Currator of the Imaginairy Museum
For over thirty years now, Tjebbe Van Tijen has been creating 'visualisations' of ecological matters, urban conflicts, alternative culture and historical subjects. Current research projects focus on ‘literary psycho-geography’, aerial bombing, mapping human violence, visual language, media history and education systems.A recent interview, in OPEN (NAi Publishers) by Geert Lovink, highlights his 'Unbombing the World' and 'Ars Memoria' projects and gives an insight in his thoughts on collective memo
http://www.pm-air.net/ US, New York
AIR is a public, social experiment in which people are invited to use Preemptive Media's portable air monitoring devices to explore their neighborhoods and urban environments for pollution and fossil fuel burning hotspots.Participants or "carriers" are able to see pollutant levels in their current locations, as well as simultaneously view measurements from the other AIR devices in the network.
http://www.offloadfestival.org/offload07/?page_id=112
06 Nov 2007
Text by Nis Rømer
Guattari's book "the three ecologies" was published in 1989 but not translated into English until 2000. In it, Guattari argues that the definition of ecology needs to be expanded to encompass social relations, human subjectivity and environmental issues. Addressing this point of view we titled the seminar accordingly.
The seminar was accompanied by an exhibition in Sparwasser also documented on the website: www.socialmentalenvironmental.net
The terminology and agency around 'the environment' and sustainability has become increasingly asymmetric and immaterial. Emissions' offsetting, food miles, environmental marketing, carbon debt, ecological footprints, and so on, are all recently-coined terms, tied to the anxious sense that the processes and practices of modernisation and globalisation, industrialisation and urbanisation have induced unprecedented deprivations and intrusions on the planet. Consequently there is the familiar refrain to limit growth, particularly in the developing world. Yet how do we reconcile this with the observation that ecological concerns are far greater in affluent societies where more basic needs have been met? And how can we more generally reconcile personal responsibility with collective consensus, local with global, or short-term remedies with visionary strategies? This exhibition sets out to pose such questions.
The artists presented in GREENWASHING adopt process-based and speculative approaches in their work which articulate energy and material transformations, fundamental ecological processes. Likewise, several works in the exhibition consider repositories of energy - whether waste, water, oil in ways that reveal previously obscured patterns, while similarly 'upcycling' meaning.
The diverse practices represented in the exhibition share a strategy in that they do not just passively lament the degradation of our planet, or only provide sound technical solutions. Instead they actively articulate the contradictions and responsibilities that we encounter personally and as a society. Art here does not necessarily proclaim a 'correct' ethical or green choice, but allows the possibility for broadening and analysing our perceptions and actions. It sets a critical attitude into motion that intervenes and infiltrates, re-interprets and decodes humans' relation to non-human life, as well as to each other.
With works by 25 artists (* new production):
For the show, Hilary Jack has been commissioned to make a new installation. The work, entitled Tap, involves harvesting clean drinking water from an existing dripping tap (in the Ladies Toilet) which is be redirected into a reservoir and used to nourish an indoor plant. The plant in turn acts as host, feeding a myriad of miniature self propagated baby plants to which it is umbilically connected. Placed on a nest of domestic tables in the gallery the installation acts as a model and metaphor for domestic mains water systems and their satellite networks - networks currently under threat from various environmental and man made disasters such as flood, drought, sabotage and terrorist attack. The work hints at our fragility once those networks are threatened while highlighting our waste of and dependence on, one of our most precious natural resources - clean water."
AIR is a public, social experiment in which people are invited to use Preemptive Media's portable air monitoring devices to explore their neighborhoods and urban environments for pollution and fossil fuel burning hotspots.Participants or "carriers" are able to see pollutant levels in their current locations, as well as simultaneously view measurements from the other AIR devices in the network.
The Silence of the Lands
http://www.thesilence.org/
http://leoalmanac.org/gallery/digiwild/silence.htm
part of: Wild Nature and the Digital Life - by Sue Thomas and Dene Grigar
U.S.A. elisa.giaccardi@colorado.edu
The Silence of the Lands enables participants to map and annotate the soundscape of urban and natural environments. Participants can record and collect ambient sounds, create and share acoustic cartographies, and use them as conversation pieces of a social dialogue about the places and communities in which they live. The result is an affective geography that changes over time according to participants' perceptions and interpretations of their environmental settings.
Budapest | |||||||||||||
| Kitchen Budapest, opening in June 2007, is a new media lab for young researchers who are interested in the convergence of mobile communication, online communities and urban space and are passionate about creating experimental projects in cross-disciplinary teams. | |||||||||||||
| Education / Organizations / Urban/City / Virtual Soil | |||||||||||||
http://www.offloadfestival.org/offload07/?page_id=112
Public Smog and This is Public Domain are two ongoing projects by artist,
Amy Balkin, US.
San Francisco-based artist Amy Balkin's practice combines cross-disciplinary research and social critique, focusing on how humans create, interact with, and impact the social and material landscapes they inhabit.
Amy's projects have been presented in Radical Software at the CCA Wattis Institute, San Francisco, and at Peer Trust, London, in collaboration with students on the Royal College of Art Curating Contemporary Art course. Publications include LAND, ART: A Cultural Ecology Handbook (2006), Metropolis Magazine (2006), and La Ville, Le Jardin, La Memoire (2000).
06 Nov 2007
Global - Melbourne
http://shareoutpost.org/?cat=6
SHARE is an organization dedicated to supporting collaboration and knowledge exchange in new media communities. Local SHARE groups hold free, open jams and workshops in their communities. Participants bring their portable equipment, plug into our system, improvise on each others' signal and perform live audio and video. SHARE furnishes the amplification and projection, and happens weekly to monthly in cities around the world.http://shareoutpost.org/?cat=6
02 Oct 2007
Berlin
A seminar and exhibition organized by Ulrike Solbrig, Åsa Sonjasdotter and Nis Rømer, in Sparwasser, Berlin, August 2007.Text by Nis Rømer
Guattari's book "the three ecologies" was published in 1989 but not translated into English until 2000. In it, Guattari argues that the definition of ecology needs to be expanded to encompass social relations, human subjectivity and environmental issues. Addressing this point of view we titled the seminar accordingly.
The seminar was accompanied by an exhibition in Sparwasser also documented on the website: www.socialmentalenvironmental.net
17 Jan 2008
Greenwashing. Environment: Perils, Promises and Perplexities',
http://greenwashing.lttds.org/index.html
http://greenwashing.lttds.org/index.html
Environment: Perils, Promises and Perplexities
Italy: 28 February – 11 May 2008
Curated by Ilaria Bonacossa and Latitudes (Max Andrews & Mariana Cánepa Luna)
http://www.l-a-t-i-t-u-d-e-s.org/blogger/2007/12/greenwashing-website.html
http://www.lttds.org/projects/future/greenwashing/greenwashing.html
GREENWASHING presents the work of 24 international artists and artist-groups whose practice suggests that the literalism embedded in old-fashioned concepts such as 'environmentalism' and 'nature' are not equipped to comprehend the ecological territory of our time. Today we negotiate an evermore urgent and pervasive ecological (and thereby cultural, political, social and economic) arena that is darkly shadowed by potentially catastrophic ecosystemic collapse. In the face of a constant bombardment of eco-economic guilt, corporate agendas and political point-scoring, what might emerge is genuine perplexity and false promises, though still possibly capable of unleashing creative change.Curated by Ilaria Bonacossa and Latitudes (Max Andrews & Mariana Cánepa Luna)
http://www.l-a-t-i-t-u-d-e-s.org/blogger/2007/12/greenwashing-website.html
http://www.lttds.org/projects/future/greenwashing/greenwashing.html
The terminology and agency around 'the environment' and sustainability has become increasingly asymmetric and immaterial. Emissions' offsetting, food miles, environmental marketing, carbon debt, ecological footprints, and so on, are all recently-coined terms, tied to the anxious sense that the processes and practices of modernisation and globalisation, industrialisation and urbanisation have induced unprecedented deprivations and intrusions on the planet. Consequently there is the familiar refrain to limit growth, particularly in the developing world. Yet how do we reconcile this with the observation that ecological concerns are far greater in affluent societies where more basic needs have been met? And how can we more generally reconcile personal responsibility with collective consensus, local with global, or short-term remedies with visionary strategies? This exhibition sets out to pose such questions.
The artists presented in GREENWASHING adopt process-based and speculative approaches in their work which articulate energy and material transformations, fundamental ecological processes. Likewise, several works in the exhibition consider repositories of energy - whether waste, water, oil in ways that reveal previously obscured patterns, while similarly 'upcycling' meaning.
The diverse practices represented in the exhibition share a strategy in that they do not just passively lament the degradation of our planet, or only provide sound technical solutions. Instead they actively articulate the contradictions and responsibilities that we encounter personally and as a society. Art here does not necessarily proclaim a 'correct' ethical or green choice, but allows the possibility for broadening and analysing our perceptions and actions. It sets a critical attitude into motion that intervenes and infiltrates, re-interprets and decodes humans' relation to non-human life, as well as to each other.
With works by 25 artists (* new production):
- Jennifer Allora & Guillermo Calzadilla
- Lara Almárcegui*
- Maria Thereza Alves
- Ibon Aranberri
- Amy Balkin
- The Bruce High Quality Foundation*
- Chu Yun
- A Constructed World*
- Minerva Cuevas
- Ettore Favini*
- Cyprien Gaillard*
- Tue Greenfort*
- Norma Jeane
- Cornelia Parker
- Jorge Peris*
- Wilfredo Prieto*
- RAF / Reduce Art Flights
- Tomás Saraceno*
- Santiago Sierra
- Simon Starling
- Fiona Tan (born in Indonesia. lives and works in Amsterdam, Netherlands-New Media - Multimedia
- Nikola Uzunovski
- Sergio Vega*
- Wang Jianwei (Chinese/ video installation)
- James Yamada*
10 Oct 2007
Manchester, UK
"In The World is My Imagination, curated by Andrea Zapp at CUBE, nine artists and collectives are exploring the model and the miniscule as an artistic interface in video, networked and interactive installations, digital sound sculptures, photography, found objects and custom built environments. For the show, Hilary Jack has been commissioned to make a new installation. The work, entitled Tap, involves harvesting clean drinking water from an existing dripping tap (in the Ladies Toilet) which is be redirected into a reservoir and used to nourish an indoor plant. The plant in turn acts as host, feeding a myriad of miniature self propagated baby plants to which it is umbilically connected. Placed on a nest of domestic tables in the gallery the installation acts as a model and metaphor for domestic mains water systems and their satellite networks - networks currently under threat from various environmental and man made disasters such as flood, drought, sabotage and terrorist attack. The work hints at our fragility once those networks are threatened while highlighting our waste of and dependence on, one of our most precious natural resources - clean water."
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