Yearly Archives: 2011

Nurturing Nature: Artists Engage the Environment

This post comes to you from EcoArtSpace

Nurturing Nature opened on February 10th, 2011 and runs through April 16th at OSilas Gallery on the campus of Concordia College in Bronxville NY.


Artists in the exhibition include: Eva Bakkeslett, Norway; Vaughn Bell, Seattle; Susan Benarcik, NYC; Michele Brody, NYC; Jackie Brookner NYC; Linda Bryne NYC; Xavier Cortada, Miami FL; Sonja Hinrichsen, Germany; Basia Irland, CO; William Meyer, Westchester, NY; Maria Michails, NYC; Roy Staab WI; Joel Tauber, CA.


Curated by Amy Lipton, ecoartspace and Patricia Miranda, Director OSilas Gallery

Concordia opened 130 years ago as a small Lutheran College. SInce then it has grown from a pre-seminary religious training school to a liberal arts college welcoming students of all faiths. OSilas Gallery Director Patricia Miranda invited me to curate an exhibition on art and the environment. In keeping with the college’s history, we decided the show would include a focus on various spiritual or ethical traditions in relationship to our care of the planet, what Christianity terms Stewardship, Tikkun Olam or repair the world in Judaism and Compassion for all living beings in Buddhism. Images and knowledge of nature can all be found in all ancient spiritual traditions, as well as Biblical and medieval mystical texts and pagan rituals which involve sun and moon cycles, star formations, tides, seasons, animals, gardens and plants. The artists in this exhibition are working with transformative approaches and processes towards a new vision that is ecological, and participates with the living cycles of nature.




The works cover a range of sensibilities and formal styles and address various issues including solar energy, suburban sprawl, species decline, food, agriculture, recycling, water purification and plants for restoration. What all these artists have in common a desire to to bridge the gap between art and life by raising an appreciation of the natural world and by working in a collaborative process with nature. Many of the artists work in an interdisciplinary basis with scientists, botanists and biologists and also participate in community based educational projects where they engage with the public.


Linda Byrne ‘s sculptural installation titled Ghost Net resembles a giant fishing net. Her material (the ubiquitous and life-threatening to marine life), 6-pack plastic ring, tells a tale of our vanishing natural world. She cut and tied the uniform, machine-made rings into strands and, with repetitive action, wove them into a linear shape. Subject, concept, and material coalesce to examine the uneasy relationship that exists between nature and synthetics. Also included are 6 of Byrne’s large scale drawings based on the forms of fishing nets. The series are devoid of color to express the lifeless nets left behind by our ailing fisheries and polluted coastal waters.


Susan Benarcik takes elemental forms of the natural and man made world into her studio and carefully transforms them by stacking, stringing, layering, knotting, and weaving them into dimensional sculpture for public and private spaces. Simple materials become contemplative compositions as they evidence a fondness and respect for the natural world and bring equilibrium to our senses by allowing the nature to become part of our daily cognitive experience. Her work for Nurturing Nature is titled Why Our Hangers made from wire clothes hangers, and string. These materials dictated the final form, which resemble chrysalis, wombs, or droplets, forms that are unique to essential natural processes.

The essence of Michele Brody‘s work is to understand how we live with change and the constant flux of our environment. She invites the viewer to a more openness of sensation through the production of ephemeral installations and living sculptures. Her work titled Grass Skirt Sentinels, use materials including copper pipe, fabric, light, grass seed and water, and are sustainable sculptures that support the growth of plants. During the course of the exhibition the works will transform as they go through a full life life cycle with the use of unique lighting


and a water irrigation system.



Alchemy – The Poetics of Bread by Eva Bakeslett is a beautifully executed and lyrical film about a n activity once ubiquitous in almost every household. Eva is the both the maker and the baker of Alchemy and was brought up in Arctic Norway where baking bread is still common in many homes. Her rhythmical movements and confident touch is rooted to generations of woman baking their bread. The timeless beauty of the process brings baking into the realm of poetry and the art that goes beyond the walls of the gallery and onto our kitchen tables.


Roy Staab is a nomadic artist who has been traveling around the world to make art installations in nature for the past thirty years. His earth-sensitive site-specific works use locally available materials and result in ephemeral earthworks that eventually devolve back into nature. The works can last for days or weeks depending on weather conditions and forces of nature. Since 1979 he has been documenting these works with his own camera immediately upon finishing them. Included in Nuturing Nature are two of Staab’s large scale photographs. Baleen was made in the Northwest Harbor in Gardiner’s Bay (Eastern L.I.) off the Atlantic. Big Round pictured here was created in Denmark in summer of 2008 for a group exhibition on Marbaek Beach near Esbjerg. Staab spends the first few days at the site, studying the landscape and watching the changes of light over the course of the day. When the tide came in he walked along the beach and found a sand-dollar fossil. With that in mind the next morning he walked up the river estuary and found a small bay off the shore in an open area. Using the sand dollar design as inspiration he made the five rays of the fossil and then started to walk around and around in a pattern of his foot steps using his eye for measurement. 












Taking the form of a running rickshaw, William Meyers’ Green Rickshaw Project highlights what individuals, businesses and municipalities are doing towards creating sustainability in Westchester County NY. The Green Rickshaw builds a community of its own as it conceptually and physically navigates between actions being taken by organic farmers, locally made products, municipal sustainability initiatives, and home energy audits. Components of the Green Rickshaw include a rickshaw chassis fabricated from recycled bicycle parts, a steel kiosk, reclaimed oak ‘pulls’, zero formaldehyde birch plywood, bamboo flooring, flexible solar panels, a green roof module, a traveling library, and a cell phone recharge station.





Nurturing Nature includes 180 pencil drawings by Xavier Cortada for the first time presented in their entirety Endangered World: LifeWall. In 2009, Cortada created drawings of the 180 Endangered World animals struggling to survive on our planet’s eastern hemisphere and, as a performative work, assumed the identity of the animal by uploading those images online as self-portraits on his facebook profile photo.


A second installation by Cortada titled Reclamation Project includes 180 Atlantic Cedar saplings in clear, water-filled cups arranged in a grid on the gallery windows and mirroring the 180 drawings in the Endangered World Project. The saplings are up for adoption, visitors can sign up to take home an Atlantic White Cedar tree for their yard or neighborhood at the end of the exhibition.


Maria MichailsThe Handcar Projects are a series of works revolving around issues of industrial agriculture, topsoil erosion and biofuel. The handcar reflects on the history of the train and its impact on economic and urban growth and explores the artist’s interest in energy generating mechanisms in the form of a mode of transportation. On the wall behind the Handcar are a series of small plexiglass houses covered in photographic images of corn. Titled, Off the Grid they reflect the competing economic factors on land use exerted by population growth and urban expansion. The small houses in Off the Grid question the ubiquitous use of this raw material and raise the question of whether we use precious land to feed ourselves, house ourselves or fuel ourselves?




Sonja Hinrichsen has 3 video works/ perfomances of ephemeral works created in nature. In Sun/Moon an environmental installation/performance piece from Wyoming, 2008 the artist chose an open plain to perform a ritual, positioning rocks, one by one, to draw an ancient symbol that has been used by indigenous cultures throughout the world, to represent the sun – as well as the moon. The rocks were coated with a phosphorescent material and glowed for several hours after sunset.

For Paradise Tree, an environmental intervention in Spain, (Sept. 2008), Hinrinchsen tried to find words reflecting what she saw, heard, smelled and experienced and then embroidered these words onto the leaves of a fruit- bearing fig tree.The slow, meditative act of embroidering became a performance, commemorating myths of Moorish times telling of beautiful young women who, while being kept at home, were dreaming of passion and adventure.

Vaughn Bell’s sculptures Personal Biospheres explore the miniaturization of landscape, the separation of one piece of “land” from the whole, and the relationship of care and control that this embodies. A tiny mountain or a small piece of land is suddenly within the scale of the human body, implying a different relationship than the one of awe, alienation or domination that is present in many encounters with our surroundings.


Jackie Brookner has been making sculptural tongues out of soil called Biosculptures™ since 1992. These works are vegetated water filtration systems that create destinations, restore urban habitat, and reclaim the undervalued resources of stormwater and other polluted water. Early versions of these evolved into soil chairs, where earth can embrace the whole body. “The tongue is a provocative image because it is a part of our selves where our physical and mental functions come together–a place where taste, sex and speech meet–where the dualism of mind and body clearly breaks down”.


Basia Irland‘s A Gathering of Waters: Boulder Creek, Continental Divide to Confluence was created for Weather Report: Art and Climate Change, curated by Lucy Lippard for the Boulder Museum of Contemporary Art, 2007. The Backpack/Repository, suspended from beaver-cut aspen, is constructed from recycled truck inner tubes. Objects from the four-month long project contained within the Backpack/Repository include the Logbook, Canteen, video documentary, forty-seven water samples (one for each mile of the creek), watershed maps, and two images of Arapaho Glacier. The Glacier provides most of Boulder’s drinking water, so when it has melted away, where will the residents of this Colorado community obtain their water? This question prompted the artist to create a 250-pound, hand-carved ice book embedded with native riparian seeds – Columbine, Blue Spruce, and Mountain Maple. This ‘ecological text’ is released asthe ice melts in the current. Irland worked with stream ecologists, river restoration biologists, and botanists to determine the best seeds. When the seeds regenerate and begin to grow along the river, they help with restoration efforts by building the soil, holding banks in place, and stopping erosion.




A beautiful and forlorn tree, stuck in the middle of a giant parking lot. Ignored and neglected. Hit by cars, and starved for water and oxygen. Joel Tauber, a young and amorous man, is drawn to the tree. Outraged by the indignities that the tree is forced to endure, he devotes himself to improving the tree’s life – watering it with giant water bags, installing tree guards to protect it from cars, building giant earrings to celebrate its beauty, lobbying to remove the asphalt beneath its canopy and to protect it with a ring of boulders, and helping the tree reproduce. Sick-Amour functions as a microcosm of the plight of urban trees and of forgotten individuals in general. Sick-Amour culminated as 3 distinct artistic entities: a 12-channel video tree sculpture, a public art project comprised of approximately 150 “tree baby” plantings throughout California, and a 33-minute hybrid love story / documentary film.



Images top to bottom: Installation view with Grass Skirt Sentinels by Michele Brody; Grass Skirt Sentinel by Michele Brody; Why Our Hangers by Susan Benarcik; Big Round by Roy Staab; Green Rickshaw by William Meyers; Endangered World by Xavier Cortada; The Hand Car Project and Off the Grid by Maria Michaels; still from Paradise Tree by Sonja Hinrichsen; Biosphere by Vaughn Bell; and A Gathering of the Waters: Boulder Creek by Basia Irland. For further info please see the website for OSilas Gallery.







ecoartapace is one of the leading international organizations in a growing community of artists, scientists, curators, writers, nonprofits and businesses who are developing creative and innovative strategies to address our global environmental issues. We promote a diverse range of artworks that are participatory, collaborative, interdisciplinary and uniquely educational. Our philosophy embodies a broader concept of art in its relationship to the world and seeks to connect human beings aesthetically with the awareness of larger ecological systems.

Founded in 1997 by Tricia Watts as an art and nature center in development, ecoartspace was one of the first websites online dedicated to art and environmental issues. New York City curator Amy Lipton joined Watts in 1999, and together they have curated numerous exhibitions, participated on panels, given lectures at universities, developed programs and curricula, ad written essays for publications from both the East and West Coasts. They advocate for international artists whose projects range from scientifically based ecological restoration to product based functional artworks, from temporal works created outdoors with nature to eco-social interventions in the urban public sphere, as well as more traditional art objects.

ecoartspace has been a project of the Social and Environmental Entrepreneurs in
Los Angeles since 1999.

Go to EcoArtSpace

‘Healthy Parks, Healthy People’ includes a healthy amount of creativity

Usually, when I’m at a conference, and everyone is standing in a circle and talking about what inspires them, the participants are barefoot. With dreadlocks. Also, someone is making a giant pot of beans in the next room. This was not that conference. This was the “Healthy Parks, Healthy People” conference. The people in the circle were corporate VPs, non-profit directors, public health officials, and National Park Service Staff. And creative design thinking guided much of the process.

The concept of “Healthy Parks, Healthy People” is directly lifted from Parks Victoria in Australia. The idea is, basically, that nature is scientifically proven to be healthy for us, and so supporting parks is good for everybody. Parks Victoria Director Bill Jackson was in attendance, moving from group to group as we were all shuffled about to exchange ideas and brainstorm. As the chattering and shuffling went on, folks from the Grove Consultancy facilitated and drew giant illustrative doodles of emerging concepts. Like mind-mapping. Like some of us have done at other hardcore eco-conferences.

The doodles were helpful in visualizing commonalities. That’s a wordy way of saying there was a lot of common ground. There were collective calls for more research, pooled resources, branded messaging, and a reach out beyond the obvious perks of parks into the tree-less digital-screen-land most American kids live in.

This whole thing got started when the Institute at the Golden Gate created a “Parks Prescription” document, detailing non-profits across the country who were using park activities to fight obesity and diabetes. They connected with NPS director Jon Jarvis, and put the jumble of parks/health/environment people together at Fort Baker.”We need to create new partnerships,” said Jarvis in his opening remarks.

Done and done? In addition watching health insurance reps work in groups with uniformed Public Health Officers and green retailers, I ended up sitting in a group with an NPS staffer and the American Heart Association’s Ambassador of Play (yes!) discussing the possible benefits of a design competition. At the end of it all, Jarvis announced a Healthy Foods Strategy for parks, analyzing the nutritional value and sustainability of park food and creating requirements for concessionaires.

“How can we bring about a cultural change in which parks are valued not just as scenery, but as the untapped sources of healthy living that they truly are?, ” asked Jarvis at the start of the conference. It remains to be seen whether the gathering will be the catalyst for such a change. It has yet to involve the collaboration of known creatives like Presidio Habitats. But I did see one non-profit director working without her shoes.

FCForum conclusions – sustainable economic models for the creative sector

This post comes to you from Cultura21

“We can no longer put off re-thinking the economic structures that have been producing, financing and funding culture up until now. Many of the old models have become anachronistic and detrimental to civil society. The aim of this document is to promote innovative strategies to defend and extend the sphere in which human creativity and knowledge can prosper freely and sustainably.

This document is addressed to policy reformers, citizens and free/libre culture activists to provide them practical tools to actively operate this change.”

Download the Declaration and “How-to” guide to new models of sustainability in the digital era at

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

Go to Cultura21

H20 – Preview: Collective Magpie

This post comes to you from Green Public Art

On May 6, 2011, H20: The Art of Conservation will open to the public the Water Conservation Garden in San Diego, CA. Green Public Art reviewed over 1100 artists portfolios before inviting 14 San Diego artists to participate the exhibition which offers San Diego homeowners an artistic alternative to incorporate water conservation into their own garden spaces. Artists are currently in their studios developing their site-specific sculptures. In the weeks leading up to the exhibition opening the artist’s concepts will be revealed on this site. Questions? Contact Rebecca Ansert, Curator, Green Public Art at

CONCEPT: greenlight, is a sculptural series made from lumber salvaged from city water tanks, rain water, repurposed light bulbs, and plant clippings collected from the San Diego public. In an effort to produce a local work in collaboration with the civic landscape and the San Diego public Magpie has allowed for various types of local participation.  Students from the urban ecology and media arts classes at High Tech High have been invited to problem solve design issues and construct. Magpie is also collecting regional plants through a Clipping Exchange Picnic at Art Produce gallery during the North Park Farmers Market. Green woodworker and horticulturalist Julie Fuchs has joined Magpie as a guest expert and designer for greenlight.

Collective Magpie needs YOU! to make their installation successful. On March 17, 2011 from 3:00pm-7:00pm they are hosting a plant propagation picnic on the back patio of Art Produce (3139 University Ave., San Diego, CA 92104). They will be trading plants with neighbors and sharing plant propigation information as part of a class with 2831 University – see flyer below.

ABOUT: Collective Magpie, M.R. Barandas and Tae Hwang, is a transnational, interdisciplinary, and interactive public art collective. All projects exist in public places and are dependent on audience interaction for their manifestation. We aim to inspire wonder by expanding the notion of “public art” to mean not only public access, but public as active collaborative contributors to contemporary art. Every Magpie project is an experiment in large-scale organization of human effort.  By manifesting art in collaboration with the public on a large scale, Collective Magpie aims to actively engage the public in contemporary art and facilitate contemporary art that includes the public.

Rebecca Ansert, founder of Green Public Art, is an art consultant who specializes in artist solicitation, artist selection, and public art project management for both private and public agencies. She is a graduate of the master’s degree program in Public Art Studies at the University of Southern California and has a unique interest in how art can demonstrate green processes or utilize green design theories and techniques in LEED certified buildings.

Green Public Art is a Los Angeles-based consultancy that was founded in 2009 in an effort to advance the conversation of public art’s role in green building. The consultancy specializes in public art project development and management, artist solicitation and selection, creative community involvement and knowledge of LEED building requirements. Green Public Art also works with emerging and mid-career studio artists to demystify the public art process. The consultancy acts as a resource for artists to receive one-on-one consultation before, during, and after applying for a public art project.

Go to Green Public Art

Culture and Sustainable Communities

This post comes to you from Cultura21

NEW PUBLICATION: Special Double Issue of Culture and Local Governance on “Culture and Sustainable Communities”

Vol. 3, No. 1-2

Guest editors: Nancy Duxbury, Centre for Social Studies (CES), University of Coimbra, Portugal; M. Sharon Jeannotte, Centre on Governance, University of Ottawa, Canada

The wide-spread shift to a sustainability paradigm for city planning makes this an important point in time to explore the integration of cultural considerations into broader sustainability policy and planning initiatives and the alignment of cultural planning with community sustainability approaches and goals. The diverse articles in this special issue of Culture and Local Governance highlight the value of a ‘wide lens’ in understanding how culture and sustainability fit together in a variety of settings. The articles examine the subject from multiple perspectives, providing insights and examples from Europe (Catalonia, Slovenia, Czech Republic, Bulgaria, and Germany), North America (Canada), South America (Brazil), Oceania (Australia), and Africa (South Africa). The special issue is intended to provide food for thought and, perhaps, guidance for the many communities throughout the world who are currently grappling with the challenge of integrating culture into community sustainability planning.

This post is also available in: French

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

Go to Cultura21

AGENTS OF CHANGE AND ECOLOGICAL CITIZENSHIP – new summer school programme from 10 to 22 July 2011

This two week workshop:

  • provides an opportunity to explore the many different ways and levels on which we can be or become better `agents of change´ and how we can deepen our understanding of ecological citizenship
  • provides a form for exploring the importance of imagination in transformative work
  • enables participants to  develop forms of creative cultural action that relate directly to each of our own life-work situations

The workshop is embedded in the exploratory practices and research of the Social Sculpture Research Unit and informed by its network of active members and associates. In this sense it also provides an introduction to social sculpture and its role in bringing about a viable word.

The program me is led by artist Shelley Sacks, head of the Social Sculpture Research Unit at Oxford Brookes University, and Dr. Hildegard Kurt from and. Institute for Art, Culture and Sustainability in Berlin.

Please enrol as soon as possible. Places are limited.

Making a move on eco-organisational changes

This post comes to you from the EcoMuseum

Museums and galleries, along with a plethora of other ‘event’ based organisations such as theatres, festivals and so on, have been attempting for many years now, to assess their resource use and reduce it. Sustainability is big news in the world of culture.

To integrate sustainability into an organisation’s core practices it’s important to understand why you are taking the trouble. Don’t attempt to pay a lot of money to eco-profiteers who have no understanding of your core business. Many organisations hope to buy change. Unfortunately all that does is wipe the surface of a problem that may not even be truly understood yet.

There are plenty of companies and consultants out there ready to offer a few impressive powerpoint presentations and one-liners. It looks good on paper to say you’ve had an ‘expert’ in, but what have you really achieved? Introducing environmental sustainability into an organisation where the standards equal unsustainable consumption is never going to be easy. If your colleagues have no reason to go to the trouble of introducing new and alien practises that potentially harm the quality of their output, then who can blame them if they choose to ignore the experts.

An organisation needs to carefully plan each step without rushing into change. One way to utilise external expertise is to pilot organisational change with one department.

A museum for instance, might undertake a thorough audit of practices in the Conservation department across a six month period. Materials, products, energy, and costs should all be examined. This of course can be coordinated in-house by the conservation team themselves.

It is natural for the team to harbour a strong curiosity around the results and their impacts. Don’t waste their curiosity. Build upon it. This is where external expertise – guided by the museum and not the other way around – is invaluable. After a professional environmental sustainability team has audited the impacts one of the most important elements of this exercise comes into its own. In a workshop allowing the team to ‘find’ the solutions, the assistance of professionals explaining where eco perspectives and assumptions are mistaken or correct can be an engaging and transforming experience. Most people are shocked to find out that their beliefs around what’s good and bad are totally at odds with the facts.

Some of the biggest misconceptions involve the risks of higher costs, increased effort and comparable ineffectiveness of alternatives. Your workshop will need to integrate, not ignore, colleagues’ concerns. This might mean prior research on alternatives and even a couple of demonstrations. Peeling back the layers of disguise to uncover what a material or product needs to function can be a powerful tool in altering mindsets. At least it’s an improvement on a bunch of motherhood statements!

For instance, just imagine your marketing team comes to their workshop with a figure related to how much time they spend utilising online resources such as Facebook and Twitter. Their assumption might be that the dematerialistic nature of online communications is extremely eco friendly. Until you explain the impact of cloud computing and the enormous energy needs of data centres that organisations like Facebook require. Then show them this video.

It demonstrates how cheap energy is now being sourced and purchased for some of these data centres. Many of these data centres are choosing to buy renewable energy, but not all. So when your marketing team logs on to Facebook knowing that organisation uses dirty coal to fuel their enormous data centres, at the very least they’re not living in ignorance any longer, and they are conscious of Facebook’s impact on the environment.

The museum or gallery that chooses an educational strategy over motherhood consultants will be able to demonstrate tangible organisational change, not just a meaningless sentence buried in their Annual Report.

the EcoMuseum, is a project of Carole Hammond, Exhibition Manager and museum professional: combining the complex ideologies of aesthetics, culture, objects, entertainment…and environment.

Go to the EcoMuseum

U-n-f-o-l-d. A Cultural Response to Climate Change

This post comes to you from Cultura21

Art exhibition and various events at Columbia College Chicago – March 14–April 23, 2011

Museum of Contemporary Photography (600 South Michigan Avenue) – Glass Curtain Gallery (1104 South Wabash Avenue), Chicago, IL (USA)

U-n-f-o-l-d. A Cultural Response to Climate Change presents the work of twenty-five artists who participated in Cape Farewell expeditions to the Andes and the High Arctic. Each artist witnessed firsthand the dramatic and fragile environmental tipping points of climate change.

Featured Artists: Ackroyd & Harvey, Amy Balkin, David Buckland, Adriane Colburn, Sam Collins, Nick Edwards, Leslie Feist, Francesca Galeazzi, Nathan Gallagher, Marjie de Haas, Robyn Hitchcock + KT Tunstall, Ian McEwan, Brenndan McGuire, Daro Montag, Michèle Noach, Lucy + Jorge Orta, Sunand Prasad, Tracey Rowledge, Lemn Sissay, Shiro Takatani, Clare Twomey and Chris Wainwright.

More info at: this website

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

Go to Cultura21