L’article CATALOG OF THE TEN YEARS OF THE INTERNATIONAL GARDEN FESTIVAL – HORTILLONAGES AMIENS est apparu en premier sur COAL.

L’article Recipe Stories est apparu en premier sur COAL.

For several decades, artists have been taking up ecological and societal issues. Each in their own way, they alert, mobilize and explore artistic solutions to reconnect with nature. Through the works of sixty artists such as Suzanne Husky, Jason deCaires Taylor, Olafur Eliasson, Vik Muniz, Brandon Ballengée, Object Oriented Art, Lucy + Jorge Orta, Alexandra Daisy Ginsberg, Gideon Mendel, Michael Pinsky, Nicolas Floc’h, Rocio Berenguer, Andy Goldsworthy… discover how, beyond forms and techniques, art has the power to transform collective imaginations and act for the environment

Art and Ecology
By Lauranne Germond and Loïc Fel with Joan Pronnier
Éditions Palette…
27,50 € – 80 pages – From 12 years old

>>> Buy the book

L’article A reference book on art and ecology est apparu en premier sur COAL.

L’article The river that wanted to write est apparu en premier sur COAL.

Read the article by Lauranne Germond, co-founder and director of COAL, in the latest issue of L’Observatoire, La revue des politiques culturelles, “What the arts tell us about the transformation of the world”.

At the same time builders of utopias, scouts, disruptors, activists… artists make us sensitive to the weak signals of our time. They offer us the necessary fictions to think about the future and invent critical forms to equip our reflection on the present. In this world in deep upheaval (technical, political, ecological and cultural), what do artists tell us? Through the imaginary worlds they create, how do they alert us and enlighten us about the world to come? What paths do they open up for thinking about it differently? And in what ways do they act on reality?

Lauranne Germond proposes elements of response, alongside Bruno Latour, Marielle Macé, Paul Ardenne, Estelle Zhong Mengual and many other thinkers and artists.

Publication coordinated by : Lisa Pignot and Jean-Pierre Saez

Go here to order your copy

About the Observatory of Cultural Policies

The Observatoire des politiques culturelles is a national organization that works on the articulation between artistic and cultural innovation, changes in society and public policies at the territorial level. Through the organization of studies, meetings, continuing education and the dissemination of information, the OPC plays a role of enlightenment for a wide circle of arts and culture professionals, experts and elected officials.

L’article Lauranne Germond in L’Observatoire, La revue des politiques culturelles est apparu en premier sur COAL.

How to think or rethink ecology today? While the climate and environmental emergency has been declared,
The French Embassy in Beijing and the French Consulate in Shanghai
are collaborating to build a small library of the environment, ecological transition and biodiversity as it is intellectualized in France.

This series of texts by French intellectuals will be translated into Chinese and published on our networks before being relayed by our media partner
The Paper
.

This week, the floor is given to Loïc Fel, Doctor of Philosophy from the University of Paris 1 Panthéon-Sorbonne, CEO of the agency influence for good, and co-founder of COAL.

THE NEW ARCADIA

Text by Loïc Fel,
Translated by Huang Lina

Ecology needs an imagination

At a time when humanity is facing a global and systemic crisis, as much ecological as economic, social and governance, it is looking for a future model that reconciles the benefits of development inherited from the industrial revolution with a society that is more just, more equitable and harmoniously integrated into the biosphere.

Until now, alarmist speeches have tended to slow down the optimism necessary for mobilization, and purely political approaches (global COP negotiations for example) or purely technological approaches (development of more virtuous industrial means) are disembodied, far from the daily life of citizens and insufficient for the necessary transformation of our lifestyles.

In fact, each profound change in our civilization was matched by an imaginary vision of what the world would be like afterwards. An imaginary that is specific and positive enough to motivate citizens to change and to implement the efforts necessary to achieve that change.

Today this imaginary, a common construction resulting from the reflections of artists, philosophers, scientists, but also, of course, from popular movements, citizen and associative commitment, is beginning to show some main lines such as happy sobriety instead of consumerism a consultative and peaceful local democracy adapted to the realities of the territories rather than centralization and exacerbated nationalism, an integration of man and his activities in a preserved environment rather than a separation of the two universes and the exploitation of the resources of one for the other in a linear way.

But these broad outlines need to be embodied in the vision of a daily life, on the scale of the individual, to build a new mobilizing utopia. And this work of a common imaginary is very exactly a cultural question, mobilizing the diversity of the contemporary artistic expressions to produce the representations or to propose the experience of it.

This idealistic imaginary, as in various times, always keeps in filigree that of a mythical golden age, a time when the daily life would have embodied the values of equity, of sober but deep happiness, of inclusion in the nature etc. A utopian imaginary without any historical reality that, in order to have more body, has over the centuries been attached to a region, which has become the symbol: Arcadia.

The imaginary of Arcadia, in spite of the risk of pastism that it could induce, offers a structure for imagining the expected new model. However, the ethereal imagination is no longer sufficient in the face of the finitude of the world and the resolutely physical and concrete aspect of the challenges facing humanity today. Also, utopia today must be proven, embodied in a place, and be pragmatic. But doesn’t this embodiment risk making each project appear fragmented or anecdotal in relation to the issue at stake? How to achieve a global imaginary of the sustainable world?

The project of imagining a global future Arcadia, while pragmatic and concrete, is difficult to approach as a whole. It is thus from various points of entry, and in a perspective on the scale of the individual, that the contemporary artists involved explore this project of civilization.

An experimental method for the lived experience

To do this, these artists seem to develop a methodology of creation that we find more or less in most of the projects. The projects concerned are not limited to the production of an object, a work, but are defined as processes. Moreover, most of these artists claim the heritage of Joseph Beuys and appropriate the idea of social sculpture. These projects are located and adapted to a territory. They are generally participatory, eco-designed, of sober aesthetics, and performative, in the sense that they “do” something. Take for example the STUWA contemporary art trail developed in the Sundgau region in southern Alsace. Since 2015 each year 7 different communes among the 112 of the territory welcome an artist in residence from a project. The latter works with a local referent, stays in the home, sources its materials locally, mobilizes volunteers, and produces a project that explores one of the issues of sustainable development. For example in 2016 the work of the collective the new neighbors named Gemütlichkeit embodies this methodology. Indeed, the artists started from the question of the building, which alone represents 23% of the total CO2 emissions in France and the major part of waste production. They capitalized on the vernacular architecture of the half-timbered house by updating it to be more efficient from the point of view of sustainable development, both by integrating recycled and new local materials, sometimes unexpected like plastic scraps instead of tiles, but also foreign techniques like burning the wooden structure of the half-timbered house, a Japanese technique that ensures the durability of wood. This demonstrative work has brought together a dozen local companies and allows us to imagine future proposals for construction, the work of art having served as a pretext for developing and experimenting with these new techniques and new materials.

Gemütlichkeit, artistic creation of the duo Les Nouveaux Voisins, STUWA, Sundgau, Alsace, 2016

Thinking about a retro-future for a society project

The future that emanates from these projects has the particularity of both projecting towards the future, while rehabilitating aspects that seem to belong to the past, before the industrial revolution, and resolutely situationist, far from the idea of globalization. It is in this sense that a new Arcadia is taking shape, a form of “retro-future”, far from the usual futuristic imaginary.

The artists’ projects on this sustainable future are intended to be symbolic, in accordance with the precept “think global, act local”. Indeed, one of the difficulties in defining a new sustainable Arcadia is that it cannot be universal in its application. What is sustainable here is not necessarily sustainable elsewhere, depending on local resources, social and cultural specificities, etc. Conceiving an imaginary world with principles such as those outlined in the introduction, embodied in works that respond to a local context, does not facilitate everyone’s projection into the future. The cycle of exhibitions “Act Global, Think Local” at the Centre Européen d’Actions Artistiques Contemporaines in 2015 and 2016 explores precisely this contradiction between the necessity of a universal Arcadia, but at the same time its permanent reinterpretation here and now, everywhere… This cycle, which brought together more than twenty European artists, proposed to the visitors to reappropriate the world, at its scale, to become an actor, whether on the CO2 market with Amy Balkin, a barter system around Nicolas Floc’h, or the food production with the collective Art-Act, etc…

Far from the idea of globalization, this imaginary world has to face a particular and new difficulty by oscillating between “low tech” and “high tech”. Indeed, artists who imagine a post-carbon world, and therefore post oil, gas and coal, face likely restrictions such as for transportation, with fossil fuel replacement technologies slow to come. Restrictions on mining resources and therefore on certain everyday equipment, and finally contextual restrictions, depending on local resources. This is the first time that an imaginary of a better tomorrow includes a retreat from something, and not just a development… That’s why this imaginary is sometimes confusing. For example, Laurent Tixador experiments with this idea in a radical way with his transitory architectures. He invests alone and without any material a space, like a forest, then creates tools from the materials of the site, makes a shelter and little by little develops his level of comfort.

But at the same time, this future cannot be free of the cutting-edge technologies that will enable us to adapt to climate change, as long as they do not depend on dwindling resources. Biotechnologies and nanotechnologies, for example, populate the imagination of this future, as in Alexis Rockman’s paintings, and can also frighten the public.

However, it is indeed an Arcadia that is taking shape with an urbanism where food production and vegetation is included, where comfort is based on ecosystem services, in a more sober but more pastoral society, less frenetic and fast. This was demonstrated, for example, by the Vivre(s) exhibition at the Domaine de Chamarande in 2014, which brought together artists’ proposals on the food of the future, combining the rediscovery of ancient tastes and varieties with modern production methods. For example, the work of the Safi collective called Glace Royale consists of producing 3 flavors of ice cream from plant resources of the domain with a local ice cream maker, then commercialized with a bicycle-ice cream maker designed by the artists. A symbolic experiment in the relocation of production, this work conveys an imagination that includes the notion of pleasure, an idea that is essential to enhance the simpler and more “pastoral” future of the new Arcadia, which does not lose quality of life.

This question of the quality of life and the choice of society that we must make, for a new Arcadia for example, is what the project HAPPY OWNERS: the unreal estate agency explores. Happy Owners is a fictitious real estate agency that takes real estate advertisements at their word by imagining a city where nature would reassert itself, in a poetic context.

The artist Soazic Guezennec, creator of the agency, imagines exuberant creations where buildings turn into waterfalls, mushrooms invade the city, and mountains fall from the sky. To make this utopia credible, the projects are described in the classic media of real estate communication: videos, brochures, plans, models and advertising posters.

The projects are displayed in a professional environment, to create confusion with already 10 agencies opened in India, one in Istanbul and soon in New York.

Each agency is a space for discussion that questions the idea of nature. Visitors are invited to express their desires and dreams of habitat, and are encouraged to become members of the community of these dream constructions.

Conclusion

By whatever entrance we consider the imaginary of a sustainable future, it reveals itself of a great complexity and even a paradoxical structure that does not facilitate its capacity of attractiveness to mobilize the publics. This is why it is time today that artists seize it beyond the experiments to propose a syncretic vision of the future. It is now probably up to the great makers of narratives, such as novelists and filmmakers, to project us into a global vision of this future of a happy ecological transition, of a new Arcadia.

To read
in French and in Chinese on

Faguowenhua.com

L’article (Re)thinking Ecology | The New Arcadia est apparu en premier sur COAL.

“The last issue of the magazine Klaxon is entirely dedicated to the creation in connection with the living.

In the summary: an opening by Benoit Vreux, John Jordan, Sara Selma Dolores, Alexandre Dewez and Isabelle Fremeaux on the outstanding artists of the living. Another chapter dedicated to artivism ” Cultures of rebellion ” by John Jordan and Isabelle Fremeaux. Still on artivism, the performance artist, Christophe Meierhans, reveals his efficient practice of art. There is also an interview with Lauranne Germond, director of the association COAL, by Pascal Lebrun Cordier.

In the previous issue, the magazine Klaxon, responded to the ecological disasters by transforming our representations, reconfiguring our imaginary of the living to consider other relationships to it, modify our attention and sensitivity regimes, see, hear and think differently the world.

After the imaginary and the symbolic, the real. Does artistic creation in public space manage to transform it? How and with what effects?

These are the open questions in this issue. It will be a question here of action art, of artivism, of transformational creations, of cooperations between artists and winemakers, of urban design for humans and insects, of acting architecture built on acts… The artists he presents here want to transform situations, indeed. Their approaches aim at a certain efficiency, tangible even if often modest. Far from the classical conceptions of autonomous art, which is to itself its own end, untied from any engagement in the hard of the world, these approaches cling to the asperities of reality, assert themselves as means in the service of non-artistic causes: mobilizing citizens “with love and rage” (Extinction Rebellion), creating joyful and determined communities of action to repair the world, or prevent the continuation of its destruction; supporting the rise of threatened flora, of fragile species; activating spaces of hospitality…

L’article KLAXON #13 – ACTING WITH THE LIVING est apparu en premier sur COAL.

PUBLISHING

The magazine, with the same name as the exhibition, collects and unfolds the series of interviews heard in snatches at the exhibition. To Face takes up the artistic and philosophical proposal of New Relation to undertake an analysis and research on the theme of the Anthropocene. They turned to researchers who have made these issues their specialty. This publication is thus presented as a series of interviews in a form close to a discussion, crossing geography, epistemology, anthropology, sociology, language sciences and environmental psychology.

Loic Fel, co-founder and president of the association COAL, makes us aware of the repositioning of a human being in the process of becoming intimately integrated into the natural environment.

To find the whole interview of Loic Fel or directly on the website To Face – New relation

The entire publication includes interviews with:

Alix Cosquer (researcher in environmental psychology)
Loic Fel (philosopher)
Aurelia Gualdo (PhD student in anthropology)
Geraldine Le Roux (ethnologist)
Michel Lussault (philosopher)
Stephanie Posthumus (ecocriticism specialist)

THE GHOST BAG

New Relation has developed a new fabric consisting of fishing nets recovered from the sea (waste from intensive fishing tools), encased in Econyl regenerated nylon. Recycled and recyclable, this object is part of an evolving cycle, an open loop. By the way of making, it is a question of paying attention to the trace of the object: the idea of a before of the matter and a potential after.

THE EXHIBITION

The exhibition proposes a device to put in psychoanalysis the bag taken as a conscious subject. Around the couch on which it is placed we can hear fragments of interviews mixed with the sound of a recomposed ocean: these are the voices of researchers who question a decentered relationship to the environment. These words are relayed and communicated to the visitors who are witnesses and transmitters of this open reflection.

Site To Face – New relationship

Edition on sale HERE

Artist/Designer : New Relation (Mattia Akkermans and Morgan Belenguer).
Editing and interview direction: Alexandre Parodi and Leonore Larrera
Curator: Léonore Larrera
Graphic designer : Alice Villiers

L’article Interview with Loic Fel for the To face edition est apparu en premier sur COAL.

Paul Ardenne : the notion of “environmental” art is complex. The Anglo-Saxons speak of “Eco Art”, which is not necessarily clear either. How would you define, to cut it short, a “green” art?

Lauranne Germond : It is always delicate to lock art in categories, especially since this “green” art covers a very great diversity, a vast cloud of green practices! The term “ecological” art has the advantage of covering the political and social field, of referring to the complex and systemic thought of ecology rather than to its only environmental dimension, which is rather reductive. One can also question the use of the color green, which tends for example to make forget the blue. That of the atmosphere and the oceans, which represent 90% of the living world…

Therefore, we must gain in precision. A simple definition is excluded?

For my part, I will distinguish three typologies of practices that can define what constitutes “ecological” art today, typologies that often intersect and overlap: witnessing and sharing knowledge; political and symbolic action; and resilience practices.

Can you elaborate?

First typology: the one proper to the artists who testify, who give a face to the Anthropocene, who make perceptible at the same time the extent of the ecological crisis, the hidden pollutions, the distant sufferings, the impoverishment of unsuspected resources, the degradation even the destruction of the ecosystems and their consequences on the populations, the living and the landscapes.

This approach covers a vast range of documentary practices but also, more broadly, a large part of current art and science approaches. Each manifestation of the ecological crisis unveils a new field of scientific knowledge which arouses the fascination of artists and upsets the artistic imagination. Observations, experiments, field work…, the artists appropriate the tools of science to explore, to understand and to share the state of the art in scientific assessment of the ecological crisis.

In return, they shake up the world of rectitude of the laboratories and open up new perspectives in terms of knowledge sharing and ecological awareness.

A multidirectional creation
Second typology, you said, the political and symbolic action.

Yes, art that acts on the systems at the origin of the ecological crisis to denounce them, short-circuit them, transform them. The artistic action, in this case, is more deliberately political. His weapons are the deprogramming of the imaginary by the writing of new narratives, utopian and dystopian, but also by the decolonization of the systems of representation even in the lexical field. To the point of inventing new words to allow us to talk about our feelings in contact with climate change, as the New York artist-activists Heidi Quante and Alicia Escott invite us to do. Let’s mention here, again, the social sculpture.

This one reinvests the field of the collective to give to the citizens the power to change the rules at micro-local scales (Thierry Boutonnier). Also, the interference of legal frameworks (Amy Balkin, Maria Lucia Cruz Correia), with the aim of having rights or environmental crimes recognized through a strong symbolic and collective action. This is political ecology in art. It is built on community ties, sharing, conviviality and symbolism.

Which brings us to your third typology, direct activism.

The third practical field, concerning “green” creation, intends to act directly at the level of ecosystems and the ecological footprint, in a perspective of resilience: art becomes inseparable from the ways of doing and producing. It is based on operating principles such as the economy of means, reuse, the use of materials with low environmental impact, the invention of new materials or the restoration of natural environments (Anne Fischer). It can be a matter of bringing back the natural to the city or, on the contrary, of reactivating the potential of neglected rural spaces. There is an explosion of practices in this area. In fact, there are many third places and ultra-local territory projects led by artists who want to reconcile their convictions, their lifestyles and their creation. The artists then become variously farmers (Olivier Darné), engineers (Jérémy Gobé), herbalists (Suzanne Husky), shepherds (Fernando Garcia Dory), and even sometimes spider or wolf (Boris Nordmann). This art form is closely linked to nature, de facto. Until renewing even the definition of the art… Yes. Even if these examples of “naturist” art remind precisely that this way of reconnection to the nature, for our culture which is so far from it, is not made so simply. Ecological art also gives rise to all sorts of attempts to reconstruct an intimate link with the living: to dialogue with non-human species (interspecism), to revive lost states of consciousness through spiritual, ritual or shamanic practices. There too, it is a whole field of contemporary art that is involved.

To read the whole interview, discover the extract of the exhibition catalog in the press kit of the exhibition
HERE

L’article interview – Catalogue of the exhibition Green currents, Creating for the environment est apparu en premier sur COAL.

On the occasion of its tenth anniversary, the European network for art and climate change Imagine 2020, of which COAL is the French representative, invited the critic and essayist Pieter Van Bogaert to a Grand Tour of Europe, during which he was able to meet with committed artists collaborating with the Imagine 2020 network’s cultural partners, from a dozen European countries.

In the spring of 2018, he thus embarked on a “grand tour” and traveled through the 10 partner cities of the Imagine 2020 network to meet the artists in their studios. It is by bike, train, plane and boat that the author accomplished this incredible journey and crossed the cities of Antwerp, Hamburg, Lisbon, Ljubljana, London, Lyon, Riga, Rotterdam, Terschelling and finally Zagreb.

The book offers us a compilation of conversations and experiences conducted by the author, including the chapter Accablement: Cable, Thread, Link, with Thierry Boutionnier, artist winner of the COAL art and environment award 2010 for his project “Take Roots!” and regular collaborator of COAL. In this conversation with Pieter Van Bogaert at his home in Lyon he talks about his working process, his projects and his thoughts.

Grand Tour 2020 – Meetings Across Europe on Art and Ecology will be launched in France at the Musée de la Chasse et de la Nature during the evening
Ice stories
November 28 and will be on sale from November 29 at the Marianne Goodman Bookshop and elsewhere.

Image credit: © Imagine 2020

L’article Grand Tour 2020 – Meetings Across Europe on Art and Ecology est apparu en premier sur COAL.

This 4th edition of IETM’s New Perspectives was produced in collaboration with COAL.

Climate change is overwhelming us. Scientists are warning that our civilization is on the verge of collapse unless we make a radical shift to a low-carbon, resource-efficient economy.

Art, calling on other instincts and logics than those of political rhetoric, economic bullshit and scientific data, prepares us for this change – not by cold calculations, but humanly.

Download the Publication “New Perspectives: Art for the Good of the Planet

This publication, written by Hannah Van Den Bergh, was presented at the ArtCOP21 professional workshop organized by COAL, On the Move, IETM, IFACCA, and Julie’s Bicycle, held at the Gaité lyrique on December 3 and 4, 2015.

L’article New IETM Perspectives: Art for the Good of the Planet est apparu en premier sur COAL.

IETM, in partnership with COAL, is pleased to announce a new call for papers for the next IETM New Perspectives on Arts and Environment research dossier.

Have you developed art projects and practices that include environmental sustainability in their content and/or in their relationship with the public and local communities? Is this question of ‘sustainability’ the subject of a specific project, or is it part of a long-term strategy, also in connection with your touring policy, the scenography, your venue etc.? ? Does addressing environmental sustainability involve specific challenges for your search for support and funding?

We are curious to hear your feedback on how the arts can embrace environmental sustainability and produce change at the level of individuals and society at large. We are also interested in the challenges and failures you may have faced, and the lessons you have learned.

This new edition of IETM’s New Perspectives is developed in collaboration with COAL, the Interdisciplinary Coalition for Art and Sustainability created in France in 2008 by professionals in contemporary art, sustainable development and research. This publication will be presented at ArtCOP21 in Paris(http://artcop21.com) during the International Conference on Climate Change (or COP21).

If you would like to participate, please take a few minutes to fill out the questionnaire below and return it to ietm@ietm.orgavantby June 15.

Questionnaire
– Title of the project / action.
– Brief description.
– When and where will it be realized?
– Who is involved in its design and implementation?
– What is/was the target audience?
– What was the (immediate) cause of this project?
– How does it relate to the rest of your practices / previous initiatives?
– How has it been / will it be distributed or shared?
– How has it been/will it be evaluated?
– Who funded it?
– Would you (or someone from your organization) be available for a possible phone/skype interview to discuss this project/initiative in more detail? In this case, please provide your name, email address and phone / skype number.

Deadline: June 15th

Credit: Thierry Boutonnier, Triste Trophique, 2013.

L’article New Perspectives “Arts and Environment”: Call for papers open until June 15 est apparu en premier sur COAL.

The press conference will take place at the Fondation Cartier pour l’art contemporain this Friday, January 18, 2013 at 9:30 am and will be moderated by Loïc Fel of COAL.

MANIFESTO OF INTEGRAL NATURALISM 1978-2013

From the first Manifesto written with Pierre Restany in 1978 to the New one written with Claude Mollard in 2013, the artist Frans Krajcberg renews his cry of revolt!

Pierre Restany, Diary of the Rio Negro, 1978 (1st edition 2013)

In this unpublished travel diary, the art critic Pierre Restany recounts his progress along a tributary of the Amazon. At the same time, he enunciated the principles of a new theory of art and the original formulation of the Manifesto of Integral Naturalism. This text is a fundamental critical contribution to a vision of ecology as a cultural revolution.

Preface by Gilles Tiberghien

Frans Krajcberg and Claude Mollard, New Manifesto of integral Naturalism, 2013

35 years after Pierre Restany’s Rio Negro Manifesto (with Frans Krajcberg and Seep Baendereck), Claude Mollard and Frans Krajcberg update this fundamental text.

This New Manifesto of Integral Naturalism wants to contribute to move the consciences, and to develop an artistic movement on the theme of the nature. It wants to influence the behavior of political leaders who are too often inert in the face of growing threats to the planet. It is a call to all actors of the art world.

CONTACTS
Journal du rio Negro: Baptiste Lanaspeze 06 61 57 81 37
New manifesto: juliebinet(at)gmail.com

L’article COAL partner of the Manifesto of Integral Naturalism 1978-2013 est apparu en premier sur COAL.

The COAL Art and Environment Prize is awarded each year to a contemporary artist involved in environmental issues. The winner is chosen from among ten nominees, selected through an international call for projects, by a jury of personalities from the world of contemporary art, research, ecology and sustainable development. Its objective is to encourage artists to take hold of the major contemporary societal and environmental issues and to participate in the emergence of a new culture of nature and ecology. The COAL Art and Environment Award is now an international event that attracts many renowned artists and pioneers of art related to ecology. This success testifies to the creative potential of the plastic arts on this theme through the great wealth of approaches proposed.

Each year, a theme is honored. In four editions, the call for projects of the COAL Prize has received nearly a thousand applications from more than 50 countries.

Created in 2010 by the association COAL, the COAL Art and Environment Prize, worth 10 000 euros, is placed under the high patronage of the Ministry of Culture and Communication, the Ministry of Ecology, Sustainable Development and Energy and the National Center of Plastic Arts. It also benefits from the support of private partners, notably the Yves Rocher Foundation and the Egis Group.

The COAL Prize catalogs:

Catalog COAL Awards 2017

COAL Awards 2016 Catalog

Catalog COAL Awards 2015

COAL Awards 2014 Catalog

Catalog COAL Awards 2013

Catalog COAL Awards 2012

Catalog Prix COAL 2011

L’article COAL Prize Catalogues est apparu en premier sur COAL.

BACKGROUND

Culture, ecology and sustainable development: an international dynamic

Internationally, institutions, public cultural policies, art centers, artists, communities, are mobilizing on the theme of ecology and sustainable development, around resource centers, research groups and actions, exhibitions, festivals, symposiums, residencies, and implement real strategies of action.

In this acceleration of initiatives, France has so far been very discreet, despite its two major assets: a strong ecological culture and a dense artistic and cultural life.

ISSUE

Initiate a cultural and artistic approach to ecology and sustainable development

a. Develop the cultural expression of a social project:
– Promote a sensitive expression, accessible to all
– Empowering individuals to participate
– Giving cultural actors a key role in the animation of the project

b. Promoting ecology as a creative theme:
– Raising awareness and mobilizing artists on the theme of ecology
– Produce cultural projects on the theme of ecology

c. Spreading ecology as cultural “background noise”:
– Integrate sustainable development in the initial training of cultural sector actors
– Create platforms for exchange and knowledge between the two worlds
– Promote the integration of sustainable development in cultural actions and productions

OBJECTIVES OF THE STUDY

– Identify and analyze the best initiatives, organizations, exhibitions, research centers, territorial actions dedicated to art and ecology, in France and abroad
– To allow the main international, European and French organizations to meet, to share their experiences and to design a common project.
– To define the “specifications” for a specific action in France, taking into account the needs and expectations of very different stakeholders: companies, NGOs, local authorities, institutions, artists, art centers, foundations, research centers, etc.

>> CONSULT THE STUDY

The second part of the study (A selection of artists’ projects and a French and international directory of the best initiatives) can be consulted in the “NETWORKS” section.

See also THE ABSTRACTS OF THE ART, ECOLOGY AND SUSTAINABLE DEVELOPMENT WORKSHOP, MARCH 30 AND 31, 2011 – NATIONAL NATURAL HISTORY MUSEUM

L’article INTERNATIONAL OVERVIEW OF ART, ECOLOGY AND SUSTAINABLE DEVELOPMENT INITIATIVES est apparu en premier sur COAL.