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<strong>Chris Wainwright </strong><br>Red Ice 3<br />Colour C Type print on aluminium<br />2009

<strong>Unfold crated </strong><br>Part of Sam Collin's work 'Sometimes the Journey is Better than the Destination'<br />

<strong>Francesca Galeazzi </strong><br>Justifying Bad Behaviour. Performance<br />2 Digital prints on Perspex, Aluminium mounted<br /><br />These images are made in a short window of time when the power of the video projector matches the light of dawn, when there is both message and ice. This fleeting moment of human excess is so short, two hundred years, but for the glacier it is barely a single breath taken.<br />

<strong>Amy Balkin </strong><br>Climate Change 2007: Synthesis Report – Summary for Policymakers<br />Video <br />2008<br /><br />Amy Balkin reads the ‘Summary for Policymakers for the Synthesis Report of the IPCC Fourth Assessment Report (AR4) on climate change science’. Shot in one long take, the work addresses the intersection of climate change, speech, bureaucracy, and political participation. <br />

<strong>Tracey Rowledge </strong><br>Arctic Drawings<br />Black / coloured felt tip on paper<br />2008<br /><br />During the 2008 Cape Farewell Disko Bay Expedition, artist Tracey Rowledge created these drawings by suspending one or more felt-tip pens from underneath the seat of a chair in her cabin over a sheet of paper. Each drawing captures the movement of the boat at different times during the expedition.<br />

<strong>Ackroyd & Harvey </strong><br>Storm Drawings<br />2 ink on paper / 2 luminescent paint<br />2007<br /><br />The ‘automatic’ drawings were created by Dan Harvey during a violent storm<br />whilst crossing the Greenland Sea on board the Noorderlicht. A ball soaked<br />in ink (drawings 1-2) and luminescent paint (drawings 3-4) was placed directly onto seawater soaked paper.<br />

<strong>David Buckland </strong><br>Portrait. Jarvis Cocker<br />Photographic print, perspex mounted <br />2010<br /><br />These portraits offer a world beyond the photograph, an insight into how each person sees and constructs the world and importantly how each has formulated their own idiomatic expression of climate change. This is their story, a synthesis between the power of the photograph and the power of the written word.<br />

<strong>Installation shot </strong><br>18 May 2010 – 8 June 2010<br />Vienna, Austria<br />University of Applied Arts<br />

<strong>Brenndan McGuire </strong><br>The River<br />Video loop<br />2010<br /><br />The River is shot with a cheap point and shoot camera and embellished with a soundtrack containing some ambient, original music and sounds that I recorded in the jungle. I tried to capture the feelings and nostalgia that I have for the journey down the river.<br />

<strong>David Buckland </strong><br>Blue Glacier<br />Photographic print, aluminium mounted<br />2009<br /><br />Broken glacier ice formed by waves and wind probably more than a thousand years old. Its overt sexual representation refers not to the female gendering of 'earth' but the need for a genuine gender balance in the power base of the decision processes. The artist is convinced that this one act alone would significantly redraw society and help balance our climate responsibilities and actions. The image was made to provoke, as is its agenda.<br />

<strong>Lucy Jorge Orta </strong><br>Vitrine – Amazonia<br />Steel structure, copper tube, tap, laminated Lambda photograph, 4 OrtaWater bottles, 2 floats, 2 flasks, aluminium cup <br />2010<br /><br />Vitrine makes reference to the artist’s longstanding research focus on the subject of water, containing bottles from their water purification projects in Rotterdam and Venice, as well as the iconic pierced gourds and containers.<br />

<strong>Ackroyd & Harvey </strong><br>Polar Diamond<br />Diamond mounted on White Gold pin<br />2009<br /><br />Using technology to accelerate a process that usually occurs naturally over millions of years, a diamond has been grown from graphite extracted from the cremated ash of a polar bear bone. The artists were given the bone by the Governor of Svalbard in 2007 and the diamond was grown with the support of the Royal Academy of Arts, London.<br />

<strong>Robyn Hitchcock KT Tunstall </strong><br>Here Comes The Sun – There Goes The Ice<br />Video<br />2010<br /><br />On the voyage to Disko Bay with Cape Farewell Robyn wrote 'There Goes The Ice' and took the song fresh to KT Tunstall in the next-door cabin and they recorded it there and then.<br /><br />Lyrics Robin Hitchcock / Performed by Robin Hichcock KT Tunstall / Images by Chris Wainwright<br />

<strong>Adriane Colburn </strong><br>Forest for the Trees<br />Paper, ink jet prints, aluminium, steel, ink, paint<br />2010<br /><br />Forest for the Trees is a meditation on the complex relationship between nature and industry; sustained land vs. commodified land; matter on the surface of the earth vs. the matter below ground; the morphing of the forest into an industrial landscape; and the fine lines between use and exploitation.<br />

<strong>Daro Montag </strong><br>Leafcutter ant drawing, Amazon rainforest<br />Carbon and oil on pre-used paper<br />2009<br /><br />Leafcutter ants - an organism in motion <br />Harvesting food supplies from a distant location<br />Following ingrained patterns of behaviour.<br /><br />An oily line of carbon disrupts their path.<br />What happens when they encounter this totally unexpected intrusion into their world?<br />What choices do they have?<br />What decisions do they make?<br />Can they learn from experience and adapt to the new circumstances?<br />Can they incorporate this knowledge into their worldview?<br /><br />In what way is our behaviour reflected in that of the ants?<br />In what way does their behaviour mirror ours?<br /><br />What responses will we make as carbon completely changes our world?<br />

<strong>Ian McEwan </strong><br>The Hot Breath of our Civilisation <br />Text on LED display<br />2006<br />

<strong>David Buckland </strong><br>The Great White Sale<br />Photographic Print, Perspex Mounted<br />Text by Amy Balkin<br />2008<br /><br />These images are made in a short window of time when the power of the video projector matches the light of dawn, when there is both message and ice. This fleeting moment of human excess is so short, two hundred years, but for the glacier it is barely a single breath taken.<br />

<strong>Marije de Hass </strong><br>Wellness over time<br />Inkjet print on paper<br />2010<br /><br />During the 2009 Cape Farewell trip to the Peruvian Andes and Amazon, Marije tracked the crew’s physical reaction to the various climate extremes they were put through; altitude, humidity, cold, heat, diet, wildlife and exertion. The results are logged on this chart showing the intensity of the crew’s experiences.<br />

<strong>Shiro Takatani </strong><br>Ice core<br />Media installation <br />2005<br /><br />This installation presents photographs of part of a 2503m ice-core drilled in 2005 at Dome Fuji in Antarctica.<br /><br />Commissioned by the Natural History Museum of Latvia in Riga, for the exhibition Conversations with Snow and Ice – observation/imagination –, his installation was presented in 2005, as part of a retrospective of the works of the snow and ice scientist Ukichiro Nakaya (1900-1962). With cooperation of Institute of Low Temperature Science, Hokkaido University, National Institute of Polar Research in Japan, Takeo Hondo, Atsushi Miyamoto, Gorow Wakahama, and Fujiko Nakaya.<br />

<strong>Nathan Gallagher </strong><br>Lateral Moraine meets Fjord<br />Archival C-type print on Fuji Matt, mounted on Aluminum<br />2008<br /><br />The barren mountains were unforgiving in appearance; impenetrable, cold, the very benchmark that all things tough should be measured by. The glacier a serpentine mass of relentless crushing power. Like watching a heavyweight boxing match in a slow-motion so that a single drop of brow-sweat would take a year to hit the canvas.<br />

<strong>Clare Twoney </strong><br>Specimen<br />Un-fired China Clay<br />2009<br /><br />Specimen is made of unfired China Clay flowers that have been made by the traditional flower makers in Stoke-on-Trent. These skills are now as vulnerable as these delicate flowers. The journey that these flowers make will damage, if not destroy them, they are a remnant of the past honouring something we cannot save.<br /><br />Supported by Aynsley China Ltd.<br />

<strong>Sam Collins </strong><br>Sometimes the Journey is Better than the Destination<br />Packing Crates, GPS Tracker, Cables, Monitor<br />2010<br /><br />This work is a physical reminder that this exhibition has a journey beyond<br />whatever gallery it is experienced in. It came from somewhere and it will move on to somewhere else, it travels, it takes up space, it requires energy, materials and logistics. It existed prior to this exhibition and it<br />will move on once it closes.<br />

<strong>Lemn Sissay </strong><br>What if?<br />Video<br />2009<br /><br />'What If?' is a powerful examination of the direction that evolution has taken the human race in the 150 years since the publication of Darwin’s ‘On the Origin of Species’. Performed by poet Lemn Sissay in a studio with musicians Gary Crosby and Peter Edwards with shots of contrasting views of city life and of the fast disappearing Arctic regions, the film asks “what if we got it wrong?”<br /><br />'What If?' is part of Darwin Originals produced by Artsadmin and DVDance.<br />

<strong>Sunand Prasad </strong><br>Greenhouse Gas<br />Digital prints on Perspex, Aluminium mounted <br />2008<br />Photo by Nathan Gallagher<br /><br />On an Arctic beach vacated by a melting glacier, Sunand Prasad conceived the installation of four tethered helium balloons which between them delineate 540m² of space, representing one tonne of CO², the average emission per person per month in the UK. This visualisation of CO² can be repeated as a site-specific installation. <br /><br />Equipment supplied by Creatmosphere<br />

<strong>Leslie Feist </strong><br>Grey, Green, Blue, Black, White, Pink<br />Video<br />2008<br /><br />I thought I’d film some Super 8, and give myself a frame to look at the enormousness through. The whirring sound of the camera made everyone nostalgic for that time when our memories were turned silent by film. It suited the north, turning the groaning and cracking to grainy quiet.<br />

U-n-f-o-l-d

Unfold exhibits the work of twenty-five artists who have participated in the Cape Farewell expeditions in 2007 and 2008 to the High Arctic and in 2009 to the Andes. Each artist witnessed firsthand the dramatic and fragile environmental tipping points of climate change. Their innovative, independent and collective responses explore the physical, emotional and political dimensions of our complex and changing world stressed by profligate human activity.

This body of work addresses a new process of thinking where artists play an informed and significant role through creating a cultural shift, a challenge to evolve and inspire a symbiotic contract with our spiritual and physical world.

The exhibition is in London at Kings Place Gallery from 20 August to 1 October.

Kings Place, 90 York Way, London N1 9AG

Monday to Friday 10am - 6pm
Saturday & Sunday 11am - 5pm
Admission Free
Closed Bank Holiday 30 August

New Generation

Unfold is part of our New Generation programme

New Generation is a groundbreaking initiative that could help reform society’s notions of what art education can be. It will question ideas of what it is to be an artist in a world of fast-evolving social and cultural change. During the three years of the programme, working in partnership with three of the UK’s premiere arts universities, we will involve three student groups in a series of activity-based programmes.

Cape Farewell’s premise is that climate change will affect all communities globally. The way we have developed our lifestyles has created the problem and the solution is therefore a cultural responsibility. New Generation will establish the idea that cultural responsibility has a place at the heart of artistic practice, it offers an exciting opportunity for emerging artists and could provide a future model for arts-based education across the UK and internationally.
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Artists

Publication

Unfold. A Cultural Response to Cimate Change profiles the work of the artists in the exhibition and also proposes a number of creative and innovative responses to climate change aimed at stimulating discourse and a wider engagement with the climate debate. The texts by Gerald Bast, Steve Kapelke, Chris Rapley, David Buckland, Chris Wainwright and Helga Kromp-Kolb provoke, within an educational context, a discussion around what are the legitimate agendas for arts education and arts practitioners, in relation to some of the most pressing and urgent issues of our times. The publication has been made possible through a unique collaboration between Camberwell, Chelsea and Wimbledon Colleges of University of the Arts London, Columbia College Chicago and University of Applied Arts Vienna, in partnership with Cape Farewell.

Order on www.springer.com
Unfold. A Cultural Response to Climate Change
Buckland, David; Wainwright, Chris (Eds.)
1st Edition, 2010, 120 p., Hardcover
ISBN: 978-3-7091-0220-6
£26.99

Calendar

18 May 2010 – 8 June 2010
Vienna, Austria
University of Applied Arts
20 Aug 2010 – 2 Oct 2010
London, UK
Kings Place Gallery
Oct 2010 – Nov 2010
Newcastle, UK
University Gallery Northumbria
Nov 2010 - Jan 2011
Newlyn / Penzance, UK
University College Falmouth:
Newlyn Art Gallery
March 2011 – April 2011
Chicago, USA
Museum of Contemporary Photography
The Glass Curtain Gallery

David Buckland 2005

"The art of climate change - we intend to communicate through art works our understanding of the changing climate on a human scale, so that our individual lives can have meaning in what is a global problem."