See May 6 post for details of the exhibition
I’m very happy to announce that the project Human/Nature, developed as part of the Culture & Climate Change: Scenarios Residency Programme has just received funding from Jerwood Charitable Foundation for the film’s production.
Filming started last month at the ALMA observatory in the Atacama Desert
Culture and Climate Change is supported by The Open University OpenSpace Research Centre, The University of Sheffield School of Architecture, The Ashden Trust, Jerwood Charitable Foundation and the Grantham Centre for Sustainable Futures.
Ocean Imaginaries focuses on some of the contradictions and conflicted feelings raised by how the ocean is imagined in an age of environmental risk.
05 May 2017-01 July 2017
RMIT Gallery, City campus, Melbourne, Australia
Curator Linda Williams.
Artists: Anne Bevan, Emma Critchley and John Roach, Alejandro Durán, Simon Finn, Stephen Haley, Lynne Roberts-Goodwin, Chris Jordan, Sam Leach, Janet Laurence, Mariele Neudecker, Joel Rea, Dominic Redfern, Debbie Symons, Jason deCaires Taylor, teamLAB, Guido van der Werve, Chris Wainwright, Lynette Wallworth and Josh Wodak.
Responding to a recent turn to the ocean in the environmental humanities, this international exhibition considers how reflections on the ocean are aesthetically reconfigured when viewed from a contemporary urban perspective. Though artists have always responded to the nonhuman world, it is really only in the past three decades that environmental critique has become a major theme of contemporary art. Most environmental art of the late 20th century focused on more terrestrial ecologies while the ‘oceanic turn’ in the arts and humanities occurred more recently with the acknowledgment of the ocean as our ‘evolutionary home’ and the ancient site where biological life first emerged. From the early modern era of global maritime expansion in the late 16th century, the ocean has been valued as a conduit for colonial expansion and trade in raw materials and consumer goods, most of which continue to be shipped across the world today. During this period the ocean was also used for its apparent capacity to absorb waste: from the industrialised waste of heavy metals to radioactive material and plastics. Effectively, the most insidious forms of oceanic pollution remain invisible to the human eye, while the serious effects of ocean acidification, mercury poisoning or pollution by micro-plastics, along with the gradual effects of ocean warming, are slowly, but surely, afflicting every ocean on earth. The sea has long appealed to the romantic imagination as a compelling metaphor for the sacred mysteries of nature, yet given the escalation of global modernity this romantic view now incorporates a countervailing imagery in which the slow violence of ocean pollution not only represents a risk to human interests but also to a diverse range of marine creatures threatened with extinction. While the wild, pristine imagery of the ocean still persists in contemporary culture it is now conflicted by an imagery of pollution, destruction and loss. Increasingly, the oceans represent a channel for greater engagement in the urgent need to protect environmental resilience and biodiversity. These divergent views suggest powerful imaginative contradictions that Ocean Imaginaries explores through artworks evincing responses to global oceans in our era.
Ocean Imaginaries is an exhibition that addresses research undertaken by the AEGIS Research Network led by Associate Professor Williams in the School of Art. She remarked that the high level of professionalism at the RMIT Gallery means that it is an ideal partner for bringing international research collaborations in the field of art and ecology into the cultural life of Melbourne.
Part of CLIMARTE’s ART+CLIMATE=CHANGE 2017 – a festival of exhibitions and events harnessing the creative power of the Arts to inform, engage and inspire action on climate change.
This exhibition, located in a site of multiple artists practices and drawn from them, considers how ideas can transcend a physical space, yet are grounded through different forms of making and display. It brings into play an exploration of cultural and political space, opening up discussions around how individual lives and histories inform and shape the articulation of a practice. The exhibition offers a slice in time, a moment of shared connections and isolated thoughts. It encompasses drawings ; on paper and on the wall; discreet surveillance manifesting as photographs and kinetic video; sculpture and paintings that speak to absence and presence, actions and affirmation.
Present Tense is curated by Lucy Day.
Artists: Jon Carritt & Dan Palmer, Rachel Cohen, Emma Critchley, Jane Fox, Caitlin Heffernan, Oliver Hein, Fergus Heron, Bernard G Mills, Paul Morley, Patrick O’ Donnell, Wendy Pye, Ruth Rix, and Kiki Stickl
10–14 Waterloo Place
Brighton BN2 9NB
6 May – 4 June 2017
Open Wed – Sun 11 am – 5 pm
We are currently looking for inspiring women working in the field of deep sea and space exploration to be the voices of this new artist’s film project.
Human / Nature is set around two critical frontiers of today: deep sea and space – romanticised stages, which are at the same time present-day borders of conquest for mineral resources and territory. The work will ask questions about the fantasies we construct and investigate the intimate relationship between exploration and exploitation.
Shot on location in underwater training habitats, these rehearsal spaces provide the visual backdrop for the film’s fragmented dialogue that interweaves narratives from the history of space and deep-sea exploration – real and fantasy. The script will explore how reverberant layers of industrialisation and colonialism have affected the way we relate to our environment – both immediate and distant. Narrated by female pioneers of deep sea and space exploration, the work will open up alternatives to these legacies in a poetic montage, which in turn poses questions about our current state and how we should move forward into these frontiers.
Human/Nature is being developed as part of the Culture & Climate Change residency, which is supported by The Open University Open Space Research Centre, The University of Sheffield School of Architecture, the Ashden Trust, Jerwood Charitable Foundation and the Grantham Centre for Sustainable Futures.
Jennifer Brea’s fine documentary is about Chronic Fatigue Syndrome. It chronicles her own struggles will the illness while adding a global perspective.
I did some underwater filming for this amazing project that will soon be screened in UK cinemas.
Find out more about the project here: http://www.unrest.film