Katrina Seltzer

Call for researcher for NEMO report on climate policies addressing museums

The annual NEMO report in 2023 will offer an overview of climate related policies that address museums in Europe. NEMO will hire an external researcher to conduct and compile the research that will be presented in the report. Proposals from interested researchers are welcome until 31 March 2023.

Following up on NEMO’s 2022 report on the status quo of museums in the climate crisis, the next report will offer an analysis of current climate related policies on national, regional and local level in the 27 member states of the European Union. The researcher is also expected to collect examples of museums from different EU countries implementing and utilizing climate policies in their operations. It is also required that the researcher sets up a practical guide that museums can refer to when utilizing and implementing climate related policies in their work.

  • Find more details about the scope and targets in the call for proposals.
  • Apply by sending a proposal for the research including methodology, timeline and an estimate for your fee until 31 March 2023.
  • The selected researcher will be notified in the beginning of April. The study should be finalised by 1 September 2023. Publication design is made separately by NEMO.

(Top image: Aarhus Art Museum AROS rooftop with solar panels. © Alamy Stock Photo, Image: Wolfgang Diederich)

Creative Climate Leadership Canada (online) 2023: Participants Announced

We are pleased to share the full applicants list of who will be joining us for our Creative Climate Leadership (CCL) programme in Canada, online.

The 4-month online programme is for arts and cultural professionals who want to take a lead on climate change, adapted from the CCL week-long residential course.

What is Creative Climate Leadership?

The CSPA (Centre for Sustainable Practice in the Arts) and Julie’s Bicycle (JB) have partnered up to host a second edition of the CCL programme in Canada, this time online, with the support of theCanada Council for the Arts.

CCL is an international training and transformation programme to empower artists and cultural professionals to take action on the climate and ecological crisis with impact, creativity, and resilience.

The programme will take place remotely from February to May. This year’s candidates work in areas as varied as photography, music, visual art, activism, research and curation.

Creative Climate Leadership Canada 2023 (online) – Full List of Participants

Alejandra Nuñez


Alejandra Nuñez is a vocalist, percussionist and composer.

Born in Santiago Chile, Alejandra has lived and worked as a musician in Canada and the United States, she has performed in Europe as well as North and Central America. Alejandra has performed with The Toronto Dance Theatre and written scores for various plays, including Princes Pocahontas and the Blue Spots by Monique Mojica, and many more.

Allison O’Connor


Allison O’Connor is a Franco-Ontarian multidisciplinary visual artist and art administrator working at the intersection of ecology and public art.

She is the co-creator of internationally touring artworks entitled Trophy as well as a part-time professor at the University of Ottawa.

Alyssa Kostello


Alyssa was born and raised in a small town in North Eastern Ontario.

She is a graduate of the Acting for Stage and Screen program at Capilano University and has taken multiple courses and programs around Sustainability Leadership including Climate Reality Training and IMPACT Sustainability Leadership Training. For 5 years she was Artistic Director of NOW! Theatre, and is a former member of the Playwrights Guild of Canada.

Amy Ash


Amy Ash is a queer, white-settler interdisciplinary artist engaged with collective care through processes of shared meaning-making.

Amy’s work traces connectivity through the intersections and overlaps between memory, learning, and wonder, to incite curiosity and kindle empathy.

April Marie Glaicar


April Glaicar is a circumpolar photographer and artist whose work has a strong connection to the northern world and Arctic conservation while embracing traditional knowledge and cultures.

In November of 2022, April participated as the Expedition Artist-In-Residence and co-lead of arts programming for the Sea Women Expeditions’ snorkel research project – while observing Orca and Humpback Whales north of the Arctic Circle in the Norwegian Sea.

Bailee Higgins


Bailee Higgins is a Unama’ki (Cape Breton, NS) based settler, emerging artist, educator and researcher with a focus on community-based art education.

Bailee is passionate about fostering thoughtful community building through creative practice. She recently completed her Master of Arts in Art Education from NSCAD University and holds a BFA from Mount Allison University.

D’Andrea Bowie


D’Andrea Bowie is an artist living and working in the rural outskirts of Toronto, and a current MFA candidate at York University.

She has held solo exhibitions at Station Gallery in Whitby and Central Art Garage in Ottawa, most recently she is the recipient of a SSHRC research grant.

Diego Narváez


Diego Narvaez is a Mexican visual artist living and working in the unceded territories of the T’sou-ke Nation, Vancouver Island, BC.

Through his paintings, he creates metaphors so we can question our relationship with the environment. From city issues to fragile and faraway environments such as Antarctica and Iceland, he creates sublime landscapes of an ever-changing world.

Dominic Lloyd


Originally from the Yukon Territory, Dominic grew up working and volunteering in the arts.

He was Artistic Director of the Dawson City Music Festival for 6 years before moving to Winnipeg to work at the West End Cultural Centre, where he was Artistic Director until 2009 when he joined the Winnipeg Arts Council.

Emily McKibbon


Emily McKibbon is Head of Exhibitions and Collections at Art Windsor-Essex.

She has worked in curatorial, collections and research capacities with the MacLaren Art Centre, Barrie; George Eastman Museum, Rochester, New York; Getty Research Institute, Los Angeles; The Image Centre, Toronto; Seneca College, Toronto; and the University of Guelph.

Hayley Roulstone


Hayley is an environmental activist and passionate about saying ‘yes’ at every opportunity to learn more about tackling the climate crisis.

Hayley’s Caymanian and First Nations cultures are disappearing in exchange for mass production and the expansion of global elites. She aims to challenge herself more and use her creative talents to bring attention to the climate issues that the people of her cultures face.

Jane Gabriels


Jane Gabriels, Ph.D. supports artists and other non-profits as Executive Director, Dance West Network (based in Vancouver).

Jane’s dissertation (Concordia University, Montréal) focused on artists, creative processes, curation, and non-profits in the Bronx, NY, her professional and artistic home for over 20 years.

Julie Fossitt


Julie is a passionate advocate for access to arts, culture and heritage.

She has held marketing positions at the National Arts Centre, the Victoria Symphony and is currently the Manager, Marketing and Revenue Development for the City of Kingston.

Kate Declerck


Kate Declerck, of British and Belgian ancestry, currently lives and works on the unceded, unsurrendered Territory of the Anishinaabe Algonquin Nation. Kate is a Program Officer with the Canada Council for the Arts.

Kim Fry


Kim is a co-founder, board member and coordinator for Music Declares Emergency Canada.

She has spent over a decade as an activist and environmental educator/naturalist working for a number of environmental organizations after doing two degrees in Environmental Studies at York University.

Lara Aysal


Lara is a climate justice and human rights activist, performance artist and facilitator of community-oriented projects.

She has collaborated with communities across borders and facilitated research projects in development and conflict settings with refugees, prisoners, minorities and Indigenous communities.

Luciana Erregue


Luciana Erregue is a cultural worker, writer, editor, and publisher, owner of Laberinto Press, dedicated to lifting up hyphened Canadian voices in literature.

Luciana is a Banff Centre Literary Arts program alumni, and Edmonton Arts Council artist in residence. Laberinto Press has won the 2022 BPAA Award for Best Emerging Publisher.

Marian Wihak


Marian Wihak is a multi-award winning Production Designer.

She is active in numerous sustainability initiatives within the film industry (DGC National Sustainability and Climate Action Committee, Ontario Green Screens, GreenSpark Group Round Table, and the Sustainable Production Forum).

Marta Keller-Hernandez


Marta is Managing Director at Mural Routes and is the co-founder of Paralia Newcomer Arts Network.

Originally from Spain, Marta holds Degrees in Tourism and Humanities, a Masters in Social Media Marketing from the University of Alicante (Spain), and a Graduate Certificate in Culture & Heritage Site Management from Centennial College (Canada).

Sandra Lamouche


Sandra Lamouche is a member of the Bigstone Cree Nation in Alberta, living and married in Blackfoot territory.

She has an M.A. on Indigenous dance and well-being. She is a champion hoop dancer, award winning educational leader, two-time TEDx speaker, writer and researcher.

seeley quest


seeley quest is a trans disabled environmentalist from the US working in literary and body-based composition, curation and facilitation.

Sie landed 2017, in Montreal and 2022 in Halifax, after presenting in the San Francisco Bay Area 2001-14 and touring the US. Hir play “Crooked” is in At the Intersection of Disability and Drama, and first game narrative was in Canada’s National AccessAbility Week 2020.

Shumaila Hemani


Shumaila Hemani, Ph.D. is an Alberta-based singer-songwriter, acousmatic composer and community-engaged artist addressing climate challenges with expressive arts sculpting with sounds of the environment and addressing the climate crisis in the world.

The Cultural Diversity Award winner released her debut album, Mannat (2022) which was applauded as “powerful” in evoking a spirit of perseverance in supporting victims of climate disaster in Pakistan and featured on CBC’s What on Earth, Edmonton Journal, and Calgary Herald.

Terri Hron


Terri Hron is a musician, a performer, a multimedia artist and is Executive Director of the Canadian New Music Network.

Her work explores and questions historical performance practice, field recording, invented ceramic instruments and videoscores. She practices and researches collaboration and scoring.


The Aims of the Programme

Creative Climate Leadership will:

  • Explore the role of culture and creativity in responding to climate change and environmental challenges;
  • Bring together a range of expert guest speakers to share case studies, research, approaches and practical solutions for environmental sustainability in the cultural sector;
  • Enable each participant to develop their leadership and ideas;
  • Prepare participants to apply their learning and new skills when they return to their work, and support ongoing learning and exchange through an alumni network.
  • CCL recognises the unique role of culture to influence new ways of being, doing and thinking, and supports creative professionals to apply these abilities to the climate challenge through a programme of events, training programmes and policy labs.

Sustainable Theatre: Theory, Context, Practice (by Iphigenia Taxopoulou)

How does the world of theatre and the performing arts intersect with the climate and environmental crisis? This timely book is the first comprehensive account of the sector’s response to the defining issue of our time.

The book documents a sector in transition and presents theatre professionals, practitioners and organizations with a synthesis of information, knowledge and expertise to guide them to their own endorsement of sustainable thinking and practice. It is illustrated with inspiring case studies and interviews, from London’s National Theatre, to Sydney Theatre Company, to the Göteborg Opera and the American Repertory Theatre. These foreground the work of pioneering institutions and individual practitioners whose artistic ingenuity, creative activism and sense of public mission have given shape, content and purpose to what we can now call ‘sustainable theatre’.

Spanning almost three decades, the book approaches the topic from multiple angles and through an international perspective, recording how climate and environmental concerns have been expressed in cultural policy, arts leadership and organizational ethics; in the greening of infrastructure and daily operations; in the individual and institutional practice of sustainable theatre-making; in performing arts education; and in touring practices and international collaboration. It investigates, too, how the climate crisis influences theatre as a story-teller – on stage and beyond.

Written by a leading expert in the field of culture and environmental sustainability and distilling many years of research and hands-on experience, Sustainable Theatre: Theory, Context, Practice is intended to be relevant and useful to professionals involved in the theatre and performing arts sector in many different capacities: from policy-makers, arts leaders and managers to administrators, technicians, artists, scholars and educators.

For more information and to preorder the book: https://www.bloomsbury.com/uk/sustainable-theatre-theory-context-practice-9781350215702/

CATR: Re-Imagining the Future

You are invited to Re-Imagining the Future: a teach-in on fostering Environmental Stewardship in Theatre and Performance Education hosted by the CATR Working Group: Environmental Stewardship in Theatre and Performance Education. This online event will take place March 18th at 1pm – 4pm CST. Experts will present on sustainability in post-secondary education and share practical tools rooted in environmental activism to bring back to your theatres and classrooms. We’ll also actively explore how to ecologize your syllabus.

Re-Imagining the Future is a teach-in on fostering environmental stewardship in theatre and performance education, conceived of, and hosted by, the Environmental Stewardship Working Group of the Canadian Association for Theatre Research (CATR).

Our event partners are: the Centre for Sustainable Practice in the Arts (CSPA), the Canadian Green Alliance (CGA), Sectoral Climate Arts Leadership for the Emergency (SCALE), and the Professional Association of Canadian Theatres (PACT).

The first 90 minutes will consist of presentations, followed by break-out rooms that support the integration of ecological principles into existing curriculum.

Please register in advance and identify your syllabus area: design, theatre history, theory/analysis, production, performance/acting, directing, or new play creation.

If you have any questions, please reach out to CATR Environmental Working Group Co-Leaders Hope McIntyre (U Winnipeg) h.mcintyre@uwinnipeg.ca and/or Kimberly Richards (UBC) kricha05@mail.ubc.ca.

NEW BOOK: The Lichen Museum by A. Laurie Palmer

By A. Laurie Palmer
University of Minnesota Press | 184 pages | February 2023
ISBN 978-1-5179-0867-6 | paperback | $24.95

Art after Nature Series
The Lichen Museum explores how the physiological characteristics of lichens provide a valuable template for reimagining human relations in an age of ecological and social precarity. Using this tiny organism as an emblem through which to navigate environmental and social concerns, Palmer implores us to envision alternative ways of living based on interdependence rather than individualism and competition.

A. Laurie Palmer is an artist and professor at the University of California, Santa Cruz.

The Lichen Museum is a deeply engaging, provocative, humorous, and moving account of why we should pay more attention to lichens. As lichens can be found anywhere, the entire surface of the earth becomes the lichen museum. A. Laurie Palmer weaves together personal anecdotes, theoretical interventions, photography, and detailed research to draw attention to how lichens can offer new ways to think through questions of relationality, life and death, and our mutual obligations to each other.” —Heather Davis, author of Plastic Matter

For more information, visit the book’s webpage: https://www.upress.umn.edu/book-division/books/the-lichen-museum

Ecoscenography Summer Internship Opportunity

Graben-Neudorf, Germany (July/August 2023)

Calling all sustainability-focused performance design (set & costume) & technical theatre production students/recent graduates! You are invited to apply for The Magic Flute: Upcycled, an industry placement opportunity for Germany’s first Living Stage project (July/August 2023).

The Living Stage is a global initiative by Austrian-Australian designer Tanja Beer. The project combines stage design, horticulture and community engagement to create recyclable, biodegradable, edible and biodiverse performance spaces. Part theatre, part garden and part food growing demonstration, The Living Stage engages people from all walks of life in developing a greater understanding and appreciation of the more-than-human world. Since making its debut in Castlemaine (Australia), the concept has travelled to Cardiff (Wales), Glasgow (Scotland), New York (USA), as well as Armidale, Lorne and Melbourne in Australia. At the crux of the project is the notion of community-engaged and place-based design processes to foster equity and togetherness on global-to-local issues. The German Living Stage and costume design will be centred around the creation of an Eco-Opera production of Mozart’s The Magic Flute, entitled The Magic Flute: Upcycled (19th/20th August).

The Eco-Opera will be the 8th Living Stage and the first to be developed in Central Europe. The project will be developed as part of a new public space initiative in Graben-Neudorf from mid-July to late-August (approx. 6 weeks on the ground) with some online meetings prior to this time. This is a low-cost grassroots community initiative, with the locals very much joining in the creation and realisation of the event, alongside professional artists. While it is an unpaid position, all successful applicants will be provided with homestay accommodation for the duration of the project to also assist in facilitating community integration and cross-cultural exchange.

The opportunity would suit students or recent graduates who are interested in engaging in this experience as part of their studies (i.e. Work-Integrated-Learning) or early career development. We are looking for candidates based in Europe or those that are already planning to attend the Prague Quadrennial of Performance Design and Space in June. All Summer Interns will be provided with mentoring support to further their education and development in sustainable theatre production. German language proficiency is an advantage but not mandatory.

To apply for this opportunity, please send the following to tanjabeer.design@gmail.com by the 12th of March 2023:

  • A letter introducing yourself, explaining your interest in the project and area of expertise (i.e., set building, prop making and costume construction)
  • CV/Resume detailing any previous experience, current skills and referees (including one of your teachers or mentors)
  • PDF portfolio or link to portfolio of selected works and/or website/social media page

Successful candidates will be confirmed by April 2023.

Call for Papers – Eco-citizenship, Sustainable Climate, and the Performance Art

Planet, people and practices

Climate action is at the heart of combating climate change because climate change is no longer a travesty. Between 31 October-13 November 2021, world leaders converged at the United Conference of the Parties (COPS26)—the supreme body of the United Nations Framework Convention on Climate Change (UNFCCC), to “revisit and strengthen their 2030 emissions reduction targets, to align with the Paris temperature goal, and to do that by the end of this year”. At this global event, developed countries were urged to scale up climate finance, specifically to double finance for adaptation by 2025. Less than a year after this summit, Hurricane Ida stroke in the United States, and the world continued the gradual shrinking of the River Euphrates and the incessant forest burns, glacier melts, floods and heat waves in various geographical spaces on the African continent. As COPs 27 held in November 2022 in South Sinai, Egypt, environmental activists and scholars know that the agenda would stand on the shoulders of agendas of previous conventions. Resolutions at previous COPS-such as the 1995 Berlin conference, the Kyoto Protocol (1997) and the 2009 Copenhagen Accord, have always fallen short of their capacity to combat the depletion of the environment and create livable cities.

Could this be a result of the overemphasis on capital? The ongoing planetary crises has led to a critique of capital and a call to end the extraction-based economy, particularly from the Global South (Bassey, 2012). The resource-based system and over-reliance on finance continue to create more room to extract rather than build. The argument is that the continuous acquisition of capital is responsible for the complexity of the quest for world leaders to create liveable societies devoid of climate crises. Scholars such as Lisa Woynarski (2020) looked at bio-performativity as a direction toward rethinking man’s relationship with the environment and giving agency to non-human species. John Forster and Brett Clark (2016) analyze the global environmental crises as caused by capitalism, globalization and neoliberal practices and therefore advocate for ecological revolution driven by anti-capitalist methodologies. The contention here is that the focus on capital by climate change stakeholders (Forster and Clark 2012, Moore 2017), such as what holds sway in the COPs, has done little or nothing to create eco-citizens and sustain climate.

The performance art has navigated the space of anti-anthropocentric methodologies, thereby lending credence to adopting less humanistic systems to create eco-citizens, sustainable climate and livable communities. For instance, Downing Cless’ stage adaptation of A Midsummer Night’s Dream (1991), and James Cameron’s film Avatar: The Way of Water (2022) are about embracing anti-capitalist and less-humanistic ideologies to combat climate change. In the same vein, many performing art organizations and advocacy groups are using the creative sector to take action against greenhouse gas emissions, hydro-degradation and sustaining climate. Organizations such as the Guardian of the River and Julie’s Bicycle exemplify this drive for an ecological turn. This recent advocacy for anti-anthropogenic approaches, a shift from humanistic perspectives to biocentric methodologies and practices in narratives within the performing arts, is worth exploring. An investigation of this shift can offer new perspectives in pluriverse way of seeing and relating with the environment (Chaudhuri 1994). Hence, this volume addresses the extent to which the performing art (cinema, theatre, literature, music, sculpture and painting) have become sites of discourse on eco-citizenship, eco-centred philosophy, epistemic and ontic beliefs, and practices.

Abstracts are welcome from within specific disciplines of the performing art, e.g., performance studies, theatre studies, history, literature, cultural studies, visual arts, film, dance, and from across disciplines. Themes in this volume could focus on but not limited to:

  • Decolonizing climate action methodologies
  • Eco-cinema and climate action
  • Theatre and eco-citizenship in the global south
  • The performing arts and climate change
  • Theatre and indigenous climate action
  • Politics of inclusion and exclusion of indigenous people
  • Participation and climate crises
  • Sustainable art practices
  • Eco-scenography and climate actions
  • Climate change and policies
  • Greening the performing art
  • Ecocriticism from page to stage; from page to screen

Send an abstract of 300 words and a 100-word bio to the editors– Dr. Taiwo Afolabi and Stephen Okpadah at sustainableclimatebookproject@gmail.com on/before 30th March.

If accepted, the final papers will be due on 30th September 2023. Contributors are to use the MLA 7th Edition referencing style.

Works cited

  • Bassey, Nnimmo. (2012). To Cook a Continent: Destructive Extraction and the Climate Crisis in Africa. Cape Town: Pambazuka Press.
  • Chaudhuri, Una. (1994). There Must Be a Lot of Fish in that Lake: Toward an Ecological Theatre. Theatre Vol. 25 (1): 1-25.
  • Forster, John, and Clark, Brett. (2016). Marx’s Ecology and the Left. Monthly Review. Vol. 68 (2): 37-52.
  • Moore, Jason. (2017). The Capitalocene, Part I: on the nature and origins of our ecological crisis. The Journal of Peasant Studies. http://dx.doi.org/10.1080/03066150.2016.1235036
  • Woynarski, Lisa. (2020). Ecodramaturgies: Theatre, Performance and Climate Change. Switzerland: Palgrave Macmillan.

Rising: Climate in Crisis Residencies at A Studio in the Woods

Rising: Climate in Crisis Residencies at A Studio in the Woods invites artists to be agents of change in guiding our collective understanding, response, and vision as we shape our shared future. 

Artists play a vital role in facing the climate crisis. We encourage artists to guide our collective response to this challenging issue while bringing wisdom, integrity, optimism, and even humor to intentional projects seeking transformation for our species and our planet. Southeast Louisiana’s land and inhabitants are continually challenged by the effects of environmental degradation. As sea levels and temperatures rise, our landscape acts as a microcosm of the global environment. We look for ways to reimagine our interactions with our shifting urban and natural ecosystems. Rising Residencies provide artists with time, space, funding, and staff support to foster critical thinking in the creation of new works – igniting our imaginations while illuminating our challenges and inspiring solutions.

We are open to artists of all disciplines who have demonstrated an established dialogue with environmental and cultural issues. We ask artists to describe in detail how our unique region will affect their work, propose a public component to their residency, and suggest ways how they will engage with the local community.

Proposals are due April 10, 2023 and residencies will be awarded by June 1, 2023.

Direct questions to Cammie Hill-Prewitt at info@astudiointhewoods.org.

Join us for an online Info Session about applying for Rising Residencies on Wednesday, March 1, 2023 at 12pm central time. Register here.

2022 Info Session recording is available here.


Narratives of Abundance – With Tracey Friesen and Dr. Amir Niroumand

A rich and deeply immersive experience built on fierce hope and a belief in the power of future-visioning to drive the transition toward a more sustainable and resilient post-carbon world. This gathering weaves together the impulses that led to the creation of both Story Money Impact and Abundance Community Farm.

We all need to see and believe in positive examples of social experiments that are pioneering new ways for us to reimagine a better future, living in harmony with the land and each other.

Together we will explore models of collectivity and interdependence that when skillfully framed through artistic practices can motivate people toward action for social change. To amplify these actions, the workshop will strengthen the capacity and network of impact-oriented storytellers and media makers. To achieve this goal, we will bring participants through exercises that range from deep-dive group discussions to practical skills building workshops to somatic experiences, in touch with the powerful land on which Hollyhock rests.

Capacity is limited to ensure an intimate shared journey.


A detailed schedule will be available 1-2 weeks in advance of the program. View sample schedule here.

Terms & Conditions

You may find our terms & conditions here.

Starts with dinner on May 24 
Ends with lunch on May 28
Sample program schedule

LOCATION: Cortes Island 

Generous: $675 CAD 
Standard: $600 CAD 
Reduced: $525 CAD 

Pricing Note: We ask that you reflect deeply and select the tier that is most appropriate for your financial situation. The “Generous” tier will support Hollyhock in continuing to offer meaningful programs and also support your fellow community members who are experiencing financial hardship. 

CAMPUS RATES: Campus rates include accommodations, meals, Hollyhock activities, use of hot tubs and campus facilities (does not include tuition). Click here for details.

SCHOLARSHIPS: Program experiences are enriched by having a multitude of voices and experiences that reflect global plurality. Our scholarship program is one of our key strategies to expand program access to underrepresented and marginalized communities. 

A limited number of scholarships are available per program with awards ranging from partial to full tuition. We encourage applicants from those whose identities intersect with, but are not limited to: Black, Indigenous, People of Colour, 2SLGBTQIA+, people with disabilities, newcomers, youth, and elders. 

Please apply for a scholarship within your program registration form. We ask for a 5% refundable deposit to apply. Contact us directly if you are unable to pay this deposit. 

IMAGE CREDIT: Jan Vozenilek (featured photo)

About the Presenters

Tracey Friesen has over 30 years’ experience in Canada’s cultural sector. In the decade before joining the Canadian Media Producers Association’s BC Branch in 2020, she worked at the David Suzuki Foundation, Roundhouse Radio and Mindset Foundation, plus authored ‘Story Money Impact: Funding Media for Social Change’, which led to the founding of a charitable […]Learn more about Tracey Friesen 

Dr. Amir Niroumand is recognized as a social entrepreneur with a primary interest in utilizing food as a tool for changing cultural values and norms. In 2016, he founded Abundance Community Farm in Agassiz, BC, as a social experiment in creating a community culture that thrives in harmony with nature. The farm operates based on […]Learn more about Dr. Amir Niroumand

Announcing New Podcast Series from the Nordic Alliance of Artists’ Residencies on Climate Action

As the climate crisis accelerates, how can artists’ residencies be testing grounds for new – and better – ways of living and working? A new, 8-part podcast series brings together artists, researchers and activists from across the Nordic region and Scotland to explore this question.

Presented by the Nordic Alliance of Artists’ Residencies on Climate Action (NAARCA), each episode in the series looks at the crisis through the lens of one artists’ residency. In the first episode, we travel deep into the Arctic Circle, to Longyearbyen – home of Artica Svalbard – to hear a conversation between an architect and an anthropologist about how climate change is affecting people’s relationship with their built environment.

The introductory episode of TESTING GROUNDS [was] released on Friday 27th of January 2023, with new episodes available on the last Friday of each month. To subscribe and listen, visit naarca.art/testing-grounds-podcast/ or search for “Testing Grounds” in your favourite podcast app.

TESTING GROUNDS is produced and edited by Katie Revell and includes original music by Loris S. Sarid and artwork by Jagoda Sadowska.

NAARCA is a collaboration between seven artists’ residencies: Cove Park (Scotland), Saari Residence (Finland), Artica Svalbard (Norway), Art Hub Copenhagen (Denmark), Baltic Art Center (Sweden), Skaftfell Art Center (Iceland) and Narsaq International Research Station (Greenland). We are working together to develop, test and communicate new ways of living that are ecologically, socially, mentally and financially sustainable. We believe that artists’ residencies are exceptional institutions within the arts sector: safe environments for experimentation, where private, professional and public life intertwine. Learn more at naarca.art