Monthly Archives: May 2016

Sculpting Creatures from the Sea

This post comes from the Artists and Climate Change Blog

by Guest Blogger Emeric Jacob

The edges of the earth must be explored by bike… I jump on my bicycle fitted with a trailer and head towards the beach of Terre Neuve in Camargue in order to recharge my batteries, read, and unearth creatures hidden in the deposits from the sea.

Picture2

Like the scattered pieces of a jigsaw puzzle, unending beaches, dunes, meandering canals, and ponds come together in the first light of dawn to reveal the preserved and wild Camargue. With the sun’s first rays, the quietness of the night is disturbed by the mistral wind which whips sand on bare legs and face. Blown by the wind, the crop is ready to be harvested from the wide flat expanse. Plastic rubbish, half buried bottles, and polystyrene fragments entwined with marran grass both occupy and are hidden in that place. The landscape is striking, buried under great waves of sand where the water rushes during storms. Everything the sea has been carrying in its bowels for days seems to be stored there. An eclectic collection of objects weathered by wind and sun: reeds, roots, branches, boat pieces, fence poles, pens, corks, bottles, games, boxes, cans, green-orange-and-black ropes…

Sailing on this sea of sand, I fill bag after bag, weighing down the trailer. It’s time to find a place where I can allow the composition of the objects to emerge and retranscribe the omens they convey.

Terre Neuve Beach in Camargue [43°28'1.98"N; 4°11'17.83"E]-2016

Terre Neuve Beach in Camargue [43°28’1.98″N; 4°11’17.83″E]-2016

Whether in January 2015 on Aresquiers Beach, in April 2015 on the the banks of Méjean Pond, in October 2015 in Cevennes Canyon and in December 2015 among the rocks of the Riviera, the result is the same. Our delirious surplus of consumption is brought by water during floods and storms. These piles of objects coming from the floating world are links between the sea and the earth, a form of communication between these two great elements. Swallowed up, crushed, rolled over and digested by the sea, these objects are a testimony of human activity. Buried memories are recalled by a plastic bottle sandblasted by the wind, a plastic ball hardened by salt and time, the former wooden planks of a mariner, a plastic figurine or even a broken sole.  The past interlocks with these sand blasted old pieces of wood, buried in the sand but in spite of it all still present, reemerging from the depths of the sea in the form of monsters and strange creatures. From the waters, a new way of life emerges…

 “Grosse moustaches d’Obelix” special edition Aresquiers-2015.

“Grosse moustaches d’Obelix” special edition Aresquiers-2015.

These fragments are collected from different preserved and wild sites because of their volume, color, texture and aesthetic value. The fragments are then sorted out, washed and classified. Chance, opportunity, and choice determine the contents of this eclectic collection.

Stainless steel rods going straight through the different objects create complex spatial correlations. A new entity is born from the many connections between elements. An ecosystem forms. These organic and non-organic objects are organized in a unique and non-reproducible way for each sculpture, and are different at every site.

Installation of the creatures.

Installation of the creatures.

The tripod creatures are set up on the site where they have been harvested in the silence of dawn. Waiting beside the sculptures in the  fresh air of the early morning is a surreal experience. The first rays of sun reveal the creatures’ strange shapes. Waves break on the beach and caress their feet. A full family of creatures, all of different sizes, emerges from the quiet morning waters. The scene is immortalized in a picture as a testimony.

Aresquiers Beach [43°29'52.41"N/ 3°52'8.52"E]- 2015.

Aresquiers Beach [43°29’52.41″N/ 3°52’8.52″E]- 2015.

A little like a report, linking sculpture and photography, the creatures show what seashore they come from. Exhibited in multimedia libraries, festivals, universities or museums, they encounter large audiences, bearing witness to and questioning our society as well as the impact of our production on the environment and the climate. In light of Prometheus or Victor Frankenstein, have we gone beyond our responsibilities, our knowledge? Are we conscious of the consequences of our creations?
Detail of “le tamiseur parfumé” special edition Aresquiers-2015.

Detail of “le tamiseur parfumé” special edition Aresquiers-2015.

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Passionate about sculpture, nature and travel since my childhood, I have been carving and sculpting whatever I come across. From troglodyte rocks to various materials brought by the sea, I have been inspired by it all. Then at one point, I became eager to understand and make my own “systems” and chose to study at an engineering and research graduate school. I was an engineer for twelve years, funneling my urge to create into the construction sector. Because I have always been a builder with a passion for technique and nature, I naturally gravitated towards working on renewable energy building sites. However, I now choose to express this commitment through artistic creation. Eager to share my concerns about environmental change and travel all over the world, I make my creations come to life thanks to artistic exhibitions and collaboration.

You can find me at www.emericjacob.com and https://www.facebook.com/emericsculptures/.

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Filed under: Guest Blog Series, Sculpture

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Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

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Refugium: Performing Resilience in the Heart of the Urban Landscape

This post comes from Ecoscenography

As an artist confronted with a world of increasing environmental uncertainty, I believe we need a hopeful vision: one that acknowledges the challenges and constraints that we face, but also focuses on opportunities for positive change. Put simply, the scale of contemporary ecological concerns can be paralysing and disconnecting; a perverse outcome at a time when custodianship of the natural world could not be more important. Contribution is the antidote, because for most of us it is the idea of contributing that ultimately motivates and inspires us. I see my role as one that facilitates reconnection and spurs contribution by creating moments of ‘wonder’, of ‘awe-inspiring beauty’ and ‘potential’ that reunites us with the natural world.

Refugium is a temporary art installation – a ‘bush refuge’ in the heart of the urban landscape of Federation Square – which seeks to engage the public in regenerative potential. The work explores biodiversity in the city through participatory art making with native plants. It includes a number of free public workshops in kokedama making (an ancient Japanese technique of wrapping plants in moss and string) which employs the community to create mini plant-sculptures that will contribute to a growing exhibition in the Fracture Gallery. On the 17-18 June, the plants will be temporally installed in the centre of the public square for the opening of The Light in Winter festival, before being distributed into the broader Melbourne community to bring greenery into the wider city.
kokedama_01

At the heart of Refugium is the investigation of alternative narratives for engaging urban communities with ecological themes and practices. Accompanied by an interspecies sound design and inspired by Melbourne’s unique climate, the project brings together flora and fauna of past and present to examine the city’s unique stories of place. Refugium uses sound to consider how urban spaces have transformed past ecosystems; how multi-layered historic and contemporary landscapes intersect with human trajectories and spatial hierarchies; and how these stories might be revealed to audiences through new forms of communication.  The 20 minute soundscape created by Nick Roux follows the unique seasons of the region and takes influence from Tim Entwisle’s ‘Sprinter and Sprummer’ – a concept which redefines Australia’s seasons based on the climatic habits of plants.

73Refugium considers how highly visual, sensorial, interactive and participatory events can catalyse engagement, cultivate empathy, precipitate action and engender regenerative potential. Through the work, I ask: (i) How can we engage audiences to reveal urban nature, and provoke humanities intrinsic emotional connection with nature?; (ii) How can artistic practices deliver ecological understanding of environmental adaption and resilience?, and; (iii) How can artistic practices reveal pathways for community involvement in environmental stewardship and cultivate hope for the future?’.

My hope is that the Refugium provides an act of ‘performing resilience’ – a tangible example of how artistic public engagement tools and strategies can sow the seeds of ecosystem awareness, community vitalisation and environmental stewardship.

More information about the event can be found here

Refugium is looking for ‘kokedama masters’ (i.e. crafting and gardening enthusiasts) to help guide our public workshops.  The instruction workshop to become a ‘kokedama master’ will be held on Saturday the 28th of May from 1-3pm in Port Melbourne. Please email tanjabeer.design@gmail.com if you are interested.

Photos by Nick Roux

Sketch by Tanja Beer

The post, Refugium: Performing Resilience in the Heart of the Urban Landscape, appeared first on Ecoscenography.
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Ecoscenography.com has been instigated by designer Tanja Beer – a PhD candidate at the University of Melbourne, Australia, investigating the application of ecological design principles to theatre.

Tanja Beer is a researcher and practitioner in ecological design for performance and the creator of The Living Stage – an ecoscenographic work that combines stage design, permaculture and community engagement to create recyclable, biodegradable and edible performance spaces. Tanja has more than 15 years professional experience, including creating over 50 designs for a variety of theatre companies and festivals in Australia (Sydney Opera House, Melbourne International Arts Festival, Queensland Theatre Company, Melbourne Theatre Company, Arts Centre) and overseas (including projects in Vienna, London, Cardiff and Tokyo).

Since 2011, Tanja has been investigating sustainable practices in the theatre. International projects have included a 2011 Asialink Residency (Australia Council for the Arts) with the Tokyo Institute of Technology and a residency with the Royal Central School of Speech and Drama (London) funded by a Norman Macgeorge Scholarship from the University of Melbourne. In 2013, Tanja worked as “activist-in-residence” at Julie’s Bicycle (London), and featured her work at the 2013 World Stage Design Congress (Cardiff)

Tanja has a Masters in Stage Design (KUG, Austria), a Graduate Diploma in Performance Making (VCA, Australia) and is currently a PhD candidate at the University of Melbourne where she also teaches subjects in Design Research, Scenography and Climate Change. A passionate teacher and facilitator, Tanja has been invited as a guest lecturer and speaker at performing arts schools and events in Australia, Canada, the USA and UK. Her design work has been featured in The Age and The Guardian and can be viewed at www.tanjabeer.com

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Enchantment at Peter Strauss Ranch

This post comes to you from EcoArtSpace

POOL

POOL

TERRACE

TERRACE

Featured Image: AVIARY

In 1999 I curated an art-in-nature exhibition at Escondido Phoenix Ranch Retreat in Escondido Canyon, Malibu. It was developed as a 10-day residency with ten artists creating site works along a mile trail. The works were reviewed in Sculpture magazine by Collette Chattopadhyay and over a three-day Memorial weekend some 300+ people came to view the installations.

While at Paramount Ranch 3 art fair this past January I was thinking it would be fun to do another site project in the Santa Monica Mountains. The next thing you know, I was invited to curate at Peter Strauss Ranch in Agoura Hills by the National Park Service! Of course, I wish the budget were bigger and I could invite more artists to participate, but I think we have a sweet show, pulled together very quickly over the last two months.

The works will remain up through the summer and we will do a closing performance on September 10th. With additional funding we can add a few more installations in June and August, fingers crossed.

Artists include: Ben Allanoff, Faith Purvey, Karen Reitzel, and Minoosh Zomorodinia.

Opening reception/talk with artists on June 5th, Sunday at 2pm

Patricia Watts, curator/ecoartspace

Facebook invitation HERE
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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

Go to EcoArtSpace

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Active Energy: About the project

This post comes to you from EcoArtScotland

We just received an update from the ActiveEnergy project in London. The following comes from the ‘About’ page on the website.

ActiveEnergy is a project promoting citizen-led innovation led by artist Loraine Leeson in collaboration with The Geezers, a group of senior men in Bow East London, and engineer Toby Borland. Also supporting the project at different times have been social scientist Ann Light, ex-rocket scientist Stephen Dodds and SPACE Studios, who commissioned Active Energy.

The project is being realised through a participatory arts process that facilitates technological expertise in the creation and application of prototype renewable energy devices, which are used as a means of disseminating knowledge at community level while influencing wider practice and policy.

GeezerPower from Loraine Leeson on Vimeo. Camerawork © Jim Prevett, SPACE 2007.

Work so far by this group has involved a practical proposal for installing tidal turbines at the Thames Barrier. Also a renewable energy project at a local school, a wind-driven public light-work for the roof of an Age UK centre and prototyping workshops at University of East London organised by SPACE. Our current project is to create a turbine for installation on a barge opposite the Houses of Parliament to prompt national debate on use of the River Thames as a source of energy for the city.

The effectiveness of this project has lain in its use of art as a means of creative facilitation, production and collaboration that harnesses community initiative. Most importantly, the experience of community elders has provided a foundation for new ideas that have addressed real need and enabled specific local knowledge to create innovative solutions that could impact on all our futures.

Source: Active Energy: About the project

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 ResearchGray’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.

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Opportunity for Artists: EUPORIAS G.A.

This post comes from Creative Carbon Scotland

This post comes from EUPORIAS, Kaleider and the MET Office.

We want to commission an individual or a group to create an experience that will take place during the EUPORIAS General Assembly. We’re not prescriptive about discipline, but we’re interested in something that is playful/playable/fascinating/interesting/thrilling/poetic/challenging/delightful.

It might use tech, performance, installation, sound, taste, texture, magic. It might be digital, non-digital or a hybrid. It might be site responsive, human responsive, data responsive or all three.

We want to interrupt the normal conference proceedings with something a bit different, inspired by the world of climate services and EUPORIAS. What this might be and when in the meeting this might happen is for us, and you, to decide.

 

The successful artist(s) will be awarded:

  • Up to £15,000 available to include the artist’s fee and expenses, accommodation, travel and production costs.
  • Residency at Kaleider’s curated studio in Exeter.
  • Producer support and creative feedback during development and production.
  • Development time with Met Office scientists.
  • An opportunity to do something a little bit different.

What we’d like to see in an application:

A project that:

  • is inspired by climate science / climate services / EUPORIAS
  • is co-designed with us
  • uses the network of people and skills inside The Kaleider
  • can take place at the Met Office
  • might be disruptive
  • is definitely surprising
  • is personally challenging to the audience but not professionally uncomfortable
  • is definitely playful (but with a bit of a bitter aftertaste?!)
  • might be playable
  • could be wholly designed prior to the General Assembly and then take place at the event or partially designed prior to the General Assembly and then adapted in response to the goings-on at the event.

What you can expect from us:

  • We’re not going to tell you what to do – we welcome proposals from any discipline.
  • An open and a playful approach to collaboration.
  • Access to Met Office scientists and EUPORIAS collaborators to help inspire and shape the experience, plus the opportunity to play with our data!
  • If appropriate, we’ll work with you to explore opportunities to tour the work to other locations.

Application deadline: 23:59 (BST) Friday 10 June 2016

Dates and location of event: sometime during 4-7 October, 2016; Met Office, Exeter, UK

For more information and how to apply, visit their website.

The post Opportunity for Artists: EUPORIAS G.A. 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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Open Call: CREATIVE SPACES LAB-14 STUDIO

LAB-14 Residencies for 2017 now open!

LAB-14 is the first phase of the Carlton Connect Initiative, at the former Royal Women’s Hospital site. This space has been designed to foster collaborative research and to facilitate the sharing of this research with the broader community.

The main aim of LAB-14 is to address the challenge of supporting sustainability and resilience and to bring it into practical application. Scientists, entrepreneurs, engineers, artists, students and policymakers come together to share knowledge and foster exchange.

Creative Spaces has established a studio within the building to position artists within this science, innovation and research environment.

STUDIO SPECIFICATIONS

  • 60m2
  • concrete floor, large windows, sink
  • wireless internet connection
  • Artform: open to all artforms and practices that don’t require 3-phase power, extractor fans, open flames or generate loud noise

SPECIFIC REQUIREMENTS

  • This residency has a focus on sustainability and social resilience.  Artists must address themes such as water, food, energy, climate change and adaptation, risk and resilience, or social equity
  • Interaction and collaboration with other Carlton Connect tenants during the residency is encouraged
  • Artists will have access to studio and building facilities
  • Artists are required to be in residence at the studio for a minimum of 3 days per week during normal business hours.
  • Public visibility into the space must be maintained
  • An artist talk and open studio are required outcomes of the residency
  • Public liability insurance is covered by the City of Melbourne

FOR MORE INFORMATION

Important dates:

Applications open: Monday 2 May 2016

Applications close: 5pm Tuesday 14 June 2016

To apply for a 2017 residency at LAB-14 visit the City of Melbourne’s Arts Grants Page.

Open Call: Wind Blades Creative Artwork / Play Wonthaggi

Wind Blades Creative Artwork / Play Wonthaggi
Expression of Interest – $50,000 commission

Bass Coast Shire Council is seeking concept designs from artists and design teams for an innovative and functional creative artwork/play area utilising two 42m long decommissioned wind turbine blades which have been donated by Senvion Australia.

The Wind Blades installation, situated in Wonthaggi’s Guide Park which is one of Bass Coast’s most prominent open spaces, will be the first of its kind in Australia.

Expression of Interest Wind Blades Creative / Artwork Play Wonthaggi (PDF 691kb)

Key Documents

As your concept may include aspects of play – here are the relevant Australian Standards

  • Australian Standards for Play Equipment AS: 4685; Parts 1-11 (2014) and
  • Australian/New Zealand Standards for Playground Undersurfacing AS/NZS: 4422 (1996)

Artists submitting an application must attend a mandatory onsite visit on Friday 27 May 2016 to both the Wonthaggi Wind Farm and Guide Park.

Applications can be completed online via SmartyGrants at https://bass-coast.smartygrants.com.au/windblade

To register for the onsite visit please contact Arts and Culture Administration Officer, Rebecca Scott, by email art@basscoast.vic.gov.au or phone on 1300 BCOAST (226 278) or 5671 2761.
Applications close at 5.00pm on Friday 10 June 2016

Footprint Modulation art exhibition – climate justice and human migration | Kooj Chuhan

This post comes from MELD

 

Footprint Modulation: the film

A journey through the ground-breaking exhibitionFootprint Modulation’ of art and interventions exploring Climate Change, Global Justice and Migration.  A project which connects artists and cultural venues with researchers, activists, communities and documentary media to interrogate, expose, humanise and discuss one of the big issues confronting us today and increasingly in the future.  Connecting art, climate, migration: documentary film by Kooj Chuhan.

Diller Scofidio + Renfro 'EXIT' hiresAdj_s

Speaking in the film: Prof David Held, Prof Wendy Brown, Dr Elizabeth Ferris, Dr Andrew Baldwin, Dr François Gemenne, Dr Ilan Kelman, Kooj Chuhan, Craig Barclay, Shahidul Alam, Apu and Murad Chowdhury, Alex Randall (UKCCMC), Dr Koko Warner, Sonali Narang, Dr Ademola Oluborode Jegede, Tracey Zengeni, Mazaher R, Jane Trowell (Platform), Sai Murray, Selina Nwulu, Dave Douglass, Janet Stewart.

IMG_4245_se

Thanks to all the artists and venues, speakers including Dave Douglass (Durham Miners’ Association) and Janet Stewart (CVAC), and special thanks to Maya Chowdhry, Mazaher R, Charlotte Lee, Mark Ruddell, Nigel Hulett / Granadilla Films (Zimbabwe), Transition Durham, DRIK (Bangladesh) and Virtual Migrants.  Thanks also for the support from Alex Randall and the UK Climate Change and Migration Coalition. Actors appearing in ‘The Level’ by Mazaher R were Jamil Keating, Afreena Islam and Toby White.

Copyright 2016, Metaceptive / Kooj Chuhan.  All rights reserved.  Full details of the ‘Footprint Modulation’ exhibition at www.metaceptive.net/footprint-modulation .

Art, Climate, Migration: documentary film screenings of Footprint Modulation

INTERESTED TO SCREEN THIS FILM?  Please contact us via http://metaceptive.net/contact .  If you are a funded group or organisation, we would appreciate a voluntary fee or donation.  We intend to expand this exhibition and show it in other cities, please get in touch if you might be interested to host it or to have it shown in your area.

Kooj Chuhan 'CHAMADA FROM CHICO MENDES' 003_imgcredit-Kiran-Mistry_s

The post, Footprint Modulation art exhibition – climate justice and human migration | Kooj Chuhan, appeared first on MELD.
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meld is an ongoing interactive global art platform and collaborative catalyst to commission, produce and present ground-breaking and evocative works of art embedded in the issues and consequences of climate change. meld invites exceptional artists and innovative thinkers dedicated to the moving image and committed to fostering awareness and education to join us in our campaign for social change. Through a collaborative dialogue, we hope to provoke new perceptions, broaden awareness and education and find creative solutions concerning climate change, its consequences and its solutions.

meld was formed by a devoted group of individuals guided by a passionate belief in the power of art to convey personal experience and cultivate social progress. meld is inspired by the idea that when art melds into the public realm, it has the power to reach people beyond the traditional limitations of class, age, race and education and encourage public action.

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Human Impacts Institute: Creative Climate Awards

What Are the Creative Climate Awards?

Our Creative Climate Awards use the creative process as a tool to inspire audiences to explore the consequences of their actions, think critically about pressing issues, and to make the environment personal.  These events are an opportunity to creatively engage tens-of-thousands of people in positive action around the challenges posed by climate change, while having your work seen by our judges—some of the top artists, curators, and international leaders in the world.

Submit your work for this year’s Creative Climate Awards!  Applications are accepted on a rolling basis.   All applications must be received by May 31st to be considered for the current calendar year.  Applications received after May 31st will be considered for the following year.

Inspire climate action with your creativity!

Due Date: 11:30PM, May 31st, 2016

http://www.humanimpactsinstitute.org/#!creative-climate-awards/cyup

Prizes: 

  • $2,000 First Place Prize 
  • Month long exhibition on 42nd Street, Manhattan, NYC
  • Have your work seen by our amazing judges!

Thanks to the Taipei Economic Cultural Office in NYC and the Global Crisis Information Network, Inc. for their support.

PAST JUDGES

Berndt Arell, Director of the National Museum, Stockholm, Sweden; Marcia Sells, Associate Vice President, Program Development and Initiatives & Associate Dean, Office of Community Outreach, Columbia University School of the Arts; Karen Boyer, Independent Art Advisor; Lawrence B. Benenson, Principal, Benenson Capital Partners, LLC, MoMa Board Member, Art Collector; Brooks Atwood, Founder & Creative Director of Brooks Atwood Design, TV Host at A&E, Adjunct Faculty at Parsons School of Design; James Hannaham, Associate Professor, Pratt Institute Writing MFA; Maureen Sarro, Owner, Fitzroy Gallery; Saisha Grayson, Assistant Curator of feminist art, The Brooklyn Museum; Brian Tate, President, The Tate Group/Co-Founder, Curate NYC; Althea Viafora-Kress, Independent art dealer; Randy Olson, Filmmaker, author of “Don’t Be Such a Scientist”, and science-story coach; Patrick L. Kinney, Sc.D., Professor of Environmental Health Sciences, Director, Columbia Climate and Health ProgramDepartment of Environmental Health Sciences, Mailman School of Public Health at Columbia University; Brice Lalonde, former Environment Minister of France; “No Impact Man” Colin Beavan, writer;  John Fiege, filmmaker; Lana Wilson filmaker and Film and Dance Curator, Performa; Michael Nieling Owner, Creative Director, Ocupop and Professor, Milwaukee Institute of Art and Design; Amy BraunschweigerSenior Web Communications Manager, Human Rights Watch.

PAST CREATIVE CLIMATE AWARDS ARTISTS

Yanli Shen, Susan Allbert, Alexandre Dang, Nika Ostby, Ruth Lyons, Diane Tuft, Resa Blatman, Ed Ambrose, Juha Metso, Madeline Cottingham, Leah Raintree, Kelsey Gallagher, Emily Schnellbacher,  Jaakko Heikkilä, Kwan Taeck Park, Jill Sigman, Meghan Moe Beitiks, Dion Laurent, FICTILIS, Catherine Young, and Carolyn Monastra, Thomas Marcusson, Robert Ladislas Derr, Eric Corriel, Sarah Cameron Sunde, and Natalia Bazowska, Susan Allbert, Neno Belchev, Joseph Erb, Miriam Simun & Miriam Songster, and Jody Sperling, Marie Christine Katz, Carl Landegger, Christina Massey, Carolyn Monastra, Jeremy Pickard and the Superhero Clubhouse, Marshall Reese & Nora Ligorano, Pamela Casper, Tara DePorte, Sarah Filipi, Susan Hoenig, Carolyn Monastra, Linnea Ryshke, Francesca Sigilli, Yanli Shen, Shin Yeon-Moon, Marina Zurkow, Una Chaudhuri, Oliver Kellhammer, Fritz Ertl, The Tree Veneration Society (founder Louise Fowler-Smith), Anthony May, Theater Three Collaborative, Mechthild Schmidt Feist, Environmental Justice Foundation, Sara Roer, Green Map System, Gregor Marvel, Lexicon of Sustainability, Mai Ueda, Anthony Heinz May, Tildon Widro, Lauren Mage, Open Skye Collaborative, Eve Mosher, Alex White, Douglas Gayeton, Laura Howard-Gayeton, Brian Whitley, Jacqueline Hall, Josephine Decker

APPLY

Please, prepare the following and submit them via our online submission form.  We will only accept submissions via our online submission form.  You will need to prepare the following and have it available via an online format that is viewable to anyone with the link (i.e. google drive, dropbox, personal website, blog, etc)

  • Responses to the following questions:

    • Artist(s) name, address, phone number, website (as applicable), email address

    • Description of your work(s)/concept

    • What do you intend to convey to the public through your proposed artwork?

    • How does your concept/work address “making climate change personal and practical”?

    • How does your concept/work inspire your audience to take action to address climate change?

    • Do you have a proposed/ideal location for your piece?

  • Resume (maximum one page). If working with a team, include a resume for each team member.

  • Photographs, sketches, images, video, or sound file that clearly convey your proposed concept or existing work:

    • Provide no more than five samples of the proposed work and/or previous, related work completed (This can be in the form of image, video or audio, as relevant to your work);

    • Each example should clearly state what we are viewing/listening to and how it related to your proposal;

    • Please keep audio and video files to five minutes each

Artist is responsible for:

  • Communicating with HII staff as needed before, during, and after event;

  • Acting in a timely and professional manner;

  • Providing all materials, transportation, lodging, installation costs, and staffing needed to implement work;

  • Being available and onsite on the assigned day of artist’s piece/installation

HII is responsible for:  

  • Notifying selected artists, if selected, in a timely manner;

  • Publicizing selected artists through press releases and on HII website, Facebook, and Twitter;

  • Providing HII educator for interpretation and educational component of pieces installed in NYC (NOTE: international artists are responsible for providing volunteer educators; however, HII will provide curriculum);

  • Connecting selected artists’ pieces and locations with other events/participants during Climate Week; and

  • Providing individual write-ups, photos, and a video interview of selected artists’ works for the HII blog.

SUBMISSION REQUIREMENTS

Our Creative Climate Awards are an annual series of events

that showcase artists creating climate-inspired, public works and actions.  

In an effort to inspire us to think more critically about our actions and their impacts, the Creative Climate Awards program uses the arts and creativity

to share knowledge, broaden the climate conversation, educate, and incite action. 

Artwork and Interviews

See more in-depth into each participating artists’ work and interviews with them about the impacts of their work 

WHAT WE ACCEPT

We are open to diverse creative media, including: performance art, dance, spoken word, films (feature length and shorts), 2D works (painting, drawing, collage, prints, etc), music, and theatre pieces.   All exhibits and/or performances must be free and open-to-the-public and artists must be able to come to NYC during the exhibit times to perform.  Artists are responsible for the transportation costs and permitting requirements for their works to and from NYC, as appllicable.  Works that do not require permitting or already have necessary permits are given a strong preference.

SELECTION PROCESS

Selection of artists will be made by HII staff and an advisory committee comprised of scientists, policy makers, artists, media experts, curators, and others.  We will evaluate three main components of each submission:

  • Strength of messaging and connection to climate change;

  • Artistic merit and impact; and

  • Feasibility of project (in terms of permitting requirements, materials, etc.).

Submissions will also be selected based upon an artist’s work samples and written explanation of the intended message and impact of a proposed piece.  Works that inspire action to address climate change are given high priority.

CRITERIA FOR SUBMISSION

  • All submitted pieces must address the theme of  “making climate personal and practical” and creatively engage audiences in positive action on climate change.

  • Work/performance must be suitable for a public setting (all locations will be coordinated by HII and limited indoor settings will be available);

  • No admission fee may be charged;

  • All concepts, ideas, and artwork must be original work of artist submitting proposal;

  • Work/performance must be safe for artist and the public;

  • Artists/artist team must have a proven track record of creating work in a timely and professional manner;

  • Artist will pay for all art and personal transport fees to NYC

DEADLINES

We accept works on a rolling submission.  All applications must be received by May 31st to be considered for the current calendar year.  Applications received after May 31st will be considered for the following calendar year. Creative Climate Awards take place in September and October of each year.

CCS Blog: Green Transport

This post comes from Creative Carbon Scotland

Travel is an unavoidable part of working in the Arts. Touring, moving people, stage sets or materials can clock up a large mileage.  So how can we reduce our impact?

Anyone who has attended our travel workshops will know that we are always keen to encourage good travel planning. Ideally we try to use the lowest emissions mode of public transport. Swapping planes for trains in particular has the biggest impact in lowering travel emissions but we also need ways to reduce emissions as we travel around rural Scotland where public transport gets a bit thin on the ground.

Fiona MacLennan recently attended the Green Fleet Scotland event in Edinburgh to catch up with the latest developments in Green Transport. Some of the products on show may be for the future, but the speed of adoption of electric cars, in particular, points to electric transport as being a growth area. There were several types of low emission vans and cars on display and also several software products. These are now available for optimising journeys to reduce emissions and costs. So the answer to more sustainable travel could come in a number of ways.

Lowering your travel emissions and costs when using road transport

Road transport in the form of cars, vans and lorries is a major cause of carbon emissions. It’s also being recognised as a source of life threatening pollution, particularly in our cities. As a result, low carbon transport is becoming more and more visible on our streets. City bus and taxi services often have at least a few hydrogen powered or electric vehicles. Many councils have been using electric pool vehicles for a number of years and private ownership of electric cars is gradually increasing.  As well as pure electric vehicles (EV), manufacturers are now providing Plug-in Hybrid (PHEV) and Extended Range (E-REV) vehicles, all of which produce much lower or zero emissions. More information on all of these electric vehicle types is available from the Energy Saving Trust.

So how practical is electric transport? The biggest disadvantage of pure electric vehicles has been the limited range of around 80 miles between charges. This makes hybrid models seem a more practical choice. This is changing with the rapid development of the charging network. Regular users report that with a small amount of planning and the use of charging network phone apps such as Zap Map, long journeys throughout the Scottish mainland and even the islands are easily possible with a pure electric vehicle. Currently, the charging network in Scotland is free so the use of electric or hybrid vehicles can also represent very significant savings in running costs.

Hiring electric vehicles

Although the market is developing, access to electric vehicle hire is mainly through car clubs such as co-wheels, a social enterprise which provides hourly car and van hire in a number of Scottish cities. Long term electric car and van hire, which would be ideal for touring, has been slower to develop as customers are more likely to want to make longer journeys and will be less familiar with the charging infrastructure. Hire companies have seen this as a major barrier and have been resistant to offering electric vehicles. You can help to create that demand by encouraging hire companies to make electric cars and vans available. Use car clubs with electric vehicles to get used to this new technology and seek out any available schemes in smaller towns to increase the availability throughout the country.

What’s the future like?

  • Future developments in Ultra Low Emissions Vehicles (ULEV) promise to include hydrogen powered cars and vans.
  • Improvements to battery technology will bring extended range. As the market in electric cars grows, more drivers will be used to the charging routine.
  • The charging infrastructure is expected to develop.
  • A number of studies are underway to identify traveller needs in relation to public transport and how this can be improved. An example of this can be found in a report  funded jointly by  Innovate UK, the Department for Transport, and the Department for Business, Innovation and Skills on Traveller Needs and UK Capability Study.
  • Software packages such as RouteMonkey  which can be used for journey optimisation are becoming more common and affordable too. These are often aimed at improving logistics for delivery companies but in the future we might see these sorts of tools being used by anyone faced with planning a route to multiple destinations, whether for touring or for collecting a number of people from different pick up points.

So, while the choice of low emissions transport may be limited at the moment, it looks like it’s changing fast and is responsive to demand. So go ahead and create it!

The post Blog: Green Transport 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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