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Arts & Sustainability 2016 Residency Report Published

This post comes from Creative Carbon Scotland

“CCS’s Arts & Sustainability Residency is becoming a major intersection point for artists and the most significant thinkers in sustainability.” Chris Fremantle, independent arts producer, writer & researcher

In September 2016, eight artists were invited to participate in CCS’s annual Arts & Sustainability Residency, working with facilitators Jan Bebbington (Professor of Accounting and Sustainable Development, Director, St Andrews Sustainability Institute) and Lex ter Braak (Director, Van Eyck Institute, Maastricht, Netherlands), and partnering with Cove Park.

Over an intensive three-day programme, participating artists were asked to reflect upon and develop their understanding of how their practices connected with themes surrounding the burgeoning field of the Anthropocene, and the wider cultural shift towards a more environmentally sustainable society.

Key questions and themes discussed included:

  • The contested starting points of the Anthropocene and the social, political and creative implications contingent on each of these;
  • The cultural responses that an understanding of geological deep time provokes;
  • The historical role of the artist in society;
  • Developing robust theories of change which can provide practical hope in addressing the transition away from unsustainable practices.

Download the Arts & Sustainability 2016 Report.

Arts & Sustainability 2016 Report Published 1

As well as supporting the development of artistic practices in Scotland, the Arts & Sustainability Residency plays an important role in shaping CCS’s thinking and work. Key learning points stemming from the residency on CCS’s role included:

  • Actively developing and brokering relationships artists and sustainability experts and institutions, helping to set the right terms for the ways in which artistic practices can contribute to environmental sustainability contexts;
  • Supporting and facilitating commissioning opportunities for the development of new artistic
    work in this area with other cultural organisations;
  • Continuing to create opportunities for learning and knowledge/practice exchange such as the residency and Green Tease events;
  • Making the most of artists’ curiosity and readiness for the unknown within the context of
    the challenges surrounding issues such as climate change.

CCS created a space where artists were not under pressure to produce new work, however, this hothouse of ideas organically gave way to inspiration, learning and forward planning. This allowed for a thorough reflection on creative practice and I left the residency feeling enriched, reassured and, in question of my working practices – all alongside a new, and growing, understanding of what my practice is about. I found [the Arts & Sustainability Residency] to be a transformative learning experience and I am excited to see where these new connections and understandings will lead.” Kathy Beckett


The post Arts & Sustainability 2016 Residency Report Published 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

Holly Keasey: Santa Fe Art Instutite Water Rights Residency – Introduction

This post comes to you from EcoArtScotland

Holly Keasey is currently undertaking a residency at the Santa Fe Art Institute as part of the Water Rights programme. During the next 8 weeks Holly will be sending regular updates.


“156. Why is the sky blue? -A fair enough question, and one I have learned the answer to several times. Yet every time I try to explain it to someone or remember it to myself, it eludes me. Now I like to remember the question alone, as it reminds me that my mind is essentially a sieve, that I am mortal.

157. The part I do remember: that the blue of the sky depends on the darkness of empty space behind it. As one optics journal puts it, “The color of any planetary atmosphere viewed against the black of space and illuminated by a sunlike star will also be blue.” In which case blue is something of an ecstatic accident produced by void and fire.”
― Maggie Nelson, Bluets (Wave Books, 2009)

A primary observation when arriving in Santa Fe, New Mexico is blueness. Blueness not of water like I am accustomed – that blue filled with surrounding green and a durational dampness – but rather blueness that reflects a niggling lack. A blue where no cloud resides.

A second observation enforces that niggle further as you become physically aware that breathing in this geographical climate, and therefore basic survival here, is a laboured task.*

And a third observation then pushes that niggle down into the gutturals, as the dominant ‘Santa Fe Style’ architecture** conjures up an uncanny reminder of Disney World and yet inside a fe-adobe building you can still find an independent coffee shop, generic in style and intended cliental to any recently gentrified area.

image-2-modern-general-santa-fe

Yet, it is observations like these that make Santa Fe a prime site for reflections on ecological situations developing across the globe and fortunately, many individuals, community groups and organisations here are already undertaking such reflections and acting upon them. This includes Santa Fe Art Institute (SFAI) that run an annual residency programme with set thematic, which for 2016/17 is ‘Water Rights’.

SFAI was established in 1985 by William Lumpkins and Pony Ault to provide unique opportunities for artists to conduct brief, intense periods of study. The current programme format continues and expands upon this original intention, hosting over fifty local, national or international creative thinkers, artists, designers, educators, policy makers, poets, architects, journalists, and activists to reflect on the issue of ‘Water Rights’ for one to three month periods. During these times, residents are able to establish a network of peers working within a common context; are provided support to develop collaborations such as with the Land Arts of the American West programme and the Academy for the Love of Learning; encouraged to develop their professional profile through press coverage with media consortiums such as Circle of Blue; given access to the community workspace MAKE Santa Fe; and invited to attend interdisciplinary discussions with other research institutes such as Santa Fe Institute that conduct research on complex system-theory application.

That said, the primary purpose is to provide residents the time and space to conduct research and/or develop new work in relation to ‘Water Rights’ which may, one-day, indirectly impact the water rights of the surrounding area.

New Mexico is a state where all its waters sources are transboundary (i.e. are shared with other States), a situation that continues to add to a complex history of water rights influenced by the cultures of the Pueblos, the Spanish Colonists and US Federal Government. This history includes occurrences, such as the use of written law as a weapon of dominating power, that reflect Karl Wittfogel’s theory of the Hydraulic Empire, when control of a society is established through the manipulation of its water supply.11 My particular area of research during this 8-week residency will be on this misuse of law and whether non-specialists can develop tactics that makes use of their potential misunderstandings of intended meaning to create space to dream of alternatives. This research will be part of an on-going body of performative work that aims to establish a need for critical formations of public art to aid ecologically sensitive modes of living, with a particular focus on Water Sensitive Urban Design.

So far though, myself and several of my fellow residents have spent our time soaking in much needed doses of vitamin D as we say hello to the sun after dark winters whilst accepting that altitude sickness has a similar and undesirable effect of a heavy night of drinking and a life-time smoking habit, and it can last twenty-five days.

* The human body works most efficiently at sea level whilst at high altitudes the saturation of oxyhemoglobin in the blood plummets. Santa Fe is situated at 7198 feet above sea level.

** Also known as Pueblo Revival style, it is a regional architectural style that is mandate on all new-buildings in the central Santa Fe area. This includes the use of rounded corners, irregular parapets and thick battered walls to simulate original adobe construction.


Holly Keasey is an artist currently based between Dundee and Stockholm. She graduated with a BA in Art, Philosophy and Contemporary Practice from the University of Dundee in 2011 and completed a post-masters course in Critical Habitats from the Department of Architecture at the Royal Institute of Art, Stockholm in 2016. Holly’s focus is on the performative role of public art and her approach to practice has led her to take on a variety of roles including Chair-person for the Generator Projects Committee, lead-artist for the Clyde River Foundation and writer-in-residence for Doggerland. More recently, Holly has produced collaborative designs with artist-design Jessie Giovane-Staniland including finalists in the tender competition for the restaurant design of the Dundee branch of the Victoria and Albert Museum; been the DD artist-in-residence at THIStudios; and recently exhibited a solo show at the Scottish Jute Museum. She is currently working with Studio Mossutställningar to program work challenging the urban development at Norra Djurgardsstaden, Stockholm and producing a one-off publication with Kathryn Briggs of Ess Publications on over-coming trauma through aesthetics.



ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.

It has been established by Chris Fremantle, producer and research associate with On The Edge ResearchGray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.

Go to EcoArtScotland

Retrofitted yacht uses off-the-shelf solar & wind products to power its educational journey to Cuba

This post comes to you from An Arts and Ecology Notebook

Vittoria Energy Expedition is sailing from DC to Cuba, visiting communities along the way where renewable energy is making a difference.

An overhauled and retrofitted 31-foot yacht has been transformed into a floating classroom and mobile renewable energy adventure vessel, with the aim of documenting how communities and individuals are putting clean energy to work for them.

As opposed to some of the other solar and wind powered boats we’ve featured, which entail either cutting-edge or custom renewable energy systems, as well as huge funding investments, the Vittoria Energy Expedition (VEE) team put together its systems entirely from off-the-shelf products that are readily available right now. This approach fits with its mission to highlight the reliability, affordability, and practicality of wind and solar power, and to bridge the gap between the concept of renewable energy and actually employing it.

“The world is changing. In our back yards, across distant lands and oceans, ordinary people are transforming the way we power our lives. Our journey is to uncover their stories. This is why we explore. To see the future. To draw a new map of what’s possible and where we’re going.” – VEE

Vittoria Energy Expedition

© Vittoria Energy Expedition
The Vittoria is said to be capable of producing all of its own electricity, not just for its onboard navigation and lighting systems, but also to power its 14 kW electric motor as well, with the aim of being completely energy-independent on its voyage. The vessel sailed from Washington DC in the fall of 2016, has sailed some 900 miles so far, and is currently in Hilton Head, South Carolina, where it will soon set off again to sail down the coast to Miami and Key West, and from there to Cuba. Along the way, the crew is documenting the ways that renewable energy is changing lives and making a difference in practical and affordable ways, with the intent of bringing those stories to life via digital media and a web video series.

Vittoria Energy Expedition

© Vittoria Energy Expedition

“We believe in learning by doing. Moving beyond talking points into practical application, the team designed and built out our 100% renewable-powered cruising classroom, Vittoria. Using only off-the-shelf clean energy products, the off-grid ship embodies Team Vittoria’s pursuit of energy independence. Sharing lessons learned along the way, we host renewable energy classrooms in the destinations we visit, offering community groups, youth organizations, and local leaders first-hand experience with these readily-available technologies.” – VEE

“I think Vittoria Energy is really about the future. It’s about the future of energy policymaking. It’s about the future of energy thinking. It’s about the future of how we educate and inspire people to think about how we can really deliver on 21st-Century energy technology, which is rooted primarily in renewables.” – Michael K. Dorsey, Sierra Club Board of Directors

The VEE team aims to document the expedition through a combination of film, interactive mapping, and social media, in order to “tell the captivating story of everyday people pioneering real-world energy solutions,” with the renewable energy innovations that are already readily accessible. Find out more at the Vittoria Energy Expedition website.

This post comes from the RSS feed of Treehugger, you can find more here!


An Arts & Ecology Notebook, by Cathy Fitzgerald, whose work exists as ongoing research and is continually inspired to create short films, photographic documentation, and writings. While she interacts with foresters, scientists, and communities, she aims to create a sense of a personal possibility, responsibility and engagement in her local environment that also connects to global environmental concerns.

Go to An Arts and Ecology Notebook

Upcoming Events in the New York Sustainable Arts Community

Pictured Above: Global View of the Blued Trees Symphony 20′ x 30′ on view at KRICT, Daejeon, South Korea, until May 31st 2017.

Care as Culture:
Artists, Activists and Scientists Build Coalitions to Resist Climate Change
A Convening Around the Peace Table
February 12th, 2:00pm to 5:00pm
Location: Queens Museum
Mierle Laderman Ukeles’ Peace Table, serves as the site for convenings on peace, from
the personal to citywide to global. Ukeles and the Museum have conceived a series of
public programs meant to engage and contemporize some of Mierle Laderman Ukeles: Maintenance Art‘s important themes.Care as Culture is the final convening that brings the perspectives of eco-artists, activists, and experts on climate change together to interrogate and enrich culture’s place in the movements for environmental justice.

Reflecting What prevents us from working together and how can we advocate for change? Case study speakers include Newton HarrisonThe Natural History Museum,Natalie Jeremijenko, and Mary Mattingly.

Respondents include Carol BeckerFrancesco FiondellaAllan FreiHope Ginsburg, Alicia GrullonAmy LiptonLisa MarshallJennifer McGregorAviva RahmaniJason SmerdonStephanie Wakefield, and Marina Zurkow.

 

INFILTRATION ART
February 16, 8:30am to 10:00am
Location: Nassau Suite East/West, 2nd Floor
Chairs: Katharine J. Wright, The Metropolitan Museum of Art; Gillian Pistell,
The Graduate Center, The City University of New York
General Idea’s Normal Art
Alex Kitnick, Bard College
Chris Burden’s Institutional Accomplices
Sydney Stutterheim, The Graduate Center, The City University of New York
Using Copyright Law to Reclaim the Spirit of Art as a Revolutionary Act in
The Blued Trees Symphony
Aviva Rahmani, Institute of Arctic and Alpine Research, University of Colorado Boulder
Regular Sessions; Sessions
SUBJECT AREAS
Art History-Contemporary Art
Art History-Public Art
Interdisciplinary-Museum Studies/Curatorial Studies/Art Criticism

Inclusion in
The Wasteland?
Opening February 9, 6pm – 8pm
Location: Central Booking, 21 Ludlow St., NYC, NY

Finally, check out the most recent Gulf to Gulf recording: “After the Tsunami.

Big Deals: Visionary Responses to Climate Change in NYC

When: 6:00 PM – 8:00 PM WEDNESDAY, FEBRUARY 8

Where: At The Center

At this moment, two very different and unusual projects for addressing climate change are being explored in New York City. Plans are proceeding for a project by BIG – Bjarke Ingels Group to create a storm barrier called The Dryline (BIG U), which addresses New York City’s vulnerability to coastal flooding with a protective ribbon in Southern Manhattan. The 12-kilometer-long infrastructural barrier incorporates public space into the high-water barrier, cleverly disguised as skate parks, public pools, urban farms, bird sanctuaries, and marshland trails.

Simultaneously, an effort is underway to educate the public about the realities of climate change through the creation of a new Climate Museum. The museum will be a cultural and educational institution dedicated to climate issues and solutions, as well as a public space to learn about climate change, share solutions, and commit to change. By employing the sciences, art, and design, the Climate Museum will inspire dialogue and innovation that address the challenges of climate change and catalyze broad community engagement.

Speaker:
Kai-Uwe Bergmann, AIA, Partner, BIG – Bjarke Ingels Group
Miranda Massie, Founder and Director, Climate Museum

Kai-Uwe Bergmann, AIA is a partner at Bjarke Ingels Group (BIG) who brings his expertise to proposals around the globe, including work in North America, Europe, Asia and the Middle East. Bergmann heads up BIG’s business development which currently has the office working in 20 different countries as well as overseeing BIG’s Communications. Registered as an architect in the USA (eight states), and Canada (one province), Bergmann most recently contributed to the resiliency plan BIG U to protect 10 miles of Manhattan’s coastline. He compliments his professional work through previous teaching assignments at University of Pennsylvania, University of Florida, IE University in Madrid, and his alma mater, the University of Virginia. Bergmann also sits on the Board of the Van Alen Institute, participates on numerous international juries and lectures globally on the works of BIG.

Miranda Massie is the Founder and Director of the Climate Museum. Previously, she was General Counsel and Legal Director of New York Lawyers for the Public Interest (NYLPI), where she also served as Interim Executive Director. Before her time at NYLPI, she was a civil rights impact litigator, in which role she won professional honors including Fletcher Foundation and W.E.B. Dubois Institute Fellowships. Her board service has included the Executive and Finance Committees of the Center for Popular Democracy and the Governance Committee of a large Head Start organization serving the children of migrant farmworkers. She was a Wasserstein Public Interest Fellow at Harvard Law School and a Mentor-in-Residence at Yale Law School. Massie holds a J.D. from New York University, an M.A. from Yale University, and B.A. from Cornell University.

Organized by: AIANY Committee on the Environment and Urban Green Council

Price: Free for AIA members, UGC members and students with valid ID; $10 for non-members

Register Now!

 

THE AGE OF CONSEQUENCES – NYU/Columbia Special Screening!

Wednesday, February 1st 
Cinema Village – 22 E 12th St, New York, New York 10003
Tickets Available – www.cinemavillage.com

Join us for a special screening of THE AGE OF CONSEQUENCES – a thrilling new documentary that explores how climate change impacts national security and global stability – with NYC University students, faculty, admin and alums.

After the screening stay for a discussion and Q+A with the filmmakers and groups including NYU Divest, NYU Deutsches Haus, Urban Farm Lab, and more!

Student? Simply, select the showtime online – and then select the “AOC Student Discount”, a $8 ticket (regular price, $12). No additional promo code needed. In person at the box office, you can also say you have the “AOC Student Discount” and receive the same special offer. Remember to bring your student ID (but no big deal if you forget it).

Have a group of 10+ (or any group), contact us on Facebookor email sophie@theageofconsequences to receive a special $6 discounted ticket! (same process as above, but you will be an “AOC Filmmaker VIP”

About the Film:

The Hurt Locker meets An Inconvenient Truth, THE AGE OF CONSEQUENCES investigates how climate change impacts resource scarcity, migration, and conflict through the lens of US national security and global stability.

Whether a long-term vulnerability or sudden shock, the film unpacks how water and food shortages, extreme weather, drought, and sea-level rise function as accelerants of instability and catalysts for conflict.

Left unchecked, these threats and risks will continue to grow in scale and frequency, with grave implications for peace and security in the 21st century.

PRESS: 

“The election of climate change denier Donald Trump underscores the urgency of this doc.” – Toronto Star
“Eye-Opening” – The Hollywood Reporter
“A Wake Up Call” – Indiewire
“A Stark Warning” – BBC World News
“Investigates Climate Change in a New Way” – NBC

Event by Julie’s Bicycle: Energising Culture – March 9th, London.

Energising Culture
Thursday 9 March 2017, 11.00 – 17.30

Frobisher Room 1, Level 4, Barbican, London.

ORDER TICKETS HERE!

Lunch and refreshments will be provided.

(Registration from 10.30, networking drinks reception and performance from 17.30)

Join Julie’s Bicycle for this first event in a series of conversations focusing on energy, ethics and finance for the cultural sector.

The ability to tap into the reserves of millions of years of solar energy concentrated in fossil fuels has driven and shaped our civilisation over the past few hundred years. But this relationship is also having profound impacts on our climate.

To keep climate change under 2°C, better yet 1.5°C, as mandated by the Paris Agreement, means we have to limit the amount of Carbon we put into the atmosphere – and that means limiting the amount of fossil fuels we burn and phasing out their use in the next couple of decades.

This urgency and pressure has already taken hold and is driving a shift in social, financial and cultural values. Experts in the financial markets are increasingly concerned about a ‘Carbon Bubble’ as ‘unburnable’ fossil fuels are at risk of losing value if we are going to meet our climate commitments.

In the meantime, investment funds committed to divesting from fossil fuels have doubled to over $5 trillion in the past year, global investment in renewable energy in 2015 increased by 5% reaching $285.9bn, and renewables supplied 10% of global electricity in 2015. Both the divestment movement and the call for a zero carbon transition to using only clean, renewable energy to power our societies have gained international backing and momentum.

What are the opportunities and risks for the arts and creative industries in the contexts of these growing movements? What is the role of the arts in this shift?
How can cultural organisations build their financial resilience to growing risks, while helping to build a more sustainable world?
What actions will have the greatest impact?

This event will be the first of several to bring together the cultural and creative sector with experts in the clean energy and ethical finance sector to discuss what new partnerships are needed to unlock this huge potential for new collaborations and approaches.

Be a part of the conversation – Reserve your free place now.


Venue Information and Access

The Barbican Centre is a vast building comprising many different venues. There is ramped access from the main entrance at Silk Street to the Level G Foyer where lifts service all levels. Our event space, Frobisher Room 1 is located on Level 4.

This event will be livestreamed and live subtitled. When booking please inform us if you require any additional access arrangements and we will be happy to accomodate these as far as possible.


Photo Shambala Festival 2012. Photo © Andrew Whitton.

This event is part of a wider programme of Julie’s Bicycle events supported by funding through Arts Council England and is held in association with our partners Good Energy and Innovate UK.

Upcoming Event Realistic Utopias: Writing for Change (UK)

Upcoming Event

Presented By: TippingPoint, Free Word and Durham University, with additional funding from ESRC and Arts Council England

Thu 19 Jan 2017 – 6:45pm – 9:00pm @ Free Word Centre

Ticket: £5 (£3 concession)

Buy tickets here


As the New Year begins, change and resolutions are in the air. But can words inspire us to take action to help our environment and each other?

Come and listen to short readings from the authors of five new works on climate change that include:

* A sci-fi take on The Tale of Two Cities.

* A thrifty love story.

* Poetry about an ancient people who watched their land swallowed by the sea.

* A real-life account of when floods and a birthday party collided.

* A children’s mystery story with a farting elephant.

We will also be talking about environmental action that’s already happening on our doorstop. We will explore how community groups are using words to explain issues and motivate people on a daily basis.

Join us for an evening of inspiring words and actions. The Free Word Centre Bar will be open before and after the event so that the conversation – and inspiration – can keep flowing.

Weatherfronts: Climate Change and the Stories We Tell

This evening launches a collection of new writing on our changing world commissioned by TippingPoint, Free Word and Durham University. In May 2016 we brought together writers and climate change experts to explore one of the most urgent issues of our time. All five pieces were inspired by discussions that took part during our Weatherfronts event, and aim to spark further change.


Contact: Sophie Wardell, Programme Producer, Free Word
Sophie@freewordcentre.com
020 7324 2561

Photo Credit: People’s Climate March in New York City, September 2014
Photographer: Elizabeth Stilwell

Open Call: LABVERDE Art Immersion in the Amazon

LABVERDE: Art Immersion Program in the Amazon
From 20th to 29th of July 2017Application deadline: January 31st

www.labverde.com

The LABVERDE program is a 10-days Art Immersion Program in the Brazilian Amazon rainforest for art, nature and science lovers.

The program is targeted toward adventurous individuals and nature lovers: visual artists, architects, musicians, writers, dancers and other cultural makers.

PRESENTATION:

LABVERDE is designed for artists and creators who are eager to reflect on nature and landscape. The program will promote an intensive experience in the Amazon rainforest aiming to explore the connection between science, art and the natural environment.

LOCATION:

THE JOURNEY WILL TAKE PLACE IN TWO DIFFERENT LOCATIONS ENABLING A DIVERSE SCALE AND PERSPECTIVE OF THE AMAZON RAINFOREST

APPLICATION:

LIMITED SPOTS AVAILABLE
In order to participate, fill in the form linked below and attach the following documentation:

  • 250-word bio

  • 500-word description of a creative

  • project idea

  • 5 to 10 images Portfolio​

APPLICATIONS UP TO JANUARY 31TH

COST FEE: USD 2,900
ACCOMMODATION, MEALS AND TRANSFERS INCLUDED

Flight tickets to Manaus, transfer from and to the Airport and health insurance are not included.

GRANT

We will select up to three artists to participate in the program free of cost. The condition for all modalities of grant will be discussed with the selected artist by Skype meeting. To apply for a grant, please include a motivation letter in the attached documents. Participants from emerging countries that have been investigating the intersection between art and nature will be prioritized.

CONTACT:

Website
www.labverde.com 

LABVERDE was created to strengthen the limits of art through a broad array of experiences, knowledge sets and cultural perspectives involving art, science and nature. The program main goal is to promote artistic creation through a constructive debate about environmental issues generated by both theory and life experiences in the Amazon rainforest.