CSPA Convergence

The 2011 Prague Quadrennial will take place in a new space – the Veletržní Palace

Time and place – these two variables have been set for the next Prague Quadrennial (PQ), the largest international event dedicated to stage design, performance, and space. The 12th PQ will take place in the Veletržní Palace (the building of the Czech National Gallery) from June 16th to June 26th, 2011. The Veletržní Palace is only a few hundred meters away from PQ’s previous location, the Industrial Palace within the Prague Exhibition Grounds. In 2011, the functionalist building of the Veletržní Palace become the center of the PQ as it hosts the two main sections – the Section of Countries and Regions and the Student Section. Aside from the expositions, which will be spread on among several floors of the building, there will be a number of lectures and classes, as well as many other events. In addition, the artists will also visit the city center, as many shows, exhibitions, and performances will take place directly in the streets of Prague, on the piazzetta of the National Theatre, or in the building of the Theatre Academy.

”As for the Prague Quadrennial in 2007, there were almost 30,000 visitors and more than 5,000 professionals and students from all over the world. One of our aims for the upcoming PQ therefore was to look for a new place, which would not only correspond to the growing interest of the public, but would also be an important source of impulse for the PQ itself. The connection with the National Gallery offers new context for the Prague Quadrennial, which presents scenography as an artistic discipline between visual and performing arts,“ says Sodja Lotker, the PQ Artistic Director .

The main objective of the PQ is to draw attention to current works of scenographers and architects to the broader public. Apart from the professional aspect, the PQ’s organizers are planning to introduce a number of events meant for the general public and kids. At this moment there are 57 countries signed up to participate in the next PQ. There are a number of traditional PQ participating countries registered, such as the USA, Germany, and Norway, but also countries like India and Kazakhstan. For more detailed information, please go to www.pq.cz/en.

Preparations for the next Prague Quadrennial are already in full swing. Great attention, however, has turned to the new PQ project, the Intersection. It is a unique project combining workshops, symposia, and last but not least, the artistic event itself. The Intersection is clearly the most extensive project of its kind, connecting various fields and genres of contemporary art, related to performance and performance design – theatre itself, dance, art installations, video art, performance, body art, fashion, new media, architecture, and site-specific pieces, among others. As a result of several years of effort, there will be a performance/installation in the Prague city center, where people will be able to see performances throughout the day, or where one can see installations or video art. The importance of this project is not only marked by the participation of 8 other important institutions as Victoria and Albert Museum or Kretakör Theatre Company, but also the fact that the project was awarded the Culture Grant of the European Union, where it succeeded among 296 applications. The first part of the project – the international theoretical symposia took place in Autumn 2009 in Amsterdam and Zurich.

The quintessential element of the PQ program, however, will traditionally be connected to the Section of Countries and Regions. Individual country’s concepts will represent all current stage design directions: the stage, costume, lighting and sound design, etc. and their mutual connections. As in previous years, plenty of space will be also dedicated to the Student Section. Aside from the expositions of particular art schools from around the world, this section will also host the Scenofest – an educational project based in workshops and site-specific performances. The question, “what is a theatre now?” will be the main topic of the Architecture Section, which will mainly focus on the diversity of forms of theatre space in the 21st century. This section will not only take spectators from the theatre building to site-specific spaces and all the way to virtual space, also it will also create dialog among architecture, scenography, and contemporary performance.

The three main competitive sections of the Prague Quadrennial, where participating countries and artists may win the main prize, the Golden Triga, as well as other awards, will be accompanied by several programs meant to address the broadest international public. There will be a new project concerning costumes, a sound and light project, and the traditional PQ for Children project, which will take place directly in the streets of Prague.

The Veletržní Palace is one of the most important functionalist buildings in Prague. Built by Josef Fuchs and Oldřich Tyl, the building was completed in 1928 and was, in its time, highly praised for its size, modern concept, and unusual façade. The six floors of the building served its original purpose until 1939 when it began to be used for many different purposes. Destroyed by fire in 1974, the building was reconstructed in the early 1990s and today it serves as the home of 20th and 21st century art for the Czech National Gallery.

For more information please contact:

Ondřej Kopička

International PR

Prague Quadrennial

M: +420 608 540 360
E: press@pq.cz

Soundwave Festival : Presented by MEDIATE

Soundwave ((4)): Call for Proposals:
GREEN SOUND

Summer 2010, San Francisco USA


The next season of Soundwave will explore our sonic connections to the environment. For GREEN SOUND, Soundwave seeks artists, composers and musicians to investigate the wonder of natural world, and
examine environmental responsibility and sustainability through sound.

Soundwave seeks experience-driven performances that interpret the connections between sound and environment through its instrumentation, concept, visual collaboration, installation, audience interaction, or production by local and international sound artists, designers, musicians,  and composers.

the questions

How does sound affect the environment and how does the environment affect sound? How can sound help the environment? How do we green sound? What compositions and performance can
influence environmental change? How can the environment innovate the sound experience? How can environmental concepts engage, inspire, and challenge audiences and performers with a new, exciting, bold and intense aural experience?

concepts to consider
Environmental/organic composition, production or performance, reusable/recycled/renewable/natural instrumentation, real and imagined natural environments and inhabitants, solar-wind-water-powered performances, low carbon footprint works, eco-systems, climate change, weather, environmental awareness and responsibility, sustainable performance/production, new sonic technologies supporting green initiatives, dance collaborations, film collaborations, theatrics, greening of environments, sound generating organisms, plantlife/animal life, green installations, audience greening, and other artist imaginations.

season 4 mission
GREEN SOUND hopes to engage artists and audiences in revealing an incredible natural world unknown/unexplored and re-imagining a world in environmental crisis and human consumption. It hopes to inspire thought and action while showcasing sound’s inherent connection to our environment and innovative artistic voices for environmental change.

important dates

Open Call Deadline: September 15 2009
Artist Notification: November 2009
Artist Performance Development: Jan-June 2010
Performance Dates: June through August 2010

festival details
Dates and Venues: Soundwave will take place on various dates between June and August at various venues in San Francisco. We work with the invited artist to schedule available dates, as well as venues appropriate for their work. Typically, specific dates and venues are confirmed three months in advance.

Artist Fees: Fees to performing artists are modest. Amount is dependent on grant awards and fundraising currently in process. Typically, fees are confirmed three months in advance of performance date.

Accommodations: We are unable to offer accommodation fees for international artists and American artists outside of the Bay Area. We can offer housing, with limited availability, in private homes of friendly and enthusiastic friends of Soundwave to sleep and store belongings.

Travel: We invite all artists to submit proposals, but we are unable to offer financial assistance to cover travel costs for those outside the Bay Area. We ask our international artists and American artists outside of the Bay Area to apply for travel funding through their national arts councils and private foundations in their home country (ie. Canadian Artists – Canada Council for the Arts).  We will need to be notified of your travel award or notification of self-travel by March 15, 2010 or the invitation will be rescinded.

We do, however, apply for a couple of grants specifically for our International artists and American artists outside the Bay Area. Artists that apply early will have better access to these grants.  These grants, however, would not be enough to offset travel and accommodation costs, so we encourage those to continue to apply for travel grants.

proposal guidelines
All proposals MUST include:

  • Your artistic resume and website (including past performances, exhibitions, commissions, discography, videography)
  • A concise project description limited to 500 words. Indicate whether this is a completed project, a work-in-progress or yet to be realized, as well as, the performance duration of your work (most performances are limited to 20-30 minutes long. Please indicated if it is time specific so we may have the ability to accommodate)
  • Support materials such as reviews, high quality images (photographs, slides, video) and recordings of past works and performances
  • A detailed list of your technical needs and space requirements
  • A 100-200 word typed bio of quality for publication in press materials
  • A high resolution photograph(s) of yourself, your group and/or your work for press materials. Digital images must be a minimum of 8X10 at 300 dpi. In Jpeg or Tiff format with the extension attached (.jpg or .tif). Do not embed photographs in Word or any other program.

how to submit
Email: submissions@me-di-ate.net (DO NOT send image, audio or text attachments the email over 5MB. We prefer you providing links to these supporting materials and hi-res pictures. Alternately, these materials can be mailed to the address below.
Mail: MEDIATE, P.O. Box 170305, San Francisco, CA, 94117-0305, USA

about soundwave
Soundwave is MEDIATE’s acclaimed biennial festival of innovative sound, art and music. Soundwave is a multi-venue and multi-date sound performance series happening over the span of two months every two years in San Francisco USA. Each season investigates a new idea in sound and invites diverse multidisciplinary artists and musicians to explore the season’s theme in new and innovative directions. Soundwave has completed three successful seasons: Season 3’s MOVE>SOUND in 2008, Season 2’s SURROUND>SOUND in 2006 and Season 1’s FREE>SOUND in 2004. Project>Soundwave, created by MEDIATE artistic director Alan So, explores the boundaries of how we see sound, language and music. It is a project dedicated to challenge and inspire artists and audiences to look deeper into the sound medium and discover new connections to sound making and the sound experience through the production of CDs, exhibitions and its marquee festival Soundwave. Soundwave was awarded Best Sound Sculptures – Future Classic by San Francisco Magazine’s BEST of 2007 issue. It has been featured on SPARK*, KQED’s (PBS) television arts show and Educator Guide on Experimental Music, SF Weekly, SF Chronicle, BBC Radio 3 (UK), San Francisco Bay Guardian, 7×7 Magazine, SFist, WNYC Public Radio, ResonanceFM (UK), KUSF, KALX, KPFA, amongst others.

“Soundwave has sought to make irrelevant the typical distinctions between artist, musician, audience, stage, and venue… idiosyncratic performances that are challenging, charming, magical, assaultive, and (as is always the case with really sweet sound art) deeply personal for everyone present.” – Frances Reade, SF Weekly

“It’s an artisitic and exploratory experience for your senses that will open your eyes and your mind.” – Nitevibe

Project Website: www.projectsoundwave.com
Organization Website: www.me-di-ate.net
Inquiries and Questions: connect@me-di-ate.net

via Project>Soundwave : Soundwave>Series : Soundwave Festival : Presented by MEDIATE.

Theatre and the Environment « Mo`olelo Blog

Theatre and the Environment Panel
(And an excerpt of a work in progress)
Martin E. Segal Theatre Center
The CUNY Graduate Center,
365 Fifth Avenue
New York, NY 10016-4309
April 23rd, 2009, 6:30 pm

Join us on the evening after Earth Day to explore what theatre artists and production staff are doing to meet the extraordinary challenges of climate change. At a time when local, state and federal governments are setting goals for reductions in carbon emissions, holding public meetings to solicit public recommendations for adapting to rising sea levels; when businesses are beginning to talk about renewable energy, closed-loop waste streams, and innovative mobility systems; what are we doing in the theatre?

This event will explore theatre and the environment from two perspectives: the process of making theatre, and the theatre we make.  On the process side, we will explore building performance and renewable energy, facilities management, closed loop set design and construction and intelligent recycling. On the content side we will see an excerpt of a new play by Shelia Callaghan. Directed by Daniella Topol, we will learn from her how this multimedia theatre piece about water has been shaped through her consultations with scientists at the Department of Environmental Conservation. We will also reflect on Bill McKibben’s lament that the theatre lags behind other art forms in grasping – and mining – the full artistic potential of this issue

via Theatre and the Environment « Mo`olelo Blog.

Rising Tide Conference, San Francisco: April 17th – 19th, 2009

The Rising Tide conference is a series of topically organized panels, seminars, and roundtable discussions, bringing together creative professionals, scholars and students to engage in conversations and debates about the intersections of ethics, aesthetics, and environmentalism.

The event includes panels, exhibitions, film screenings and satellite events. Rising Tide is jointly hosted by California College of the Arts, San Francisco, and Stanford University.David Buckland from Cape Farewell is one of the keynote speakers. Panel themes include politics and capitalism, mobility, cities, rivers and oceans and material culture.

This groundbreaking conference will be jointly hosted by California College of the Arts, San Francisco, and Stanford University this spring. Our audience and collaborators come from various disciplinary backgrounds. They are artists, activists, community organizers, venture capitalists, philanthropists, students, and faculty of Fine Arts, Design, Architecture, Writing, Criticism, Curatorial Practice and Environmental Sciences who are helping to push the green revolution to a tipping point.

The conference will convene on the San Francisco Campus of California College of the Arts on Friday, April 17th, on the Stanford Campus Saturday, April 18th, and at CCA on Sunday, April 19th. We are planning a series of satellite events (screenings, exhibitions, performances, lectures…) throughout the month of April.

www.risingtideconference.org

Go to the Ashden Directory

2009 Indy Convergence

The end of my February was spent in Indianapolis, crossroads of America, dead center of Indiana, home of the Indy Convergence. I was brought in last year and spent 30 hours making something. I decided to make a little more space for making this year and spent 10 days in Indy. As part of what was made was this short video I put together for the open lab/performance we culminated tour time together with. 

I had led a couple of workshops on sustainability in performance and also led the effort to measure our waste, primarily by weighing our waste and then running numbers on what that waste meant. Here is that video:

[display_podcast]

Launch of Arcola’s Green Sundays

green-sundays-e-flyer-1st-march

Join us at the launch of Arcola’s Green Sundays, more details at www.arcolaenergy.com. 
Download full Winter/Spring 2008 Season Brochure Now:

Click to access Arcola_Winter_2009.pdf

The Water’s Edge     3-28 Feb by Theresa Rebeck A modern Greek tragedy that explodes the American family from within.
With Madeleine Potter, Robert Cavanah, Mark Field, Cressida Trew and Kate Sissons.

Book Tickets Now: www.arcolatheatre.com or 020 7503 1646

South Bank Show Awards ‘Diversity Award’ Nominee 2008
WhatsOnStage.com Best Off-West End ‘Enemy of the People’ Nominee 2008 CBI Growing Business Awards ‘Green Award’ Winner 2008
Peter Brook Empty Space Awards ‘Established Studio’ Nominee 2008
Charity Awards Highly Commended 2008 
Arcola Theatre is a Regularly Funded Organisation of Arts Council England.

Peter Brook Empty Space Awards ‘Established Studio’ Nominee 2008
Charity Awards Highly Commended 2008 
Arcola Theatre is a Regularly Funded Organisation of Arts Council England.

APInews: Systems of Sustainability: Art, Innovation, Action

Just as we’ve received a reminder from the Community Arts Network RSS feed, we are reminding all of our readers about this upcoming event. We’ll both be there in Houston (my home away from home for the better part of the last decade) 

Sustaining our planet, our culture and our creative enterprise” are the topics of “Systems of Sustainability: Art, Innovation, Action (S.O.S.)” at the University of Houston in March. Part arts festival, part academic symposium, “S.O.S.” explores “how creative enterprise can be an integral tool for cultural growth and social change.” Organized by the Cynthia Woods Mitchell Center for the Arts and the Art Museum’s Blaffer Gallery at the University of Houston, the event includes site-specific projects, participatory activities, lectures, scholarly panels and opportunities for dialogue with artists, researchers, activists and scholars such as Matt Coolidge, The Center for Land Use Interpretation; Lindsay Utz, GOOD Magazine; Robert Harriss, Houston Advanced Research Center; Liz Lerman, Liz Lerman Dance Exchange; and more. The symposium runs March 27-29, 2009. [LINK]

 

via APInews: Systems of Sustainability: Art, Innovation, Action .

Facebook | SOS: Art, Innovation, Action

 

Systems of Sustainability: Art, Innovation, Action (“S.O.S”), is a three-day event organized by the University of Houston’s Cynthia Woods Mitchell Center for the Arts and Blaffer Gallery, the Art Museum of the University of Houston. Part arts festival, part academic symposium, S.O.S. explores how creative enterprise can be an integral tool for cultural growth and social change. The program will present a range of innovative practices demonstrated by a roster of local, national, and international participants including prominent artists, scientists, business leaders, activists, and scholars. Events will include site-specific projects, participatory activities, lectures, scholarly panels, and many opportunities for dialogue.

And you can join in on facebook. 

 

via Facebook | SOS: Art, Innovation, Action.

The Conversation Was Conservation

The best way to curb planetary debasement? Conserve resources. Use less, think differently and, most importantly, don’t depend on recycling to protect humanity from becoming an endangered species.

This simple but habit busting truth was the main theme in the conversation among panelists on Sunday, December 7, as part of Moving Art’s – Moving Green Mini-Expo. The theatre company organized the event as part of their presentation of E.M. Lewis’s Song of Extinction at the Ford Theatre in Hollywood. Several tables with ecologically friendly products and programs were set up in the lobby and on the patio. There was even a Smart Car to ogle and learn about. After the matinee, four leaders from the public and private sectors discussed practical strategies for reducing planetary impact.

The audience gleaned excellent tips and information from Jessica Aldridge from the Burbank Recycle Center; Stephanie Barger, Founder and Executive Director of Earth Resources Foundation in Costa Mesa; Natalie Freidberg, Manager of All Shades of Green sustainable living center in Silverlake; and Ian Garrett, Executive Director of The Center for Sustainable Practice in the Arts (CSPA) in Los Angeles. The panel was moderated by Rebecca Rogers, a member of the NRDC Leadership Council and Executive Producer of the documentary film F.L.O.W..

Conservation at home or at the theatre requires small shifts in thinking about how and why we use resources. According to Garrett, the first step in theatre is to increase the life cycle of materials that typically function for a 6-week, or even shorter, run. Lumber and set materials can be donated to other theatres or used in subsequent productions. Non-toxic paints and sustainable lumber can be used for set construction. Energy efficient vehicles can be used for touring shows and materials transport. The goal is to reduce human exposure to toxic materials, reduce waste in landfills and incinerators and to, ultimately, conserve dollars, since most non-toxic, sustainable materials are still more expensive than those that aren’t.

CSPA is collaborating with Earth Arts Partnership in Venice (brought to you by the green folks at the Electric Lodge) to build an infrastructure for the storage and transportation of theatre materials and to encourage a green arts business model.

Lighting efficiency is another key area where theatres can save energy and money. Using tools from the EPA website, CSPA tracks the amount of electricity used by a theatre production and estimates the amount of equivalent energy used in gallons of gas, or barrels of oil, or the amount of energy used in the average American home over a one year period. He made the case that sold out houses at the theatre means less energy being used at home, which even with a single run of a show can eliminate the carbon foot print of one house per year. The upshot: go to the theatre to save energy!

Conservation at home begins with properly insulating your house. Freidberg said that up to 44% of home heat or air conditioning is lost when a home is not well insulated. She added that this one step is more important than installing solar panels, if you want to practice sustainability.

Another easy step is to reduce phantom load, or, the miscellaneous power that is used by all those devices in your home or office that remained plugged in when they’re not in use. All Shades of Green sells Smart Strips that sense when a device is in use or not and automatically turns off to stop power drain. This small step can significantly decrease your power bill, especially if you use a lot of cell phone chargers, computers, camera battery chargers, etc. To dispose of the worn out batteries, Ikea, Home Depot and Ace Hardware reclaim them.

According to Barger, if we really want to reduce energy use and limit our dependence on fossil fuel, we all need to stop using plastic bags. Californians use over 19 billion plastic grocery bags each year. Grocers generate over 31 million plastic bags every day. These bags break down into smaller pieces, but they never degrade. They accumulate in landfills or cling to fences and bushes or end up in the stomachs of sea turtles and other marine animals who can get tangled and drown.

Californians have a huge opportunity to reduce pollution in the oceans. Barger’s small but mighty Earth Resource Foundation implemented the “Hold On To Your Butt” campaign that, in one year, changed the laws in Orange County and turned all the beaches into smoke-free zones. Rapid change like this comes from a fusion of personal and political will. She spoke to a clichéd but truthful reality: that organized citizens can and do change laws and make the world a better place.

One law that Barger would like to see changed is the amount it costs waste haulers to use municipal dumps in Orange County. She compared San Francisco’s fee of $180/ton to Orange County’s at $19/ton. Which dump do you think has more waste in it? But if the rates go up and, at the same time, the recyclables market is suffocated by global recession, what happens? There are no easy answers, no simple equation to make everything balance just so. But it is clear that recycling is not the best prescription for preventative planetary medicine, especially when the economic incentives dry up like so much soda in a puddle.

A startling illustration of this came from Aldridge who explained that papers and cardboard at the Burbank Recycle Center are sorted by hand then baled for shipment to companies who remanufacture the material into new products. Many of these companies are located in India or China. With global recession, no one’s buying. The bales are piling up on the warehouse floor. There is no more room for locals to earn money by selling cans and bottles, and these people are turned away. Similar scenarios are happening across the country. There is no room for our recyclables. We have to use less and conserve.

The good news is that we have an incoming administration that is engaging us instead of making us want to curl up in a ball with our fingers in our ears and our eyes squeezed shut. From the dude selling his cans and bottles to the corporate executive trying to figure out how to keep people employed, to the mother trying to keep her kids warm in winter, this new political climate can help everyone ride out the tough times. The federal government can actually inspire and support the work of artists (ala a new Works Progress Administration…it could happen) and the work of each of these panelists, all of whom use their particular expertise to educate people, companies and governments, so that all members of society reap the benefits.

Inspiration is what led Moving Arts to organize the Green Expo at the Ford. Song of Extinction is ripe with metaphors that weave between ages and cultures, scholars and businessmen, the animal world and the music of the spheres. Lewis suggests that there is no break in the continuum, that all life resonates and that death is not the dividing line that we perceive it to be. We can ignore this profound truth, or we can choose to honor these ephemeral connections. The key is to conserve Earth’s riches for the quality of life of all living things and for those that will come long after our bones turn to dust.

Allshadesofgreen.net

Burbankrecycle.org

Earthresources.org

Sustainablepractice.org