning House of Culture in Nahuatl dialect), and is a lead teacher and choreographer for Dancing Earth. In the Bay he has been a Guest Artist/Instructor/Choreographer/Consultant with initiatives including San Francisco Symphony,  Printz Dance Project, ALICE (Arts and Literacy in Children’s Education) program, “Burning Libraries,” Mystical Abyss, Sonoma Ballet, and  Ballet Folklorico de Stanford University. His Cuicacalli Escuela and Dance Company, has been presented by D.I.R.T. Festival, Festival of Latin American Contemporary Choreographers, Baile en la Calle, SF Son Jaroche, Cuba Caribe and CARNAVAL.

Notable recognition:

  • Director/Choreographer Cortes and Music Director Ariana Cortes led students who were selected as the only youth group ever to place in professional level as Carnaval second place winners!
  • Recognition of Sr Cortes’ version of ‘Danza Del Venado with an  acclaimed IZZY award.
  • Sr Cortes was recognized with Dream Catcher award for excellence in the arts by SF School District in 2017.

ABOUT CUICACALLI :

CUICACALLI “House of Culture” is a year-round youth training program, in association with DANCING EARTH, the nation’s foremost Indigenous contemporary dance ensemble.  Founded in 2008 by renowned international performer Jesus “Jacoh” Cortes, CUICACALLI is an international, cross-cultural, dance-arts educational institution.

CUICACALLI carries strongly its mission to serve the diverse community of San Francisco with dedication towards excellent instruction, performances and community programs, for intergenerational students, artists and audiences of all backgrounds. CUICACALLI builds communities through dance- expanding, exploring, and celebrating the cultural traditions of the Americas. Self expression, confidence enthusiasm, discipline, focus, cooperation, teamwork and positive attitude are amongst the life qualities encouraged in all CUICACALLI classes. The offering of versatile dance styles give students a well-rounded curriculum of body awareness, movement dynamics, strength, flexibility, spatial composition, and the appreciation for the vibrant cultural rhythms that are the pulse of Latino/Indio life.

Advanced students become eligible for apprenticeship with CUICACALLI DANCE COMPANY  and Dancing Earth. The COMPANY  is inspired by cultural traditions and their development to the modern days, Cuicacalli develops choreographies to revive traditions, social and environmental situations, or simply give a look to the daily life with an abstract motion. As a multi disciplinary dance company, CUICACALLI fuses various styles into a unique story of their own. By including dance styles such as Indigenous, Folkloric, Contemporary, Cuicacalli hopes to expose, sustain, and expand traditional and modern dancing with a new lens.

***JESUS CORTES IS A BILINGUAL SPANISH-ENGLISH SPEAKER AND IS AVAILABLE FOR SPANISH LANGUAGE INTERVIEWS  

(Photos of Artistic Directors , all copyright courtesy of photographer Elizabeth Oplaenik for Dancing Earth Creations)

Exhibition: Cash, Clash & Climate (U.K.)

CASH, CLASH & CLIMATE 

MASLEN & MEHRA in collaboration with street artists, Shuby and Delete
1 September – 12 November 2017
Opening event: 14th September 2017
Hastings Museum & Art Gallery
John’s Place
Hastings TN34

Maslen & Mehra consider their more recent work to be ‘micro’. By that, they mean they are honing in on very specific political and environmental dilemmas. This requires a completely different methodology to previous work in order to explore detailed narratives. The sculptures in their current series have been based on ceramic plates researched in museums around the world. These include the Victoria & Albert and British Museums, London; Hastings Museum, UK; Mares Museum, Barcelona; the Metropolitan Museum, New York; the Archaeological Museum and the Turkish and Islamic Art Museum, Istanbul; the Asian Museum of Civilization in Singapore and the Museo Internazionale delle Ceramiche in Faenza, Italy. Maslen & Mehra fashion the sculptures from humble materials: wire and papier-mâché, completed with a decoupage technique of small tiles of archival prints. The narrative of each original plate is altered to highlight a variety of ideas tied to three themes: Cash, Clash and Climate.

The Cash series draws attention to bank bailouts; Doughnut Economics; credit culture; housing bubbles; tampon tax; quantitative easing; war as big business; the commodification of food staples; and the almost religious status that money has reached in our times. The Clash series embodies social unrest from London to Athens; Article 475; the refugee crisis; Grenfell; Greece and the Eurozone; social media to organise protests; fracking; gun control vs gun rights; and the Dakota Access Pipeline.  Lastly, the Climate series highlights environmental topics such as global coral bleaching events; chronic pollution as a heavy cost for economic power in China; melting ice caps; the opposing views of climate change; El Niño; Natural Capital; and the legacy of radiation from Japan’s nuclear disaster in Fukushima. The artists have made bespoke stands for the sculptures and invited local street artists, Shuby and Delete, to add to their surfaces, responding to each theme. This exhibition at the Hastings Museum draws together pieces from the three collections for the first time, representing years of work.

The sculptures individually pose questions about political, social and economic structures but together they ask how they, in turn, relate to social unrest and environmental issues. Some themes may be familiar to the viewer such as the piece, Polarized, which confronts us with opposing slogans: ‘Global warming is a cruel hoax’ and ‘Climate can’t wait’. Others are less obvious, such as the piece Article 475 which encourages the viewer to look further if they don’t understand the reference. Faith in Fiat questions the shift from commodity money to a fiat system which is effectively a promise. Is it sustainable to have such blind faith? The largest piece in the collection, Natural Capital references a system by which natural assets (water, geology, biodiversity, soil, air) and ecosystem services (pollination by insects, recreation, natural flood defences etc.) are given a financial value. Could this alternate economic system be the key? Maslen & Mehra have created the framework Cash, Clash and Climate in order to ponder questions about the complexities of living today and they invite viewers to follow their train of thought.

Hasting Museum and Art Gallery has an extensive ceramics collection. This exhibition will be in the newly refurbished Ceramics Gallery which showcases pottery production over the past 5000 years.

Hastings Museum and Art Gallery
Telephone: 01424 451052
Or you can contact us via Twitter or Facebook
https://twitter.com/hastings_museum
https://www.facebook.com/HBC-Hastings-Museum-Art-Gallery-218155741717952/

Admission is free. We are open all year:
April – October: Tuesday – Saturday 10am – 5pmSunday 12noon – 5pm. Last admission 4.30pm
November – March: Tuesday – Saturday 10am – 4pmSunday 12noon – 4pm. Last admission 3.30pm
The Museum has full wheelchair access throughout and disabled toilet facilities.
Free parking available outside Museum, including 1 disabled parking bay.

Faith In Fiat

Installation on view at the Towner Art Gallery.
22 July – 1 October 2017.
The summer exhibition has been selected by Richard Billingham (artist), Rosie Cooper (curator De La Warr Pavilion) and Brian Cass (curator Towner).

Open TuesdaySunday and Bank Holiday Mondays. 10.00am-5.00pm
Devonshire Park
College Road
Eastbourne
BN21 4JJ



MASLEN & MEHRA Biography



Tim Maslen (b. 1968, Australia) studied Fine Art at Curtin University, Perth and completed an MA at Goldsmiths University, London in 1997. Jennifer Mehra (b. 1970, London) studied Fine Art at City Art Institute, Sydney and the National Arts School, Australia. Mehra was a founder of VOID, an East London artists’ – run space, which staged dozens of exhibitions for four years from 1997 – 2000.

Maslen & Mehra have worked collaboratively since 2000. They are recipients of a grant award from the Arts Council of England for their ongoing work Cash, Clash & Climate (2015 – 2017). Work from this series was included in an exhibition curated by Jenni Lomax, Melanie Manchot and Brian Cass at the Towner Contemporary (July 2016). They exhibited work from this series in the exhibition The Fall Of The Rebel Angels in Venice in 2015.

In 2014, they staged a solo exhibition at Lucy Bell Gallery for the Hastings Photo Festival. They were selected by Paul Noble for Creekside, London 2013, and were included in LUMINOUSFLUX at the Lawrence Wilson Art Gallery as part of the Perth International Arts Festival. In 2011, they were shortlisted for the Latitude Contemporary Art Prize alongside Graham Dolphin, Delaine Le Bas, Andy Harper and Alice Anderson.

The work of Maslen & Mehra can be found in collections such as Tattinger Switzerland, Galila Collection Brussels, Art EsCollecion Madrid, numerous international private collections and the Altered Landscape Collection, Nevada Museum of Art. Maslen & Mehra are featured in the stunning accompanying book titled The Altered Landscape published by Rizzoli.

Solo exhibitions have been staged in New York, London, Paris, Rome, Barcelona, Dubai, Istanbul, Toronto, Perth, Sydney and Berlin. In 2011 there was a solo presentation of their work for the Scotiabank CONTACT International Festival, Toronto. A monograph, Mirrored – Maslen & Mehra was published by Verlag für moderne Kunst Nürnberg in 2008 with texts by Hamburger Bahnhof Museum Curator, Eugen Blume and art historian, Edward Lucie-Smith. Earlier projects include an installation at the Frissiras Museum, Athens during the Olympics (2004), a sculpture installation exhibited at Artspace, Sydney (2002), and a solo project at Dilston Grove, London achieved with awards from the Henry Moore Foundation and London Arts (2001).

CONCLAVE of ART OF CHANGE 21

An international meeting of CO-CRÉATION for the climate At the Grand Palais in PARIS, October 9-10, 2017

The association Art of Change 21 is organizing, with the support of the UN Environment, a meeting that will bring together artists, entrepreneurs and young eco-leaders from around the globe. The objective of this second conclave is to conceive of another participatory and artistic action for the environment and the climate that will be implemented internationally.

Art of Change 21 has selected distinguished personalities from civil society :

With the aim of encouraging civil society’s commitment to the climate despite the
North American withdrawal from the Paris Agreement, the unique co-creation event
will be held at the Salon Alexandre III at the Grand Palais this autumn. The world’s
most inspiring accelerators of change — artists, social entrepreneurs and youth
environmental leaders — will meet for two days to collectively create an action that
will be developed and carried out by the association Art of Change 21.
For Art of Change 21, the creativity of artists, the driving spirit of entrepreneurs and
the forward thinking of young eco-leaders represent three complementary forces.
The Conclave of Art of Change 21 is the only initiative in the world that brings together
these diverse groups and fosters the spirit of of ‘‘cross-fertilization.’’

The first Conclave of Art of Change 21 was organized in 2014 at the Gaîté Lyrique
in Paris prior to the COP21 held in Paris.It brought together twenty-one exceptional
personalities some of whom were: Kenyan entrepreneur David Kobia (founder of
Ushahidi), French entrepreneur Cédric Carles (founder of the Solar Sound System
and Regen Box), artists Lucy Orta, Wen Fang and Laurent Tixador. Together they
conceived the Maskbook action (www.maskbook.org) which focuses on air pollution
and it’s effect on the climate. Maskbook, in partnership with the UN Environment,
has organized over 60 events world-wide, mobilizing tens of thousands of active
citizens.


About Art of Change 21
Art of Change 21 is an association founded in 2014 that combines art,
social entrepreneurship and youth in favor of sustainable development and
the environment, intervening at major events for the climate. The multi
cultural team is based in Paris. The association is strongly supported by
artist Olafur Eliasson (@olafureliasson) and entrepreneur Tristan Lecomte
(@tlecomte). Its main partner is the Schneider Electric Foundation and is also
supported by the UN Environment.

Art of Change 21
www.artofchange21.com
info@artofchange21.com
@artofchange21

Winner Announced for 2017 Fringe Sustainable Practice Award

Creative Carbon Scotland and The Center of Sustainable Practice in the Arts announced the winner of the 2017 Edinburgh Fringe Sustainable Practice Award at the Scottish Poetry Library this morning.

Poet Harry Giles presented the winners, Outland Theatre with the award for their 2017 production at the Edinburgh Festival Fringe, Towers of Eden. Founders of the company, Simon Christian and Melissa Dalton received a hand-crafted piece from Glasgow based designer, Chris Wallace, which was made with reclaimed copper wire and reclaimed roof slate. Ceremony attendees included Fringe participants and others from the Scottish and international cultural and sustainability worlds.

With applications open to all 3,398 shows performing at this year’s Fringe, a high number and quality of applications were received, and whittled down to 18 shortlisted productions, 5 finalists and one overall winner. Judges assessed shows based on their artistic quality as well as their engagement with themes relating to social, economic and environmental sustainability, and sustainable practices they adhered to. This year there were many unique ideas and concepts which engaged audiences, both young and old.

Winner Announced for Fringe Sustainable Practice Award 1The award winner, Outland Theatre’s production of Towers of Eden, portrays a dystopian future where environmental disaster has struck, traditional agriculture is no longer sufficient to feed the ever-growing population and the government offers a solution which becomes corrupt. They convinced judges with their unique concept and gripping theatrics which accurately conveyed their sustainable messages. Moreover, they were conscious of the sustainability of their production by considering the carbon footprint of their show, including the impact of their marketing, travel options and sustainable engagement through a crowd funding initiative to support their trip to Edinburgh.

Ben Twist, Director of Creative Carbon Scotland, said:
“The award recognises the very best in sustainable practice at the world’s largest arts festival, and we hope that it will encourage future performers, producers and venues to consider social, economic and environmental best practice in the future. We’re delighted to be able to present this award, and are enormously grateful to our partners the Center for Sustainable Practice in the Arts, PR Print and Design, and The List to enable this to happen.”

Four other finalists were also recognised at the ceremony for their significant contribution to sustainable practice at the Edinburgh Festival Fringe. These were:
• Home Sweet Garden by Asylon Theatre at Royal Botanic Garden Edinburgh – John Hope Gateway
• Last Resort by 2 Magpies Theatre at Summerhall
• Me and My Bee by This Egg and the Pleasance at Pleasance Courtyard
• Tribe by Temper Theatre at Zoo Southside

The Edinburgh Fringe Sustainable Practice Award is a collaboration between its founder, the Center for Sustainable Practice in the Arts (CSPA), and Creative Carbon Scotland (CCS), working together with the List magazine and supported by PR Print & Design.

Exhibition Open Call, Keelung Ciao

Keelung is a harbor city located in north-eastern Taiwan. The city is surrounded by mountains and oversees the Pacific Ocean. The diversity of landscape and historical heritage is the treasury of Keelung. This initiative seeks to build an art program which is compatible with marine culture, harbor tradition, and the landscape of Keelung with your participation.

During a 3 week residency artists will bring a very unique living and exhibition experience to Keelung. With the help of Keelung Ciao, help to carry a cultural movement into the next stage for the city and its citizens.  Download the open call for More Information.

This Call is Seeking a Participant Who Is:

  • An Artist (individual, group or collective). No limit of creation form.
  • Able to propose a project/artwork which responds to the curatorial statement.
  • Able to executive the proposed project. The project should be site specific.
  • Willing to work with local team including technicians, volunteers and local communities.
  • Highly interested in Keelung’s history, landscape, environment and cultural scape.
  • Able to communicate effectively in either Chinese or English.
  • Open minded with different cultures, has a positive attitude, and is willing to share experiences.
  • Able to participate in the exhibition schedule including installation period (10th/Sep/2017-4th/Oct/2017) and press release & opening (5th/Oct/2017-7th/Oct/2017).

Budget:

Once selected, artists will be invited to be featured in 2017 Keelung Ciao Exhibition and receive NT$70,000 to execute his/her proposal. The budget includes production and installation fees.

Transportation:

For International Artists: A return economy class ticket from where artist live toTaipei Airport, Taiwan. and domestic transportation from airport to Keelung is covered.

For Taiwanese Artists: A return ticket of train/HSR/bus transportation from where artist live to Keelung is covered.

In Keelung:

During installation period, the curatorial team will provide Keelung’s travel info and suggested public transportation from accommodation to exhibition site.

PLEASE NOTE:

  1. Please get approval from curatorial team BEFORE making any reservations.
  2. DO KEEP RECEIPTS and INVOICE for reimbursement.
  3. Visa, passport, application fee, and travel insurance are NOT included.

Accommodation:

Arranged by exhibition organizer and executive, all participating artists will have individual accommodation and working space.

Supporting Staff:

Keelung City Cultural Affair Bureau will recruit volunteers who have English/Chinese speaking ability to support artists during the installation period.

Selection:

The jury panel will consist of professionals from contemporary art, exhibition management, art, critics and art organization. The final selection will be announced online, and informed individually according to the exhibition schedule and budget.

Submission:

Only online submission is accepted. Please submit the application and supporting material before 23 rd June 2017, 00:00 (GMT+8). For detail, please visit: https://keelungciao.tumblr.com

If you have any inquiries, please email: nightviewkeeung@gmail.com

Schedule:

Deadline of submission: 23 rd June 2017, 00:00 (GMT+8)

Final list announcement: 30 th June 2017

Artist arrival in Taiwan: 10 th September 2017

Installation Period: 10 th September to 4 th October (25 days in total)

Press conference: 5 th October 2017 (To be confirmed)

Opening: 6 th October 2017 (To be confirmed)

Exhibition Period: 6 th October 2017 – 5 th November 2017


Submit Online Now!


 

CONFERENCE CULTURA/NATURA Open Call

Friday 29th – Saturday 30th, September 2017 – Guimarães

The Organising Committee invites you to attend the Conference Cultura/Natura 2017. This meeting welcomes both scientific and artistic contributions, from all areas of knowledge, and considering the diversity of artistic formats, that embody or reflect on this theme. This is an initiative of Teatro do Frio in partnership with the Faculty of Psychology and Education Sciences of the University of Porto (FPCEUP) and the Centre for Research and Intervention in Education (CIIE/FPCEUP), and in association with the A Oficina (Centro de Artes Mesteres Tradicionais de Guimarães) and the Directorate-General of the Arts.

The deadline for submissions of abstracts is Thursday 15th June 2017.

The aims of the Conference are to:

  • Reflect about the potential and limitations of adopting creative and dynamic models of artistic creation, in the pursuit of sustainable cultures.
  • Reflect about the potential and limitations of adopting models of scientific consensus, in the construction of sustainable cultures.
  • Open an experimental space where artists, scientists and other knowledge producers could share, connect and expand experiences, projects and dialogues in different fields of arts and sciences.
  • Promote communities of learning, practice and mutual support between researchers.
  • Promote experiences of interdisciplinary hybridisation.

Whether in the form of artistic dramaturgies built from scientific, philosophical, environmental, socio-economical stimuli (amongst others), or in the form of methodological procedures that address the diversity of forms and artistic practices, this encounter is conceived as an experimental site, in which, during two days, we will dedicate ourselves to the exploration and enhancement of dialogues between arts and sciences.

CALL FOR ABSTRACTS

Proposals for presentations in different formats and from all areas of knowledge will be accepted (presentation time aprox. 20 minutes each):

  • Oral communications
  • Posters
  • Workshops
  • Works in all formats
  • Exhibitions of artistic works in all formats

If you are interested in delivering a paper, please submit your paper abstract by midnight on Thursday, 15th June to the email culturanatura2017@gmail.com. Abstracts should not exceed 400 words (excluding references, if any: max. 10 references). A short biographical note (fewer than 200 words) for each author must be included in the submission.

All papers will be fully refereed. We aim to notify acceptance decisions on 17th July 2017.

Works will be selected for inclusion in a publication launched in March 2018.

More information in: http://www.fpce.up.pt/ciie/?q=en/content/encontro-culturanatura-2017

If you have any issues please contact: culturanatura2017@gmail.com.