Posts Tagged ‘Nuclear’

Holly Keasey: Reflecting on Water Rights Residency

February 15, 2018

This is the final blog from Holly Keasey written in October some months after her return from Santa Fe. Holly reflects on her apparent diversion from her intentional misunderstanding of the ‘rights’ in Water Rights to be equivalent to the ‘rights’ in Human Rights. The delay in publishing it is entirely the responsibility of the ecoartscotland editor.


We have come a long way. But we still have a long way to go. There is still today a frontier that remains unconquered — an America unclaimed. This is the great, the nationwide frontier of insecurity, of human want and fear.

President Roosevelt, radio address on the Third Anniversary of the Social Security Act, 1938


Taken at the Bradbury Museum, Los Alamos.


It has been over three month since I left Santa Fe and a month since my first attempt, to write this final post – an attempt that hammers home the difference of focused residency periods and trying to creatively think in between paid employment. To try and find my way back into the particular space I created for myself whilst at the Santa Fe Art Institute (SFAI), I turned my attention to questioning why – when I set out to investigate how to establish a role for critical public art practices, and what shifts in public arts policy are necessary to facilitate such practices by focusing on the role of policy and particularly water rights – did I end up spending the majority of my time in New Mexico conducting an ‘Atomic Tour’. Is there a reasoning to this shift or did I get distracted?

Whilst in New Mexico, I had the pleasure of meeting Sherri Brueggemann, the Albuquerque Public Arts Officer, who explained that the Albuquerque Public Arts Policy, though drafted as an adaptive policy, is predominantly dictated by a requirement of acquisition by the Albuquerque City Council. In short, the commissioning of object-based art that therefore has a long-term economic value and can be seen as a physical addition to their public art collection. For me, this legally stated requirement, and simultaneous reduction of public art to the manifestation of an monetarily-valued object, presents a clear link to a mind-set that is embedded in property.

As has been reiterated in a previous post, water rights are also directly linked to property, and hence property rights, in that they are focused on a possession-to-use/entitlement-to-ownership ethos. Yet, due to an on-going interest in the expansive role of water, I was interested in how this could be swung into a relation with human rights ( the “rights” inherent in being human, to do or to have simply because they are human) through a simple play-on, or rather, intentional (mis)interpretation of language. What is water allowed to be, to do and to have simply because it is water? And how could such an ethos be applied to all living beings and elements of the Earth? And what effect would this have on humanity’s current resource-focused trajectory if we were to accept and take on board such rights? This led me to consider if non-specialists in policy could misinterpret a policy – or rather interpret it differently whilst legitimising their reasoning for this interpretation of language. Is there a potential to give and in giving policy multifaceted meanings?

To understand the potential of this shift (or strategy of misinterpretation), I chose to conduct site-responsive re-search into the role of water and property rights in New Mexico, which in turn led me to be ‘willingly lost’ in the history of the nuclear as a significant specificity to New Mexico’s history. An inescapable element of my ‘Atomic Tour’ was the development of nuclear weapons and a need to understand what drove such an invention, its use and continued use as a method for ensuring maintained peace – a peace facilitated by threat and fear.

Target You – 1950’s Educational Film – S88TV1. Screened at the Museum of Nuclear Science and History, Albuquerque.

The construction of ‘property’ and it’s relationship with fear also led me to the ‘Atomic Tour’. In 1900, over 12,000 Japanese citizens immigrated to the U.S. mainland, many just released from indentured labor with Hawaii’s 1898 annexation. California became a focal area for settling and farming a key economic foundation for the Japanese population. However, the sudden increases in Japanese immigration spurred the spreading of the xenophobic theory of the ‘Yellow Peril’, with some fearing that the Japanese were attempting to overtake white control of California’s farmland. This resulted in the implementation of The California Alien Land Laws of 1913 and 1920, that prohibited “aliens ineligible for citizenship” from owning agricultural land or possessing leases over it or owning of stock in companies that acquired such land.

Although only one early action in an extensive web of global imperialist territorial power struggles, trade route deals and resource embargoes that ultimately led to the attack on Pearl Harbour and the nuclear bombings of Hiroshima and Nagasaki on August 6 and 9, 1945 respectively – the California Alien Land Law, for me, epitomises the driving relations in a number of dimensions. The Act highlights the role of policy in the formation and maintenance of a static national identity as a meditation on the significance of land as property. Finally it makes clear the invisible violence located in such policy-making that is implicitly driven by a fear of the ‘other’ or how I would term a fear of the uncontrollable potential located in difference.

Psychological Operations leaflet. Image taken at the Bradbury Museum, Los Alamos.

Psychological Operations leaflet. Image taken at the Bradbury Museum, Los Alamos.

Nicolas Bromley writes that, ‘…force and violence are the nemesis of property and their frequent use is a signal that a property regime is faltering…’ and yet that, ‘…law requires the construction of a constituted outside with reference to, and against which, it sets itself apart. And violence is integral to its construction.’ The development, imagined-threat, use and now threat-as-use of the nuclear bomb, therefore could be seen as the site where literal and imaginings of the extremes of globalised property as an individual right, and therefore the fear such a notion requires and perpetuates, are given location.

From such a large-scale look at property, I return to looking further at the current implications of gentrification in which the antithesis to property is embodied by the indigent, the homeless and the renter,

‘…the poor are, if anything, imagined as a threat to property, not only because of their assumed complicity in property crime but also because, by their presence, they destabilize property values, both economically and culturally.’

It is in this act, of identifying ‘threats’ and establishing a legal policy of property rights to ensure security, that simultaneously identifies a feared ‘other’ that must always sit out-with a law in order to maintain the need for a law, that I feel there is a use in noticing a scalable relation between gentrification and the emotional underpinning of the nuclear. Yes, gentrification is embedded in a capital-based power system that thrives on establishing replicable exclusivity and social divides, but in order to dream of an alternative, maybe there is use in investigating how we approach and deal with that which we fear, especially in relation to difference and our prioritised entitlement to survival which currently manifests as possession-to-use.

From the above approach, I wish to move from property back to water, and water rights. In a previous post, I spoke of the Santa Fe River as a site of complexity. Site as verb – the act of giving location. This understanding of the river, and water more generally, does not so easily allow a single concept of rights as the regulation of distributing powers to control valued resources.

I wonder if it is here that I am also able to locate a site to develop potential towards ecological-sensitivity in developing multi-faceted interpretations of policy, through a focus on water rights? A form of policy that is shaped through giving location to difference and hence not responding to fear as something to be excluded, but rather an emotion we must learn to sit with until difference itself, rather than specifically that which is identified as different, unknowingly shifts to the familiar. Could the formation of such an idea be developed by reflecting on my own process of overcoming the fear of feeling out-of-place, due to constant travelling? By allowing myself to get lost and over-time become familiar and give-site to my fear through a relational and scalar approach to the fear embedded in the nuclear? And how could the development of a critical public artwork that focuses on policy, gentrification and property act as a generative challenge to legal regulations that stipulate that Public Art practices must result in an acquisition, either as an object or even as Culture for the purpose of increasing capital-attractiveness of an area?

I will continue to develop this as part of my body of work that considers Water Sensitive Urban Design (WSUD) as a theoretical modelling system for alternative forms of urban planning and where my practice, that focuses on water as a tool to criss-cross theory and ecological concerns, could be situated within such a model as a challenge for critical formations of public art practice.

Holly Keasey and Anna Macleod: An Atomic Journey

March 26, 2017

“We tour the disparate surfaces of everyday life as a way of involving ourselves in them, as a way of reintegrating a fragmented world” – Alexander Wilson (1991)

As international residents at SFAI, Holly and fellow resident Anna Macleod, have conducted their ‘Atomic Journey’ together through New Mexico including trips to The National Museum of Nuclear Science and History, the Red Water Pond Road Community Association (RWPRCA), the roundhouse for Uranium Workers Day and the Los Alamos National Laboratory. A journey which has drawn out questions around activation within the act of witnessing, and whether visiting artists are complicit in a contemporary act of exploitation – extracting what they need and then leaving.

Anna’s initial proposal to SFAI was to research community resilience in the face of climate change uncertainty as the next addition to her series of projects known as Water Conversations. These projects explore the complex interstices between landscape, technology, science, culture and geopolitics through the emotive global context of water. In recent years, these projects have included an investigation into the legacy of mining and wastewater in a variety of global contexts. The scarred and poisoned landscapes that Anna has journeyed through are often admired as places of pristine wilderness. Yet hidden deep within these landscapes are many unresolved negative emotions stirred by the socio-economic traumas these landscapes have endured. Typically, ‘Water Conversations’ accumulate into the production of portable sculptures that then act as focal points for community gatherings, where thoughts and emotions can be expressed in the safety of a shared collective action.

During the SFAI Water Right’s Round Table, Susan Gordon of the Multicultural Alliance for a Safe Environment presented an oil and gas map which initiated an urgency to dig deeper into the history of uranium mining and nuclear exploration within New Mexico.


The majority of uranium mined in New Mexico is found in the Grants mineral belt, the second largest uranium deposit in the United States. Looking at a map of New Mexico, layered with information on the extractive industries dotted throughout the territory, one can draw a triangle from the North Western uranium mining area of the Grants mineral belt at Gallup, to Los Alamos, and then south-west to the Waste Isolation Pilot Plant (WIPP) at Carlsbad.*

As was mentioned in the previous post, Policy, Possession and Place, the reality of lives lived on land that was contaminated continuously for twenty year by uranium mine discharge before the 1979 Church Rock Uranium tailings pond spill, were shared with us through conversations with members of RWPRCA. Situated in amongst geological stacks, recognisable to a European as backdrop landscapes for the Hollywood Westerns, this landscape is entirely barren apart from the over-looked brown-ish hills constructed from contaminated scrape-off pointed out to us by the community, the dry-board constructed homes of this ‘forgotten’ community and the intentional plantings of non-regional salt bushes by the EPA.


In stark contrast, 230 miles North of Red Water Pond Road is Los Alamos, a self proclaimed ‘Atomic City’ complete with promotional tee shirts, shot glasses and coffee cups. It is a prosperous well-mannered place. Originally constructed in secret to house the scientist of the National Laboratories, this small city continues to be primarily for current and retired laboratory workers and their families. The centre of the city, where the first nuclear bombs were designed and produced, is now one section of the three-part Manhattan Project National Park, where visitors can join the Park Ranger for a free tour of the central pond area and collect a stamp for their National Park Passport. Los Alamos boasts of an intelligent and healthy population, with the highest per capita of residents with PhDs and the 7th most affluent per capita city in the USA. The location of the city within the forty-three mile site is surrounded by mountains, ski slopes and a well serviced recreational culture. The hyper-reality of middle-class affluence at Los Alamos, a realised model of the American Dream ideals, is magnified by the automated countdown at pedestrian traffic crossing points. Ten seconds to safely cross a road. Ten seconds to experience the anxious anticipation of an explosion.

The unholy uranium trinity is completed at the Waste Isolation Pilot Plant. WIPP is located in the Delaware Basin of New Mexico. This 600m-deep salt basin was formed during the Permian Period approximately 250 million years ago. In 1957, the National Academy of Sciences recommended salt for radioactive waste disposal because at over 600m below the earth’s surface, salt would plastically deform, a motion called “salt creep” in the salt-mining industry, to close and seal any openings created by the mining, and in and around the waste. It is here that the mined uranium, and all radioactive waste produced in the US, returns to the ground having been through a series of processes, a journey, in which its original state has changed.**


Similarly, our journey to these sites of nuclear relevance has, most likely, changed something within us. There is an activation through the act of witnessing that shifts something within the witness. Their witnessing also enacts a reintegration of occurrences that have otherwise become fragmented from each other – in this case the intentional disjointedness between the mining of uranium, weapons development, nuclear energy and radioactive disposal. However, as international artists-in-residence, this comparison to the nuclear fuel cycle and our journey draws out critical questions about the responsibility of the visiting artist to ensure we do not ‘mine’ communities to the point of exhaustion, especially whilst attending a thematic residency in which sixty artists with over-lapping areas of interest pass through a single institution and therefore small grouping of communities. How do we also ensure, as socially-engaged artists, that our methods of practice whilst working within short-time frames is beneficial to a community rather than detrimental?

Upon hearing about Anna’s artistic practice and through engagement with the RWPRCA community, a suggestion was made to produce a new banner with a water focus that could be used during the community’s Uranium Legacy, Remembrance and Action Day, a day of protest, awareness raising and memorial that takes place annually on the 16th July, the anniversary of The Church Rock Uranium Spill. Focusing on how to create a water banner that incorporated these three purposes, we hosted a co-design workshop at a community member’s home. Using mono-printing, we worked with the community to discuss their differing ideas about what such a banner should include. It was also a time to share methods for using visual attributes such as colour, language and symbolism to produce strong statements that reflect the Navajo relation to place.


The final banner will be realised by Anna over the course of April before being gifted back to the community. It is hoped that this hand sewn banner will hold within it care, solidarity and gratitude that will continue beyond our stay in New Mexico. Whilst we will take away the experienced knowledge from our ’Atomic Journey’, having temporarily been active in the everyday fabric of this place through loosely stitching fragments together.


* The Waste Isolation Pilot Plant, or WIPP, is the world’s third deep geological repository licensed to permanently dispose of transuranic radioactive waste for 10,000 years that is left from the research and production of nuclear weapons and energy.

** It is assumed that at this depth the radioactive material is encased away from interference but with the drastic increase in fracking within New Mexico especially in the Carlsbad area, questions can be asked if these two processes really co-exist in the same landscape?


Wilson, Alexander. 1991. The Culture of Nature: North American Landscape from Disney to the Exxon Valdez. Ontario: Between The Lines Press.

Anna Macleod

Edinburgh Scotland, lives and works in Ireland

Anna Macleod is a visual artist based in Ireland. Her art work utilizes a variety of methods and processes to mediate complex ideas associated with contemporary, historical and cultural readings of place. She employs quasi-scientific methods, interdisciplinary collaboration, performance and socially engaged activism to critique contemporary landscapes and to build metaphoric spaces for re-imagining the future. Recent projects have focused on the socio-political and cultural issues surrounding water, looking at questions of access, management and ritual.

Anna Macleod has exhibited Nationally and Internationally. Recent residencies include: Food Water Life, themed residency with Jorge and Lucy Orta, Banff Art Centre, Alberta, Canada. 2015. Joya, Arte & Ecologia, Spain 2016. Leitrim Sculpture Centre, Co Leitrim, Ireland 2015 & Broken Hill Art Exchange, New South Wales, Australia, 2015. Recent solo exhibitions include: Water Conversations – A Survey of Works 2007 – 2015 at The Dock, Carrick on Shannon, Ireland. Staid na Talún – A State of Land, Leitrim Sculpture Centre, Co Leitrim, Ireland, Water Conversations – Broken Flow, Broken Hill Art Exchange, New South Wales, Australia.

Macleod is the recipient of the Firestation Artists’ Studios, Dublin, International Residency Award for ‘A Thousand Points of Light’ residency in Joshua Tree, California in March 2016. She was awarded an Individual Artists Bursary from Leitrim County Council Arts Office in 2015 / 2016 and Arts Council of Ireland Travel and Training Award towards the costs of residencies in Australia (2015) and USA (2016 & 2017) and the Jim Dinning and Evelyn Main Endowed Scholarship for Visual Arts for Banff Art Centre residency in 2015.


Event: Nuclear Art and Archives

March 21, 2017


DCA in partnership with Visual Research Centre, University of Dundee, and Arts Catalyst.

A day of artists’ films and discussions about nuclear art and archives considering the kinds of knowledge and reflective spaces that contemporary art produces for rethinking the nuclear. As the civil industry starts to consolidate its archives at the new Nuclear Archive in Wick, Scotland, the European debate is focused on records, knowledge and memory of geological storage of high-level radioactive waste. The post-truth nuclear economy raises serious questions about the long-term security of the nuclear programme, and an investigation of contemporary nuclear aesthetics is becoming increasingly urgent. All the events take place within the DCA building which includes the gallery, cinema, Visual Research Centre, and bookshop.

Booking for the Film Programme £6:
The afternoon events are free but booking essential:

Day Schedule
10.30 – 12.30 Perpetual Uncertainty Film Programme, DCA Cinema
12.30 – 1.30 Lunch
1.30 – 4.30 Roundtable on Art and Nuclear Archives, Visual Research Centre
4.30 – 5.00 Time to view Mark Wallinger Exhibition
5.00 – 6.00 Nuclear Culture Source Book launch, DCA Bookshop
6.00 – 7.00 Premiere of Yellow Cake, Gair Dunlop

Nuclear Culture Film Programme
10.30am – 12.30pm DCA Cinema Tickets £6
A programme of artists’ films investigating contemporary nuclear concerns: Susan Schuppli investigates the remote sensing of radioactive isotopes in ‘Trace Evidence’ (54’); Lise Autogena & Joshua Portway’s film ‘Kuannersuit; Kvanefjeld’ explores the global politics of uranium mining and landrights in Greenland (30’); Karen Kramer’s ‘The Eye that Articulates Belongs on Land’ (23’) explores the post-Fukushima landscape; Nick Crowe & Ian Rawlinson’s film ‘Courageous’ captures the body of a British nuclear submarine (7.20’), whilst Andy Weir’s ‘Plureal Deal’ speculates on the deep time of the nuclear cycle and its waste products (8’).

Roundtable on Nuclear Art and Archives
1.30pm – 4.30pm Visual Research Center, Dundee Contemporary Arts.
The Nuclear and Caithness Archive at Wick will be home to the archives of the entire UK civil nuclear industry as well as the historical archives of the county of Caithness. It is designed to hold an estimated 20 km of records for generations to come. But what are the time scales of the nuclear? How do artists deal with questions of radioactive deep time? This event aims to rethink how the nuclear archive is embedded in complex forms of materials, culture, architecture and landscape. Presentations by: Ele Carpenter, Curator; Garance Warburton, Community Engagement Officer, Nucleus: Nuclear and Caithness Archive; artist Gair Dunlop; artist and co-ordinator of Power in the Land, Helen Grove-White.
1.30 – 1.45 Welcome Beth Bate and Sarah Cook
1.45 – 3.00 Presentations
3.00 – 3.15 Tea break
3.15 – 4.30 Roundtable Discussion

5-6pm The Nuclear Culture Source Book Launch, DCA Bookshop
Edited by Ele Carpenter, Black Dog Publishing, Bildmuseet and Arts Catalyst, 2016.

Yellowcake, A film by Gair Dunlop
6pm Visual Research Centre, DCA. Premiere
The rise and fall of the UK nuclear fission research programme, seen through its sites, archives, memories and remains. (63.26”)

Evening Will Come

August 6, 2015

Today is the anniversary.
Eve Andree Laramee, Professor and Chair, Department of Art & Art History
Pace University, NYC provides an overview of 20 years of work on nuclear issues that started with reading a newspaper article on United Nuclear Corporation’s Church Rock Uranium Mill Tailings Pond Spill, on Navajo land in New Mexico. Sometimes we ask “Could an artist do this?” about a call for Expressions of Interest about some aspect of environmental work.  In this case ‘an artist has done this’. There is a more detailed version of this essay on the Women’s Environmental Art Directory as part of Issue 5 of their magazine, Atomic Legacy Art.
You can see more research material that Laramee has assembled at .

Su Grierson Public Lecture

September 20, 2013

Su Grierson, who corresponded with us whilst on residency in Fukushima Province earlier this year, is giving a public lecture in conjunction with her exhibition Intersections.  It’s in the Norrie Miller Studio at Perth Concert Hall, 7pm Thursday 26th September.

SG Talk Invitation 1.


Su Grierson will talk about her art practice and multi-media art works in the exhibition.  She will also focus on her recent ten week residency in Fukushima Province in Japan where she visited the disaster areas and met the displaced refugees.

Case Pyhäjoki reflects and radiates art & activism

September 13, 2013

Andrew Paterson got in touch to highlight the Case Pyhäjoki transdisciplinary expedition and production workshop having seen our earlier posts from Su Grierson in Fukushima Province, Japan.  A group of artists, researchers and activists undertook a drift to Pyhäjoki in Northern Finland at the beginning of August 2013.  Pyhäjoki is the proposed location of a new nuclear power plant.  This is their press release, and hopefully we’ll have some reflections from Andrew in due course.

Erich Berger and Martin Howse organised a geiger counter building workshop in Case Pyhäjoki. For the workshop, they designed an easy to build geiger counter and now, they have made a geiger counter building manual based on this design. The manual is available as a download from the project website. Photo courtesy of project * * twitter #casepyhajoki

Case Pyhäjoki – Artistic reflections on nuclear influence is a trans-disciplinary expedition and production workshop in Pyhäjoki, Northern Finland 1. – 11.8.2013. The sixth nuclear power plant of the country is planned to be built in Pyhäjoki.

Participants of Case Pyhäjoki are for example artists, researchers and activists. The programme has consisted of lectures, meeting local people and expeditions of different kinds to get to know the area, nuclear power as a phenomenon, and what the power plant means to people. It reaches from the local to national and global. What is artist’s role in the changes in the area and wider? How can we develop methods of creative work in a complex and contested place of social tragedy and distress? How can we communicate this through to wider networks?

As well as talking, thinking and research, there is also time for action. The participants have created different types of engagements, prototype events and experiments, reaching from a large ‘thank you’ sign for those who refuse to sell their land to the nuclear power company, to the design of a ‘power sports day’, a local fairytale, aswell as a mural painting with local youth, a special karaoke playlist, and a DIY geiger counter building workshop.

The contributing presentations, workshops, expeditions and refections are documented online at and

See also links to the broadcasted lectures on the website.
The final ‘show & tell’ day during the residency period took place on Sunday 11.8. at 14.00 in the local Parhalahti School, close to the location of Hanhikivi, the actual site for the planned nuclear power plant.
The participants of Case Pyhäjoki are:
Ryoko Akama (JP/UK), Erich Berger (AT/FI), Brett Bloom (US/DK), Bonnie Fortune (US/DK), Carmen Fetz (AT), Antye Greie-Ripatti (FI/DE), Martin Howse (UK/DE), Mari Keski-Korsu (FI), Maarit Laihonen (FI), Liisa Louhela (FI), Pik Ki Leung (HK), Mikko Lipiäinen (FI), Shin Mizukoshi (JP), Helene von Oldenburg (DE), Opposite_Solutions (RO), Andrew Gryf Paterson (SCO/FI), Leena Pukki (FI), and Heidi Räsänen (FI).  For more information on the participants go here.
Case Pyhäjoki is supported by Kone Foundation and Arts Promotion Centre of Finland.

Mari Keski-Korsu,
Case Pyhäjoki artistic director & executive producer
+358 40 506 5871
mkk (ät)

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