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Mandalas

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The phrase “Earth Peace Mandala” sounds awfully alterna-hippie. Brings to mind sage, and barefoot dreadlocked dancing, and the sounds of, say, Phish, or the Dead. Which sometimes is great for the worms, and sometimes is great for jokes.

Artist Veronica Ramirez created Earth Peace Mandalas along the route of the Sustainable Living Roadshow. She does indeed bless the circle first with sage, but she does not dance around barefoot, and she’s not necessarily a Phish fan. What she does create is a gathering space, a place for people to connect with something slow and beautiful, and she does it with foliage and flower cuttings she finds in each city.

There’s much about a big ol’ flower soil mandala that’s not designed for transport: at every city a series of about 12 boxes, tubs and bags were unloaded: pinecones, pebbles, corn and a heart-shaped rock make up the basic elements of each mandala. In contrast, most other gear can be characterized bu the EZ-up: designed to be lightweight, transportable, quick to set up and break down. When asked about her gear, Veronica simply says, “It’s a process.”

Which is the essence of mandala-making: the process. Traditional Buddhist mandalas are created with colored sand, following intricate lined patterns marked out on a level surface. The act of manipulating tiny grains of sand into endless and repeating forms is a kind of mediation in and of itself.The lines in such mandalas depict the four directions, significant gods, portions of legends, and symbolic colors.

Ramirez just uses sticks and petals. As she works, folks stop by, tuning out the music and surrounding carnival to help her pluck petals, strip branches, sift grains and spread them into a circular devotion of the planet. It gives a moment to pause and reflect, and to wonder for a moment at natural processes.

 

 

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Artists responding to empty store fronts

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Free Store invite, by Athena Robles and Anna Stein, 2009
Free Store invite, by Athena Robles and Anna Stein, 2009

The Free Store in Nassau Street, Manhattan, created by artists Athena Robles and Anna Stein has been creating a stir. It was inspired by a liberal hippie initiative from 1967, the Diggers Free Store which operated under the slogan “Don’t Waste Give To The Diggers”. This time Robles and Stein have created their own Free Store just a few from Wall Street in New York’s financial district.

The idea is simple. Everything in the store is free. You’re encouraged to donate something too, of course. In return for your purchase you’re issued with a receipt that declares no money has changed hands.

“Alternative and generous systems such as bartering have long been used in times of financial hardship,” say Robles and Stein. “Artists, in particular, are familiar with having to be creative to make ends meet and have functioned on generous systems, especially artist-to-artist. Free Store aims to broaden this circle of trust and exchange by including the general public.”

From an economic perspective, it appears a facile response to crisis.  Are the artists seriously saying that we should abandon materialist ideas of value? As art though, it’s a playful, optimistic gesture, questioning what we place our trust and value in, especially given the context. With all the vacant store-frontage in our High Streets, even with Wellworths, there’s so much potential to play/do something productive in the dead space in middle of our cities.

Any nominations for best used empty shop?

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Collaboration in the face of chill winds

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Anne Brodie @ National Glass CentreAnne Brodie @ National Glass Centre, Sunderland

This week has brought profound jolts with respect to political and economic predictions on climate change, the first from Rajendra Pachauri, leading the Inter-governmental Panel on Climate Change (IPCC). He seriously doubts that the US will be able to make the pledge needed on carbon reduction. This is frightening given the latest revision on sea levels which has been given wide press coverage this week. Scientists think their rise will be nearly twice as much as they previously reckoned, which would be disastrous for an estimated 600 million people (the UK population was 60.5 million in 2006).

This is why increasing numbers of artist and arts organisations are focusing on the Arctic and the Antarctic for their subject matter.

The most recent exhibition relating to the Antarctic is at the National Glass Centre in Sunderland. You have until 29 March to visit it. Anne Brodie has created a chandelier using a huge block of ice from the Antarctic lit not by electricity but by bacteria. It’s creativity and collaboration that we need and Brodie’s work is an exemplar of both, supported as it is by the British Antarctic Survey, Arts Catalyst and Arts Council England as well of course by the National Glass Centre – together presumably with the advice and support of scientists and technicians.

Anthony Giddens wrote in The Guardian on Wednesday 11 March of the “collaboration essential to coping with climate change” (more on this in his new book The Politics of Climate Change which will be available in a week’s time). It’s collaboration – relationships – which makes me sure that the word “ecology” is the right one for our centre here and of which we need so much more. We have a lot to learn on the subject from artists.

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1906 SF earthquake “a hoax”

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Touching on denialism in that earlier post, there’s a piece on The Guardian website about the deniers’ conference held this week in New York, Global warming – Was it ever a crisis?

This in the week that the Copenhagen Climate Change summit reports on the sea’s dangerously rising acidity, the attempt at calculating the volumes of CO2 that will be released as ice melts and tundra thaws in the event of a 2 degree temperature rise, the raised predictions for sea-level rises and the prediction by some scientists that climate change makes the attempts to save the existing rainforests a labour of Sisyphus.

At times like this, thank God for The Onion:

SAN FRANCISCO—In an event that sparked outrage across the historical community, deniers of the 1906 San Francisco earthquake convened last weekend to share their controversial theories about what actually occurred on that tragic day more than a century ago.

The 1906 Earthquake Deniers, a group reviled by Californians and scholars alike, held three days of lectures and roundtable discussions over what they call a “century-long hoax” of exaggerated seismic activity in the Bay area, and part of a conspiracy to bring the World’s Fair to San Francisco in 1915. Historians protested the conference, saying the organization’s statements denying any major seismic activity in 1906 are reprehensible and out of line with all available geologic data from the time.

“On Apr. 18, 1906, an earthquake measuring 7.8 on the Richter scale killed 3,000 San Franciscans and devastated a growing metropolis,” Professor Richard Kasper of the University of California, Berkeley, told reporters Tuesday. “It was a massive, massive earthquake. To say otherwise is to callously ignore not only the suffering of the disaster’s victims, but also a mountain of photographs, video footage, and eyewitness reports.”

Added Kasper: “And I find it personally offensive to suggest that a single malfunctioning trolley car could have wiped out 490 city blocks.”

Hat tip to Denialism blog.

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Age of Stupid as a model for climate activism

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Armstrong filming in New Orleans, 2006Armstrong filming in New Orleans, 2006

On the eve of the premiere of Age of Stupid, an email from director Franny Armstrong:

Tabloid Revolution: Three million people will have choked on their cornflakes this morning when they read Pete’s column in the Sun. See attached. “We – that is humanity – have only a couple of years left to act if we are to stop catastrophic climate change causing the deaths of hundreds of millions of people.” In The Sun.

Pete being Pete Postlethwaite. The column is an achievement in itself in a paper that last year published a column by Kelvin MacKenzie  headlined Global Warming Doesn’t Exist.

The Age of Stupid has been an exemplary campaign, from the crowd-funding strategy that raised £450,000 to meet production cost, £130,000 to meet distribution and publicity costs and a further £164,000 for political campaigns running alongside the movie, to an incredibly efficiently run grass-roots internet strategy to get the words out.

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Stern changes predictions: says now we have to contemplate six degrees

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At Copenhagen, Nicholas Stern admits his 2006 Stern Report underestimated the gravity of the problem – not so much the economics of it, or in terms of the more recent data coming in, but the stunning lack of political response:

“Do the politicians understand just how difficult it could be? Just how devastating 4, 5, 6 degrees centigrade would be? I think not yet. Looking back, the Stern review underestimated the risks and underestimated the damage from inaction.”

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Cornerstone Theater Company – ENVIRONMENTAL JUSTICE RESIDENCY

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FLOW

Written by JULIE HÉBERT

Directed by JULIETTE CARRILLO

May 28 – June 21, 2009

The Los Angeles River has a long and documented history thanks to river historians and Hollywood films. But, how do we begin to unravel LA residents’ relationship to a river most of us have only glimpsed from our car windows? Playwright Julie Hebért begins to explore the mysteries and hot spots along the river, including adjacent communities like Frogtown and people working to reclaim the waterway and its benefits. Conversations with scientists, advocates, river lovers, politicians, Native Americans, artists, and residents along the banks of this great paved natural resource will all inform this play. What spaces are vital along the river today? What does the future hold for the ecosystems that exist within it? And, what will happen when Angelinos finally get out of their cars and step into the riverbed?

Community partners for this project include:
Farmlab
Friends of the Los Angeles River
South Asian Network

via Cornerstone Theater Company – ENVIRONMENTAL JUSTICE RESIDENCY.

Rogue Artists Ensemble – AUDITION: Gogol Project Workshop

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Rogue Artists Ensemble is now looking for actors, puppeteers and movement-based performers for a staged workshop version of their upcoming original Hyper-theatrical work, Gogol Project, based on three tales by

Russian author Nikolai Gogol. The script been adapted for the stage by Kitty Felde with music and songs by Ego Plum.

The workshop will begin rehearsals the 2nd week of April and the workshop performs Tuesday April 28-Wednesday April 29th at Bootleg Theater on Beverly Blvd. Rehearsals will be Mon-Thurs with select

rehearsals on weekends leading up to the performance. There is a one-night mandatory technical rehearsal on Monday April 27th from 6pm – 11pm.

For more information including the character breakdown, click “read more.”

There is no pay for the workshop, but it will be a rewarding and inspiring experience for all involved The full production of Gogol Project will take place from September through October at Bootleg Theater, and

auditions will be held in July. Participation in this preliminary workshop does not guarantee a role in the full production. The workshop performance will be open to the public and pay-what-you-can/free.

The cast size for the workshop will be twelve actors, some of which will be performing as the silent characters and puppet based characters in the piece. Gogol Project will require an ensemble of actors to together create

the over twenty characters which populate the world of Nevsky Prospect. The workshop will feature some projected elements, puppets, set and costumes in order to help approximate the feel of the full production.

Interested artists should submit by March 20th to scawelti@rogueartists.org, including their resume and headshot if available.

Cast will be contacted by March 27th and auditions/readings may be scheduled if needed.

via Rogue Artists Ensemble – AUDITION: Gogol Project Workshop.

Thinking about the “use” of art at times like these

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Some while ago I did an interview with Siân Ede, Director of Arts at the Gulbenkian Foundation. This week I finally got around to transcribing it and posting it up on the main arts and ecology website. She was particularly smart when it came to addressing the objectives of the RSA Arts & Ecology website here:

People think there must be a use for art in issues around the environment – and we believe there is – but quite often they misconstrue what that use is.

Yes. Artists never use the word “use”. What Kant says about art is it’s purposiveness without a purpose. And it is a response to the world in any number of interesting different ways because all the artists are looking at it slightly differently. So there is a fundamental problem for me, and I think for the RSA too, and for the Arts Council, about asking artists to make things that have a utility, that are issue-based, in the jargon. You’ll get people like Cornelia Parker saying “as an individual I am very moved by the politics and the ethics

Cold Dark Matter: An Exploded View, Cornelia Parker 1991

Cold Dark Matter: An Exploded View, Cornelia Parker 1991

of environmental issues, but I can’t do that in my art.” It’s not how it works. Because the arts are much more complex and do not have a particular purpose.

Obviously there will be some artworks that have a particular purpose, and interestingly the attitude to nature that we hold enshrined because of Romanticism, means that we are now aware that nature is no longer the nature that it was. Romanticism came about in response to the industrialisation of the countryside. Now we know nature is no longer the sublime, the transcendent, the beautiful, the God-given. It is tainted. It is sad. It is ending.

You can’t say, “Hail to thee, blithe spirit!” any more like Shelley did, without being aware that the lark is in decline. If you read the Shelley again you read it with this new awareness and you bring this awareness to it.

Is there a problem then with a project like Arts & Ecology – or is there only a problem if you think about it in terms of “use”?

Oh, subtle question. I mean, you could say, arts and sport, or arts and economics, couldn’t you? And arts and anything? In fact my book Art and Science is part of a series of books that are art and anything… Art and Medicine, Art and Sex, and in a way you’re just making an interpretive selection. “Ok, let’s look towards all the art that looks at the environment, and look at environmental issues.” Which is different from being an agenda given to artists. Of course, how can you not make art about the environment? Nobody’s isolated.

So Arts & Ecology, or Art and Science, gives you a pair of critical glasses through which to look?

Yes. Yes it does.

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