In times of climate change and global warming individuals as well as communities are confronted with fragmented, confusing and often overwhelming news and data about these themes. In order to make sense of these facts the largely disconnected linking between art, research and the public has to find a way to spark new relationships and thus make a difference.
Artists and scientists need to partner up and combine science with interpretive media. In a Noguchi Museum event co-sponsored by positive Feedback, artists as well as scientists are invited to initiate new and meaningful relationships regarding climate change.
The event will provide stimulating discussion and time for exchanging with fellow artists, scientists, and community members active in climate change issues in New York City.
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
Sam Breen joined a group of students and graduates presenting “CalArts Plays Itself” (September 29 – October 2, 2011) at PACT Zollvereinin Essen, Germany, one of Europe’s up-and coming culture centers. The show featured original, cutting-edge, cross-disciplinary work, including Breen’s “Trailer Trash Project: Life Meets Art in a Tin Can.” Using a 15-foot inflatable model of a travel trailer he told the story of how he lost his family home after Hurricane Katrina ravaged New Orleans. He explained how his mother—a former filmmaker for the United Nations refugee agency—was left without a place to live after the storm. A few years later, he took on unlikely
Musician Archie Carey presented at "CalArts Plays Itself," part of PACT-Zollverein 2011
project: he began transforming a 33-foot long trailer into a green place to live (for his mother) and a moveable place for him and his fellow artists to showcase their work. Even in its un-restored state, the 1951 Spartan trailer soon became a emblem at CalArts for student-driven creative work, the backdrop and the catalyst for many cultural events around the
AP Photo/Emilio Morenatti
institution. In Essen, Breen’s gallery space was crammed with the oversized blow-up model, making it hard for guests to ignore his invitation to step inside. The inflatable served as a dominating yet fragile symbol, a reminder of those who turn to transient living as a last resort.
” Sam Breen’s inflatable trailer project … lays bare contemporary America’s white whale: the housing problem, its connections to the current economic crisis, and to Hurricane Katrina. Like Jonah in the Old Testament, Breen was swallowed up by the whale. Several months later, he has been vomited out: the whale has turned into a screen onto which new stories are projected. The contemporary state of collapse has turned into a space of play, where new individualities and collectivities emerge”
Breen, who recently received an MFA in acting from CalArts, considered his 10-
Sam Breen in Essen with his inflatable trailer by sculptor Michael Darling
day stay at the PACT-Zollverin festival as a residency, using the opportunity to develop his presentation with his audience. He invited fellow artists— musicians taking part in other performances at the festival— to impromptu jam sessions inside the trailer. Daily conversations with patrons helped shape the installation. Many noted how the inflatable, sustained by two household fans, appeared to “breathe” as people entered and exited. It had a similar effect on Breen, who returned to Los Angeles energized with a new perspective on his project. He is planning to conduct more residencies, this time inside his actual trailer, which he will bring to the parking lots of cultural institutions in and around Southern California to continue renovating the trailer and performing art.