Satish Kumar Documentary

This year, Emergence, in association with Resurgence, Schumacher College, Volcano and Culture Colony is making a landmark documentary series of 6 hour-long conversations with Satish Kumar, one of the greatest living teachers and visionaries of the 21st century – and we want you to help us make it happen. We are doing this.

From April 27th to May 29th 2015, we will run our very first crowdfunding campaign to enable us to create these documentaries. We’re writing to you in the hope that you will support us by helping to spread the word as widely as possible via your networks. Here’s more information –

What is Emergence?

Emergence is an arts and sustainability collective based in Wales. We make art with one agenda: to change the world for the better. Satish Kumar is one of the main inspirations behind Emergence and his philosophy and activism continue to inspire our work.

Who is Satish Kumar?

satish-kumar-photoBorn in 1936, Satish became a Jain Monk aged 9 and then, aged 18, joined the Gandhian non-violent, land reform movement. In 1964 his 8,000 mile, Peace Walk took him from Delhi to all the nuclear capitals of the world, without a penny in his pocket, carrying only a message of peace.


He later settled in the UK and went on to become Editor of Resurgence Magazine championing ecology, art and spirituality. He founded the world’s leading college for activists and change-makers, Schumacher College, now celebrating its 25th anniversary.

“Satish is a truly remarkable manifestation of the human spirit. Working at the juncture of curiosity and compassion, he’s inspired so many to do so much!”  – Bill McKibben,

“Visionary, earthy, filled with wonder – Satish Kumar and his work holds a door of possibility towards a future worth serving.” – Jonathon Porritt, Forum for the Future

In his tireless teaching, writing and speaking over eight decades, Satish has changed countless lives. But never before has there been a record of his life and work that deeply investigates all that he stands for and advocates.

Why make a documentary series?

We live in extreme and scary times, yet we lack the political leadership we need to bring our planet back from the brink of ecological, social and economic crisis. This situation leaves many of us feeling isolated and disempowered. The message at the heart of Satish’s teaching is that individuals can and do change the world for the better. He is a living example of Gandhi’s maxim that we should “be the change we want to see in the world”. At times like these, we all need to be inspired to change – and Satish is one of the most inspirational teachers the world has ever seen.

In making this series, we want to bring Satish’s words and teachings to as wide an audience as possible and, at the same time, create a legacy of his lifetime of learning for generations to come. This won’t be a hagiography, a simple glorification of a man’s life and work. We will challenge Satish to communicate his philosophy as never before through six hours of intense, enlightening and enriching conversations.

What will the series be like?

We live in the age of the sound-bite, short attention spans and ‘quick-fix’ culture. We want this series to be the opposite of that – an opportunity to spend quality time in Satish’s company. The series will present Satish in deep conversation to really draw out his ideas and stories.

To ensure rigour of debate, we have chosen as our interviewer Jane Davidson, like Satish a teacher and activist, and also former Minister for the Environment and Sustainability in Wales – the woman behind the radical One Planet One Wales initiative.

Amongst the many legacies of Jane’s time in post, Wales is now committed to sustainability as a core organizing principle – the first government in the world to take such a stance. Jane is really looking forward to the conversations with Satish, keen to find ways of drawing out his ideas and bringing them firmly into the mainstream. Jane and Satish share the same values and ideals yet approach them from very different viewpoints. These conversations are sure to be a terrific meeting of minds that will bring real insight into the huge challenges we all face – and offer practical ways to change things for the better.

You can watch a short video of Jane talking about the project here.

These six hour-long films will be filmed in summer 2015 and released as a limited edition, beautifully presented, DVD box-set in autumn 2016 – Satish’s 80th year and the 50th Anniversary of Resurgence.

How will we be funding the series?

In keeping with the spirit of Emergence, we will be raising the funds via a campaign on the crowdfunding website, Indiegogo. By supporting our campaign and investing in the project, backers will be literally pre-ordering their copy of the documentaries – either by download or the DVDs – and we’ve also put together a terrific package of benefits, including signed books, subscriptions, the chance to attend the final interview or even to become a co-producer! This is a strictly not-for-profit project. All monies raised will go into making it happen.

How can you help?

We are initially approaching a number of influencers to help us. These are people we know who are committed to social change and have wide networks of contacts. We are approaching YOU as one of our influencers who, we hope, will endorse our project by flagging it up to your friends, colleagues and networks. Of course, we also hope you will back ourcrowd funding campaign.

This email is to give you advanced notice of our campaign. We have just 33 days to raise our budget of £30,000. When the campaign goes live we will send you an email linking to our page on the Indiegogo site with all the details you’ll need to share with your networks.

We’re really excited about creating this landmark documentary series and we hope you will join us in making it a reality. OUR CROWDFUNDING CAMPAGN WILL GO LIVE ON MONDAY 27TH APRIL AND WILL RUN UNTIL FRIDAY 29TH MAY. During that time it would be wonderful if you could share our campaign emails, tweets and Facebook posts with your networks andencourage them to do likewise. The more people that hear about it, the morechance we have of reaching our target and making this happen.

We will be back in touch again soon, in the meantime if you want to know more please get in touch.

Warm wishes,

Fern, Phil & Esyllt

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Looking for the Ending (Or is it the Beginning?)

by Alana Mitchell

This post originally appeared on Howlround, and is being posted under a under a Creative Commons Attribution 4.0 International License(CC BY 4.0). You can find the original post here:

This week on HowlRound, we are exploring Theatre in the Age of Climate Change. How does our work reflect on, and respond to, the challenges brought on by a warming climate? How can we participate in the global conversation about what the future should look like, and do so in a way that is both inspiring and artistically rewarding? Canadian science writer Alanna Mitchell is an inspiration. We crossed paths at the Mount Royal University conference Under Western Skies 2: Environment, Culture and Community in North America in Calgary in 2012. Since then, I have been avidly following her transition from the page to the stage.—Chantal Bilodeau

Let me say right up front that I never harbored secret dreams of working in the theatre. I never wanted to be onstage. I confess to evanescent musings about someday writing a script, or, more likely, a screenplay for, say, a sitcom, or a music video, or a no-budget film. These were not high aspirations.

I mean, I’m a journalist who writes about science! I used to go to a play and watch the performers in much the same way I might have watched a heart surgeon at work in an operating theatre: it was marvelous, transcendent, incomprehensible. It seemed to me as though actors were capable of doing something effortlessly that I felt I could not do, even with the utmost exertion.

And then I met Franco Boni, artistic director of The Theatre Centre in Toronto. He heard me give an off-the-cuff talk about my book Sea Sick: The Global Ocean in Crisis to a UK-based group called Cape Farewell, which aims to bring artists and scientists together to spawn a cultural response to the high-carbon world we’ve created. Franco wondered if I would make the book into a one-woman play. And perform it. And that, as they say, was that.

I remember the first meeting over coffee with him and Claire Sykes, who works with Cape Farewell in North America. (The brilliant Ravi Jain would later join Franco and me to create the script and he would help Franco direct.) I wouldn’t have to memorize, would I? Oh, no, said Franco. Will it be broadly the same as the Sea Sick talks I’ve been giving for years? Oh, yes, said Franco. And then, to his credit, he demurred: Of course, we’ll have to have a new beginning and a new ending. But not much more than that.

I was hooked. I had absolutely no idea how profoundly different it would feel to be in the theatre, performing. Different, I mean, because instead of sitting in my garret imagining how people might respond to my writing—as I am now—I would be standing onstage feeling the energy field of the audience, the power of the experience we were sharing.

It was, as I discovered, a conversation. I could never have imagined that.

The process of making the script should have alerted me. Franco, Ravi, and I were closeted in a cold room on Queen Street West in Toronto with only chalk and a blackboard. I was trying to explain not only what I had found out during the research for my book, and the one I wrote before it, but also why I had wanted to know. Every time I thought I had explained it enough, either Franco or Ravi would look me straight in the eye and say: There’s more. And I would excavate more and more deeply into topics I hadn’t thought about for years—if ever. What is science? What is journalism? What is art? How do they feed each other? Why?

Of course, when it came to the ending, we were stuck. The basic narrative ended up being straightforward: I, the gormless storyteller, am on a quest to figure out what our species is doing to the chemistry of the ocean and why it matters. I travel the world meeting famous and charming and terrifying scientists who explain some of the pieces, which I then put together into a whole. (The blackboard, which we transported to the stage, features prominently here.)

We stumbled through a beginning, which Ravi, with his comic genius, did the first drafts of. But the ending just wasn’t there. I mean, how do you tell people that life as we know it is in terrible danger, and then leave them with something profound and catalytic, without a scrap of preachiness or self-pity?

We had some ideas. These were things I was secretly thinking about, researching, painfully writing down, often amid tears. It felt like every line was impenetrable poetry, not fit for human ears. I was embarrassed about what I wrote. I couldn’t understand why it meant so much to me. Franco and Ravi did not laugh, however. I kept expecting them to tell me to buck up and go back to my keyboard and start over.

It was clear even during the first performances that the ending wasn’t perfect. It was a little glib. In retrospect, I think it was because I had not understood about this conversation that would happen with the audience. I hadn’t known how much I longed for the conversation.

We’re in the third ending now. It’s better. Here’s the radical thing: It’s about forgiveness. It’s about whether we are capable of having a species-wide conversation about the high-carbon world we’ve created together. It’s about whether we can stop with the mindless anger and blame and guilt and despair and leap over it all to get something done.

Forgiveness is a tricky topic, we’ve found. Dreadfully unfashionable. Members of the audience simply didn’t know what it was. Christian? Modern? Hocus pocus? In the third ending, I define it. Forgiveness runs like a drumbeat through all human faith traditions over time. More than that, it is part of an age-old psychological release for the one who forgives. It is saying: Yes, I’m in pain. No, this should never have happened. But I can leave the pain behind and move on.

Ultimately, forgiveness is the resolution of grief.

And so what if, in a mad bid to give ourselves permission to evolve away from the carbon patterns that are threatening us, we could forgive ourselves for all the ways we’ve helped screw up the planet? What if we could forgive each other? What if we could forgive our species? I think it would help spring us from this paralysis of guilt about what’s happening to the world.

Oh, and just for the record. In the end I did have to memorize the ruddy thing. All 10,000 words. In a row. Yeesh.

Photo by Chloe Ellingson.

Communicating water sustainability through interdisciplinary creative practice: the Fluid City project

Dr. Alys Longley – University of Auckland, New Zealand

If Ludwig Wittgenstein’s famous quote, “the limits of my language are the limits of my world” proves accurate, then I think we are in deep trouble. My sense is that the limitations of especially the English language are preventing many of us from realizing, articulating and understanding our roles in ecological systems. 

If we extend our understanding of ‘language’ to creative practices such as design, dance, visual art, music, and performance, we greatly extend what we are able to attend to, articulate, know and share in relation to place, space and meaning. Such practices carry affective resonance, enabling complex, optimistic, playful and imaginative responses to ideas around sustainability and ecology. 

The Fluid City project brings together diverse scientists, social scientists, artists, architects and educators to engage a wide range of people in Auckland City to consider the issues and values around water sustainability. In 2012, the project was staged in a high-density urban area on Auckland’s waterfront. In 2014, the team worked with a secondary school over a four-month project to co-create a new iteration of the project for the local community. Attempts to map and document this project are generating innovative approaches to social sciences methodology, which bring together research practices drawn from both artistic and qualitative research techniques. 

This seminar will discuss a series of research iterations emerging from the New Zealand-based project Fluid City, which have been responding to the following research questions: How can we give voice to water in all of is vulnerability and necessity? How can we place liquid perception at the centre of our methodology? How might we present ecological thinking across disciplinary borders, merging spaces between information and imagination to value the importance life forms beyond our own? These questions are addressed through photography, documentary and animated film, poetry, sound recordings, ethnographic journaling, creative workshop designs, maps, choreography, drawings, architecture and fleeting public responses to art installations. These artistic methods allow space for the evocation of meaning at the edge of linguistic sense – for affect and presence, for space and place, for a becoming-fluid of communication. 

The seminar will be web-broadcast live as an eSeminar of the ‘Culturizing Sustainable Cities’ project, which is supported by (Fundação para a Ciência e a Tecnologia, Portugal (FCT).

Alys Longley is a performance maker, researcher and teacher. She is a Senior Lecturer in the Dance Studies Programme at the University of Auckland, New Zealand. Alys’s research interests include practice-led research, interdisciplinary projects, creative writing, somatic practices, cultural mapping, ecology and inclusive dance education. She has recently led the project fluid city, an art-science-education project on water-sustainability. Her artist-book The Foreign Language of Motion presents a series of experiments in choreographic writing, and was published in 2014 with Winchester University Press’s Preface Series.

Scenes from the Fluid City project ….

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Prague Quadrennial 2015 is going to present world-class theatre masters!

Prague Quadrennial, the world´s largest scenography event, is coming with a rich program filled not only with exhibitions from more than 70 countries and up-to-date theater design works, but also hundreds of live events such as lectures, workshops, architecture walks, public space projects and much more! PQ’15 has recently announced its preliminary daily program with star-filled lectures and master classes.

The PQ will include lectures, discussions, and presentations that explore contemporary trends in this fast developing field of scenography including a series of talks with and about leading theater makers and scenographers – Andris Freibergs, Jerzy Gurawski, Robert Wilson, Robert Lepage, Julie Taymor and many more,“ says Sodja Lotker, artistic director of PQ’15 .

PQ will also offer discussions about issues of ‘national scenography’ led by Irish theatre critic Peter Crawley; and discussion about methods of scenographic education around the world with educators Tatjana Dadić Dinulović and Sofia Pantouvaki.

There will be talks with Stefan Kaegi from Rimini Protokoll, Sean Patten from Gob Squad, and Maaike Bleeker, curated by New Zealand designer and theorist Dorita Hannah that will explore screens and projection as important tools in contemporary performance. Lectures by Polish artist Wojtek Ziemilski, Australian architect and dramaturg Benedict Anderson, and British art activist John Jordan will explore the position of artists in contemporary society, touching on the main PQ concept of scenography of the” SharedSpace”. The morning Breakfast with Reija series moderated by Finnish performance designer Reija Hirvikoski will provide an open lounge space for scenography talks often directly connected to issues about the PQ itself.

Elevator Repair Service’s John Collins will talk about sound design dramaturgy. There will also be discussions and talks surrounding the Library of Light and Critical Costume projects that will provide spaces for detailed exploration of individual scenographic disciplines.

Last but not least, the leading German contemporary theatre magazine, Theatre der Zeit will tackle the specificities of German scenography with set designers Barbara Ehnes, Katrin Brack, Mark Lammert and theorist Ulrike Haß.

Download preliminary daily program *

Important dates:
The opening of PQ 2015: Wednesday June 17, 2015 at 18:00
Awards ceremony : the evening of Monday June 22, 2015.

* Please note that the preliminary program does not include all of the numerous live events taking place during PQ 2015. The full and final version of the program will be announced soon.

PQ 2015 Preliminary program


With : Julian Charrière (Switzerland), François Génot (France), Fabien Giraud and Raphaël Siboni (France), Tue Greenfort (Denmark), Hanna Husberg (Finland), Toril Johanessen (Norway), Gianni Motti (Switzerland/Italy) and Anaïs Tondeur (France).

The exhibition “Systémique”, the first of the cycle Think global, act local, to be followed by “Open Source” and “Ultralocal”, is based on a set of visual and conceptual connections that evoke the complexity and the interdependence of our systems.

Our entry into the era of the Anthropocene, an era in which humanity, as explained by chemist Paul Crutzen, has became the primary geological force, involves phenomena beyond our temporal and spatial perception. It is characterized by systemic thinking, a way of reading the world that focuses on the links between things rather than the objects themselves.

The financial system (systemic crisis and not a crisis of the real economy) reminded us to which extent the Anthropocene is a succession of abstractions, but operational abstractions. All that makes systems (immunology, ecology, society) raises problems of representation, perception, form, which the artists seize to reveal our world in all its complexity. They manage to reveal its poetry, giving a sensitive experience of this new way of thinking the world.

Opening Friday, March 13th at 18:30
Exhibition presented from 14.03 to 05.24.2015

7 rue de l’Abreuvoir
67000 Strasbourg – France


CEAAC (Centre Européen d’Actions Artistiques Contemporaines – European Centre for Contemporary Art Projects) has been in existence for 24 years. Its main activities include the installation of artworks in public space, the organisation of exhibitions in its contemporary art centre, increasing awareness of contemporary art through cultural mediation actions and the publication of art books and the management of several artists’ residency programmes around the world.


The Coalition for art and ecology (COAL) was set up in France in 2008 by professionals in contemporary art, sustainable development and research. Trailblazing and cross-cutting, COAL is working to promote a new generation of artists focusing on environmental and societal issues, in partnership with cultural spaces, NGOs, scientists and the business world. COAL organises contemporary art exhibitions about the environment in prestigious places such as UNESCO and Domaine de Chamarande and created in 2010 the COAL Prize Art and Environment.

Image : Tue Greenfort, Milk demonstration, TG/P 97/00, 2014

For more informations I I

Culture Shift: How Artists are Responding to Sustainability in Wales

Culture Shift: How Artists are Responding to Sustainability in Wales’ is a research report commissioned by the Arts Council of Wales bPaul Allen, Emily Hinshelwood, Fern Smith, Rhodri Thomas and Sarah Woods

The report is available as a download in English and Welsh

Logo_Emergence_PINK_RGB.1.1‘Culture Shift’ gives an overview of the many pioneering sustainable arts initiatives currently operating across Wales. The report is a witness to what is going on already. It is also intended as a statement of intent and a call to action. It highlights the power of the arts to contribute towards or even take a leading role in the transition to a life-sustaining society. It is hoped that this report will contribute towards future arts policy within the context of the Welsh Government’s ‘Well-being of Future Generations’ Bill’. The report draws attention to how a growing number of artists are leading a paradigm shift in values and relationships around access to future resources.

 It contains recommendations to the Arts Council of Wales regarding future artspolicy in supporting the development of such pioneering practice. It is backed up by case studies and interviews from many artists and organisations and builds on the results from a sector wide survey conducted in Spring 2014. The appendices to the report give the survey data in more detail as well as naming many projects, formative books, articles, useful resources, contacts and organisations.

Although concentrating on Welsh activity the research is framed within the context of the wider changes and inspirations Welsh artists are drawing from those outside – including Artsadmin, Julies Bicycle, Tipping Point, Platform, Creative Carbon Scotland, People United, Encounters and Case for Optimism.

The work was undertaken by a team of artists and specialists in sustainability.These are; Fern Smith – actor and director and co-founder of Volcano Theatre, Sarah Woods – writer and performer, Emily Hinshelwood – poet and performer, Paul Allen – Communications Director for the Centre for Alternative Technology and Rhodri Hugh Thomas – actor, writer and sustainable development specialist with Cynnal Cymru-Sustain Wales.

 “Emergence bid for and succeeded in the tender, not as consultants but as artists. We aimed at the process and outcome as being a creative collaboration between artists and those working in the field of sustainability designed to include as many voices as possible. We see this report very much building on and contributing to a growing narrative that appears to be gaining momentum and confidence across Wales, the UK and beyond. We hope that ‘Culture Shift’ will be a working document. We hope that it will serve as an impetus for others to join the conversation and to support those already doing this work.”

Fern Smith, creative producer Emergence

“This is an important report and the issues it raises are worthy of debate. We are very conscious of the need for organisations such as ourselves to show leadership and commitment. The support and encouragement of the arts sector to continue the excellent work that is already going on is vital. Wales’ arts sector has already taken a lead on this and this report attempts to document, record it and share it.”

Sian Tomos, Arts Council of Wales

“Wales – a creative culture where artists are in abundance – is one of only three democracies willing to hold themselves legally accountable for promoting principles of sustainability. It is no surprise, therefore, that this leading edge reportcomes from Wales. Without artists how can we ever fully feel our way into asustainable community or create the relationships that sustain us through difficult times?”

Margaret Wheatley, activist and author

Emergence is a collaborative project designed to develop a low carbon, resource efficient arts infrastructure and to enable the arts to be a crucible for new ideas and thinking. Core partners on Culture Shift are VolcanoCynnal Cymru-Sustain WalesAwel Aman Tawe and Centre for Alternative Technology

Greenie-in-Residence program at Arts House

A set of principles for Greening the Arts that emerged through the 2014 Greenie-in-Residence program at Arts House.

Melbourne-based theatre artists and arts organisations embraced the opportunity to build on their environmental performance and sustainability knowledge this year, by joining this innovative program with Arts House ‘Greenie’ Matt Wicking.

The year-long program of workshops, consultation and networking saw them incorporating environmental sustainability into the making and distribution of their work.

Areas covered included measurement and materials, impacts and emissions, action planning, communications and more.

Participants included Arts House, A is for Atlas, Bek Berger, Circus Oz, Fragment31, ILBIJERRI Theatre Company, KAGE, Polyglot Theatre, Next Wave, SANS HOTEL and Victorian Opera.

This event is for anyone interested in greening the arts, and also launches a practical guide for arts practitioners wanting to green their practice.

To learn more about this project, email

Read practical principles from a year of Greening the Arts: Reflections of a Greenie-in-Residenceby Matt Wicking.

The Greenie-in-Residence Project has been supported by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body; and the City of Melbourne through Arts House.

Update of the International campaign for the inclusion of culture in the UN post-2015 agenda

This message was sent to the signatories of the Declaration

Last round of negotiations on the UN post-2015 development agenda launched in NYC on January 19, 2015image002

Endorsement to Declaration reaches 2,200 signatories from 120 countries, including more than 800 organizations

  • UN Secretary General synthesis report ”“The Road to Dignity by 2030“, released on Dec. 4 as a lead up the final round of negotiations on the post-2015 Development Agenda. It recognizes the enabling role of culture:

“We must also mobilize the power of culture in the transformative change we seek. Our world is a remarkable mosaic of diverse cultures, informing our evolving understanding of sustainable development. We still have much to learn from cultures as we build the world we want. If we are to succ governments. It must be embraced by people. Culture, in differenteed, the new agenda cannot remain the exclusive domain of institutions and aspects, will thus be an important force in supporting the new agenda.” (Para. 132)

  • Global networks leading the campaign “The Future We Want Includes Culture” have responded to the report by calling for the outcome document to more fully embrace the transformative potential of culture. The International Federation of Library Associations and Institutions (IFLA) has issued its own response with emphasis on access to information.
  • Consultations with UN member states in preparation for the final round of negotiations indicate reluctance to reopen the outcome document of the Open Working Group containing 17 goals and 169 targets, if only to streamline it although there is no consensus on this.
  • Focus is likely to shift to targets and indicators, with an emphasis on measuring tangible results and accountability. UNSG synthesis report calls for indicators to include other measures than GDP.
  • ·      Global cultural networks have just issued their proposal of indicators “Recognizing the role of culture to strengthen the UN post-2015 Development Agenda”. They argue for taking into account the great strides accomplished by multilateral organizations such as the OECD, UIS, UNESCO, WIPO, UNCTAD and the World Bank in meeting the challenge of universal comparative data for culture.

Other news:

  • The Third UNESCO World Forum and Cultural Industries adopted the Florence Declaration outlining recommendations for the incorporation of culture in the post-2015 development agenda. United Cities and Local Governments (UCLG) members are to adopt a new Agenda 21 for Culture (see second draft) at their Summit of Bilbao (Basque Country, Spain) on 18-20 March 2015.
  • The Red Latinoamericana de Arte y Transformación Social (Latin American network for the art and social transformation), with members in Argentina, Bolivia, Brazil, Chile, Peru, Uruguay and central America, joins the other global networks in the campaign “The Future We Want Includes Culture”.

What you can do:

  • Read the proposal on cultural indicators and send us examples of cultural initiatives that have made a positive contribution to development with their indicators and measures of results to help us put forward a platform of universal reach and appeal to UN member states. The best examples received will be annexed to the proposal. Please be succinct and concrete. Write us at Forward the proposal on cultural indicators to your country’s permanent representative to the UN and to the persons in charge of defining your country’s position (Foreign Affairs / International Cooperation).
  • Use the communications tools to ask organizations and individuals that have not yet endorsed the Declaration to do so.
  • Share the Declaration in French, Spanish, Arabic, Portuguese, Chinese and Russian.
  • Follow #culture2015goal on Twitter


The COAL Art and Environment Prize, dedicated this year to the climate (a national priority in 2015) will be awarded for the 6th consecutive year to an artist selected from 10 finalists, for an art project concerning the climate. The Ocean occupies 71% of the surface of the planet, but is often conspicuously absent from the engagements made by states in climate negotiations. It should be major factor! To place the ocean at the center of the debate, Tara Expéditions et the COAL Association are launching a special “Oceans” prize for the COAL Art and Environment 2015 competition. The winning artist will be awarded a residency aboard Tara during an expedition in the Pacific Ocean.

Special Award “Oceans”

The winner of this special prize will spend a month aboard TARA, a legendary boat built for extreme conditions, during a mission entitled “Coral Reefs Facing Global Change on the Planet.” The expedition will take place from 2016 to 2018 in the Pacific Ocean, particularly in the Coral Triangle of Southeast Asia. The expedition aims to understand the evolution of coral reefs – vital hotspots of marine biodiversity that are currently confronting rapid changes in demography and climate. This special “Oceans” Prize will be awarded to an artistic project engaged in saving the oceans in light of current climate issues.

The COAL Art and Environment Prize 2015 – Objective COP21

Since 2010, the COAL Art & Environment Prize has been revealing the richness of responses brought by artists to address current environmental problems. Each year the awards honor 10 projects related to environmental issues, selected through an international call for projects. This year the COAL Art and Environment Prize is dedicated to the theme of climate – to inspire the COP21, and offer the general public and policy makers highly creative and unusual ways to understand the complexity of climate change.

The winner of the COAL Art and Environment Prize 2015 will receive a grant of 5,000 euros and a residency at the Domaine de Belval, owned by the François Sommer Foundation.

The winner of the special “Oceans” Prize will embark aboard TARA in 2016, during an expedition in the Pacific Ocean.

This sixth edition of the COAL Prize Art and Environment is part of ArtCOP21, an exceptional cultural festival initiate by COAL and our UK partners Cape Farewell, that will take place in France during COP21. ArtCOP21 is an unprecedented collaboration of cultural actors who are keen to instigate an ecological transition towards a healthier environment – through arts and culture. The mission of ArtCOP21 is to engage the wider public in creating a positive vision for a sustainable future.

The call for proposals is open until February 28, 2015, midnight

Download the call for entries


Application deadline : February 28th, 2015 at midnight.

The COAL Prize will be awarded in Autumn 2015.

PLAYA Residency Approaching Deadline March 1, 2015

PLAYA’s residencies are open to visual and performing artists, scientists, writers, and individuals engaged in other forms of creative research. PLAYA welcomes a range of applicants–from emerging artists of promise to professionals with an established history of accomplishment.

Residencies are awarded for 2, 4, 6, or 8 weeks and include housing, work or studio space, and twice weekly group dinners at no cost. There is a $35 application fee for individuals ($70 for collaborative teams) to cover administrative costs.

For more information visit our website at

Apply online at

Applications are now open with a deadline of March 1, 2015.

PLAYA, in south central Oregon, is a retreat for creative individuals who are committed and passionate about their work and who will benefit from time spent in a remote location. PLAYA offers seclusion and quiet in a natural environment and the opportunity for interaction, if desired, with a cohort of residents and the local rural community. A residency provides the time and space to create substantive work or to research and reflect upon one’s creative or scientific processes.