The Center for Sustainable Practice in the Arts » Environment

Designing for the Divide: A Conference on Community Action Across Lines of Difference

Cultura21 — Thu, 09 Feb 2012 05:37:29 +0000

West Virginia University
March the 23rd & 24th, 2012
In almost every issue concerning for example governance, the environment, economic development or healthcare, the lacking ability to communicate, cooperate and compromise obstructs the successful and effective addressing of challenges.

This conference aims to present ideas that help build a bridge in order to reduce social differences with the help of communication design, service design, user experience design, social science and partners in civic engagement. Among others projects, media innovations and citizen brigades will contribute their share to this reduction. The conference will also schedule workshops and planning sessions to jump start some of those ideas.

There are four topics to be dealt with at the conference: information, communication, organization and action.

For the field of information the questions are to be answered, how the influential forces that deepen polarization can be corrected and how binary oppositions can be modified into nuanced viewpoints that reflect popular opinion.

In the communication field a conversation should be opened about how to communicate effectively across lines and respectfully.

In terms of organization the focus will be put on questions like: How can we organize and retain difference? Do we need to think differently about group formation? How do we help opposing groups to collaborate?

For the action field projects serve as examples for successful community action.

For further details and the schedule of the conference see http://www.designingforthedivide.org

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

- Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
- Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
- Hans Dieleman (based in Mexico-City, Mexico)
- Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21

Aardwerk: PDC course in 2012

Cultura21 — Sun, 08 Jan 2012 16:20:34 +0000

This post comes to you from Cultura21

Netherlands (Special Municipality of Sint Eustatius)
Aardwerk: PDC course in 2012

For the time from the 1st of May to the 21st of May 2012, Aardwerk offers an international PDC course in a remote place, so that participants are able to see their environment in a new way. Instead of offering ready-made solutions, the course enables its participants to face the everyday challenges as well as the long term challenges they are faced with through their own strenghts and the collective intelligence of the group. The courses aim is to provide a new way of thinking: Rather than seeing problems, participants will be able to see opportunities.
Creative teaching methods and lots of practical field work will be part of the course. In the end graduates will receive the internationally recognised PDC certificate, which opens all possibilities for further work concerning permaculture.
There is the offer of several volunteer positions at local organic farm and nature management projects, for participants who would like to stay longer.
Benefits for participants is the development of skills throughout the course, among others the following ones:

greater food sovereignty
food and drinking water security & quality assurance
more efficient use of natural resources
energy security
more sustainable an resilient community life
practical community development & social cohesion
teaching traditional culture, knowledge & skills
more autonomy and security in essential services, products and materials
ways of social organisation that suit your own community’s needs and abilities

Participants will learn that following the patterns of Nature is more satisfying and rewarding than e.g. switching Nature off and taking on the burdens of providing ecosystem services.
Furthermore the participants will contribute their share for Statia in terms of climate forest, local food security, healthy economic development and cultural enrichment.
The detailed programme, information about the location and the teachers can be found on http://aardwerk.org/school/international-pdc-2012/
Registration will be open from 1 December 2011 till 1 April 2012.

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

- Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
- Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
- Hans Dieleman (based in Mexico-City, Mexico)
- Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21

New metaphors for sustainability: the surprises

Ashden Directory — Thu, 22 Dec 2011 20:32:59 +0000

This post comes to you from Ashden Directory

Wallace Heim writes:

When we’ve asked people to think of a metaphor, we tried to present the idea of ‘sustainability’ in neither a positive nor a negative light, but to leave it as open as possible for people to interpret it in their own way. Even for the DVD, we filmed the four people without knowing ahead of time what their metaphors would be. We didn’t want to promote any one idea of sustainability.

It’s been surprising how positive the metaphors have been, even from those people for whom sustainability is not a strong idea, or from those who acknowledge its ambiguities.

It’s also been surprising to see how people have found something, maybe not the grand conceptual metaphor, but something in their lives that relates to their view of sustainability. This is as important as the encapsulating metaphor, like the ‘iron curtain’ or the ‘glass ceiling’. The metaphors have not been about a concept imposed from the outside, but about a relation between the idea and something from one’s life that makes sense.

We’ll be presenting more metaphors in the next two weeks.

“ashdenizen blog and twitter are consistently among the best sources for information and reflection on developments in the field of arts and climate change in the UK” (2020 Network)

ashdenizen is edited by Robert Butler, and is the blog associated with the Ashden Directory, a website focusing on environment and performance.
The Ashden Directory is edited by Robert Butler and Wallace Heim, with associate editor Kellie Gutman. The Directory includes features, interviews, news, a timeline and a database of ecologically – themed productions since 1893 in the United Kingdom. Our own projects include ‘New Metaphors for Sustainability’, ‘Flowers Onstage’ and ‘Six ways to look at climate change and theatre’.

The Directory has been live since 2000.

Go to The Ashden Directory

Culture and Climate Change: Recordings

Ashden Directory — Wed, 05 Oct 2011 13:18:08 +0000

This post comes to you from Ashden Directory

A pdf of Culture and Climate Change: Recordings is now available.

See four podcasts on culture and climate change

Download the podcasts

“ashdenizen blog and twitter are consistently among the best sources for information and reflection on developments in the field of arts and climate change in the UK” (2020 Network)

ashdenizen is edited by Robert Butler, and is the blog associated with the Ashden Directory, a website focusing on environment and performance.
The Ashden Directory is edited by Robert Butler and Wallace Heim, with associate editor Kellie Gutman. The Directory includes features, interviews, news, a timeline and a database of ecologically – themed productions since 1893 in the United Kingdom. Our own projects include ‘New Metaphors for Sustainability’, ‘Flowers Onstage’ and ‘Six ways to look at climate change and theatre’.

The Directory has been live since 2000.

Go to The Ashden Directory

Sensory Worlds: Environment, Value and the Multi-Sensory

Cultura21 — Mon, 19 Sep 2011 02:46:49 +0000

This post comes to you from Cultura21

7th-9th December, 2011; Edinburgh

“What contribution can sensorially-engaged Humanities make to environmental thinking and action?“

The conference “Sensory Worlds“ wants to examine the multi-sensory and will reflect upon the historical, contemporary and possible future relations between the senses (from balance to taste to the haptic and beyond). It aims to allow generously for both formal and informal discussions and dialogues. David Abram and Iain Borden will hold keynote presentations which are also open to the public.

Call for Papers: This call invites responses to the main theme, and asks that these are submitted to one of the following elements: Paper Sessions, Panel Sessions or Installations.

For more information on the conference and the call for papers, check the website:
http://www.iash.ed.ac.uk/Sawyer/Conference.html

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

- Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
- Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
- Hans Dieleman (based in Mexico-City, Mexico)
- Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21

SurVivArt – Arts for the Right to a Good Life

Cultura21 — Mon, 22 Aug 2011 15:33:08 +0000

This post comes to you from Cultura21

The Heinrich Böll Stiftung has started yet another interesting project referring to arts and sustainability. Artists from six mainly southern countries are invited to discuss the meaning of the right to a good life. Based on the fact that our daily lives and our ways of achieving a “good life” always influence the environment in a more or less negative or positive way, these artists ask themselves a simple question: Can “we find ways of living that contribute to more social equality and justice and that improve community participation and involvement?”

SurVivArt is meant to be a bridge to get to know perspectives on this question from people from the global South. On the website www.survivart.org you find an overview and detailed descriptions of these highly interesting projects, e.g. a social theater in Lagos, which is exploring the impact of climate change on daily life..

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

- Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
- Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
- Hans Dieleman (based in Mexico-City, Mexico)
- Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21

Good Cents in the Museum – a case study

Carole Hammond/The EcoMuseum — Mon, 08 Aug 2011 18:22:45 +0000

This post comes to you from the EcoMuseumMany people will wonder at first, what the connection is between immigration, museums and the environment.

For the last two and a half years Melbourne’s Immigration Museum has been developing a unique and contemporary exhibition based on what identity actually means to those living in Australia today. The transient nature of ‘identity’ as a concept meant a high degree of creativity was required. The project team worked on this challenge for over two years, and in addition, managed to integrate a high degree of environmentally conscious initiatives. Identity: yours mine ours launched on May 9, 2011 and has an eight to ten year life span.

COMMITMENT

One of the first commitments the project team made came in 2009, with a collective agreement to seriously consider environmentally sustainable initiatives within the concept and development process. Each important element of an event – be it exhibition, festival, theatre production – needs a champion.Identity had champions for content, multimedia, lighting and so on, but it also had a champion for environmentally preferable initiatives.

METHODOLOGY

Keeping an eye on the overall production, and another on the possibilities of integrating sustainable initiatives into the proposed design, isn’t that difficult.

Re-use (re-using stuff)

The demolition of the exhibition previously occupying the Identity gallery enabled the team to save various materials for use in Identity itself, and for use throughout the rest of Museum Victoria.

Around 18m² of laminated glass was saved and reinstalled into purpose-built Identity cases, a saving of around $8,000. Around 500kg of timber was saved for other uses as well. Graphic panels from the old exhibition were reused for education and decorative purposes in the Immigration Museum’s Education Room and Theatrette. Public programs took possession of older bespoke plinths and cases, and fitted them with wheels for portability, thus extending their original life expectancy many times over. Another site rich in immigration history, Station Pier, is negotiating with the Museum to take the remainder of the exhibition graphic panels in order to augment its premises on the pier.

It is worth noting however, that construction methods and material choices made much of the pre-used timber untenable. ‘Screw don’t glue’ is definitely something the team has a deep understanding of after watching the demolition process and noting the broken and torn elements thrown in the skip. Undaunted, ‘small steps’ was a common maxim throughout, and one which reminded us that every environmental achievement enables future teams to take our lead, and go even further.

De-materialisation (using less stuff)

Knowing that exhibition graphics are one of the most energy, material and maintenance intensive components of exhibition production, keeping a vigilant eye on the emerging design is crucial. WithinIdentity, the unique line-work developed by Gina Batsakis emerged as a major graphic feature. Previous work with a landscape artist/signwriter provided the impetus to explore similar possibilities withinIdentity, and although the team initially felt anxious, our early commitment to facilitate a sustainable outcome determined the contracting of a specialist painter.

The results are surprising – far superior to that which could have been produced mechanically by a printing machine. Early planning and decision-making enabled enough time for the extensive paintwork to take place – a crucial factor in an innovative environment. The final outcome consumed similar financial resources to that required from graphic printing and related materials. More importantly, the 150m² of painted graphic will require very simple, low energy maintenance across its ten year life – involving human dexterity, paint and a paintbrush. What could be more…sustainable!

This environmental achievement was important in terms of boosting the project team’s satisfaction in their commitment, and gave an eye-opening model initiative to other Museum Victoria exhibition project teams. Scienceworks has taken up the scenic painter challenge and greatly benefited from it. Being brave and trialing new concepts has always been crucial, especially in the world of the museum. Have we forgotten this in our world of automation and programmed productivity? The Identity project team discovered an unexpected delight and control in veering away from machine-led production.

Identity is a big exhibition in a small physical space. How does one do justice to such a broad, contentious topic and still keep the exhibition spatially contemplative? By using hundreds of intangible layers of digital information of course. These digital stories are interpreted through touch-screens, the web and multiple projections.

The project team wanted gallery products that combined reasonable financial outlay, with low energy usage and long lived consumables – like globes. Using a range of product information and organisational experience, different products were put through a data-crunching excel calculator. After putting the exhibition’s lighting through the same rigorous process, the completed Identity now consumes the least amount of energy per square metre of any exhibition at Museum Victoria, and has set an organisational benchmark.

The environmental consequences of energy creation arguably impact our lives more significantly than any other human activity, and consume a huge amount of our finances. Reducing our need, and therefore general demand, is definitely something worth giving some time and thought to.

Some of these practices are standard in many smaller organisations throughout the country because of individual budget restrictions. Some are practices that have died out only in the last few years. Even so, it’s liberating to explore and rediscover new frontiers, and if you can save money and time while simultaneously reducing your impact on the environment, it just makes good sense (and cents) to continue pushing those boundaries.

the EcoMuseum, is a project of Carole Hammond, Exhibition Manager and museum professional: combining the complex ideologies of aesthetics, culture, objects, entertainment…and environment.

Go to the EcoMuseum

ecoartscotland: Scotland’s new resource on culture and the environment

Ian Garrett — Mon, 14 Feb 2011 03:39:18 +0000

ecoartscotland is a new project focused on the connections between culture and environment. It is a platform for practice and research focused on the cultural challenges of environmental crisis.

The ecoartscotland website http://ecoartscotland.net has:

information on artists,
resources for learning projects,
highlighting formal education courses,
and including an extensive bibliography,

ecoartscotland draws on a wide range of sources to provide up to date information on everything from funding and creative opportunities to key policy and exemplary practice.

You can subscribe to a weekly news digest from the site, and we would be very happy if you would add us to your press mailing list.

Chris Fremantle
ecoartscotland
http://ecoartscotland.net
chris@fremantle.org

APInews: Art in Agriculture at Auburn University, Ala.

Ian Garrett — Sat, 20 Mar 2010 22:43:29 +0000

This spring, Auburn University continues its annual interdisciplinary series, Art in Agriculture, which brings together artists, designers and scientists to examine a topic related to agriculture, food, the environment or natural resources. This semester’s series is titled, “Reclaiming Ground,” and includes two exhibitions, several workshops for kids and seven lectures. One exhibition combines agriculture and architecture, called “Agritecture,” and another features sustainable designs by students in the Landscape Architecture Program, Design Program and Art Department. The lectures investigate questions such as: What is the role of the artist and designer in society at large? Can ordinary citizens make a difference in their local ecologies? How can a university encourage its students to become involved in their community? Art in Agriculture is jointly hosted by AU’s College of Agriculture, College of Liberal Arts and Department of Art.

via APInews: Art in Agriculture at Auburn University, Ala..

Help us choose the best art of 2009

RSA Arts & Ecology — Thu, 17 Dec 2009 22:06:23 +0000

Still from Flooded MacDonalds, Superflex, 2009

It has been an extraordinary year for art that responds to issues surrounding the environment. In the (almost) five years since we have been operating, there has never been so much great work being produced. Art never speaks with a single voice, but there has been an increasing cluster of activity around climate change, politics and the enviroment.

It’s time to compile our annual list of the best of the year. We have an embarrassment of riches to chose from. Radical Nature at the Barbican; 100 Days at the Arnolfini; Denmark’sRETHINK; Steve Water’s The Contingency Plan at the Bush Theatre; Artsadmin’s 2 Degrees; Heather and Ivan Morison’s The Black Cloud; Franny Armstrong’s The Age of Stupid, Manchester’s Environment 2.0 at Futuresonic 2009, Superflex’s Flooded McDonalds Petko Dourmana’s Post Global Warming Survival Kit or one of the Yes Men’s interventions – like their one yesterday at COP15 which proved so embarrassing to the Canadians … that’s just dipping our toes in the water.

What were your highlights of the year – and why? What have I criminally overlooked in that above list? What were the best books and stories – the best films? We want to include your comments in the piece which we’ll put up on the main RSA Arts & Ecology Centre website.

Tell us in the comment field below – or email me at william.shaw@rsa.org.uk.

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Actors wanted | The Waste Ed Roadshow

RSA Arts & Ecology — Thu, 15 Oct 2009 04:30:19 +0000

Waste Ed Roadshow, charity creating educatioinal tools for young people, is looknig for two actors for pilot project

We are a registered charity creating exciting educational tools for teaching young people about ecology. Our new project - The Waste Ed Roadshow – is looking for two actors – male and female – to perform a 20 minute humourous dialogue about waste and how it effects ourselves and the environment.

Suitable people will be 18-25 years old, lively and confident, have some acting experience, and be genuinely interested in ‘green’ issues.

The performance will be part of up to 5 pilot runs of the roadshow, from end of May through June. Rehearsals will be led by our Project Leader (a professional actress). To keep travel expenses to a minimum, we are looking for volunteers from the West Greater London/Woking/Ascot area.

If you’re interested in getting involved contact us with a bit about yourself, your experience, and a photo if possible.

You can also visit www.waste-ed.org.uk for more information about the roadshow.

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New York’s Waterpod; artists of the floating world

RSA Arts & Ecology — Thu, 20 Aug 2009 14:32:12 +0000

When Radical Nature opened, some critics bemoaned the fact that the exhibition was cloistered away from both the environment it discussed, and the audience that it deserved to reach. EXYZT’s wonderful Dalston Mill project was a clear answer to those critics

In New York, The Waterpod – pictured above – has been slowly circumnavigating Manhattan. Conceived by artists Mary Mattingly and Mira Hunter as a literal platform for art, it brings New Yorkers to the water that surrounds their island. Like Dalston Mill it provides not only a space for performaces, artworks and discussions, but it creates a triangulation between food, community and environment. This live-aboard ark grows at least some of its own food and includes its own henhouse.

For a taste of what it’s like to live and work aboard The Waterpod, try this NY Times article, which reveals that the floating pod was built from a variety of donated materials, including metal railings used in a Broadway production of Equus, and foliage print wallpaper recycled from the US soap As The World Turns.

It’s currently moored at Pier 5, Brooklyn Bridge Park but will be moving on to Staten Island after the 17th. Have any readers visited The Waterpod? Did it work?

Photo: thanks to BH301.A7

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Madeline Bunting in today’s Guardian: the “quiet powerhouse” that is RSA Arts & Ecology

RSA Arts & Ecology — Wed, 15 Jul 2009 22:47:46 +0000

Radical Nature’s The Dalston Mill project

Madeleine Bunting’s article on the role of arts in changing perceptions about the environment kicks off by looking at Radical Nature’s The Dalston Mill project, and discusses new work Gustav Metzger and new thoughts from Tim Smit and gives a very warmly appreciated nod to the RSA Arts & …

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Radical Nature @ The Barbican reviewed

RSA Arts & Ecology — Wed, 24 Jun 2009 20:12:36 +0000

Skye Sherwin in The Guardian:

Even the remotest hermit knows that the effects of climate change are the greatest threat faced by mankind. So where does that leave artists? Can they contribute anything to debates about the environment? Might the imperatives of environmentalism constrain their freedom to make interesting work? And …
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Mo`olelo Receives $30,000 Grant from The James Irvine Foundation

Ian Garrett — Sun, 21 Jun 2009 20:16:06 +0000

Funds will commission playwright Chantal Bilodeau to write a play on race, poverty and environment

Thursday, June 18, 2009 – San Diego, CA – Mo`olelo Performing Arts Company, San Diego’s community-focused, socially-conscious, Equity theater company, today announced The James Irvine Foundation has awarded the Company a $30,000 grant over two years to commission a new play by Chantal Bilodeau. This grant is made as part of the Irvine Foundation’s Creative Connections Fund, which was designed to reach small and midsize arts organizations pursuing a diversity of projects and ideas.

The funds will support the commissioning, work-shopping and development of an original script by Ms. Bilodeau that focuses on the contemporary debate over the Northwest Passage and the intersection of climate change, commercial opportunity and the survival of Inuit peoples native to the region. Through the play development process, Mo`olelo will engage San Diego’s Native American populations and environmental organizations to contribute to the evolution of the script through public readings and discussions.

Mo`olelo launched a greening initiative in 2007 to identify how theater can be created without damaging the long-term health of our communities and the environment. In addition, central to Mo`olelo’s mission is to select plays that focus on diverse communities and allow the Company to engage local, nontraditional theater audiences.

“Commissioning this play will provide an opportunity for Mo`olelo to draw the connection between issues of race, class and the environment,” said Seema Sueko, Co-Founder and Artistic Director of Mo`olelo. “This will allow us to support on stage, through content, the greening work we are doing backstage.”

The commission will launch in July 2009, with a first workshop and public reading of the script tentatively scheduled for June 2010. Revisions and adjustments will be made and a second workshop and public reading is scheduled for May 2011. The script is expected to be completed by June 2011.

Chantal Bilodeau is a playwright and translator originally from Montreal, Canada. Her plays include Pleasure & Pain (Magic Theatre; Foro La Gruta and Teatro La Capilla, Mexico City), The Motherline (Ohio University; University of Miami), Tagged (Ohio University; Alleyway Theatre), as well as several shorts that have been presented by Brass Tacks Theatre, City Theatre Company, The Met Theater, Philadelphia Dramatists, Raw Impressions, and Women’s Project. She has been a fellow in the Women’s Project Playwrights’ Lab, the Lark Playwrights Workshop and at the Dramatists Guild and has received grants from NYSCA, the Canada Council for the Arts, Stichting LIRA Fonds (The Netherlands), the Quebec Government House, Étant Donnés: The French-American Fund for the Performing Arts and Association Beaumarchais (France). Her translations include plays by Quebec playwrights Larry Tremblay and Catherine Léger, French-African playwright Koffi Kwahulé and Jean Cocteau. Current projects include the book for the musical The Quantum Fairies in collaboration with composer Lisa DeSpain and lyricist Mindi Dickstein and the translation of four more plays by Koffi Kwahulé.

The James Irvine Foundation is a private, nonprofit grantmaking foundation dedicated to expanding opportunity for the people of California to participate in a vibrant, successful and inclusive society. The Foundation’s grantmaking focuses on three program areas: Arts, California Democracy and Youth. Since 1937 the Foundation has provided over $1 billion in grants to more than 3,000 nonprofit organizations throughout California. With $1.4 billion in assets, the Foundation made grants of $78 million in 2008 for the people of California.

About Mo`olelo – Mo`olelo means story in Hawaiian. Selected as the inaugural Resident Theatre Company at La Jolla Playhouse, Mo`olelo Performing Arts Company is a socially-conscious theatre organization dedicated to broadening the scope of San Diego’s cultural environment by telling powerful stories that are as diverse as the islands of Hawaii, by paying Equity wages to local actors and developing environmentally-friendly theatre practices. A recipient of the Patté, San Diego Theatre Critics Circle, McDonald Playwriting and the Anti-Discrimination Awards, its mission is to create new works based on research within various communities, produce lesser-known works by master and contemporary playwrights, and educate youth. To learn more, visit www.moolelo.net or call 619-342-7395.

grant from The James Irvine Foundation « Mo`olelo Blog.

Radical Nature @ The Barbican reviewed

RSA Arts & Ecology — Sun, 21 Jun 2009 19:48:07 +0000

Skye Sherwin in The Guardian:

Respond! in June

RSA Arts & Ecology — Wed, 03 Jun 2009 14:51:50 +0000

This Thursday we in Britain go to the polls to vote in local and European government elections. Depressingly, the environment is barely mentioned in any of the main parties’ campaigns. The papers are still full of the Telegraph’s expenses witchhunt and machinations to oust Gordon Brown.

Respond! kicks off today. For …
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Review: Environment 2.0 @ Futuresonic

RSA Arts & Ecology — Tue, 26 May 2009 06:11:22 +0000

Review: Environment 2.0 @ Futuresonic from RSA Arts & Ecology on Vimeo.

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10 YouTube videos from artists responding to the environment

RSA Arts & Ecology — Sun, 03 May 2009 03:38:14 +0000

Gemma Lloyd has put together this list of 10 artists responding on the Respond! site, which includes Robert Smithson’s Spiral Jetty, a slightly scratchy talk on Walter De Maria’s Lightning Field, film of Aleksandra Mir creating her First Woman On The Moon and this one by Tomas Saraceno:

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[read more]

Green Sundays start at Arcola Theatre

Ashden Directory — Tue, 10 Mar 2009 01:45:23 +0000

Arcola Energy will host Green Sundays on the first Sunday of each month, starting with a launch on 1 March. The Green Sundays are free events, and the public is welcome to drop in to Arcola Theatre throughout the day from 1:30 – 7:30 pm.

The Green Sundays programme will feature music, games, films, speakers and readings based loosely on an issue under the climate change umbrella, such as food, travel, energy or politics.

Green Sundays are intended to demonstrate how a creative industry, such as theatre, can provide a space to discuss the environment and how people can work together to tackle climate change.

The March launch theme was food – growing, making, enjoying and sustaining food. The day included meals, short films and a screening of ‘Our Daily Bread’, a reading from The Hungry Cyclist: Pedalling the Americas in Search of the Perfect Meal by the author Tom Kevill-Davies, an open mic session and presentation of the Food Chain Campaign by Friends of the Earth,

Arcola’s partner for Green Sundays is Be The Change.

www.arcolatheatre.com
www.arcolaenergy.com

a: 27 Arcola St
London, E8 2DJ
Nearest station- Dalston Kingsland

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At Fermyn Woods and Sudborough Green Lodge

Ian Garrett — Tue, 21 Oct 2008 03:16:32 +0000

William Shaw over at Arts & Ecology just posted that Richard Woods’ installation Stone Clad Cottages opened this past Saturday at Fermynwoods, near Kettering, Northamptonshire, Uk. The project is quite interesting as it re-engages people in their relationship to their surroundings, which fits nicely in Fernynwoods goal to give people a place enjoy contemporary art in tranquil indoor and garden settings. Give it a look…

“The Sudborough Green Lodge cottages are currently been renovated by the Forestry Commission for our partnership projects with them. Based at these cottages will be an exciting programme bringing professional artists to Fermyn Woods to create new works, undertake research, explore new ideas, and lead on education projects. The cottages will create accommodation and working space once they have been restored by this summer.

Fermynwoods Contemporary Art’s interest in the environment (both rural and urban), engagement with the community and contemporary practice will develop in our new venue.

To date an inspiring schedule of artists has been drawn up, including Richard Woods who covers buildings in daring retro designs, and who will be wrapping the cottages and Jacques Nimki, who researches plant life and will be investigating the most wonderful array of weeds currently inhabiting the cottage gardens and the SSI wild flower meadow. He will also be working with children from Woodnewton School in Corby.”

As someone who’s artistic practice is heavily invested in lighting phenomenology, I’m interested to see what comes of Kurt Laurenz Theinert’s residency in the spring.