Artistry

Osomocene

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This post comes to you from Chantal Bilodeau’s Artists and Climate Change Blog

By guest contributors Seth Baum and Inés Garcia

Greetings. We are Seth Baum and Inés Garcia. We are a scientist and an artist. And we both care about climate change. Seth cares about climate change because of the threat it poses to humanity, to other happy living things, and to their future in the universe. Inés cares about climate change because it affects every person and living being on the planet and we, as a civilization, are far too intelligent to continue contributing to the destruction of the endless resources on this planet.

We made Osomocene Productions because we believe that humanity can make a world that has a healthy environment and is still enjoyable for us humans. Indeed, we coined the word Osomocene to mean the Age of Awesome – awesome for humans and awesome for the environment. We intend the Osomocene as the successor to the current era, the Anthropocene, which is defined by human disruption of the environment. With Osomocene Productions, we want to envision this age of awesome and communicate the vision to other people so that together we can make the vision a reality.

Osomocene Productions articulates its vision for a better world through short-form online videos. Short form videos are fun and easy to watch, and they offer us the chance to talk about a variety of subjects. By putting them online, anyone can watch them, and who knows, they may even ‘go viral’ and get seen by many. (Click here to share our videos!) But most importantly, short-form videos let us create everyday scenarios that depict positive ways to help with climate change that everyone can take part in.

Our collaboration brings together Seth’s research and Ines’s artistry. Seth’s research covers two important areas. First is the science of climate change, and in particular the science of what people can do to help with climate change. Second is the science of communication, and the psychology of how communication can translate into action. Ines’s artistic sense for aesthetic quality helps us identify key themes from the research and convert them, through dramatic interpretation, into compelling story and character. Ines also manages the logistics of how to produce a film, coordinating with actors, directors, editors, and crew.

So far, we have produced one video (titled Vegetarian Cookbook) and have a second video scheduled for filming in April. Many more ideas are in the works. These videos have given us the chance to explore and refine our artistic and collaborative styles. Working together has been a tremendous growth process for both of us. We’re constantly trying out new ideas in our ongoing effort to promote a better world.

Filed under: Featured Artist, Multimedia, Video

Artists and Climate Change is a blog by playwright Chantal Bilodeau that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

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Border Art in the War On Difference

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El Mexterminator

When Sam presented The Trailer Trash Project at the Arts in the One World Conference (Jan. 27-29) he heard  Guillermo Gómez-Peña give the keynote talk.   We thought you might like to read more about this extraordinary performance artist, poet, playwright and teacher.

In the border region between the United States and Mexico who are the insiders and who are the outsiders?    Guillermo Gómez-Peña puts borders – between people of different nationalities, ethnicities, religions and sexual preferences – at the center of his work. This “stubborn Aztec hipster” plays with some of the iconic images that invade our subconscious and feed our fears.  His personas include a Narco-Dandy, El Mexterminator  and San Poncho Aztlaneca, a shaman/saint from an unknown border region.

Earlier pieces explored the loneliness of the immigrant experience in the United States.  While still a student at CalArts he wrapped himself in a batik cloth and lay down on the floor of an elevator.  Another time he dressed as a homeless Mexican and begged for food. (No one stopped.)

The human body is often used as a metaphor for the body politic.  In the Mapa Corpo Series, performed with Violeta Luna and an acupuncturist, he re-created a ritualistic sacrifice in which members of the audience were invited to help stick needles topped with flags into Luna’s naked body.  The piece is a statement against the War On Terror which Gómez-Peña calls “the War On Difference.”

Using his artistry, wit, intellect and considerable compassion, Gómez-Peña invites us to examine the transgressions of western society and overcome our fear of the other.

In a seven-hour workshop held at the conference,  he gave the participants a suitcase full of simple props, telling them to improvise.  “Think of it as a performance jam,” he said. “Performance artists jam just like musicians.”

Next he invited the group to transform each other into icons representing the sacred and profane.  With an eccentric selection of music playing while the actors got into character,   he likened the exercise to a cabaret where the audience is invited to participate:  “Think of it as an obscure German lounge bar  where the images connect in a common theme.”

At the end of the workshop he encouraged aspiring performance artists to create “a borderless ethos,” experimental laboratories for change where divisions between outsiders and insiders begin to fade away. “The way forward requires hospitality across the divide,” he said.

Participants emerged with huge smiles on their faces. CalArts multimedia artist Mersiha Mesihovic said she felt the workshop changed the way she would approach her work in the future.  Dancer Lindsey Lollie agreed, adding she hopes to attend the International Summer Workshop in Oaxaca, hosted by Gómez-Peña’s troupe, La Pocha Nostra.

( Merisha and Lindsey collaborated on another AOW performance, “On The Subject Of Freedom,” which you can read about by clicking this link.)

Sidebar: “On The Fear Of the Other”

do you hear the police sirens? beautiful, eh?

Ammmeeeeeeerica, what a beautiful scary place to be

but then living in fear is normal for us

we are all scared shitless of the immediate future

by the way, are you scared of me?

of my accent, my strange intelligence,

my obnoxious capability to articulate your fears?

an articulate Mexican can be scarier than a gang member

que no?

are you scared of my moustache?

my unpredictable behavior?

my poetic tarantula,

my acid politics,

my criminal tendencies,

my tropical diseases,

my alleged ancient wisdom?

my shamanic ability to exorcise the evil out of white people,

yes or no? que si que no; que tu que yo

’cause I’m scared of you,

of your silence pinche mustio

your silence makes you really scary

& the distance between you and I makes it even worse.

For more on GGP’s workshops, see this link .  For resrouces, check out La Pocha Nostra’s bookstore. See also this article, “Disclaimer:  Notes on the death on the American artist,” from In These Times (May 19, 2006).

[1] Reprinted in Dangerious Border Corssers. (200: 61) 

This post is part of a series documenting Sam Breen’a Spartan Restoration Project. Please see his first post here and check out the archive here. The CSPA is helping Sam by serving in an advisory role, offering modest support and featuring Sam’s Progress by syndicating his feed from http://spartantrailerrestoration.wordpress.com as part of our CSPA Supports Program.