Yearly Archives: 2009

Extensive Climate Recaps

Yes we’re focusing on Art, but for your Information….

GOOD COP15 United Nations Climate Change Conference Copenhagen 2009

HEADQUARTERS, a collaboration venue for artists and climate activist groups in Copenhagen, invites you to come play “GOOD COP”.

With civil society access to Bella Center growing increasingly restricted, the GOOD COP aims to make your voice heard during this critical week of negotiations.

GOOD COP opens following a bold media stunt on Monday by North American, European and African activists that placed the spotlight on countries standing in the way of a real deal in Copenhagen. The stunt – and the global attention that followed – challenged us to imagine the world as we want it, and proved that our alternative messages can and will have an impact. But this was only one statement of the many that need to be voiced in the final days of negotiations.

HEADQUARTERS welcomes the public to come voice their own statements on the GOOD COP stage. As heads of state arrive this week we need to keep our expectations high to push for our vision of a GOOD COPENHAGEN – a real deal at COP15.

Have your say at GOOD COP – show that an ambitious agreement at COP15 is not too good to be true.

HEADQUARTERS

Open 11:00 – 17:00

Gallery Poulsen Contemporary Fine Arts

Frederiksholms Kanal 4, st. th.

1220 Copenhagen K

Denmark

GOOD COP15 United Nations Climate Change Conference Copenhagen 2009.

Help us choose the best art of 2009

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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Trigger Point Theory as Aesthetic Activism

Trigger Point Theory as Aesthetic Activism was a three day workshop, culminating yesterday, led by Aviva Rahmini. I’m trying to meet-up with Aviva later today, but in the mean time, please check out the last three daily recaps from her workshop:

Day 1

Just spoke with someone from Shell: formerly working for their sustainability program, quit so they can look at themselves in the mirror (minimal progress, 30-33 people killed annually, stupid, selfish choices re: developing countries.) Asked not to be identified

Day 2

Fabian, one of the Climate Pirates who brought 5 ships to Copenhagen, saw his colleagues surrounded by the melee of violent police on the way to the World Culture Center where we are working. He perceives that the police are deliberately sustaining the high tension of the situation by making arrests and quick releases.

Day 3

I like an orderly society as much as anyone but not at the cost I’m experiencing here. I spoke to eyewitnesses (people known to me), who watched Danish plain clothesmen infiltrate the protestors and become provocative until the police charged, at which time the police encircled the phony agitators to bring them back into the folds of their own, while going on to beat up the rest of the crowd.

http://www.huffingtonpost.com/2009/12/16/protests-in-copenhagen-de_n_393784.html

High Tide COP15 Project: Numbers

Between James Brady and Aviva Rahmani, they calculated close to 1 million people are engaged directly or indirectly in ecological art or audience members for it’s ideas.

http://en.wikipedia.org/wiki/User:Ecoart

This is how we estimated it:

1. How many schools/ museums/ books-journals internationally the ecoart list serve alone (about 100 invited members) represents (ie., including residencies, publications, group & individual exhibitions)?

2. Estimate 2,000 audience venue impact total (av. 20 times 100 per person, a conservative figure I think)

3. Each venue represents about 200 min audience access per… = 400, 000 if my math is correct…+ secondary effect has to double that figure = close to 1 million (chatter with family members & friends assuming at lease one conversation per person and then there are workers for each venue: guards, bookkeepers, etc)

That’s a mighty constituency.

via High Tide COP15 Project: Numbers.

CO2 CUBE SHINES A LIGHT ON COPENHAGEN WITH MULTI-DIMENSIONAL ART AT COP15

December 17, 2009, San Francisco, CA, USA / Copenhagen, Denmark – The San Francisco Bay Area based team of Obscura Digital, YouTube, Google, and Millennium ART, joined forces with the United Nations Department of Public Information to launch a first-of-it’s kind digital media hyper cube installed at COP15 in Copenhagen. The CO2 Cube is a contemplative art sculpture of light and sound mirrored in a lake, displaying stunning imagery of the planet, info-graphic animations, and solutions for reducing our carbon footprint.

13YouTube provided the technology to power the cube and is continuously streaming videos into this international communications platform; Obscura Digital’s technologists and designers created the visual content and employed a number of software techniques to help visualize CO2 on the cube; and Millennium ART harnessed this customized media system to transform carbon dioxide facts and figures into an inspiring aesthetic experience helping people visualize the invisible… what 1 metric tonne of CO2 looks like, which is the amount of CO2 the average American emits into the atmosphere every two weeks. The United Nations Department of Public Information activated the CO2 Cube as a vehicle to attract, engage, and mobilize the public in reducing CO2 emissions locally and globally.YouTube videos about climate change are brought to life on the facades of the 27ft x 27ft x 27ft cube through an array of artistic transition techniques, such as DNA strands, CO2 molecules, and many more. “YouTube is delighted to be the technology partner for the CO2 Cube and to bring to life in a new and innovative way the video content created by citizens, filmmakers, NGOs and activists to address the important issue of climate change,” stated Chris Di Cesare, Chief Marketing Officer of YouTube.

“Obscura has deployed a 4-D Hypercube User Interface System as a dynamic media portal that is capable of presenting web based, real-time, and produced content integrated into the CO2 Cube public art sculpture, offering new dimensions for audiences to interact with visual concepts and content sources from around the world,” said Travis Threlkel, Creative Director of Obscura Digital.

The United Nations Secretary-General, Ban Ki-moon premiered his public announcement to Copenhagen via video on the CO2 Cube during an on-site reception. “This cube shows 1 tonne of carbon dioxide. Science has made it clear, we have a chance here in Copenhagen to turn the tide, to cut emissions, to help people adapt. We know what to do, all we need is the political will,” announced Ban Ki-moon, UN Secretary-General.

The cube is constructed of 12 shipping containers stacked in an interlocking pattern on a custom engineered floatation barge. Two sides are covered with an architectural mesh fabric for video projection illuminated with Obscura Digital’s FireFrame graphic and digital media system, while the other sides remain as open exposed shipping container surfaces with LED lighting design by The Do Lab. “Using motion graphics, 3-D animation, and live action, we were able to communicate the impact CO2 has through both literal and abstract visualizations; also keeping in mind the architecture of the physical cube and reflections on the lake as canvases for our media” stated Ron Robinson, Art Director at Obscura Digital.

“The beauty behind this work of art is the collaborative spirit, will and determination that went into creating something that is an artistic and architectural feat, designed to inspire change in the hearts and minds of people across all geo-political boundaries” expressed Mia Hanak, Executive Director of Millennium ART. CO2 CUBES: Visualize a Tonne of Change is a Millennium ART installation presented in partnership with the United Nations Department of Public Information, powered by Google and YouTube and produced by Obscura Digital. This is a CO2 neutral exhibit.

Contact: Mia Hanak +1-415-637-0525 mia@millenniumart.org

Download Photos and Video: www.millenniumart.org/press

View the video from the opening celebration of the CO2 Cube.

View the United Nations Secretary-General, Ban Ki-moon premiering his announcement to Copenhagen via the CO2 Cube.

Matt Black of Ninja Tune from Copenhagen

Addressing the launch of Future Arcola at City Hall London from Copenhagen, Matt Black, one half of acclaimed DJ duo Coldcut and co-counder of record label Ninja Tune, speaks of his hopes for a productive outcome from the Copenhagen Climate Change Conference…

httpvh://www.youtube.com/watch?v=RoKHyfRMq88

Go to Arcola Energy

Arcola Theatre Launches New Eco-Theatre Plans

PRESS RELEASE:

At London’s City Tuesday, representatives from Arcola Theatre and sustainable design innovators Arup present plans for the creation of a new eco-theatre in Dalston, East London.

Boris Johnson, Mayor of London, said, “As world leaders gather in Copenhagen, Arcola Theatre is at the forefront of how London’s arts organisations can champion the environment. We have to take robust yet practical steps to make our city more energy efficient. This has the added benefit of playing a pivotal role in the wider redevelopment of this part of the city, making the urban realm more pleasant. Three cheers for Arcola for raising the bar.”

Developed though a feasibility study funded by London Development Agency, the project will be the UK’s first major arts venue to place environmental sustainability at the core of construction, programme and operations.

Mehmet Egen, Artistic Director and founder of Arcola Theatre said: “Our new building will include an exquisite 350 seat theatre allowing us to create an even greater and more diverse programme, building on our past nine years of success.”

Dr Ben Todd, Executive Director of Arcola Theatre, said: “Wrapped around the main stage will be dynamic spaces to accommodate our ever-growing environmental sustainability and community engagement programmes. Our aim is to create a place Da Vinci might call home where creative people across multiple disciplines drive innovation for a sustainable and equitable future.”

Global engineering and design consultancy Arup has been appointed to provide theatre and acoustical consultancy services; whilst Arup Associates, Arup’s multidisciplinary design studio, will provide an integrated architecture and engineering design. Arup’s iconic projects include the Sydney Opera House, and the Birds Nest and Water Cube stadiums for the Beijing 2008 Olympics.

Neill Woodger, director of Arup’s theatre consulting and acoustics business said: “Our task is to conceive a theatre that exemplifies sustainability. It must provide the highest levels of artistic experience, whilst being affordable to build and economical to operate. It must contribute positively to the environment and local community and lead the way in promoting the shift to more ecological lifestyles. This is the first public venue to use a sustainability framework to define the brief and conceptual design, and it will set a new level of performance in theatre design.”

The expanded Arcola Theatre will include:

  • A main house theatre seating 350 (500 standing), suitable for mid-scale theatre and opera productions
  • 150 and 80 seat black-box studio theatres, similar to those Arcola already run
  • An extensive foyer, spilling out on to the public realm, with bar/café/restaurant and informal meeting spaces
  • Incubator units for scientists and engineers developing sustainable technologies
  • A Bike Hub with storage and change facilities, close to public transport nodes
  • Public garden and growing spaces

The new Arcola Theatre will be located at the heart of Dalston close to the new Dalston Square development and a new East London Line station. The project is part of a wider London Development Agency (LDA) funded project Making Space in Dalston. This exemplary project, led by the LDA’s Design for London team, is bringing together diverse stakeholders to choose and deliver strategic improvements in public realm resources across Dalston.

Cllr Guy Nicholson, Hackney Council Cabinet Member for Regeneration and the 2012 Olympic and Paralympic Games, said: “Hackney Council is committed to supporting Arcola’s ambition to create an innovative new eco-theatre; ensuring that Arcola continues to contribute to the cultural excitement that is Dalston.”

Project partners include:

  • Integrated Design (architecture and engineering) – Arup Associates
  • Theatre and Acoustical Consultants – Arup
  • Sustainability Consultants – Juhi Shareef Associates
  • Bar/cafe/restaurant Consultants – Ignite Hospitality Consultants
  • Project Management – Mouchel
  • Quantity Surveyors – William G Dick
  • Funders – Design for London & London Development Agency
  • Host – London Borough Hackney

Project Director, Dr Ben Todd of Arcola Theatre is one of the 2009 London Leaders for sustainability and the launch event is supported by the London Sustainable Development Commission.

PRESS RELEASE ENDS

More details and hi-resolution images: www.futurearcola.com/press

NOTES TO EDITORS:

Arcola Theatre was founded in 2000 by its present Artistic Director Mehmet Ergen and Executive Producer Leyla Nazli. From humble origins Arcola has grown to become an important London and UK venue serving both as receiving house and producer of its own critically acclaimed work. Arcola has strong links with the local community, delivering an extensive programme of participatory arts for all ages. Since 2007 Arcola has been working with local and international partners across arts, science and engineering to drive mass adoption of sustainable lifestyles. Arcola Theatre is a Regularly Funded Organisation of Arts Council England. www.arcolatheatre.com

Arup is the creative force behind many of the world’s prominent building, infrastructure and industrial projects. Founded in 1946 with an enduring set of values, Arup’s unique trust ownership fosters a distinctive culture, an intellectual independence and encourages truly collaborative working. www.arup.com

Arup Associates is the integrated design studio of the multinational consulting engineering group Arup. Started by Sir Ove Arup more than four decades ago to develop his concept of total architecture, Arup Associates offer a radical alternative to conventional architectural practice, creating pioneering holistic design that is focused on people. The studio practices multidisciplinary design where engineers and architects work side by side in embedded teams in a single practice. Teamwork is at the core of our structure. www.arupassociates.com

Mouchel is a consulting and business services group that builds great relationships with clients in the public sector and regulated industry to make a difference to customers and communities. Operations include highways, water, rail, property, housing, education, energy, management consultancy and ‘business process outsourcing’ in a wide range of disciplines. Mouchel has more than 11,000 employees, 123 offices in the UK and an audited turnover of £740.6 million. Mouchel was awarded ‘Top 20 Best Big Companies to Work For’ status in March 2008 in the annual Sunday Times rankings. In March 2008 it also achieved Two Star accreditation from awarding body Best Companies for an outstanding level of employee engagement across the company. www.mouchel.com

Juhi Shareef Associates (JSA) is a consultancy specialising in sustainability for events and the creative industries. JSA has a particular focus on the role of cultural institutions in sustainable development and has recently returned from the COP 15- related Culture Futures event, working on engaging the cultural sector in moving towards an ecological age by 2050. www.juhishareef.com

Ignite Hospitality Consultants is a pioneering Hackney-based agency, providing marketing, strategy, branding, design and concept development for hotels, restaurants and bars in the UK and internationally. A collective of consultants under one roof provide support to Start-Up or Grown-Up hospitality operators in driving sales, growth and improving efficiency. www.ignitehospitality.com

William G Dick Partnership LLP is an Chartered Quantity Surveying practice. Established for over 25 years, the practice prides itself in providing clients with an enthusiastic and pro-active service. www.williamgdick.co.uk

London Borough of Hackney is working with Transport for London, the London Development Agency and local partners in the regeneration of Dalston. Work is centred on Dalston Square – a new public square bordered by a new East London Line Overground station, new shops, new homes and a new library and public archive. Across Dalston a programme of public realm improvements will integrate new developments with the existing town centre, and enhance the cultural mix. www.hackney.gov.uk

London Development Agency (LDA) works to improve the quality of life for all Londoners – investing in jobs, skills and growth. In Dalston, the LDA has worked with the London Borough of Hackney, Transport for London, architects and developers to capitalise on the East London Line extension. The new housing developments around Dalston Junction will create a new public square and other facilities. The London Development Agency – through the Making Space in Dalston project led by its Design for London team – will invest a further £750,000 in improving the wider public realm in Dalston; this includes the feasibility study for Arcola’s future theatre. www.lda.gov.uk

London Sustainable Development Commission was established in 2002 to advise the Mayor of London on making London a benchmark for sustainable cities. The Commission is made up of a individual experts from the economic, social, environmental and London governance sectors. The Commission’s London Leaders programme brings together London’s leading lights in sustainability, to deliver change, and inspire others to do the same. www.londonsdc.org

Arts Council England works to get great art to everyone by championing, developing and investing in artistic experiences that enrich people’s lives. As the national development agency for the arts, we support a range of artistic activities from theatre to music, literature to dance, photography to digital art, and carnival to crafts. Great art inspires us, brings us together and teaches us about ourselves, and the world around us. In short, it makes life better. Between 2008 and 2011, we will invest £1.3 billion of public money from government and a further £0.3 billion from the National Lottery to create these experiences for as many people as possible across the country. www.artscouncil.org.uk

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SOS Gulf to Gulf is a virtual model for the role of art in creating resilience

For Immediate Release: December 16, 2009

Contact: Aviva Rahmani 646 403 7130

Asger Jorn Room, Bella Center, Copenhagen

ghostnets@ghostnets.com www.ghostnets.com

Art can help build the capacity and facilitate adaptation needed at COP15;

SOS Gulf to Gulf is a virtual model for the role of art in creating resilience

Protestors world wide see COP15 as a conflict between money and legalisms. This press conference asserts that is why art needs to be at the table, “ [supporting] [assisting] [enabling] all developing country Parties, particularly the most vulnerable, in undertaking adaptation measures.” Art is how people express their experiences. Millions of artists have another approach to environmental issues.

Artists can help COP15 communicate between parties

  • The media can convey how art can enable adaptation and implement climate justice
  • Contemporary and indigenous art practices provide relatively low-cost, uncontentious models for adaptation and mitigation that can contribute to long term cooperation and capacity building. Art is a vehicle to express what words and numbers can’t.
  • When we take “aspirational goals” seriously for the Least Developed Countries (LDC), we see that the arts in each culture and between cultures are a means to express aspiration, sustain it’s people, bridge communication gaps and be a container for important historical information, including indigenous environmental knowledge. Art is the glue holding societies and cultures together, under stress, means to intimately connect people.
  • In the 21rst century, art can create ways for technology transfer and development to translate and protect bodies of cultural knowledge, because artists are innovative.
  • Ecological art is a recognized practice that embraces an ecological ethic in both its content and form/materials, embracing collaborative opportunities.

SOS Gulf to Gulf is an example of how an ecological art practice can help

  • SOS Gulf to Gulf developed in virtual collaboration to reduce carbon emissions
  • Artist Aviva Rahmani and scientist Dr. Jim White, director of the Institute for Arctic and Alpine Research (INSTAAR), University of Colorado at Boulder, initiated a cross-disciplinary virtual collaboration, addressing the international global warming crisis in gulf regions.
  • The story reveals parallels between Bangladesh, the Gulf of Mexico, the Gulf of Maine, the Gulf of Aden and the Persian Gulf connecting water, war, pirates, fisheries, education and migrations.
  • SOS Gulf to Gulf was inspired by the Trigger Point Theory of environmental restoration developed by Rahmani
  • Presentation Credits: dialog is between artists Aviva Rahmani and Peter Buotte, curator Tricia Watts, Ecoartspace, Marda Kirn, director EcoArts Connection, Dr. Jim White, INSTAAR, Dr. Ed Maibach, George Mason University, Dr. Eugene Turner, Louisiana State University, Dr. Michele Dionne, director of Research at the Wells National Estuarine Research Reserve, Wells Maine and Tuku Ahmed, a New York City taxi cab driver and immigrant from Bangladesh.

If COP15 and the UNFCCC desire just allocation of resources to deal with climate change. Why then, has art, which has so much to contribute to that goal, been absent from all discussions of adaptability?

  • TEXT IN COP DOCUMENTS DESCRIBE THE NEED:

Report of the Ad Hoc Working Group on Long-term Cooperative Action under the Convention on its seventh session, held in Bangkok from 28 September to 9 October 2009, and Barcelona from 2 to 6 November 2009; chosen because it bears equally on human needs for ethics and culture.

  • Key words and phrases:

build capacity and facilitate adaptation, Ecological art, adaptation and mitigation, aspirational goals, technology transfer and development, Resilience, Vulnerability, “[the level of adaptation][adaptation needs]”, “[framework] [programme]”

  • Key document text that illlustrates why art can become a partner:
  • pg 54: “Adaptation is a challenge shared by all countries; …. in order to reduce vulnerability, minimize loss and damage and build the resilience of ecological and social systems and economic sectors to present and future adverse effects of climate change [and the impact of the implementation of response measures]. (reference content of non-paper no.41 (5 November 2009)”
  • pp 61: “identifying sources of adaptation;

(b) Strengthening, consolidating and enhancing the sharing of information, knowledge, experience and good practices, at local, national, regional and international levels, consistent with relevant international agreements, through creating forums where different public and private stakeholders can discuss concrete challenges;”

  • Additional considerations
  1. Gender issues relate to questions of art and culture. Disproportionately, artisans in indigenous cultures are often women. Their practices often preserve the, “[land use, land-use change and forestry sector]”; (and represent how to) p. 92 “respect the knowledge and rights of indigenous peoples[, including their free, prior and informed consent,]  Deforestation is often a consequence of the cultural disruption that displaces gender roles.
  2. Art and humanities foster creativity through out all sectors of society. In transition periods, creative problem-solving is as essential to survival as financial or regulatory support.
  3. The costs of sustaining cultural communities in relation to other ecological costs is not only minimal but has historically transferred wealth, in a variety of forms back into an economy. This will help cultures in transition maintain identity and independence, a response to the need to, “develop low-emission [high growth sustainable] development strategies.”

Films by Aviva Rahmani with discussion afterwards will be viewed at 5: PM December 16: Farumgade 4-6, 2200 Kbh N (Nørrebro) http://www.facebook.com/event.php?eid=203108274870#/pages/FIT-freie-internationale-tankstelle/60219692736?ref=ts (via shareaholic)

Ice Bear by Mark Coreth, for WWF, Copenhagen Dec 10

There’s a lot of discussion about the role of dystopian art in creating new stories about climate and the environment. I have to say, if I was a kid, Mark Coreth’s sculpture of a melting polar bear would scare the bejayzus out of me.

Ice Bear is in London’s Trafalgar Square from today.

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