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Sustaining Great Art

Via Julie’s Bicycle.

The results are in! Arts Council England has published Sustaining Great Art, a report presenting results from the first year of environmental reporting by major revenue funded organisations, produced in partnership with Julie’s Bicycle.

An outstanding 90% of all 704 major revenue funded Arts Council organisations got involved, 79% felt that it  has made a positive difference to their organisation, and 86% felt that it can make a positive difference to the arts and cultural sector.

The results have been compiled into the single largest data set on the carbon emissions of arts organisations globally, and this achievement is already having ripple effects both in the UK and internationally.

Read the full report and see an infographic of the results here.

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Sexy Peat Exhibition

This post comes from Creative Carbon Scotland

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Highland Print Studio in partnership with Cape Farewell currently has an exhibition of contemporary visual art at Royal Botanic Garden Edinburgh called Sexy Peat/Tìr mo Rùin, celebrating the ecology and heritage of the Lewis blanket bog and highlighting the significant role that peat plays in global climate regulation. The project also celebrates the Gaelic heritage relating to the bog and the significance of the bog to the people who have lived with it.

Beyond their initially austere or barren appearance the peatlands reveal an abundance of colour, texture and life forms in constant interaction with dynamic weather systems. These features have inspired the people who have lived with the moor for generations. This project will investigate and celebrate that land, those people and their heritage.

The exhibiting artists are:

  • Anne Campbell
  • Jon Macleod
  • Kacper Kowalski
  • Deirdre Nelson
  • Murray Robertson
  • Fabric Lenny
  • Alex Boyd

Find out more about the artists involved in the Sexy Peat project here.

Sexy Peat is part of the Year of Natural Scotland, a partnership between EventScotland, Scottish Natural Heritage and Creative Scotland.

The exhibition runs from 8 November 2013 – 26 January 2014

Image: Christine Morrison, http://www.christinemorrison.co.uk/

The post Sexy Peat Exhibition 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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The Green Arts Initiative – Creative Carbon Scotland

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The Green Arts Initiative supports Scottish arts organisations to be at the forefront of growing an environmentally sustainable Scotland. Run by CCS and Festivals Edinburgh, it’s an ambitious project designed to give venues and organisations the advice, support and tools they need to become greener and let audiences and the public know what they are doing.

The project comes with a simple accreditation scheme: everyone we work with is entitled to use the Green Arts branding to demonstrate their commitment to becoming greener.

CCS will also support Green Arts organisations to get further industry accreditation where appropriate, including Industry Green and ISO20121.

To download the Green Arts Initiative one-pager click here (90KB).

To find out more or to sign up to the scheme contact Harry Giles for Edinburgh (harry@festivalsedinburgh.com) or Gemma Lawrence for the rest of Scotland (gemma@creativecarbonscotland.com)

Organisations signed up to the Green Arts Initiative:

Assembly

Centre for Contemporary Art 

Dance Base 

The Edinburgh International Book Festival 

Fringe Central 

The Filmhouse 

The Fringe Society 

The Hub 

Gilded Balloon 

The Lyceum Theatre 

 Northern Stage

Out of the Blue 

The Pleasance Theatre 

Puppet Animation Scotland

The Traverse Theatre 

Scottish Poetry Library 

Spring Fling

St Johns Church Venue 

The Quaker Meeting House 

Via The Green Arts Initiative – Creative Carbon Scotland.

Opportunity: CCS Board Members Required

This post comes from Creative Carbon Scotland

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Creative Carbon Scotland is a partnership of arts organisations aiming to put culture at the heart of a sustainable Scotland. Our vision is of a Scottish cultural sector that is a key player in shaping a sustainable Scotland through the work it makes and presents, through the way it operates and through both what it says and how it speaks to the wider public.

Creative Carbon Scotland’s Mission:

  • To engage the sector in actively promoting environmental sustainability and addressing climate change
  • To help the sector take a lead in shaping an environmentally sustainable Scotland
  • To help the sector run itself as environmentally sustainably as possible

Activities

We have two main strands to our work:

  • We provide support to arts organisations and individuals in practical carbon measurement, reporting and reduction, including direct training, one-to-one support and a unique website with tips and resources for carbon management in the arts. This will increase in 2014 in line with Creative Scotland’s recent announcement that recipients of their funding will be asked to report their carbon emissions from 2014/15 onwards.
  • We collaborate with partners on artistic, audience facing and research projects aimed at engaging the sector and the public in shaping a sustainable Scotland.

For more information about our work, go to www.creativecarbonscotland.com.

New Board members

Creative Carbon Scotland is a Scottish Charitable Incorporated Organisation, initiated by Festivals Edinburgh with key partners the Federation of Scottish Theatre and Scottish Contemporary Art Network. Our Board, comprising Morag Arnot, Mike Bonaventura, Euan Turner (representing the FST) and Gary Stewart (representing Festivals Edinburgh), provides advice, ensures governance and oversees execution of the work of the Director Ben Twist and Project Officer Gemma Lawrence and new colleagues expected to join shortly. We want to extend the board and so we are looking for two new members who:

  • Have knowledge of sectors in the arts other than theatre, dance and festivals, or the world of sustainability
  • Have experience at a senior level working in an organisation or as a freelance in the arts or sustainability
  • Have senior management or Board experience or are keen to get it
  • Are able to commit to attend meetings 4-6 times per year and support CCS with additional work as necessary. (These roles are unremunerated but expenses are payable if required.)

CCS is keen to broaden the diversity of its Board and staff membership and will particularly welcome applications which will help achieve this.

For more information, please contact Ben Twist on ben@creativecarbonscotland.com or 0131 529 7909/07931 553872. To apply, please send a short statement of why you would like to join the Board and a copy of your biography or CV.

Image: Dalziel + Scullion, film still from Speaking the Landhttp://www.dalzielscullion.com

The post Opportunity: CCS Board Members Required 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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Liberate Tate Stages Performance at Tate Britain

This post comes from Creative Carbon Scotland

liberatetatepartspermilliontatebritain2013-e1385473983967Fifty veiled figures dressed in black carried out a performance art installation entitled ‘Parts Per Million’ throughout a series of rooms in the ‘BP Walk Through British Art’ at Tate Britain during the art gallery’s official re-opening (Saturday 23 November 2013). The piece critiqued the role that Tate is playing in exacerbating climate change by bolstering the public perception of BP through its long-standing sponsorship relationship.

The art at Tate Britain was reordered chronologically this year. The Liberate Tate performance began in the ’1840′ room, when the industrial revolution started to significantly impact emission levels, to the present day room with contemporary art created as carbon dioxide levels reached an all-time high of 400 parts per million (ppm). Leading climate scientists consider 350 ppm to be what must be returned to in this century for earth to be safe for human life for generations to come. In each room the Liberate Tate performers arranged themselves in a different configuration and counted aloud en masse the increase in atmospheric carbon ppm during that time period.

‘Parts Per Million’ is the tenth performance at Tate by Liberate Tate: a group that has become internationally renowned for artworks aimed at ending the relationship of Tate and other cultural institutions with oil companies. One of the performers, Fiona Edwards said:

“Any celebration of British art that prominently bears the BP logo is also endorsing that company’s business model which explicitly involves the destruction of a safe, liveable climate. Tate Britain celebrates with a ‘House Warming Party’, but the presence of BP, one of the companies data shows is most responsible for climate change due to its carbon emissions, makes it more of a ‘Global Warming Party’.”

The national collection of British art housed at Tate Britain – art owned by the public – was rebranded the ‘BP Walk through British Art’ in May: in the very week it was announced carbon dioxide levels had reached 400 ppm. A report published earlier this week estimated that BP was responsible for 2.5% of global historic emissions.

Terri Fletcher of Liberate Tate said: “Tate’s vision statement says that it will ‘demonstrate leadership in response to climate change’. Yet oil companies like BP are actively looking for ways to expand their markets and find new reserves at a time when the world needs to be dramatically reducing the amount of fossil fuels that are being burnt. By actively promoting BP, Tate is positioning itself on the side of the fossil fuel companies that are actually creating dangerous climate change.”

There is growing alarm from artists, Tate members and visitors that Tate is providing support to a corporation creating climate chaos and forcing climate-conscious gallery visitors into an uncomfortable position if they want to enjoy art at Tate (the mission of the art museum is to promote public enjoyment of art). Last year Tate said in a reply to a freedom of information request that it had received more representations raising concerns about BP’s sponsorship than any other issue since the oil company became linked to the gallery in 1990.

Since 1990, when BP first attached itself to Tate and its collection, much has changed: the scientific evidence of climate change due to burning hydrocarbons and the negative social and environmental impacts of oil companies, BP in particular, is now clear and far more widely known amongst the public, including art lovers.

Tate has placed BP sponsorship “under review”. BP has dominated the Tate Members Annual General Meeting (AGM) for years. In 2012 Tate Director Sir Nicholas Serota promised Tate members ethical alternatives would be explored so that Tate trustees had a choice not to continue BP sponsorship. A progress report is due at the 2013 AGM on 6 December.

Liberate Tate (www.liberatetate.org) is an art collective exploring the role of creative intervention in social change dedicated to taking creative disobedience against Tate until it drops its oil company funding. Contact: email liberatetate@gmail.com twitter @liberatetate.

The post Liberate Tate Stages Performance at Tate Britain 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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Julie’s Bicycle Sustaining Creativity Sector Survey

This post comes from Creative Carbon Scotland

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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: https://www.surveymonkey.com/s/75JFV68?c=a6a2f208c0

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 www.juliesbicycle.com/Sustaining-Creativity

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

Powered by WPeMatico

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?

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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 submissions@seismopolite.com within December 13, 2013.

Via Seismopolite.com

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

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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 

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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

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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 http://www.thesustainabilityreview.org/submit/.

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

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EXHIBITION ORGANIZED BY UNESCO, THE UNITED NATIONS EDUCATIONAL, SCIENTIFIC AND CULTURAL ORGANIZATION COAL, COALITION FOR ART AND SUSTAINABLE DEVELOPMENT.

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.