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with Barbara Zoé Kiolbassa, Jessica Menger, Daria Mille, Stéphane Verlet-Bottéro and Jorge Bejarano Barco

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with Barbara Zoé Kiolbassa, Jessica Menger, Daria Mille, Stéphane Verlet-Bottéro and Jorge Bejarano Barco

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moderated by Martin Guinard, with Marco Baravalle, Pia Lindman, Jakob Steensen, Edith Morales, Oliver Kandt and Benoît Verjat

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moderated by Martin Guinard, with Marco Baravalle, Pia Lindman, Jakob Steensen, Edith Morales, Oliver Kandt and Benoît Verjat

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How can cultural institutions engage with these transformations, and reevaluate their relationship with both local contexts and the translocal circulation of ideas and forms?

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Collective text by the registered participants of the Assembly

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Collective text by the registered participants of the Assembly

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During the registration process, we asked our participants: What do you think a permacircular museum could look like? This is what they answered.

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Links for more Information about the Speakers and their Projects:

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Links for more Information about the Speakers and their Projects:

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https://solbacka-fagervik.com/about/

https://www.labiennale.org/en/noticeboard/447

http://www.jakobsteensen.com/

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Find the recipe and the step-by-step tutorial below

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moderated by Lucia Pietroiusti, with Diane Drubay, Tino Sehgal, farid rakun, Hicham Khalidi and Mira Hirtz

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moderated by Lucia Pietroiusti, with Diane Drubay, Tino Sehgal, farid rakun, Hicham Khalidi and Mira Hirtz

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In the spirit of Ivan Illich’s »Tools for Conviviality«, what strategies could lead to re-tooling institutions and empowering low carbon communities?

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Wednesday, April 21
2–3:30pm
Opening Remarks
4–6pm
Re-Imagining Institutions—moderated by Lucia Pietroiusti

Thursday, April 22
2pm
Performative Walk—
with Astarti Athanasiadou
4–6pm
Mobility and Art Practices—moderated by Martin Guinard
6:30–8:30pm
Towards Terrestrial Practices in Exhibition-Making—moderated by Daria Mille and Matthias Gommel

Friday, April 23
2–4pm
Museum as Shelter—moderated by Stéphane Verlet-Bottéro
5–7pm
Observatories for Earthly Education—moderated by Barbara Zoé Kiolbassa and Alessandra Pomarico
7:15–8pm
(un)closing remarks—
Prospects for Permacircular Museums

Saturday, April 24
4:30–5:30pm: Kitchen_Ferm_Lab digital, special edition: Vegan Honey (registration via workshops [​at​] zkm.de)

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Our Pledge

We as community leaders, artists, curators and contributors pledge to make participation in our community and exhibtions a harassment-free experience for everyone, regardless of age, body size, visible or invisible disability, ethnicity, sex characteristics, gender identity and expression, level of experience, education, socio-economic status, nationality, personal appearance, race, religion, or sexual identity and orientation.

We pledge to act and interact in ways that contribute to an open, welcoming, diverse, inclusive, and healthy community.

Our Standards

Examples of behavior that contributes to a positive environment for our community include:

Demonstrating empathy and kindness toward other people

Being respectful of differing opinions, viewpoints, and experiences

Giving and gracefully accepting constructive feedback

Accepting responsibility and apologizing to those affected by our mistakes, and learning from the experience

Focusing on what is best not just for us as individuals, but for the overall community

Examples of unacceptable behavior include:

The use of sexualized language or imagery, and sexual attention or advances of any kind

Trolling, insulting or derogatory comments, and personal or political attacks

Public or private harassment

Publishing others' private information, such as a physical or email address, without their explicit permission

Other conduct which could reasonably be considered inappropriate in a professional setting

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Performative walk with Astarti Athanasiadou 

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Performative walk with Astarti Athanasiadou 

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The laboratory will offer an immersive experience around the question of how do we embody our stand to the unknown future and how do we relate to what we leave behind us.

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moderated by Daria Mille and Matthias Gommel, with Alison Tickell, Ianina Prudenko and Alexei Shulgin, Andrea Trimarchi and Simone Farresin, Helen Turner and Pablo Wendel and Benoît Verjat

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moderated by Daria Mille and Matthias Gommel, with Alison Tickell, Ianina Prudenko and Alexei Shulgin, Andrea Trimarchi and Simone Farresin, Helen Turner and Pablo Wendel and Benoît Verjat

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This session will focus on sharing exhibition-making practices that follow a more sustainable way of production, thus highlighting the importance of taking responsibility for the environmental impact of institutions’ own action.

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moderated by Stéphane Verlet-Bottéro, with Nataša Petrešin-Bachelez, Klass Kuitenbrouwer, Ela Spalding, Sonia Lawson, Amal Khalaf and Alecia Neo

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moderated by Stéphane Verlet-Bottéro, with Nataša Petrešin-Bachelez, Klass Kuitenbrouwer, Ela Spalding, Sonia Lawson, Amal Khalaf and Alecia Neo

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In times characterized by the disappearance of refuges, how might cultural spaces contribute to restoring, regenerating, and protecting life?

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moderated by Barbara Kiolbassa and Alessandra Pomarico, Cara Courage, Rosario Talevi and Sarah Bovelett, Kū Kahakalau, Marion Louisgrand-Sylla and Alecia Neo

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moderated by Barbara Kiolbassa and Alessandra Pomarico, Cara Courage, Rosario Talevi and Sarah Bovelett, Kū Kahakalau, Marion Louisgrand-Sylla and Alecia Neo

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Together with educators, artists, curators, and other learners, we will explore possibilities to aligne education with multispecies worlding, and consider how regenerative pedagogies could significantly change cultural institutions in their role and impact.

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with Lucia Pietroiusti, Stéphane Verlet-Bottéro, Peter Weibel and Mira Hirtz

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with Lucia Pietroiusti, Stéphane Verlet-Bottéro, Peter Weibel and Mira Hirtz

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Institutions increasingly speak of giving nature a voice, and even rights. How are the ethics and practices of cultural institutions affected once we take this claim seriously?

Watch the conversation here:

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Dauer

1:31:10

Kategorie

Vortrag/Gespräch

Datum

Beschreibung

Einführung
Die Einführungsrunde der Versammlung zu permazirkulären Museen möchte möglichst viele Fragen aus den Reihen der Projektinitiator:innen, der eingeladenen Referent:innen und zugeschalteten Teilnehmer:innen zusammentragen, um damit den Horizont der Versammlung zu eröffnen. Immer häufiger fordern Kulturinstitutionen, der Natur eine Stimme zu geben oder ihr sogar eigene Rechte zuzugestehen. Welche Folgen hat es für die Ethik und Praxis kultureller Einrichtungen, wenn wir diesen Anspruch ernst nehmen? Welche neuen Perspektiven brauchen Kunstinstitutionen in einer Zeit, die Bruno Latour als "Neues Klimaregime" bezeichnet, und wie können wir Selbstkritik in Handlung umsetzen?

mit
Lucia Pietroiusti (Kuratorin der General Ecology an der Serpentine Gallery, London)
Stéphane Verlet-Bottéro (Künstler, Umweltschützer, Kurator)
Peter Weibel (Künstlerisch-wissenschaftlicher Vorstand des ZKM | Zentrum für Kunst und Medien Karlsruhe) und einer Aktivierung von Mira Hirtz (Performancekünstlerin und Kunstvermittlerin, Karlsruhe)

Versammlung zu permazirkulären Museen

Der Kulturbetrieb gibt ökologischen sowie postkolonialen Diskursen immer mehr Raum, steckt jedoch zugleich selbst in kapitalistischen Verstrickungen. Wie können seine Institutionen den radikalen Wandel hin zu einer permazirkulären Zukunft vollziehen?

In den vergangenen Jahren haben sich in Museen, auf Biennalen und in anderen Kulturinstitutionen zahlreiche künstlerische und diskursive Beiträge derselben Frage gewidmet: Wie kann die Kunst Solidarität, ökologisches Handeln und Fürsorge zwischen den Arten fördern? Das Aufkommen dieser "terrestrischen Wende" ("terrestrial turn") im Kultursektor steht allerdings in direktem Zusammenhang mit der Globalisierung der Kunstindustrie und deren Abhängigkeit von fossilen Brennstoffen, billigen Flügen und materieller Anhäufung. Gleichzeitig gewinnen postkoloniale Diskurse auch in jenen kulturellen Räumen an Sichtbarkeit, deren eigene Geschichte auf kolonialem Diebstahl fußt. Wie können Institutionen, die in einem kapitalistischen Kontext verstrickt sind, ihren ökologischen Fußabdruck und die Umstände der eigenen Produktion reflektieren? Mit anderen Worten: Kann eine Institution sich überhaupt selbst neu erfinden, und welches Selbstverständnis brauchen Museen heute?

In der Nachhaltigen Ökonomie steht der Begriff "Permazirkularität" für eine Neudimensionierung von Unternehmen im Einklang mit der Tragfähigkeit des Systems Erde sowie für ein Umdenken von Wissensstrukturen und Methoden im Dienste der Pflege unseres Planeten. Die Versammlung, die den ökologischen blinden Fleck des Ausstellungswesens zum Ausgangspunkt nimmt, ruft Institutionsleitungen, Kurator:innen, Aktivist:innen, Künstler:innen und Vermittler:innen dazu auf, Museen als Vorreiter eines radikalen Wandels zu begreifen und ihrem Transformationspotential nachzugehen.

Die viertägige Veranstaltung umfasst Impulsvorträge, Fallstudien, Diskussionsrunden und künstlerische Performances, um über die Zukunft der Kunstinstitutionen nachzudenken, Erfahrungen auszutauschen und über Allianzen mit radikalen und Graswurzelbewegungen zu sprechen. Die Konferenz findet im Rahmen des Projekts "Notes Towards a Permacircular Museum" von Stéphane Verlet-Bottéro statt, welches Teil der Ausstellung "Critical Zones. Horizonte einer neuen Erdpolitik" ist. Nach einer Kartierung des ökologischen Fußabdrucks der Ausstellung und der anschließenden kollektiven Pflege einer verlassenen Streuobstwiese in der Nähe des ZKM geht das Projekt nun der Frage nach, wie Museen ihre Sammlungs- und Konservationspraktiken auf die Solidarität mit und den Schutz von menschlichen wie nicht menschlichen Entitäten ausrichten können.

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Versammlung zu permazirkulären Museen - Einführung | 2021-04-21 | ZKM

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EinführungDie Einführungsrunde der Versammlung zu permazirkulären Museen möchte möglichst viele Fragen aus den Reihen der Projektinitiator:innen, der eingeladenen Referent:innen und zugeschalteten Teilnehmer:innen zusammentragen, um damit den Horizont der Versammlung zu eröffnen. Immer häufiger fordern Kulturinstitutionen, der Natur eine Stimme zu geben oder ihr sogar eigene Rechte zuzugestehen.

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#MuseumsGoGreen
Join Museums For Future as an individual or as an organization. Make your voice heard, get inspired and get to know our international network of museum professionals:
https://museumsforfuture.org/

#GreenWeek Call to Action:
https://docs.google.com/document/d/1PE3AKpHp4tzSVz6aAwA1xqGhVxHBjIdOT26XYeotMlk/edit#heading=h.z26v5haz5u9u

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Vegan Honey: Step-by-Step Tutorial in Images

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Vegan Honey: Step-by-Step Tutorial in Images

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Schritt für Schritt in Bildern - Step by Step in Images

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»More-Than-Human« by Andrés Jaque, Lucia Pietroiusti, Marina Otero Verzier (2020)             https://zabriskie.de/product/more-than-human/

»Medium Design: Knowing How to Work on the World« by Keller Easterling (2021)             http://kellereasterling.com/books/medium-design-knowing-how-to-work-on-the-world#:~:text=Medium%20Design%3A%20Knowing%20how%20to%20work%20on%20the%20world,-Verso%20%E2%80%94%20January%2019&text=In%20a%20series%20of%20case,familiar%20legal%20or%20economic%20declarations.

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visit the Critical Zones online exhibition: https://critical-zones.zkm.de/#!/detail:kitchen-ferm-lab

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Where does the concept of the permacircular come from?

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Where does the concept of the permacircular come from?

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Ecologie intégrale: Pour une société permacirculaire (2017) by Christian Arnsperger: https://arnsperger-perma-circular.com/2017/10/04/new-book-on-perma-circularity-in-french/#more-4731

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REFUSE
REDUCE
REUSE
RECYCLE
ROT
REACT
http://artfootprint.xyz/

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Writing the Body: A performative warm-up with Mira Hirtz

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Writing the Body: A performative warm-up with Mira Hirtz

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Mira Hirtz invites you to experiment with different ways of describing and writing, using our senses and bodies. You are very welcome to post and trace your reflections, thoughts or photos here!

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Part 1

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Could Trees Have A Say?
Trees. Trees.
Writings with my right hand (not my writing hand) and toe.

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afraid that my soft eyes will be broken by the artificial lightness of the screen

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thank you for the meditative dynamic!

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bussi wenn man sagt dass die welt eine große ist ozean ozean da segelt eine schlange um den schiff und bäm da sinkt das schiff man sagt man könne mit zehen schreiben aber schneiden? blätter fallen und im frühjahr wachsen sie bienen du ich liebe dich kabel tu es kleiner wenn du magst

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Part 2

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If you wanna find out more about Museums For Future and our actions please come and visit us: https://museumsforfuture.org Looking forward to meet you! :)

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agency of plants .... - also thinking about our notion of productivity - how could we recycle ideas and move slower ?

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could be the contemporary definition of artist does not fit anymore to definitions or categories in themselves as solutions to develop the potential of human beings with some kind of sensibility, but more to a redefinition of their vocational calls?

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What could be some ways of democratizing the culture, the artworks  etc. in a museum (institutions)?

What room is there for museums to metamorphose into hubs of partnerships with places and contexts where practices needs to be sustained?

How could human institutions acknowledge, represent, include non-human / more-than-human voices?

How sustainable can it be to green the museum but not seek to renew remuneration structures for artists, which are still largely dependent on trying to feed non-sustainable markets, either physical and digital?

Could be the contemporary definition of artist does not fit anymore to definitions or categories in themselves as solutions to develop the potential of human beings with some kind of sensibility, but more to a redefinition of their vocational calls?

How can the Museum become a space for communal healing and rehabilitation in times of failing and exhausted health care systems?

You are in the future, let's say 2050. The world is, by and large, an environmentally just, fair and balanced place. Something huge, or maybe lots of little things, have happened in the arts, sciences, policy, institutions, that has led to this becoming possible. You are asked the question by a young person, who doesn't remember the time 'before': how did we get here? What helped us get here? You look away, and begin to remember....

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Plans to take over the world with MOSS

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In the effort of wondering around, I found myself in conflict with how designated my environment was, I had to go through a whole process of resisting the allocated routes. Wondering as a form of resistance - - -

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Walking drifting following - following a random back - with a backpack - walking slowly - god he's got a slow pace - i need to slow down - adapt to his back - slowed down - sloooowed down - whoops, slowed down too much, need to catch up - chatching up - catching up! - turning around a corner - ah, there he is, his backpack still walking slowly - i've caught up too much - where is he going? - what is he thinking? - is he worried by sonething? - he seems a little concerned - or not? - he's stopping - ah - i shouldn't stop - let's switch thr exercise - let's fins the most unimportant object i can find - nope, not unimportant enough - nope, not unimportant enough - no, somehow relevant - ah! There we go. - it's funny shaped and leaning - not straight at all - what if my back leans like it does? - leaning to one side - loosing balance - where does that ibject get it's balance from? - can I feel this object with my spine? - like with Mira yesterday - alignments in my back - that object is screwed to the ground - i'll go sponge now - in the sun - with bikes and birds and cars - and laughter from the office next door - is there anyone else to follow? - these two pigeons maybe - i have to be careful not to scare them - if they fly away, i'll never keep up - there backs are cracking me up - how funny wpuld it be if we walked like them - necks in constant jazzfunk - who of the two leads their way? - they move quite in synch - they must be two old friends - hanging out at the park today

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grass is not green but silver and blue. wind changes directions, like waves of an ocean. shhhhhhh- is my skin a ship? tobacco smell. rings of pleasure. trade. trails of smoke, islands of accountability.sun-beam on my hand: a warm patch in the sky of embodiment. sense is the new screen. traces of removed chimneys on a brick wall. i walked this way a hundred times, but never noticed them. traces of things vanished: like all unnoticed remains of beings un-borne. damaged planet / ecology of ruins / engendering of shadows. shadows of bodies cross, overlap, become one, dismember as many. the art of shadowing shadows. an assembly of friendly ghosts: learning to hold the hand of spectres.

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grass is not green but silver and blue. wind changes directions, like waves of an ocean. shhhhhhh- is my skin a ship? tobacco smell. rings of pleasure. trade. trails of smoke, islands of accountability.sun-beam on my hand: a warm patch in the sky of embodiment. sense is the new screen. traces of removed chimneys on a brick wall. i walked this way a hundred times, but never noticed them. traces of things vanished: like all unnoticed remains of beings un-borne. damaged planet / ecology of ruins / engendering of shadows. shadows of bodies cross, overlap, become one, dismember as many. the art of shadowing shadows. an assembly of friendly ghosts: learning to hold the hand of spectres.

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I decided to follow a couple because I had a safe distance at that moment and it felt I could make this work. I felt the decision on my hips, they worked like a magnet towards those two other bodies. But on that very moment, they decided to turn around and walk exactly the opposite way, towards me. I felt the reversing, even if it was not me doing it. And it was interesting, there was a one second gap between my body and the felt movement in my body, that I experienced as a kind of suspension.

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my thoughts on the action "non-importance"

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my thoughts on the action "non-importance"

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*Blumentopf | Flowerpot*
It’s a usual piece of plastic. Tons of trash produced that we buy to have plants in our gardens or apartments. But it’s also an object that makes life possible, creates new habitats, creates a space for nourishing offshoots. It has a big hole on the top, very small exits on the bottom. What stays in the soil? What goes out with the water? It’s this very small thing, so minor, so meaningless that slips throughout hands every day, that we throw into the bin regularly but yet helps us to create wonderful new things. But why is it still so cool and common to produce in that way? Let's all consume more of what is consistent and less of what is cheap.

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As an inspiration I would like to share a travel logue by nabbteeri comissioned by Mustarinda. They traveled mostly on land from Seoul to Helsinki and back. The trip lasted around two weeks.

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Article Reference: The Unstable Institution

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Article Reference: The Unstable Institution

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https://zkm.de/de/carlos-basualdo-the-unstable-institution

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Article Reference: On the Biennales Ruins

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Article Reference: On the Biennales Ruins

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https://instituteofradicalimagination.org/2020/05/02/on-the-biennales-ruins-inhabiting-the-void-covering-the-distance-by-marco-baravalle/

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Julie’s Bicycle Creative Green Tools
https://juliesbicycle.com/reporting/

Julie’s Bicycle Resource Hub
https://juliesbicycle.com/category/resource_hub/

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Julie’s Bicycle Creative Green Tools
https://juliesbicycle.com/reporting/

Julie’s Bicycle Resource Hub
https://juliesbicycle.com/category/resource_hub/

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https://formafantasma.com/work/cambio

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English version: https://www.kunststrom.com/Home.html
https://www.kunststrom.com/startseite.html

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The association http://plastic-index.com: curatorial practice and research for sustainable art and culture, environmental practice and more.

Book (in German) on environmental psychology and how to adress and act/work on climate change: https://www.oekom.de/buch/psychologie-im-umweltschutz-9783865817990

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Office for Contemporary Art Norway (OCA) announces today, from the Sámi Parliament in Kárášjohka, in the Norwegian part of Sápmi, that Sámi artists Pauliina Feodoroff, Máret Ánne Sara and Anders Sunna will represent Sápmi, their Sámi homeland, and transform the Nordic Pavilion into the Sámi Pavilion at the 59th International Art Exhibition of La Biennale di Venezia in 2022. This is an historic moment: the first time that Sámi artists are presented exclusively in a national pavilion at the Biennale Arte, and the first time the Sámi are recognised as a nation in a pavilion bearing their name.
By appointing Feodoroff, Sara and Sunna to transform the pavilion, OCA Norway - the commissioner of the Nordic Pavilion for the Biennale Arte 2022 - aims to draw attention to the excellence of these Sámi artists, as well as the international relevance of their individual and collective histories. Their art emphasises the urgent situation experienced today by many Sámi - and other Indigenous people worldwide - concerning self-determination, deforestation, land and water governance. Specifically these Sámi artists engage with the struggle to maintain the reindeer herding and fishing that are central to their existence. The artists reflect upon these concerns by drawing from Sámi ways of being and knowing, producing work of great power. This makes them extraordinary within the art world of today.

The Sámi are the Indigenous people of the Scandinavian Peninsula and large parts of the Kola Peninsula, which today is divided between Sweden, Norway, Finland and Russia. Sápmi is the Sámi people's own name for their homeland. The transformation of the Nordic Pavilion into the Sámi Pavilion is an act of Indigenous sovereignty that highlights the relationship of the artists to their homeland Sápmi, an area that pre-dates the concept of the Nordic region, and presents a pavilion that encompasses all of the lands and people of what was originally a borderless region. It is a symbolic reversal of colonial claims that have sought to erase Sámi land and culture.

Katya García-Antón, Director of the Office for Contemporary Art Norway, lead commissioner of the Nordic Pavilion, comments: ' The global pandemic, the impact of climate change and worldwide calls for decolonisation are leading us all to focus on alternative possibilities for our future and that of our planet. At this pivotal moment, it is vital to consider Indigenous ways of relating to the environment and to each other. The artworks of Feodoroff, Sara and Sunna in the Sámi Pavilion present compelling visions of how these relationships operate, from a Sámi perspective. As leading voices of their generation, these artists' works counter the impact of colonialism upon their lives and, in so doing, connect with the experiences shared by so many people, Indigenous and non-Indigenous, in our world today.'

The exhibition in the Sámi Pavilion will be curated by a group consisting of Sámi scholar Liisa-Rávná Finbog, OCA's Director Katya García-Antón and Sámi nature guardian Beaska Niillas; assisted by Liv Brissach (OCA Project Officer) and Raisa Porsanger (Sámi artist and OCA Project Officer).

The project also benefits from an international group of advisers consisting of Wiradjuri interdisciplinary artist and scholar Brook Andrew (Artistic Director of NIRIN, 22nd Biennale of Sydney 2020; Associate Professor, Fine Art, Monash University; and Enterprise Professor in Interdisciplinary practice. The Faculty of Fine Arts and Music, University of Melbourne) and Anishinaabe curator (Art Gallery of Ontario, Turtle Island/Canada), artist and educator Wanda Nanibush.

Artists:
Pauliina Feodoroff (b. 1977) is a Skolt Sámi theatre director, artist and nature guardian from Keväjäu´rr, in the Finnish part of Sápmi, and Suõ´nnjel, in the Russian part of Sápmi. Feodoroff has advocated for Sámi water and land rights in her previous role as President of the Saami Council and as an artist working to combine various fields of knowledge at the intersection of ecological conservation, theatre and film. In 2018 her cross-disciplinary project What Form(s) Can an Atonement Take used Sámi land-care practices, bringing together local and scientific knowledge to protect the waters and surrounding lands of the Njâuddam river in the Finnish part of Sápmi.

Máret Ánne Sara (b. 1983) is a Northern Sámi artist from Guovdageaidnu in the Norwegian part of Sápmi. She is known for experimenting with a range of materials and approaches that make visible the political and social issues affecting the Sámi people. Her works are often made from materials deriving from the sustainable practice of her reindeer-herding family, including reindeer bones, hides and intestines. Her installation Pile o' Sápmi, composed of 400 reindeer skulls and legal documents, was showcased at documenta 14 in Kassel, 2017. The installation was recently purchased by the National Museum of Norway in Oslo.

Anders Sunna (b. 1985) is a Northern Sámi artist from Kieksiäisvaara, in the Swedish part of Sápmi. Sunna's politically charged artworks narrate the history of the oppression of the Sámi people and specifically address his family's five-decade long struggle for their land rights as forest reindeer herders. With powerful imagery and political satire, his paintings, graffiti, sculptures and installations depict how abuse of authority and power lead to the exploitation of land and natural resources, forced displacement, and racial persecution of Sámi people. Sunna was recently commissioned to make a site-specific mural for the 22nd Biennale of Sydney, NIRIN, 2020. The work made connections between the colonial project of Captain Cook and the issues faced in Sápmi.

Following the Sámi custom of learning from elders of the community, the artists will benefit from the individual guidance of the following elders: Feodoroff, will be guided by Sámi educator and professor emerita Asta M. Balto; Sara by reindeer herder and Sámi knowledge bearer Káren E. M. Utsi; and Sunna by Sámi professor of law and juoigi (practitioner of joik, the Sámi musical practice) Ánde Somby.

Commissioner
As a co-commissioner of the Nordic Pavilion in Venice, Office for Contemporary Art Norway (OCA) takes the curatorial lead of the Pavilion in 2022. OCA is a hybrid arts foundation, supporting artists based in Norway and Sápmi, founded in 2001 by the Norwegian Ministries of Culture and Foreign Affairs. OCA's work focuses on two areas: curating (exhibitions, research trips, publications and discursive programmes), as well as funding and support (providing grants, research trips and residency schemes) to foster a two-way exchange with the international arts scene. Under the direction of Katya García-Antón, OCA has launched a deep engagement with the North - turning conventional thinking on its head to see this northern region and the Indigenous lands of Sápmi as a tipping point of thinking around urgent issues within the arts, such as the environment and social justice. OCA's programme works to forge creative alliances that dismantle colonial and canonical pasts and presents, including those within its own institutional structures, in order to imagine new forms of being and doing for the future.

The Nordic Pavilion
The Nordic Pavilion, designed by Norwegian architect Sverre Fehn, was completed in 1962 and has since been a space for collaboration between three nations: Finland, Norway and Sweden. The co-commissioners from Sweden and Finland for the Nordic Pavilion at the 59th International Art Exhibition of La Biennale di Venezia are Gitte Ørskou, Director of the Moderna Museet in Stockholm, Sweden and Leevi Haapala, Director of the Museum of Contemporary Art Kiasma / The Finnish National Gallery in Helsinki, Finland.

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Snowchange Coordinator Pauliina Feodoroff Selected to Venice Biennale 2022

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Office for Contemporary Art Norway (OCA) announces today, from the Sámi Parliament in Kárášjohka, in the Norwegian part of Sápmi, that Sámi artists Pauliina Feodoroff, Máret Ánne Sara and Anders Sunna will represent Sápmi, their Sámi homeland, and transform the Nordic Pavilion into the Sámi Pavilion at the 59th International Art Exhibition of La Biennale di Venezia in 2022.

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Some more tools and resource links to start to act: 

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Some more tools and resource links to start to act: 

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Effective Actions from Gallery Climate Coalition

https://galleryclimatecoalition.org/de/resources/

Carbon footprint calculator from the Gallery Climate Coalition

https://galleryclimatecoalition.org/carbon-calculator/

Art Switch conferences:

https://www.artswitch.org/reframing-the-arts-a-sustainable-shift

Art Switch reading list:

https://www.artswitch.org/resources

Carbon Offset Guide

https://www.offsetguide.org/

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Care Index collects and features diverse gestures of care performed by people from all walks of life, sharing states of well-being with the audience.

In recent times, where touch and physical intimacy and movement is increasingly controlled or denied, our collective sense of grief, loss and stress have escalated along with global disruptions and inequality. Practicing care for oneself and others have become even more central to our lives.

Care can take form as self-care, the practice of personal routines, rituals and boundaries which bring us comfort and regulate our emotions and stress levels. This could be meditation, prayer, walking, breathing or even work, if work helps to center us or evoke a sense of belonging. It can also take form as community care, ranging from caring for one's family through food, caregiving for a loved one, sharing a traditional craft or skill with others, to volunteering and other communal activities. It can also manifest in work and professional industries which are run by care giving bodies. Care can also extend to the environment we live in, touching on natural environments, public spaces and even connecting over digital realms.

This project invites us to collectively consider:

I would like to collect videos and sounds from anyone who would like to contribute to this Care Index. Each submission will also be archived on this simple website, with credits provided to each contributor.

3. Record your care gestures with video + audio.

You may respond to just one invitation or more, at any space of your choice.

Practices of care can take place in diverse settings, ranging from indoors in our homes, work spaces, to outdoor public spaces. There is no limit to the creative possibilities for your contribution.

Perform an everyday activity that brings you hope and lifts your spirits. Invent or seek one out.

Perform an activity that requires maintenance or endurance.

Choose a piece of music that brings you comfort/calm/pleasure/strength. Create 3 movements inspired by your music's lyrics/melodies. Connect them seamlessly together into a single flow of movements.

Draw or navigate a boundary with your body in the space you're physically in at this moment.

Perform an interaction with another (imagined or real) living creature(s).

These prompts are just suggestions and are open to interpretation. If you feel like improvising with other bodies in a socially responsible way, I would welcome such submissions as well!

Suggested Video length: 1 - 3 min

Ideally in Landscape mode. Wide angles and close-ups are all welcome.

The flow of movements of your care gestures should be captured clearly. Record your movements for a minimum of 1 minute.

If you wish to send me a separate sound recording or song that is connected to your performance, you are very welcome to do so.

Any basic video recording device which is available to you, such as your camera, mobile phone or laptop with a video camera, is perfect. You may record your performance on selfie mode, handheld or on a tripod, or invite a friend to help you out.

Kindly include in your email submission the following details:

Your Age: (if you do not wish for your age to be published, simply let us know.)

Submissions are accepted on a rolling basis. ​​​​​​​

Options for sending us your videos

https://www.hightail.com/ (up to 250MB)
https://www.wetransfer.com/ (up to 2GB)
https://www.sendspace.com/ (up to 300MB)
https://transfer.pcloud.com/ (up to 5GB)
https://www.dropsend.com/ (up to 8GB)
https://www.sendtransfer.com/ (up to 10GB)
www.wesendit.com (up to 5GB)

Thank you for your contribution to the Care Index! ​​​​​​​

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Care Index collects and features diverse gestures of care performed by people from all walks of life, sharing states of well-being with the audience. In recent times, where touch and physical intimacy and movement is increasingly controlled or denied, our collective sense of grief, loss and stress have escalated along with global disruptions and inequality.

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how does care manifest in my body? How is my body an archive of experiences, and how do I translate them? A shape, drawing it with my body, I discover that it comes with a dynamic to it, that it is 3D, that it breathes with me. Thank you to Alecia!

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More information about Alecia Neo can be found here:

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More information about Alecia Neo can be found here:

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Toward a new chrononormativity of business trips

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Toward a new chrononormativity of business trips

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Comment: Loved discussing the following: what would the reality of business trips look like if we had not 4 hours to travel, but 4 days, or even 4 weeks? Zoom would actually make slow (business) travel absolutely possible. Quote from Stéphane: „If I had spent all my zoom meetings walking, i would probably have walked all the way to Taipei“

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https://palaisdelome.com/en/le-parc/presentation-du-parc/

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Introducing the Park | Le Palais de Lomé

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Stretching down to the sea-front, the Palais' 11-hectare (26 acres) Park is home to a precious biodiverse environment and offers an unparalleled urban experience right in the heart of Lomé.

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https://www.serpentinegalleries.org/whats-on/edgware-road/

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On the Edgware Road made public three years of research generated by the Serpentine's Edgware Road Project.

The On the Edgware Road exhibition included installations, films and performances, both at the Serpentine Gallery and at the Centre for Possible Studies, the project's home. The exhibition allowed visitors to experience the findings of the artists and local partners involved in the project and highlighted future programmes that unfolded throughout the following year.

The Edgware Road Project links artists with people living and working in this London neighbourhood. The diversity of the local people and their interests are reflected by the varying practices and geographies of the artists invited to take up residency at the Centre for Possible Studies. Their responses have been political, reflexive and revealing. An accompanying publication marked this moment in the project's development with descriptions and propositions for the future, answering the question: What is a possible study?

RESEARCHERS

Goldsmiths Leverhulme Media Research Centre: Project 5
Goldsmiths MA in Aural and Visual Cultures
Migrants Resource Centre
People's Research Seminars
Public Space Seminar/E.V.S.A., O.D.V., Public 10
the x:talk project

Events

Tuesday 6th March 2012, 7pm
William Wells, Director, Townhouse, Cairo
Talk at the Serpentine Gallery

Saturday 10th March 2012, 4pm
Janna Graham, Projects Curator and Amal Khalaf, Edgware Road Project Assistant Curator
Talk at the Serpentine Gallery

Tuesday 20th March 2012, 6:30pm
Serpentine Cinema: Lili Reynaud-Dewar and Pierre Giquel
Gate Cinema, Notting Hill

Participating and partner organisations

Al Arez Restaurant; The Arts Catalyst; Casco: Office for Art, Design and Theory; Church Street Library; Church Street Neighbourhood Management; The Delfina Foundation; Dunya Restaurant; FreqOUT!; Gasworks; Gateway Primary School; Goldsmiths Leverhulme Media Research Centre: Project 5; If I Can't Dance, I Don't Want To Be Part Of Your Revolution; Migrant Resource Centre; Raven Row; Rose Issa Projects; St. Marylebone School; Al Shishawi Restaurant; The Showroom; 60 Penfold Street; Tyburn Convent; Westminster Academy; Westminster Libraries & Archives; Wyspa Institute of Art and X:talk.

The Edgware Road Project was initiated and curated by Sally Tallant with Janna Graham and Louise Coysh, in partnership with Christine Tohme and William Wells. Assistant Curator: Amal Khalaf. Project Advisor: Nav Haq.

The exhibition On the Edgware Road was curated by Janna Graham, Joceline Howe, Amal Khalaf, Nicola Lees, Sophie O'Brien and Lucia Pietroiusti.

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On the Edgware Road - Serpentine Galleries

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On the Edgware Road made public three years of research generated by the Serpentine's Edgware Road Project. The On the Edgware Road exhibition included installations, films and performances, both at the Serpentine Gallery and at the Centre for Possible Studies, the project's home.

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More information about Ela Spalding and her projects can be found here: 

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More information about Ela Spalding and her projects can be found here: 

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Ecology, or the study of the way a species relates to and affects its environment and vice versa, is the starting point of my research and the cornerstone of my work. I experiment with composition, narratives, natural and cultural expressions and histories to create mechanisms for reflection on our interconnectedness with all of life. This can take the form of sound and voice works, artist books, spatial interventions and performative experiences, artist residencies, workshops or one-on-one support for individuals and organisations. I enjoy creating gestures or offerings that offer time and space for people to reflect, connect with, (re)create, celebrate, (re)value, harmonise or simply observe our place in the world.

CURRENT PROJECTS

In Our Hands

is a series of images of 24 selected mudras (hand yoga positions) upon vulnerable landscapes. Conceived as a toolkit to help us care for and connect with more ease to our selves, others and nature. Through them I propose to build a bridge between our state of being and that of the planet.
Given the covid-19 pandemic, and the many layers of complexity that are arising (and will continue to arise), I have produced an e-book version to more easily share this helpful resource, as well as the box set of cards. I have also offererd short mudra sessions online on my Instagram IGTV account.
To purchase the box-set of cards please write me directly: connect@elaspalding.com or visit the Berlin-based Zabriskie Bookshop for orders within Europe.
Buy e-book in English
Meanwhile, here is a preview of the content. (Scroll down for the Spanish version / encuentra la versión en español abajo)

Compra el e-book en español

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is a series of images of 24 selected mudras (hand yoga positions) upon vulnerable landscapes. Conceived as a toolkit to help us care for and connect with more ease to our selves, others and nature. Through them I propose to build a bridge between our state of being and that of the planet.

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Ela Spalding, SUELO PROFILE, more to be found here:

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Ela Spalding, SUELO PROFILE, more to be found here:

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https://estudionuboso.org/en/suelo-soil-2/

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call for TRANSLATORS of rocks/ecosystems/more-than-humans as fixed parts of museum boards

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call for TRANSLATORS of rocks/ecosystems/more-than-humans as fixed parts of museum boards

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www.alecianeo.com

https://www.brack.sg/

www.artseverywhere.ca

https://www.kuakanaka.com/

http://www.ker-thiossane.org/

http://www.ker-thiossane.org/pn/Jardin_Jet_d_Eau

http://www.floatinguniversity.org/en/

http://www.floatinguniversity.org/en/climate-care/

https://drive.google.com/file/d/1DOynuNYYqzakklG-DbAMSbhG93Xpddc9/view

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How to talk about and act on climate change - environmental psychology - German book:

https://www.oekom.de/buch/psychologie-im-umweltschutz-9783865817990

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collage of the results from the activation of Benoit Verjat

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collage of the results from the activation of Benoit Verjat