Term Art

Deep sustainability and the art and politics of forests

This post comes to you from An Arts and Ecology Notebook

Internationally, the Food and Agriculture Organisation (FAO) still classifies clearfell (clearcut) monocrop plantation sites, like the one above pictured, as a ‘forest’Internationally, the Food and Agriculture Organisation (FAO) still classifies clearfell (clearcut) monocrop plantation sites, like the one above pictured, as a ‘forest’

‘I thought again of our fundamental inversion of all relatedness, of how we nearly always ask the wrong question –What can I get from this?–and so rarely the right one–What can I give back? Even when we try to learn from others, it is from the same spirit of acquisition: What can I learn from this forest ecosystem that will teach me how to manage if for maximum resource extraction? Rarely: What can I learn from this forest community that will teach me better how to serve it?

Derrick Jensen, A Language Older than Words, 2000, p. 319

Last December on the 30th celebration of the Irish Green Party and in the last few weeks of the UN International Year of the Forest, I presented on behalf of the forestry policy group, a comprehensive new sustainable forestry policy for Ireland. It was accepted that day!!! The policy development had taken several years with the input and hard work of a small number of committed members. It had involved wide consultation with forest and other environment/ natural heritage groups, professional foresters and policy makers from here and overseas.

My own personal involvement in policy development was propelled for a number of reasons: over several years my partner and I, with the help of a local sustainable forester, have been transforming our very small 25 year old conifer plantation into a permanent (non clear-fell) forest using Close-to-Nature continuous cover sustainable forestry methods. This is because I have a strong belief that we need to create radical new ways of relating to our natural environments, if we and those environments that support us all are to thrive in the long-term. I have spent considerable time too on a long term art & ecology project of which my forest is central to my work.

I also wanted to help introduce policy that would finally address the appalling irresponsibility of current Irish policy that ignores the devastation that we inflict on other human and natural communities when we continue to allow the importation of timbers and wood products from countries where unsustainable logging, often still from old growth forests, are occurring. As hidden behind the everyday headlines of economic collapse we are now living in an unprecedented age referred to as the age of the 6th great extinction. This Anthropocene age is where our own species actions alone are dramatically altering the very fabric of our finite biosphere. Around the world, the degradation of natural environments, the way we interact with our supporting land bases, has and continues to lead to unprecedented species, habitat and much cultural loss. This age of extinction, where we are losing 200 species every day,  mirrors the ecocidal growth-at-all-costs politics of our hyper-consumerist industrialised societies, the now globalised dominant cultural model that fails, in a mixture of blind ignorance and short-term profiteering, to understand the limitations and sensitivity of environments that supports all life. For example, short-term returns obscure the fact that clear-fell forestry that relies on serial plantings of monocrops, will lead, in 4 or 5 rotations, to severe soil degradation and ever reducing timber volumes. Such practices also limit and disrupt other species and dull the social and cultural values of our forests in the meantime.

On a global scale, we know our forested areas are critical in regulating our climate and storing carbon and are the most important habitat for most terrestrial species, but do we relate that every effort should be to grow more now, to sustain and create more resilient and diverse  (uneven aged and mixed species) permanent forests? Diverse forests, for instance, will be crucial to counter the effects of changing climate with its increased likelihood of tree disease. On a national scale and when other fuel costs are set to keep rising, local fuel independence provided by well managed, selectively harvested permanent forests must be part of the equation to support local economies and communities fuel requirements not to mention improving local  biodiversity. I now also understand why leading sustainable European foresters see such potential in transforming much of Ireland’s pioneer conifer plantations to permanent forests. I’ve long known we have the best tree growing conditions in Europe but I can now see that we have too long focussed solely on short-term economic returns of forest plantations forgetting the intrinsic ecological and cultural wealth that our ancient biodiverse Irish Forests once provided. In some small measure I hope ideas in the new Irish Green Party forestry policy will help enable a new expanded vision of permanent forests potential to circulate more widely in Ireland and elsewhere.

New Zealand old growth forest, South Island, photo Cathy Fitzgerald 2003

New Zealand old growth forest, South Island, photo Cathy Fitzgerald 2003

I am very fortunate that my thinking and practical knowledge about forests has come from both long associations with leading people from Crann (an Irish forest group), ProSilva Ireland and ProSilva Europe (sustainable forestry organisations) and from living within a small forest. In recent years on study tours I have experienced the vibrant mixed species, permanent forests in Hungary, Slovenia, Austria and the Netherlands that are managed carefully for ecological, cultural, as well as economic benefits. Fifteen years ago, when I first came to Ireland from New Zealand, I worked on a Crann Leitrim project and witnessed the largest Forest Service supported county-wide planting of broadleaf woodlands amongst local farmers and those interested in doing something different with their land. My friendships with leading forest practitioners from then continues to this day and some years ago I had the good fortune to go back to Leitrim to make a small film of the ‘local project’ as it had been called, where I interviewed the new woodland owners and the vibrant mixed woodlands that I had seen planted not many years before. Such projects were so important in practically illustrating the need for new policy then. We have come a long way in that broadleaf tree planting and increased afforestation are now well supported but we still have so much to learn that planting any species as crops is shortsighted and will never lead to longterm wealth or real forests.

Cathy Fitzgerald and her dog Holly in their small Hollywood forest                      Co. Carlow, Ireland 2010

Cathy Fitzgerald and her dog Holly in their small Hollywood forest Co. Carlow, Ireland 2010

On the practical side, my own observations of the small forest in which we live has been invaluable. Our tiny, 21/2 acre forest-in-the-making, comprising of 25 year old conifers undergoing periodic selective harvesting, now supplies us with over 70 tonnes of firewood every three years!  We have had to start selling firewood to our neighbours to cope with our clever, fast growing forest.  And as the integrity of our small forest remains intact, since we do not clear-fell, we have more and different birds every year and incredible range of fungi too. More valuable ash and some oak trees are self generating and growing quickly in the shelter of our large conifers (they’ll grow quicker and straighter in such company without us having to waste energy to prune them too). So from my window I can see our small acreage is a more vibrant community where the real wealth is embedded and accumulating in the diversifying, aging forest! Such forestry does require a long-term, slower mindset. Its one that attempts to respect all aspects of what makes a forest (which is very complex and dynamic when you think of it) and with it, thinking of new ways of relating to its living inhabitants so all thrive and survive. Its a type of slow-forest, interdependent management where one seeks to carefully observe and understand rather than quickly exploit and move on. So thinking and working in forests has for me been an important means to think about some very real aspects of deep sustainability in the wider context too. Where deep sustainability refers not only implementing measures for our own benefit but measures that ensure all aspects of a forest thrive. By the way, our small 2 1/2 acre site is now listed with a growing number of other sites around the country on the new Coford research database of forests undergoing transformation, or as they refer to it, being managed by implementing low impact silvaculture systems (LISS).

From a completely different view, as an artist I have long being fascinated and in turns equally concerned by what has created contemporary culture’s short-sighted ecocidal perspective. I have been influenced and inspired by artists and writers before me.  However I am often shocked and at a loss how too few artists today examine our relation to the living world in any depth. Perhaps my previous working background in the biological sciences means I have always been drawn to and feel more able to engage with ideas and concerns about our increasingly growing ecological crises. I have of course always been drawn to artists that have related to forests too.

I suspect that many members of the Green Party and the public in general would be unaware that some of the early formative material for the first Green Party in Germany evolved from ideas from the leading 20th century German artist, Joseph Beuys. Beuys was a  founding member of the first Green party and later unsuccessfully stood as a Green Party candidate for the European Parliament. A highly charismatic, self-professed shaman-like figure, Beuys was an outspoken artist attracting considerable media attention for his ideas about the central and essential role of art in society. He considered all members of society active agents in shaping society (he’s widely known for his claim that ‘everyone is an artist‘ and also that truly healthy societies support and understand that ‘art = capital’).  Beuys also had a deep understanding that a healthy environment is a necessity for healthy societies.  As an arts professor he had controversial ideas that the arts must be freely available to all, opening his classes to un-enrolled students. Although very popular with students and other artists such controversial ideas eventually lead to his dismissal as Professor from the Dusseldorf Arts Academy.  Though his political ideas about society, education and the environment were instrumental to the newly forming Green Party, his involvement in politics was not to last either, as he was frustrated by the slow democratic process of the new party and in hindsight, his own eccentric character seemed ill suited to connect with the general public. Even so, he carved a considerable public profile for his works and ideas, and to this day he is highly regarded in bringing art out of institutions and galleries to create projects that combined community actions, what he termed ‘social sculpture’, to address eco-societal concerns in the wider public domain.

Beuys at Kassel

While it is difficult to condense Beuys’ work into a short article, his final large scale project, 7000 oaks for the International Documenta Arts Exhibition in Kassel (1982) city left a lasting legacy for the German city and contemporary art. Creating a huge mound of 4 ft high basalt stone pillars outside the entrance of Documenta, he stipulated that each of the 7000 stone pillars could only be moved to be placed alongside a planted oak, both of which were to be put in the environs of Kassel city. After considerable city-wide debate, communities and individuals working with local government and other community institutions carried out his forced urban tree planting project over 5 years. Though initially greeted with much skepticism this new type of community art project eventually gathered wide and popular support and has been replicated in other cities. Beuys instinctive understanding of relational community art practice has also been immensely important to contemporary art.

Beuys’ idea of the oak each being planted along with a stone pillar also presented an intriguing means to project this artistic endeavour well into the future; the pillars act as permanent markers of the townspeople actions to future generations, reminding them of the long-term thinking and environmental actions of its previous citizens. Such deeply symbolic practical actions encompassing long-term thinking for society is much needed now but not only in our cities. In fact Beuys sought to have this project replicated all over the world. An important legacy of Beuys work continues now through the Social Sculpture Unit in Oxford and last year when I visited I heard that over 80 art and forest projects from around the world were connecting with their University of Trees network project. Of course, when you think of it, we have our own standing stone reminders in Ireland. Our ancient Ogham alphabet carved on our standing stones all tellingly describe our then high regard for our native forest species, each letter corresponding to a native tree or shrub. It might be that Beuys had remembered this as he a deep interest in celtic Ireland too.

Permanent forests, Slovenia 2009

A Slovenian permanent forest - where clearfelling (clearcutting) has not been performed for 64 years!

Postscript: when I started writing this article a week ago I received a short Skype message from a leading sustainable close-to-nature forester in Tasmania. He had discovered and enjoyed looking at my short, birdsong narrated film I had created about our forest practices, called Transformation but noticed an error under a photograph I took of fabulous permanent forests in Slovenia where I had noted that clearfelling in Slovenia has been illegal these past 25 years. He wrote, ‘Just noticed the comment under the photo from Slovenia. Clearfelling in Slovenia was ended in 1948! That is 64 years of changed thinking and planning and operating”

… I hope we too reach such longterm forestry practice in the very near future both here and Ireland and beyond.

 

Further Reading

Strangely like war: the global assault on forests by Derrick Jensen and George Draffan (2005), see also A language Older than Words, Derrick Jensen (2000)

Forests: the shadow of civilisation by Robert Pogue Harrison, 1992.

Beuysian Legacies in Ireland and Beyond: Art, Culture and Politics by Christa-Maria Lerm Hayes and Victoria Walters, European Studies in Culture and Policy, Lit Verlag, 2011

Note: This article was first published on HerCircleEzine.com on 20.1.12 and on my www.ecoartfilm.com site too.

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

100 posts on art and ecology resource site grows alongside a slow art-forest project

This post comes to you from An Arts and Ecology Notebook

Post image for 100 posts on art and ecology resource site grows alongside a slow art-forest project

Museum of Nature, 2004 by photographer Ilkka Halso

This is my 100th post on my art & ecology notebook site – amazing! I’m as shocked as probably you are and its made me realise that I have created quite an archive of the different means where arts and ecology intersect.

new ecoartfilm site

What started out in 2008 as a small personal notebook has grown – it initially was a place to put inspiring art & ecology projects and resources that I came across in one place and also a means to house the beginnings of my own long term art & ecology project. From a small rural location the site has allowed me to gather and make visible projects that often fall outside the mainstream agendas of many galleries and it has allowed my own practice to travel to many unexpected destinations.  For newer readers my artistic work is about creating small audiovisual works that touch on the small forest that surrounds our house that we are transforming from a monoculture conifer plantation into a permanent mixed species forest. Mostly my own work is about how we engage with ‘nature’ in general and its led me to pursue the idea of whether audiovisual video works can be used in a  more ecocentric way, if that is possible (if you are interested my  research on this topic can be found here).  My art & ecology site been quite an odd jumble of  things and early posts were a bit random, but my readership has steadily grown even though my posts can appear a bit infrequently. Thank you for all the comments along the way too – you have no idea how this small site has enabled my work to develop and connect with others!

new archive page

Anyway, to mark this blogging milestone I’ve spent a little bit of time and created an illustrated Archive page  and  a new dropdown Category section on the home page where you can easily see all the art

disciplines for instance that I have written about; from film to dance, to music to policy papers on culture and sustainability. You are more than welcome to share any of these posts along.

Some of you might also be aware that I wrote a research paper on networking the arts to save the earth earlier this year. It was a whopping 8,000 words, designed to reach out and comment on how cultural practitioners of all types could best use online social media networks. Social media is something I’ve worked with for several years in a past job where I helped develop a  large online arts community.  A lot of the paper was me trying to figure out the potential or not of social media, amongst all the hype and suddenness in which these

a new article

technologies have now appeared in our lives, and examine their value for art & ecology practitioners. The paper seemed to have struck a nerve – I expect it was probably the  fact that many working in this field are both isolated geographically but also isolated on the fringes of contemporary art practice.  A much shortened form of the article was printed in the Aug 2011 Irish Visual Arts Newsheet. It was then picked up by one of the editors as a feature article on the international

site HerCircleEzine.com –  an online site that for the last 6 years has been dedicated to women’s socially engaged practice. I was surprised and delighted –  to tell the truth the research paper had been turned down originally for an academic journal (not that I was too surprised about this as it was my first attempt) but of course, a paper on social media, should be circulating on social media not stuck in some academic journal. I’ve created a resource page of the many various art & ecology networks too – please feel free to tell me about other networks not listed. There’s more too, I’ve also been asked to write a regular column on the HerCircleEzine site about art & ecology and my research practice, starting in November which I must say is a bit daunting as if you examine the site you’ll see the articles written are of a very high standard. 

holly dog looking proud

Hollywood - smallest close-to-nature forest in Ireland (pictured: Holly at the forest entrance)

You might have also noticed the blue forest image above – the Museum of Nature created by Finnish photographer Ilkka Halso. I found this image intriguing; its from a larger body of works by Ilkka called Restoration (2004). While I don’t like the idea of putting a forest in a cage I could identify with this artist’s interest with forests. I have also come across a  number of artists who describe their art & ecology works as ‘restoration’ environmental projects. It’s not a term I use for my own forest project; while restoration of sites is obviously important I think much more needs to be addressed. Undoubtedly we can learn much from restoring sites/habitats, but for me,  I think there is something more interesting in transformation; transforming the ideas and practices of how we relate to nature (a tricky area when one begins to examine it though) and hence, transforming how we behave on this one finite earth. You might be wondering why I’ve added this paragraph at the end of this post – I was saving the best for last :-) . My tiny forest, nick-named ‘Hollywood’ has been getting some attention. ‘Hollywood’ is now listed on the new Irish database for forests that are being managed in a permanent way – its the smallest plantation undergoing ‘transformation’ to become a forest, in Ireland. We manage the forest following close-to-nature principles ( a low impact management system that follows nature’s own dynamics). As it is an ecological type of forest management it means that the forest is sustainable not only for our use (we get firewood, birdsong, oxygen, sanity etc from it) but as it will never be clear-felled; the overall biodiversity, soil fertility and carbon-sink values on the site will only ever increase.

Funny, how this writing about transformation has slipped into this post, as I often have a lot of difficulty in talking about my creative work – in fact, I think its much better presented by the forest itself (click on the image below if you can’t see the film).

If you have any comments, do write in!

transformation 2011

 

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

CALL: 2011 Ars Bioarctica art&science residency in Kilpisjärvi Finland

Ars Bioarctica is long term art and science initiative by the Finnish Bioart Society. Since 2010 it is organizing an artist-in-residency program together with the Kilpisjärvi Biological Station of the University of Helsinki in the sub-Arctic Lapland.

The residency has an emphasis on the Arctic environment and art and science collaboration. It is is open for artists and art&science research teams. Amongst the first residents have been Andrea Polli (US), Helene von Oldenburg (DE), Claudia Reiche (DE), Raquel Renno (BR), Anu Osva (FI) and Sini Haapalinna (FI).

The residency takes place in the facilities of the Kilpisjärvi Biological Station. The Kiekula-house provides the residents with a
combined living and working environment, kitchen, bathroom, sauna and internet connection. The Kilpisjärvi Biological Station offers to the visiting artists the same possibilities and infrastructure as its scientists and staff. This includes access to all scientific equipment, laboratory facilities, the library and seminar room as well as the usage of field equipment. A dedicated contact person in Kilpisjärvi will familiarize residents with the local environment and customs.

The basic costs of a residency period include: Travel to Finland, travel within Finland to Kilpisjärvi, accommodation, meals and sauna. There is a possibility to cook in a common kitchen or to eat in the canteen of the station. The Bioart Society will assist with the funding process.

Applications have to include a work proposal, a working plan with time schedule, the desired residency outcome, a list of necessities for the work to be carried out and the artists CV.

The application deadline is 28th of February 2011.

The evaluation of the applications emphasizes the quality of the proposal, its interaction of art&science, its artistic and scientific significance, the projects relation to the thematic focus of Ars Bioarctica and its feasibility to be carried out at
the Kilpisjärvi Biological Station in the given time.

For applications or questions contact Erich Berger:

erich[dot]berger[at]bioartsociety[dot]fi

More info:
http://bioartsociety.fi/3 information on residency
http://www.bioartsociety.fi/residency/ blog by residents
http://www.helsinki.fi/kilpis/english/index.htm Kilpisjärvi Biological Station, Helsinki University

Pioneering Future Figures: The Harrisons

In the eco-art world there are few folks as significant as the collaborative duo of Helen Mayer Harrison and Newton Harrison (known generally as The Harrisons). Originators of a whole systems perspective in the eco-art movement, they have worked for the past four decades with biologists, ecologists, architects, urban planners and other artists to initiate collaborative dialogues to uncover ideas and solutions which support biodiversity and community development. They work within systems for systems. It’s the future folks and their ideas, while fresh, are as old as humanity.

Can we survive and thrive with beauty and grace?

This is part of a theme that really interest me. The very oldest of human concepts informing our new and unsettling future. Wednesday, June 10, 2009, for example, [sorry: mini plug] the very cool folks at The Long Now Foundation and the new sparkly green David Brower Center in Berkeley, are hosting a talk with the Harrisons (introduced by futurist Paul Saffo). It’s a look at The Harrisons from a 10,000 year perspective. Most art today will be dust or landfill, which is fine, but what did it accomplish that the Earth would notice? Was it worth the big holes dug into hillsides and the CO2 and toxic effluents, fuel and resins? Lots of people beginning to picture what this new world would look like in every discipline and long term planning as art to knit it together is essential. We need more long term art and it’s not about using Archival materials.

Go to the Green Museum