Archive for the ‘News’ Category

Postponed: Harrison Studio event

May 23, 2017

ecoartscotland is sad to report that The Harrison Studio event at Woodend Barn has had to be postponed.

The Barn’s announcement is as follows, 

“The Dee and Don catchment areas Creating Resilience to Climate Change

The Barn team are extremely sorry to announce that due to the ill health of artist Newton Harrison, we are unable to proceed with our planned discussion event on Sunday 11th June. Newton expects to be able to travel to Scotland in late August or early September, and we look forward to re-arranging a date once the situation is clear.”

Read the full statement here including a document outlining the key issues that are being addressed by the project.

The Harrison Studio at Woodend Barn

May 19, 2017

ecoartscotland is thrilled to be able to share the news that The Harrison Studio will be working in Scotland with Woodend Barn. Apologies for cross-posting.


Barn Harrisons image

Invitation

The Dee and Don catchment areas
Creating Resilience to Climate Change

The Barn, Sunday 11 June 2017
7-9pm. Refreshments from 6.30pm

We are delighted to invite you to an evening of discussion in the company of internationally acclaimed artist Newton Harrison of the Harrison Studio (USA), who, along with partner Helen Mayer Harrison, has championed art & ecology across the globe since the late 1960’s.

ca363a64-6899-46f6-9bf8-e30e521f6a17

The Barn has invited Newton Harrison to visit Aberdeenshire to open a conversation leading to action, involving local agencies and communities in exploring the impacts of climate change on our local environment, centering initially on the catchments of the Dee and Don rivers. Following the Harrisons’ methodology, we hope to create a space where all voices can be heard and practical strategies can be formulated and shared.

This partnership forms the core of the Barn’s Art & Ecology programme for 2017-19, and will engage with environmental agencies, farming, fishing, forestry, government, academia, local communities and, not least, the creative sector.

We very much hope that you would like to be involved in supporting this project from the outset, and are able to join us for this opening event with Newton Harrison at the Barn.

Lorraine Grant, Anne Douglas and Mark Hope

RSVP to mail@thebarnarts.co.uk tel 01330 826520

For further information on the Harrison Studio please visit
http://theharrisonstudio.net/

Banner image: Chris Fremantle. Photograph: Mel Shand

Juliet Wilson reviews Apples and Other Languages by Camilla Nelson

May 13, 2017
apple+rot

Camilla Nelson, The Same Apple (detail) 2014. Photo: Camilla Nelson

Camilla Nelson is a performance poet and a language artist who creates installations and events, with a particular interest in trees, especially apple trees.
Apples and Other Languages grew out of Nelson’s PhD research ‘Reading and Writing with a Tree: Practising Nature Writing as Enquiry’ (2009 – 2012).

The book is divided into three sections. The brief ‘Musical Introduction‘ is largely inspired by Bjork’s Biophilia and is made up of the collection’s most accessible poetry including the arresting, memorable and very musical ‘A Purse of Sky

give me a coin for the slot machine sky, I said
and she gave me the sun
and the polka dancing stars were sequins on night’s black dress

Apples, the second section of the book (written during the poet’s PhD research) and Other Languages (which, according to Nelson’s afterword to the book, ghosts the thinking of the PhD) are made up of more experimental poems that on the face of it can seem daunting, but which repay re-reading. Nelson has a great ear for thought provoking phrases such as, to give a couple of examples:

tinkle-spin-bio-warp yourself weird‘ from Miracle

what is the shape of this leaf-drenched feeling‘ from Reader Write a Response

This is the sort of original language that can genuinely make the reader see and think about things differently. I particularly like ‘a curlew threads its needle song throughout‘ from Laugharne – with its suggestion that curlew song holds the landscape together, something that is coming apart as this bird declines drastically across its range (the UK being one of it’s most important breeding sites).

The layout of the words on the page is always important in this collection, with conventional punctuation being replaced by strategically placed blank spaces that serve to emphasise the relationship between words and by implication the relationship between the poet and the world around her. This is particularly well used in Kynance, a very effective, almost concrete evocation of Kynance Cove in Cornwall, where the spacing of words on the page evokes the vertiginous feel of this spectacular beach. The phrase ‘we walk the sandy gums of giant’s teeth‘ is a very apt and accurate description of the immense free standing rocks on the beach.

In Writing Apple, written after observing how writing marked into an apple altered as the apple decayed, Nelson contemplates the wizened apple and considers her own ageing:

decay’s unrepresentable hard peaks of wrinkled skin … … will I soon become
like this … … my cheeks blush… … brown decay… … what horror

and then moves to a larger contemplation of her interconnectedness with nature (as represented by the apple):

you affecting me affecting you affecting me

This poem also fits neatly in with Nelson’s installation The Same Apple, in which sixteen apples from the same tree were stored to examine how differently they decayed. This piece, along with the artist’s other installations can be seen at www.singingapplepress.com/installation/.

The relationship between the poet and the natural world is threaded through the whole collection and extended into other relationships between the natural world and the human : that between trees and paper and books in Thinking Tree Shapes (‘imprint a page express a tree‘) and that between the patterns found in the growth of lichen and the patterns made by the writing pen in The Lichenous Page (‘these tile tapping keyed up fascinators mark the shape between you and I plant doubt‘). While in (Not Quite) Within Water, Nelson explores the similarities between pond dipping and searching the internet, which made me see both activities in a slightly different light:

and the value incurred in searching …… whilst sitting at its edge …… and finding
that which is hidden … … … or lost … … … …in the deep dark depths
illicit … … … … illegal … … … deep dark web … … and the fear of drowning

The relationships so carefully explored in this collection are vital to today’s world, a world in which fewer and fewer people feel part of nature. It becomes ever more essential that poetry explores and communicates these connections. However experimental poetry reaches only a small audience – relatively few people read poetry and many who do, are not drawn to experimental poetry or may not even be aware of the existence of such poetry. In addition I feel that the urgency of our current perilous ecological situation requires an urgency in the telling, which is to my reading, lacking in these poems, no matter their beauty, no matter how much they repay re-reading. Perhaps we need a discussion about what and who nature poetry is for in these times? Do we choose to talk to other eco-poets alone or do we choose to write something more accessible that might reach the general public and perhaps change their way of thinking? Not that I believe all poetry should be immediately understandable to anyone with a primary school education, nor do I like political rants that pretend to be poetry, but a good hook for the general reader with a passing interest in poetry would be no bad thing.


Juliet Wilson is an adult education tutor, writer. crafter and conservation volunteer based in Edinburgh. She blogs at http://craftygreenpoet.blogspot.com and tweets as @craftygreenpoet.


Apples and Other Languages is published by Knives Forks and Spoons Press and can be ordered from their website.

The Arts as Ally: Earth Day/Month/Year 2017

April 26, 2017

This comes from Julia Levine/artists and climate change blog.

Artists & Climate Change

We are almost four full months into 2017, and already there have been multiple large-scale international public demonstrations, starting most notably with the Women’s March in January. And we’re between two major international marches this week – the March for Science, and the People’s Climate March. In my installment this month, I highlight a particular creative effort for the March for Science, as well as a powerful new documentary from Standing Rock, amidst the unprecedented political situation in the United States.

There is power in the rallies and marches of these past months, in the convening of individuals around shared values. I relish in the humanness – the connections, creativity, compassion. I am also thrilled by the offers of alternatives: public forums to practice alternatives to the oppressive status quo that leaves out and strips the power of people that do not fit the “dominant” type. In these imagined alternatives, there…

View original post 656 more words

Reviewer needed: Apples & Other Languages by Camilla Nelson

April 8, 2017

apples1

We have received a copy of Apples and Other Languages by Camilla Nelson  (published by KFS) and we’re looking for a reviewer.  Please contact Chris Fremantle with examples of your reviewing and a brief bio.  We’d appreciate expressions of interest by 17 April.

A Field of Wheat: Abby Rose’s Perspective

April 6, 2017

img_8966

Following on the previous post about A Field of Wheat we are pleased to highlight Abby Rose’s recent reflection on the project posted to Agricology.

At a local harvest festival, we bagged up the 100kg of flour we had managed to get milled for our own use, and we had every single thing that was added on farm written in the ingredients list on the pack – fungicides, pesticides, fertilizers and all. The visitors and guests who came along were shocked, and so was I really. This was a powerful way to experience directly the realities of producing food, I had shared the risks with the farmer and I had made some decisions that really surprised me. What’s more, Peter saw that he only needed to apply 1/5th the amount of nitrogen and could still get a high quality crop.

Read the rest of the blog here.


%d bloggers like this: