The Margaret Tait Residency is an opportunity for early career artists working with film and moving image to undertake a focused period of work on Orkney. Deadline 9am 4 April 2014.
The Margaret Tait Residency aims to support and develop the skills of an emerging Scottish or Scotland-based artist working within film and moving image. It was developed for artists early in their career who would benefit from a focused period of development in a stimulating environment outwith their typical studio base.
The recipient of the Residency will travel to Stromness Orkney in summer 2014 and be based there for eight weeks. They will be given accommodation, studio space, artist support at Pier Arts Centre and living expenses. After the Residency, they will complete a series of mentor sessions with prominent artists, as well as film production courses as requested and required. The artist is expected to then deliver a film or film event by February 2015 for inclusion in Glasgow Film Festival’s programme.
Applications are now sought from the sector. The deadline is 9am, Friday 4 April 2014.
Who can apply?
Scottish artists or artists based in Scotland.
Emerging artists, early in their career (graduating in the last three to five years in a relevant course), who work in film and moving image.
There is no age restriction.
We regret that we cannot accept applications from artists who are students.
The inaugural Margaret Tait Residency was supported by the Creative Scotland Creative Futures Programme, LUX and the Pier Arts Centre. The panel selected Sarah Forrest as the recipient of the Residency which took place in summer 2012 at Pier Arts Centre in Stromness Orkney for six weeks. After the Residency, Sarah completed six mentor sessions with prominent artists, as well as camera skills and sound editing courses in London and Glasgow.
Sarah Forrest’s film, that now, screened to a busy Cinema 2 audience on Friday 17 February 2013 at GFT, and was well received. Sarah then took the film back to Orkney in April 2013 for a screening at Stromness Town Hall, alongside Blue Black Permanent by Margaret Tait and has since screened at Belfast, Leeds and Rotterdam.
You can read more about Margaret Tait at LUX online.
(An)Other Art World(s)? Imagination Beyond Fiction
The first issue of the ArtLeaks Gazette was aimed at bringing critical awareness of the challenges and obstacles of the contemporary art system. While they considered this a necessary initial step in enacting meaningful transformations of this system, ArtLeaks now feels the need to move beyond exposure and breaking the silence into ways of engagement, or what does it mean to be agents of change in the art world today?
The main question that the second issue of the ArtLeaks Gazette addresses is: What are the conditions and possibilities of alternative art worlds? And because they ask about that which is yet to come, how can people engage and use their imagination, avoiding, at the same time, the traps of utopian thinking? In many ways, these questions are precisely related to the challenge of special and temporal limitations, of the continuity of building more engaged institutions, sustainable socio-political practices, something which people can come back to and extend. It seeks to bring together a host of proposals for practices, platforms, organizations and ask how people can push further beyond their being too local and temporary. One step towards this is recognizing the international character of the resistance, calling for a different way of making a critical art, of running institutions and of doing politics as people translate their aspirations and practices into a new cycle of struggles.
They welcome contributions in a variety of narrative forms, from articles, commentaries, and glossary entries, to posters, drawings and films. The deadline for entries is the 31st of March 2014. Contributions should be delivered in English or as an exemption in any language after negotiations with the editorial council. The editorial council of ArtLeaks takes responsibility of communicating with all authors during the editorial process.
Please contact them with any questions, comments and submit materials to: artsleaks [at] gmail [dot] com.
They will publish all contributions delivered to them in a separate section. However, they take full responsibility in composing an issue of the gazette in the way they feel it should be done.
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
We are reposting this blog from the Commonty and hope that readers of ecoartscotland will take a moment to reflect on Sunday at 3pm.
Sad Occasion in the Life of Govan’s Graving Docks
from Ruth Olden
An invitation to mark a sad occasion in the life of Govan’s Graving Docks…
On Monday the 24th of March, the Coach House Trust are moving in to the docks to clear away the pioneering ecology that has found its home here. This clearance marks the first stage of the site’s regeneration – a project led by the developer and landowner New City Vision who plan to make a high-end housing and commercial complex of this site. The dock’s Green Mantle has become host to a fascinating array of birds, invertebrate and mammals, and has also served as a place of solace and inspiration to many people.
On the eve of this clearance, a small lit vessel made of the site’s biomass will be released into the river and carried out to sea by the receding tide. This event has been made possible by the knowledge and skills contributed very kindly by the GalGael.
This will be a sad occasion, but I hope it will provide an opportunity to honour this landscape which has become important to so many. We will be gathering on Clydebrae Street next to the garage at 3pm on Sunday 30th March, before walking to the launching point together. Please do arrive at this time so there is opportunity to hear the health and safety briefing. RSVP on firstname.lastname@example.org
At the BGA, we recognize that it is impossible to be 100% “green” while continuing activity and – as there is no litmus test for green activity – we ask instead that our members commit to being greener and doing better each day. As climate change does not result from one large negative action, but rather from the cumulative effect of billions of small actions, progress comes from millions of us doing a bit better each day. To become a member of the Broadway Green Alliance we ask only that you commit to becoming greener, that you name a point person to be our liaison, and that you will tell us about your green-er journey.
The BGA is co-chaired by Susan Sampliner, Company Manager of the Broadway company of WICKED, and Charlie Deull, Executive Vice President at Clark Transfer<. Rebekah Sale is the BGA’s full-time Coordinator.
Times are tough, we get that! ecoartspace set out to raise $4,000 in December last year to start developing our next two ACTION guides without much response (see below). Here we are again, to say, ecoartspace cannot exist on air alone…. we are now collaborating with the Staten Island Arts Culture Lounge who will be presenting an exhibition of Tattfoo Tan’s S.O.S. projects in May, to raise $8,000 for his exhibition installation and the S.O.S. ACTION Guide.
There are lots of great perks that Tattfoo has created over the years with all of his amazing projects. We encourage you to participate, to tell friends, to go to the Indiegogo page, to make any size contribution, to help us make sure that Tan’s community work is acknowledged in the art world, as well as distributed through out the planet!
Help us ensure that anyone can have access online to the 36-page S.O.S. ACTION Guide that ecoartspace will produce in the next two months with your help. S.O.S. PLEASE DONATE HERE
ecoartapace ecoartspace is a nonprofit platform providing opportunities for artists who address the human/nature relationship in the visual arts. Since 1999 they have collaborated with over 150 organizations to produce more than 40 exhibitions, 100 programs, working with 400 + artists in 15 states nationally and 8 countries internationally. Currently they are developing a media archive of video interviews with artists and collection of exhibitions ephemera for research purposes. Patricia Watts is founder and west coast curator. Amy Lipton is east coast curator and director of the ecoartspace NYC project room.
A project of the Social and Environmental Entrepreneurs since 1999
Want a sneak peek of The Resource Exchange’s new store? We are proud to announce that starting Sunday, March 9th from 12-4, The Resource Exchange will be open for business!
But before we totally lift the curtain…
Much like theatre productions have a series of show previews, March will serve as our time to test, fix, and continue to rejuvenate the store while we have customers. Starting on Sunday March 9th, the re will be open our normal hours of Wednesdays-Saturdays from 10-6 and Sundays from 12-4. Then in April, when we’ve finished our last fixes (and when the weather is warmer!) we will have a GRAND reOPENING EVENT!
Wait, will you be open in March?
Yes! The Resource Exchange will be open our normal hours all through March starting on Sunday the 9th from 12-4.
We have been working hard setting up the new store. Here’s a sneak peek of what it looks like so far, but make sure you come on by this month to see our progress in person, and of course to get your reclaimed and salvaged arts materials, office supplies, set pieces, home decor…and so much more!
SEARCH FOR COMPREHENSIVE DESIGN SOLUTIONS TO HUMANITY’S CRITICAL PROBLEMS LAUNCHED!
February 17, 2014, New York City – The Buckminster Fuller Institute formally announced the Call for Proposals to the 2014 Fuller Challenge. Recognized as “Socially-Responsible Design’s Highest Award”, the Challenge invites activists, architects, artists, designers, entrepreneurs, students and planners from all over the world to submit their innovative solutions to some of humanity’s most pressing problems. A $100,000 prize is awarded to support the development and implementation of one outstanding strategy.
Entries will be accepted until April 11, 2014.
WINNING CRITERIA: IMPACTING 100%
Buckminster Fuller called for a design revolution to “to make the world work for 100% of humanity, in the shortest possible time, through spontaneous cooperation, without ecological offense or the disadvantage of anyone.”
Answering this call is what the Fuller Challenge is all about.
Winning entries for the last six years have applied a rare combination of pragmatic, visionary, comprehensive and anticipatory thinking to tackling issues as broad as urban mobility, coastal restoration and innovation in biomaterials packaging. BFI has created an application process for entry to the Fuller Challenge in which global changemakers grapple deeply with a unique set of criteria. Internationally renowned jurors and reviewers look for whole systems strategies that integrate effectively with key social, environmental and economic factors impacting each design solution.
GROWING BENEFITS TO ENTRY
“The Challenge program has defined an emerging field of practice – the whole systems approach to understanding and solving the interrelated crises facing us. The entry criteria have established a new framework through which to identify and measure effective, enduring solutions to global sustainability’s most entrenched challenges,” said Elizabeth Thompson, Executive Director of The Buckminster Fuller Institute. “We are committed to further supporting this emergent field through our Catalyst Program, which provides much needed additional support to select initiatives: mentoring, pro-bono legal services, consideration for fiscal sponsorship, international press coverage, special invitations to present at conferences and exhibitions, and more! We partnered with Interface in 2013 to launch this program, and we could not be more gratified that we are able to continue its development in 2014.”
FORWARD ON THE CALL!
Are you or someone you know working on a holistic solution to make the world work for 100%? Read below for more information on what we are looking for, download the full Call for Proposals, and APPLY!
Deadline for entries is Friday, April 11, 2014, at 5pm EST.
Buckminster Fuller led a prolific life of research, invention, writing and teaching. He developed a comprehensive systems approach to understanding complex global problems. By rigorously adhering to his unique set of “design science” principles, Fuller’s work embodies a deeply attuned ecological aesthetic. Fuller conceived and prototyped new strategies intended to enable all of humanity to live lives characterized by freedom, comfort and dignity without negatively impacting the earth’s ecosystems or regenerative ability. He emphasized that the technology and know-how already exist to successfully surmount our global challenges and advocated “doing more with less” by increasing the overall performance of every resource invested in a system.
WHAT WE ARE LOOKING FOR
Winning the Fuller Challenge requires more than a stand-alone idea or innovation that focuses on one aspect of a system failure. BFI looks for holistic strategies that demonstrate a clear grasp of the big-picture dynamics influencing your intervention. If a proposal emphasizes a new design, material, process, service, tool or technology, it is essential that it be part of an integrated strategy that deals effectively with key social, environmental and economic factors.
BFI seeks initiatives that tackle urgent needs at a range of scales: from macro-strategies that have the potential for widespread, tangible impacts, to local, community-based initiatives with global relevance and replicability. A highly competent project team with the capacity and commitment to move the solution forward for transformative impact is essential.
Entries must meet the following criteria:
Visionary – put forth an original idea or synthesize existing ideas into a new strategy that creatively addresses a critical need
Comprehensive – apply a “whole-systems” approach to the design and implementation process; aim to address multiple goals, requirements and conditions in a holistic way
Anticipatory – factor in critical future trends and needs as well as the projected impacts of implementation in the short and long term
Ecologically Responsible – reflect nature’s underlying principles while enhancing the ability for natural systems to regenerate
Feasible – rely on current technology, existing resources and a solid team capable of implementing the project
Verifiable – able to withstand rigorous testing and make authentic claims
Replicable – able to be adapted to similar conditions elsewhere
Winning initiatives integrate these criteria into powerful design solutions that have the potential to play a significant role in the transition to an equitable and sustainable future for all.
European alliance of artists and arts institutions promote environmental sustainability
Green Art Lab Alliance is a European-wide programme dedicated to promoting environmental sustainability and how that can be challenged in practical, ethical, and artistic ways across arts genres and cultural communities across Europe. On 12-13 March 2014, the alliance’s next workshop was held in Berlin, Germany.
The alliance investigates the challenges and opportunities that environmental sustainability implies for the practice of artists and art institutions:
“We believe it is time that arts and culture takes responsibility in its own innovative and artistic ways. The arts shouldn’t see environmental sustainability as a side issue, but as an essential part of its practice. What that exactly implies for the visual arts and design, is what this project will investigate on different levels and in close collaboration with designers, artists and scientists across Europe,” the initiators of the project stated.
Based on the concept of a ‘knowledge alliance’ developed by DutchCulture|TransArtists in partnership with Julie’s Bicycle the Green Art Lab Alliance of twenty cultural organisations in Europe have created a partnership, building a collaborative project with cultural organisations and artists all over Europe and Georgia.
The project has a total budget of 400,000 euro, of which 50 percent is co-financed by the EU Culture programme. The Green Art Lab Alliance officially started with a kick-off meeting in June 2013 at the Jan van Eijck Academy in Maastricht, the Netherlands, and it will run for almost two years, ending in March 2015.
During this period the collaborating partners organise workshops and labs to share knowledge and raise awareness amongst citizens and artists in particular.
On 28-29 November 2013, Art Motile and the Gas Natural Contemporary Art Museum presented a two day programme of talks, workshops and a round table discussion with TransArtists, ResArtis, On-the-Move and Interarts, among others.
On 12-13 March 2014, the Green Art Lab Alliance hosted a workshop on green issues for the sustainable support of cultural mobility in Berlin, Germany. This workshop targeted EU funders and cultural policy makers interested in including green criteria in the way they support culture and cultural mobility in particular.
On the Move, Julie’s Bicycle and DutchCulture¦TransArtists co-organised the workshop together with with ITI-Germany and IGBK.
Sholeh Johnston from Julie’s Bicycle is tutor of the training.
“This workshop provided an overview of various approaches taken to embed environmental criteria into cultural funding. We shared the tools, resources and methodology used by example funding bodies, such as the Arts Council England, which has embedded criteria around environmental reporting into funding agreements since 2012. We covered case studies of how cultural organisations are interpreting environmental sustainability and the potential impact of policy in aiding and supporting this work, with a focus on touring, residencies and other mobility-related work. There was ample opportunity for discussion and thinking through how these learnings can be practically applied in various European contexts,” explained Sholeh Johnston.
Along with this workshop a training for ecological and sustainable cultural work took place, entitled ‘Training sustainability!’. This training – supported by the German Federal Cultural Foundation (Kulturstiftung des Bundes) – targeted leaders and stakeholders in the performing arts.
Experiences were shared and synergies were created at a joined introductory presentation by Julie’s Bicycle and at a ‘Green Salon’ on 12 March 2014. The participants also got a chance to visit in Berlin cultural and “green” places, including UFA Fabrik.
»For more information about the workshop, you can send an e-mail tomobility (at) on-the-move.org
Advocate for legacy and standards
“Maintaining the diversity of response in the context of a shared ambition will be critical for ensuring that the project has a strong foundation for legacy. With this project we will establish a strong network of artists and organizations engaged with this topic of environmental sustainability, which will be the foundation for establishing a European Knowledge Alliance. This European Knowledge Alliance will consist of knowledge hubs (ambassadors/artists and organizations) across Europe on the different ethical, practical and artistic aspects of environmental sustainability.
The Knowledge Alliance will advocate for legacy and standards for the arts and cultural sector on environmental sustainability on the longer term.”
Transartists.org wrote that this first meeting of all partners “demonstrated what it is that makes this project so unique: the variety of profiles of participating organisations and different geographical backgrounds offer a diverse approach to the different aspects of sustainability.”
There are residencies involved where artists, the general public and partner organisations get the chance to experiment and explore the role of sustainability in the arts.
Others are European cultural networks, government related institutes which have impact on (national) policy level, educational institutes and organisations which are stimulating the exchange of scientific knowledge with the creativity of artists.
The issues related to sustainability that these organisations are going to address vary from mobility to waste, water and energy.
“All partners believe that it is time for the arts and culture to take responsibility in their own innovative and artistic ways. By exploring the different approaches and by sharing knowledge and best practices, the partners aim to identify realistic first steps to create a better understanding of the meaning of sustainability for and through the arts.
The GALA partners want to promote and support artists and cultural workers in their contribution to this goal. The ambition is to create a Europe-wide network of individuals and organisations engaged in combining arts and environmental sustainability.”
Culture|Futures is an international collaboration of organizations and individuals who are concerned with shaping and delivering a proactive cultural agenda to support the necessary transition towards an Ecological Age by 2050.
The Cultural sector that we refer to is an interdisciplinary, inter-sectoral, inter-genre collaboration, which encompasses policy-making, intercultural dialogue/cultural relations, creative cities/cultural planning, creative industries and research and development. It is those decision-makers and practitioners who can reach people in a direct way, through diverse messages and mediums.
Affecting the thinking and behaviour of people and communities is about the dissemination of stories which will profoundly impact cultural values, beliefs and thereby actions. The stories can open people’s eyes to a way of thinking that has not been considered before, challenge a preconceived notion of the past, or a vision of the future that had not been envisioned as possible. As a sector which is viewed as imbued with creativity and cultural values, rather than purely financial motivations, the cultural sector’s stories maintain the trust of people and society.
Arlene Goldbard’s recent blog on aesthetics and sustainability is very refreshing. It acknowledges that we define sustainability by it’s negative, ie our current unsustainable lifestyles (and we can describe that unsustainability in myriad ways).
Arlene quotes Adrienne Goehler in sharply defining the challenge to move the idea of sustainability beyond “prohibition, asceticism, and morality” into the a relationship with, “new forms of learning. Aesthetic education means sensitive, perceptive, creative education, which, in the words of Hannah Arendt, culminates in creative action.”
If you are interested in thinking about sustainability then this is a good place to start. Sign up for her posts. They are always interesting.