Essen Germany

Conference “Cultural Dimensions of Climate Change and the Environment in North America”

This post comes to you from Cultura21

The Conference will take place at the  Institute for Advanced Study in the Humanities (KWI) in Essen, Germany (June 28-29 , 2012)

Climate change is an inherently global problem. However, climate change impacts as well as mitigation efforts are always perceived and dealt with locally and in a culture-specific way. Global warming interacts in multiple ways with North American ecological and social systems. On the one hand, the U.S. and Canada belong to the world’s largest per capita emitters of greenhouse gases. On the other hand, the Arctic north of the continent as well as the Deep South is already heavily affected by a changing climate. Despite the US’s and recently also Canada’s rejection of international binding climate targets, on the local and regional level, some of the world’s most ambitious climate initiatives can be found in North America.

Striking about the symbolic representation of climate change in the USA is a relatively huge cultural variety. While in Europe climate change deniers are largely marginalized and without influence on mainstream politics, American views on climate change and the environment become increasingly polarized according to political beliefs. And whereas the U.S. hosts some of the world’s leading climate science institutions, religious explanations of why global warming is or is not happening, repeatedly have found supporters in media and politics, too.

How can these contradictions be explained? The participants will deal with these questions in the course of the conference that focuses on the human dimensions and cultural representations of climate change and the environment in North America.

You can read the program here.

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Trailer Trash at PACT Zollverein

Sam Breen joined a group of students and graduates presenting “CalArts Plays Itself” (September 29 – October 2, 2011) at PACT Zollvereinin Essen, Germany, one of Europe’s up-and coming culture centers. The show featured original, cutting-edge, cross-disciplinary work, including Breen’s “Trailer Trash Project: Life Meets Art in a Tin Can.” Using a 15-foot inflatable model of a travel trailer he told the story of how he lost his family home after Hurricane Katrina ravaged New Orleans.  He explained how his mother—a former filmmaker for the United Nations refugee agency—was left without a place to live after the storm. A few years later, he took on unlikely

Musician Archie Carey presented at "CalArts Plays Itself," part of PACT-Zollverein 2011

project: he began transforming a 33-foot long trailer into a green place to live (for his mother) and a moveable place for him and his fellow artists to showcase their work. Even in its un-restored state, the 1951 Spartan trailer soon became a emblem at CalArts for student-driven creative work, the backdrop and the catalyst for many cultural events around the

AP Photo/Emilio Morenatti

institution. In Essen, Breen’s gallery space was crammed with the oversized blow-up model, making it hard for guests to ignore his invitation to step inside. The inflatable served as a dominating yet fragile symbol, a reminder of those who turn to transient living as a last resort.

” Sam Breen’s inflatable trailer project … lays bare contemporary America’s white whale: the housing problem, its connections to the current economic crisis, and to Hurricane Katrina. Like Jonah in the Old Testament, Breen was swallowed up by the whale. Several months later, he has been vomited out: the whale has turned into a screen onto which new stories are projected. The contemporary state of collapse has turned into a space of play, where new individualities and collectivities emerge”

Breen, who recently received an MFA in acting from CalArts, considered his 10-

Sam Breen in Essen with his inflatable trailer by sculptor Michael Darling

day stay at the PACT-Zollverin festival as a residency, using the opportunity to develop his presentation with his audience. He invited fellow artists— musicians taking part in other performances at the festival— to impromptu jam sessions inside the trailer. Daily conversations with patrons helped shape the installation. Many noted how the inflatable, sustained by two household fans, appeared to “breathe” as people entered and exited. It had a similar effect on Breen, who returned to Los Angeles energized with a new perspective on his project. He is planning to conduct more residencies, this time inside his actual trailer, which he will bring to the parking lots of cultural institutions in and around Southern California to continue renovating the trailer and performing art.

The Trailer Trash Project is a recent recipient of an Investing in Artists grant from the Center for Cultural Innovation.

 

This post is part of a series documenting Sam Breen’a Spartan Restoration Project. Please see his first post here and check out the archive here. The CSPA is helping Sam by serving in an advisory role, offering modest support and featuring Sam’s Progress by syndicating his feed from http://spartantrailerrestoration.wordpress.com as part of our CSPA Supports Program.