Yearly Archives: 2015

Opportunity: “On Energy” Residency at Banff Centre

Creative Carbon Scotland, Open Calls

This post comes from Creative Carbon Scotland

This opportunity comes from the Banff Centre (Canada) with a deadline of December 16th.

Applications information can be found at: https://www.banffcentre.ca/programs/banff-research-culture-energy

Banff Research in Culture 2016 / The Banff Centre

May 30 to June 24, 2016 

Our lives revolve around energy. From driving our cars—or bikes—to work, to eating food and heating our homes, energy in some form or another conditions the quotidian at every scale. Energy grounds the daily, the quarterly, the annual, and the epochal. Futures trading in New York and Chicago makes the extremes of weather a fiscal crisis for working families hard pressed to pay their utilities, while the growth rate of nations bends to the capacities and supply of domestic and international energy markets. Since the industrial revolution, our lives have been fueled by the social and physical energy available from coal, oil, and natural gas. No longer dependent on the rhythms and limits of organic energy, such as wood, water, and animal power, fossil fuels have simultaneously made the modern, globalized economy possible, and redefined the social history of energy in the meantime. What Leibniz called the living force has become, since the systematic mechanization of fossil fuels in the 19th century, the fundamental force of modern history.

“On Energy” invites participants in the fields of visual art, architecture, design, literature, humanities, social sciences, and physical sciences to consider energy; its conceptual, corporal, and cultural development since its thermodynamic invention, and the sort of materialism that can emerge when energy is redefined in a postindustrial capitalist society. This residency asks artists and researchers to collectively address energy’s historical figures and futures, its visual and social economy, and its capacity todisfigure, since energy is not a thing, but rather a representation of the force embedded in matter and the relations between materials. Over four weeks of intense workshops, discussion groups, studio time, and individual research, we will consider the cultural, political, and historical components of energy, explore new ways to artistically and conceptually figure energy in history, as well, examine the social and physical forms energy might ground in the future. While participants are expected to arrive with interests and ideas particular to their own research and artistic practice, the collective aim of “On Energy” is to reimagine energy in the long view, and to establish the possibilities and limitations of a theory of energy.

Banff Research in Culture 

Banff Research in Culture (BRiC) is a research residency program designed for scholars engaged in advanced theoretical research on themes and topics in culture. BRiC is designed to offer researchers with similar interests from different disciplinary and professional backgrounds an opportunity to exchange opinions and ideas. Participants are encouraged to develop new research, artistic, editorial, and authorial projects, both individually and in connection with others.

During the residency, participants will attend lectures, seminars, and workshops offered by visiting faculty from around the world. The residency will help to develop new approaches toward the study and analysis of culture, as well as creating lasting networks of scholars who might use this opportunity as the basis for future collaborative work.

The Banff Centre is a world-renowned facility supporting the creation and performance of new works of visual art, music, dance, theatre, and writing.

Who Should Apply

We look forward to receiving compelling and original proposals from thinkers, researchers, architects, writers, curators, humanists, social scientists, and artists. This programme is open to current PhD researchers and post-doctoral researchers (faculty up to tenure) beginning their careers. Artist applicants must have completed formal training in visual arts and demonstrate a commitment to professional practice.

(Note: Our aim is to offset applicants’ cost of participation in BRiC through grants and awards.)

Faculty: Keller Easterling, Matthew Huber, Imre Szeman; others TBA

Program Director: Jeff Diamanti

Application Deadline: December 16, 2015

Applications information can be found at: https://www.banffcentre.ca/programs/banff-research-culture-energy

Please direct questions to: diamanti.jeff@gmail.com

The post Opportunity: “On Energy” Residency appeared first on Creative Carbon Scotland.

———-

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

Powered by WPeMatico

A Different Tomorrow by Su Rynard #artcop21

ArtCOP, Artists and Climate Change

This post comes from the Artists and Climate Change Blog

by Guest Blogger Su Rynard

There is more than one way to look at the world, and scientists, like artists begin with questions, and both practices push the boundaries of knowledge and perception. As a filmmaker and media artist, scientists have inhabited my work for some time. I’m drawn to their research as a departure point for artistic inquiry. I don’t have a scientific background so every new piece I create begins with an exploratory journey.

I live in Canada where we have just endured a decade of anti-scientific government policy. In fact scientists around the world are to varying degrees, constrained by belief and ideology from all sides. This is clearly the case with climate change, where denial often trumps evidence-based research.

I have wondered if this denial has something to do with a societal need for visual evidence. Icons if you will – the need to see to believe. Consider the discovery of nuclear fission. The truth of this power is best understood through the visceral images of the destruction it caused, not the abstraction of the science itself. The same could be said of humans landing on the moon. The event itself was televised and the photograph of the whole Earth from outer space became the most reproduced image in all of human history.

Today landscapes are being transformed by global warming, and the tragic effects are visible. We now have tangible evidence of damage that will continue to occur unless humanity collectively succeeds in mitigating the effects of climate change. In 2005, Bill McKibben wrote about that very famous picture of the Earth taken from the moon. “Already that’s not the world we inhabit; its poles are melting, its oceans rising. We can register what is happening with satellites and scientific instruments, but can we register it in our imaginations, the most sensitive of all our devices?”

My hope is that by bridging the scientific and creative worlds artists can help bring climate to the forefront of cultural conversations. This was certainly a goal I had when I began my recent feature documentary film, The Messenger.

The Messenger is the artful story about the mass depletion of songbirds on multiple continents, revealing how the issues facing birds also pose daunting implications for our planet and ourselves. Filmed over two years on three continents, The Messenger is a moving and epic journey, as the film mixes its elegiac message with hopeful notes and unique glances into the influence of songbirds on our own expressions of the soul. Birds are winged sentinels, over time and across cultures, they have sent us signals about the health of our environment. Today once again, birds have something to tell us – and with this documentary, I wanted to amplify their message.

Birds killed

Today climate change poses a dire threat to birds worldwide, as thousands of species are highly vulnerable to global warming. In the words of Christy Morrissey, an eco-toxicologist featured in The Messenger, “We are changing the environment faster than birds can cope with. So we have to either stop what we’re doing and think about how to do it better, or pay the consequence of hearing total silence”. The changes in their behaviour and decline in their numbers are a warning. If the planet cannot sustain life for them, it cannot sustain life for us. In this way, the uncertain fate of the songbird is inextricably linked to our own.

Bear Cub

I’m pleased to have two short works Bear and Drowning London included in ikonoTV’s official ArtCop21 event Art Speaks Out. Art Speaks Out is an on-air exhibition of international video that reflect upon urgent global issues such as ecological devastation and climate change. The global event is part of ArtCop21, the official cultural program of the UN Climate Conference in Paris. Drowning London was inspired by predictions of rising sea levels. This one-minute video playfully animates an exaggerated flooding of the Thames while the city’s lost waterways transform London into a sea of blue. Bear was shot in Ontario, Canada, where black bears were documented foraging for food in their ‘natural habitat’ – the township dump. Set against an intermittent parade of people, SUVs and minivans – a fragile ecological relationship is portrayed.

Drowning London Detial

What these three works share is a tension between beauty and tragedy. Each in its own way is an exploration of the question of what we have to lose. In imagining this loss, my hope is to inspire change.

______________________________

From early video art to recent feature films, Su Rynard has worked across a range of approaches: dramatic, experimental, documentary, and photo installation. Her work has screened at film festivals world-wide and in galleries including the MOMA in New York and the National Gallery of Canada. Her debut feature dramatic film Kardia won the prestigious Alfred P. Sloan Feature Film Prize and her recent feature documentary The Messenger won Best Conservation Film at Jackson Hole Film Festival. Su Rynard lives and works in Toronto and is represented by Paul Petro Contemporary Art.

______________________________

Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

Powered by WPeMatico

Aerocene Around the world to change the world | Tomás Saraceno | Grand Palais | Palais de Tokyo #artcop21 #cop21

ArtCOP, MELD

This post comes from MELD

How to revolutionize the usage of resources, through the new thermodynamic imagination and a sculpture that floats in the levels of stratosphere?

Tomás Saraceno’s artistic project Aerocene invites us to think of new ways to sense the circulation of energy and resources, actively reframing the material ethics and politics of our contemporary modes of moving, dwelling, and being-together, here on Earth. It pursues the vision of Cloud Cities, the previous undertaking of Saraceno.

DESCRIPTION OF ACTIVITIES AT THE GRAND PALAIS

For COP21 Paris, the artist will present Aerocene in an outstanding sculptural installation at Grand Palais. At Palais de Tokyo, a symposium will be organized, and a series of actions and collective performances, based on open-source collaborative principles, will take place in various locations.

Tomás Saraceno’s artistic project Aeroceneis a series of air-fueled sculptures that will float in the longest, most sustainable journey around the world without engines, becoming buoyant only by the heat of the Sun and infrared radiation from the surface of Earth. The material realization is surpassed by the message it bears: Its aesthetic form follows a both utopian and real idea of open source force of movement. Inflated by the air, lifted by the sun, carried by the wind, the project questions and seeks answers to our current and troublesome dependency on fossil and hydrocarbon fuels and pollution – the topics that places Aerocene at the core of the United Nations Climate Change Conference COP21 topical framework. Crossing the frontiers between art, science and education, it becomes a visionary and open platform of shared knowledge. Thus it seeks for the deep understanding of our planet and all its physical, natural and social entanglements in order to project new ways of how we can move, dwell and be-together here on Earth. www.aerocene.com

The post, Aerocene Around the world to change the world | Tomás Saraceno | Grand Palais | Palais de Tokyo, appeared first on MELD.
———-

meld is an ongoing interactive global art platform and collaborative catalyst to commission, produce and present ground-breaking and evocative works of art embedded in the issues and consequences of climate change. meld invites exceptional artists and innovative thinkers dedicated to the moving image and committed to fostering awareness and education to join us in our campaign for social change. Through a collaborative dialogue, we hope to provoke new perceptions, broaden awareness and education and find creative solutions concerning climate change, its consequences and its solutions.

meld was formed by a devoted group of individuals guided by a passionate belief in the power of art to convey personal experience and cultivate social progress. meld is inspired by the idea that when art melds into the public realm, it has the power to reach people beyond the traditional limitations of class, age, race and education and encourage public action.

Go to MELD

Powered by WPeMatico

EcoStage Pledge Launches with #ArtCOP21 #cop21

ArtCOP, EcoStage Pledge

Every industry must engage with the reality of ecological consequences and the performing arts can be a unique and powerful platform to imagine and inspire new realities. The ecostage pledge is about commitment and values, because with a conscious set of shared values we have a greater capacity to take action.

What: The ecostage pledge (www.ecostagepledge.com) is a new global initiative for the performing arts sector that aims to place ecological thinking at the heart of creative practice.

Why: Envisioned as a public declaration and conversation starter to help raise awareness of ecological issues, the pledge is intended as a platform for advocating change. It consists of a set of ecological values and provocations aimed at engaging with ecological practice as a creative endeavour that deepens our relationship to the more-than-human world.

Who: The pledge is for performance makers, directors, designers, choreographers, producers, administrators, technicians, video and sound artists, performers and playwrights (basically anyone who is passionate about sustainability in the performing arts!).

How: To join a community of ecologically-minded theatre makers, go to www.ecostagepledge.com and take the pledge and download the ‘ecostage pledge stamp’.

This initiative has been instigated by three ‘eco-scenographers’ (Tanja Beer, Andrea Carr and Alice Malia) and will be launched globally in 2015/2016. Beginning at ArtCop in Paris on the 4th of December, the ecostage pledge will launch in Australia at Cop-Out (Arts House, Melbourne) on the 11th of December.

Join us on Facebook or follow us on Twitter for updates.

The Standing March, JR and Darren Aronofsky collaboration for #Cop21 #artcop21

ArtCOP, MELD

This post comes from MELD

Artist JR and filmmaker Darren Aronofsky collaborated on a major public artwork for Cop21 AT THE ASSEMBLÉE NATIONALE NOVEMBER 29th AND 30th AT 8pm-4am AND TRAVELING PARIS THROUGHOUT THE WEEK

Renowned French artist JR and Oscar-nominated American filmmaker Darren Aronofsky have collaborated on The Standing March, a major public artwork to be exhibited in Paris during the UN’s COP21 climate conference. The video projection will remind leaders that the world is watching as they gather to negotiate a deal aimed at keeping global warming below 2°C. It will be projected on the Assemblée Nationale starting at 8pm on Sunday, November 29th and Monday, November 30th, as over 25,000 officials gather, including Presidents François Hollande of France, Barack Obama of USA, Xi Jingping of China and  Narendra Modi of India. It will travel throughout Paris from December 1st until December 7th at the locations to be revealed on the artists’ social media accounts.

The video represents more than 500 persons from different backgrounds united around the idea that the conference must end up with meaningful agreementsn between the countries. The protagonists, who joined the artists after a call for participation, have been filmed separetely, rotatinf themselves on a green background and united to create a representation of humanity. 3D from the British group Massive Attack has composed the original soundtrack.

The COP21 gathers in Paris while the city and its inhabitants have recently suffered from a massive terrorist attack.
For security reasons, marches are forbidden in Paris. But our art piece is a silent march. And we are marching, backed by the Assemblée Nationale, the heart of the French democracy. We must think about our future, the future of our environment and this is our answer to those who want to control our present.

The post, The Standing March, JR and Darren Aronofsky collaboration for Cop21, appeared first on MELD.

———-

meld is an ongoing interactive global art platform and collaborative catalyst to commission, produce and present ground-breaking and evocative works of art embedded in the issues and consequences of climate change. meld invites exceptional artists and innovative thinkers dedicated to the moving image and committed to fostering awareness and education to join us in our campaign for social change. Through a collaborative dialogue, we hope to provoke new perceptions, broaden awareness and education and find creative solutions concerning climate change, its consequences and its solutions.

meld was formed by a devoted group of individuals guided by a passionate belief in the power of art to convey personal experience and cultivate social progress. meld is inspired by the idea that when art melds into the public realm, it has the power to reach people beyond the traditional limitations of class, age, race and education and encourage public action.

Go to MELD

Powered by WPeMatico

Brandalism: 82 Artists Install 600 Fake Ads Across Paris to Protest the #COP21 Climate Conference #artcop21

ArtCOP, MELD

This post comes from MELD

Just days before the start of the UN COP21 Climate Conference held in Paris and during the French state of emergency following terrorist attacks earlier this November, 600 posters were covertly distributed and hung within the city. The posters were not taped to poles or distributed in public grounds, but secured behind glass at bus stops around the city. The large-scale posters were advertisement replacements, fake corporate ads designed by 82 artists across 19 countries to satirize messaging found throughout the Parisian streets.

Organized by the Brandalism project, the citywide sweep is meant to challenge the corporate takeover of the Paris climate talks, forming ads that target the link between corporations’ advertising with consumerism, global warming, and fossil fuel consumption. The posters reference many of the climate talks’ corporate sponsors including Air France, Dow Chemicals, GDF Suez (Engie). Many of the Photoshopped images use the same branding and voice as the original advertisement, forcing the audience to take a deeper look at the content of the hundreds of posters dotting their daily commute.

“By sponsoring the climate talks, major polluters such as Air France and GDF-Suez-Engie can promote themselves as part of the solution – when actually they are part of the problem,” said Brandalism’s Joe Elan.

by Christopher Jobson on November 30, 2015

Escif, Jimmy Cauty, Neta Harari, Bansky-collaborator Paul Insect, and Kennard Phillips were just a few of the dozens of artists who created posters for the Parisian installation. You can see many more of the 600 posters created to challenge the UN COP21 Climate Conference over on Street Art News and Brandlism’s own website

http://www.brandalism.org.uk/gallery

The post, Brandalism: 82 Artists Install 600 Fake Ads Across Paris to Protest the COP21 Climate Conference, appeared first on MELD.
———-

meld is an ongoing interactive global art platform and collaborative catalyst to commission, produce and present ground-breaking and evocative works of art embedded in the issues and consequences of climate change. meld invites exceptional artists and innovative thinkers dedicated to the moving image and committed to fostering awareness and education to join us in our campaign for social change. Through a collaborative dialogue, we hope to provoke new perceptions, broaden awareness and education and find creative solutions concerning climate change, its consequences and its solutions.

meld was formed by a devoted group of individuals guided by a passionate belief in the power of art to convey personal experience and cultivate social progress. meld is inspired by the idea that when art melds into the public realm, it has the power to reach people beyond the traditional limitations of class, age, race and education and encourage public action.

Go to MELD

Powered by WPeMatico

Echoing #Cop21, the Palais de Tokyo Presents EXIT | Diller Scofidio + Renfro , Laura Kurgan, Mark Hansen #artcop21

MELD

This post comes from MELD

The Palais de Tokyo is honored to present from November 25, 2015 to January 10, 2016, the innovative installation Exit presented by the Fondation Cartier pour l’art contemporain. Based on a prompt set out by French philosopher and urbanist Paul Virilio, this experimental work was created by American artists and architects Diller Scofidio + Renfro in collaboration with architect-artistLaura Kurgan and statistician-artist Mark Hansen with a core team of scientists and geographers for the exhibition Native Land, Stop Eject in 2008, and is now part of the Fondation Cartier collection. Exit is composed of a series of immersive animated maps generated by data that investigate human migrations today and their leading causes, including the impacts of climate change. Its complete 2015 update has been planned to coincide with the pivotal Paris-based United Nations Climate Change Conference (COP21). A crucial opportunity to limit global warming, the COP21 provides a powerful context in which to consider the issues at the heart of Exit: «It’s almost as though the sky, and the clouds in it and the pollution of it, were making their entry into history. Not the history of the seasons, summer, autumn, winter, but of population flows, of zones now uninhabitable for reasons that aren’t just to do with desertification, but with disappearance, with submersion of land. This is the future.» (Paul Virilio, 2009)

Commissioned by the Fondation Cartier at a time when human migration flows began to take place on an unprecedented scale, Exit was first shown in its space at the end of 2008 as part of the exhibition Native Land, Stop Eject, and subsequently at the Kunsthal Charlottenborg, Copenhagen during the COP15 in 2009, and at the inauguration of the AlhondigaBilbao, Bilbao in 2010. Conceived as an artwork, Exit uses geo-coded data that was collected from over 100 sources, processed through a programming language and interpreted visually. The work is a reflection on the notions of being rooted and uprooted, as well as related questions of identity, Native Land addressed issues that have continued to intensify. The current asylum crisis makes the 2015 presentation of Exit more timely and relevant than ever.

Exit takes form in an immersive space that presented a 360° projection of six animated and thematic maps: Population Shifts: Cities; Remittances: Sending Money Home; Political Refugees and Forced Migration; Natural Catastrophes; Rising Seas, Sinking Cities; Speechless and Deforestation (created in collaboration with AlhondigaBilbao and Unesco).

Using a wide array of sources ranging from international organizations to NGOs and research centers, Exit provides the rare opportunity to visually understand the complex relationships between the various factors underpinning contemporary human migrations. The work has been entirely updated, reflecting the alarming evolution of the data since it was first presented in 2008. In each of the six maps, the connection between humans and their environment has degraded considerably over the past seven years. The number of people displaced by wars, persecutions and violence has reached an all-time peak since the end of World War II, leading to a major political crisis here in Europe, though most of those displaced are hosted in developing countries. Urbanization and large-scale deforestation in tropical countries have continued at a riveting pace, leading to the uprooting of an increasing number of indigenous communities and the resulting loss of their native languages. Current pledges to cut greenhouse gas emissions are judged widely insufficient to achieve the goal of a maximum temperature increase of 2°C by the end of the century, and scenarios of a global warming that could reach 4°C or even 6°C are no longer considered science-fiction.

The success or failure of the COP21 negotiations will be felt for years to come, and will contribute to the course of the planet. Showing Exit for a two-month period at Palais de Tokyo within this context is not just an important artistic event, but also a call to action, as the updated data paints the picture of movement across the globe today. The pixels making up each map represent human experiences, and reveal that our present relationship to our native land is based less on our attachment to a particular place than on our movement across the globe today. The pixels making up each map represent human experiences, and reveal that our present relationship to our native land is based less on our attachment to a particular place than on our movement across it.

The post Echoing Cop21, the Palais de Tokyo Presents EXIT | Diller Scofidio + Renfro , Laura Kurgan, Mark Hansen appeared first on MELD.

———-

meld is an ongoing interactive global art platform and collaborative catalyst to commission, produce and present ground-breaking and evocative works of art embedded in the issues and consequences of climate change. meld invites exceptional artists and innovative thinkers dedicated to the moving image and committed to fostering awareness and education to join us in our campaign for social change. Through a collaborative dialogue, we hope to provoke new perceptions, broaden awareness and education and find creative solutions concerning climate change, its consequences and its solutions.

meld was formed by a devoted group of individuals guided by a passionate belief in the power of art to convey personal experience and cultivate social progress. meld is inspired by the idea that when art melds into the public realm, it has the power to reach people beyond the traditional limitations of class, age, race and education and encourage public action.

Go to MELD

Blued Trees Emergency Crowdfunder! #artcop21 #cop21

ArtCOP

Nine people were arrested trying to protect the land under the Blued Trees Overture from pipeline corporations because they know that fossil fuels and “natural gas” are destroying the earth. Spectra Energy, developer of the Algonquin Incremental Market (AIM) pipeline expansion, is ignoring our cease and desist notification issued to protect the copyrighted Blued Trees Overture which had been lovingly and joyously created during the 2015 Summer Solstice by 20 men, women and children. Other folks taking part in the Blued Trees project are at various stages of painting at nine sites around the nation. This fundraiser would help pay for the legal research umbrella for all the sites and protect them from unconscionable eminent domain takings.

Blued Trees is on the frontline, demanding that eminent domain be reserved for the public good, not private profit! Our historic legal strategy aims to protect ALL the Blued Trees sites. We urgently need to raise $5,000 so our legal team can continue this new stage of its critical work.

The future of this unique, innovative legal challenge to corporate control of our communities depends on the commitment of people like you, who love nature and art. 

We really, really need you. Please visit the crowdfunding site by clicking here: Blued Trees Defense 2. Give as generously as you possibly can and help make history!

Please donate, and share this appeal now with everyone you know who is aware that our fight for the planet is going to come down to something new and untried, because the same old stuff does not work when we’re fighting the most powerful, wealthy corporations and their captured policymakers.

For a story about what’s currently happening at the site where the Blued Trees Overture is located, please visit the following link: http://westchester.news12.com/news/nancy-vann-of-cortlandt-manor-blocks-tree-removal-in-pipeline-controversy-1.11143447

Human Hotel is a hospitality platform for passionate people. #COP21 #ArtCOP21

ArtCOP, Open Calls

Human Hotel is a hospitality platform for passionate people. Host an NGO organiser in your home during the COP21 Climate Mobilization. 

Our Mission

We help local hosts and visiting guests connect and get more out of the events they both care about. We also make sure it costs very little. Because money is not what we’re passionate about – connecting people is.

Our Story

Born out of a social art practice, Human Hotel began in 2009 as a large-scale effort to secure affordable accommodation for the thousands of NGO’s and climate workers that had nowhere to stay while they attended the United Nations COP15 Climate Summit in Copenhagen, Denmark.

During the summit, we were able to host more than 3,000 climate workers with local hosts, and therefore made possible an alternative meeting point for amazing people and bright minds.

Since then, we have successfully matched and connected thousands of traveling guests with local hosts for numerous events and organizations such as:

  • People’s Climate March & Mobilization (NYC)
  • Queens Museum Open Engagement Conference (NYC)
  • Creative Time Summit (NYC & Stockholm)
  • European Science Open Forum (Copenhagen)
  • NODE – Forum for Digital Arts (Frankfurt)
  • Rome Independent Film Festival (Rome)
  • US Social Forum (Philadelphia)
  • Copenhagen Gay Pride (Copenhagen)

For Event Organizers

Are you organizing an event and need help with accommodating your guests? Or just want to offer an interesting alternative and tap into your local resources? Send us a message to contact@humanhotel.com and lets start the conversation!

Our Team

Martin Rosengaard (Partnerships)  /  martin@humanhotel.com

William R. Rawlings (Operations)  /  william@humanhotel.com

Sixten Kai Nielsen (Marketing)  /  sixten@humanhotel.com

…and all our wonderfull assistants from Italy, Greece, France, US and Russia!

We’re so social…

Find us on Facebook, Twitter & Instagram.

We love hearing about your Human Hotel experiences so please send us photos, videos and stories to social@humanhotel.com.

Also, feel free to share your moments using our hastags:

#humanhotel   #staywithyourpeople   #shareyourconnection

Our Supporters

The City of Copenhagen

The Chorus Foundation

M.Ed. in Arts for Social Change at Simon Fraser University

Education and Workshops

Get Your Questions Answered and Learn More About our 2016 Curriculum & Instruction: Arts for Social Change Master of Education Program!

The M.Ed. in Arts for Social Change (ASC), the first to be offered in Canada, is designed for artists, educators, change-makers and others who wish to integrate arts-based practices and insights into their work for social change.

In this interdisciplinary program, students will develop and refine skills in arts-infused group facilitation techniques and the integration of ASC processes into diverse agendas for change. Students will have the opportunity to intern with local organizations engaged in arts-based community projects.

Against a backdrop of practical and ethical concerns, and in contexts both local and global, we will explore the arts as catalysts for change in a wide range of settings, among them:

  • education
  • health and well-being
  • intergenerational engagement
  • social and environmental justice
  • community development
  • policy change
  • conflict resolution
  • social innovation and social enterprise

Curriculum & Instruction:

Arts for Social Change

Ideally suited for: practicing artists, art educators at the K-12 and post-secondary levels, community activists, cultural workers, recent graduates and others who wish to integrate the arts and art-making into their work for innovative social change.

  • Location: SFU Vancouver
  • Start Term: Fall 2016
  • End Term: Summer 2018
  • Apply from: November15, 2015
  • Apply by: March 15, 2016
  • Tuition 2015/16: $2,853.80/term

Join us for a Free Information Session

Wed. November 18
SFU Surrey
5–6 PM, Room 2750

Thurs. November 19
SFU Vancouver
5–6 PM, Room 2925

Wed. February 10
SFU Vancouver
5–6 PM, Room 2520

Thurs. February 11
SFU Surrey
5–6 PM, Room 2740

RSVP Today!

Don’t miss out on this exciting opportunity to earn your Master’s degree with SFU!

Learn in a cohort setting of 18-24 students with classes scheduled in an evening and weekend format to fit the needs of working professionals.

Apply today until March 15, 2016.
With best wishes
Lynn Fels and Judith Marcuse