Monthly Archives: February 2020

‘Everything Must Change’: Essential Ecoliteracy for your Creative Practice or Teaching

A NEW ONLINE COURSE with ecological artist, educator and former scientist, Cathy Fitzgerald PhD

BOOK A PLACE by Friday 6 March 2020.
Course Dates: Week 1 of this 6-week course begins on Friday 13 March 2020. The course ends on Wednesday 22 April 2020.
Cost: €89

PLEASE NOTE THIS IS A PILOT ONLINE COURSE FOR A SMALL GROUP OF PARTICIPANTS. THERE WILL 15 PARTICIPANTS ONLY – SO IF YOU ARE INTERESTED, BOOK A PLACE WITHOUT DELAY.

Essential Ecoliteracy for your Creative Practice, Teaching or Work

Feeling overwhelmed, isolated and concerned about the planetary environmental emergency? Do you sense cultural responses are needed for these urgent times? That future arts funding will be increasingly  directed to this topic? Do you wish to respond through your creative practice or teach others about this topic but don’t know where to start?

Let’s Face It – Being Ecoliterate Matters for Creatives too!

For everyone, it is hard to ignore the grim reports about environmental decline and the increasing suffering it is causing across the world. Young people are protesting, the scientists warnings are more than alarming, and even cultural institutions are beginning to talk about sustainability goals. 

As creatives (in all art disciplines), art and craft teachers, art managers, art researchers and cultural policy-writers, you might already be asking: 

  • How can I approach these urgent realities effectively and confidently in my creative work and for others that I might teach?”
  • “Does this mean I have to learn about science, ecology, climate change, biodiversity, sustainability? 
  • Cathy – I know nothing about these areas! Isn’t it all too complicated!!?”

Introducing the pilot Essential Ecoliteracy online course

In this supportive, in-depth online course you can learn from home in your own time over a 6-week period. 

You will connect with myself and others in a weekly online Live Group Meeting

From this course, you will gain confidence and competence for this urgent new topic that is rarely available in contemporary art education, art teacher or curator training or in art administration courses.


My course will help you identify key aspects about this critical topic for your creative work. 

  • At the end of this course, you will understand how modern civilization, and specifically our some of our cultural activity, has alienated us the living world and accordingly, why new informed cultural work is URGENTLY needed.
  • You will more fully appreciate ecological insights from key thinkers and understand how these ideas insist on a necessary paradigm shift in how we think, create and work if ourselves and other species are to survive and thrive. 
  • Importantly, even if you don’t implement all of these ideas immediately, you will understand how ecological understanding radically challenges commonly held ideas of creative practice, current cultural policy and even how we might fund and differently support creative ecological art practice in the future. For example, we will learn why ecological art practices are often collaborative, slow art practices that evolve over time in one place. 
  • THE KEY OUTCOME OF THE COURSE WILL BE TO HELP YOU IDENTIFY VALUES, PRACTICES AND AIMS SO YOU CAN CONFIDENTLY WRITE A CREATIVE STATEMENT FOR YOUR WORK THAT EMBODIES ECOLOGICAL INSIGHT AND KNOWLEDGE 

So if you are interested in joining this pilot course, please email me at cathyart@gmail.com to secure your place.

The Blued Trees Symphony Goes to Lake Superior

It is with great enthusiasm that I announce The Blued Trees Symphony will add a new 1/3-mile measure in Minnesota this spring of 2020. The new measure will launch a powerful new partnership with the Lake Superior Living Lab Network (LSLLN)! As with all previous measures, the performance-installation will be realized at the invitation of private landowners. Minnesota landowners are resisting eminent domain takings for the “Enbridge Line 3” pipeline to transport tar sands oil across Lake Superior. The Blue Trees Symphony in collaboration with the LSLLN will join Indigenous groups represented by Honor the Earth, led by Winona LaDuke and Universities on both sides of the border, all responding to the call of the land. 

Tar sands represent a significant environmental danger to Minnesota, the “Land of 10,000 Lakes,” America’s 5th most important source of agricultural products. The proposed Line 3 Pipeline Replacement Project would impact 700 miles of lake shoreline and endanger watersheds in Canada as well as the Midwestern United States. Mapping from the LSLLN illustrates how the location of proposed pipelines could threaten critical water reserves needed for clean drinking water, local farming, fish and wildlife. 

Detail of LSLLN habitat mapping.

Each measure of The Blued Trees Symphony designates a series of GPS located “tree-notes” in an aerial pattern that represents a melodic refrain. Tree-notes are selected by on-the-ground teams of painters from the local community. Each tree-note selected is marked with a vertical sine wave of non-toxic ultramarine blue casein which can grow moss. The spatial relationships between tree-notes and local geographic features modulates the composition of each unique measure. The sigil is applied according to my precise instruction from canopy to roots and wraps around the trunk, binding soil, habitat and copyrighted art. A final mapping of all the GPS identified tree-notes generates the performable score.

This new planned measure will continue to build a case for including habitat dependent ecological art at the intersection of eminent domain and copyright law as a new category of art to be protection under VARA (the Visual Artists Rights Act). In 2018, working with copyright lawyer Gale Elston A Blade of Grass (ABOG) produced a mock trial which was held at the Cardozo School of Law in New York City to test the legal theory behind TheBlued Trees Symphony. The Blued Trees Symphonyin Minnesota will be the next step in modeling new systems that value environmental justice, beauty and human survival in the Anthropocene.

(Top Photo: Logistics of a Minnesota Measure of The Blued Trees Symphony overlaid on a Creative Commons map of the Lake Superior watershed, Aviva Rahmani, 2020.)


Contacts for further information: 
Legal adviser: Gale P. Elston PC, Manhattan Offices: 111 Broadway, 14th Floor, Yellin Suite 1403, New York, New York, 10006 W: (646) 584-3987 gpe@galepelstonpc.com

Minnesota adviser and LSLLN contact: Kathryn Milun, Associate Professor, Sociology/Anthropology Department, University of Minnesota, Duluth, 1123 University Drive, Duluth, MN 55812 W (218) 726-7071 kmilun@d.umn.edu

Please consider making a tax deductible donation to the project through NYFA (the New York Foundation for the Arts) to see this work continue!
The Blued Trees Symphony is part of Gulf to Gulf, a project fiscally sponsored by NYFA, a 501©3, tax exempt organization founded in 1971 to work with the arts community throughout New York State to develop and facilitate programs in all disciplines. NYFA will receive grants on behalf of the project and ensure the use of grant funds in accordance with the grant agreements as well as provide program or financial reports as required. Any donations made to the project through NYFA are tax deductible!

Opportunity: Artful Migration Artist-in-Residence

Upland is seeking to appoint an artist-in-residence for the Artful Migration programme

This new residency is built on the successful pilot that took place at WWT Caerlaverock in 2017-18. This initial residency focused on the whooper swans and their family groups. It is our aim to explore a different migratory bird with each residency. For the 2020 residency, we are delighted to partner with NTS Threave Garden and Estate to enable an artist to research and create work based on the osprey. Read about the 2017/18 Artful Migration pilot project.

The artist-in-residence programme will be hosted at Kelton MainsThreave Nature Reserve (which is part of Threave Garden & Estate) so that the artist can study and record the osprey’s behaviour. The artist will develop a new piece of work based on this research. The residency will be spread over spring and summer (late April to August 2020) to coincide with the female osprey laying her eggs (late April), observe the birds raising their young and then witness the birds leaving the site to return to their wintering grounds, most likely in West Africa.

Work created will be exhibited at Threave Garden visitor centre in August 2020.

Deadline: 5th March 2020 at 5pmFor more information and to apply, please view the PDF from Upland or visit their opportunities page.

(Image credit: Colin Tennant)

The post Opportunity: Artful Migration Artist-in-Residence 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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Call for Papers – [re]Framing the Arts: A Sustainable Shift

International conference organized by Art/Switch
With AHM at the University of Amsterdam and Nyenrode Business University
Location: University of Amsterdam
Dates: Friday 30 – Saturday 31 October 2020
Submission Deadline: 20 April 2020

Ongoing global developments and the rapid growth of the art world highlight the need for a continuous questioning of sustainability in the arts, in terms of actors and methods. In 2020, art institutions and professionals are just beginning to wake up to their role in contributing to climate change. Recent reforms and calls for action, such as the climate emergency declared by the Tate in July 2019, generally focus on the front of house aspects of the art world and the environmental impact of museums. Accompanying these reforms are guidelines and papers from museum associations and NGOs, for instance Resolution No. 1 “On sustainability and the implementation of Agenda 2030, Transforming our World” adopted by ICOM’s 34th General Assembly in 2019. However, the pressing issue of environmental sustainability is still greatly missing from major sectors of the art market, including art transport, storage, insurance, as well as the commercial art flow. In line with the urgent call for action established by the United Nations’ Sustainable Development Goals in 2015, this conference aims to open up an interdisciplinary space for practitioners and academics in order to connect debates, enhance networks and initiate an international platform for the field of sustainability in the arts. Possible topics for contributions include, yet are not limited to:

1. CARBON FOOTPRINT OF COLLECTION INSTITUTIONS
New building materials; renewable and green energy; museum architecture; waste management/reduction; establishment of effective environmental guidelines.

2. SUSTAINABLE ORGANIZATION OF ART INSTITUTIONS
The vision of art organizations and their commitment to sustainability: management; marketing; catering; digitalization; public programming; education.

3. DEVELOPMENT OF SUSTAINABLE ART STORAGE
Rethinking existing guidelines concerning climate, light and humidity control; sustainable architecture; storage management; green transportation methods.

4. QUESTIONING THE SUSTAINABILITY OF CONSERVATION PRACTICES
Object management; sustainable conservation; collection management; a decrease of collection size in favor of sustainability.

5. CREATING SUSTAINABLE EXHIBITIONS AND OPERATIONS
Sustainable materials for exhibitions, including circular architecture design and the recycling or reuse of exhibition materials.

6. REDUCING ART TRANSPORT AND DEVELOPING SUSTAINABLE METHODS
Questioning shipping practices linked to fairs, exhibitions, and a growing international online market. Thinking of creative and lasting solutions for a more carbon neutral transportation.

7. SUSTAINABLE DEVELOPMENTS IN ART HANDLING
Innovations in art handling: environment-friendly materials; reusable packaging designs; research into the conservational aptitude of these new materials.

More info and to apply

Submission

Academics, researchers, designers and art professionals – e.g., curators, art handlers, gallery directors, collection managers, architects, art insurers, shipping coordinators, operation managers, heads of sales, fair coordinators – are invited to submit a short bio and abstract (250 words) for an oral presentation (20 minutes average) at info@artswitch.org by 20 April 2020. 


We encourage diverse formats of presentations, including but not limited to talks, videos, workshops, music or performances. Files should be saved as follows: [last name, first name_abstract title]. All contributions will be considered for publication in the conference proceedings. For more details, visit: artswitch.org The conference fee is €200; full-time students €50

Take Part in Season for Change 2020

Artists and arts organisations:
Take part in Season for Change 2020, a UK-wide programme showcasing cultural leadership on climate action

Led by Artsadmin and Julie’s Bicycle, Season for Change 2020 will be a major cultural festival and campaign celebrating the environment and inspiring urgent action on the future of our planet, in the lead up to the UN’s COP26 international climate negotiations in Glasgow in November 2020. 

From June-November 2020, organisations and artists across the UK are invited to respond to the climate crisis through practical actions and participatory activities that spark public conversation about the future of our planet, and showcase solutions. 

Co-created with organisations and artists across the UK, the programme will include digital content, new participatory commissions, performances, exhibitions, talks, film screenings, workshops and events. Together, we aim to reach over 10 million people, with participation from more than 250 arts and cultural partners. 

Season for Change 2020 is supported by Arts Council England, which has partnered with Julie’s Bicycle for over a decade to support the cultural sector in reducing its environmental impacts and in 2012 became the first cultural body in the world to make climate action part of its funding agreements for National Portfolio Organisations.  

Season for Change 2020 culminates on 9-19 November 2020 when the UK welcomes delegates from over 170 countries to Glasgow for COP26, the UN’s most critical climate negotiations to date. This will be an unmissable opportunity to showcase the creativity and leadership of the cultural sector on the most important issue of our time. 

Season for Change 2020 aims to mobilise artists and cultural organisations to put climate action at the heart of their programming through: 

  • A programme of events and resources that will empower artists and cultural organisations to take action and inspire their audiences and communities. 
  • 15 flagship participatory commissions with 10 partners nationwide that engage diverse audiences with the climate crisis. 
  • A national campaign of events about climate change and the environment involving over 250 artists and arts organisations nationwide. 

“There is quite simply no issue more serious and urgent than the future of our planet. Season for Change is about story and action – amplifying the multiplicity of voices of artists, audiences and communities across the UK, and equipping them with the tools to act collectively and as individuals.”
Deborah Chadbourn, Executive Director, and Róise Goan, Artistic Director, Artsadmin

“This is the year for climate action. The UK, as host to the international climate negotiations, has an exceptional opportunity to make a big difference. Season for Change is for people from all over the country to connect to the climate crisis and make our voices heard at COP26. Come with us.”
Alison Tickell, Founder and CEO, Julie’s Bicycle

“At the Arts Council, we believe arts and culture can make the world a better place, which includes building a more environmentally sustainable future. We are very pleased to be supporting Season for Change 2020, an ambitious and timely project which highlights the innovation, imagination and commitment of artists and cultural organisations responding to climate change, showcasing practical action and sparking valuable conversations with the public.”
Nicholas Serota, Chair, Arts Council England

Season for Change will be delivered in partnership with arts and heritage organisations, artists and cultural agencies across the UK. Confirmed programme partners to date include Apples and Snakes, Cambridge Junction, Contact Theatre, East Street Arts, Happy Museum, Manchester Museum, Metal Liverpool, Sage Gateshead, Warwick Arts Centre, Watershed and academic partners such as the Centre for Climate Change and Social Transformation (CAST). 

How artists and arts organisations can take part in Season for Change

Season for Change 2020 invites artists and cultural organisations to host events, artworks and actions across the UK that celebrate the environment and inspire urgent action on climate change, in the context of COP26.  

Arts organisations, artists and others from the UK’s creative community are encouraged to go to the Season for Change website to: 

  • Sign up to our mailing list to receive event invitations, resources, updates and programme announcements.
  • Tell us about any events or creative responses about environment/climate change you are planning for June-November 2020. 
  • Share with us touring work on this theme that we can promote to our networks.
  • Share Season for Change with your networks using the hashtag #SeasonforChange2020 

What kind of events, artworks and actions can be part of Season for Change? Creative responses can take place anywhere – in arts venues, on streets, in schools, at festivals, on beaches, in libraries or museums and across broadcast, film, fashion and music. We invite you to use culture to speak out, champion change, showcase sustainable practice and inspire action by doing things such as:

  • Programme an event
  • Commission new work
  • Organise a debate
  • Curate an exhibition
  • Provide space for spontaneous performances
  • Host an open call
  • Make art, theatre, music, film etc. 
  • Turn your work inside out and show what you’re doing behind the scenes
  • Support your community to take action on local environmental issues creatively
  • Put climate change centre stage

Read the full press release

(Top image: METIS, WE KNOW NOT WHAT WE MAY BE, part of Season for Change 2018. Photo: David Sandison)

ARTS COUNCIL ENGLAND ENVIRONMENTAL REPORT 2018/19

Julie’s Bicycle and Arts Council England have worked in partnership since 2012 to inspire environmental action across the arts and culture sector, with a focus on long-term funding partners, the National Portfolio Organisations.

Our latest report, Sustaining Great Art and Culture, details data, projections and initiatives from the opening year of a new four-year environmental sustainability programme. 

“The success of this programme goes far beyond data collection and carbon reduction. Cultural organisations are embedding climate action into the core of their operations – developing creative solutions, forging new partnerships and sparking valuable conversations on sustainability with their audiences. The actions taken to address climate change over the next decade will be crucial and, as society faces up to this challenge, the imagination, ambition and commitment demonstrated in the Arts Council’s 2018/19 Environmental Report point the way forward.” 

– Nicholas Serota, Chair, Arts Council England

This is the first environmental report to cover the Arts Council’s 2018-22 National Portfolio, which has grown by 20% and includes 184 organisations new to environmental reporting. It reveals that the Portfolio’s total carbon footprint is 114,547 tonnes of CO2e – an amount which would take almost 115,000 trees 100 years to absorb – yet also highlights initiatives organisations are undertaking in response to this challenge: from Bristol’s Colston Hall pledge to achieve zero carbon emissions by 2030 to the London Theatre Consortium developing a roadmap for a 60% reduction in carbon emissions by 2025.

Key findings of the report include:
  • Organisations are making sustainable energy choices – 54% have installed energy efficient lighting and controls and 32% of purchased electricity is on a green tariff contract.
  • A new, creative ecology is emerging – 47% are trailing sustainable production or exhibition methods and 30% are with banks that invest in social and environmental projects.
  • Sustainability is powering creative expression – 50% developed new creative or artistic opportunities as a result of environmental initiatives and 49% have produced, programmed or curated work on environmental themes.
  • Business communication is changing – 70% actively promote virtual communications technology as an alternative to travelling.

DOWNLOAD THE FULL REPORT HERE

DOWNLOAD THE SUMMARY OF KEY FINDINGS

In response to the growing commitment demonstrated by the sector, Arts Council England and Julie’s Bicycle will now shift focus towards accelerating impact and stretching ambition. This includes two new strands of work: The Accelerator Programme, which offers organisations resources and expertise to develop innovative ideas into deliverable projects for greater impact, and a targeted carbon reduction scheme for organisations with large infrastructures, The Spotlight Programme.

We encourage you to please share this report, and don’t forget to follow us on Twitter and use the hashtag #GreenCulture to join in the conversation. If you would like any social media or marketing assets, or have any questions, please contact the Julie’s Bicycle office: +44 (0) 208 746 0400. 

Banner image: Steve Edwin, courtesy of Bournemouth Arts By The Sea

Funding - ACE

Tread Boldly: Recycling Composition as Landscape

You have brains in your head.
You have feet in your shoes.
You can steer yourself
In any direction you choose.
– Dr. Seuss

Shoes are a necessity. We need them to go about our daily routine. Shoes enable us to explore the very landscapes we strive to preserve. Yet, they’re one of the most problematic sources of consumer waste in the world. 

Creating a single pair of running shoes generates 30 pounds of carbon dioxide. The 25 billion shoes manufactured around the world every year generate a huge greenhouse gas impact. At the end of a shoe’s life, it’s discarded, and spends over 50 years decomposing in a landfill where it will contaminate the water and soil. The midsole of a running shoe, made of ethylene vinyl acetate, takes a whopping 1,000 years to decompose.

While an increasing number of shoe companies are steering their shoe production in a more sustainable direction, there’s still a long way to go. Today there is an endless source of shoe waste available to artists to make art from. 

“The one advantage of working with waste material is – it’s everywhere.”  Meghan Price

Meghan Price is a Toronto-based multi-media artist drawn to the significance of process and materials. Meghan works with textiles, print and video, exploring time and what she refers to as human-earth interactions. In her latest series utilizing recycled athletic shoes, she sheds powerful insight into the relationship between waste, and humanity’s place in geological time through stunning low-relief landscape sculptures.

Meghan Price, New Balance 1, 2017, recycled shoes, 15 x 37 x 2 inches

Meghan’s New Balance series evokes layers of the Earth’s crust using an arts-informed inquiry into geology and the seismic impact of human consumption on our planet. “This work specifically references the Earth’s uppermost layers as they are embedded with environmental pollutants including textile materials and residues from their manufacturing,” describes Meghan. 

Meghan Price, New Balance 2, 2017, recycled shoes, 14 x 3 x 2 inches

Landscape painter Mariah Reading was inspired to change her artistic process after reflecting on the waste produced by painting the very landscapes she loved. “As artists, we throw away a lot of waste,” notes Mariah, who is also an avid outdoorswoman. She works to minimize her carbon footprint, and turns her eye to the waste left by humans in nature. When hiking, she picks up trash and paints landscapes on it. Mariah then photographs the object aligned with the physical landscape to both obscure and highlighting the discarded object. 

Single shoes are among the most commonly found waste objects that Mariah finds. “I really enjoy painting shoes because I contemplate who lived in those shoes, and the carbon footprint made by that person in their shoes,” shares Mariah. “The shoe had a life of its own before – and now again, after being discarded.”

Mariah Reading, Devils Boot, 2018, recycled steel-toed boot, acrylic paint, digital photograph

Meghan and Mariah give shoe waste a new life, inspiring the rest of us to walk in a more sustainable direction.

Meghan Price is represented by United Contemporary Gallery in Toronto.   Mariah Reading’s work can be purchased directly through her website.


Natasha Milijasevic is a Toronto and Miami-based consultant, writer and researcher. Her past research and publications span organizational psychology to patient safety to business strategy. She’s the mother of two, and an occasionally exhibiting artist.

(Top Photo: Mariah Reading, Adidas Sunset, 2018, recycled shoe, acrylic paint, digital photograph)

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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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Job: Curator/Producer roles at Fife Contemporary

Vacancies in Curator/Producer roles in two different project by Fife Contemporary.

Fife Contemporary has declared a Climate Emergency and the challenges facing the environment will be at the heart of their forthcoming exhibitions and events programme.

There are two roles available:

Containers Project Curator/Producer

An evolving project centred around shipping containers has included a pilot exhibition using a container and a touring pop-up banner exhibition about shipping containers. Fife Contemporary are seeking to contract a freelance curator/producer to move the project forward by completing a research & development phase.

  • Duration: April – September 2020
  • Fee: £7500 based on 30 days work over 6 months
  • Full job description
Environmental Exhibition Curator/Producer

Fife Contemporary are seeking to contract a freelance curator/producer to devise, develop and deliver an exhibition with us planned for Kirkcaldy Galleries in March-May 2021. The exhibition should involve high quality contemporary visual art and craft and be presented in a way which engages a general audience.

  • Duration: April 2020 – June 2021
  • Fee: £12,500 based on 50 days work over 15 months
  • Full job description
How to apply
  1. Prepare cover letter outlining why you wish to undertake the project and outline your relevant knowledge and experience which would enables you to carry it out.
  2. Enclose a current CV including a referee who we will contact in the event of our offering you the opportunity.
  3. Send to jobs@fcac.co.uk inserting the title of the role into the subject line of the email.

To discuss the project before applying, please contact Fife Contemporary Director:
diana.sykes@fcac.co.uk / 01334 474610

Fife Contemporary  welcome and encourage applications from all sections of the community, and will not discriminate on grounds of race, colour, ethnic or national origins, gender, sexual orientation, age, disability, or religious beliefs. To help us monitor our performance we will ask you to fill in a confidential monitoring form.

Deadline: Monday 9th March 2020 at 5pm

The post Job: Curator/Producer roles at Fife Contemporary 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

Powered by WPeMatico

The Guapamacátaro Center for Art and Ecology: Interdisciplinary Residency in Art and Ecology Program

Our Interdisciplinary Residency in Art and Ecology Program has been around for 14 years, granting space and production support for people who are doing innovative work worldwide, across the arts and sciences. During their stay (3 weeks), participants use the hacienda grounds as a laboratory for the creative process and engaging with the local community. They are free to work whenever desired in the provided studios and anywhere in the property. Experimentation is encouraged as is discourse and collaboration. 

Eligibility

* Open to professionals from all countries, cultural backgrounds and aesthetics.
* Language requirements: BOTH English and Spanish (at least beginner level).
* Up to 10 people per session are selected from a mix of the following disciplines:

  • Performing Arts (Music, Dance, Performance, Theater, Puppetry, etc)
  • Visual Arts (Painting, Drawing, Mixed-Media, Photography, Film/Video, etc)
  • Sculpture and Installation
  • Design and Architecture
  • Humanities and Social Sciences (Anthropology, Philosophy, Writing, etc)
  • Natural Sciences (Ecology, Hydrology, Biology, Geology, etc)
Award
  • LIVE/WORK SPACE: Single or double occupancy bedrooms and studios, plus common areas at the hacienda, at NO COST.
  • PRODUCTION SUPPORT to realize one or more projects while in residency. 
  • PUBLIC EXHIBITION at the Open House event on the last week of the residency.
  • DIGITAL CATALOG showcasing each participant’s work, with a review written by a guest curator or writer.
  • CONNECTIONS with Mexico’s cultural and academic presenters.
Costs
  • LIVING EXPENSES: All utilities, cleaning services, drinking water and three meals per day at NET COST: $1,000 USD for the 3 weeks.
  • TRANSPORTATION: We do not cover transportation expenses, but can assist you in pursuing additional funding with other sources, to cover such expenses.

APPLY

2020 SUMMER SESSION : July 6-26
APPLICATION DUE: March 1st at midnight
NOTIFICATION OF RESULTS: March 15th

FAQ

Open Call: Apply Now for Ferment

Apply by March 9 here

This article was originally published in 2019 to announce the launch of Year 1 of Ferment. Since then over $65K has been distributed to creators through Ferment. Ferment also does not seek public funding and operates as a stand-alone space experimenting with new ways of making culture.

Ferment: Space for Cultures to Grow

Incubators exist to help startups grow. Incubators are being increasingly leveraged globally to catalyze economic and community development. This is an admirable pursuit but raises important questions about the types of activities that are being supported and the forms that positive development takes. The moral foundations of capitalism are dominating more and more aspects of our culture. Unsurprisingly, incubators echo this, with an emphasis on economic growth, competition, and acquisition.

We will need systems and institutions focused on more than competition and growth if we hope to overcome the massive challenges we face as communities and as a species.

Culture is a collective resource upon which we all draw to make sense of the world. A society that lacks diversity in cultural narratives is a society that lacks the imagination to deal with the massive issues of our times. Incubators, even when ostensibly aimed at solving issues like climate change or inequality, are often deeply rooted in capitalist assumptions about wealth and growth.

New incubators embodying new values are necessary to build our collective resilience and to generate new ideas and approaches to move us forward.

IMG_-6sumh1.jpg

Fermentation is a practice known in most cultures. In fact, there is evidence of beer making in a cave near Haifa, Israel from 13,000 years ago. Fermentation refers to the conversion of sugar into alcohol but is also applied to the leavening of bread (carbon dioxide from yeast activity) and in the preservation of foods through the production of lactic acid (like in pickles and cheese). Ultimately, fermentation serves five basic purposes: to provide greater diversity of flavors, aromas, and textures; to preserve food for later use; to increase the health benefits of a food or drink; to get rid of anti-nutrients, and to reduce the need for cooking and the associated need for fuel.

Ferment therefore becomes a useful metaphor for the work we are trying to do. We seek to:

  1. increase the diversity of stories available to us to make sense of the world.
  2. preserve stories and ways of knowing so that they are not lost to future generations.
  3. offset the trend toward algorithmic optimization of culture at the expense of the hard work and education required to develop personal taste.
  4. offer time and support to approaches that the market might not currently support
  5. accelerate projects that disrupt how we deal with massive problems affecting us and subsequent generations

Fermentation takes patience and there are few quick fixes. Also, we won’t know what we’ve got until adequate time has been given. Ours is a slow and immersive process.

Ferment is an effort to help people outside traditional and institutional spheres of cultural production do their work and contribute to our collective well-being. We are doing this through research and experimentation on emerging business models, new platforms for collaboration, and unexpected sources of income.

Ferment is an effort to understand and enact a different format for ‘incubation’. Ferment is a space for new culture to grow. We intend to create alternatives to state and corporate forms of incubation.

We are following the advice of Noam Chomsky, who calls for, “spontaneous and free experimentation with new social forms”. Furthermore, we are pursuing Chomsky’s goal of “possibilities for reconstruction of society in the interests of those who are now, to a greater or lesser extent, dispossessed”.

Ferment is composed of creators that are advancing ways of understanding and describing the world that might not find a home in institutional creativity (or incubation). This includes diasporic practices, hybridized approaches, creative work that spans disciplines and sectors, and art and design that draws on traditions that do not privilege capitalist models.  

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Ultimately, we hope to offer a new marketplace for solutions. Traditional approaches to incubation should not be dismissed. Our offer is a way of supporting entrepreneurial activity that is centered in different values and approaches. In farming, mono-cultures are fragile. The same argument applies to entrepreneurship and incubation.

Reach out to find out more or check out the 2019 cohort here.

Apply by March 9 here