Aviva Rahmani discusses Blued Trees with Judy Eddy of Radio2Women and Linda Leeds of Frackbusters, for the  Radio2Women show, Thursday, July 23 between 1-2 pm on WBCR-LP 97.7 Great Barrington, MA. The broadcast will be archived at: http://www.radio2women.com

(search by date). It will include the Blued Trees musical measure for installation, sung by soprano, Debra Vanderlinde.

In Judy Eddy’s radio show, Rahmani explains the moral and legal questions this project addresses and with Leeds describes the inception of the project. She touches on the ideas of ecofeminist pioneers like Donna Haraway, author of Primate Visions, whose work pointed to parallels between the oppression of women, people of color and the exploitation of other species, to the global detriment of all humanity.

Summer Solstice, June 21, 2015, Blued Trees launched as an overture to a public symphonic opera and a site-specific installation. The launch took place within view of a public road in Peekskill, New York, on private land, along a 1/3 mile measure of 50 woodland acres in the path of the proposed high-pressure Algonquin Incremental Market (AIM) pipeline expansion. AIM’s expansion would transport volatile fracked gas within one hundred five feet of the Indian Point nuclear facility.

A five minute Blued Trees film of the launch will premiere in Europe at “Gaia: Resonant Visions,” an exclusive one day event curated by James Brady at The Whitworth Art Gallery, Manchester, UK, alongside screenings of films by Ursula Biemann, Oliver Ressler, and Basia Irland. The public is invited to view the Blued Trees launch on line now at: https://vimeo.com/channels/943134

The Blued Trees conceptual symphony and site-specific ecological art project is filing for copyright protection against eminent domain takings by fossil fuel corporations in Peekskill, NY. That filing will include protection for an international Greek Chorus of Blued Trees participants. Crowd-sourcing to raise funds to assert that protection in the judicial system will be announced shortly. It has been estimated that a legal process that may eventually go to the Supreme Court could take six years and cost six million dollars. The full symphony will be performed for the Fall Solstice. Meanwhile, participants may continue to join the Greek Chorus. “Make waves! Paint a tree; make waves in the woods!

Blued Trees initiates a new conversation about public good and morality, earth rights and environmental justice. For the launch, approximately twenty trees were painted along the AIM pipeline corridor over the course of two days. The distribution of notes for the Blued Treesmeasure was composed of designated trees in the landscape painted with a sine wave, beginning at the tree’s roots, and winding up the trunk. The paint was a non-toxic ultramarine blue pigment and buttermilk slurry that could encourage moss growth on the trees. About twenty-six participants from local children and elderly residents to others from as far away as Switzerland joined the event, as well as members of the Earth Guardians. After the painting, participants performed a chorale as they passed through the woodland. When the human performers left, the installation remained with the trees as a permanent work of art. The Greek Chorus launched in simultaneous international locations, including Lisbon, Portugal and Seattle, Washington. It included works by composer Maile Colbert, Deanna Pindell and Jesse Etelson.

Blued Trees asserts the language of the Visual Artists Rights Act (VARA), for the moral rights of the art over condemnation of private land. In Peekskill, pipeline construction would threaten the rights of Blued Trees. The art cannot be destroyed by moving, or otherwise destroying the trees with which it was created, without infringing on VARA. Protecting Blued Trees as a work of art will test corporate eminent domain takings in the name of “public good” in the judicial system. If that copyright suit is successful, it could impede the proposed AIM expansion.

Help Make Waves!

Any willing landowner may join the “Greek Chorus,” as part of the Blued Trees Symphony, by painting a wave “note” on one or more trees, preferably roadside for visibility. Send a photo of your “blued” tree with GPS coordinates to Aviva Rahmani, who will continue — throughout 2015 — to gather and map the Blued Trees.

Preview comments for Blued Trees overture film:

“It is powerful and beautiful.” – Betsy Damon, ecological artist

“Blued Trees is a brave and consequential work. It’s remarkable and compelling in this juxtaposition of luscious aesthetics and desperate ecological threats.” – Carolee Schneemann, media artist

“We need nature – now nature needs us.” – Nancy Vann, property owner

“How exciting to see you walking down the woodland path in defense of a bunch of trees!” – Alison Knowles, Fluxus artist

“The images are beautiful, the camera work excellent, the idea great!” – Anthony Ramos, videographer and painter

“… good and slow enough to get the point without the emotionalism that has sparse content. Simple, common sense. Fast and speedy is what got us into this mess.” – R. Eugene Turner, ecological scientist

“Very cool. Such a soothing artistic video for such an in your face bold type of problem/issue.” – Crystal Day, film student

The Water Knows All My Secrets

Curated by Ceren Erdem at Pratt Manhattan Gallery

Admission is free.

July 10–September 12, 2015
Opening reception: Thursday July 9, 6–8 PM

Image: Ursula Biemann, video still from Subatlantic, 2015.

This exhibition takes a critical look at our engagement with water, whether as a barrier, a threatening force of nature, or a resource at risk.

Artists:
Halil Altindere
Ursula Biemann
Osman Bozkurt
Jethro Brice
Nikolaj Larsen
Didem Özbek
Mounira al Solh
Janaina Tschäpe
Müge Yilmaz

144 West 14th Street, 2nd floor
New York, NY 10011
212.647.7778
exhibits@pratt.edu

Monday–Saturday
11 AM–6 PM
Thursdays until 8 PM
Closed on federal holidays and between exhibitions

This essay looks at changes related to the environment and issues of sustainability and the role that the arts may play in positively impacting those changes over the next 10–15 years. In particular, this essay proposes the following trends and associated arts interventions:

• The next 10–15 years will see a burst of new technological and technical advances that will allow the construction of smarter, more energy-conscious appliances, buildings, and other devices. This will both mean a shrinking of the ecological footprint of arts experiences and an increase in the opportunity to creatively integrate environmentally conscious measures—including monitoring energy use, community engagement, and conservation efforts—into art projects large and small.
• As climate changes occur and certain parts of the world become less inhabitable, whole communities will have to migrate in what has been termed a “climate diaspora.” Thisdiaspora will, initially, disproportionately impact marginalized native populations with fragile, rich cultural histories. Efforts to preserve and disseminate those cultural and artistic histories will both increase awareness of the migration and maintain community cohesion among those attempting to incorporate into strange new conditions.
• While others will not have to immediately move as a result of sea level rise or temperature fluctuation, many environments will eventually change so drastically as to impact the feeling of being “home.” Artists, in reaction to that unease and as activist leaders, will respond with an increase in art driven by environmental and ecological issues across all mediums, which will in turn create new public knowledge, dialogue, and action.

Download the Essay Here

Excerpted from Arts & America: Arts, Culture, and the Future of America’s Communities. This essay looks at the role of arts and issues of environment and sustainability over the next 10 to 15 years. The full book of essays can be purchased in Americans for the Arts online store.

Very excited to announce EcoScenography’s first International gathering for eco-focused designers and performance makers as part of the 2015 Prague Quadrennial. This will be a wonderful opportunity to catch up with like-minded artists over food and a glass of wine. Please note: this will be a private party (with limited numbers) in a secret location and so the exact address will be emailed (or sent in a private message) to you closer to the time. For more details join the EcoScenography FB group via: https://www.facebook.com/groups/ecoscenography/

1-7 June, 2015.

ART.
CLIMATE.
ACTION.

2 Degrees Festival asks:

What can we do together to create a sustainable future?

International artists present cutting-edge responses to climate change, urging you to act now to build a more positive future.

A programme of performance, debate and public installations will take place in tree-tops, office blocks and theatres in and around Toynbee Studios, at the crossroads of the East End and The City.

2 Degrees Festival is Artsadmin’s biennial celebration of art, environment and activism. It aims to inspire, connect, and empower people to create solutions for a sustainable future.

Join in – bring your friends.

For more information visit the 2 Degrees Tumblr site, follow #2DegreesFestivalon Twitter and/or sign-up to our mailing list to receive updates.

2 Degrees Festival is delivered by Artsadmin and supported by Arts Council England, the Ashden Trust, the European Commission Culture Programme as part of Imagine 2020.

Water’s Edge

Photograph by Sebastião Salgado/Amazonas Images Chinstrap penguins, Zavodovski and Visokoi Islands, South Sandwich Islands, November and December, 2009

Water’s Edge is a Pam Am commissioned large-scale photographic exhibition exploring the often tenuous balance where human civilization, land, and water meet. This exhibition will bring to light recent concerns regarding the sustainability of our global fresh water supply and the impact that human development is having on this precious life-sustaining resource.

Curated by Andrew Davies, Water’s Edge will feature works by six exemplary Pan American photographers: Edward Burtynsky, James Balog, Sebastiao Salgado, Cristina Mittermeier, Jorge Uzon and Gustavo Jononovich.

The Exhibition will take place at Union Station and Pearson International Airport with an opening launch on July 9th to coincide with the Pan Am Games. There will also be a symposium on fresh water issues at Evergreen Brick Works featuring the Artists and their work on July 10th. More information on the opening of Water’s Edge and tickets for the symposium will be announced at a later date.

No.9 Eco-Art-Fest @ Todmorden Mills

No.9 is excited to announce the return of the Eco-Art-Fest at Todmorden Mills this summer! The festival will run from June 20 to September 13 on Fridays (12PM – 10PM), Saturdays (12PM – 10PM) and Sundays (12PM – 5PM). No.9 will feature four new artists, two returning artists, art tours, educational workshops, and delicious food and beer! There will be live music every Saturday from 7PM – 9PM. Register for Handscapes, Poetics of Architecture, and music workshops by contacting Emily Foster (e.foster@no9.ca). Drop-in for Clay Making workshops (Noon – 7pm), and Public Art Tours (Noon, 2, 4, and 6pm) daily. More information will be available soon!

Imagining My Sustainable City Hamilton

No.9, in partnership with the Hamilton-Wentworth District School Board and Evergreen CityWorks, officially launched IMSC Hamilton in January, with a total of 14 schools across Hamilton scheduled for 2015. The call to action aligns with No.9’s and Evergreen’s mission to educate the next generation about the development of sustainable communities.

No.9 continues to engage members of the OAA as volunteers during IMSC, and practicing professionals in the Hamilton area are encouraged to contact No.9 to learn more about volunteer opportunities.

Following the completion of the first nine schools in June, there will be a culminating exhibit to showcase the students’ work at the Lime Ridge Mall. The exhibit will highlight the ideas and innovations to invited dignitaries, press, and school board representatives, as well as the public. Stay tuned for more information!<

Zone 10 Pan Am Path Art Relay

In preparation for the 2015 Pan Am/Parapan Am Games, No.9, in partnership with Friends of the Pan Am Path, Centennial College, and in Consultation with Wexford Collegiate School for the Arts, has commissioned Toronto artist Sean Martindale to develop and realize a wall art installation across the north facing walls of the Centennial College Ashtonbee campus. Sean will mentor four Centennial College students to develop an installation that highlights the potential of the hydro corridor’s sprawling grasslands as a local attraction.

In March, No.9 and Sean engaged 25 students from the Wexford Collegiate School for the Arts in a half-day design workshop, and their visions for the wall art installation will be considered, and potentially implemented, in the final design. The official mural unveiling is scheduled for Friday, July 17 from 3PM – 5PM.

Growing out of the performance and ecology seminar at ASTR 2005/Toronto, and continuing as a research group atASTR’s 2010/Seattle, 2012/Nashville, and 2014/Baltimore conferences, this research group has been at the fore of the emergent field of performance and ecology. In 2015, in response to ASTR’s theme “Debating the Stakes in Theatre and Performance Scholarship,” we turn our attention to the ecological stakes in performance, with particular focus on recent developments in postcolonial eco-theatre, environmental justice, eco-materialisms, and the anthropocene/climate change. Drawing together research and performance from the Global South and the Global North, and building on the anthologies (such as Readings in Performance and Ecology, edited by Theresa May and Wendy Arons, Palgrave Macmillan, 2012), publications, and research-engaged performance spawned by this working group over the past decade, this session will forward the conversation by calling for inquiries into how theatre and artistic performances, in an age of intense climate change, engage/critique/reveal ecological discourses embedded in postcolonialism, eco-materialisms, and activism. 

Pursuing what May calls “ecodramaturgy” (2011), this year’s session will focus on how theatre and artistic performance engages four emerging threads (in anticipation of a second volume of essays on performance and ecology): 1) urgency and eco-theater and performance in the age of the anthropocene; 2) eco-materialisms, including the agency of/in material formation; 3) postcolonial eco-theater; and 4) environmental justice and activism. These threads have an uneasy relationship with one another: scholarship on the anthropocene has often fallen prey to an apocalypticism that erases postcolonial and class-based concerns, while much eco-activism has been accused of being so local in scope that it disregards trans-global environmental issues and effects. However, by putting these four recent trends in environmental scholarship in dialogue with one another, we propose to debate their interrelatedness and efficacy for and within theatre and performance. 

Specifically, papers might pursue the following questions: 

• How does performance practice reveal, engage, and/or negotiate the urgent call to recognize human ecological influence in the age of the anthropocene? 
• How do interpretations of climate change and other international ecological issues in performance contribute to a global understanding of human influence? Do these performance practices make geographical boundaries more or less permeable and/or political? 
• How do ideas of eco-materiality inform ecological readings of performance and/or ecological meaning-making in performance? How might eco-materialist engagements in performance productively bring awareness of life, nature, and matter? How do these engagements deliberate related future possibilities in ways that also push ecology and performance scholarship in fresh directions? 
• How might postcolonial and indigenous ecologies critique neoliberal approaches (such as resourcism and extractivism) to current ecological conditions? 
• How does artistic performance intersect the concerns of social, political and ecological oppressions and/or exclusions in ways that advocate for environmental justice? In what ways does performance practice provoke ecological debate and/or facilitate community engagement in eco-activism? 

Other questions, approaches and topics that clearly address any of the four identified threads of inquiry. 

In advance of the conference, session participants will exchange papers and engage in peer review of one another’s work in order to raise key questions around the threads of:

1. the anthropocene/climate change in/through performance;
2. eco-materialisms;
3. postcolonial eco-theater; and
4. environmental justice and activism in performance.

We will be holding online discussions around these themes and relevant, related practice, through theASTR website Group function. At the conference, we will be meeting for three hours. Roughly, the first hour and a half will be dedicated to small group discussion around these threads by sub-sets of participants; the second hour and a half will include a round-table discussion in which the sub-groups share the key connections and conundrums emerging from their joint discussion of research and collectively outline a structure and timeline for the next volume of critical essays in this field. 

Please send an abstract of approximately 300 words along with a brief biographical note as a Word attachment to all three Working Session conveners below by May 31st: 

Karen O’Brien, University of North Carolina, Chapel Hill (obrien@unc.edu) 

Lisa Woynarski, Royal Central School of Speech & Drama (lisa.woynarski@cssd.ac.uk) 

Courtney Ryan, University of California, Los Angeles (crdram12@gmail.com)