From Yatoo-i newsletter:
Ko, Seung-Hyun, Hur Kang and Jeon, Won-gil (YATOO-i members) and other Korean artists Ryu, Shin-jung(Installation) Yu, Zie-sook (Vedio), musician An, Jung-hee (Gemoongo) participated in ‘Iran Nomadic Residence Program’ supporting Arts Council Korea from 19th 11 to 5th 12. 2011. We joined 12 Iraian Artists and work together in Masouleh in Iran and had an exhibition in artist’s house in Teheran.
There are images of artists projects and exhibition on the Yatoo-i website.
BP is definitely splashing around the cultural sponsorship – there has been press coverage of the £10 million to cultural majors
in London, and now they are also sponsoring the Cultural Olympiad.
Art Not Oil want artworks for an online exhibition. Send them before the end of February.
Declaration of the Occupation of New York, 2011, Rachel Schragis (links to interview)
Artist Rachel Schragis created the Flow Chart of the Declaration of the Occupation. The media keep criticising the occupation movement for not having a clear message. That’s the media’s problem (always wanting to simplify everything, one message). What Schragis has done is capture the complexity of issues underpinning questions of social and environmental justice. She has succeeded in representing unintended consequences. She has mapped the externalities associated with corporate greed. The work below addresses the personal version of these challenges.
My Attempts at Being Green, Rachel Schragis
Heath Bunting explores issues of identity and also uses flow charts and diagrams in his STATUS project.
Image from Tipping Point web site
Tipping Point have announced their next gathering and have an open application procedure for some places for artists and academics.
“TippingPoint, in partnership with Newcastle Institute for Research on Sustainability (NIReS), will be holding a major national gathering of those concerned with the interface between the arts and culture on one hand, and environmental issues, particularly climate change, on the other.
Our aim is to continue and strengthen the vital process of giving the urgent challenges of climate change and sustainability a cultural and artistic voice. This will be a rare opportunity to step outside day-to-day work and engage with innovative peers from across many disciplines, using presentations, panel discussions, group exercises and creative projects. Our ultimate aim is to help stimulate radical and imaginative thinking in wider society, as we all attempt to comprehend, mitigate and prepare for our inevitably changing environment.”
Minnesota Public Radio recently reported that Jackie Brookner is advising and supporting the inhabitants of the City of Fargo in North Dakota on a major ecological art project funded in part by the National Endowment for the Arts. The focus of the project is making use of a drainage basin, built to deal with heavy summer rains, as year round facilities for the community.
image from Jackie Brookner's page on the Women Environmental Artists Directory
There’s an interview with Brookner on the NEA blog and if you prefer listening to reading, you can hear her on the Social Practices Art Network.
In the UK Chris Drury’s Heart of Reeds in Lewes, West Sussex, is probably a comparable project. This constructed environment remediates industrial pollution whilst providing recreational space and managing rain water.
image from Heart of Reeds website
Image from Nature Art Education site
The Shorelines Symposium which took place at Rozelle Maclaurin last week included presentations by two keynotes Ian McGilchrist (author of The Master and his Emissary), Chris Drury (artist) as well as a number of others.
The Symposium was organised in conjunction with Alison Bell and Cathy Treadaway‘s exhibition Shorelines currently at in the Maclaurin Galleries. It was great that a Symposium of this quality took place in Ayr. We need more of this quality of thinking and discussion.
Jan van Boeckel of the Nature – Art – Education research group at Aalto University, School of Art and Design, Helsinki, gave a short paper entitled Angels talking back and new organs of perception: Art making and intentionality in nature experience. His abstract is as follows:
ABSTRACT
This article is about the role of artistic process in connecting to the natural environment. In my research I have explored what participants experienced and learned when they engage in different types of arts-based environmental education (AEE) practices that I have facilitated. The premise of AEE is that efforts to learn about our (natural) environment can effectively take their starting point in an artistic activity, usually conducted in groups.
I found that, on the whole, two major orientations can be distinguished. One starts from the point of aesthetic sensibility: the tuning in with the senses, or with “a new organ of perception” (Goethe), in order to perceive “the more than human” with fresh new eyes. This tradition can be traced back to (but is by no means limited) to the Romantic Movement. Art in this context may help to amplify the receptivity of the senses and strengthen a sense of connectedness to the natural world.
The other major orientation in seeking bridges between nature and art builds on a view of artistic process as leading to unexpected outcomes and “emergent properties.” The fundamentally singular experience of making a work of art may evoke an aesthetic object that becomes a “self-sufficient, spiritually breathing subject” (Kadinsky). The art work can be spontaneously generative and multi-layered with meanings, some of which even ambiguous and paradoxical. But perhaps more importantly: it can catch the participant of an AEE activity by surprise; overwhelm him or her as “coming from behind one’s back.” The element of improvisation, of taking in the new and unanticipated and accommodating for it, is the core quality here.
These two orientations, when practiced as part of AEE, have implications to how we relate to nature through art. In the closing of this article I address the question whether it is possible to bridge the dualism between the two orientations.
New Arts Publication – ’Not if but when: Culture Beyond Oil’
Monday 28 November – Free Word Centre 60 Farringdon Road, London, EC1R 3GA
10.30am – 6.30pm Oil daub performance by Ruppe Koselleck
6.30pm – 9.00pm Culture Beyond Oil Launch Event (refreshments provided)
Platform, Liberate Tate and Art Not Oil warmly invite you to a get together to end oil sponsorship of the arts. Featuring a performance from singer-comedian Mae Martin, contributing artist to the upcoming Tate à Tate audio tour, the evening will be the first opportunity to purchase the freshly stamped limited edition copies of ‘Not if but when: Culture Beyond Oil’.
Background
The Dark Skies/ Biosphere Project aims to explore the role of artists practice in a meaningful promotion of this beautiful area of Galloway, which has attracted both Dark Skies Park Status and is aiming to secure Biosphere status by Spring 2012. Dark Skies Park means it is one of the best places in the world to look at the stars due to low levels of light pollution. Biosphere refers to areas of landscape that have a good ecological balance and sustainability. There has already been much work done working closely with Mathew Dalziel and Louise Scullion (lead artists) to propose a programme of events and commission opportunities.
Residency
This residency is linked to the ongoing programme of artists’ proposals and events in Dark Skies Park/Biosphere. We anticipate that the selected candidate will work closely with Mathew and Louise to develop a promotional art/design edition for this fascinating place.
The residency gives an artist with an interest in science and arts a wonderful opportunity to work with this diverse and fascinating landscape and to be mentored by Scotland’s most distinctive ecological artists.
Who
We seek an artist or designer who is inspired and interested in the scientific aspects and opportunities in Dark Skies and Biosphere and their links to new discoveries in science. The Dark Skies Park has already links with the national astronomical society and other well-informed and exciting scientists and organisations. The selected artist’s interest or curiosity in science will ensure their practice engages with the exciting ecology and links between sky and land.
Artistic Outcome
We would anticipate that the residency would culminate with a workshop to launch the art edition and to discuss the role of artists as integral part of placemaking and their ability to recognize through research and practice the potential of place. Conversely to explore how the place has influenced the artist practice.
Budget: £8000 + European visit, mentoring and a materials budget.
Deadline for Applications: 28th November 2011
To Apply: Please submit a C.V. letter of interest and 5 images of previous work to:
Dr Jan Hogarth
Creative Director
Calside House,
Craigs Rd, Dumfries, DG1 4QJ
Mobile: 07801 232229
Other Wide Open projects:
www.stridingarches.com
www.gretnalandmark.com
Serpentine Pavilion designed by Peter Zumthor, 2011, Photo: Chris Fremantle
The Serpentine are holding a Marathon of Gardens on Saturday 15th and Sunday 16th October featuring a fascinating line up of speakers from Charles Jencks and Dan Pearson through to Mierle Laderman Ukeles and Guiseppe Penone via Fritz Haeg and Brian Eno.
Glengarnock on a road trip, 2004
Wasteland and stalled spaces are important. This new project connects wasteland in different places as well as offering some suggestions for ways to explore those on your doorstep – join in and be twinned with places in Indonesia, Australia, England, Germany, the Netherlands, Malaysia, India (interestingly there are no US or Canadian partners).
Glengarnock (all that's left) 2004
Most of the ideas suggested involve spending time with your own wasteland, making sound recordings, putting up signs, doing surveys, finding sit spots, discovering what’s edible, and then inventing your own responses.
Glengarnock (variations) 2004
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