[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’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

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

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


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


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 or call 415-641-7657


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)


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.


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.


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

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


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

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
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).


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 ( 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

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

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).


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.


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.


  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.


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.


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.


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:

If you have any inquiries, please email:


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!



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.


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 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:

If you have any issues please contact:

Call for Papers: The Art Residency in Context

This Open Call Comes from the Seismopolite Journal of Art and Politics 

While art residencies are often used as experimental sites for cultural exchange and social engagement, and sometimes also as “laboratories” for ecology or cooperation between art and sciences, their relevance has also been questioned due to the infinitely overlapping, global and seemingly inconsequential political territory they inhabit.

For Seismopolite’s next issue, they invite contributors from diverse disciplines to submit essays and reviews that discuss the global phenomenon of the art residency from a high variety of possible angles, including (not restricted to):

  • The political meaning of cooperation in art residencies as international forms of cultural exchange.
  • Types of residencies; themes, formats and ways of organizing residencies; their public programmes, exhibitions and events.
  •  The idea of “site” and of local political and cultural interaction in art residencies.
  • Art residencies in context: art, geopolitics and neoliberalism.
  • The relationship between residencies and local art “scenes”.

Submissions are accepted accepted continuously, but to make sure you are considered for the upcoming issue, please send your proposal/ draft, a brief bio and samples of earlier work to within June 14, 2017. All articles will be translated into Norwegian and published in a bilingual version.

Current issue:

Back issues:

Fueled by Fury: Finding the Language to Fix Us

This Post Comes From HowlRound:

This week on HowlRound, we continue our exploration of Theatre in the Age of Climate Change with more urgency than ever. With the looming eradication of climate science data from US government websites and the appointment of Scott Pruitt as head of the Environmental Protection Agency, Trump has indicated in no uncertain terms that the health of the planet and its inhabitants are of no concern to him. As theatre artists, how do we respond? Playwright Tira Palmquist and dramaturg Heather Helinsky offer their respective point-of-view on the writing and production of Two Degrees, a world premiere at the Denver Center, season 2016-2017, and how the elections impacted the development of the play.—Chantal Bilodeau

 Tira Palmquist: The notion that I would write a play in which someone discovers the solution to climate change was never the point of Two Degrees (though I believe that climate change is a fixable, solvable problem). After all, there is no silver bullet, no singular, magical solution for this issue.

More to the point, how to fix climate change wasn’t really the question. To fix climate change, we have to move people from inaction to action, from doubt to conviction. Finding the language and the arguments to do this is clearly important, but in order to do that we have to ask the more important question: How do we fix us?

Climate Lens: Birth of a Post-Nation!

The article Climate Lens: Birth of a Post-Nation! appeared first on HowlRound

At HowlRound, we continue our exploration of Theatre in the Age of Climate Change with more urgency than ever. With the looming eradication of climate science data from US government websites and the appointment of Scott Pruitt as head of the Environmental Protection Agency, Trump has indicated in no uncertain terms that the health of the planet and its inhabitants are of no concern to him. As theatre artists, how do we respond? NYU professor Una Chaudhuri writes about a group of theatre makers and educators who have committed to looking at the world through a climate lens in the hope of acquiring new wisdom.—Chantal Bilodeau

Under ordinary circumstances, we’d probably have resisted the temptation to announce ourselves with such a grandiose sub-title—or at least followed it with a self-deprecating question mark. But these are hardly ordinary times, and we’re “going big”—and exclamatory!—to counter the odious enormity that’s suddenly at the nation’s helm.

Trump Nation, however, only intensifies our post-national impulse; its real source, dating from well before the last election, is the fact that the most pressing political issue of our times crosses all national boundaries. The accelerating symptoms of ecological devastation and climate chaos are global, planetary—post-national.


CLIMATE LENS sprouted on January 5, 2017, when a group of theatremakers and educators gathered in New York for a retreat on the topic “Theatre and Climate Change.” The seeds of CLIMATE LENS were the various projects these people had been involved in, over the past several years, that engaged with environmental issues in general and climate in particular. These included Chantal Bilodeau, Una Chaudhuri, Elizabeth DoudLanxing Fu, Derek Goldman, Julia Levine, Roberta Levitow, Jessica Litwak, Erwin Maas, Jame McCray, Erin B. Mee, Emily Mendelsohn, Katie Pearl, Jeremy Pickard, and August Schulenburg.

We began by acknowledging that our previous attempts to get the larger theatre community engaged in this topic had been difficult. People tended to “shut down” when they heard that a theatre piece dealt with climate change. They tended to assume they knew what that would entail, and that it would be depressing, even when it came in the form of a sugarcoated pill, or a deft and elegant presentation of scientific information, or a lyrical ode to the vanishing green world. Climate change, we feared, was turning into a dreary theatrical theme, prejudged and too easily “slotted.”

To loosen this sense of intellectual impaction, we’d framed the following questions to guide our discussion:

How can theatre truly register the most important thing about climate change: the fact that (as Naomi’s Klein’s book puts it) “this changes everything”? How can we evolve a “climate dramaturgy” which goes beyond addressing the symptoms of climate chaos and instead begins to forge the new imaginations we will need in order to confront the long-term, unpredictable effects of those symptoms on our lives?

The ubiquity and scale of the effects of climate change are shifting the terms and tone of the discussion around it. While once there was argument about its existence, followed by argument about its causes, followed by arguments about what might be done in response to it, the discussions now focus squarely on how to get people and governments world-wide to act in time to avert the very worst of the predicted effects. A recent instructive contribution came in the form of a New Republic article by Bill McKibben, a leading voice in the climate movement. McKibben characterized climate change as a series of hostile attacks, amounting to a “world war.” “Carbon and methane are seizing physical territory,” he wrote, “sowing havoc and panic, racking up casualties, and even destabilizing governments.”

Balancing our respect for McKibben against our revulsion towards militaristic rhetoric, we explored this perspective, comparing it with alternative models, like peace-making, diplomacy, education, care-giving, etc. Underlying many of these metaphors we sensed an invitation to move beyond an exclusively defensive posture, to realize that while global climate change is indeed an unfolding catastrophe, climate itself is simply an abiding feature of planetary reality, one that our species has—in recent centuries—tended to ignore (at least in our political and ethical formulations).

What would it mean for art to get interested in the climate—both as it is in itself and as it shapes human lives and societies? What might be gained by the arts in thinking about human lives beyond the familiar analytical frames of biography, psychology, sociology, politics, history—to understand them also as shaped by biology, physics, geology? In other words, what would be the value of drawing into cultural and artistic production the frameworks that have long been sequestered as “science”? Many artists, including theatremakers in our group, have already been working closely with climate scientists, translating their information into expressive imagery and narrative. How might that practice grow more expansive and also more dialectical, moving beyond staging scientific facts to exploring how individual and social lives are related to the planetary forces that modernity has so systematically “backgrounded”?

The founding members of CLIMATE LENS.

The most energizing turn of this conversation came as we located our project in a lineage of progressive discourses that approached issues not only by focusing on their ill effects but by identifying key terms to use as new analytical frameworks. Just as feminism used gender as a lens not only to combat sexism but also to uncover its foundations in patriarchy, we propose to use climate as a lens not only to confront climate change but to uncover its foundations in anthropocentrism.

As often happens, the mention of anthropocentrism quickly plunged us into a familiar and frustrating conversation about the impossibility—for us humans—of escaping a human outlook. One solution—and one we hope CLIMATE LENS will help bring forward—is to distinguish carefully between anthropomorphism and anthropocentrism. Anthropomorphism—the projection of human ideas on non-human subjects—is indeed hard to avoid; nor is it always desirable to avoid it. A great deal of contemporary animal welfare and animal rights thinking, for example, relies on encouraging us to empathize with the suffering of non-human animals. The need to deploy a “strategic anthropomorphism”—that is to say, an anthropomorphism practiced mindfully, with awareness of the pitfalls and limits of cross-species identification—has long been sensed and practiced by eco-philosophers, as has its counterpart (not opposite): zoomorphism, the projection of animal characteristics on humans. These modes of imagination and figuration seem to exist at deep levels of human nature, and can be used in diametrically opposed ways: as ways of erasing or discounting nature, or ways of nurturing deep affiliation with nature. The guiding principle for those who want to avoid the former and achieve the latter is: make sure your practice of anthropomorphism is free from implications of anthropocentrism—the world view that puts humans and their interests at the center of all reality, and participates in the kind of hierarchical-binary thinking that also sustains sexism and racism. In short, practice anthropomorphism (and zoomorphism, and even biomorphism) in the service of an ecological, biocentric world view, one that includes human but vigorously opposes the fantasy of human exceptionalism.

CLIMATE LENS is committed to multiplying the playful, delightful, surprising ways that humans can “play the non-human,” and vice-versa. As an example of the latter: we’re planning a project inspired by that eco-classic “Thinking Like a Mountain,” by Aldo Leopold. In “Tweeting like a Mountain,” we hope to help some non-human partners (including a glacier, a species of mushroom, a speak back to Twitter-Tyrants) while also keep their many human friends informed of life around the planet.

Naming our project CLIMATE LENS, we initiate a conversation and collaboration to use the distinctive elements of the arts of theatre and performance—in particular, their use of actual spaces, times, and bodies as their primary medium—to put human stories in a more-than-human frame. By paying attention to the entanglements, contests, and partnerships that humans habitually (though often unwittingly) undertake with other species, and with natural forces, we want theatre to help counteract the prevailing human exceptionalism that has contributed so much to the current crisis.

A climate lens can work through something as simple as paying attention to the physical life of dramatic characters (in addition to their social and psychological lives), pushing against one of the origins of ecological alienation: rationalism, with its twin derogations of the human body and the non-human world. From this perspective, such recent plays as Bess Wohl’s Small Mouth Sounds and Adam Bock’s A Life, neither of which appear to be “climate change plays,” can be thought of as “climate lens” plays, helping to nudge us towards an awareness of those levels of life we share with other animals and even (in the latter case) with the earth itself. These plays contribute to an “affirmative biopolitics” that may prove vital and inspiring in the age of climate change, a way to resist the “biopower” that French philosopher Michel Foucault identified as a defining feature of the modern state.


A climate lens can also uncover ecological perspectives in classic plays, vastly expanding the repertory for climate-concerned performance. Imagine a Tempest that foregrounds the fact that Prospero is, like contemporary humanity, a weather-maker as much as he is (as previous lenses have proposed) a patriarchal and colonizing tyrant, or A Wild Duck anchored in Old Ekdal’s cry—“The woods take revenge!” These dots seem easy enough to connect. More challenging—and perhaps more interesting—would be productions that brought biocentric perspectives to bear on plays that seemed utterly disconnected from ecological matters, classic plays that seem to be exclusively about human institutions like justice (Merchant of Venice), sociological concepts like gender (Shrew), or political history.

CLIMATE LENS, then, is interested in developing a creative and expansive perspective on the unfolding environmental realities that go under the name of “climate change.” While not avoiding the more frightening aspects of these, we are committed to making theatre that asks broadly about the current state of the earth, and the human place in it, and frames that vast subject in ways that are politically empowering, socially regenerative, and artistically joyful.

CCS awarded funding for new environmental performance

This post comes from Creative Carbon Scotland

CCS is one of 14 Edinburgh-based groups to receive support through the City of Edinburgh Council’s new culture fund, running for the first time this year to support of the development of up-and-coming performing work in the Capital City.

The £5000 grant from the fund will support Edinburgh-based actor, clown and theatre-maker Alice Mary Cooper to develop a new performance work Blue Cow in association with Imaginate and Catherine Wheels Theatre Company, as part of CCS’s culture/SHIFT programme.

CCS and Alice have collaborated on a number of projects in the past including our 2015 Arts & Sustainability Residency and ArtCOP Scotland, and more recently exploring community engagement in climate adaptation through the arts in Aberdeen.

Blue Cow will address the question what it means to be ‘contaminated’, evolving from Alice’s passion for environmental issues and desire to make work which helps to shift our wider societal culture towards a more sustainable one.

The new work will contribute to one of CCS’s culture/SHIFT themes – ‘making the invisible visible’ – which seeks to understand how the arts and culture can foster new awareness and understanding of our relationship to the environment and climate change.

Through the Culture Project Fund award, CCS will commission Alice to develop the sonic and video possibilities of Blue Cow, working with award winning Edinburgh based director Caitlin Skinner, Sound and Video Designer Rob Jones and musician and composer Thomas Butler.

CCS will also engage local sustainability practitioners and environmental organisations in the project with the aim of building new understandings of how the arts can contribute to a more sustainable city.

Other award recipients include the Village Pub Theatre, Strange Town and Red Note Ensemble. A full list of 2017/18 Culture Project Fund recipients is available on the City of Edinburgh Council website.

The Culture Project Fund supports the priorities of the city’s new Culture Plan, adopted by the Council last year. The plan was developed through the Desire Lines consultation process with input from creative industries, funding bodies, festivals, performers, artists, producers and venues.

It highlighted a need for greater support of emerging artists and ‘a shared city-wide agenda’ for culture in the Capital, which the Project Fund will help address.

Keep an eye out on CCS news for more information on Blue Cow over the coming months!


The post CCS awarded funding for new environmental performance work in Edinburgh 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