Jumping Rope With the Wind

This post comes from the Artists and Climate Change Blog

Our Renewable Energy Artworks series continues this month with an introduction to the prolific Dutch artist/architect/innovator Daan Roosegaarde, a self-described “futurist-focused-on-the-present” and founder of Studio Roosegaarde based in Rotterdam, with a new satellite “pop-up” studio in Shanghai.

It’s hard to keep up with Daan Roosegaarde, the internationally acclaimed visionary creative change-maker whose nature-driven social design lab, Studio Roosegaarde, functions as an interactive incubator to create site-specific installations exploring the dynamic relation between people, technology and space.

Fresh on the heels of his TED2017 lecture last month in Vancouver, Roosegaarde just won yet another international award, this time for his mind-bending Windlicht (Wind Light) project, eloquently described by one spectator as “jumping rope with the wind” in the video below:

Inspired by the UNESCO World Heritage Site of Kinderdijk, one of the Netherlands’ most popular tourist attractions where 19 windmills were built between 1738 and 1740 to help manage water levels, Windlicht celebrates the invisible beauty of clean energy while creating a “missing link between the Dutch and the beauty of our new landscape.”

According to Slate, Roosegaarde worked with a team of designers and engineers to create special software and tracking technology to detect the movement of wind turbine blades rotating at 280 kilometres per hour (174 mph). He visually connected the turbines in the evening sky using a series of dancing green laser beams whose movement was choreographed into what Roosegaarde calls “a dynamic play of light and movement.”

wind, energy, renewable, daan, roosegaarde, laser

The first Windlicht light show was visible over four nights in March 2016 at the Eneco wind farm at St. Annaland in Zeeland. Future international Windlicht sites are planned and will be announced on Studio Roosegaarde’s website and social media.

I first started following Roosegaarde back in 2014, when his gorgeous solar-powered, glow-in-the-dark Van Gogh-Roosegaarde bike path opened in Nuenen, NL, to international acclaim.

Inspired by Van Gogh’s 1889 painting The Starry Night, this 600-metre stretch along the 335-km-long Van Gogh cycle route contains 50,000 pebbles coated in a phosphorescent paint and solar-powered LEDs, both of which collect solar energy by day and illuminate by night. The swirling patterns provide cyclists enough visibility after dusk, with minimal intrusion on local animal habitat. By incorporating lighting directly into the surface of the bicycle path, additional street lighting is unnecessary.

In a must-read in-depth feature on Roosegaarde published last month in Wired, Yves Béhar, the San Francisco-based entrepreneur and founder of design firm fuseproject said: “Designers can choreograph the world to make a statement or tell a story. The air, the wind, and the Earth are Roosegaarde’s canvas.”

Roosegaarde’s bike path project has already inspired the construction of a similar bike path using slightly different solar-sensitive materials in Poland, as shown below:

Poland, Roosegaard, solar, bike path, Van Gogh

It is just a matter of time before more photoluminescent cycle paths appear in countries across the world. Studio Roosegaarde has already received enquires from Dubai, China and Turkey. This innovative project is part of a larger smart roads project in collaboration with Heijmans to create safer, more efficient roads using solar energy. I will write more about this important project in a future post, right here on Artists & Climate Change’s Renewable Energy Artworks monthly series.

 About Artists and Climate Change:

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

Crowdfunding Campaign for Paris Based Sustainable Arts Space: Recup Paris


Recover, revive and repeat for creative urban development.

Urban development and regeneration is having a bright moment in Paris thanks to the development of Recup Paris. Turning derelict spaces in an old, disused military fort into a creative hub, Recup Paris is creating the bridge between art and sustainability. Recup Paris is a workshop and event space based at Fort d’Aubervilliers, an old military fortress located just outside Paris. Forgotten and ignored by mostfor the better half of a century, the historic site is a vast and mysterious wonderland of urbex discovery and it feels like being in another world entirely. In the spaces at the Fort, art is created by them and others, public events are hosted and ‘Fort experiences’ are organised to allow others to experience this place themselves.


“We believe that culture, creativity and the arts are capable of influencing our futures and help us imagine new and alternative responses to some of the world’s most pressing problems. We are inspired by how in cities like Amsterdam, Berlin, London and New York where disused areas have been revived and become hotspots for culture and creativity. Paris is the city of the arts and has an extremely rich cultural sector, yet the city is facing its own particular challenges, particularly in terms of rebuilding communities and urban regeneration. There is a real need in Paris for this at the moment,” say co-founders Dom Tappy and Thomas Winkel.

They have now launched a crowdfunding campaign to take their activities to the next level. The funding will allow them to expand the team, to finish the revival of a bordering (event) space, to upgrade the technical and safety features of the spaces, to acquire new tools and materials and to keep growing the community. Their ambition is to transform Fort d’ Aubervilliers further into a breeding-ground for artists, creatives, local businesses and to share this special place with the people of Aubervilliers, Paris and beyond.

Until December 17th, you can support Recup Paris in return for some exclusive art rewards and unique experiences at the Fort.

Campaign page:

For additional information about Recup Paris please visit their website ( and follow them on Facebook, Twitter, and Instagram.

About Recup Paris
Recup Paris was founded in 2016 by Dom Tappy and Thomas Winkel. Tappy and Winkel have previously worked as intermediaries and advisors to governments, NGO’s and businesses. They have assisted in the development and implementation of sustainability strategies
now, all of their shared experience, along with plenty of blood, sweat and passion, is being put into the development of Recup Paris. Over the last six months, Tappy and Winkel have redeveloped the spaces, using almost exclusively abandoned materials they found on-site.

beyond earth art: contemporary artists and the environment

This post comes to you from Cultura21


Herbert F. Johnson Museum of Art at Cornell University – January 25–June 8, 2014

The Herbert F. Johnson Museum of Art at Cornell University presents beyond earth art: contemporary artists and the environment, on view now through June 8, comprising separate installations and exhibitions throughout the museum. The project was curated by Andrea Inselmann, curator of modern and contemporary art & photography at the Johnson Museum.

Artist talks and symposium: April 10–11

Herbert F. Johnson Museum of Art
Cornell University
Ithaca, NY 14853
Hours: Tuesdays–Sundays 10am–5pm

On Thursday, April 10 at 5:15pm in Milstein Hall Auditorium, Maya Lin will discuss her work, including her recent sculptures and the installation Empty Room, on view in beyond earth art. Lucy Orta will give a gallery talk during the subsequentreception at the Johnson, from 6:30 to 7:30pm.

On Friday, April 11, the Johnson will host a daylong beyond earth art symposium funded by Cornell’s Atkinson Forum in American Studies Program, with presentations by Suzaan Boettger, art historian/critic; William L. Fox, director of the Center for Art + Environment, Nevada Museum of Art; Amy Lipton, co-director of ecoartspace; and artists Christian Houge and Lucy Orta. Registration is free but seating is limited; email (eas8 [at] cornell [dot] edu) or call +1 607 254 4642 to reserve a space by April 4.

In 1969 the legendary Earth Art exhibition took place at Cornell. Curated by Willoughby Sharp (1936–2008), site-specific installations by a number of international artists were scattered around campus and the surrounding Ithaca area. The commissioned pieces sought to eschew the commodity status of the art object and to question the role of institutions. The dissolution of boundaries in art—between object and context, different mediums, and the work of art and its documentation—was a hallmark of the time, reflecting 1960s counterculture more broadly. It is at this intersection—where art meets life and art becomes activism—that the influence of the 1960s earth artists has had the most significant impact on a current generation of artists working on issues related to ecology.

“The installations and exhibitions included in beyond earth art operate in the gap between the objectivity of scientific data and the subjectivity of creative expression, signaling the interconnectedness of themes that address issues related to the representation of landscape, water supply, food justice, recycling, fair distribution of natural resources, and the nature/culture divide,” said curator Andrea Inselmann.

The exhibition Food-Water-Life/Lucy+Jorge Orta, curated by c2 | curatorsquared and organized by the Tufts University Art Gallery, is on view as part of the beyond earth art project. The first comprehensive exhibition of work by Lucy + Jorge Orta in the United States, their sculptures, drawings, installations, and video explore major concerns that define this century—biodiversity, environmental conditions, climate change, and exchange among peoples.

Materials related to the 1969 Earth Art exhibition are on view alongside works from the Johnson’s collection by some of the Earth Art artists and others working in a similar mode in the 1970s and ’80s. The Johnson has made the complete 1969 exhibition catalogue, long out of print, available online at

Herbert F. Johnson Museum of Art

The Johnson Museum has a permanent collection of more than 35,000 works of art from Africa, Asia, Europe, and North and South America. The museum building was designed by I. M. Pei and opened in 1973, funded by Cornell alumnus Herbert F. Johnson, late president and chairman of S C Johnson.


Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

– Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)

– Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)

– Hans Dieleman (based in Mexico-City, Mexico)

– Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21

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CALL FOR SUBMISSIONS: Database of Eco Public Art


The Curating Cities Database maps the increasingly important and emerging field of eco-sustainable public art. It is developed as a resource for researchers, academics, artists, curators, educators, commissioning agencies and sponsors working in the field as well as those interested in promoting sustainability via public art. In addition to descriptive information, the database evaluates the aims and outcomes of each project as well as the external constraints (and subsequent negotiations) that influence the production of public artworks.


Jill Bennett, Felicity Fenner, Lindsay Kelly and Veronica Tello. Sustainability Consultant: Jodi Newcombe.


T.J Demos (University College London); Ian Garrett (York University/Director, Center for Sustainable Practice); Natalie Jeremijenko (New York University/Director of Environmental Health Clinic); Sacha Kagan (Leuphana University Lüneburg/Founder of Cultura21, Network for Cultures of Sustainability and the International Summer School of Arts and Sciences for Sustainability in Social Transformation); Adrian Parr (University of Cincinnati).

We invite submissions from curators, researchers, academics and creative practitioners.


Our intention is to develop a resource that will be of value to all those interested in public art, including specialists and the broader community. The database entries are concise but designed to go beyond the short profiles readily available on other sites. To that end, we have developed a template and guidelines designed to elicit key information regarding the sustainability (as conceived within the particular project), legacy, engagement and circumstances of an artwork’s production. Recognising that public art is not always well served by bureaucracies, entries may also record useful information on external constraints and how these were negotiated.


We are looking to achieve expansive coverage and are open to suggestions for inclusion (geographic remit is global). Generally, we interpret public art as a creative art form produced for non-gallery contexts (exceptionally, it may include gallery exhibitions with an explicit external engagement focus). We define “eco-sustainability” to signify an evident interest in ecological, sustainable and/or environmental concerns. It is not our intent to ‘police’ the definition of eco-sustainable public art: we are keen to include work that challenges definitions and expectations. As a general indication, we are interested in substantial work that actively engages with its environmental context (rather than in work that merely represents or symbolises an environmental concern).


Submissions are peer-reviewed. Each submission should focus on a particular public art project, which must be proposed to the Editorial Committee in advance. Contributors are welcome to profile their own work, either by evaluating their own project or by referencing a larger study or thesis written by them on the same subject. We also invite academics that research and teach in this area to encourage student submissions. We are happy for the template to be used for course assessment exercises and can confer with lecturers regarding the process by which a batch of entries from a class can be peer reviewed/considered for inclusion in the database.

For the template and sustainable evaluation framework and to discuss a potential submission please email