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Spaghetti Junctions: Christina Hemauer and Roman Keller

Saturday 16 April to Sunday 29 May 2011

Opening: Friday 15 April, 6.30 – 8.30 pm
Film screening and Q&A with the artists: Saturday 16 April 2.30 pm

Cubitt Gallery presents the first UK solo exhibition by Swiss artists Christina Hemauer and Roman Keller. Through video, sculptural-recreation, text and archive material the artists explore two short-lived experiments with solar energy, both marking points of change or crisis in the history of oil consumption.

Sun of 1913 (2009) looks back to the first commercial-scale solar power plant, built in 1913, in Egypt under British mandate, by American engineer Frank Shuman. For a short period solar was the most economical form of power generation, cheaper than shipping coal from Britain. However, the plant ceased operation after one year, when at the onset of World War 1 the British Government began mass-scale crude oil production in Iran, precipitating a widespread turn to oil. The fate of Shuman’s solar plant is told through a narrative written with Egyptian writer Wageh George. A video projection shows two segments of the plant being reconstructed in Cairo by the artists and craftsmen.

A Curiosity, a Museum Piece and an Example of a Road not Taken (2006-2007) investigates former American president Jimmy Carter’s pioneering but ultimately futile energy programme. It culminated in his symbolic solar installation on the White House roof during the 1979 energy crisis, which was removed by the Ronald Regan administration. At Cubitt, Hemauer and Keller focus on the solar installation at the point of greatest potential: its design, construction and ceremonial launch. Archive contact sheets show the panels being installed. Carter’s speech inaugurating them – calling America to break its addiction to imported oil – can be read from a sculptural recreation of a presidential lectern.

Using re-creation and re-enactment to revitalise the optimism of these pioneering projects, Hemauer and Keller also highlight the time that has since lapsed; that these were “roads not taken”. They revisit episodes in the history of oil and solar energy to ask questions about the present energy situation: increased dependence on, and continued conflict over, fossil fuels. Since 2003 the focus of their research-based practice has been the concept of energy as a defining force of modern society, including works and performances that herald the post-petroleum age and map the relationship between the history of energy and modern art.

Christina Hemauer (born 1973 Zurich, Switzerland) and Roman Keller (born 1969 Liestal, Switzerland) live in Zurich, Switzerland. Recent exhibitions include United Alternative Energies, Centre for Contemporary Art, Aarhus, Denmark, curated by Latitudes (2011) and the 11th Cairo International Biennale, Cairo (2009).

Spaghetti Junctions is generously supported by the Arts Council England, Outset Contemporary Art Fund, Pro Helvetia, Solar UK, The Zabludowicz Collection and Matt’s Gallery.
Film screening with artists Q&A – Saturday 16 April, 2.30 pm
A Road Not Taken (2010), 66 mins

This will be the UK premier of Hemauer and Keller’s documentary road trip film A Road Not Taken (2010). The film is structured around the conceptual act of finding and donating two of Carter’s solar panels to American history museums as the “museum pieces” he warned they might become. Through interviews (including with Carter) and archive footage the film investigates Carter’s energy programme in the context of his foreign policy on Iran during the 1979 oil crisis.

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Judith Carlton

Manager

Curators’ Choice print portfolio 2010

For images or to arrange a viewing, please follow this link: http://cubittartists.org.uk/

 

CUBITT

Gallery and Studios

8 Angel Mews

London N1 9HH

T +44 (0)20 7278 8226

W http://cubittartists.org.uk

Open Wednesday-Sunday 12-6pm

Registered Charity No. 1049653

Slouching Towards Yucca Mountain, a video installation by Eve Andr̩e Laram̩e РUnited States Artists РGreat art forms here

A cast of nineteen fictional characters explore the post-Atomic Age West in this video installation, Slouching Towards Yucca Mountain. Funds in the amount of $9,500 are sought for video editing, completion of an installation and creation of an artist book/exhibition catalog.

The project explores issues and ironies surrounding the problem of radioactive waste disposal in the United States. The non-linear narrative of Slouching Towards Yucca Mountain involves time travelers who discover these tunnels and question the use and misuse of the so-called “empty wastelands” of the American West.

Using tropes and clich̩s of the Western film and science fiction film genres, a subtext of environmental expos̩ unfolds in a suspenseful talk: part fact, part fiction. It is set in an ambiguous time period Рunstuck in time Рpartially 19th, 20th and 21st Century.

The project reveals American values and beliefs about nature, conquest, ownership and the use of land, and environmental justice issues. It does so with a mixture of creativity, humor, and dead seriousness.

I want to draw attention to issues of sustainability, renewable vs. non-renewable energy, waste disposition, geological time, and “cowboy extractionary economics.”

With your support I will produce twenty 1-3 minute long video loops: one for each character plus an introduction. The video loops will be incorporated into a series of video sculptures within a room-sized installation.

During a residency at the Goldwell Museum 15 miles from Yucca Mountain, thousands of still phtogrpahs and hours of video footage were shot in Death Valley, CA and the ghost towns of Rhyolite and Goldpoint, NV. During the preliminary project development I worked with former students and emerging artists, Courtney “scrap” Wrenn, Chelsea Noggle, Michel Tallichet, Mia Ardito, Emily Montoya and Benji Geary.

As an interdisciplinary artist who has worked at the confluence of art, science and nature for over twenty years, I feel a responsibility to examine environmental issues and ecological problems through my research and work. This is where my aesthetics and pedagogic ethics merge; I want my work to contribute to future generations.

In 2002 the U.S. government began developing Yucca Mountain as a deep geological repository for high-level radioactive waste. Due to geological faults, and climate uncertainties, the project was terminated; however a maze of excavated tunnels exist beneath the mountain. The U.S. currently has no master plan for permanent disposal of radioactive waste; it is in temporary storage at hundreds of sites across the country. This environmental problem has hardest hit the indigenous peoples of the Western desert lands. I want to raise public awareness, involve communities and initiate discussions through my work.

via Slouching Towards Yucca Mountain, a video installation by Eve Andr̩e Laram̩e РUnited States Artists РGreat art forms here.

Museum of London – Sustainability Statement

The Museum of London is the leading museum for London. Understanding the environmental impacts of our activities and reducing these where possible is an important element of being a leading museum and an area where we are committed to continual improvement.In the following areas Museum of London will;

Management and legislation

  • develop and continually improve its information gathering, target setting and reporting on environmental issues
  • reflect environmental and sustainability issues in its public programme (exhibitions, events, activities) where relevant
  • encourage all staff to work in an environmentally responsible manner and to contribute to improving performance
  • ensure compliance with all relevant legislation, statutory regulation and codes of practice from Display Energy Certificates to disposal of hazardous materials

Resource consumption (energy and water)

  • monitor its energy and water consumption regularly
  • seek to implement energy and water efficient solutions as part of maintenance upgrades and major refurbishment projects
  • continually raise staff awareness and encourage a culture of responsible energy usage
  • use harvested rainwater for toilets where possible and for all garden irrigation
  • continue to look for ways to improve the energy efficiency of stores
  • monitor, maintain and run environmental control equipment at an optimum level reducing energy wastage
  • reduce its carbon footprint through a combination of the measures in this policy

The three ‘R’s (reducing, re-using, recycling) and waste management

  • increase the use of our website as a source of information rather than printed materials
  • reduce waste through minimising consumption, re-using and recycling
  • provide recycling containers and bins, and recycle paper, cardboard, glass, plastics (as accepted), cans and tins as a minimum at all sites
  • consider alternative options for equipment and materials before disposal
  • minimise the use of chemicals harmful to the environment to a level consistent with the needs to properly
  • and safely conserve objects
  • dispose of used and surplus chemicals in a safe and responsible manner using licensed contractors

Building and refurbishment

  • require all new building and refurbishment work to improve environmental performance through design, construction and operation for both public and back of house areas
  • carry out energy and environment appraisals and assessments in line with best practice when refurbishing premises
  • maintain high standards of energy and environmental management, including noise
  • ensure the Museum will not contaminate soil, ground and surface water from buildings, building materials or gas
  • require tenders, where necessary, to specify what Environmental or Waste Management Systems have been put in place and to monitor these

Procurement

  • aim to balance sustainability considerations with Value for Money principles
  • ensure materials used and goods purchased derive, where possible and relevant, from sustainable sources
  • work with catering partners to offer organic and fair-trade food and drink where possible
  • consider the sustainability policies and practices of suppliers and contractors
  • ensure all paper and printed materials for general use are, as a minimum, Forestry Stewardship Council (FSC) certified

Travel and transport

  • encourage the use of public transport by staff and visitors
  • support cycling and car sharing initiatives
  • limit journeys by Museum vehicles to essential operational requirements
  • ensure Museum vehicles are maintained to ensure they run economically
  • consider different transport options when moving objects on loan, whilst ensuring care of collections

Approved by the Museum of London Executive Committee in February 2011

Land Arts of the American West

Apply: UNM IS NOW ACCEPTING APPLICATIONS FOR THE 2011 FALL PROGRAM.

Land Arts of the American West is an ongoing experiment in an interdisciplinary model for an Arts pedagogy based in place. The Land Arts program provides students with direct, physical engagement with a full range of human interventions in the landscape, from pre contact Native America architecture, rock paintings and petrogylphs to contemporary Earthworks, federal infrastructure, and the constructions of the US Military. Land art includes gestures both grand and small, directing our attention from potsherd, cigarette butt, and track in the sand to human settlements, monumental artworks, and military/industrial projects such as hydroelectric dams, interstate highways, mines, and decommissioned airfields.

Each year the Land Arts program travels extensively throughout the southwestern United States and north central Mexico to live and work for over fifty days on the land. Our time is divided between investigating cultural sites such as Chaco Canyon, Roden Crater, Hoover Dam, Wendover Complex of the Center for Land Use Interpretation, Juan Mata Ortiz, Spiral Jetty and the Very Large Array and working in the variety of eco-niches provided by our campsites at places such as the Grand Canyon, Grand Gulch, Gila Wilderness, Bosque del Apache and Otero Mesa Grasslands. Our current focus is on the issues of sustainability with a particular interest in food production and water use in the southwest.

Visit: The Land Arts of the American West student blog

HISTORY

Bill Gilbert started the Land Arts program in 2000 based on ten years of field programming at Acoma Pueblo and Juan Mata Ortiz, Mexico. In 2000, John Wenger served as co-director contributing his experience of over 25 years in the wilderness of northern New Mexico and southeast Utah. Starting in 2002, the Land Arts program has developed as a collaboration between Gilbert and Chris Taylor. Professor Taylor currently directs the Land Arts program at Texas Tech University, http://landarts.arch.ttu.edu/. In 2005 and 2007, Erika Osborne co-directed the program in the field. In 2009 Catherine Harris joined the program as new faculty in the Art & Ecology area at UNM and Jeanette Hart-Mann (Land Arts program 2000) has assumed responsibility for the program field logistics.

BOOK

In 2009 the University of Texas Press published the book, Land Arts of the American West, presenting the ongoing collaboration in which artist Bill Gilbert and architect Chris Taylor investigate and create land art with their students. The book is organized around places visited over the first seven years of the program. The over 400 color photographs are accompanied by descriptive information about the site’s natural and human history; student journal entries presenting first-person experiences; essays by William L. Fox, Ann Reynolds, J.J. Brody, and Lucy Lippard; and interviews with Mary Lewis Garcia, Graciela Martinez de Gallegos and Hector Gallegos, and Matthew Coolidge. Woven throughout the text is a conversation amongst Gilbert, Taylor, and writer William L. Fox, covering the Land Arts program’s origins, pedagogic mission, field operations, interactions with guest lecturers, and future directions.

project::endangered species

ENDANGERED SPECIES – This temporary public art project uses transit vehicles and their environments as a medium, investigating relationships between city and region, social and environmental values. From January into April 2011, four Endangered Species buses will circulate throughout San Francisco, dispatched to different routes each day.

FROM THE PROJECT SITE: The idea came when I learned the SFMTA’s “Transit Effectiveness Project” was measuring maintenance, driving efficiencies, ridership statistics, the bread and butter of transportation engineers work. But no one was discussing aesthetics, or what wider impacts and meanings transit has. It seemed to me that an assessment of effectiveness should include these criteria too.

Like street trees, sidewalk cafes, and parks, public transit vehicles can be lively, as well as useful visual elements of everyday urban life. But the buses are so assaulted by advertising, it’s as if our transit system is not our own. But whose environment is it? How can we best look after the places we live? Public transit is about pooling and sharing resources. Bringing the bus together with local ecosystems and  vulnerable animal species was a natural fit once I started to think about it that way.

The project is also a metaphor of the relationships it addresses, like a fractal whose structure is similar at different scales. The images on the buses are at the center, but they are activated as the buses circulate through different neighborhoods and circumstances. And in parallel to the buses, there is the project website, which opens doors to information and partnerships with area non-profits whose work addresses the questions the project is raising: what is beauty in everyday life? what are our responsibilities to the resources we use? How is ownership and power divided between people – and between species?

As the project evolves I’ll be updating this webpage. For more on how I’ve been thinking about Endangered Species, please see my article “In and Out of Place” in ANTENNAE: The Journal of Nature in Visual Culture. And for more on the species and organizations behind the project, please browse the project website. Photographs of the buses are posted on Flickr here.

I am grateful to the many people who have helped with Endangered Species, as well to these supporting institutions: Community Initiatives, a San Francisco-based fiscal sponsor which is a 501 (c)(3) organization; the San Francisco Metropolitan Transportation Authority; SPUR; and the San Francisco Arts Commission, Potrero Nuevo Fund of Tides Foundation, Zellerbach Family Fund, San Francisco Foundation, Adobe Community Foundation, and Christensen Fund.

via project::endangered species.

Performing Ecology

Image: Oil & Water #6 mixed media seen in Oil & Water for One of a Kind, an exhibition of unique artist's books curated by Heide Hatry at Pierre Menard Gallery, Cambridge MA and HP Garcia Gallery, New York, NY.

Trigger Point Theory as Aesthetic Activism, a workshop on restoring degraded environments

March 10th, time: 12:00-1:00pm 2011

The Culture of Climate Change, The 10th Annual Nature Ecology Society Colloquium

CUNY Graduate Center, CUNY New York, NY

Hosted by the Environmental Psychology PhD Program

Contact Person: Shawndel Fraser, SFraser@gc.cuny.edu

Ecological Art, March 10th, time: 4:00-5:00pm 2011

Panel Session organized by: Diane Burko and Aviva Rahmani

Moderated by: Amy Lipton, Panelists: Sam Bower, Beth Carruthers, David Haley and Shai Zakai

The Culture of Climate Change, The 10th Annual Nature Ecology Society Colloquium

CUNY Graduate Center, CUNY New York, NY

Hosted by the Environmental Psychology PhD Program

Contact Person: Shawndel Fraser, SFraser@gc.cuny.edu

HALF LIFE: Patterns of Systemic Change. March 25th, time: 6:00pm, 2011

Panel Discussion and Live Webcast

Joan Mitchell Center, New Orleans, LA and Santa Fe Institute of the Arts, Santa Fe, NM

Telephone 505-424.5050

Contact Person: Diane R. Karp, Ph.D. Executive Director Santa Fe Art Institute dkarp@sfai.org

One Of A Kind, an exhibition of unique artist’s books. March 3-March 27th, 2011

Reception Thursday March 17th  6:00 – 9:00 pm

Pierre Menard Gallery, 10 Arrow Street, Cambridge MA  02138

Telephone 617-868-2033

Curated by Heide Hatry, h.hatry@gmail.com

One Of A Kind, an exhibition of unique artist’s books. April 19 – May 21st, 2011

HP Garcia Gallery, 580 Eighth Avenue, 7th Floor (between 38th & 39th Streets)

New York, NY 10018-3080

Telephone (212) 354-7333

Curated by Heide Hatry, h.hatry@gmail.com

One Of A Kind, an exhibition of unique artist’s books. Dates: TBA, 2011

German-American Heritage Museum, 719 6th Street NW, Washington, DC 20001

Telephone (866) 868-8422

Curated by Heide Hatry, h.hatry@gmail.com

Designers Accord “Town Hall’ Brighton UK

What actions can we take to design a more sustainable future?’

We are educators, learners, architects, economists, ecologists, activists, filmmakers, photographers, graphic, communication, business, product, fashion, textiles, interior, landscape, systems and thinking designers.

Come and join us to discuss how we can all take actions to design a more sustainable future together.

The evening will start with a selection of short presentations. Followed by food, wine and discussion in small break out groups. Finishing with feedback and action to be taken forward!

Places are limited, please only register for a ticket if you can make the event, or if circumstances change please let us know asap.

The Designers Accord provides a participatory platform with online and offline manifestations so that members have access to a community of peers who share methodologies, resources, and experiences around environmental and social issues in design.

If you would like to know any more about the Designers Accord please click here or if you would like further information about the Brighton Group please feel free to contact us at the address below.

designersaccord.brighton@gmail.com

via Designers Accord “Town Hall’ Brighton UK – Eventbrite.