ecoartscotland

Greater Thames Marshes, Nature Improvement Area Commission Opportunity

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The project provides a unique opportunity with much of the land within Hadleigh Country Park being designated as a Site of Special Scientific Interest as it is a haven for around 1,300 species of wildlife including the shrill carder bee, the emerald damselfly and the weevil hunting wasp. The local environment also supports dark-bellied Brent geese.

Public Art Online Commissions – Greater Thames Marshes, Nature Improvement Area Commission Opportunity.

(Deadline was 3 March 2014)

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
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Could an artist do this?

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Recycling of Gully Waste and General Road Construction Materials in South Lanarkshire

The Council requires to procure services for the acceptance and subsequent recycling of gully waste and road construction materials produced from the works of South Lanarkshire Council’s Roads and Transportation Services.

Roads and Transportation Services operates four Depots as follows:-

  • Carnwath Depot – ML11 8LR
  • Lesmahagow – ML11 0DZ
  • East Kilbride – G74 5HA
  • Larkhall – ML9 2GA

The waste materials for /recycling will be transported by South Lanarkshire Council to the Contractor’s facility. Where required, the Contractor will also provide an uplift service, transporting waste road construction materials from Council Depots to its recycling facility.

The waste is composed as follows:-

Category A:- Materials including vegetation, timber, plastic and other processed or manufactured materials. Waste Category 17-01-01, 17-01-02, 17-01-03, 17-01-07, 17-03-02, 17-05-04 as defined by Article 1(a) of Directive 75/442/EEC on waste and Article 1(4) of Directive 91/689/EEC on hazardous waste.

Category B:- Materials including rock, crushed rock, blaes, concrete, metal, soil, subsoil, and other excavated materials. Waste Category 17-01-01, 17-01-02, 17-01-03, 17-01-07, 17-03-02, 17-05-04 as defined by Article 1(a) of Directive 75/442/EEC on waste and Article 1(4) of Directive 91/689/EEC on hazardous waste.

Gully waste:- Waste Category 20 03 03 as defined by Article 1(a) of Directive 75/442/EEC on waste and Article 1(4) of Directive 91/689/EEC on hazardous waste.

Motor and lorry tyres: Waste Category 16 01 03 as defined by Article 1(a) of Directive 75/442/EEC on waste and Article 1(4) of Directive 91/689/EEC on hazardous waste.

Bitumen emulsion:- Bitumen emulsion tack coat. Waste Category 08 04 16 as defined by Article 1(a) of Directive 75/442/EEC on waste and Article 1(4) of Directive 91/689/EEC on hazardous waste.

CPV: 90500000, 90514000.

View Notice – Public Contracts Scotland.

EcoArtScotland wonders about this, not particularly because of the land art tradition, but more from an ecological art perspective.  We’d cite Betty Beaumont’s Ocean Landmark which involved using 500 tons of coal waste processed into 17,000 coal fly ash blocks and then deposited into the ocean to create a new marine environment off Fire Island in the North East United States.

EcoArtScotland suspects that there are innovative ways to dispose of this material and enhance biodiversity or storm water management or something we can’t even imagine.

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
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Greenteas(e) big event 8 April

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EcoArtScotland has been attending Creative Carbon Scotland‘s Greentea(se) events in Glasgow and they are a very provocative process of trying to think through how culture and sustainability might collectively be able to change Glasgow, and what it would look like in 20 years.  The Greenteas(e) events are always open with a changing group of participants.  This larger event at Govanhill Baths is an opportunity for you to join the discussion.  You can sign up through Eventbrite.  Contact Creative Carbon Scotland through their website or on Facebook, Linkedin or Twitter.

Join Creative Carbon Scotland for Green Teas(e) – a day-long gathering of folk interested in arts and sustainability imagining how they can grow a more sustainable Glasgow!

Green Teas(e) brings together the artistic and sustainability worlds of Glasgow to spark new connections and join up projects and activities which share a common desire to make the city a more environmentally, socially and economically sustainable place to live.

This free event is open to anyone who’s interested in making Glasgow a greener city and exploring the roles which the arts could play in achieving this. Whether you’ve attended previous discussions or you’re brand new to Green Teas(e) Creative Carbon Scotland will be delighted if you could to join them at Govanhill Baths on 8th April.

Over the course of the day the group will look at what characteristics could make a more sustainable Glasgow and what role artists and arts organisations can play in growing and promoting these. Most importantly, the group will explore how to actually make these things happen.

Schedule for the day:

9-9.30 Tea, Coffee and arrivals

9.30 Introduction – Creative Carbon Scotland

9.45 Green Teas(e) – Penny Anderson, Writer and Artist, Aims and progress to date

10.30 Coffee and opportunity to see/hear about related artworks/projects currently happening or in the pipeline

11.00 Sustaining Creativity – Sholeh Johnston (Julie’s Bicycle), will talk about the findings from their UK-wide survey ‘Sustaining Creativity’ which asked CEO’s and artistic directors about their vision for a more sustainable cultural sector around key themes such as circularity, value and digital tools.

12.00 Introduction to the afternoon – Creative Carbon Scotland, A few thoughts to bring together the ideas from the morning and pose some questions for further discussion.

12.30 Lunch and the opportunity to see/hear about related artworks/projects being carried out by others

1.30 – 4.15 Imagining 20 projects which move the group forward to a Greener Glasgow

In the afternoon Creative Carbon Scotland will come up with 20 projects that will help develop a more sustainable arts sector in Glasgow and/or a more sustainable Glasgow – socially, culturally, environmentally. Facilitators from a range of disciplines/artforms/fields are invited to lead sessions to disuss and expand upon a range of ideas and proposals for projects that would help us begin to build this more sustainable Glasgow. The aim of this is not to plan an actual project with funding, people, locations, organisations etc. but to come up with ideas that would be interesting, stimulating and challenging and which could motivate us onto action.

4.15 Tea/coffee

4.30 Plenary

5.30 Drinks – open to all!

7.00 Finish

Creative Carbon Scotland is looking for you to send us ideas and proposals for the afternoon session. They want exciting ideas that will lead them on to the next, pro-active, stage. Please send ideas to Katie Stuart: katieshearerstuart@gmail.com. 

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
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Residency Opp and Green Teas(e) Reflections – Creative Carbon Scotland

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Our friends and colleagues at Creative Carbon Scotland have a call out for artists to participate in a residency,

Mull is a multi-disciplinary weekend-long residency which explores the question, ‘What would it mean to be an artist working in a sustainable Scotland in 50 years’ time?’ through artistic practice and conversation. We’re looking for up to ten artists to apply their curiosity and unique skills to imagining what being an artist in a sustainable Scotland might look like in the future – what that would mean, how it would affect artistic content, what infrastructure it would require in order to function and how artists and the arts will have shaped a sustainable Scotland.  More info here.

They have also been running a programme of Green Tea(se) in Glasgow to build up the discussion about what a sustainable city and cultural sector might look like.  They’ve been blogging the outcomes of the events.  Green Teas(e) is part of a wider EU project called the Green Arts Lab Alliance. To find out more, click here.

If you want to contribute to imagining a more sustainable cultural sector, then come along and join the conversation. 

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
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Margaret Tait Residency

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The Margaret Tait Residency is an opportunity for early career artists working with film and moving image to undertake a focused period of work on Orkney.  Deadline 9am 4 April 2014. 

The Margaret Tait Residency aims to support and develop the skills of an emerging Scottish or Scotland-based artist working within film and moving image. It was developed for artists early in their career who would benefit from a focused period of development in a stimulating environment outwith their typical studio base.

The recipient of the Residency will travel to Stromness Orkney in summer 2014 and be based there for eight weeks. They will be given accommodation, studio space, artist support at Pier Arts Centre and living expenses. After the Residency, they will complete a series of mentor sessions with prominent artists, as well as film production courses as requested and required. The artist is expected to then deliver a film or film event by February 2015 for inclusion in Glasgow Film Festival’s programme.

Applications are now sought from the sector. The deadline is 9am, Friday 4 April 2014.

Selection process:

Who can apply?

  • Scottish artists or artists based in Scotland.
  • Emerging artists, early in their career (graduating in the last three to five years in a relevant course), who work in film and moving image.
  • There is no age restriction.
  • We regret that we cannot accept applications from artists who are students.

To apply, please send the following:

Timeline:

  • Eight weeks to be spent in Stromness, Orkney in summer 2014 (dates negotiable between May–September).
  • Further support and training to take place in UK between September–December, based on your needs and aims.
  • Film screening at Glasgow Film Festival, February 2015.
  • Film to tour beyond Glasgow, with assistance from GFF–from March 2015 onwards.

Deadline for nominations: 9am on Friday 4 April 2014.

2012 Margaret Tait Residency winner Sarah Forrest

The inaugural Margaret Tait Residency was supported by the Creative Scotland Creative Futures Programme, LUX and the Pier Arts Centre. The panel selected Sarah Forrest as the recipient of the Residency which took place in summer 2012 at Pier Arts Centre in Stromness Orkney for six weeks. After the Residency, Sarah completed six mentor sessions with prominent artists, as well as camera skills and sound editing courses in London and Glasgow.

Sarah Forrest’s film, that now, screened to a busy Cinema 2 audience on Friday 17 February 2013 at GFT, and was well received. Sarah then took the film back to Orkney in April 2013 for a screening at Stromness Town Hall, alongside Blue Black Permanent by Margaret Tait and has since screened at Belfast, Leeds and Rotterdam.

You can read more about Margaret Tait at LUX online.

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
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Casting Out Sunday 30 March 2014

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We are reposting this blog from the Commonty and hope that readers of ecoartscotland will take a moment to reflect on Sunday at 3pm.

Casting Out

Sad Occasion in the Life of Govan’s Graving Docks
from Ruth Olden

An invitation to mark a sad occasion in the life of Govan’s Graving Docks…

On Monday the 24th of March, the Coach House Trust are moving in to the docks to clear away the pioneering ecology that has found its home here. This clearance marks the first stage of the site’s regeneration – a project led by the developer and landowner New City Vision who plan to make a high-end housing and commercial complex of this site. The dock’s Green Mantle has become host to a fascinating array of birds, invertebrate and mammals, and has also served as a place of solace and inspiration to many people.

On the eve of this clearance, a small lit vessel made of the site’s biomass will be released into the river and carried out to sea by the receding tide. This event has been made possible by the knowledge and skills contributed very kindly by the GalGael.

This will be a sad occasion, but I hope it will provide an opportunity to honour this landscape which has become important to so many. We will be gathering on Clydebrae Street next to the garage at 3pm on Sunday 30th March, before walking to the launching point together. Please do arrive at this time so there is opportunity to hear the health and safety briefing. RSVP on r.olden.1@research.gla.ac.uk 

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
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2014 Buckminster Fuller Challenge

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SEARCH FOR COMPREHENSIVE DESIGN SOLUTIONS TO HUMANITY’S CRITICAL PROBLEMS LAUNCHED!

February 17, 2014, New York City – The Buckminster Fuller Institute formally announced the Call for Proposals to the 2014 Fuller Challenge. Recognized as “Socially-Responsible Design’s Highest Award”, the Challenge invites activists, architects, artists, designers, entrepreneurs, students and planners from all over the world to submit their innovative solutions to some of humanity’s most pressing problems. A $100,000 prize is awarded to support the development and implementation of one outstanding strategy.

Entries will be accepted until April 11, 2014.

WINNING CRITERIA: IMPACTING 100%

Buckminster Fuller called for a design revolution to “to make the world work for 100% of humanity, in the shortest possible time, through spontaneous cooperation, without ecological offense or the disadvantage of anyone.”

Answering this call is what the Fuller Challenge is all about.

Winning entries for the last six years have applied a rare combination of pragmatic, visionary, comprehensive and anticipatory thinking to tackling issues as broad as urban mobility, coastal restoration and innovation in biomaterials packaging. BFI has created an application process for entry to the Fuller Challenge in which global changemakers grapple deeply with a unique set of criteria. Internationally renowned jurors and reviewers look for whole systems strategies that integrate effectively with key social, environmental and economic factors impacting each design solution.

GROWING BENEFITS TO ENTRY

“The Challenge program has defined an emerging field of practice – the whole systems approach to understanding and solving the interrelated crises facing us. The entry criteria have established a new framework through which to identify and measure effective, enduring solutions to global sustainability’s most entrenched challenges,” said Elizabeth Thompson, Executive Director of The Buckminster Fuller Institute. “We are committed to further supporting this emergent field through our Catalyst Program, which provides much needed additional support to select initiatives: mentoring, pro-bono legal services, consideration for fiscal sponsorship, international press coverage, special invitations to present at conferences and exhibitions, and more! We partnered with Interface in 2013 to launch this program, and we could not be more gratified that we are able to continue its development in 2014.”

FORWARD ON THE CALL!

Are you or someone you know working on a holistic solution to make the world work for 100%? Read below for more information on what we are looking for, download the full Call for Proposals, and APPLY!

Deadline for entries is Friday, April 11, 2014, at 5pm EST.

THE INSPIRATION

Buckminster Fuller led a prolific life of research, invention, writing and teaching. He developed a comprehensive systems approach to understanding complex global problems. By rigorously adhering to his unique set of “design science” principles, Fuller’s work embodies a deeply attuned ecological aesthetic. Fuller conceived and prototyped new strategies intended to enable all of humanity to live lives characterized by freedom, comfort and dignity without negatively impacting the earth’s ecosystems or regenerative ability. He emphasized that the technology and know-how already exist to successfully surmount our global challenges and advocated “doing more with less” by increasing the overall performance of every resource invested in a system.

WHAT WE ARE LOOKING FOR

Winning the Fuller Challenge requires more than a stand-alone idea or innovation that focuses on one aspect of a system failure. BFI looks for holistic strategies that demonstrate a clear grasp of the big-picture dynamics influencing your intervention. If a proposal emphasizes a new design, material, process, service, tool or technology, it is essential that it be part of an integrated strategy that deals effectively with key social, environmental and economic factors.

BFI seeks initiatives that tackle urgent needs at a range of scales: from macro-strategies that have the potential for widespread, tangible impacts, to local, community-based initiatives with global relevance and replicability. A highly competent project team with the capacity and commitment to move the solution forward for transformative impact is essential.

Entries must meet the following criteria:

  • Visionary – put forth an original idea or synthesize existing ideas into a new strategy that creatively addresses a critical need
  • Comprehensive – apply a “whole-systems” approach to the design and implementation process; aim to address multiple goals, requirements and conditions in a holistic way
  • Anticipatory – factor in critical future trends and needs as well as the projected impacts of implementation in the short and long term
  • Ecologically Responsible – reflect nature’s underlying principles while enhancing the ability for natural systems to regenerate
  • Feasible – rely on current technology, existing resources and a solid team capable of implementing the project
  • Verifiable – able to withstand rigorous testing and make authentic claims
  • Replicable – able to be adapted to similar conditions elsewhere

Winning initiatives integrate these criteria into powerful design solutions that have the potential to play a significant role in the transition to an equitable and sustainable future for all.

To receive updates on the 2014 Fuller Challenge, please contact challenge@bfi.org

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
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Aesthetics & Sustainability | Arlene Goldbard

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Clyde Research - photo Chris Fremantle

Clyde Research – photo Chris Fremantle

Arlene Goldbard’s recent blog on aesthetics and sustainability is very refreshing.  It acknowledges that we define sustainability by it’s negative, ie our current unsustainable lifestyles (and we can describe that unsustainability in myriad ways).

Arlene quotes Adrienne Goehler in sharply defining the challenge to move the idea of sustainability beyond “prohibition, asceticism, and morality” into the a relationship with, “new forms of learning. Aesthetic education means sensitive, perceptive, creative education, which, in the words of Hannah Arendt, culminates in creative action.”

If you are interested in thinking about sustainability then this is a good place to start.  Sign up for her posts.  They are always interesting.

Aesthetics & Sustainability | Arlene Goldbard.

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
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Art is a Dynamic Relationship with the Environment

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This review of the Environmental Art Festival Scotland which took place last year in Dumfries and Galloway has been published in the International eJournal of Creativity and Human Development: Art is a Dynamic Relationship with the Environment – Creativity & Human Development International eJournal.Striding_Arches

Striding Arches by Andy Goldsworthy (from http://www.creativityjournal.net/index.php/contents/articles/item/204-art_environment_relationship#.UyOwa1FdXQF)

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
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In the Garden with Friends

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In the Garden with Friends, with mosaics by Katy Galbraith. The Bield at Blackruthven, Blackruthven House Tibbermore PERTH, Scotland PH1 1PY. Saturday 5th – Saturday 26th April 2014, Closed Mondays

A celebration of flowers & friendship, this exhibition brings together a diverse mix of artists working in a variety of media.

Central to the exhibition is Katy Galbraith, a mosaic artist who works in primarily recycled materials. Flowers in abundance feature in much of Katy’s work, reflective of her love of her garden. But Katy’s art goes beyond the decorative, as she often employs mosaic to a more practical purpose by creating mirrors, table tops and garden sculptures and installations.

Katy has invited artistic friends who have supported and encouraged her over the last few years to participate in the exhibition. Many of the artists work in the applied arts; including stained-glass work, ceramics and, of course, mosaics. Others are photographers or painters, all with a personal connection to Katy.

Patricia Ace – Kate Anderson – Jo Cound – Allan Craig – Annette Forsyth – Lindy Furby – Sarah Honeyman – Dave Hunt – Gillian Hunt- Katharine Huggett – Jan Kilpatrick – Morag Lloyd – John Maguire – Tracy Markey – June McEwan – Helen Nock – Anna Olson – Concetta Perot – Lorna Radbourne – Lillian Sizemore – Rachel Sutherland – Norma Vondee – Ceri White

ceramics – felt – hand spinning – mosaic – painting – photography – poetry – printmaking – stained glass – textiles

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
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