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Edinburgh Festival Fringe Re-use and Recycle Days #edfringe

August 25 @ 11:00 am – August 26 @ 4:00 pm

Back by popular demand, Creative Carbon Scotland and the Edinburgh Festival Fringe will host two Re-use and Recycle Days at Fringe Central to conclude the 2014 Festivals season. Venues and companies that participated in the Fringe can bring used set items, props, costumes, unused publicity materials and other production materials used during the Festival Fringe to be swapped for other items or recycled.

Our past Re-use and Recycle days have been widely successful, in the quantity and quality of materials gathered as well as the monitoring the physical implications of festival eventsAs part of a Creative Carbon Scotland Case Studyin 2011, 12 tonnes of unused print were collected. Through this monitoring, major Fringe venues were able to reduce print runs for the following year. We anticipate this year’s Re-use and Recycle Days to be equally successful and informative.

The Fringe Re-use and Recycle Days will take place 25-26 August from 11am-4pm

For more information and to RSVP please contact Catriona Patterson at Catriona.Patterson@creativecarbonscotland.com

GAI-Venue-2014-Green EFSPA-Green-Logo

Open Call: Applications Now Open for Sustaining Creativity Data Lab

JBsustainingcreativity.102840From the 7 – 8th October 2014 Julie’s Bicycle and Watershed will host an Environmental Data Lab at the Watershed’s Pervasive Media Studio, Bristol.

Applications are now open until 9am Monday 1st September 2014 for participants. There will also be public showcase of the Lab outcomes and works-in-progress on the 8th October.

See below for further details of the open call.

About the Lab

As the world gets more connected, we are surrounded by devices, networks and infrastructure which carry data about the buildings and places in which we live and work. But whilst we collect data on everything from energy consumption to WiFi signal strength, weather predictions to traffic, this data often feels abstract and inscrutable. Would we feel and act differently if it was made more tangible, more accessible? Would it help us to understand and trace our own environmental impact if we could interact with the data in more human-centred ways? The cultural sector has a real opportunity to connect with other disciplines to make interventions which explore the value, meaning and potential of environmental data and what we do with it.

Focusing on the environmental data that we collect from cultural organisations and our immediate surroundings, including both pre-prepared and live data sets, Julie’s Bicycle and Watershed will run an exploratory Lab on 7 and 8th October 2014.

The two-day Lab aims to make the ‘invisible’ environmental data around us visible by bringing together a diverse community of artists, technologists, data analysts and designers, to explore how environmental data might be visualised and made tangible in creative ways to increase public engagement and data literacy, and inspire long-term behaviour change.

Through a two-day process of thinking through making, we will engage in playful enquiry, and prototype new ideas for sustainable futures.

Open call for applications

This Lab invites creative individuals and/or cultural organisations who would like to explore the opportunities inherent in environmental data sets, to submit an application to attend.

There are three spaces available to individuals and/or organisations with a strong vision for participation. Applications will be particularly welcomed from those that can bring one or more of the following skills and approaches:

  • Interest and/or experience in how data can be creatively translated to drive change
  • Ability to analyse data from a technical and/or creative perspective
  • Ability to develop code
  • Some level of environmental literacy as relevant to the arts and culture
  • Experience of behavioural and/or organisational change approaches
What support is on offer?

Lab participants will receive:

  • £300 bursary for two days participation, including travel.
  • One night’s accommodation in Bristol, where necessary.
  • Breakfast, lunch and refreshments on both days. Pizza will be provided at the end of day one.
  • A variety of materials for use during the Lab.
  • A structured process featuring making, discussion and a sharing event.
  • A peer community of potential collaborators for current and future projects.
What do we expect from you?
  • Participation in an online conversation prior to the Lab, to help with planning.
  • Attendance and participation in all Lab activities over two days.
  • An open, rigorous, experimental approach.
  • An informal group presentation of a work in progress prototype as part of a sharing event at the end of day two of the Lab.
  • Completion of a short evaluation following the Lab.
Where

The Lab will be hosted at Watershed’s Pervasive Media Studio. Located within the Watershed building in Bristol’s historic Harbourside, the Studio brings together an active network of over 150 artists, creative companies, scientists, technologists and academics to work on new and emerging ideas.

Timetable
  • Open for applications: 10th July 2014
  • Close to applications: 9am, 1st September 2014
  • If your application is successful you will hear by: 10th September 2014
  • Successful applicants announced: 15th September 2014
  • Lab takes place: 7-8th October 2014
How to apply

If you are interested in applying for the Lab, please complete a short application form and return it to sholeh@juliesbicycle.com by 9am Monday 1st September 2014. Click here to download the application form.

Contact

If you have any questions or queries please contact:

Sholeh Johnston, Arts Manager, Julie’s Bicycle | sholeh@juliesbicycle.com | +44 (0)20 8746 0400

How do artists survive? Free Ebook “Making Your Life as an Artist”

“Making Your Life as an Artist,” a free ebook, takes a serious and at times mordantly humorous look at the creative process of surviving and thriving as a professional artist

The arts in America are thriving. And American artists are astonishingly hard-working, driven, and adaptable. So why are so many artists exhausted, overwhelmed, and broke?

In his new book Making Your Life as an Artist, Andrew Simonet – choreographer, writer and, for 20 years, Co-Director of Headlong Dance Theater – offers answers to why anyone would choose the life of an artist, and how to manage that life. He shares what artists already know: building a life as an artist is a creative act, and using your artistic skills outside the studio can make it sustainable.

The book is downloadable at: http://www.artistsu.org/making/

Simonet’s book does not offer “how-to” steps to succeed in the art world. You won’t gain gallery representation or get your play produced by reading it. Instead it shares carefully considered—and mordantly humorous—survival skills and techniques for sustaining a creative life.

As part of Simonet’s mission to put tools in the hands of artists, the e-book of Making Your Life as an Artist is free and available to all. It can be downloaded at www.artistsu.org/making.

Simonet identifies artists’ skills at adapting to and navigating the ‘new economy’ by piecing together multiple jobs and blending wage work with entrepreneurship. Our part-time, self- generated, freelance, startup economy, says Simonet, is exactly the world artists have lived in for decades. Making shares artists’ insights for thriving under these conditions.

Making Your Life as an Artist challenges silly and damaging myths about artists:

Artists don’t contribute to society. Artists are cultural researchers, asking questions about thought, image, and the agreements that bind our society together. Artistic work anticipates, and then contextualizes, social movements like civil rights, feminism, and gay rights. In a culture where change is accelerating, artists generate resilience and reflection, new insights into our shifting lives.

Artists are lazy. Artists work incredibly hard, often too hard. Imagine having full-time work to support yourself and a second full-time job making art. Most artists in America are, at best, earning enough money from their art to cover the costs of making it.

Artists are bad with money. Artists are amazing with money; they usually don’t have enough of it. Through barter, reuse, problem-solving, and resourcefulness, artists produce large-scale projects with very little cash. Making art with limited resources requires incredible financial skill.

If I’m lucky as an artist I will “make it.” Inside and outside the art world, being “discovered” is the presumed route to success, and the myth that leads a lot of artist suffering. The vast majority of artists create and re-create their systems of support and survival every year.

Makingpaperback

12th station of the exhibition ETF! in Essen, Germany

OPENING JULY 18, 2014 at 7pm

Welterbe Zollverein – Areal A
[Schacht XII], Halle 6 [A6]
Gelsenkirchener Straße 181
45309 Essen

SAVE THE DATE

Interdisciplinary Symposium (including a night of theater): 16. AUGUST 2014

Exhibition: 18/07/2014 – 04/09/2014

Expeditions in aesthetic and sustainability is distinguished by the German UNESCO Commission as Decade Project of the UN Decade in Education for Sustainable Development 2014.

ABOUT THE EXHIBITION

The finiteness of the energy reserves, the threat of climate change, the erosion of biodiversity are also penetrated deep into the public perception before the failed world climate summits in Copenhagen and Cancun, as a concern. After the peaks arises urgent than ever the question of individual possibilities.

We need visions of a sustainable life, with sense (sensitivity), desire and passion of one’s actions combine. recommended to imitation! focuses on the cultural and aesthetic dimensions of sustainability into the sense awareness, to counter so the observable Vernutzung of the term. You aware that sustainability, which sees itself as shaping, can not do without the arts and sciences; of them is to learn to think in transitions, temporaries, models and projects.

Artistic questions and concepts for action increasingly aim at the multi-faceted action fields of ecology and increasing attention to increase their social resonance chamber. Sustainability requires a development space, in which the multiple links of the existing wealth of knowledge and experience in the arts and sciences can only truly develop and at the same time the idea that each | individual can have them share.

recommended to imitation! expeditions in aesthetics and sustainability is the first comprehensive exhibition in the Federal Republic, which focuses on the cultural dimension of sustainability to the center by establishing the links between sustainability and aesthetics. About 40 national and international positions from art, science, film and architecture to face the questions of survival on the risk in all respects planet.
It shows artistic practices that will contribute to the preservation of the planet and to influence conscious consumer behavior, are economically viable and artistic positions in which dissolve the boundaries between art, activism and inventions, and the experience and practice of environmental initiatives with artistic approaches connect.

Sustainability needs expanding perception in interaction. But the boundaries between artistic and technical creativity are aware canceled between feasibility and idea. The sensuality is the unifying element in the works and presentations of visual artists, inventors and scientists as well as in exemplary works of design and architecture, but also in examples of sustainable management, the challenge in their own particular way, the individual dimension of action.
In addition to technical innovations and materials participatory projects and networks will be presented in the field of renewable energy, water and climate change, ecology and Re | upcycling.

An integral part of the concept to be touring the exhibition, in order thus to escape the fast pace of the art market and weave at each other exhibition the peculiarities of the local, artistic, scientific and umweltaktivistischen competence. After kicking off the shores halls in Berlin-Wedding, was recommended to imitation! Kunstverein Gartow, the Federal Environment Agency and the Bauhaus University in Dessau, at the same time in the three Bavarian art associations Oberpfaffenhofen, Ingolstadt and Neuburg. By the end of August 2011, the exhibition at the Water Tower Bremen was a guest now, since 9.9. 2011 she is in Hamburg, overseas HafenCity quarter. 2012 lead us the expeditions to Bombay, to Addis Ababa and Beijing, respectively, in cooperation with the Goethe-Institut.

We appreciate great appreciation for the sophisticated publication, published by Hatje Cantz. She received the Art Directors Club Award in 2011 and the red dot award 2011 in the category of editorial design. And for an art project unusual was recommended to imitation! with two environmental awards: the media Special Prize of the German Environmental Aid and as a project workshop north of the Council for Sustainable Development.

Artists in the exhibition

Aziza Alaoui (MEX | MOR), Jennifer Allora & Guillermo Calzadilla (U.S. | CU), Francis Alÿs (MEX | BEL), Nele Azevedo (BR), Richard Box (GB), Joseph Beuys (D), Ines Doujak (A) Adib Fricke (D), gallery of landscape art (D), Studio Lukas Feireiss and Tomorrow’s Thoughts Today with Luis Berríos-Negrón (D | UK | PR), Dionisio González (e), Emiliano Godoy (MEX), Tue Green Fort (DK ), Hermann Josef Hack (D), Henrik Håkansson (S), Ilkka Halso (FIN), Cornelia Hesse-Honegger (CH), Folke Köbberling | Martin cold water (D), Christian Kuhtz (D), Christin Lahr (D), Antal Lakner (HU), Jae Rhim Lee (KR | U.S.), Till Leeser (D), Marlen Liebau | Marc Lingk (D), Gustavo Lipkau (MEX), Susanne Lorenz (D), Petra Maitz (A), Gordon Matta -Clark (U.S.) (adaptation), Gerd Niemöller (D), Dan Peterman (U.S.), Nana Petzet (D), Clement Price-Thomas (U.S.), Dodi Reifenberg (IL | D), Pedro Reyes (MEX), Ariel Rojo (MEX), Gustavo Romano (AR), Miguel Rothschild (AR), Michael Saup (D), Ursula Schulz-Dornburg (D), Dina Shenhav (IL), David Smithson (U.S.), Robert Smithson (U.S.), Superflex (DK), Jakub Szczesny (PL) The Yes Men (U.S.), Maria Vedder (D), Gudrun F. Widlok (D), Xing Danwen (CN), home power plant (D), interim Report (D).

Set up Essen

More than 1500 signatories from 120 countries demand inclusion of culture in UN sustainable development goals 

The campaign launched on May 1st has so far been endorsed by more than 500  organizations worldwide. 

  • Read the Declaration and see the wide range of organizations demanding the inclusion of culture in the SDGs classified by country
  • Use the communications tools to ask organizations and individuals that have not yet endorsed it to do so
  • Share the most recent translations of the Declaration in Arabic, Portuguese and Russian to broaden the campaign’s reach
  • Follow #culture2015.org on Twitter to join the discussion online
  • Watch the UN Special Thematic Debate on Culture and Sustainable Development and the civil society intervention
  • See how culture is included in the latest draft of the SDGs at the UN and our collective letter to the Open Working Group co-chairs
  • Join the e-consultations convened by UNFPA, UNESCO and UNDP

See next steps

____________________________

MISE À JOUR

Plus de 1500 signataires de 120 pays demandent que la culture soit incluse dans les objectifs de développement durable des Nations unies

La campagne lancée le 1er mai a été appuyée par plus de 500 organisations dans le monde. 

  • Lisez la Déclaration et voyez la grande diversité d’organisations, classées par pays, qui demandent que la culture soit incluse dans les ODD
  • Utilisez les outils de communications pour demander aux organisations et individus qui n’ont pas déjà signé de le faire
  • Partagez les plus récentes traductions de la Déclaration en arabe, portugais et russe afin d’élargir la portée de la campagne
  • Suivez la discussion en ligne sur Twitter à #culture2015.org
  • Regardez le Débat thématique spécial des Nations unies sur la culture et le développement durable et l’intervention de la société civile
  • Voyez comment la culture est incluse dans la plus récente ébauche des ODD aux Nations unies et notre lettre collective aux coprésidents du Groupe de travail ouvert
  • Participez aux e-consultations menées par l’UNFPA, l’UNESCO et le PNUD

Voir les prochaines étapes.

_____________________

ACTUALIZACIÓN

Más de 1500 signatarios proviniendo de 120 países piden la inclusión de la cultura en los objetivos de desarrollo sostenible de las naciones unidas

La campaña iniciada el 1º de mayo recibió el apoyo de más de 500 organizaciones en el mundo.

  • Lea la Declaración y vea la gran diversidad de organizaciones, clasificadas por país, que piden que la cultura esté incluida en los ODS
  • Utilice los elementos de comunicación para pedirles a las organizaciones, los oficiales y los individuos quienes todavía no han firmado, que lo hagan de una vez
  • Comparta las más recientes traducciones de la Declaración en árabe, portugués y ruso para ampliar el alcance de la campaña
  • Sigua la discusión Twitter a #culture2015.org
  • Vea el debate temático especial de la Naciones Unidas sobre cultura y desarrollo sostenible así que la intervención de la sociedad civil.
  • Vea como la cultura está incluida en el más reciente esbozo de los ODS en las Naciones Unidas, así que nuestra carta colectiva a los copresidentes del Grupo de trabajo abierto
  • Participe en las e-consultaciones realizadas por la UNFPA, UNESCO y PNUD.

Ver las próximas etapas.

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Open Call: Digitising Ecologies

Contemporary, digital technologies are deployed by cultural practitioners to augment perceptions of time, space and process at immediate and remote locations. Devices might aim to increase a user’s awareness of more-than-human environments, or connect people to conditions framing a chosen social, historical or ecological aspect of location. Technology has also shown to produce and reinforce citizen-led alternatives to hegemonic practices; it for example enables more immediate collection of data on natural phenomena by people directly implicated by these conditions, such as farmers. Environmental charities and lobbying organizations eagerly employ technicians and programmers to develop applications that interpret our environment and engage an audience with environmental causes. Yet these technologies are implicated more deeply and subtly in changes wrought upon us and our entangled worlds. With the gradual surge of these practices we call upon artists, theorists, practitioners, and other researchers to critically reflect on the use and implications of digital technologies and their advocacy in the field of ecology, nature conservation, geography, environmental education, and rural and sustainable development.

We seek proposals responding to the following lines of enquiry.

Digital technologies are often understood and critiqued as acting ‘between’ people and their natural environment. Does the digitisation of landscapes and natural phenomena produce an enhanced relationship between humans and their environment, forging and deepening our experience of elusive and dynamic conditions? Or does it create what Baudillard (1994) calls hyperreality, in which the digital representation of reality becomes more real and attractive than an ‘authentic’ world? Do such technologies contribute to an extinction of experience (Pyle 2011), whereby we lose the ability to meaningfully engage without a digital interface? How might we reframe technology’s role in the correlation between humans and non-human world? Digital media have become an intricate part of all levels and areas of our society. We are masters of the technologies that we create, and their uses change our social and geopolitical environments. But not always in ways that we expect. Given ecological crises, how can we decide on the function and appropriateness of new interfaces and applications? Can technologies increase our resilience in the face of system collapses, responding in agile ways to unanticipated catastrophes and current socio-environmental challenges? Or are real-world, human and natural phenomena inherently uncontrollable? Do they allow the emergence of more sustainable practices by for example increasing the dissemination, preservation and adoption of traditional practices that have less negative impacts on the environment? How does this change our understanding of the world? How might we better negotiate the shifting boundaries between the planned and the contingent, the solid and the fluid, between tradition and progress?

Geohack: two-day exploration of the interface between digital media and our (natural) environment

We call on artists, gamers, geographers, historians, performance-makers, seafarers, landlubbers, the flooded and the landlocked interested in devising immersive, locative and interactive strategies that connect people to the socio-environmental conditions of contemporary landscapes. Challenged by James Mariott (Platform London), and mentored by Duncan Speakman (Circumstance), Tassos Stevens (Coney) and Jay Kerry (Mercurial Wrestler) participants will collectively create new bodies of work in response to the nautical landscape of Falmouth. They will work in tall ships, on ferries, at sea, or on the shore to collaboratively create pieces for one of these locations or the journeys between. We will provide a range of creative means: kayaks, wetsuits, fishing nets and snorkels, as well as digital media. The products will be showcased as part of the Fascinate Conference that takes place August 30th and 31st. Places are limited! Apply by August 15th at www.fascinateconference.com Geohack Final Proof

Artful Waste by Suendrini at Toronto Outdoor Art Exhibit

Artful Waste by Suendrini

Art Booth F16 – Toronto Outdoor Art Exhibit

4-6 July, 2014

Nathan Phillips Square – 100 Queen Street West, Toronto, On. M5H 2N2

Fri, 4th – 10.30 am to 7.30 pm

Sat, 5th – 10.30 am to 7.30 pm

(Awards Parade at 1 pm in the Square)

Sun, 6th – 10.30 am to 6.30 pm

“Respectful of the landscape tradition, and creative in the innovative application of the textile medium” were the juror’s comments, along with the Manly E. McDonald Award of Excellence of Suendrini’s County Road 12, Prince Edward County piece, from Art in the County 2013. The jurors were Katerina Atanassova, chief curator of the McMichael Canadian Art Collection in Kleinburg, Ontario; Linda Jansma, senior curator of the Robert McLaughling Gallery in Oshawa, and Peter G.S. Large, elected member of the Ontario Society of Artists and past president of the Society of Canadian artists.

Suendrini’s latest and largest piece to date entitled Secret Beach, Prince Edward County (6′ x 5′) will be showing at this year’s Toronto Outdoor Art Exhibition. Please come and see hi-def, sustainable, textile landscapes and meet the artist. Rain or shine!

www.suendrini.com 

Toronto | Prince Edward County

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New Llano del Rio Guide: Utopias Of So.Cal available free now

UtopiasFront:72

Utopias of So.Cal. Guide, free now!

Llano Del Rio Guide #4 Available Now Free everywhere

Related events at Santa Monica Museum through July

As the present becomes more fixed in the destructive-ideology of hyper-capitalism, this guide locates places in Southern California where other ideologies have reigned.Utopias of So.Cal. is a free printed map/guide to current and historic utopian communes, colonies, and intentional communities in Southern California. Sited in the guide are collectives founded on ecology, socialism, spirituality, free expression, queer liberation, and feminism. 23 current and historic lebenskunst sites ( a San Diego group committed to facilitating interplanetary dialogue, a LA based community founded on Chicana/o art and consciousness, and a Santa Barbara colony credited with inventing the hot tub and the Renaissance fair). In coordination with the release of this guide, Llano Del RIo is presenting a series of public events (May 28, June 25, July 23rd) in a tree house located by the Santa Monica Museum of Art.

Utopias of So.Cal. contains reflections on the persistence of these colonies in our own utopian consciousness’  written by contemporary artists, filmmakers, and writers; Sandra De La Loza, David Frantz, Janet Sarbanes, Mady Schutzman, Jodie Willie and the Women’s Center For Creative Work (WCCW). This guide, like all Llano Del Rio guides, is free and available to residents of LA county through the mail (send llanodelrio@gmail.com your postal address) or around town (listed below). Utopias of So.Cal. was organized and written by the Llano Del Rio Collective with Erin Schneider, print design by Content Object.

Utopias Of So.Cal. Available Here (as soon as we get ‘em there)!

  • 1642 Bar
  • Ave. 50 Studios
  • Central Branch, LA Public Library
  • Echo Park Film Center
  • Erewhon Natural Foods
  • Golden Bridge Yoga
  • Highways Performance Space
  • Human Resources
  • Libros Shmibros
  • Los Angeles Eco-Village
  • Machine Project
  • Mandrake Bar
  • Mystic Journey Bookstore
  • Naturewell
  • One Life Natural Food Store
  • Otherwild
  • Santa Monica Museum Of Art
  • Self Help Graphics
  • Southern California Library For Social Justice
  • Thank You For Coming
  • The Public School
  • The Yoga Collective
  • Tribal Café
  • Urth Yoga
  • Santa Monica City Public Library
  • Venice Beach Branch, La Public Library

Sounds For Another Tomorrow- a night of Utopian Music
Date Wednesday, June 25
7pm

Utopia, A Double Feature: Dear Comrade and The Source Family
Wednesday, July 23
Dear Comrade at 7:30
Potluck dinner
The Source Family at 9p

Support Nomadic Arts Festival and its artists

We seek your support to make Nomadic Arts Festival 2014: Between Wheat & Pine the best it can be!!

What is Nomadic Arts Festival?

20140504131610-naf03_corn_cropNomadic Arts Festival is an experimental festival focusing on diversity, connectivity and community, through performance work and creative expression. Its nomadic nature encourages mobility, both geographically and in its form. Therefore the festival changes shape and is set in a different location each year. Each cultural, social and ecological context of every festival site shape the creative and artistic theme of each festival – attempting to create a mobile community of sharing, creativity, research, exploration and fluidity.

This year the festival will take place in two locations in Poland: Warsaw and Charciabałda. The latter is more specifically an “off-grid” farm, in north-east Poland, located at an old wheat field, set between pine forests, of which the 2014 festival has taken its name and theme.

The festival at Charciabałda, will therefore be a two day intimate gathering, set ‘Between Wheat & Pine’ with focus on the proximity and relationship with the surrounding environment. It will be a small community with collective dinners, workshops, regional folk dance and performances from international artists, exploring the diversity of the theme ‘Body & Earth’

In Warsaw, Nomadic Arts Festival, in Collaboration with In Situ Foundation, Pracownia Zelazna will present a two day performance event, gathering performance and live art from the transnational communities of performance makers, across Poland. It will be two busy days with a wide range of experimental performances.

In Situ Foundation

Pracownia Zelazna

Burdąg Foundation

Program

The 2014 program will be a mixture of national and international performances, all dealing with the theme ‘Body & Earth’. Here is a selection of the artist for the 2014 program:

RED BIND (Toulouse) with RED POLE DANCE
www.kedzior-­‐friedman.org

Alfie, Ben and Stefan (London, Bristol, Göteborg) with From here Dotąd
walkingfromheretothere.wordpress.com

Anna Haracz, Dana Chmielewska and Agata Gregorkiewicz (from across Poland) with Would you walk with me?
www.dialogotancu.com.pl
Karolina Kubik (Poznan)with Untitled (Wound. Landscape units, related with observations and conquest, through the rhetorics of human body)
Site Specific Performance working with the local community.

Wahshi Kuhi (Iran/Kurdistan/ Berlin) with My father was an oak tree in Marivan! The army burned him down. My mother was dried. and me…
http://wiryabudaghi.wordpress.com

Supi(Oxford, England)with THE EARTH’S EMBRACE  (Ancient Burial Ritual)
www.suepennington.com

AND THERE ARE MORE ARTISTS YET TO COME!

OUR TARGET

We have created this campaign to ask for your support to raise money and make Nomadic Arts Festival the best it can be. We need your help to reach our target of €2000 (and beyond!) in order to cover the last basic expenses of the festival:

  • -Festival materials
  • -Documentation
  • -Transportation to and from Warsaw and the festival site

But we hope to raise more!

This is why:

The festival is run voluntarily and we have done our best to keep our costs as low as possible, yet we feel we have a responsibility towards the artists who are presenting work at the festival. So far we have only been able to cover their travel costs, which means that all the artists are working voluntarily, which warms our hearts, as it means that they believe in the ethos and ideas behind the festival. Though as an organisation we do feel committed to make the best attempt in supporting the artists, both artistically and financially. The money we raise during this campaign, which exceeds our target, will therefore go exclusively to the artists presenting work at the festival – divided equally between them.

Background and Ethos

‘the nomad is a […] intensive, multiple entity, 

functioning in a net of interconnections […] 

the site of multiple connections.’

-Rosi Braidotti (Nomadic Subject)

The festival has grown out of an ecological desire to use the realm of the arts for research, sharing and creativity, whereby to explore and draw focus to the specificities of local, cultural and geographical contexts. Similarly being nomadic by nature, the festival also puts an emphasis on creating intercultural and transnational communities. Focusing on sharing as a key ethos for learning, developing and exploring, the festival therefore aims to set up temporary communities throughout the world, where connections, relation and exchanges are facilitated.

The artists are the backbone of the festival and it is them who offers the opportunity for people to get together. Their sharing of research and explorations gives colours to the festival, but furthermore create a scope into the theme each festival presents, as a body of research of that theme, which will culminate in a documentation of the festival. So the festival both have an emphasis as an arts festival celebrating cultures, communities and the value of Live Art, but also functions as an exploration and research into themes, as an aim to shed new light on human and ecological conditions and issues of living in our contemporary world.

Other Partners and Associates


Nomadic Village


Give & Get


TaniecPolska

Other Ways You Can Help

Tell all your friends and spread the word on social medias, emails and word of month. Any help would be warmly appreciated!!

Also join our facebook site and twitter and visit our website:

www.nomadicartsfestival.com

www.facebook.com/nomadicartsfestival

twitter.com/NomadicArtsFest

Course at Schumacher College: This Body of Land: An Introduction to Eco-Art

With Ana Flores and special guests Peter Randall Page and Susan Derges

This course is open for bookings.

1949The practice of ecological art offers us tools, whether we are change agents, creative leaders or artists, to re-establish a sense of wholeness within our fragmented landscapes.

Join us for this dynamic week, combining art history and earth history, studio practice and field work, in which you will find new ways to respond to our ever-changing relationship with nature. Artists who have found their creative master in the natural world will serve as our models, from Leonardo Da Vinci to John James Audubon, to contemporary ecological artists such as Patricia Johanson and Andrew Goldsworthy.

The week will also feature visits from two award winning visual artists whose works are deeply rooted in the ecology of Devon: Peter Randall-Page and Susan Derges. The perspectives of these artists will inspire the processes we explore in the daily studio and field work. We will ground ourselves first with drawing, then explore three dimensions and time based work outdoors, fluidly moving between individual and collaborative exercises.

The week will conclude with a field trip to Dartmoor Arts, an intensive one week pop up art school in rural Devon.

Students with no art background are welcomed and encouraged.

Contributors

Ana Flores

Ana Flores is a sculptor and Ecological designer. Her sculptural and design work of the last two decades has been devoted to cultural narratives that help communities reconnect with their landscapes. Her sculptural work has been shown internationally and her outdoor installations and park designs have won many awards. Her project “Poetry of the Wild” has been travelling to communities throughout the U.S. for a decade, sparking inspired community engagement with land and art. Flores has also been an invited educator and artist in residence for many years at diverse institutions including Rhode Island School Design and Bryant University. At Rhode Island School of Design she was the co creator of Art as A Source of Healing, an award winning course with a practicum in community, engaging students in healthcare environments.

Flores was also the first artist in residence for the U.S Fish and Wildlife Service and recipient of the National TogetherGreen Fellowship for her work in ecology and the arts. She is the principal of Earth Inform Studio and most recently her work entitled Poetry of the Wild was featured in Poets & Writers Magazine.

Peter Randall-Page

Peter studied sculpture at Bath Academy of Art from 1973-1977. During the past 25 years he has gained an international reputation through his sculpture drawings and prints. He has undertaken numerous large-scale commissions and exhibited widely. His work is held in public and private collections throughout the world including Japan, South Korea, Australia, , Turkey, Eire, Germany and the Netherlands. A selection of his public sculptures can be found in many urban and rural locations throughout the UK including London, Edinburgh, Manchester, Bristol, Oxford and Cambridge and his work is in the permanent collections of the Tate Gallery and the British Museum amongst others.

His practice has always been informed and inspired by the study natural phenomena and its subjective impact on our emotions.

In recent years his work has become increasingly concerned with the underlying principles determining growth and the forms it produces. In his words “geometry is the theme on which nature plays her infinite variations, and can be seen as a kind of pattern book on which the most complex and sophisticated structures are based.”

He was awarded an Honorary Doctorate of Arts from the University of Plymouth in 1999, an Honorary Doctorate of Letters from York St John University in 2009, an Honorary Doctorate of Letters from Exeter University in 2010, and an Honorary Doctorate of Letters from Bath Spa University in 2013.

As a member of the design team for the Education Resource Centre (The Core) at the Eden Project in Cornwall, Peter influenced the overall design of the building incorporating an enormous granite sculpture (‘Seed’) at its heart. Visitwww.peterrandall-page.com

Susan Derges

Susan Derges, is a photographic artist, specialising in camera-less photographic processes, most often working with natural landscapes. Much of her work revolves around the creation of visual metaphors exploring the relationship between the self and nature.

She endeavours to capture both visible and invisible scientific and natural processes – the physical appearance of sound, the evolution of frog-spawn or the reflection of the moon and stars on water. She is best known for her pioneering technique of capturing the movement of water by immersing photographic paper directly into rivers or shorelines. Recently she has begun working in the studio combining analogue and digital techniques to create new forms and perspectives hitherto impossible to capture. Her practice reflects the work of the earliest pioneers of photography but is also contemporary in its experimentation and awareness of both conceptual and environmental issues.

Susan’s work is in the collection of museums around the world including The Metropolitan Museum of Art, New York; The Victoria and Albert Museum, London; The San Francisco Museum of Modern Art; and The Hara Art Museum, Tokyo. Visit www.susanderges.com/

Course Fees

£620

Course fees include accommodation, food, field trips, materials and all teaching sessions.

If this course is booked with The Art of Invitation (4 – 8 August), a 10% discount will be applied to the combined fee.

Bursaries are also available for this course, please click here for further information

For further information about Schumacher College please see About the College

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