September 19–22, 2013, The Flood of Rights, LUMA / Center for Curatorial Studies at Bard College ( Human Rights Project), Arles, France
The LUMA Foundation was established in 2004 to support the activities of independent artists as well as institutions working in the fields of art and photography, publishing, documentary, and multimedia. The foundation specializes in challenging artistic projects combing a particular interest in enviroinmental issues, human rights, education, and culture in the broadest sense. The Center for Curatorial Studies at Bard College (CCS Bard) is an exhibition, education, and research center dedicated to the study of art and curatorial practices from the 1960s to the present day. The Human Rights Program at Bard College is a transdisciplinary major across the arts, social sciences, and literature and include the Human Rights Project which links theoretical inquiry and critical explorations of human-rights practice with active research and involvement in contemporary issues. Continue reading
20 July–22 September 2013, The Imaginary of the Ocean Deep, Nottingham Contemporary, UK
Aquatopia is a major exhibition of contemporary and historic art and artefacts that explores how the ocean deep has been imagined across cultures and through time to the present day. The exhibition and the accompanying book reveal how human cultures have projected their sexual desires, their will to power, and their fear of difference and death onto the ocean’s invisible depths and the life-forms it sustains. The deep in Aquatopia is a dream-state, akin to the unconscious. At the same time, its mythologies allegorise far-reaching historical processes—globalisation, colonisation, slavery, expropriation, subjugation, patriarchy. Continue reading
August 17th & 18th 2013, Slow Wing, Australia
The Dark Mountain Project in collaboration with Latorica presents Slow Wing, a weekend of storytelling from the deep. Slow Wing is being held in Byron Bay Australia, as a satellite workshop of the Uncivilisation Festival, happening on the same weekend in the UK. Led by transdisciplinary artists Ilka Blue & Cherise Asmah, this will be an intense exploration of cultural and biological extinction as we search for ways to belong and adapt to a changing world.
The workshop involves 2 full days of storytelling, walking, writing, deep ecology & creative practices that will conjure old & new stories of dying, death, belonging, place and mythologies of this land. Slow Wing is free of charge but places are limited to 25 and will be offered through a registration process.
For more details : click here
August 3nd – October 30th, Arte SusteMobile, Hamburg / RE-ART t(W)oo, Otterndorf (Germany)
Arte SusteMobile is an art and design exhibition which focuses on sustainable traffic and mobility. Some of the themes exhibited are : art in public transport, innovative means of public transport, human powered vehicles, flying and driving with hydrogen and solar power, solar airships, bionic structured airplanes, one world transport, energy efficient and noise reductive technologies and much more… In total over 70 artists, designers and university teams from 20 nations are involved.
RE-ART t(W)oo – shows art and design in the context of recycling, waste and social development. 55 artists from 15 nations exhibiting their works made from all kind of waste and scrap plus other positions pointing onto social and ecological problems and challenges.
Both exhibitions are curated by Samuel J. Fleiner.
For more information about the project : click here and here
June 2013, Otherwise than Knowing, Juha Varto
“My colleague Harri Laakso suggested in one of his presentations that we should stop talking about the different types of knowing and admit, or even emphatically argue, that in art we are dealing with something that is “otherwise-than-knowing”.
These meditations stem from the frenzied thinking and discussion going on in art universities around the world. Art is seen as the ability to change the world, not by money or force, but by orientation: by radically transforming the “sensible”, or sensory, reality of the eye, ear, taste, touch and smell, which unavoidably results in a change in ideas, understanding and insight.
It may be about distancing, it may be about getting closer; sometimes it is irony or camp, sometimes it is a serious attempt to find illuminating concepts and their verbalisations, and sometimes it is the need to create new myths or just tell stories.
To read more: click here
21st July – 4th August 2013, at Cylinders Estate, Elterwater, Cumbria (UK)
Merz DIY is a residential summer school for artists and an experimental space for interdisciplinary practices as part of a temporary creative community. This year the working title is Thinkers Builders Dwellers. Inspired by a presentation from DIY 12 guest speaker Tordis Berstrand, Merz Working Group have been discussing ideas and problems of dwelling. This has led on to considering the connections between thinking, drawing, building and making within art practice, land use and communal living.
The programme is art-orientated and interdisciplinary. The workshop could be a walk, performance, lecture, skill-share, discussion, reading group or any proposals from writers, ecologists, growers, architects, musicians, makers, curators, researchers, scything enthusiasts…
This year, the summer school is based at Cylinders Estate, home of Kurt Schwitters’ Merzbarn in Elterwater, Cumbria, deep in the English lake district.
For more information : click here
June 13–August 4, 2013, POWERLESSNESS, A SITUATION. DEMOCRACIA, REVOLUTIE & POLIZEY, Frankfurter Kunstverein, Germany
POWERLESSNESS, A SITUATION is an experimental project consisting of two corresponding exhibitions, DEMOCRACIA and REVOLUTIE curated by Holger Kube Venturaas well as an accompanying discursive laboratory POLIZEY in cooperation with the Frankfurt University and Felix Trautmann.
A Spanish and a Romanian artist group (Democracia, Mona V?t?manu & Florin Tudor) respectively presents their work, and through their artistic experiments attempt to find a new way of dealing with current social conditions and problems as alternatives to the feeling of powerlessness. Economic crises, debt crises, floods of refugees, climate change, and terrorism. Every day the media reports on crises, catastrophes, and global hazards. Given such media-driven and real threat scenarios, there is a diminishing sense of trust in the capacity of governments to act. Political control mechanisms are apparently insufficient, and political alienation is growing. The powerlessness of a society can lead to dictatorships and wars. The question of exploring contemporary forms of Situationist experiments thus becomes a relevant issue for critical cultural projects. In the face of a superior power, how can powerlessness become a situation that reopens the game?
For more information : click here
15 – 19 July, 2013, Khoj Studios, New Delhi (India)
Using art as a medium for communication and exchange Aapki Sadak facilitated several community based projects that addresses the local children as well as the older residents. AAPKI SADAK is a consultative project of urban design by architects, designers and artists and the local community for offering solutions in alternative mobility through the pedestrianisation of economically diverse localities between Malviya Nagar Metro Station and the BRT in south Delhi. For example, Dance, Theater and street art are the three main mediums being used to engage community, raise awareness about mobility in the neighborhood and reclaim the public streets.
“The most important thing about this project is that it attempts to engage the residents. More than 50 per cent of the project has been about discussions on design and planning with them,” says Sushma Shetty, a member of the community workshop team who is also associated with Ashok B. Lall Architects.
” Here is a unique initiative to improve the quality of life in our neighbourhoods. It is about making neighbourhood streets pedestrian friendly and enjoyable, and about making access to the Metro and other public transport convenient. It is about reclaiming the enjoyment of the spaces around our homes which is being over run by motor vehicles.” explains Aapki Sadak.
For more information : click here
September 13, 2013, Splinterfields Workshops, Brussels
Splinterfields is an initiative of several Brussels-based organisations (Constant, FoAM, nadine and OKNO) active in the fields of ecological, technological and media arts to foster collaborative, agile and flexible learning. The programme of workshops, study groups and field-tests is open to artists, designers, technologists and other generalists curious to explore tools and mindware for experiments in contemporary culture and daily life.The workshop is designed as a master class, bringing together practitioners and enthusiasts in the art, science and technology of biochemistry and fermentation to learn from one another and find connections between their respective fields of interest.
FoAM’s Splinterfields workshops explore emerging technological arts through the lens of preindustrial crafts and contemporary sciences. The idea is to learn with bio-hacking, the fundamentals of biochemistry and the craft of fermentation.The workshop will include theoretical discussions about biochemical concepts with hands-on experiments in a wet lab and kitchen.
For more information : click here
June 28th 2013
Natalie Jeremijenko is an artist and engineer, whose background includes studies in biochemistry, physics, neuroscience and precision engineering. She is currently an Associate Professor at New York University in the Visual Art Department in Computer Science and Environmental Studies and an active member of the net.art movement . Her work explores the interface between society, the environment and technology. She has a permanently installed Model Urban Development on the roof of Postmasters Gallery in Chelsea, featuring 7 residential housing developments, concert hall, and other public amenities, powered by human food waste where it continues to toy with new conceptions of urban futures, and re-imagine our relationship to nonhuman organisms.
Her research centers on structures of participation in the production of knowledge, and information and the political and social possibilities of information and emerging technologies — mostly through public experiments. Jeremijenko’s projects have been exhibited by several museums and galleries, including the MASSMoCA, the Whitney, Smithsonian Cooper-Hewitt. Much of Jeremijenko’s work reimagines environmentalism as a kind of open-ended game. The installation, “Amphibious Architecture,” devised with the architect David Benjamin, stayed in the river for several months — a miniature skyline bobbing and blinking in the reflected glare of the real thing.
To read more about her : click here