Monthly Archives: September 2015

Environmental Art Festival Scotland 2015: what is art and ecology?

This post comes to you from EcoArtScotland

Photo: EAFS. Photo Colin Tennant

The creative team at EAFS needed help this year and ecoartscotland provided some editorial support for the newspaper and an essay on art and ecology as voluntary contributions.  EAFS is an incredibly important development in Scotland (as was the UNFIX festival this year, also delivered by voluntary effort).  The essay below attempts to highlight some of the different ways of working that characterise ‘art and ecology’ practices.

Art and Ecology or “the context is half the work”

By Chris Fremantle with input from Ann T Rosenthal.

Landscape painting represents or idealizes ‘nature,’ usually by depicting wide vistas, such as seascapes, forests, and countrysides. Sometimes it also brings attention to the human impact on the land, such as wilderness vs. settlement. Given the environmental challenges we face today, however, environmental art goes beyond representation or even witnessing changes in the land to effect social change through raising awareness and/or actually restoring damaged landscapes. Some of the ways environmental art differs from more traditional art forms, like landscape painting, are discussed below.

Considering art made or in progress by artists who work with environments or ecosystems, there are a few key things to consider, such as whether the project is reflective, awareness-raising or interventionist. You’ll find various things called ecoartxxx but, unlike Young British Artists, such as Damien Hirst, this isn’t about individualism or celebrities.

So, what are some of the things that might characterise artists working with ecologies?

Context – this might be ‘place’ or ‘issue’, though in the interesting projects these are deeply bound together. The issue might be the deep experience of a place and its effect on a person. Personally I find Hamish Fulton’s piece NO TALKING: seven days walking in the Cairngorms (1988) to be a very personal provocation – could I not talk for seven days? The issue might be storm surges and their impact on coastlines. Eve Mosher was featured in The New Yorker because she had marked a high water line on parts of New York (2007). When Hurricane Sandy hit New York in 2012 the debris marked the same line. Everyone was amazed that an artist had predicted the impact of an extreme weather event. The context might be a remnant of the ancient Caledonian Forest. The Collins and Goto Studio have been working in the Blackwood of Rannoch (2012-ongoing) to imagine a future of eco-cultural well-being where the forest’s beauty and biodiversity become an icon for a different Scottish landscape.

Interdisciplinarity is often another central characteristic. Artists are using methods and processes that are selected based on the idea/issue/context rather than the skill they were taught at art school. Don’t get me wrong, if you ask the right questions you’ll find that what the artists learnt at art school is still fundamental to their practice. But whether in deep durational collaborations or in short interactions, artists working with environments and ecologies learn and use the knowledge and practices of natural and social sciences, read and seek to influence policy, work in teams and maintain relationships. The quality of interdisciplinarity is perhaps in the seemlessness of what results, such as with Cinema Sark in EAFS 2013 where Pete Smith, Professor of Soil and Plant Science, and John Wallace, film-maker, explored the ecosystem of the river Sark in a work that was at once excellent science and compelling film.

Education and volunteering is a common characteristic of those projects focused on awareness-raising and intervention. It is important to understand that this aspect of practice is not separate from the process of making the art, not ‘outreach’ once the art has been made – rather it must be understood to be intrinsic.

Novelty is less important than sharing. Iterating and the commons are recurrent themes. All of the characteristics noted above (context/issue, interdisciplinarity and education and volunteering) militate against that particular art world requirement for constant newness. In the art world too often the focus is on new things, whereas ecoart is more often about new understandings and revealing experiences of the world around us (and our place or impact within it). More specifically documentation of environmental and ecological projects often takes the form of action guides, sets of instructions, or toolkits. We can recognise the aesthetic of artists, but when groups in Miami (2013) and Bristol (2014) did versions of Eve Mosher’s High Water Line, it wasn’t a breach of copyright – in fact she celebrates it. They used the Action Guide produced by Mosher working with ecoartspace.

Leaving the world a better place than you found it might be an overarching concern. This is more radical that it might sound when you consider that the archetype of the ‘reckless, hedonistic and art for arts sake artist’ has been pervasive for the last century anyway. John Thackara suggested that we live between on the one hand the despair at the scale of the crisis and the complexity of the challenges, and on the other hand the hope in the multitude of examples of grassroots activism, but he also commented that ‘don’t be evil’ is not enough. We have to act in ways to leave things better than we find them as we move through the world.

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.

It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.

Go to EcoArtScotland

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#GreenFests: Changing the World, Festival by Festival

This post comes from Creative Carbon Scotland

The Edinburgh International Festival was founded shortly after the end of the Second World War with the intention of rejuvenating the cultural sectors of Scotland, Britain and Europe. As people came to terms with the tragedies of recent years, the festival set about facilitating the social change that was needed. This intention is one that is still shared by many festivals today, but can it be achieved? What do we need from our festivals to accomplish social change?

During the Fringe, Creative Carbon Scotland (in conjunction with Festivals Edinburgh and the Edinburgh Festival Fringe) hosted an event to discuss just these questions. ‘Changing the World, Festival by Festival’ was presented by Ben Twist, experienced theatre director turned founder and director of Creative Carbon Scotland, and Stella Hall, fellow of the Royal Society of the Arts and freelance festival director.

In fact, Stella Hall is nothing short of a festival guru. Current Festival Director of Darlington’s award-winning Festival of Thrift, she was also:

  • one of four inaugural ‘Canny Creatives’ advising the British Council on Arts programme development in Turkey and Kazakhstan
  • Co-founder of the Greenroom, Manchester’s first arts centre.
  • Director of Warwick Arts Centre
  • Festival Director of the Belfast Festival at Queens and
  • The first Festival Director of the Preston Guild, an event that has occurred in the city every twenty years since 1179.

Not to mention the fact that she is a board member of the Wildworks Theatre in Cornwall, ISIS Arts in Newcastle, ArtsAdmin in London and was a member of the Music, Drama, Dance and Performing Arts panel of the Research Excellence Framework. Long story short, Stella Hall knows her festivals.

Although this event had the format of a formal talk, it was more of a conversation between Ben, Stella and all who attended, many of whom were themselves prominent members of the arts world. With Stella’s expertise as a festival director, Ben’s in-depth knowledge of sustainability in the arts, and the knowledge and experience of all there (including performers, festival organisers, and marketing executives to name a few) a very interesting discussion ensued. Impossible to summarise, here I simply present what I took to be the main points of debate.

The first of these was the importance of the discomfort zone. Herein lies the possibility of change. For Stella, the discomfort zone is the place she must enter when trying to put on a festival that satisfies the needs of people with different motivations and ideas from her own. The key to finding a solution that suits all is not only to enter this discomfort zone where your own perspective and convictions are challenged, but to stay there. The longer you stay in the discomfort zone with someone, the more likely it is that you will find a connect, a point of agreement around which a compromise can be constructed and progress made.

The discomfort zone also works as a direct driver for change. Festivals wishing to create social change arguably need to include events which challenge attitudes towards the status quo. The audience are forced to genuinely consider their own position. What’s good about it? What’s not? What change in attitude or action is required? The active engagement required from audiences in response to such events are likely to have stronger consequences than passive attendance at one that merely dictates an alternative approach.

FoTThe second focal point for discussion was the importance of communities. These are not just the communities in which the festivals take place (e.g. Edinburgh as a city) but also the communities that are created by the festivals, both intentionally and by chance. This is especially the case if the festivals are based around a particular theme, as in the Festival of Thrift (see left). If festivals are to inspire lasting change then they must engage with all of these communities.

One such way of engaging is to create a sense of community ownership over the festival. It has to come from them, they have to see it as theirs. Stella found this was particularly important when she directed the Preston Guild. It is a Prestonian institution and belongs far more to the city and its people than to a festival director. Stella found that acknowledging this and allowing the people to put on the festival that they wanted was crucial to its success.

It was noted, however, that there is a certain tension between giving the people both what they want and what they need. Many people,aon myself included, don’t often actively seek challenges to their existing viewpoints, which means we can miss out on new ideas. The example given in the talk was that of Sir Anthony Gormley’s Angel of the North (see right), which, because it was something entirely different and new, would likely never have been created had we designed the statue to be built.

There is also the challenge of creating this sense of community ownership in the face of a huge influx of new people coming specifically for the festivals. Major summer festivals like Glastonbury, Reading, T in the Park and, of course, the many Edinburgh festivals are particularly vulnerable to this. Whilst locals are often glad that the festivals occur (78% of Edinburgh citizens believe the festivals to be positive and 60% participate) they often feel separate from them. The festivals happen to them rather than with them as it were.

As well as better engaging with existing communities in the festival locations, one way to garner the sense of ownership that is required for social change is to engage with the communities that are created by the festivals. This can be an intentional community, as in Darlington’s Festival of Thrift which attracted people with a particular interest thereby facilitating discussion. They can also be unintentional, for example similarly themed shows in the Edinburgh Festival Fringe who find themselves performing alongside and socialising with performers with similar ideas and interests.

The challenge of creating lasting social change in these circumstances, as opposed to with pre-existent communities, is that the existence of these communities is so strongly tied to the festivals. Despite being connected by a shared idea, once the festival ends these communities are forcibly disbanded. Modern technology can go some way towards helping people keep connected (and indeed including those interested parties that were unable to physically attend) but it is difficult to maintain the momentum and drive that can be inspired during the festival.

The key to changing the world, festival by festival then seems to be twofold. First, the festivals must be events that encourage audiences to engage with the area in which change is desired, that question the status quo and provide an alternative perspective to be considered. Second, they must create lasting communities of the converted (for lack of a better term). This can be by including the local community and helping them develop a sense of ownership of the festival. It can also be by facilitating the creation of a new community, intentional or otherwise, that forms in response to the ideas being promulgated. If enough people are inspired then there is real hope that lasting change can be achieved.

The post #GreenFests: Changing the World, Festival by Festival appeared first on Creative Carbon Scotland.

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Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

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