Points of Interest
Points of interest
Note: here are the points of interest on our non-map.
You can visit some non-maps here
You can visit the key to the non-map here
Below are the points of interest in our non-cartography, these points identify conceptual approaches to thinking through meaningful responses to climate change. They come in response to an open-call submission we ran in early 2015 with the Llano Del Rio Collective.
In the print issue, the submissions are hand-written to demonstrate the thought regarding context, intended meaning or use, mediatic afterlife as idea and form, that each project editorially recieved. Our lack of judgement isn’t a retreat from what’s been understood as ‘universal’ concepts like “human rights” and “economic justice” that often order things. But, inspired by Denise Ferreira da Silva we want this issue to instigate conceptual praxis that thinks differently about questions that seem to have universal answers; Western modernity’s particular logic of universal equivalence of value has gotten us into this mess, there must be another way out. We hope to demonstrate this by showing consideration for each project’s particularity instead of judging what fits where and what doesn’t.
Below, the format of entries are as follows:
Name of Entrant
b.Location/Site of Work's Primary Activity
a. The Yeomans Project- by Lucas Ihlein and Ian Milliss
b. Rural and “peri-urban” agricultural sites in Australia
–particularly at farming properties which follow the principles of Keyline Design and Land Management (often on the outskirts of major cities like Sydney and Melbourne)
d. A collaborative project by Lucas Ihlein and Ian Milliss investigating the work and influence of PA Yeomans. Yeomans was an Australian farmer and engineer who pioneered Keyline –a unique sustainable agriculture system. In the early 1970s, Australian conceptual artist and activist Ian Milliss became interested in Yeomans. Milliss believed that the work that Yeomans' agricultural experiments far exceeded in importance anything that was being produced by contemporary land artists. Ihlein and Milliss have returned to Yeomans’ work since 2011, focusing on the potential of farming as a form of radical cultural innovation. So far, the project has resulted in: a blog (http://yeomansproject.com); a newspaper publication; a series of offset lithographic prints published at Big Fag Press; two large scale exhibitions including Yeomans books and plows; and field trips to farm properties which follow Yeomans' principles. In collaboration with artist Kim Williams, The Yeomans Project has now extended to consider the agricultural land in the catchment of the Great Barrier Reef: http://sugar-vs-the-reef.net
a. Low Tide LAB (next phase in the Low Tide Art | Archive project)
b. Arcata, California, integrated with Bug Press, a commercial/craft printer.
d. The LAB contains printed and digital copies of (nearly) all published graphic representations of Humboldt Bay. It opened in late 2015, though it has not been promoted, awaiting completion of its database. As of late 2017 it contains 630 documents, from CD-ROM's, decomposed into images and text, to annotated photo albums documenting jetty reinforcement. All have had their content disassembled into thirteen Image Groups, from Object Exteriors to Diagrams and Color Photos. One goal has been to free the Bay from the chains of its representations, starting with the first maps to the more recent engineering studies, by separating the links.
a. Project: Sight Unseen Woods
b. Swanville, Maine
d. You will probably never meet me. I live a life atop a couple feet of glacial till which is itself atop a sheet of pure bedrock. Surrounded by new growth forest and inspired by that bedrock beneath my first-year homestead, I engage in the creative act of attempting to produce what I consume from the land I live on. In a world designed to overwhelm you with what it says it can provide, homesteading is an unlikely but radical act that attempts to balance the reactionary dynamic of our relationship to climate change with a rough but ready taking of the reins. While it remains true we are not completely sure where we are steering ourselves, by being bound to the soil we stand on as firmly as it stands on bedrock, the question of “Where do we go from here?” has been somewhat neutralized by being localized. We don't go. We stay. We hold our position and, like bedrock, insist on being who we have been and want to be, regardless of the status of the political debate. In choosing to homestead, we have ourselves affected climate change by choosing to make our home, our wellbeing, and our immediate surroundings our most prominent climate context. We have also made a choice to make our mistakes and learn our lessons in direct conversation with the earth, to wage progress on an issue with a global scale by liberating our solution-making from the problem's global context, which is often an impediment in and of itself. We divest ourselves of the need to judge the merits of our response to climate change against its suitability for all others, while encouraging others find their own suitable response. In this way, we find an unlikely model of sustainability in our bedrock: a layer of the earth living in contact with, but also in isolation from the surface, that will be jostled from time to time, but rarely disrupted because of the chatter of the people above it. It is immensely passive, and yet because it is so steadfast in a world churned by change and fear and pressure, it is actively involved.
The Distance Plan
a. The Distance Plan
b. The Distance Plan works between New Zealand and the United States.
d. The Distance Plan is a project that brings together artists, writers and designers to promote discussion of climate change within the arts. Co-founded by Abby Cunnane and Amy Howden-Chapman, the Distance Plan works through exhibitions, public forums and the Distance Plan Press which produces publications, including an annual journal.
The most recent issue of the journal, features artist pages by Louise Menzies and Michala Paludan, an essay by Lina Moe on the closure of New York’s L Line, and, through our ongoing Climate Change & Art: A Lexicon, surveys the language currently surrounding anthropogenic climate change. Through proposing neologisms and promoting less well-known terms, we wish to propel interdisciplinary discussion, and by extension accelerate the pace of action. The lexicon terms were developed and defined by the credited authors, as well as by The Distance Plan while in residence at The Potsdam Institute of Climate Impact Research (PIK).
b. in waterways around Manhattan, Brooklyn, the Bronx, Queens & Staten Island, NY.
d. Swale, a collaborative floating food project, is dedicated to rethinking and challenging New York City's connection to our environment. Built on a 50-foot diameter floating platform and constructed from shipping containers from the Port of NY/NJ, Swale contains a gangway entrance, walkways, and an edible forest garden. Functioning as both a sculpture and a tool, Swale is at the intersection of public art and public service. Art is integral to imagining new worlds. By continuing to create and explore new ways of living, we hope that Swale will strengthen our ways of collaborating, of cooperating, and of supporting one another. At its heart, Swale is a call to action. It asks us to reconsider our food systems, to confirm our belief in food as a human right, and to pave pathways to create public food in public space.
a. Give a Shit
b. Worldwide. It had an appearance during the Paris Climate Conference.
d. Give a Shit allows participants to endorse the message that politicians are wiping their ass with the (climate) science. I printed the last IPCC report on toilet paper rolls. Through the website people can send a roll to their most uncooperative local politician. During COP21, many participants smuggled hundreds of these rolls inside the Conference, and placed them in the toilets used by official delegates and world leaders.
a. Futuro Caliente
d. Futuro Caliente is an artist collective that responds to the climate crisis developing creative interventions. The collective is based in Peru but it operates everywhere. Its first appearance took place during COP20 and consisted of an open agora space entirely built with waste (paper, cardboard, plastic bags, and timber), that hosted a program of conversations and workshops on permaculture, sustainable architecture, culture of resistance, etc. it opened up the climate debate and brought it into the public sphere.
a. Pajupalatsi (The Willow Palace) - an environmental community art project
b. Helsinki, Finland
c. http://pajua.tumblr.com/ (only in finnish..)
d. Pajupalatsi (Willow Palace) is a project that temporarily occupies an empty site together with residents and communities from the neighborhood. The place now serves as an open and growing park with living willow huts and communal garden. The project works on many different levels. It increases the understanding of the nature and educates to ecological thinking. Taking care of the garden increases wellbeing both in the participants of the project and and also in the people living nearby. The area itself acts as playground and a green oasis encouraging people to be more active with their own environment.
a. NEURO-TECTONIC VIDEO DRAWINGS
moving image works 2004-2016 by Christina McPhee
b. Networked media online, live screenings, and installations worldwide.
d. Christina McPhee’s live and recorded drawings animate dense montage within images of fragile marine ecologies and seismic landscapes. "McPhee’s drawing, extended to and infiltrated with digital video, seems to outline a different and stranger project: that of creating as yet unknown material composites by aligning the rapid time-processing of our nervous systems with the emergent natures at actual sites of energy production or extraction” (Ina Blom). Strategic linking of live and performed drawing with documentary video affords new spaces to explore vital futures. "In the context that McPhee provides, every line—charcoal, musical notes, cell phone light—embodies the expenditure of resources and energy necessary for the forms of capture and condensation that representation requires. As though metaphor were to be measured in kilojoules…” (Frazer Ward)
re: "re-network the material and emotional routes against and beyond oil-time, or explore the metaphors of energy itself”
Christina McPhee with Pamela Z
a. CARBON SONG CYCLE- by Christina McPhee and Pamela Z
b. Live performance work for multichannel video, voice and electronics, and chamber ensemble.
Premiere: Berkeley Art Museum/Pacific Film Archive 2013, Roulette (Brooklyn) 2013
c. http://www.pamelaz.com/carbonsongcycle.html and http://www.christinamcphee.net/carbon-song-cycle-bampfa/
d. Carbon Song Cycle is a performance work for multiscreen cinema, voice, electronics, and chamber ensemble. Aleatory effects, and chance operations trace the disruptive and generative forces unleashed by climate change.
Carbon Song Cycle, a work for chamber ensemble and expanded cinema by composer/performer Pamela Zand media artist Christina McPhee is inspired by ongoing changes and upheavals in the earth's ecosystem, and by the carbon cycle—the process through which carbon is exchanged between all terrestrial life forms and domains. It is scored for a chamber ensemble of voice & electronics, viola, cello, bassoon, and percussion and immersive, multi-screen video projections.
To compose the music, Pamela knits together melodic motifs inspired by scientific data around the carbon cycle and texts referencing environmental balance and imbalance–playing on the idea of the natural exchange of elements by passing sonic material between the players, and exploring audio elements related to the imagery in Christina’s video material. The video is built from footage that Christina shoots at petroleum fields, natural gas locations, and geothermal sites around back-country California along with carbon-inspired drawings and images of processes involving intense heat and chemical transformations.
The piece premiered at the Berkeley Art Museum / Pacific Film Archive in April 2013. where the artists explored working site-specifically – mapping video to the architecture of the immense gallery. For future performances, the multi-channel video projections will be mapped and reconfigured for screens and architectural surfaces of the venues in question.
a. Walking Tours of Alphabet City Community Gardens, Squats Radical History and Alternative Culture
b. The Lower East Side, New York
d. The Lower East Side has the highest concentration of community gardens and squats of any neighborhood in the country. The Museum of Reclaimed Urban Space (MoRUS) offers one-of-a-kind, full-access walking tours of these cutting-edge, sustainable buildings and spaces on Saturdays. Participants learn where these grassroots sustainable actions started and how they helped influence the rest of the city with recycling, composting, and urban design. The tour is led by local residents who have witnessed the neighborhood's activist history and thriving community spirit firsthand.
Organic historian Bill Weinberg leads a weekly Sunday walking tour highlighting struggles for urban space in the Alphabet City over the past generation. In addition to Tompkins Square, a focal point of popular resistance in the neighborhood since the 1850s, the tour takes in La Plaza Cultural and other community gardens, site of the evicted Charas/El Bohio community center, the former Christadora Settlement House, the historic Saint Brigid's Church (recently saved from destruction by a community activist campaign), the Lower East Side Ecology Center, and the former site of the Esperanza Garden, destroyed by city bulldozers in 2000.
Both tours leave from the Museum of Reclaimed Urban Space (MoRUS) in C-Squat, 155 Ave. C between 9th and 10th Streets, every Saturday and Sunday at 3 PM.
a. Center for Subsistence Research
b. Carbondale Illinois, 2 hours from St Louis MO
d. Subsistence is about creating the material and social conditions for regional autonomy. The Center for Subsistence Research [CSR] does process-based creative research into the recovery of economic subsistence, sensitivity to place, and re-definitions of 'good living.' Our aim is to recuperate skills for living with less money, through workshops and group investigations into history, feelings, economics. CSR is currently housed at Understory, a research kitchen where people share food, culture, memories, art and knowledge.
a. Flyover Infoshop and Community Space
b. Carbondale Illinois, into regions nearby, up to St Louis & Evansville IN
d. Flyover is an ever evolving space to learn, practice and play together; where people involved in radical movements and counter-cultures share information, meet and network with others.We host a radio show, sewing hour, an acre of gardens (a food forest and intensive raised bed), and a compost works in the center of Carbondale.
The Midwest Radical Cultural corridor
a. The Midwest Radical Cultural corridor (MRCC)
b. Wherever the radical imagination that enlivens the greater midwestern US might be found, expressed, tapped, practiced, networked.
d. The Midwest Radical Cultural Corridor is a call for longer, slower, deeper connections between the territories where we live. It’s a cartography of shared experience, built by those who nourish lasting ties between critical groups, political projects, radical communities and experiments in alternative existence. Instigated by the call linked above, the MRCC has a life of its own.
b. The greater midwest, from the intimate to the global
d. A group of about 14 artists and activists exploring ties to different neighborhoods, cities, and rural parts around the midwest through a collective project of knowing where we are – by inhabiting, traversing and narrating relationships within different scales of politics, affect and ecology in what we call the Midwest Radical Culture Corridor.
a. Climate Anxiety Counseling
b. Rhode Island, mainly the city of Providence (but see note 1, below)
d. Description: I offer Climate Anxiety Counseling from my small, portable booth in public spaces in Rhode Island. Passersby can stop and share a climate-change-related or other pressing anxiety; I listen, ask questions, and with permission note what they say and share it on the project website.They receive a card depicting a nonhuman organism that lives in the state (and including the website so they can see what others have said). The project's goal is to build a shared local vocabulary for discussing climate change and its effects; to model additional ways of listening to, caring for and sustaining one another; and to remind humans that they share the ground, water and air with other creatures.
Note 1: Two people in other states have shared some interest in creating their own version of this project for their own localities, and I've created a template that I'm willing to share with anyone else who would also like to do this.
a. The Recombinant Museum
b. Biocultural space
d. Technological paradigms like nanotechnology and biomimetics represent the present and future of biological functions that can create android buildings which will breathe, or use metabolic, circulatory and skin responsiveness to draw water from the environment in a process of energy exchange. The "Recombinant Museum" uses the architectural imagination and social and conceptual landscape of museology to envision the speculative design and cultural impact of biotechnologies. Reimagining the museum as technobiosphere where any transformations in the individual will result in a mutation of the space and vice-versa, creates an auto-recycling digestive technology where intelligent materiality, body, environment, and social structure are endlessly recombined. As metaphor, the "Recombinant Museum" has the potential to regenerate our biocultural landscape, thereby endlessly recycling the relations of our identity, culture, and climate.
Do androids dream of electric sheep? Muses for this project include the generative Library of Alexandria, Kurt Schwitter's Merz, the Mundaneum, André Malraux’s “imaginary museum,” libraries encoded in our DNA, and theories from Donna Haraway, Maurice Merleau-Ponty, Elizabeth Grosz, Mary Shelley, Anna Munster, Buckminster Fuller, and numerous other sources from sciences, social sciences, culture studies, biotechnology, disability studies, the humanities, and the economic and global environment.
Brave New Alps
Bianca and Fabio
a.COMUNfARE – making economies in common
b.Vallagarina Valley, Italian Alps
d. COMUNfARE (lit. commons-making, or communal making) experiments with how human and more-than-human connections can be mobilised in order to foster progressive eco-social change, i.e. change that undoes oppressive, exploitative and destructive power structures that run through the relations between humans and more-than-human others. For our experimentation we draw on modes of working inspired by practice-based design research, communication design and critical pedagogy and activate situations of collective (trans)local and intergenerational learning that explore how eco-social relations can be fostered that go beyond the damaging one’s produced by capitalist markets and neoliberal politics. Conceptually and in terms of its politics, the research is in conversation with feminist, Autonomist Marxist and radical post-humanist theories and practices of the commons, community economies and care.
a. ROOF WATER-FARM
b. Berlin-Kreuzberg: https://www.google.de/maps/place/Roof+Water-Farmemail@example.com,13.3753584,17z/data=!3m1!4b1!4m2!3m1!1s0x47a851cc8968872f:0xfda231a4bb914723
d. The Roof Water-Farm project (RWF) adopts an onsite resource cycle approach combining urban water management with urban farming in an attempt to close the loop. It investigates the local production of fresh food in urban settings via aquaponics and hydroponics linked to the qualitatively safe reuse of residential wastewater. Greywater from showers, kitchen sinks and washing machines is recycled for onsite reuse as a non-potable water source (toilet flushing, home gardening). The high quality recycled greywater is reused to produce food (plants and fish). Recently, a pilot blackwater treatment plant went into operation aiming at turning the blackwater from 50 residents into a liquid fertilizer for use in hydroponic plant production.
The building-integrated combination of water treatment with food production aims at making use of the spatial potential of buildings’ roofs within an urban context, where space is usually very limited or expensive. Initial research results on water and food (plants and fish) quality as well as a life cycle assessment have been assembled. This is complemented by transferability studies at the urban design scale from the scale of single buildings to the embedding neighbourhood context. Different building typologies from residential, commercial to educational types are at focus of RWF design studies including the modular application of tailored RWF-variants depending on the available resource flows and the specific needs of the building’s users. The project includes approaches for user participation, water-farm operation strategies and formats to foster acceptance for the technology within the urban realm.
a.The Glasgow Effect
b.Glasgow, Scotland and online
a. "Monument to the Rubble of the Future"
b. Malmö, Sweden
d. During the summer of 2015 a small group of artists and architects gathered on the site of a disused quarry in Malmö to participate in the workshop "Monument to the Rubble of the future". Over a period of four days they camped on the edge of this fabricated ravine, temporarily inhabiting this uncanny landscape like a nomadic tribe from the future. Cyber archaeologists sifting through the ruins of the present in search of traces of utopia, deciphering the mongrel terrain for signs of a path beyond the current status quo of our neoliberal reality.
a. Requiem for the Los Angeles Oil Field -Situationist Demonstration to Accelerate the End for the Internal Combustion Engine
b. Los Angeles - the last remaining oil jack pumping oil from the Los Angeles Oil Field located at S Mountain View Ave and 3rd Street, Los Angeles
d. Requiem aeternam dona eis, Domine. Los Angeles’ oldest and illustrious oilfield located just north of the polished skyscrapers of downtown is providing its last barrels of crude to the city. Slicing a geological line between Dodger Stadium and Vermont Avenue, this oil field begun Edward Doheny’s mass fortune in 1892 and inaugurated the City’s first industrial boom that fueled the early automobiles for Los Angeles. Now, capped and abandoned, desiccated wells from this field silently rest under the ethnically diverse and working class neighborhood of Historic Filipino Town – except for one. Located between stucco apartment buildings, crumbling Victorians and a laundry mat, a languid and exhausted pumpjack is quietly pumping the last drops of oil from this once fertile field. Cloaked behind a black-vailed gate, this rusting jack is the last of what used to be hundreds of oil rigs and pumpjacks crisscrossing homes and buildings of one Los Angeles’ oldest neighborhoods.
This project provides the last rites for this lone and faded pumpjack in the form of a Requiem Mass.
a. Wild Art, H&G
b. On the Stage- through the eyes of the USA,suburbs and huricane sandy.
d. A public outcry is a hyperbolic performance placing the audience in the shoes of Hansel & Gretel, to wander through America’s blooming new fear of extreme weather in a dreamlike, wild, and surprising journey. Poised in a poetic landscape, this powerful live-music performance is comprised of a distorted Suburbanite and other amplified characters, illuminated puppets, dark dancing shadows, and a lot of meat. Drawing from the third worst drought in US history and Hurricane Sandy, source material includes Hansel and Gretel, newspaper articles, American folk and rock songs, and text generated by John Michael Johnson.
a. Friendly Enemy - Japanese knotweed in the paper laboratory
b. Ljubljana, Slovenia (EU)
d. A simple description (one paragraph tops please!) of what you are doing.
Focusing on the accepted ways of confronting the problems of domination of invasive species on one side and behaviours, politics, ideas and habits on the other, the designers started looking for ways to present Japanese knotweed not as an economic and environmental threat, but as a new opportunity to create a synergy between local and global dynamics: their interest lies in creating a bond between needs and knowledges found in local environments and common concerns that arise as consequences of contemporary globalisation flows. The Re-generacija collective’s aim was to find out if unwanted plants could be used as a local source of cellulose in the paper factories in the near future. Although in Slovenia the pulp and paper industry is using somewhere between 350.000 and 400.000 tons of cellulose, all the cellulose is being imported from abroad.
c.our blog- www.DelightFlowerFarm.com/
d. We are growing flowers sustainability for work, pleasure, care of the earth, & what we call "flower justice!" The flower trade industry has grown to over 100 billion dollars in recent years. Columbia, Ecuador, Ethiopia, Kenya, and India lead in flower production. These flowers not grown sustainably, the majority of international flower workers do not have fair working conditions. These large scale international flowers are packed in preservation chemicals and shipped all over the world (The US imports 82% of it's flowers.). At Delight Flower Farm, we are doing our part to grow and supply flowers locally. We aim to enjoy our work (love made visible), supply a local resource for flowers in our community, as well as educate people about the flower industry and the need for change- for the good of the planet and for its people!
a.Living Deep Time Year 000001
b.It unfolds where and as we go, locations include: New Mexico, Texas, New York, Massachusetts, Illinois, Wisconsin, Maine, Newfoundland, Japan
d. Each morning our calendars welcome us to a new day in 1582 in Pope Gregory XIII's Rome. That's the world it was designed for. But we're doing time in the Anthropocene now. We humans need a practical vehicle for wayfinding in our strange new Anthropocene time habitat. We need something that, like a calendar, orients us on a daily basis — because unlike some popular Hollywood versions of the Anthropocene, we will living the changes day by day for a very long time. Our linear Gregorian desk calendars are at a loss for helping us get our footing in the dizzying, crisscrossing speeds, scales and directions of Anthropocene time. For the 365.2425 days of the solar year that runs from December 22, 002015 to December 21, 002016, we will research and invent daily life practices that heighten our awareness of deep time. We will immerse ourselves in its realities and pay deep attention to our strange new time-habitat and then produce a contemporary calendar that can be shared with all — Deep Time Calendar Year 000001.
a. The Telling of The Bees Telling
Media: Non-fiction animation
Animator, writer, director: Nicole Antebi
Music by: Melissa Grey
The Telling of the Bees Telling is a recent, non-fiction animation based on the ancient folk belief that stresses the importance of notifying the hive about significant matters of the day.
It may be that the custom of telling the bees of a death originated in the idea that the bees were ‘souls,’ or that they were creatures who could fly up into the heavens from whence they had come. The custom is very widely spread; we find it all over Central Europe carried it, and the first allusion to it can be traced to classical times. - Hilda M. Ransome from The Sacred Bee in Ancient Times and Folklore
I created The Telling of the Bees Telling, a short, stop motion animation about the Telling of the Bees folk phenomenon specifically for Hive House, a community center and private residence in Echo Park, Los Angeles. The animation explores the non-phenomenal grey area between what historically has been considered a folk belief and meaningful cross species communication. The animation is composed of archival media, early slide specimens from the American Museum of Natural History, and hand-drawn elements with an original score by experimental composer, Melissa Grey. Grey includes sine waves, singing bowls, and her field recordings of honeybee hives from a friend’s farm in Cape Breton, Nova Scotia. The musical material, based on 432 Hz tuning, includes frequencies the bees emit during different phases of their existence. She ordered these frequencies into hexachords, a musical scale of six notes with a half step between the third and fourth steps. This sonically alludes to the hexagonal construction of beehives.
Chris Kennedy & Ellie Irons
a. The Atlas of Endangered Surfaces
b. Hunters Point South, Long Island City, Queens, New York
d.A simple description (one paragraph tops please!) of what you are doing.
The Atlas of Endangered Surfaces is an archive of anthropogenic, naturally occurring, and hybrid surfaces in the area known as Hunter’s Point South in Long Island City, Queens. The project documents a thriving feral forest and novel ecosystem which emerged in the wake of post-industrial decay at the mouth of the Newtown Creek. As one of NYC’s mega-development projects, Hunter’s Point South is currently being reshaped to contain eleven soaring residential towers and a new waterfront park replete with tidy lawns, serpentine walkways, and views of midtown Manhattan. The Atlas was created in the months before the current transformation of Hunter’s Point South began, when the overlaps, edges and frictions between man-made park infrastructure and long re-wilded landscapes were still intact. Taking the form of photographs, videos, rubbings and physical samples, the project offers a comparative study between the spontaneous, un-designed spaces of the former Hunter's Point, and the textures and structures that will take its place as redevelopment and gentrification continue. (A collaborative art project by Christopher Kennedy and Ellie Irons commissioned for Chance Ecologies, a framework for art practices exploring contemporary ecosystems and wild growth in post-industrial sites.)
Davis & Davis
a.Title: oil & water
d.Animation about Exxon’s climate denial.
Davis & Davis
a. Ring the Changes
b. Online, also at Marx Zavaterro gallery in San Francisco.
d. Photographic diptychs and triptychs link the common name, form, and/or color/pattern of xerophytes found in our garden with man-made objects and things from the natural landscape as a means of visually ordering the evidence, history, causes and effects of global warming. Single images are of melting glaciers and scorching deserts provide context.
Davis & Davis
a.Hauling Ice: Cryptid-Powered Transport of Glacial Offcasts
b.Online, also at ISEA2015 in Vancouver, BC.
Davis & Davis
d. The audio and video were both generated from our panoramic photograph of the Harriman Glacier.
Roger Peet/ Just Seeds
a. We Are The Storm
b.Portfolios were provided to all the groups depicted and to the artists, with a view to each organization holding showings of the portfolio in their locations to show the breadth and diversity of action underway.
d. Climate change continues to have a disproportionate impact on the most vulnerable communities around the globe, including migrants and communities of color — people who are typically marginalized in our society. Justseeds, in collaboration with CultureStrike, has forged partnerships between artists and frontline environmental justice organizations to create this provocative, limited-edition art print portfolio called We are the Storm, which highlights the effects of climate change on these communities.
Miriam Simun- In collaboration with Miriam Songster
d.GhostFood explores eating in a future of biodiversity loss brought on by climate change. The GhostFood mobile food trailer serves scent-food pairings that are consumed by the public using a wearable device that adapts human physiology to enable taste experiences of unavailable foods. Inspired by insect physiology (insects use their antennae to smell and thus navigate their world) and long-standing human traditions of technological extension of the senses, the device inserts direct olfactory stimulation into the eating experience. Scents of foods threatened by climate change are paired with foods made from climate change-resilient foodstuffs, to provide the taste illusions of foods that may soon no longer be available. GhostFood staff serve the public, guiding visitors through this pre-nostalgic experience, and engaging dialogue.
a. Today is Not Yesterday
b. NYC/NYC and galleries
d.Today is Not Yesterday is a custom-made scent of the Agalinis Acuta, NY State's only federally protected endangered planet species. The Agalinis Acuta blooms only one day a year and it's flowers are so small that their scent is imperceptible to humans. The scent was captured via headspace technology and recreated for human perception.
a. Nachbarschaftsakademie / The Neighbourhood Academy
b. Prinzessinnegarten by Moritzplatz, Berlin, its local neighbourhood and the academy's thematic neighbours (who might be located far away)
d. Nachbarschaftsakademie in Prinzessinnengarten is a self-organized open platform for urban and rural knowledge sharing, cultural practice and activism.
Nachbarschaftsakademie draws on processes that determine our every day life. It opens a space for the questions: How can we learn from each other in ways that relate to the place where we live together? Can this be done through methods that are similar to the approach of a gardener – that are caring for and nurturing life processes? How can the work we do in our neighbourhoods also help us understand relations in larger and more complex contexts? How can we cooperate with initiatives in communities, other cities and rural areas in ways that influence these contexts?"
e. Currently active members: Robert Burghardt, Marco Clausen, Anna Heilgemeir, Elizabeth Calderón Lüning, Dagmar Pelger, Åsa Sonjasdotter
a. PrimaveraRomana (Roman Spring) + Nomadic AgroCulture
b. Rome, Italy
(Stalker: stalkerlab.org, osservatorionomade.net)
d. Primavera Romana is a common design project activated by Stalker in order to generate and share social practices, knowledge and awareness on the post urban dimension (l’Oltrecittà/the Beyondcity).
This by sharing, with more and more people, the experience of walking across, promoting common civil creative actions and an open mapping process on the ‘Beyondcity’ (Oltrecittà) and its possible becoming.
The project started in 2009 in Rome with a series of public exploratory walks (around 15 km each) through the liminal spaces in between city and country, encountering all the social and creative resistance groups, all the emerging social practices and experiences, community gardens in contested spaces, neighborhood communities fighting for facilities in the new housing settlements, gipsy camps, squats, sites of forgotten memories, unfinished infrastructures. About 150/200 people participated to each walk.
The project seeks to collectively explore the ongoing social and urban transformation of the urban space in the city of Rome. Through the direct experience, the walks aim to raise awareness of the reality on the ground and of the shared imaginary of the city. From this base, the aim is to encourage an active citizenship on key matters for a possible social and urban transformation.
The act of ‘walking across' political, physical, cultural boundaries, leads the project, in which walking is considered as a temporary public space in motion, something in between a collective dance and a demonstration, including short reading and storytelling that any participants can propose, where reciprocal learning processes and creative collaborations have place.
All the walks and collective actions are documented in an accessible googlemap as the sharing tools through which everybody can participate to improve the project: a co-evolutive bottom-up map of the city of Rome.
On the Autumn 2010, Primaveraromana promoted the “general states of citizenship” together with local communities, associations, researchers and artists, in search of new practices, poetics and politics of coexistence in the emerging Beyondcity dimension.
Starting from 2010, PrimaveraRomana has been promoting the AgroCulture Nomadi (Nomadic AgroCulture), a project of collective harvest of public edible products.
On October 2010, in different places of the city many selforganised groups of people collected public olives. 300 kg came out of the first pubblic harvest that means 32 liters of good oil, the Olio PU.RO. (Public Oil of Rome).
On January the 9th, 2011, has been organised the harvest of the bitter oranges to produce marmelade as one-year-remind of the riots happened in a village, Rosarno, in South Italy by the African workers exploited in agriculture and evicted from the village.The main goal of the practice, a kind of ‘landscape activism’, is the participation and the social cohesion, the sharing of a public space and the take care by the inhabitants of the common goods. It is also an active way to experience the city along with a political statement: a way to think about the space around and the way in which is utilized and that can be a source for our food; the possibility of having daily edible fresh products KM 0 or around the corner products.
b.Bloxburgh, St. Andrew, Blue Mountains, Jamaica
d. Bloxburgh FM is a community based radio station in a coffee farmers community in the Blue Mountains of Jamaica. In Bloxburgh.
Continuously and increasingly experiencing climate change through ongoing draught and frequent bush fires the residents of Bloxburgh are confronted with absence of water infrastructure and lack of water supplies for the period of over 10 years. This situation reveals the co-relations between the absence of water, road and education and reinforces practices of self-organisation, self-representation and political struggle in times of the everyday survival in rural Jamaica.
One of the outcomes of the project is a film and radio narrowcast "Bloxburgh FM: Water. Road. Education." The latter is led and directed by the coffee farming community of Bloxburgh actively working together in developing a self-directed and useful form of representation.
Documenting processes at stake and merging filming and organising with a series of radio shows Bloxburgh FM addresses interdependence of the processes surrounding absence of water supplies, road and education. Filmed and edited together over the period of three weeks this film is shaped by unexpected and improvised moments, spontaneous performances and general assemblies exploring both: potential to develop collaborative forms of action useful in the everyday and radio as an expression social power.
Developed together with the students of Studio 174, Bloxburgh Community Association and Bahbak Hashemi-Nezhad, Bloxburgh FM remains a self-sustained radio station.
The film is distributed online as the project continues. In following the desires of Bloxburgh residents to present the situation internationally, the film was Europe-Premiered at the Urban Encounters Conference at Tate Britain in October 2015 during a Radio Narrowcast developed together with Studio 174 and Openvizor.
a. EPICENTER PROJECTS
b. LOCATION: California - San Andreas Faultline Regions
d. Epicenter Projects is a nomadic platform unbound from conventional exhibition spaces. Generated for artists working in time-based and site-specific modes of production, Epicenter Projects is a catalyst for contemporary artworks to experimentally emerge within a curated artist residency. Throughout the initial phase of projects, an international selection of contemporary artists have been invited to produce site-specific works alongside the San Andreas Fault Line; one of the largest fault zones in the world that spans throughout California's desert and coastline regions. The San Andreas provides a contextual framework that inherently addresses the ephemeral nature of time, space, ecology and environment. While some projects may remain installed within their given site(s) for an audience to experience directly, many projects will exist as fleeting actions captured through an array of documentation: photography, video, audio recordings, publications and/or printed editions. Throughout 2015-2016 a definitive series of online solo exhibitions will individually showcase each artist’s project via EpicenterProjects.com. The 2015-2016 program of Epicenter Projects artists include: Anibal Catalan, Patrick Gilbert, Luis G. Hernandez, John Knuth, Jane Chang Mi, Filippo Minelli, Olga Koumoundouros, Robert Seidel, Nicolas Shake, Melissa Thorne and Richard Twedt.
Anna Coromina & Aviv Kruglanski
a. Wild Yeast Economies/La economía de levadura madre silvestre
b. Barcelona, Catalunya/Hull, UK
d. Wild Yeast Economies/La economía de levadura madre silvestre
Our economies don't seem to fit into The Economy. Mainstream consensus about how life is sustained doesn't seem to represent what we see around us. How do we make our misfit economies more resilient? Wild Yeast Economies is a group-thinking process by which we apply techniques from Permaculture and from contemporary arts to our economies. We held several 4 session workshops at Centro de Cultivos Contemporáneos del Barrio in Barcelona and analyzed different aspects of our economies (maintenence and repair, resources and limitations, etc...) defining each individual or small group project as a unique location in a web of relations. We are currently working from Hull (UK), using a series of processes (the first one called 3 Stages of Succession and the most recent Boulevard Mad Yard Art) for creatively integrating in a new neighborhood and exploring its unique local economies.
From the original call: "The idea is, little by little, to become virtuosos in the use of a hybrid tool that is always in constant transformation, thus helping us construct our diverse economies from below. The multiple models here produced will hopefully one day overwhelm the current hegemonic model.
a. Mon Grandparis
b. Paris metropolitan area
A description in English : http://mongrandparis.fr/a-map-of-greater-paris-for-the-21st-century/
d.This is a place mapping of Greater Paris, where the places are put onto the map and then discussed by city inhabitants in a blog, forming an ongoing conversation. A place is represented by an area, a container for all issues of its concern: public space, architecture and construction, sociological, political, cultural, environmental questions - an attempt to capture the multidimensional contents and significations of each singular place. The under-riding idea is that by placing oneself on the map, inhabitants express their sense of belonging to the city, and affirm that the city belongs to each and everyone, whatever one's situation... and most notably those of us who are being excluded for reasons of class or origin.
a. “One day all this will be fields…”
b. Hilperton, Wiltshire, UK
d. As a growing population requires more housing and more energy to sustain its self, one art project in Wiltshire has created a future model farm that addresses this situation which can be integrated into new towns, one that winds along the edges and paths through the housing estates. Converting sterile green verges back into fruitful places for the suburban forager the “h-edges “ project by artists Ruralrecreation (www.ruralrecreation.org.uk) has marked out a miniature linear farm with a free, low maintenance food supply of edible fruits. Inspired by the British tradition of making “model villages” and “model farms”, miniature farm signs show food which can be gathered and within 300 yards of the sign in an area of new housing at Hilperton, east of Trowbridge, Wilts. The images on the signs, which are of foraged foods, were crowd sourced from local people who also participated in workshops making Wiltshire recipes for food and drink, including hedgerow cocktails, with up and coming chefs from the Ethicurian wild food restaurant.
The signs also name the old 19th century field which the houses were built on, a Wiltshire poetry of fields called “Help’s Well”, “Great Upper Freeze” or “Gibb’s Leaze”. Artist Alex Murdin, working with Somerset Forge, has also installed miniature farm gates and stiles to mark places in where traditional fruits, such as plum and medlar, have been planted by the project for current and future residents. He calls the installation “One day all this will be fields…” in the hope that there is a future hybrid of countryside and houses that might be sustainable, or perhaps pointing to a more dystopian time when agriculture will replace the houses as the need to feed a growing population changes priorities for land use again. Alex Murdin says of the project: “We’ve made the rural and the urban over thousands of years. In the 20th century we saw the rise of the sub-urban. Perhaps now we need to create the sub-rural for a more sustainable future.”
Meghan Moe Beitiks
a. Systems of Pain/Networks of Resilience (2015)
b. Omaha, Nebraska-Galesburg, Illinois- Germantown, New York- Wassaic, New York- Santa Fe, New Mexico.
Looking at parallels between recovery from trauma in ecologies and human emotional processes. I interview scientists, psychologists, ecologists, and people with a history of trauma in order to inform the development of live performances, videos and installations.
a. Discourse: Climate: Facts: Values (2015)
b. Keene, New Hampshire
I interview artists about their relationship to the weather and their recollection of the previous day's weather. I compare their descriptions with official reports from the National Weather Service and juxtapose them with audio from televised Climate Change Debates.
a. Wave Management (2015)
b. Biosphere 2, Arizona
I interview Operations Manager Steve Littler about the management of Biosphere 2's Wave Machine. An exploration of a man-made ecosystem.
a. Car-E-Oke (2011)
b. Chicago, Ilinois
In "Car-E-Oke," you can choose the make and model of a car and sing along to its exhaust sounds. Regular engine noises have fun karaoke subtitles. But there's a catch: the sound system is bike-powered. Visitors are encouraged to hop on the bike and "pedal-power" the PA. In addition, I bike every other day of the exhibition, wearing bike shorts, a sequined top, shiny sunglasses, and a fanny pack that emitted sound tracks from classic car chase movies.
a. Observations on Final States in Interactions (2015)
b. Batavia, Illinois
I interviewed four experimental physicists from Fermi National Accelerator Laboratory about their daily interactions with neutrinos, their own experiences of role and identity, and their perceptions of me as a person. The result is four different video installation “systems,” based on those interviews, the detectors, and the four possible identities of neutrinos. Grounding the work is a conversation with David Galin, an author and researcher of the concept of ‘self.’ Within “Observations of Final States in Interactions,” I explore parallels between neutrinos and human concepts of self, the performance of science and scientific research, and what it means for us all to be mutually entangled.
Moinhos do Dão | Eco Quinta
a. Moinhos do Dão | Eco Quinta
b. Fornos de Maceira Dão, Centro region, Portugal
d. Moinhos do Dão is an eco quinta on the banks of the river Dão, surrounded by an abundance of natural beauty, located in a tranquil valley in an ecological reserve. We focus on sustainable living, ecology preservation through the association Cuidadão, and have offered workshops (permaculture, yoga and art practice), as well as currently host a professional residency program to further develop a context for exploration of these themes.
a. Smiling Hogshead Ranch
b. Long Island City, Western Queens, NYC
d. Smiling Hogshead Ranch (SHHR) was created in 2011 by ten Queens residents as a guerrilla garden. We use urban agriculture as a tactic for community organizing, we focus on an array of social and environmental justice issues, incorporating elements of play, theatre and self sufficiency in our everyday lives. In 2014 we signed an agreement with the property owner and became a legit NYC community garden. We have close ties with the Flux Factory, an arts collective nearby as well as a group of activist working towards creating an urban commune in NYC. SHHR has become a gathering grounds for a broad swath of artists, activists, students, professionals and urbanites to cross pollinate ideas outside of the contemporary third place of commercial cafes, we are the new social club. We strive to cultivate this community and, in 2015, SHHR was named by two local papers among top ten green spaces in NYC. Our direct action has changed policy within the MTA (our property owner), a large state agency/authority. We are currently facilitating an ambitious community visioning processes that will respond to the MTA's Request For Expressions of Interest to adaptively reuse 4.2 acres of abandoned railroad track (including the 1/2acre parcel we occupy) for community uses.
d. Flatbread Society is a working group and framework for actions initiated
by Futurefarmers (art collective) in Olso, Norway. We have occupied a piece of land within a major waterfront development in Oslo and have convinced the
developers through actions in Oslo and abroad to preserve this land as an
urban farm and center for art, action and critical exchange related to small-scale food production and related knowledge and regional economies. At the heart of the field is an ancient grain field made up of grains that have been “rescued” from various locations in the Northern Hemisphere - from the very formal (seeds saved during the Siege of Leningrad from the Vavilov Institute Seed Bank, now, St. Petersburg) to the informal (experimental archaeologists discovering Finnish Rye between two wooden boards in an abandoned Rihii in Hamar, Norway). In 2016, we will transport these grains
we have been growing on a reverse journey to the “Fertile Crescent”.
“... we can speak of this voyage as return or a re-tracing of a very ancient route combining human and non-human initiative by which wheat was domesticated from the wild and then slowly made its way through gifts, trade, winds, and sea currents, from the highly cultured Middle East to the barbarians of the north.”
- Michael Taussig
a. Beyond Repair
b. Specifically, South Minneapolis, MN; in general, everywhere
d. Beyond Repair is a book shop and publishing site located in the bustling Midtown Global Market, a public market located in the epicenter of South Minneapolis’s 9th Ward. All the books within the shop are produced in house in collaboration with writers, academics, activists, poets, artists, and others around the world, as well as with neighbors, who bring with them the wealth of histories and ideals present within the surrounding neighborhood.
a. Your Memory is Already Fading, 2015
b. I am currently searching for exhibition spaces
d. This new body of work focuses on our fragile ecology with the intention of poetically bringing into focus what will be lost in the future.
This installation consists of a garden existing in a large crack in the floor. Whether it is growing from or falling in, is undetermined. There are 26 plants (14 different types) made out of Crystal Clear, UV stable, cast acrylic with a glass-like appearance to enhance the fragility of the subject. They reference crystal, as something of value to be cherished and handled with care. Another level is the ghost-like quality of the garden, existing yet almost invisible; beautiful yet almost intangible. While the plants look like they are made from glass, some may see them as made of ice, frozen in time with the threat of melting. The magical quality of the garden takes it beyond the visualization of the underlying message hinting at a mythological interpretation.
All of the trees and plants are on endangered lists around the globe. The glass-like material references the fragility of these plants while at the same time giving them a ghost-like quality. One in five plant species in the world is approaching extinction yet they are often overlooked in biodiversity debates. The installation is accompanied by sound and a whispering script on loss.
a. Escaping Gravity, 2015
b. Currently (as of 2015) on view at The Screening Room in Miami, Florida
d. Escaping Gravity consists of projected video onto two piles of man-made rocks. One sitting on the floor and the other suspended directly above it upside down, they represent cairns or trail markers. Each pile of rocks is approximately 4 feet tall and 5 feet diameter. They have the appearance of large river rocks weathered by time and the elements. The video projected onto the two piles, is mirrored from front to back and top to bottom. The abstract nature sounds mix with a script that includes deconstructions of 27 poets who have written about nature, time, aging and loss. Escaping Gravity represents fragments of my journey to free myself from gravitational pulls both physical and emotional. It explores my shifting relationship with nature, and my shifting relationship with myself. The projected video references the life cycle of birth, growth, decay, death and rebirth, as well as the major signals or “trail markers” of our current environmental issues such as: air and water quality, soil and forest conditions, energy use and waste. We find ourselves at the cross-roads as we enter the decay phase of the cycle. Will we be able to escape the pull gravity?
Wendy Wischer/ Honors College at the University of Utah in Salt Lake City in spring 2015.
a. “Rethink, Reconnect, Rejuvenate”, 2015
b. Salt Lake City, Utah
d.“Rethink, Reconnect, Rejuvenate” Honors class, Art, Action & the Environment at the University of Utah, created a socially engaged art event to spread awareness of environmental issues in the Salt Lake Valley. Using recycled cardboard signs in the shape of Utah, with images of air, water and nature, they stood on corners of key intersections, both on campus and in the city, on Earth Day 2015 and “begged” for change. In addition, they passed out postcards with the same images on the front of the cards and links to their website on the back. The website they created provides additional information on air, water and nature as a prescription for healing. This includes maps of the local watershed, maps of all the parks in Salt Lake City and links to local environmental organizations as a way of giving back to the community.
Tal Beery & Eugenia Manwelyan
a. Eco Practicum
b. New York City Bioregion
d. Eco Practicum was founded by Eugenia Manwelyan and Tal Beery, two New York-based artists, activists, and educators frustrated by the limitations inherent to traditional learning environments and conventional artistic frameworks. Eco Practicum is a school for ecological justice, bridging the gap between learning and doing, and cultivating a generation of leaders realizing visionary solutions to sustainable regional development. We offer programs - from one-day workshops to month-long immersions - that connect young adults to the most innovative projects and effective experts working at the intersections of environmental, social, and economic justice. We take a systems-level approach to go beneath surface meanings and dominant myths, and to expose the root causes and ideologies underlying our systems. Our programs leave participants passionate, inspired, and transformed, with new communities of peers and connections in the field, so they are better prepared to make an impact.
Ellen T. Birrell
a. deepend sessions
b. Santa Paula CA
d.Like the Juice of a Lemon is a book about becoming a farmer in the 21st century. Our farm has a mile frontage on one of the last wild rivers in California, the Santa Clara, a river that is at the center of a deeply contested ecological battle between old laissez faire land and water management interests and conservation interests: Department of Fish and Wildlife, The United Water District, The Nature Conservancy, and the US Army Corps of Engineers, to name a few. Climate change is hitting all of these groups, farmers too, upside the head, because they are all facing backward arguing over the past. Its the wild west, and I have a ring side seat...
a. Petrocultures Research Group (PRG) and After Oil
b. We are based in Edmonton, Alberta through the University of Alberta, but our members/collaborators are international.
d. The Petrocultures Research Group (PRG)co-founded by Imre Szeman and Sheena Wilson, and After Oil are interrelated projects based out of the University of Alberta in Edmonton, Alberta, Canada that seek to address the socio-cultural aspects of fossil fuel societies, or "petrocultures." Both bring together activists, academics, artists, researchers and more to approach these issues. The PRG's aim is to support, produce, and distribute research related to the social, cultural and political implications of oil and energy use on individuals, communities, and societies around the world. After Oil is a collaborative, interdisciplinary research partnership designed to explore, critically and creatively, the social, cultural and political changes necessary to facilitate a full-scale transition from fossil fuels to new forms of energy
b. online,sculptural pieces that have been exhibited:
Kennedy Museum at Ohio University, Kim Abeles:frugalworld (2014) curated by Jennie Klein, Ph.D
Ben Maltz Gallery at Otis College of Art and Design, Make:Craft (2010) curated by Tricia Watts
d. An investigation of frugality challenges preconceptions about individual economics. In our effort toward "green living”, isn't the low-income bus rider making a more effective contribution than the owner of a new hybrid? Resources and consumption are global issues though people respond most often when limitations resonate with a personal effect.
With a balance of practicality and metaphor, the artwork and ideas in frugalworld seek to address the philosophicalimplication fo being frugal.
a. Proposal for a Technosol Library
b.Technosols will form a research volume across two sites: 1) Soil samples housed in the Technosol Library (TBD) and 2) In situ. The site where soil has been drawn will be inscribed with a plaque, perimeter boundary, cement cap, etc.
d. Anyone may contribute a technogenic soil sample to the Technosol Library.
Submissions might include spolic technosols from Francistown, Botswana, Al-Fe-humus soils impacted by sulphur dioxide and heavy metals from copper-nickel smelters in the Kola Peninsula, Russia, or colombite and tantalite (coltan) pegmatite-soil mixtures from Gatumba, Rwanda.
Guidelines for safe storage, handling, and viewing of library volumes are still to be developed, owing to the hazards of toxic, infectious, and radioactive materials.
Technosols comprise a new reference soil group (RSG) and combine soils whose properties and pedogenesis are dominated by their technical origin. They contain a significant amount of artefacts (something in the soil recognizably made or extracted from the earth by humans), or are sealed by technic hard rock (material created by humans, having properties unlike natural rock). They include soils from wastes (landfills, sludge, cinders, mine spoils and ashes), pavements with their underlying unconsolidated materials, soils with geomembranes and constructed soils in human-made materials. Technosols are often referred to as urban or mine soils. They are recognized in the new Russian soil classification system as Technogenic Superficial Formations. IUSS Working Group WRB. 2006
b. South Africa
c. Official site: http://vuthisa-techblog.com/
Article about our work: http://thegreentimes.co.za/employing-aliens-to-fight-carbon/
d. Vuthisa Technologies supports and promotes various Green initiatives such as EcoZoom rocket stoves, Small Solar Lights and Power Supplies (Vuthisa Solar Projects), Sunfire Solar Solutions, The Hippo Water Roller Project, Legacy Foundation Fuel Briquetting technology and invasive alien removal programmes combined with Biochar production.
a. Leave It in the Ground
b. Exhibitions, film festivals, presentations organized by political groups...
- check out the film please visit: https://vimeo.com/73404208
d. Leave It in the Ground, A film by Oliver Ressler, 18 min., 2013
With the idyllic landscapes of Norway’s Lofoten archipelago as its background, "Leave It in the Ground" describes the climate crisis not as a technical and scientific problem, but as a political problem. The film discusses how ecological and humanitarian disasters caused through global warming might topple old orders and open up possibilities that could lead to long-term social and political transformations, both positive and negative.
a. Voices that Shake
d. Shake! is an initiative, a program and a commuity that brings together marginalised young people, artists, activists, researchers and educators to challenge racial, gender and environmental injustice and build new alternatives and systems. We use art as a way of generating and communicating knowledge and as a way of creating alternative systems and social relations that are rooted on horizontal and sustainable ways of working.
a. Ecosexual Bathhouse
b. Sydney Australia
d. The Ecosexual Bathhous features a Poliation Gallery (the freshest and most exotic blossomes, bursting with pollen just for you) a Winddplay Zone (let us caress you with a loving breeze, or wind us up with a gale-force blow!), composting Glory Hole (so deep and dank, you'll want to come over and over), Devolution Swing (try your hand at some devolution play), UV Accessible (special accomidations for the UV sensitive), Capitalcene Sauna (RElax in our guilt-free, 100% post consumer sauna chamber), Hourly Bee Swarms (enter the drone zone and be carried away on a honey tsunami), Profesional Metamorphosing Mistriss, (on call, available to fulfil your darc eco-craving).
a. Art Action UK
b. UK and Japan
d. Art Action UK is an art collective freaturing creative practices that generate solidarity and support for people who have been affected by natural and manmade disasters, particularly artists working in the Töhoku are o Japan following the tsunamin in 2011. Art Action UK is a catalyst. We want to create opportunities for cultural practitioners to develop strategies that will shed light on issues overlooked by mainstream media. We actively engage with artists and curators who represent marginalised political concerns and facilitate spaces to explore both artistic and socio-political interventions. These include participatory projects, exhibitions, talks and discussions. Responding to the earthquake, tsunami and Fukushima nuclear meltdown in 2011, we feel that the voices of those affected and concerned about the subsequent political issues are not silenced.
a. La Via Camesina
b. rural contrysides, globaly
d. La via campesina is the international movement which brings together millions of peasants, small and medium sized farmers, landless people, woman farmers, indigenous people, migrants and agricultural workers from around the world. It defends small-scale sustainable agriculture as a way to propmet social justice and dignity. It strongly opposes corporate driven agriculture and transnational companies that are destroying people and nature. It compreises about 164 local and national organizations in 73 countries from Africa, Asia, Europe and the Americas, about 200 million farmers. It is autonomous, pluralist and multicultural.
a. Natural History Museum
b. Brooklyn, in the museums, and everywhere
d. The Natural History Museum is a mobile and pop-p museum that offers exhibitions, expeditions, educational workshops and public programming: unlike a traditional natural history museum, it makes a point to include and hilight the socio-political forces that shape nature. In specific response to anthropocenic climate, the Natural History Museum's mission is to affirm science. By looking at the presentation of natural history, the museum domonstrates principles fundamental to scientific inquiry, principles such as the commonality of knowledge and the unavoidability of the unkown. The museum inquires into what we see, how we see, and what remains excluded from our seeing. It invites visitors to take the perspective of museum anthropologists attuned to the social and politcal forces inseperable from the natural world.
a. Black Atlantis
b. live performances at art spaces including the ICA and no.w.here in London, club Transmediale- Berlin, Historical Materialism- Beirut.
d. Black Atlantis is a live audio-visual essay that looks at possible afterlives of the Black Atlantic: in contemporary illegalized migration at sea, in oceanic environments, through Afrofuturistic dancefloors and soundsystems, and in outer space. Black Atlantis combines two conversations - afrofuturism and the anthropocene. It takes as point of departure Drexciya, the late 20th century electronic music duo from Detroit, and their creation of a sonic, fictional world. Through liner notes and track titles, Drexciya take the Black Atlantic below the water with their imaginary of an Atlantis comprised of former slaves who have adapted to living underwater. This wetness brings to the table a sense of the haptic, the sensory, the bodily, and the epidermal. What below-the-water, and Atlantis brings back is the bottom of the sea, the volume of the water, the materiality of the space of the ocean, and other protagonists that inhabit the sea.