Archive for the ‘Artists’ Category

Re-posting: Review of Plein Air by Silva Datum Musica on ToneShift

August 21, 2019

…but they have successfully fused sound and vision with natural science to deliver an awesome ear-opener as well.

Read the whole review here… and listen to excerpts here…

via Plein Air by Silva Datum Musica — The Future of music one record at a time

‘We Have More Agency Than We Realize’: Curator Lucia Pietroiusti on How the Art World Can Tackle Climate Change

July 24, 2019

Lucia Pietroiusti, Curator of General Ecology at The Serpentine in London, says,

“The more I spend time with the practice of ecological thinking, the more I realize that one solution or a one-toned approach is just not the answer. I am driven by the fact that it is becoming quite clear now that we are a little bit past the point of any sort of realistic reversal of the effects of climate disaster. Because of that, I am attached to the idea that you need pluralistic voices.”

She goes on to say,

“My great hope would be for every art institution to have an ecology department. It does not necessarily have to be someone like me who talks about plants, but it should be someone who looks at institutional strategy and environment at the same time, at how this institution relates to others, and how it sits within its urban landscape.”

and,

“There is a necessity to open up the disciplines so that we can face giant considerations like climate change. If departments do not collaborate, then everyone is just seeing things through a small keyhole. What would it mean to operate an institution as a permaculture, and less like a monoculture? I am really obsessed with the fact that metaphors are real and that you can move between the metaphoric and the literal in your program. When you do that, that’s when you start to see things differently.”

There are organisations exploring what this means in their own contexts including several significant ones in Scotland, including The Stove in Dumfries, North Light Arts in Dunbar, Creative Carbon Scotland, and there is a bit of a cluster in Aberdeenshire with SSW, Deveron Projects, and The Barn.

The Barn, in working with the pioneering ecological artists, Helen Mayer Harrison (1927-2018) and Newton Harrison (b.1932) to develop a vision for Scotland, On the Deep Wealth of this Nation, Scotland, have raised the stakes for the cultural sector’s involvement with these issues.

Read the whole interview on ArtNet

B. D. Owens reviews ‘Water Makes Us Wet’

March 17, 2019

Water Makes Us Wet: An Ecosexual Adventure, a film by Dr Beth Stephens and Dr Annie Sprinkle which premiered at Documenta 14, defies any easy genre categorisation.

This film about H2O both charmed and surprised me. It is an artwork, a documentary, a sexy and outrageously fun (sometimes turbulent) love story and a valuable multi-layered chronicle of environmentalist activism. It incorporates a vibrant patchwork of film styles including: sweeping aerial landscape shots, experimental video art, animation and relaxed conversational interviews. These are threaded together by narration from the often aggrieved character of ‘their lover, the Earth’ (performed by Dr Sandy Stone, University of Texas). One of the engaging interviews is with the Distinguished Professor Donna Haraway during a visit in her garden.

Later in their Adventure, Stephens and Sprinkle (Annie’s feet clad with rather impractical shoes) are guided through the San Bernardino National Forest by Steve Loe, a retired U.S Forest Service biologist. Together, they battle through thorny bushes, on a steep dusty mountain side in the Strawberry Creek watershed, to witness for themselves the reckless and exploitative water extraction by the Nestlé corporation.

Through the duration of the film, Stephens and Sprinkle have embedded a trail of semiotic code that those ‘in the know’ will be amused to discover. To provoke and tease further curiosity, the film’s content warning declares that it contains “environmental destruction, explicit Ecosexuality and performance art”. In addition to focusing upon their own artwork, they generously platform the performances of several of their Ecosexual artist colleagues including: The Reverend Billy Talen, Dragon Fly (aka Justice Jester), Guillermo Gómez-Peña, Balitronica, Saul Garcia Lopez and Judy Dunaway. You might also spot a cameo appearance by Dr Laura Guy (Newcastle University).

For the initiated, Dr Annie Sprinkle (artist, sexologist, educator, researcher and activist) carries legendary clout from performance artworks and films that she produced in the 1980s & 90s, which includes a collaboration with renowned experimental composer Pauline Oliveros. Annie Sprinkle has shown her works at hundreds of festivals, museums and galleries such as the Guggenheim (NYC) and Glasgow’s Centre of Contemporary Art – during the Bad Girls Season (1994), which was curated by the trail-blazing Nicola White. The epic art, activism and education collaboration between Annie Sprinkle and Beth Stephens (interdisciplinary artist, researcher, activist and professor) began in 2002. Through their longterm partnership they founded the E.A.R.T.H. Lab (Environmental. Art. Research. Theory. Happenings.) based at the University of California Santa Cruz.

Throughout Water Makes Us Wet: An Ecosexual Adventure, Stephens and Sprinkle gradually introduce the viewers to the E.A.R.T.H. Lab’s areas of research in which they are pioneers; ‘Sexecology‘ (which links sex and ecology) and ‘Ecosexuality’ (a previously undefined sexual orientation). In their words,

Ecosexuality [is] an expanded form of sexuality that imagines sex as an ecology that extends beyond the physical body. [… Furthermore] Ecosexuality shifts the metaphor ‘Earth as Mother’ to ‘Earth as Lover’ to create a more reciprocal and empathic relationship with the natural world.

In one film sequence, they ‘anoint’ the ‘E’ of ‘Ecosexual’ into the LGBTQIA ‘alphabet’ during a jubilant ceremony performance in the San Francisco Pride Parade. Although Stephens and Sprinkle live and work in California, they have performed marriage vows to their Earth “lover” in various places in North America and Europe. These exuberant and sincere wedding ceremonies have, on occasions, become socially engaged artworks because the artists have invited others to join them in taking these vows of love and commitment to the Earth. In this way, they have used performance art as a means of radically shifting perspective in order to re-invigorate interest in environmental protection and climate change.

Because California has been ravaged by drought, destructive flash floods and ever-worsening, catastrophic wild fires, Stephens and Sprinkle have seen, first hand, the devastating, unpredictable and extreme effects of climate change. Concerns for the Earth’s wellbeing, moved the filmmakers to take a tour of the watershed, ‘wet spot’, map of California, to learn more about their relationships with the waters of their beloved. They spent intimate time with the Pacific Ocean, immersed themselves in physical union with pristine Big Creek (Big Sur) and shared lamentation with lakes and parched wildlife. On their expedition, they discovered some upsetting truths about pollution and corporate water ‘mining’. Whereas, they were buoyed by the news of intervention methods which clean and recycle water in both domestic and agricultural sectors. Some of their stops included visits with water treatment plant workers, biologists and a party of elephant seals. There were also some sweet and tender moments when they dropped by to see Annie Sprinkle’s family. In this film, there seems to be a greater emphasis upon Annie Sprinkle’s life-long Ecosexual liaisons with water. But, they perhaps made this directorial choice because their first documentary collaboration, Goodbye Gauley Mountain: An Ecosexual Love Story (2014), focuses upon the Earth’s Appalachian Mountain region, where Beth Stephens grew up.

Although Ecosexuality does not seem confined to the LGBTQIAE communities, and appears to extend through and beyond any (and all) sexual orientations and genders, it makes sense that Beth Stephens and Annie Sprinkle are pioneers in this pool. It is not only their own personal life histories that have led them to this place, but also the broader intermingling creative culture, communities and landscapes in which they have lived and loved. What comes to my mind, when listening to the recital of the Ecosexual Manifesto, is that these said “skinny dippers, sun worshipers and star gazers” (among others) populate the Radical Faerie Sanctuaries, the many Queer nude beaches, as well as the diligently sought out ‘secret’ swimming holes, deep in the forests. And those notorious Queercore punks in Olympia, who made a mud wrestling pit in their back garden (circa 1998), were possibly Ecosexuals too.

In some respects, there may be some cross pollination between Sexecology and Process-Relational Philosophy. However, Dr Sara Ahmed’s opening comments in her essay, Orientations: Toward a Queer Phenomenology, may offer more immediate insights:

“If orientation is a matter of how we reside in space, then sexual orientation might also be a matter of residence, of how we inhabit spaces, and who or what we inhabit spaces with.”

But, for those who might be sceptical, it could be argued that the roots of Ecosexual representations are clearly present in Lesbian and Feminist experimental film & video such as Barbara Hammer’s groundbreaking 16mm film Dyketactics (1974) and Shani Mootoo’s video Her Sweetness Lingers (1994). In addition, the literary groundings may have been laid out in the writings of Mary Oliver and Rachel Carson.

Whether they are ‘marrying’ the Earth’s bodies of water in lavish performance ceremonies or playing with sexual innuendo, Stephens and Sprinkle use mischievous humour and absurdity as useful tools to allow respite from heaviness and to enhance audience engagement. Water Makes Us Wet: An Ecosexual Adventure is a film in good company. In my opinion, it is among some of the most memorable and humorous screen-based Feminist performance art, a category in which I include Isabella Rossellini’s Green Porno series (2008-2009). In a series that plausibly falls into Ecosexual territory, Rossellini has also demonstrated that absurd humour in performance art can be a remarkably effective tool for education.

Water Makes Us Wet: An Ecosexual Adventure is aimed at, and has the potential to reach, a wide variety of publics. Even though there are ongoing intimate discussions, mild nudity and displays of Ecosexual affection throughout the duration of this ‘Adventure’, there is a surprising ambiance of innocence and a refreshing lack of cynicism. It will likely draw the interest of: Environmentalists, Artists, Art Academics, Intersectional Feminists, Wild Swimmers, members of the LGBTQIE communities, Geography students and perhaps Process-Relational thinkers. As a consequence, it would add much to programmes in: film societies, art galleries, museums and university class rooms. There may be some who will claim that this film does not delve down far enough into some of the topics that it covers. However, it could be seen as an access point to deeper discussions about climate change, pollution, the Anthropocene, settler colonialism, Indigenous Water Protectors, sexual orientations and socially engaged/activist art practice. And, perhaps it could be a primer for films such as This Changes Everything (2015) and Water on the Table (2010) which provide more in-depth analysis of multinational corporate control of water and the impacts of capitalism upon climate change.

But, there are some things that have been lingering in my mind. I have been reminiscing about what might constitute my own Ecosexual journey: Skinny dipping after sundown, our bodies tracing phosphorescent trails in the dark waters of English Bay. Night sky gazing, transfixed by the Perseid meteor shower, warm beach-sand at my back. And, scaling majestic snowy Seymour in the brilliant Spring sunshine, with a romantic Radical Faerie. For those who are feeling crushed by impending climate doom, I feel that there is something unusually hopeful and powerful that Water Makes Us Wet: An Ecosexual Adventure offers the viewers. Near the end of the film, Katie Alderman (E.A.R.TH. Lab intern) attests that, for her, Ecosexuality is about “fighting the despair [of climate change] with joy”.

Water Makes Us Wet: An Ecosexual Adventure had its New York premier at MoMA in February 2019. It is distributed by Juno Films.

Upcoming screenings include BFI Flare 2019 in London (March 23rd & 25th), where there will be Q & A with the directors.

Revisions

15 March 2019 17.45 Link to Bad Girls Season updated.
17 March Nicola White is now trail-blazing

How can Scotland adapt to the #climatecrisis? Exhibition and Talk

March 9, 2019
Newton Harrison, 2018, On The Deep Wealth of this Nation, Scotland (detail)

EXHIBITION (TALK below):
NEWTON HARRISON: ON THE DEEP WEALTH OF THIS NATION, SCOTLAND
Tuesday 12 March – Thursday 28 March @ 12pm – 4pm
Free entry – Closed Sundays and Monday

Join us at the Barn during Climate Week North East 2019 this March where we are delighted to welcome back the exhibition by Newton Harrison, On The Deep Wealth Of This Nation, Scotland.

The exhibition comprises a series of maps that develop a climate change vision for Scotland based on the principles of the commons we share in the form of air, soil, forestry and water.  Harrison also proposes a fifth ‘commons of mind’ reflecting the challenge of arriving at commonly agreed action to address the implications of climate change.

On The Deep Wealth of this Nation, Scotland has toured:

9 March 2018, The Barn, First Six Maps exhibited with discussion

14 March 2018, Edinburgh Centre for Carbon Innovation, Natural Flood Management Conference (SEPA/Environment Agency/ CIWEM)

12-25 September, 2018 The Barn, Full Exhibition.
14 September, The Barn, Discussion with Newton Harrison and a traditional Scottish Ceilidh

17 – 28 September 2018, Andrew Grant Gallery, ECA, Edinburgh
20 September: Presentation and discussion with Newton Harrison, Edinburgh College of Art

3 October 2018, Our Dynamic Earth, Exhibition for 41st T. B. Macauley Lecture

17 November 2018-10 March 2019, Taipei Biennial,
Post-Nature – A Museum as an Ecosystem

15 December 2018-12 January 2019, St Margarets, Braemar

For more information: Simone Steward programming@thebarnarts.co.uk

Newton Harrison, 2018, On The Deep Wealth of this Nation, Scotland
(installed Taipei Biennial)

TALK:
CONNECTIONS AND CONVERSATIONS –
THE WORK OF NEWTON HARRISON AND JOHN NEWLING
Thursday 21 March 6.30pm @ The Barn, Banchory

Join Professor Emeritus Anne Douglas and Chris Fremantle, founder of ecoartscotland, leading academics and thinkers in the field of arts and ecology, and other guests to discuss pertinent issues around declining biodiversity and climate change and to consider how artists and others respond to our ever-changing world.The event will be anchored around the work of two internationally renowned figures of arts and ecology; California-based artist Newton Harrison and British artist John Newling.

This will be a very special event where individuals can have an intimate experience with thought-provoking works and explore through discussion, different layers of references and questions that stimulate longer contemplation.

ecoartscotland has recently published a piece on Climate Change Adaptation which references the On The Deep Wealth of this Nation, Scotland.

On The Deep Wealth of this Nation, Scotland, which focuses on Soil, Water, Forestry, Air and the Commons of Mind, can be found here and more on the work with The Barn here.

John Newling’s work with The Barn can be found here

The work has been supported by SEFARI, the network of Scottish Environment, Food and Agriculture Research Institutes, and The Barn is supported by Creative Scotland and Aberdeenshire Council.

From Climate Cultures: Paul Michael Henry on UNFIX

February 28, 2019
UNFIX 2019
Image: Henrik Knudsen © 2019

From Climate Cultures: Paul Michael Henry, artist and artistic director of UNFIX, writes about UNFIX 2019 in Glasgow (29-31 March).

“… People keep mis-labelling it ‘Unfixed’ or ‘The Unfix’ but it’s UNFIX: a command form. A verb and activity.

A loosening, disburdening, freeing-up. Anti-fatalistic, with the assumption that it doesn’t have to be like this. I experience climate change as a terrible affirmation: we cannot treat each other, ourselves and our surroundings this way. We can’t walk around with these egos functioning the way they do, and live.”

Read the rest of the blog.

ecoartscotland has commissioned Christiana Bissett to report from the Festival. More to follow.

Agriculture and aquaculture, but no culture

February 20, 2019
Newton Harrison, The Deep Wealth of this Nation, Scotland (2018). Detail: one of ten panels.

The Scottish Government recently published Climate Ready Scotland: Scottish Climate Change Adaptation Programme 2019-2024 A Consultation Draft – the consultation is open through 9th April 2019.

The focus of this work is on adaptation rather than mitigation.

As Ben Twist of Creative Carbon Scotland explained, mitigation is carbon reduction. Adaptation is about responding to the impacts of climate change: how do we change what we do and how we do it to deal with the changes and uncertainties of global warming? There are practical changes and behavioural changes. Some ‘adaptation’ measures ensure that infrastructure (eg energy and transport) can cope, and other actions are encouraging significant changes to farming practices. Community action is an important aspect too. Given this range it is surprising that culture only features as an aspect of heritage, and the arts don’t feature at all.

The survey is pretty specifically geared around professionals already directly involved in adaptation work engaging with technical questions of programme design. It might be more effective for people from culture and the arts to write letters outlining our role, giving specific examples of relevant work – projects and ways of working. There is an email address climatechangeadaptation@gov.scot.

ecoartscotland has regularly highlighted artists’ and organisations’ work on climate change, or as Helen Mayer Harrison (1927-2018) and Newton Harrison (b. 1932) conceptualised it, ‘The Force Majeure’.

Like an oncoming storm front, the Force Majeure is a fluid frontier; a frontier of heat moving across the planet; a frontier of water advancing on lands; a frontier of extinctions touching all lives. It is a frontier from which we retreat, yet within which we must also adapt.

Center for the Study of the Force Majeure website

The consultation document opens with the following statement from Roseanna Cunningham, Cabinet Secretary for Environment, Climate Change and Land Reform,

Adapting to the changing climate will both help to create a better society for everyone who lives here and unlock Scotland’s immense potential as a nation.

Climate Ready Scotland

It goes on to say,

I want the second Adaptation Programme to deliver a step change in collaboration, and emphasise the wider co-benefits of climate action.

In an essay a few years ago the Harrisons said,

We hold that every place is telling the story of its own becoming, which is another way of saying that it is continually creating its own history and we join that conversation of place.

‘Knotted ropes, rings, lattices and lace: Retrofitting biodiversity into the cultural landscape?’ in Barthlott, Wilhelm and Matthias Winiger, eds., Biodiversity: A Challenge for Development Research and Policy. Berlin, Heidelberg, New York: Springer-Verlag, p. 14.

Working with The Barn in Aberdeenshire, Newton Harrison and his colleagues from The Center for the Study of the Force Majeure have been developing The Deep Wealth of this Nation, Scotland, a vision which specifically sets out to imagine Scotland as the first industrialised nation to put back more into the web of life than it takes out. The vision focuses on farming, agriculture and aquaculture (in particular lagoons), and frames these within a ‘Commons of Mind’ – the need for recognition of the prima facie need to adapt in the face of the Force Majeure.

The Barn invited the Harrisons and the Center for the Study of the Force Majeure to Aberdeenshire because of the floods along the river Dee in 2016 caused by Storm Frank. The resulting discussions with the James Hutton Institute and Scottish Rural University Colleges, supported by SEFARI funding, highlighted holistic approaches addressing the settlement, the watershed and the nation. Connections have been drawn to work in other small nations including Sweden and Taiwan and the work has been exhibited in Scotland and in the Taipei Biennial.

The Cabinet Secretary’s ambitions for the Adaptation Programme to produce ‘a more just society’ are critical. The problem is that the Programme does not address the fundamental reimagining required for humans to give back more to the web of life than we take out.

For instance, the Consultation document says of ‘Climate Change Adaptation Behaviours’,

This is where individuals and organisations change their behaviour to help increase their resilience to, and reduce the severity of, negative consequences of climate change.

Climate Ready Scotland

What is missing is actively strengthening the web of life by choosing to, for instance, grow biodiversity, not just in fragments, but comprehensively. So in changing farming it is not enough to simply plant a few more trees and allow for spreading of waters if that doesn’t tackle the ‘agricultural extinction’ that is monocultural farming. Intelligently greening settlements needs to achieve massively greater and connected (not fragmented) biodiversity, which in turn might provide human benefits in terms of edible landscapes (see for example the work of Dundee Urban Orchard and Loughborough University’s Eat Your Campus – both of which are artist-led) and more engaged, interconnected communities while at the same time reducing the impact of heatwaves on urban environments. The Deep Wealth calls for holistic thinking that puts the web of life first.

Co-incidentally there is a piece in Arts Professional from Judith Knight, quoting Amitav Ghosh’s book The Great Derangement,

“When future generations look back upon the Great Derangement, they will certainly blame the leaders and politicians of this time for their failure to address the climate crisis. But they may well hold artists and writers to be equally culpable – for the imagining of possibilities is not, after all, the job of politicians and bureaucrats.”

(p. )

The Harrisons provide a compelling vision for a different way of living, focused by the need to adapt to The Force Majeure.

There are a number of projects across Scotland which specifically address adaptation, in addition to The Deep Wealth. The Stove’s We Live With Water raises questions about how to live with regular flooding, questioning conventional flood defence approaches. Matt Baker described it as,

…an alternative approach and try to imagine a future where increased rainfall, sea-levels and river surges would be seen as an opportunity. We tried to imagine Dumfries as River Town…. a place that embraced its environment… a place that Lives With Water.

The Stove website

Cooking Sections’ ongoing project Climavore, which was developed in collaboration with Atlas Arts on Skye specifically addresses ‘eating as climate changes’. They say,

“It sets out to envision seasons of food production and consumption that react to man-induced climatic events and landscape alterations.”

Climavore website

Projects in other places such as Eve Mosher’s High Water Line in New York City, featured in Creative Carbon Scotland’s Library of Creative Sustainability, draw attention to the impact of storm surges which will become more frequent as global warming accelerates.

Community Energy focused initiatives including Land Art Generator Glasgow go beyond simple mitigation (carbon reduction) to envisage community owned energy production and local grids for urban contexts.

Arts projects which address climate change, whatever the focus, almost always involve collaboration with scientists and engineers and engage with communities – interdisciplinary and participatory. A recent paper, ‘Raising the Temperature’: The arts in a warming planet (Galafassi et al 2017 Current Opinion in Environmental Sustainability, 31:71–79) highlights that art addressing climate change has grown nearly 20-fold over the ten years they reviewed.

Creative Carbon Scotland’s continuing programme of Green Tease events builds networks, and its new Creative Europe funded Cultural Adaptations project brings artists into working with Sustainability and Adaptation focused organisations.

Even the Scottish Government’s Scottish Energy Strategy: The future of energy in Scotland (2017) says,

We will explore, through the development of a Culture Strategy for Scotland, ways that Scotland’s culture sectors and creative industries can help communities imagine a green future, and to help us all adapt to the changes and opportunities.

(p. 13)

So why does the Adaptation Programme talk about agriculture and aquaculture, but not culture or culture change? Where are the arts? The word culture literally doesn’t appear… (The Heritage sector is significantly represented and is a key stakeholder in the Adaptation Programme.)

It’s a consultation – submit your work and experience – tell them what you do and who it connects with – email it to them at climatechangeadaptation@gov.scot. Tweet it tagging @ecoartscotland and @CultureAdapts and also @ScotGovClimate


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