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PLAND New Initiative Proclaims: Practice Liberating Art Through Necessary Dislocation

FOR IMMEDIATE RELEASE

Contact: Erin Elder

pland.info@gmail.com

NEW INITIATIVE PROCLAIMS:

PRACTICE LIBERATING ART THROUGH NECESSARY DISLOCATION!

www.itspland.org

TAOS, NEW MEXICO – Announcing the formal launch of PLAND, an off-the-grid residency program that supports the development of experimental and research-based projects in the context of the Taos mesa.  PLAND was conceived of and founded in July 2009, when creative trio Erin Elder, Nina Elder, and Nancy Zastudil banded together to acquire a small parcel of land near the Sangre de Cristo Mountains and the Rio Grande Gorge. The arid plot is currently void of amenities such as water and electricity, with terrain defined by sage brush, chamisa, and breath-taking vistas of open sky. The region is home to alternative communities including the Taos Pueblo, several Earthship developments, and a scattering of off-the-grid homesteaders.

The three founders describe PLAND as:

“A program that focuses on open-ended projects that facilitate collaboration, experimentation, and hyper-local engagement. We do not hold expectations about prescribed outcomes. We privilege process over product. We believe artists can do amazing things when supported and encouraged in new contexts. We believe that no context exists like that of the Taos mesa.

We find our inspiration in a legacy of pioneers, entrepenuers, homesteaders, artists, and other counterculturalists who – through both radical and mundane activities – reclaim and reframe a land-based notion of the American Dream.”

During Summer 2010, PLAND will host a motley crew of thinkers and doers in a series of work parties, idea-testing workshops, and inaugural project-based residencies in order to transform the land into a more inhabitable outpost while challenging artists to create, experiment, and produce their own work within this unique context. These activities are funded in part by The Idea Fund and supported by the hard work of students at the University of Colorado at Colorado Springs.

Please note that the application deadline is May 10th and due via email.

PLAND.

The Earth Awards Launches a Global Search for Sustainable Innovations

From May 3rd to May 10th, submissions are open for the 2010 Earth Awards—an opportunity for innovative designers to win between $10,000 and $50,000. Awards will be handed out at a ceremony in London on September 16th, 2010.

Submissions will be judged by an illustrious panel that includes Yves Behar, Richard Branson, David DeRothschild, Bill McKibben, and TreeHugger Founder Graham Hill.

Designs must fit into one of six categories—Built Environment, Fashion, Products, Systems, Future and Social Justice—and will be judged on achievability,

scalability, measurablility, usefulness, originality, ecological value.

For more information, visit theearthawards.org

The Earth Awards Launches a Global Search for Sustainable Innovations : TreeHugger.

APInews: E.U. Ministers Call for Culture in Economic Plan

European Union ministers have called for culture to be put at the “heart” of the blocs new economic plan, the Europe 2020 strategy according to Helen Spongenberg on euobserver.com 4/6/10. It could mean that Europe will invest more in its creative industries as a source of future growth. In late April, the E.U. executive is set to adopt its “Green Paper on Cultural and Creative Industries,” aimed at unlocking the economic potential of cultural and creative industries in Europe, a sector that generates five million jobs and represents 2.6 percent of GDP in the 27-nation bloc. The sector includes areas as diverse as cinema, music, publishing, the media, fashion, interior and product design, cultural tourism, performing arts and heritage. Critics warn that Europe should not neglect cultural diversity and caution against homogenizing European culture.

APInews: E.U. Ministers Call for Culture in Economic Plan.

Art, Ecology and Citizen Power

Tomorrow, the Dutch artist Marjolijn Dijkman arrives in the UK to begin her residency atClare Cottage in Helpston, near Peterborough. Her stay marks a shift in focus for Arts & Ecology, towards exploring how the arts may engage people locally with environmental change and sustainability. As part of this, Marjolijn has been invited to stay at the home of the local romantic poet John Clare who died in 1864, so is no longer living there. The cottage was refurbished last year and Marjolijn intends to explore contemporary ideas about ‘place’ with people in the surrounding villages and the city of Peterborough, which is where the RSA Citizen Power project is located.
Wandering Through the Future (installation) by Marjolijn Dijkman, 2007. Commissioned by Sharjah Biennial 8: ‘STILL LIFE, Art, Ecology and the politics of Change’. Photo by Lateefa Maktoum

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ashdenizen: when science meets art … successfully

Kellie Payne has attended numerous ‘art and science’ events, but in this guest blog she argues that last weekend’s day-long symposiumRising To The Climate Challenge: Artists and Scientists Imagine Tomorrow’s World was particularly successful.

The Tate had paired with the Royal Society to present an impressive line-up of speakers, including artists Lucy Orta, Tomás Saraceno and the eminent land artist Agnes Denes. But its success could be attributed to another reason.

Kellie Payne writes:

Rather than framing the question as: ‘how can artists help scientists communicate climate change?’, last Saturday’s symposium Rising To The Climate Challenge took the view that art and science had two very different perspectives to offer and much could come from their collaborations. Art’s role isn’t simply to reformulate and appealingly package the scientific messages; instead it has a more fundamental exploratory and imaginative role. 

The climate science programme largely reflected the Royal Society’s priorities and included, along with the expected division of adaptation and mitigation a third one, geo-engineering. However, oceanographer and earth scientist Corinne Le Quéré , who introduced the topic, revealed that she was stuck with presenting it because none of the other speakers wanted it. Professor Le Quéré gave a well-balanced presentation comparing the various options’ effectiveness (predicted ˚C temperature change) versus the level of risk.

With more controversial options such as the frightening volcanic method, where artificial volcanoes are created in the atmosphere to reflect and reduce solar radiation, she demonstrated that even this was only a temporary fix. The volcanoes would need to continually be created because as soon as they ceased, CO2 levels in the atmosphere would rapidly return to pre-volcanic levels. A less risky option, managing earth radiation through afforestation was shown to be less effective, with a possible decrease in warming projected at only 1ËšC.

Agnes Denes’ land art was incorporated into the topic of geo-engineering because her large-scale works often drastically alter the landscape. In Finland she created Tree Mountain- A Living Time Capsule, building a conical mountain and planting it with 11,000 trees, and planting and harvesting a wheat field in central Manhattan (Wheatfield: A Confrontation). During her slide show, Denes explained that she likes to investigate the paradoxes of human existence: logic, evolution, time, sound, etc. and believes that by shaping and structuring the future we can control our own evolution.

Tomás Saraceno presented with an infectious energy, bursting with novel, if impractical ideas that included his floating ecosystems.  Saraceno makes bold and imaginative attempts to stretch the boundaries of our conceptions of space and gravity with his experimental floating pods. His presentation was paired nicely with Oxford social scientist Steve Rayner’s on adaptation. He focused on cities of the future and the importance of instituting greater flexibility within existing infrastructures in order to cope with future climate events such as extreme flooding. He admires Saraceno’s work, in particular his innovation with new materials, shapes, and possibilities of new patterns of organisation.

Rayner highlighted three typical art/science interactions. The first was demonstrated by a photograph of a diseased liver cell and represented the mode of seeing beauty in the scientific. The second was art’s influence on science (mainly through science fiction such as HG Wells and Jules Verne), the model of artists stimulating scientists with their work leading to new ideas and discourses. The third – which Rayner thought the most compelling – were the interactions between scientists and artists that occur when artists ‘do science through art’. Essentially, where the borders between the two are eliminated and artists employ scientific methodology in their creations, as demonstrated in Saraceno’s work.

The collaboration between scientific institutions and artists was illustrated in a discussion between the Natural History Museum’sRobert Bloomfield and artist Lucy Orta , whose upcoming exhibition at the Jerwood Gallery Perpetual Amazonia is extensively researched using the NHM’s entomology, botany and palaeontology collections. The exhibition will also be informed by Lucy and her partner Jorge’s expedition to the Peru with Cape Farewell in 2009.  Bloomfield specialises in biodiversity and stressed the importance of the interrelations between climate change and biodiversity loss and ecosystem services.

The event was recorded. Podcasts will be available soon on the Tate website.

via ashdenizen: when science meets art … successfully.

Historic preservation and sustainability go hand in hand

Reprinted from Novogradac Journal of Tax Credits: “Historic Preservation and Going Green” by John M. Tess, April 2010

Historic preservation and sustainability go hand in hand. There is a misconception that historic preservation tax credit (HTC) projects and LEED certified projects are mutually exclusive. On the contrary, green development and preservation can both be achieved when rehabilitating a historic building; thus, opening the door for developers and property owners to benefit from using federal, state and local historic incentives while meeting green building standards.

At present, the federal government offers a 20 percent investment tax credit for the rehabilitation of certified historic buildings. The rehabilitation of a historic building must meet the Secretary of the Interior’s Standards for Rehabilitation. These standards provide guidance on the appropriateness of work on a historic building, through the preservation of the building’s significant historic features. The program is administered by the State Historic Preservation Offices and the National Park Service.

The most recognizable program in green building certification is Leadership in Energy and Environmental Design (LEED). LEED is a green building certification system, providing third-party verification that a building was designed and built using strategies aimed at improving a building’s performance. LEED certification is based on seven credit categories including: sustainable sites, water efficiency, energy and atmosphere, materials and resources, indoor environmental quality, and innovation in Design/Regional Priority. Developed by the U.S. Green Building Council (USGBC), LEED provides building owners and operators a concise framework for identifying and implementing practical and measurable green building design, construction, operations and maintenance solutions.

The most common concern when performing a green rehabilitation of a historic building is energy efficiency. There is a bias throughout the green building community that if you want to achieve energy efficiency in a building you need to start from scratch. Historic buildings have embodied energy that can balance the goal in the green building community for energy efficiency improvements that may be difficult to achieve otherwise. The LEED certification system does award points for building and materials reuse. Making the LEED system work within the standards can be a challenge, as the standards have clear guidelines on retaining historic materials during rehabilitation. These challenges are illustrated through two successful LEED certified historic preservation tax credit projects: The Oregon National Guard Armory Annex and the Meier & Frank Department Store Building both located in Portland, Oregon. These projects demonstrate the amount of flexibility available for greening buildings utilizing the federal historic tax credits.

The Oregon National Guard Armory Annex, built in 1891, has thick masonry walls and a fortress-like appearance, and with more gun slits than windows it might not seem like an obvious candidate for a green rehabilitation. But the Gerding Edlen Development Company had a vision to rehabilitate this historic building into a state-of-the-art theatre while meeting the Secretary of the Interior’s Standards for Rehabilitation and achieving LEED Platinum certification, the highest level in the LEED program.

The Armory is listed in the National Register of Historic Places and is significant as the first armory built in Oregon for the newly organized Oregon National Guard. It is also significant as an excellent example of the Castellated architectural style. Throughout the building’s history it has been utilized for various functions including arms storage, shooting range, drill hall, event hall and, prior to its rehab, beer warehouse.

In 2006 the building was rehabilitated as the home of Portland Center Stage. The primary challenge of rehabilitating what was essentially a warehouse into a theatre, was to fit 55,000 square feet of program space within a 20,000-square-foot footprint while preserving and exposing the Douglas fir truss ceiling. The masonry structure also had to be braced seismically and the two performance spaces had to be isolated acoustically. The solution involved excavating 30 feet below the level of the original basement and building a concrete box inside the existing shell with access via two 14-foot-wide doors.

On the historic preservation side, the exposed roof trusses and exterior of the building were determined to be character defining features that had to be preserved. The roof trusses remained exposed in the building lobby and an oculus opening was created to provide views from the first floor to the roof trusses above. The distinctive masonry exterior was rehabilitated with no major changes.

On the green side, the spaces are distinctly contemporary in appearance and in function. The building has excellent lighting, air quality and energy efficiency with a 30 percent improvement over code standards. To improve water efficiency, rainwater is captured from the roof and used to flush toilets and urinals. The building is also equipped with dual-flush toilets and low-flow showerheads and faucets, reducing the building’s potable water use by 88 percent. Its windows also have advanced glazing to maximize daylighting while minimizing winter heat loss and summer heat gain. Where appropriate, lighting in the building is controlled by photo-sensors, occupancy sensors and dimming switches. These features all contributed to the LEED Platinum rating. Reuse of the existing building conserved not only the embodied energy of the existing materials but also the craftsmanship of the unique façade, preserving this Portland Landmark for future generations. The newly christened Gerding Theater has the distinct honor of being the first building on the National Register of Historic Places to receive federal historic tax credits and to achieve LEED Platinum status.

The Meier & Frank Department Store Building consists of three interconnected structures built over a 23-year period from 1909 to 1932. When completed, it was Oregon’s largest building. Like so many department stores, the building gradually became underutilized in the late 20th century. Sage Hospitality Resources’ renovation included modernization of the lower five floors and basement as a state-of-the-industry retail space and transformation of floors 6 and above into Oregon’s first five-star hotel. The hotel contains 331 rooms, destination atrium restaurant, rooftop lounge, 7,200-square-foot grand ballroom and 13 additional meeting rooms.

Adaptive reuse of this department store into a hotel was not a simple task. The building required seismic, fire, life safety and other code upgrades. The full-block floor plate was unwieldy, and built as three structures, the floor and ceiling levels did not always align.

On the historic preservation side, the white terra cotta exterior, original windows, and ground floor entrances and elevator lobby were determined to be character defining features that had to be preserved. These features were preserved while making way for a state-of-the-art interior that included a new atrium for the hotel.

On the green side, the effective reuse of the Meier & Frank Department Store represents an enormous accomplishment in sustainable design. This accomplishment takes two forms: first, the preservation of embodied energy and materials of one of Oregon’s largest buildings; second, the sustainable initiatives to green the building and its operations. Apart from the eco-savings accomplished through preservation, the project team embraced a number of pro-active steps towards sustainable design. Specifically, during construction the project committed to recycling removed materials, achieving 90 percent recycle rate.

Major work included the use of interior storm windows and high-performance glazing in infill elements, maximizing access to natural light. The installation of high efficiency lighting systems resulted in a savings of 26 percent energy consumption over comparable hotels. Finally, the installation of high efficiency water systems, with low-flow faucets and dual-flush toilets, collectively will save a half million gallons of water per year.

In addition to the development aspects of the project, green operations focused on the core tenets of reduce, reuse and recycle. These operations included using 100 percent renewable energy, including wind power and carbon offsets, using only Green Seal-certified products and encouraging employees to bike to work. In total, these eco-actions are anticipated to save the hotel $1 million in operating costs in its first 10 years. The Nines Hotel achieved LEED Silver certification; one of only 10 five-star hotels that are LEED certified projects. More broadly, the project demonstrates that sustainable practices and luxury hotel operations are not mutually exclusive, but that “eco-luxury” is mutually compatible.

Contrary to the misconception that historic and green projects do not work together, our experience proves that it can be done. Other recent historic tax credit projects we have been involved in that either have achieved LEED certification or are in the process of seeking LEED certification include the Palomar Hotel in Philadelphia, Pa., Court Square Center in Memphis, Tenn., Mercy Corps Headquarters in Portland, Ore., the Deco and Barclay Buildings in Milwaukee, Wis., and the IBM Building in Chicago, Ill.

Often, the owners and developers of historic buildings simply assume that their building cannot secure both historic tax credits and LEED certification, believing that the preservation standards will work against the green priorities. In the process, they forego the potential green or financial incentives, benefits that often make the difference in the viability of a project. It is important when contemplating the redevelopment of these resources that all opportunities are explored as historic buildings are often environmentally friendly and contain opportunities for becoming greener.

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The thing we shouldn’t be asking artists to do


Heart of Darkness by Cornelia Parker, 2004 from Earth: art of a changing world, London 2009

This is Climate Action on Cultural Hertitage week – it’s an initiative championed by Bridget McKenzie as a response to the growing number of individuals and organisations calling for a more clearly defined sense of purpose from the arts and heritage sector.  People like Al Tickell of Julie’s Bicycle ask: “Why do we expect moral leadership to come from corporations and science? Surely the meaningful nature of the arts in society puts it in a position to take a lead on climate action?”

There are two aspects to this. Firstly it’s about how we behave ourselves. Art fairs, say, have become an example of the muscularity of the art industry. As curators/critics Maja and Reuben Fowkes have asked,  is this world of global art jamborees a sustainable one? Gustav Metzger’s Reduce Art Flights was one of the artist’s passionate “appeals”, this time to the art world to reconsider how they had been seduced into transporting themselves and their works around the globe. Furtherfield.org’s We Won’t Fly For Art was equally explicit, asking artists to commit to opting out of the high profile career track that conflates your ability to command air tickets with success.

Industries can change the way they behave. Tickell’s work with the music business has already shown how a cultural industry can transform itself in terms of process.

But there’s also the role of art as a spoke in the wheel of culture. Science itself changes nothing. To become a transitional society requires more than policy. The real change must be cultural. So should climate be the subject matter of art?

Pause for thought: Do we want rock stars enjoining us to change our ways? Please God, no. See? If it doesn’t work for rock music, why should it work for other art forms?

In an article being published next week on the RSA Arts & Ecology website, Madeleine Bunting will be arguing strongly against the urge to push artists into an instrumental role in climate:

“The visual arts offer a myriad of powerful ways to think and feel more deeply about our age and our humanity, but it is almost impossible to trace the causal links of how that may feed through to political engagement or behaviour change,” she cautions.

It is time to accept that artists don’t simply  ”do” climate. Even the most obviously campaigning art is of little value if it is simply reducible to being about climate. They may be inspired to create by the facts of science and economics, as Metzger and Ruth Catlow and Marc Garrett of Furtherfield were in those examples above, but if you asked them to make art about climate they’d almost certainly run a mile.

What was interesting about the RA exhibition Earth: art of a changing world was the way that made that explicit. Artists like Cornelia Parker and Keith Tyson were clear in saying their pieces that they weren’t necessarily conceived with climate in mind at all, (though both are passionate about the subject). The decision to include Parker’s Heart of Darkness as an a piece of work to make us ponder the destruction of our planet was a curatorial one.

There’s a kind of separation between church and state needed here; institutions shouldn’t just be looking to their carbon footprints, they should be looking to see how they can contextualise this cultural shift with what they show their audiences – whatever the artform. It is up to the curators, directors and art directors to take on this role. In this coming era, we urgently need events, exhibitions and festivals that make us feel more deeply about the change taking place around us – and we need them to find new audiences for those explorations too.

But what we shouldn’t be doing is asking artists to make art about climate.

Read Bridget McKenzie’s Framework for climate action in cultural and heritage organisations

Follow Climate Action on Cultural Hertitage #cach on twitter

Go to RSA Arts & Ecology

On Bike Revolutions.

“Provo realises that it will lose in the end, but it cannot pass up the chance to make at least one more heartfelt attempt to provoke society.”

–from the Provo Manifesto

Free bike programs are notorious. Both practical transportation ideas and naive grabs for anticapitalistic utopia, they have roamed the streets of Portland, OR, Madison, WI, Copenhagen, and La Rochelle, France.

The latest act of karmic cyclery is part of the Glasgow International Art Festival. But these festival bikes are no ordinary bikes– they are white bikes. They are tribute bikes. Tributes, that is, to the original 50 bikes released onto the streets of Amsterdam by the Dutch Provo movement in 1966.

One of a series of “White Plans,” (including white housing, white kids, white wives/contraception and white chimneys), the White Bikes program sought to alleviate transportation issues in Amsterdam by flooding the streets with free public bikes. Basically, it was the grandaddy of all free bike programs. It was the idea of a gentleman named Luud Schimmelpennink, but enacted by gangs of “Provos.”

Provos left the original 50 white bikes unlocked on the streets of Amsterdam. After they were impounded for lack of lockage, the activists outfitted the bikes with combination locks. Each bike wore its combination like a tattoo.

The Glasgow white bikes are similarly outfitted with locks, but their combination, 2010, is publicly known. The locks are just to deter lazy bike-stealing jackasses. Everyone else can ride and share, high off of 1966 revolutionary utopian sustainability glory. A similar, city-wide bike program exists in Portland, ME.

The original Amsterdam White Bike program may not have lasted, but Provo actions and tensions between protestors and police did eventually force the mayor and police cheif to resign. Schimmelpennink was later elected to Amsterdam city council multiple times and now works as an industrial designer. His projects include modern bike and car-sharing programs. In the works: a free bike program in Amsterdam regulated by computers. Maybe the revolution has just been waiting to get digitized.

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Another kind of model village…

As Sterling’s blog Beyond the Beyond points out, artist Sergio Cezar makes huge models of the Brazilian favelas out of cardboard.

There is something disturbing about scale. The 200 dolls houses of Rachel Whiteread’s Place(2008) – part of Psycho Buildings at the Hayward – were downright creepy. Maybe it’s because there’s something unsettling about the way we loom over things when they’re unsettlingly small. You can’t help feeling a little like Adolf Hitler looming over Albert Speer’s models for a new Berlin.

It’s also something to do with the fact that we aim for a kind of perfection when making models. I once met a criminologist who made model villages. True story. I wondered if he would put the odd burglar breaking into a model house into his creations but it turned out his model villages were entirely crime free. He preferred it that way. We Brits tend to make villages set in some imaginary idyllic past.

And so when you look at them there’s a dissonance between their vision of miniature perfection and the imperfection of what they represent. Which is why I kind of like this vision of a slum; it makes it look cute for a second until you start thinking of what it must be like to live in it and what that person in the black limousine is doing there.

Go to RSA Arts & Ecology