ART+CLIMATE=CHANGE 2019

For the full program click here


 

Upcoming exhibitions:

Image credit: Alexander Boynes, Mandy Martin, Tristen Parr, Rewriting the Score, 2019, Acrylic, oil, pigments on linen, 3 Channel 4K video with stereo sound, 230cm x 1150cm. 


Rewriting The Score
 
Latrobe Regional Gallery: 138 Commercial Rd, Morwell
latroberegionalgallery.com
13 April – 14 July
Free Entry

Artists, Alexander Boynes, Mandy Martin and Tristen Parr have collaborated on a new twelve metre installation for ART+CLIMATE=CHANGE 2019 at Latrobe Regional Gallery. Rewriting the Score was commissioned by Latrobe Regional Gallery in collaboration with CLIMARTE and incorporates painting, video and sound to address the energy transitions that are occurring in the Latrobe Valley.
Mandy Martin’s high key canvases represent the Valley’s natural and industrial environment at this moment. These canvases are also the grounds for Alexander Boynes’ digital video projection which transports us out of the ash forest and into the Latrobe Valley, thrusting us into the future of the Anthropocene. Tristen Parr’s sound work literally ‘rewrites the score’, the Elysium forest in Eugene von Guerard’s ‘Fern Tree Gully’ still rings to the sound of tree clearing but also carries the rumble of a new threat, climate change.

Artists: Mandy Martin, Alexander Boynes, Tristen Parr
Curators: Shelley Ditterich & Jessica Row.

Image credit:  Anne Zahalka, Mallee, near Benetook in Sunraysia Tegion of Victoria, 2019, archival pigment ink on rag paper.


Anne Zahalka: Wild Life, Australia

Arc One Gallery: 45 Flinders Ln, Melbourne
arcone.com.au
16 April – 18 May
Free entry
Opening 16 April 2019, 6:00-8:00pm, all welcome.

 

The term Anthropocene denotes an ecological turning point where the impact of human behaviour is significantly and permanently affecting our planet, contributing to drastic changes on climate and the environment. In Wild Life, Australia, artist Anne Zahalka considers this impact on the natural world through a series of digitally reimagined photographs of early dioramas from the Australian Museum, outlining unsettling ethical and environmental issues in this country.

Habitat displays and dioramas have long been part of natural history museums. These optimistic windows on ‘nature’ are represented through digital interventions to reflect on culture, aesthetics, and the changing relationships of people to their environment and the natural world.

Artist: Anne Zahalka

Image credit: Cameron Robbins, Leanganook Dark Emu, 2018, giclee photograph on rag paper



MARS Gallery: 7 James St, Windsor
marsgallery.com.au
18 April – 18 May
Free entry

Opening 18 April 2019, 5:00-7:00pm, all welcome.

Cameron Robbins: Remote Sensor

Artist Cameron Robbins works to make tangible the underlying structures and rhythms of natural forces. Using his wind powered drawing instruments; Robbins’ installations transcribe the invisible energies of nature, the wind, the tides and light to create drawings, photographs, and moving image works.
 
Artist: Cameron Robbins



Birrarung: A film by Maudie Palmer

Maudie Palmer presents her short video on the powerful, yet largely unknown journey, of the Yarra River in Victoria, Australia. Birrarung is the narrative of the river Yarra from its source to the sea. It is a nature/ culture visual poem that reminds us of the importance a river has upon a city’s ecology.
 
Artist: Maudie Palmer
Cinematography: Darryl Whitaker, Jackson and Jacqueline Mitelman
Editor: Ashlee Lukas
Original Music by: Bryony Marks



Joanna Mott: Somewhere Under the Rainbow

Somewhere Under the Rainbow is an interactive sculpture by artist Joanna Mott. Composed of a series of seven solar-powered luminescent arches to walk through that reflect both concern and optimism about our collective responsibility for how we consume energy in these current times.
 
Artist: Joanna Mott



Jane Burns: Listed

In south-eastern Australia, more than 25 animal species are teetering
on the brink of extinction due to habitat loss, feral animals, landscape fragmentation, disease and climate change. Amongst these is the iconic Tasmanian Devil, and Victoria’s animal and bird emblems, the Leadbeater’s Possum and the Helmeted Honeyeater respectively. This is happening in our backyard and on our watch. In this exhibition artist, Jane Burns creates works which hang together by a thread. The work shows animal subjects in a state of disappearance. The weft threads of linen fabric are pulled away, leaving a ghost on the remaining warp threads. Up close, the image fragments into the form and texture of line and ink, unspooled from the artists fingers.
 
Artist: Jane Burns

Upcoming Public Program:

Bruised: Art Action & Ecology in Asia - Artists Talk

RMIT Gallery: 344 Swanston St, Melbourne
Friday 12 April, 12:30-1:30pm
Tickets: free
Bookings essential: eventbrite

As part of the new RMIT Gallery exhibition Bruised: Art Action & Ecology in Asia, esteemed Indonesian performance artist Arahmaiani will join Alfredo & Isabel Aquilizan, who moved to Australia from the Philippines in 2006, and Brisbane based artist Mandy Ridley, to discuss their work in the exhibition.

Bruised: Art Action and Ecology in Asia examines how artists are using creative actions to open discussions around food sustainability and production, environmental catastrophes and human migration in our region.

About the artists

Arahmaiani frequently uses art as a means of critical commentary on social, religion, and cultural issues. For the past eight years, a particular focus of her work has been environmental issues in the Tibetan plateau region, where she has been actively collaborating on-site with Buddhist monks and villagers to foster greater environmental consciousness through an array of ongoing community projects.

Alfredo and Isabel Aquilizan are a husband-and-wife team whose elaborate installations and sculptures are invested with a sense of Filipino culture and character, and often set against experiences of dislocation and change. Their work reflects their own personal experience of migration, as well as the broad contemporary phenomena of global exchange and communication.

Mandy Ridley’s projects often start with material culture research, using colour, pattern and craft to explore points of resonance between people of differing cultural experience; tracing history, influence and connection.

 

Image: The only rock we eat (2019), dinner performance, Keg de Souza with Lucien Alperstein, ACE Open, Kaurna/ Adelaide. Photo Lucien Alperstein.


BRUISED FOOD LAB EVENT: THE ONLY ROCK WE EAT

RMIT Gallery: 344 Swanston St, Melbourne
Tuesday 16 April, 1:00-3:00pm
Tickets: free
Bookings essential: eventbrite
 
Join artist Keg de Souza with scientist Lucien Alperstein for a performance lunch at RMIT Gallery to discuss salt as currency [the cause of wars and revolutions] as part of trade routes and urban development and local agriculture.
 
Participants will be seated at a salt encrusted table.We are taking bookings for those who will eat the meal. Observers may walk in on the day to watch the action, depending on space availability.
 
Please advise if you have food allergies [email: rmit.gallery@rmit.edu.au when your booking is confirmed] The meal is comprised of salt tolerant plants. A full ingredient list will be provided on the day.
 
Bruised Food: a Living Laboratory is a project curated by Marnie Badham and Francis Maravillas that complements the exhibition Bruised: Art Action & Ecology in Asia at RMIT Gallery (12 April - 1 June). The Bruised Food Lab Events critically reflects on food and social practice, and present works and events by artists.
 
About the event
 
Whilst salt crosses through the diets of every culture, as well as being essential to our survival, we are also struggling to deal with an excess of it. Through a performative lunch this work takes us around the world through stories of salt as currency and brings us back to Naarm/ Melbourne where surrounding local agriculture is struggling with changing salinity conditions, coupled with a drought prone environment. The meal, comprised of salt tolerant plants proposes a way we can think about our relationship to salt through the future of food production and consumption, by adapting our diets to suit the changing environment around us.
 
About the artists
 
Keg de Souza is an artist working with mediums such as temporary architecture, food, mapping and dialogical projects to explore the politics of space. This investigation of social and spatial environments is influenced by her formal training in architecture and experiences of radical spaces through squatting and organising. She creates projects that are often site and situation specific and emphasise participation and reciprocity.
 
Lucien Alperstein is a scientist working across microbiology, genetics, food waste, fermentation and science and technology studies. Lucien is interested in traditional and modern use of food and food technologies, and has worked for and collaborated with artists, restaurants, news outlets, breweries, educational and art institutions and festivals.

 

Image courtesy of Bunjil Place


SCHOOL HOLIDAY WORKSHOPS: RECYCLED REEF AND COLLAGED CREATURES
 
Bunjil Place Studio: 2 Patrick Northeast Dve, Narre Warren
bunjilplace.com.au
Tue 9 April - Thu 18 April
Tuesday 9, Wednesday 10, Thursday 11 April,
Tuesday 16, Wednesday 17, Thursday 18 April
11.00 am – 2.00 pm
 
Join us as we use recycled materials to create collaged underwater creatures and our own recycled reef.

 

Two important and free keynote lectures:

 

Museums & Activism: Slaying the Zombie Myth of Institutional Neutrality


Beka Economopoulos and Jason Jones (USA)


Co-founders of The Natural History Museum and Not An Alternative, a collective that works at the intersection of art, activism and theory.

Tuesday 30 April 2019
6.30pm – 8.00pm
Deakin Edge Theatre
Federation Square, Melbourne, Victoria 3000 Australia.
Tickets: Free entry
Bookings essential: tinyurl/MuseumsandActivism

In a post-truth era, the role of trusted institutions of science is more important than ever. Drawing on recent initiatives organized by The Natural History Museum, a traveling pop-up museum founded by the activist art collective Not An Alternative, this talk will explore how The Natural History Museum leverages the symbolic and infrastructural power of science museums to transform them into vital infrastructures for environmental progress, champions of science for the common good, and advocates for a just and sustainable future.
 
The Natural History Museum (NHM, 2014-) takes the form of a traveling pop-up museum that highlights the socio-political forces that shape nature, yet are excluded from traditional natural history and science museums. NHM collaborates with artists, curators, community groups, scientists, and museum professionals to create new narratives about our shared history and future, with the goal of educating the public, measurably influencing public opinion, and inspiring collective action. The museum is the latest project of Not An Alternative, a collective that since 2004 has worked at the intersection of art, activism, and critical theory. The group’s work has been featured within Guggenheim, PS1/MOMA, Carnegie Museum of Natural History, Queens Museum, Brooklyn Museum, Tate Modern, Victoria & Albert Museum, MOCAD, and Museo del Arte Moderno, and in the public sphere. Not An Alternative connects movements to museums and museums to movements, fostering a growing coalition of museum workers, activist scientists, and communities.


A Museum for The Path Ahead: New York City’s Climate Museum
 

MIRANDA MASSIE (USA)

Director, Climate Museum, New York City


Wednesday 1 May 2019
6:30 pm – 8:00 pm
Carillo Gantner Theatre, Sidney Myer Asia Centre
The University of Melbourne, 761 Swanston St Melbourne, Vic 3000 Australia
Tickets: Free entry
Bookings essential: tinyurl.com/NYCClimateMuseum


This keynote will address why we need a cultural shift in response to the climate crisis, and why dedicated climate museums are a necessary, though not sufficient, component of that shift. Massie will situate the initiative within its national and local contexts, discussing the public’s response and presenting work from the Museum’s first year of public programming, in particular its two main art exhibitions. This work illustrates the promise at the intersection of institution building and cultural transformation, and it also spotlights questions, challenges, and tensions that lurk within. How to recognise the transformative power of art without instrumentalising it? How to celebrate individual creativity while pulling toward the collective? How to mobilise a culturally conservative form—the museum—for the radical change we need?

Before launching the Climate Museum, Miranda Massie was a civil rights impact litigator, in which capacity her honours included Fletcher Foundation, W.E.B. Dubois Institute and Harvard Law School Wasserstein Public Interest Fellowships, as well as a Mentorship-in-Residence at Yale Law School. In 2014, she left this career in the law of social justice and equality to start laying the groundwork for the Museum, in the belief that the climate crisis was at once the greatest intensifier of inequality and an existential threat superseding all other jeopardy to civilization and humanity.

 

 

FOR MORE INFORMATION & FULL PROGRAM

 

artclimatechange.org

CLIMARTE acknowledges that the ART+CLIMATE=CHANGE 2019 festival takes place on the unceded lands of First Nation peoples and pays its respect to elders past, present and emerging.







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CLIMARTE · 120 Bridge Road · Richmond, VIC 3121 · Australia