ThE rising TidE
Wanderlust
With the effects of climate change ever on the horizon, environmentally charged art installations continue to make waves across Europe. These simple yet powerful motifs speak volumes of the need to restore not only the mountains, but the skies above and the seas below. Words: Amanda Sheppard
A
ctivist art and protest pieces are increasingly catching the eyes of critics and members of the public alike. In the digital age, art of every description has been thrust into the public sphere – it is no longer confined to the pristine inner walls of galleries. But for some, this is not merely a modern by-product. Rather, it rests at the very core of their artistic philosophies. And with this changing tide, a new breed of artists is brushing through Europe – artists ready to engage with their surroundings, and to encourage a dialogue on climate change within the current social climate. Cast your eyes to Venice, one of Europe’s cultural capitals and among the art world’s most revered cities. At the 57th International Venice Biennale earlier this year, Lorenzo Quinn unveiled Support – a sculpture depicting two hands reaching out from the depths of the Grand Canal to secure the walls of the Ca’Sagredo Hotel. On display until 26 November, Support casts a spotlight on environmental conservation efforts and climate change awareness; it encourages others to act, and to play a part in securing the future of the perennially sinking city.
Main image: Support sculpture, outside Venice’s Ca’Sagredo Hotel Below: Artist Lorenzo Quinn putting the final touches on the sculpture
Image: Halcyon Gallery
Image: Halcyon Gallery
The rising tide
24
25 SEPTEMBER
We tried, as much as possible, to preserve the idea that we don’t want to abuse the mountain in the name of art; but to abuse art in the name of the mountain,” explains Escif. The crux of the project is not in its creation. In fact, its very success will be proven when the initial motif disappears altogether. “Humans sometimes feel more powerful than nature,” says Oriente. “But we don’t want to do that by marking the mountain with our sign. We want to spread a message, and then let it change and disappear.” Should the project triumph, it will seamlessly blend into its surroundings and offer a new lease of life to the foothills of Mount Olivella. This rising tide in the creative world is not the mere production of art for art’s sake. Rather, it uses art as a means to enact change, and to correct the damage wreaked on the environment. Indeed, these are artists creating not only art that reflects life, but art that breeds new life.
Using age-old techniques, Quinn reminds us of the meticulous work and craftsmanship involved in the arts. But Support also holds another meaning. In his artist statement, Quinn explains, “The hand holds so much power – the power to love, to hate, to create, to destroy.” The future of the planet, Quinn reminds us, is quite literally in our hands. Cities like Venice with its inherent fragility are at the frontlines of this battle, and in a race against time. But it is not only the rising tides of our oceans calling artists to arms. Barren lands continue to replace the former glory of Europe’s expansive landscapes. A handful of artists look not only to mimic life, but indeed to recreate and restore it. Project Breath is one such undertaking – the initiative aims to plant 5,000
trees atop Mount Olivella, a sight the project’s curator, Antonio Oriente, became very familiar with in his youth, having grown up in Sapri, southern Italy. With Spanish conceptual artist Escif at the helm, Project Breath looks to breathe life into a land which suffered at the hands of deforestation in the
26
18th century, and has been plagued by flooding and climate-related concerns ever since. Escif’s motivations are clear. He explains, “We are exhausting its natural resources, looking down on future generations, animals, plants, trees and the Earth itself. Let’s reverse the damage process. Let’s plant new trees on Earth. It’s time to recharge. It’s time to breathe.” Project Breath is set to be Europe’s largest ever art project,
covering a land mass equivalent in size to 17 football fields. The reforestation of Mount Olivella will take place in stages, depicting the different stages of a battery re-charging and representing the revival of the surrounding lands. As seasons change, the leaves will transform the battery from red to green, mimicking the life cycle of a charging cell. The first stage of the reforestation process will take place this month, with the symbol of the mountain’s revival soon to
be visible from near and far. Project Breath redefines the parameters of public art. The campaign launched successfully via crowdfunding site Indiegogo. “Crowdfunding is a great medium to galvanise public awareness. People feel involved in a collective project, and part of a democratic process,” explains curator Oriente. “The big challenge with Breath is that we are directly intervening in nature and modifying it.
Clockwise from top left: A rendered landscape of Mount Olivella A projection of the largescale artinstallation Project Breath in progress Street Artist Escif’s mural in Katowice, Poland Project Breath envisioned through the seasons Visualising the project’s start
Image: www.breathproject.it/ita/
Image: www.breathproject.it/ita/
Wanderlust
27 SEPTEMBER
With the effects of climate change ever on the horizon, environmentally charged art installations continue to make waves across Europe. These simple yet powerful motifs speak volumes of the need to restore not only the mountains, but the skies above and the seas below. Words: Amanda Sheppard
A
ctivist art and protest pieces are increasingly catching the eyes of critics and members of the public alike. In the digital age, art of every description has been thrust into the public sphere – it is no longer confined to the pristine inner walls of galleries. But for some, this is not merely a modern by-product. Rather, it rests at the very core of their artistic philosophies. And with this changing tide, a new breed of artists is brushing through Europe – artists ready to engage with their surroundings, and to encourage a dialogue on climate change within the current social climate. Cast your eyes to Venice, one of Europe’s cultural capitals and among the art world’s most revered cities. At the 57th International Venice Biennale earlier this year, Lorenzo Quinn unveiled Support – a sculpture depicting two hands reaching out from the depths of the Grand Canal to secure the walls of the Ca’Sagredo Hotel. On display until 26 November, Support casts a spotlight on environmental conservation efforts and climate change awareness; it encourages others to act, and to play a part in securing the future of the perennially sinking city.
Main image: Support sculpture, outside Venice’s Ca’Sagredo Hotel Below: Artist Lorenzo Quinn putting the final touches on the sculpture
Image: Halcyon Gallery
Image: Halcyon Gallery
The rising tide
24
25 SEPTEMBER
We tried, as much as possible, to preserve the idea that we don’t want to abuse the mountain in the name of art; but to abuse art in the name of the mountain,” explains Escif. The crux of the project is not in its creation. In fact, its very success will be proven when the initial motif disappears altogether. “Humans sometimes feel more powerful than nature,” says Oriente. “But we don’t want to do that by marking the mountain with our sign. We want to spread a message, and then let it change and disappear.” Should the project triumph, it will seamlessly blend into its surroundings and offer a new lease of life to the foothills of Mount Olivella. This rising tide in the creative world is not the mere production of art for art’s sake. Rather, it uses art as a means to enact change, and to correct the damage wreaked on the environment. Indeed, these are artists creating not only art that reflects life, but art that breeds new life.
Using age-old techniques, Quinn reminds us of the meticulous work and craftsmanship involved in the arts. But Support also holds another meaning. In his artist statement, Quinn explains, “The hand holds so much power – the power to love, to hate, to create, to destroy.” The future of the planet, Quinn reminds us, is quite literally in our hands. Cities like Venice with its inherent fragility are at the frontlines of this battle, and in a race against time. But it is not only the rising tides of our oceans calling artists to arms. Barren lands continue to replace the former glory of Europe’s expansive landscapes. A handful of artists look not only to mimic life, but indeed to recreate and restore it. Project Breath is one such undertaking – the initiative aims to plant 5,000
trees atop Mount Olivella, a sight the project’s curator, Antonio Oriente, became very familiar with in his youth, having grown up in Sapri, southern Italy. With Spanish conceptual artist Escif at the helm, Project Breath looks to breathe life into a land which suffered at the hands of deforestation in the
26
18th century, and has been plagued by flooding and climate-related concerns ever since. Escif’s motivations are clear. He explains, “We are exhausting its natural resources, looking down on future generations, animals, plants, trees and the Earth itself. Let’s reverse the damage process. Let’s plant new trees on Earth. It’s time to recharge. It’s time to breathe.” Project Breath is set to be Europe’s largest ever art project,
covering a land mass equivalent in size to 17 football fields. The reforestation of Mount Olivella will take place in stages, depicting the different stages of a battery re-charging and representing the revival of the surrounding lands. As seasons change, the leaves will transform the battery from red to green, mimicking the life cycle of a charging cell. The first stage of the reforestation process will take place this month, with the symbol of the mountain’s revival soon to
be visible from near and far. Project Breath redefines the parameters of public art. The campaign launched successfully via crowdfunding site Indiegogo. “Crowdfunding is a great medium to galvanise public awareness. People feel involved in a collective project, and part of a democratic process,” explains curator Oriente. “The big challenge with Breath is that we are directly intervening in nature and modifying it.
Clockwise from top left: A rendered landscape of Mount Olivella A projection of the largescale artinstallation Project Breath in progress Street Artist Escif’s mural in Katowice, Poland Project Breath envisioned through the seasons Visualising the project’s start
Image: www.breathproject.it/ita/
Image: www.breathproject.it/ita/
Wanderlust
27 SEPTEMBER
