As part of the Life of Breath Project and the Being Human Festival…
Raptures of the Deep
Free-divers can seem like super humans. They have extraordinary, seemingly implausible, control over their bodies, particularly their breathing, and offer a fascinating insight into the connection between mind and body. A series of short films featuring record breakers including Johanna Nordblad and Guillaume Néry and our guest Liv Philip, will set the scene. Then we’ll discuss why the experience of losing the breath can both terrifying and exhilarating with champion freediver Liv Philip, artist Emma Critchley and researchers Rebecca Oxley and Arthur Rose.
23 November 2017, Durham
Over the next month Tate St Ives are showing a selection of my films that relate to themes drawn from Jessica Warboy’s work, particularly the large scale ‘Sea Paintings’.
Friday 11 August – Friday 1st September 2017
More information can be found on the Tate website: http://www.tate.org.uk/whats-on/tate-st-ives/film/film-friday
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.