Julie’s Bicycle Sustaining Creativity Sector Survey

This post comes from Creative Carbon Scotland


Julie’s Bicycle wants to understand how the creative community is thinking about the coming decade, what it perceives as the critical drivers for change and where sustainability fits into the picture. ‘Sustaining Creativity’ is a series of conversations and events exploring environmental challenges and the opportunities that transformative solutions offer to the creative and cultural sectors.

To take part in the survey follow this link:

Sustaining Creativity will take a holistic approach, intent on shoring up strength and wellbeing over the coming decade. It will consider the likely systemic changes already influencing mainstream thinking and put sustainability at the forefront of creative and cultural innovation.

Sustaining Creativity will:

  • Discover what the business critical issues are perceived to be from a wide range of representatives from the creative community.
  • Extend ambition about what is possible using real examples.
  • Identify some key shifts needed to develop a creative infrastructure commensurate with global challenges.
  • Outline what might be done over the next five to ten years to create optimal conditions for change.
  • Foster confident decision-making that looks beyond political and funding cycles
  • Produce a series of events and publications

You can participate in Sustaining Creativity and share your views by answering this 10 minute survey. It is aimed at directors and senior managers of creative and cultural organisations.

The survey will close at 5pm, on Friday 13th December.

All participants will be invited to an event in spring 2014 to announce the results and discuss next steps, and will be entered into a prize draw for a case of English champagne in time for Christmas.

For more information, please visit

The post Julie’s Bicycle Sustaining Creativity Sector Survey appeared first on Creative Carbon Scotland.

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

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Extended Call for papers, Seismopolite Journal of Art and Politics, Issue 6

Seismopolite Issue 6
Theme: The future of the biennial: experimental places to reinvent political space?


The upcoming issue of Seismopolite Journal of Art and Politics will discuss the political future of the contemporary art biennial. How can biennials become experimental «sites» to rethink the relationship between art and politics, without lending themselves too easily to the confines of the contemporary art market and neoliberal political geography? While biennials have been criticized for subjecting themselves to urban/ regional marketing strategies, they have also been defended as valuable places for the formation of new alliances among art scenes of the ‘periphery’, that are today steadily changing the global art map.

For this issue we invite reviews, essays and interviews that discuss the future of the biennial and its potential to rewrite the history, political geography and epistemology of places and regions.

Topics may include (but are by no means restricted to):

- The art biennial as a global and regional phenomenon

- Biennials and political activism

- Art biennials as utopian political «sites»

- Mobility, relational geography and regionalization in contemporary art after the Nation State

- The biennial as a potential site for (re)negotiation of political geography, artistic interventions in geopolitical discourses and decolonization strategies

- Biennials as experimental regimes of bodily orientation and their politics of sensation

- Biennials as reimaginations of territorialities, and renegotiations of the concepts of space and place

Please send your proposal, CV and samples of earlier work to within December 13, 2013.


Galleries, Museums, and Climate Change l M&GQS | UQAM 2013 Seminar

Galleries, Museums & Climate Change was M&GSQ’s 2014 seminar, an annual partnership with the University of Queensland Art Museum and the UQ Museum Studies Program.

On November 13th, the event featured:
+ Tour of University of Queensland’s Global Change Institute building as an environmental sustainable showcase
Judith Nesbitt, Head of National and International Partnerships, Tate, on Environmental Sustainability at the Tate.
Emrah Baki Ulas, Associate, Steensen-Varming, and Julian Bickersteth, Managing Director, International Conservation Services and co-authors The Technical Industry Report on Museum and Gallery Lighting and Air Conditioning, on future options for economically and environmentally sustainable methods of display environments, preservation and storage of art and cultural material.
Dr Laura Fisher, National Institute for Experimental Arts, CoFA, UNSW, on Curating Cities and how the arts can generate environmentally beneficial behaviour change and influence the development of green infrastructure in urban environments.
• Panel discussion with all speakers moderated by Sarah Kanowski, ABC RN Weekend Arts.

Following refreshments, 6pm- 7pm, Fiona Hall, Janet Laurence and Caroline Rothwell discussed their work on display in the UQ Art Museum: Contemporary art meets the environment. The artists spoke about how they make visible the interconnections between nature and culture, and elaborate the devastating impact of human action on the environment.

Judith Nesbitt, Head of National and International Partnerships


Judith Nesbitt leads Tate’s national and international programmes delivered through partnerships and exchanges. Before taking up this post, Judith was Chief Curator at Tate Britain (2001 – 2010) where she led the curatorial team and played a key role in shaping all aspects of Tate Britain’s programme of exhibitions and displays. She curated Michael Landy’s Semi-detached commission in 2004, co-curated the 2003 Tate Triennial Days Like These, the Peter Doig exhibition in 2008 and the Chris Ofili exhibition in 2010. Judith also leads Tate’s Sustainability Task Force, with the aim of reducing the organisation’s carbon emissions and embedding environmental sustainability in policy and practice.

Educated at the University of York and the Courtauld Institute of Art, Judith began her career at Leeds City Art Gallery, 1986-91, joined Tate Liverpool as Exhibitions Curator, 1991-1995 and was Director of Chisenhale Gallery, 1995-1998. She was Head of Programming at Whitechapel Art Gallery, 1998-2000, and Head of UK Content at eyestorm, the art media company, 2000 – 2001. She is Honorary Fellow of the Royal College of Art, is a member of the Advisory Panel for Art on the Underground, and on the Board of Film and Video Umbrella.

Environmental sustainability at Tate 

For over five years, Tate has made a concerted effort to reduce its environmental impact and worked with colleagues in the museum sector to address the challenges specific to the sector.
This initiative has brought changes to how it cares for, presents and transports its collection, the operations across its varied estate, the design and engineering of its new buildings. Some of these changes are incremental; other changes require a greater shift, whether in practice or attitude. Staff, audiences, and artists all have a part to play in how we develop imaginative solutions to the environmental challenges of the 21st century.

Like many galleries, Tate has achieved reductions in the energy demand of heating and cooling its buildings, and taken the opportunity presented by capital projects, such as expansion of Tate Modern, to achieve energy efficient design through passive measures, maximising natural lighting and developing the use of LEDs. All aspects of gallery practice are systematically examined, from re-usable wall systems for exhibitions, waste to heat contracts, to sustainable catering and trading. Aiming to embed sustainable practices across the organisation, Tate’s environmental strategy is championed by Green Reps, overseen by the Sustainability Task Force, regularly assessed by Trustees and detailed in its annual report.

The effort is not just an organisational one, since many of the most far-reaching changes require sector-wide agreement between lending institutions. Many international colleagues have indicated their readiness to adopt a smarter approach to running galleries and museums in the long-term public interest. Sharing experience and data is the first step towards well-founded changes of practice, which is why this seminar is a welcome opportunity.

Dr Laura Fisher, National institute for Experimental Arts 

Laura Fishersml5

Based at the National Institute for Experimental Arts (COFA, UNSW), Laura Fisher is part of the research team behind the Australian Research Council funded Linkage project Curating Cities. Over the last year she has been involved in building the Curating Cities database of eco-sustainable public art, which is a resource for researchers, artists, commissioning agencies, government bodies and members of the public who are interested in how public art can generate beneficial social change with respect to environmental sustainability. She is also currently co-editing the conference proceedings of the 19th International Symposium on Electronic Arts which was staged in Sydney in July 2013. Laura completed her doctoral thesis in the sociology of art at the University of NSW in 2012.

Curating Cities: public art and sustainability in urban environments 

Led by researchers at the National Institute for Experimental Arts (COFA) in partnership with the City of Sydney, Carbon Arts, Object, and the University of Cincinnati, Curating Cities examines how the arts can generate environmentally beneficial behavior change and influence the development of green infrastructure in urban environments. The project rests on the conviction that public art can very effectively serve the sustainability agenda if it is integrated into the processes of reshaping urban infrastructure and managing the efficient use of resources in cities. This presentation will explain the aspirations that underpin Curating Cities, and discuss several exemplary public art projects that have been documented on the Curating Cities database of eco-sustainable art. It will also discuss the database’s purpose as an informative and evaluative resource that documents the mix of aesthetic, civic and environmental concerns that each work seeks to address, and provides useful insights into the funding arrangements, multi-party negotiations and problem-solving processes that bring public art projects to fruition.

Curating Cities

Julian picsml

Julian Bickersteth is the managing director of International Conservation Services and Vice President of the International Institute for Conservation. He chairs the AICCM taskforce on Environmental Guidelines, and is coordinating a joint IIC and ICOM CC working group to examine the international position on potential relaxation of environmental parameters in museums.

Managing environmental parameters in museums in the face of climate change 

Relaxed environmental conditions for museums to reduce energy consumption, whilst not compromising the preservation of collections, have been on the table for consideration by the conservation community for at least the last five years. It is acknowledged that existing parameters are based on a blanket approach, and are unnecessarily tight for all but the most vulnerable of artworks. Major museums and galleries worldwide are recognising this and implementing relaxed parameters, such as the Tate, the Smithsonian and the V&A.
Two years ago it looked as though international agreement was close. However a significant proportion of the conservation profession are not convinced that the risks in relaxing these parameters can be safely managed. Accordingly consensus amongst conservators internationally is not going to be achieved and therefore there will be no new blanket environmental standards. This paper examines the current situation on this complex issue.

EmrahBakiUlasEmrah Baki Ulas, Associate, Steensen Varming , is a lighting designer, educator and researcher.
His career in lighting began working for the International Istanbul Biennale. He completed his studies in Germany and Turkey, and worked in Greece prior to joining Steensen Varming.
Emrah’s work spans over iconic and high profile projects, including heritage sites, performing art venues, museums and galleries, research and education institutions, commercial developments, monuments, urban lighting and masterplanning.
Emrah is a co-leader of the Master of Lighting Design Postgraduate Studio and an adjunct lecturer at the University of Technology Sydney and is also a frequent contributor of international lighting forums. He was featured as one of the top 30 upcoming professionals by the UK based BS Journal in 2008 and as one of the top 25 upcoming lighting professionals in the USA based AL Journal in 2010.

Technical Industry Report Lighting Air Conditioning

Emrah Baki Ulas

Acknowledgements: The Energy Efficiency component of this activity received funding from the Department of Industry as part of the Energy Efficiency Information Grants Program.

Judith Nesbitt’s visit to Australia is co-hosted by the Visual Arts Board of the Australia Council and the project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Via M&GSQ l UQAM 2013 Seminar.

The Sustainability Review: Call for Submissions for Video Articles (SciVOs)

logoThe Sustainability Review (TSR) is seeking submissions for its Spring 2014 issue. TSR is an online, open-access journal edited and published by graduate students at Arizona State University and hosted by the School of Sustainability. TSR features original research, opinion, and art pieces on the topic of sustainability.

The Spring 2014 issue will feature publications in the journal’s new video format: the “SciVO,” a short (7-10 minute) video that is transparent and educational while adhering to standards of scientific rigor and academic excellence. Submissions should be in the format of a script for a SciVO, NOT a finished video. If your script is accepted for publication, the TSR editing staff will work with you to produce your SciVO. Please review the submission guidelines at

Submissions for this issue will be accepted until December 31, 2013 and will be published starting March 2014.

Exposure UNESCO-COAL Adapting to the Anthropocene



Monday, November 25 to Friday, November 30 from 10am to 17:30 ●

Opening Tuesday, November 26, at 18h, in continuation of the roundtable  Thinking Anthropocene from 4:15 p.m. to 6:00 p.m. in Room II

On the occasion of the World Day of Philosophy in 2013.

Fourteen projects by contemporary artists involved in environmental issues named in the various editions of the Prix COAL Art & Environment: Ackroyd & Harvey – Thierry Boutonnier and Ralph Mahfoud – Damien Chivialle – Olivier Darné – Nicolas Floc’h – Hanna Husberg, Laura McLean, Nabil Ahmed, Benedetta Panisson, Rosa Barba, Christopher Draeger & Heidrun Holzfeind Marian Tubbs and Drew Denny – Ivana Adaime Makac – Matthew Moore – Liliana Motta – Lucy + Jorge Orta – Zhao Renhui – Anna Katharina Scheidegger – Laurent Tixador – The Migrant Ecologies Project .

Entitled  Adapting to the Anthropocene , this exhibition presented art projects nominated in the various editions of the Prix COAL Art & Environment, which all have in common understanding of the major environmental issues, societal and contemporary, participating in the emergence a new culture of nature and ecology. Each year, through the COAL Art & Environment Award, the association recognizes a contemporary artist involved in environmental issues. The winner is named among the ten selected by a jury of personalities from the world of contemporary art, research, ecology and sustainable development artists, through an international call for projects.

The furnishing of this prize has now become a truly international event that attracts many renowned artists and pioneers in the art of ecology. Each year, the Coal Price Art and Environment is a theme of honor. The 2013 edition on the theme Adaptation received nearly three hundred entries from over 50 countries.

Established in 2010 by the COAL association, COAL Art and Environment Prize of EUR 10 000, is placed under the patronage of the French Ministry of Culture and Communication, Ecology, Sustainable Development and the Energy, and the National Center for Visual Arts. It also receives support from private partners.

For UNESCO, this exhibition provided an exceptional opportunity to promote to the public the ethical principles and responsibilities for climate change adaptation that the Organization seeks to encourage each day through its activities, and in particular through the activities developed by the World Commission on the Ethics of Scientific Knowledge and Technology (COMEST).

These principles and responsibilities that call for humanity to ensure the sustainability of the environment, encourage people to consider biodiversity and ecosystem integrity as the foundation of life on earth.

Beyond the analytical contributions of the social sciences that may help change human behavior, there is no doubt, for UNESCO, that art can not only be suitable emotional way  to foster new attitudes towards nature and the environment, but it can also be their reflection. This is indeed provided by the example of the  COAL association, founded in France in 2008 by professionals of contemporary art, sustainable development and research to foster the emergence of a culture of ecology.

Video credit: The glacier study group, 2013. Institute of critical zoologists

Via Exposure UNESCO-COAL Adapting to the Anthropocene: COAL.

HighWaterLine | Miami

9497365207_69dc47e33dMiami is the most climate vulnerable city in the United States primarily because:

  • The city was built at sea level.
  • Miami’s sole source of drinking water lies beneath the city in an aquifer, incredibly vulnerable to saltwater intrusion (when salt water seeps into fresh water).  In Florida, nearly 7 million people rely on this aquifer for their daily drinking water.

To learn more about Miami’s vulnerability please visit the Sea Level Rise Fact Sheet.

HighWaterLine collaborated with diverse Miami residents to use art to engage greater Miami in conversations about the aforementioned climate change impacts as well as solutions.

Diverse Miami residents created a public performance art piece the length of a marathon (26 miles) in which they demarcated houses, historic places and more, that will be underwater in Miami Beach and the City of Miami when 3 and 6 feet of sea level rise hits Miami. Residents handed off the chalker to one another to create these lines that literally connect the various neighborhoods.  This Miami art piece is based on data provided by Climate Central.

This large public performance piece took place November 13, 14 and 17, 2013. Please visit the HighWaterLine map to see the HighWaterLine routes as they unfolded as well as hear audio stories and see photos of participants. HighWaterLine| Miami is an ongoing, living project. The art reveal is one of many activities HighWaterLine | Miami participants are engaging in. Since August 2013, community members have participated in storytelling and solutions workshops as well as brainstorming sessions including defining climate resiliency in Miami.

Since the key to building a climate resilient community is engaging diverse members of the community, the initial group of HighWaterLine | Miami participants are expanding the project by engaging greater members of Miami’s community via the newly formed group Resilient Miami. They are planning additional creative public education projects.

Heidi Quante, coordinator of HighWaterLine, was quoted in the Miami New Times about one of the participants, Thorn Grafton, an architect and art deco preservation member whose grandfather was John S. Collins, after whom Miami Beach’s Collins Avenue is named:

“You have an older generation who basically helped make Miami Beach what is it today participating, as well as a younger first generation. You have people in Little Havana, who have a much different story from Thorn in Miami Beach, who might be hit by sea level rise because the river waters there will actually flow over faster than in other areas. And the beautiful thing about this project is that the line connects everybody.”

This webpage does not do justice to the variety of amazing participants and the active work they are doing to make Miami a climate resilient city.  Please visit this website in the coming months to learn more about the amazing ongoing work of HighWateLine | Miami.

Coordinator: Heidi Quante

Miami Co-Coordinator: Marta Viciedo

Via HighWaterLine.

Where art and nature meet: Curator Jane Ingram Allen on the first International Nature Art Curators’ Conference in Korea | Art Radar Asia

For the first time, curators from around the world came together in South Korea to discuss the the art of curating nature. 

The inaugural International Nature Art Curators’ Conference was held in Gongju, South Korea, from 30 September to 5 October 2013. Jane Ingram Allen, Curator of Taiwan’s Cheng Long Wetlands International Environmental Art Project, shares her thoughts on the conference and the symbiosis between art and nature across the world.


The International Nature Art Curators’ Conference in Korea, the first event of its kind, included presentations by nineteen invited international curators from thirteen different countries, all of whom are doing projects involving art and nature. I was one of the invited curators and I presented information and photos about the Cheng Long Wetlands International Environmental Art Project, which I have been curating in Taiwan each year since 2010.

This project, held in the small fishing village of Cheng Long on the Southwest coast of Taiwan, brings together six artists from different countries to make site-specific sculpture installations, using natural and recycled materials, that focus on different environmental issues each year. The goal of the Cheng Long Art Project is to raise awareness about environmental issues, and we invite artists to create temporary site-specific artworks that can contribute positively to the environment and go back to nature over time. At the Korea conference, I was able to show photos of past installations in Cheng Long and talk about the curatorial concepts for this project.


What is “nature art”?

Although the conference was focused on nature art, not everyone necessarily defines “nature art” in the same way. Some call this type of art “land art”, others call it “eco-art” and “environmental art.” This conference brought out the many ways that this type of art can be defined, and how in Asia “nature art” has a long history and a unique approach. Man is part of nature and the focus is on living harmoniously with nature, rather than the usual western way of trying to conquer and control nature. Many of the projects and artworks shown by other curators at the conference seem to have no focus on environmental issues, but are more about man’s relationship with the natural world and putting artworks in a natural setting that could be about any subject and using any materials or techniques.


Sharing the spirit of nature art

The most important benefit of this conference in Korea was the opportunity to meet other curators who are interested in art and nature, and to find out what they are doing in different parts of the world. The first seminar at the conference was called “Sharing the Spirit of Nature Art”, and included a presentation by me about the Cheng Long International Environmental Art Project. Other speakers were:


At the second seminar, “Moving Nature and Art”, presentations were made by:

  • Clive Adams, Director of the UK Centre for Contemporary Art and the Natural World
  • John K. Grande, an independent environmental art writer and curator who has curated international nature art exhibitions at botanical gardens in Canada
  • Giacomo Bianchi, President of Arte Sella, a nature art park in Italy with installations by international artists
  • Sue Spaid, environmental art curator now living in Belgium who has curated eco-art exhibitions and directed art centres in the USA.
  • Opening up the discussion 

    One unusual aspect of the conference’s organisation was that pointed questioners were designated for each of the presenters. After the formal presentations the questioners, who were invited speakers and international artists-in-residence in Gongju, asked questions of each speaker. The discussion was also opened up afterwards to questions from the audience, which included local artists, curators, professors and some students from the university. This method of having people designated to ask questions did ensure that there would be some discussion after the speeches, but it seemed a bit awkward and forced to me.


    The International Nature Art Conference was a great opportunity to exchange ideas about art and nature, and to see new artworks by different artists. As one of the invited curators, Grant Pound, Director of Colorado Art Ranch, USA, put it,

    The major benefit (…) was connecting with people doing projects in other parts of the world and finding those similar to Colorado Art Ranch. This conference was a chance to find new artists and to meet people from other countries doing similar projects.

    The range of projects presented at the conference was amazing, from the large Arte Sella project in Italy, which includes hundreds of artworks by well-known international artists and a sizeable budget with thousands of visitors each year, to small projects such as the Oranki Art Project in Lapland, Finland, started by a young artist couple,Tuomas and Ninni Korkalo.


    On the third day of the conference we also had presentations by other curators invited to this conference, such as Anni Snyman (South Africa), Director of international land art project Site Specific, Rumen Dmitrov (Bulgaria), Founder of Nature Art Symposium Gabrotski bringing international nature artists to Bulgaria to create site-specific works, and Lynn Bennet-McKenzie (Scotland), Director of nature art programme Ceangal bringing artists to the Scottish highlands to create site-specific nature art. The presentations also included those by other artist groups in Korea that are interested in art and nature, such as Magmamnews, Alternative Art Space Sonahmoo, International Baggat Art Exhibition and of course, Yatoo, the organiser of this conference.


    The artists in Yatoo have been doing “nature art” since a handful of young artists founded the group in 1981. The group has presented the Geumgang Nature Art Biennale since 2004, an event that invites many Korean and foreign artists to Gongju every two years to create site-specific installations in a beautiful area along the Geum River. As conference participants, we toured this nature area and saw many interesting artworks by foreign and Korean artists.

    One of the most interesting works we saw was by artist Ko Seung-hyan: an interactive, stylised traditional Korean musical instrument, the artwork is created from a huge tree trunk whose branches act as amplifiers for the sound when visitors play the instrument. Ko is one of the founding members of Yatoo and one of the organisers of the conference along with Mr. Jeon Won-gil, Director of the Yatoo International Project and chief organiser of the International Nature Art Curator’s Conference 2013.

    Another sculpture installation, created for a previous biennale, was a series of metal rings installed under a bridge by Yatoo artist Ri Eung-woo. This sculpture, whose metal rings are arranged in a pattern to represent the notes of a traditional Korean folk song, examines ways to represent sound visually.


    Nature art goes nomadic 

    Many hours at this first conference were spent discussing what the Yatoo organisers call the Global Nomadic Project. The organisers’ idea is to bring nature art on the road and travel to many different countries around the world from 2015 to 2018, sharing their art and interacting with colleagues in different countries. One disappointment for me about this conference was that the focus tended to be more about Yatoo’s Global Nomadic Project and not so much the broader idea of moving nature art forward. I expected the conference to focus more on networking and exchanging ideas about international nature art or environmental art around the world. The Yatoo conference organisers assured us that artists from other countries would also be able to join the Global Nomadic Project and travel with them to other countries making their works. However, it was not clear how the other artists would be selected or how they would be supported, since Yatoo expects to get funding for the Global Nomadic Project from the South Korean government’s art council. Some funds may be available to help fund foreign consulting curators and administrative expenses in other countries.


    International networks must be strengthened 

    I also was a little disappointed to see that I was the only one attending this conference that represented a project in an Asian country. It seems that Yatoo does need some help to reach out to other like-minded organisations and artists in other countries, particularly in Asia. There was one organisation from Africa, but none from South America or Australia.

    However, the conference did result in the publication of a book that lists the international nature art organisations known to Yatoo, with photos and contact information. This is a great resource and should be expanded to include more organisations around the world that do land art, nature art or environmental/eco-art. I realise that funding was limited and all those who applied could not attend. The Yatoo organisers did ask the curators attending the conference to help to expand the list of nature art organisations around the world. I hope that this first conference of nature art curators can foster more meetings of international groups interested in the environment and art, and spread this movement to more countries.

    Jane Ingram Allen

    Via Art Radar Asia.

    Emergence Website Launch

    Emergence Website Live!


    The new Emergence website is now live.  It can be viewed here,

    The timing of the website going live incidentally marked the anniversary of the third year of Emergence activities since the first event at Chapter Arts Centre, Cardiff on October 28th 2010.

    The website is a working archive of all the talks, creative presentations, films, maps, documentslinkscontributors and collaborators. It has information on all the projects from the 2010 CardiffSwansea and Caernarfon conferences to the Document LaunchEmergence SummitCreu Cymru Emergence initiative and Suzi Gablik’s Doin’ Dirt Time. The site gives users access to read and download the Emergence document, view individual films of talks by Bedwyr WilliamsMenna Elfyn,Judith KnightRob Newman and many others, watch the feature film ‘Walking to the Summit,’ download the maps of the Emergence Land Journey, check out past Emergence artist commissions and listen to a number of the collaborators ‘Talking about Emergence’ including Paul Allen, Rhodri Thomas, Jenny Mackewn and Lucy Neal. The Emergence website is intended to be a place which houses and celebrates the work of artists and practitioners who are ‘living the future now’ whilst working towards a sustainable planet. It also tells the story behind the Emergence project as we see it and is a place to hear about future projects, collaborations and gatherings.

    New Emergence website now live!

    Pay us a visit at:!

    Via Emergence.

    Inaugural CLIMARTE Forum

    The Inaugural CLIMARTE Public Forum
    Art Climate Ethics: What role for the arts?
    6.00 – 7.30pm Saturday 15 February, 2014

    We are pleased to present Art Climate Ethics: What role for the arts?
    at Deakin Edge, Federation Square, Melbourne, as part of the Sustainable Living Festival.

    Art Climate Ethics will consider the role of the arts in this time of environmental challenge.  What ethical responsibility does the arts have to engage with these challenging issues? What is the important role the arts can play in understanding and deepening our engagement with the challenge of climate change? Hear what leading thinkers in art, science and philosophy have to say.

    Can you help us make this happen?

    We know you are passionate about role of the arts in addressing climate change – so we need your help to raise the last $5,000 we need to make CLIMARTE’s first Public Forum an event that can’t be ignored!  This forum will attract over 500 people and will form a launch pad for CLIMARTE’s ongoing calendar of events. Your support, at any level, will make a significant contribution and ensure that Art Climate Ethics can have maximum impact:
    $25 will help towards artists’ travel;
    $50 will help towards speakers’ fees;
    $250 will help towards artists’ accommodation;
    $1,000 help us film the forum so we can broadcast it later;
    But any amount will be most welcome!

    Walkley award winning Journalist Rafael Epstein will moderate the panel of speakers including Philosopher Damon Young from the University of Melbourne, leading Australian Artists, Fiona Hall AO and Mandy Martin, and Scientist Professor Steven Chown from Monash University.Thanks to the Australia Cultural Fund and Creative Partnership Australia your donation is fully tax deductible and you can make it online right here!

    Thank you for your support.

    CLIMARTE’s address is:
    PO Box 2429 Richmond South
    Victoria 3121 AUSTRALIACopyright © 2013 CLIMARTE INC., All rights reserved.

    CLIMARTE is a Registered Trademark.

    Via Inaugural CLIMARTE Forum.

    Call for Proposals: 2014 Cheng Long Wetlands International Environmental Art Project in Taiwan

    Call for Proposals

    2014 Cheng Long Wetlands International Environmental Art Project in Taiwan

    “Fishing for a Better Environment”


    Artists from all countries are invited to send a proposal for a site-specific outdoor sculpture installation that will celebrate the seafood producers and fishermen of Cheng Long village in Taiwan and raise awareness about environmental issues relating to seafood production, the main livelihood of Cheng Long residents.  The artworks will be created during a 25-day artist-in-residency in Taiwan working with the community and school children from April 10 to May 5, 2014.  Selected artists will receive a stipend (about US$2000), round trip airfare, accommodations and meals, volunteer help and free recycled and natural materials.  For more information and to apply, see the Blog at or contact Curator Jane Ingram Allen at

    Deadline for Entries: January 18, 2014
    Artists will be selected and notified by February 17, 2014
    Installation and Residency in Cheng Long, Kouhu Township, Taiwan: April 1(artists arrive) – May 5, 2014 (artists depart)
    Dates of the Exhibition: May 2, 2014 (opening ceremony), May 3 and 4 – Opening weekend activities with the artists.  The exhibition will stay on display through 2015, and we hope the artworks can continue to be enjoyed into the next year.

    Download the English CALL here:
    CALL for Proposals – 2014 ChengLong Wetlands Environmental Art Project.doc
    CALL for Proposals – 2014 ChengLong Wetlands Environmental Art Project.pdf

    Via Cheng-Long Wetlands International Environmental Art Project