Agnes Denes

Agnes Denes stretches the canvas as far as it can go – NYTimes.com

This post comes to you from EcoArtScotland

Thanks to Amy Lipton for highlighting this interesting article in the NY Times on Agnes Denes and her multifaceted work.  If you don’t know Wheatfield – a confrontation, then check it out, but also look at Denes’ drawing.

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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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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.

Non-Toxic Eco-Art Roundup

Since it’s recently been made public that supposedly “inert” ingredients of pesticides like Roundup are not, in fact, not so very intert, we thought we’d celebrate (hem hem) with a short overview of detoxifying eco-art events.

You might have seen the buzz for it, but the LAND/ART symposium just passed.  We were forced to miss it this year, but there are some riveting descriptions on the Smudge Studio Blog. Especially check out CLUI’s Bus Tour of New Mexico’s Superlative Ground-Sky Resonances. The title is super-intellectual: the journey is all about enchantment and the atomic bomb. Feeling detoxified yet?

Fellow eco-art blogger Abigail Doan altered us to the presence of Aviva Rahmani’s new booklet: What the World Needs is a Good Housekeeper. we just got it in the mail. It’s a small, bound overview of the Rahmani’s process, detailing some of her artistic work in collaboration with restoration ecologists, scientists and architects.  An instructional pamphlet, if you will. A quote: “The value of an artist’s eye is to see relationships that might otherwise be missed.”

Lastly: they are always having fun in the Netherlands. The image above is from Yang Zhichao’ s Planting Grass, currently featured in an exhibition called  Foodprint at Stroom in The Hague. Featuring works by Fritz Haeg, Agnes Denes, and Atelier Van Lieshout,  it examines our relationship with food and landscape. The artworks are paired with a timeline that parellels advances in industrial food production with the development of European and American art. Very mentally refreshing.

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