http://www.artscatalyst.org/projects/ en nicola.triscott@artscatalyst.org Copyright 2010 2010-05-20T14:17:33+00:00 http://www.artscatalyst.org/projects/detail/arctic_perspective_initiative/ http://www.artscatalyst.org/projects/detail/arctic_perspective_initiative/#When:14:17:33Z The Arctic Perspective Initiative (API) aims to empower local citizens of the North via open and free media, communications and sensing technologies. API is the brainchild of artists Marko Peljhan and Matthew Biederman. The work group comprises HMKV, Germany, The Arts Catalyst, UK, Projekt Atol, Slovenia, Lorna, Iceland, and C-TASC, Canada. API is working to design and create a mobile media lab and living unit that can be used to support nomadic lifestyles: working and living “on the land” away from established Arctic settlements. The nomadic media units will be powered with renewable energy sources and will leave virtually no adverse ecological footprint, while enabling filmmaking, media production, subsistence hunting, and environmental observation. For example, the unit could provide a hunter living on the land the ability to stream, in real time, their personal story to the internet, giving the world the opportunity to understand the reality of the Canadian Arctic directly from the people living there. The unit’s systems will enable communities to do their own environmental monitoring, allowing them to gain an even greater understanding of how their local environment is being shaped by the changing climate. The API process is a collaborative one. We are working with the Igloolik community, in Nunavut, Northern Canada, to develop the uses, design and program of the media unit. In August 2009, members from the API were invited to participate on a trip throughout Sikusiilaarmiut imanga, Nunavut, to visit traditional camps with local community members, elders and youth. During 2009, API held an international open design competition for the mobile unit, receiving more than 100 entries from over 30 countries. An international jury decided on three prize-winners: Richard Carbonnier (Canada), Giuseppe Mecca (Italy) and Catherine Rannou (France). In 2010, the API will return to Nunavut to consult community members on unit designs, test open communications networks, remote sensing systems, and coordinate media literacy workshops. The prototype unit is scheduled to be delivered and tested during the winter of 2010 in Igloolik, Nunavut, Northern Canada. Exhibitions & Publications Exhibitions and presentations from the project are taking place in 2010 in London, Montreal, and Dortmund, directing public attention to the cultural, political and ecological significance of the Arctic and its native cultures. In Dortmund, this will take place in the framework of European Capital of Culture RUHR 2010 and the international media-art conference ISEA 2010. Further dates and details to be confirmed. A series of small publications, covering key ideas in the various fields: architecture, circumpolar culture, open source technologies/remote sensing, are also being produced. Support API is supported by the European Commission Culture 2007, City of Dortmund, Slovenian Ministry of Culture and Arts Council England. API Project Website www.arcticperspective.org Links to artists' websites: Matthew Biederman 2010-05-20T14:17:33+00:00 http://www.artscatalyst.org/projects/detail/thecaseofthedevianttoad/ http://www.artscatalyst.org/projects/detail/thecaseofthedevianttoad/#When:14:52:54Z New York artist, activist and ecological researcher, Brandon Ballengée brings his startling high-resolution scanner photographs, video and preserved specimens of deformed toads to the Royal Institution for his first London solo exhibition: The Case of the Deviant Toad. The show, exploring issues of biodiversity and ecological change, presents the outcome of the artist's 'Ecoactions' and study of UK amphibians commissioned by The Arts Catalyst and Yorkshire Sculpture Park. In this the International Year of Biodiversity, Ballengée's artistic practice warns of high incidences of amphibian deformity in response to environmental degradation through his creation of aesthetically rich images and intriguing installations.  In the exhibition, Ballengée presents variations of his sculptural series Styx which display cleared and stained specimens of deformed toads, each tiny animal presented in a precisely illuminated glass dish. In a gallery context, the specimens resemble translucent gems; enchanting, terrible and other-worldly. Framed watercolour prints of detailed vibrant specimens scans are reminiscent of x-rays, presenting large-scale images of fragile delicacy to invoke viewers' empathy. The free exhibition at the Royal Institution, The Case of the Deviant Toad, coincides with the launch of a new publication of Malamp: The Occurrence of Deformities in Amphibians by Brandon Ballengée. Ballengée, now based in New York. has worked with The Arts Catalyst since 2007 leading field trips to Gunpowder Park, Essex and Yorkshire Sculpture Park, Wakefield to collect specimens which highlight environmental changes which impact on biodiversity. Monday 15 March 2010 6.30pm Café Scientifique - discussion about the work of artist and ecological researcher Brandon Ballengée, chaired by Nicola Triscott, Director of The Arts Catalyst - free admission, book online at Royal Institution events 7.30pm  Book launch and exhibition opening Exhibition open from 16 to 31 March 2010, Monday to Friday, 9am to 11pm, Free admission Publication: Malamp, The Occurrence of Deformities in Amphibians by Brandon Ballengée. A monograph, jointly published by The Arts Catalyst and Yorkshire Sculpture Park, brings together Ballengée’s UK research with findings from his global amphibian studies. It includes texts on his practice from arts, science and ecological perspectives, including a keynote essay by the renowned art critic and curator Lucy R Lippard. Additional contributors include Clare Lilley, Head Curator at Yorkshire Sculpture Park; Nicola Triscott, Director of The Arts Catalyst; Dr Stanley K Sessions, Professor of Biology, Hartwick College and Dr Kerry Kriger, Director of Save the Frogs. The publication is richly illustrated with extraordinary photographs, Ballengée’s drawings and other artworks. Malamp: The Occurrence of Deformities in Amphibians, Brandon Ballengée. Edited by Nicola Triscott/Miranda Pope. 72 page, softback. £15.95. ISBN 978-0-9534546-7-9 Buy your copy here Full picture credits: Scanner photographs of cleared and stained multi-limbed Pacific Tree frogs from Aptos, California in created in scientific collaboration with Dr Stanley K Sessions. MALAMP titles in collaboration with the poet KuyDelair; Unique Digital chromogenic prints on watercolor paper, 2001-07. Courtesy the artist, New York City and Nowhere Gallery, Milan.Detail: Cleared and stained deformed Pacific treefrog from Styx sculpture installed at the Biotechnique Exhibition, Yerba Beuna Center for the Arts, San Francisco 2007. Malamp drawings, 1997-2000 of deformed Pacific Treefrogs from California. Polluted pond water, ash, and leftover coffee on artist-reconstituted paper. Photographs Foto22 courtesy of the artist and private collection, New York City. Malamp drawings, 1997-2000 of deformed Pacific Treefrogs from California. Polluted pond water, ash, and leftover coffee on artist-reconstituted paper. Photographs Foto22 courtesy of the artist and private collection, New York City. External links: The International Year of Biodiversity, Malamp UK Youtube Video, Antennae Issue 10, Green Museum, Eco Art Space, Archibald Arts, Wave Hill, Malamp Partner websites: Yorkshire Sculpture Park, Royal Institute of Great Britain 2010-03-15T14:52:54+00:00 http://www.artscatalyst.org/projects/detail/interspeciesLondon/ http://www.artscatalyst.org/projects/detail/interspeciesLondon/#When:14:51:49Z Interspecies asks: Can artists work with animals as equals? If not, what is the current state of the human-animal relationship? It has recently been shown that humans are closer to the higher primates than previously thought, with chimpanzee and gorilla behaviour reflecting politics, deception and even possibly creativity. What does this mean to the way we see ourselves as one species inhabiting a planet in crisis? This exhibition centres around a durational work by Kira O'Reilly and draws together projects by Nicolas Primat and other artists who question the one-sided manipulation of non-human life-forms for art, and have tried to enter the animals’ point of view as a fundamental part of their practice.  It has to some extent been inspired by Donna Haraway's When Species Meet, but was triggered by discussions with the late Nicolas Primat.  The artists: Nicolas Primat specialised in directly working with monkeys and apes in collaboration with primatologists. In Portrait de Famille, he is playfully swarmed by a tribe of squirrel monkeys, in Demo Bonobo, he established a relationship via sexual signals with a group of Bonobo apes and in The Making of Les Petits Hommes Vers he and his colleagues make a science fiction film with a group of monkeys.   Kira O'Reilly's durational performance Falling Asleep With A Pig. The artist and pig (Deliah) cohabit a living space, partially viewable by the public for 72 hours. At some point the pig and artist fall asleep. The work addresses the ethics of human and animal interaction, acknowledging the implicit ambivalences and violence in the appropriation of animals as a resource.    Antony Hall's Enki Experiment 4 allows visitors to Interspecies to communicate with an electric fish on the same level, avoiding the use of language, instead stimulating a shared empathy through a physical connection.  Ruth Maclennan's films Harry and Three short films on Hawks and Men explore the relationship between a bird of prey and the human being who trains it, capturing the rapt gaze of hunter and bird, recalling ancient ideas of shape-shifting and shamanic transformations.  Rachel Mayeri's Primate Cinema: Baboons as Friends juxtaposes footage of baboons taken in the field with a re-enactment by human actors, shot film noir style in a bar in Los Angeles. A tale of lust, jealousy, sex and violence transpires simultaneously in non-human and human worlds.   Beatriz da Costa's work PigeonBlog proposes an alternative way to participate in environmental air pollution data-gathering through equipping urban homing pigeons with GPS-enabled sensing devices. PigeonBlog is intended as a social experiment between humans and animals. Snæbjörnsdóttir/Wilson's Radio Animal involves a specially designed caravan in which the artists to travel to various locations in the UK to gather material from people about their relationship to animals. They are particularly interested in animals that are considered ‘unwelcome’ visitors but have for whatever reason found their way into what we may consider our own territories.  Animal Radio is a Story Gallery, Lancaster commission funded by the Henry Moore Foundation. Events: Interspecies included two symposia chaired by Rob La Frenais: Non-Human Primates with Sarah-Jane Vick - primatologist and psychologist; Patrick Munck - artist, videographer and collaborator with Nicolas Primat; Rachel Mayeri - artist Animals, Humans and Power with Giovanni Aloi - editor Antennae; Ruth Maclennan - artist; Helen Macdonald, author of Falcon; Bryndis Snæbjörnsdóttir; Karen Knorr - artist and photographer Rachel Mayeri also held two Primate Cinema workshops on How to Act like an Animal as part of the exhibition The exhibition was shown earlier in the year at Cornerhouse in Manchester, 22 January - 22 March 2009. Links to artists' websites: Kira O'Reilly, Antony Hall, Ruth Maclennan, Rachel Mayeri, Beatriz da Costa, Snæbjörnsdóttir/Wilson Exhibition supported by: Arts Council England, Darwin 200, A Foundation 2009-11-30T14:51:49+00:00 http://www.artscatalyst.org/projects/detail/darkplaces/ http://www.artscatalyst.org/projects/detail/darkplaces/#When:13:45:15Z New works by Neal White of the Office of Experiments, Steve Rowell, Victoria Halford & Steve Beard, and Beatriz da Costa explore spaces and institutions below the radar of common knowledge. Dark Places examines how artists are evolving strategies for art as a form of knowledge production, challenging accepted patterns in contemporary culture and society. The Office of Experiments’ (OOE) Overt Research Project sets a background for Dark Places as it maps and records advanced labs and facilities that are unwittingly – or purposefully – concealed from public view. Developed by a team of independent researchers, 'Dark Places - South Edition', will feature an interpretive slideshow as well as field guide to local sites through an information kiosk. Elsewhere in the gallery, OOE celebrates the openness of knowledge through The Mike Kenner Archive. Revealing years of campaigning by one man into the public biochemical warfare experiments conducted by Porton Down (Salisbury), the work explores how 'Dark Places' throw their shadows onto those that question them. Victoria Halford and Steve Beard's film Voodoo Science Park traces a secret geography of the Health and Safety Laboratory in Derbyshire, where train crashes and industrial accidents are re-created to examine their destructive pathways. Mixing fact and fiction, the film imagines a delayed encounter between poet William Blake and political philosopher Thomas Hobbes. The result is an uncanny meditation on science and popular memory. Exploring the ‘dark places’ of zoological science, Beatriz da Costa’s A Memorial for the Still Living is a sombre reflection on endangered species of the British Isles. Presenting a selection of rare animal, insect and reptile specimens, including loans from the Natural History and Horniman Museums, da Costa identifies these collections – and the bleak future they imply - as sites of hidden knowledge. Steve Rowell from the US group the Centre for Land-Use Interpretation (CLUI), in his project Ultimate High Ground, uncovers shared US-UK spaces of military power. Realised as a multi-screen film installation, the work focuses upon RAF Menwith Hill, North Yorkshire, a communications intercept and missile warning site, known for its distinctive raydome structures. Steve has also worked as a key researcher on the OOE Overt Research Project. Dark Places will also feature a filmed interview between Stephen Foster, Director, John Hansard Gallery and the exhibiting artists. A new publication, featuring a project introduction, artist contributions and an essay by Sally O’Reilly, will be available throughout the exhibition. Events: The Culture of Enthusiasm - Passion & Technology.  Monday 23 November 2009 4-6pm.  A discussion around the love, fascination and nostalgia for technology with Bee Thakore, Professor David Perrett and Neal White chaired by curator Rob la Frenais.Secret Spies - children's workshop.  Saturday 12 December 2009 11.30am-3.30pm. A free workshop for children to create and document their own endg=angered species  using mixed media and sculpture.The Cold War Legacy in the South - Secrecy and Technology bus tour. Saturday 23 January 2010 10am-6pm.  Artists from the Office of Experiments and other experts lead this fascinating bus tour of critical sites of advanced technological development in the South of England.  the tour will focus on sites that emerged during the tensions and paranoias of the Cold War.  Participants will need to bring photo ID and may bring cameras or other e=recording equipment and materials, as desired.  Tickets £10, lunch and refreshments provided.  To book call +44 (0)23 8059 2158 or email info@hansardgallery.org.uk Media coverage: The Guardian, ArtDaily Links to artists' websites: Steve Rowell, Beatriz da Costa, Office of Experiments, Exhibition supported: Arts Council England The Office of Experiments’ Overt Research Project is supported by UCL Department of Geography and The Media School, Bournemouth University. Led by Neal White with Steve Rowell and Lisa Haskell. Dark Places is commissioned by The Arts Catalyst and co-curated with the Office of Experiments, John Hansard Gallery and SCAN.   2009-11-24T13:45:15+00:00 http://www.artscatalyst.org/projects/detail/theneighbour/ http://www.artscatalyst.org/projects/detail/theneighbour/#When:09:22:44Z Bombay-based Ashok Sukumaran is one of the few artists in the world making work that directly addresses issues of infrastructure: the ideological and human landscapes that surround flows such as electricity, water, data and trade. Beyond the claims of infrastructures of access, his work engages with ideas of distance, hierarchy, directionality and doubt amidst the “networks”. This ambitious project is Sukumaran’s first major one-person exhibition in the UK. In The Neighbour, two ostensibly “mobile” habitats share space. One is a “static” mobile home from the late 1970s, which developed as a way for lower-middle class families to partake in “caravan culture”, or escape longer term from the city and its property regimes. The second, coming from another direction in the same period, is a camper van, which follows gypsies and travellers in an attempt to produce the continuously nomadic home, built in the car factory. These two objects, from the inside and out, ask us to inhabit questions about the contemporary housing industry, the overlaps in our landscapes of desire, of crisis, and the psychic dimensions of enclosure and spacing that have evolved not just among people, but also among competing machines, and their regulatory frameworks. Sukumaran says: “these are maybe second cousins, somewhere between the family and the polis. They are neighbours as a result of a mutual migration, from more traditional forms of modernity. This is an allegory of neighbourhood, a result our inability to fully escape each other.” Psychological analyses of the neighbour (from Freud to Zizek) suggest the “logical tragedy” of the Judeo-Christian injunction to love thy neighbour “as thyself”. The landscape darkens, and curiosity, obsession and suspicion appear as deep forces that overflow the ideology of tolerance, or “safe distance” from the other. Still the neighbour remains largely unknowable, opaque. Sukumaran: “Lurkers, pests, potential collaborators, potential spies, potential contaminants seems to appear often in our recent work. Their threat or presence shapes relations, and gives rise to the leaks, negotiations and traversals that we are interested in, those that test the older network paradigms.” Ashok Sukumaran (b.1974) came to international prominence with the extraordinary work Glow Positioning System, 2005. In 2008, he co-founded CAMP, a space for critical artistic research, imagination, and archiving projects.  He was awarded the first prize of the 2005 UNESCO Digital Arts Award, and received a Golden Nica at the Prix Ars Electronica, 2007. Related website: Ashok Sukumaran Art MonthlyArt Radar AsiaCulture WarsWestminster News Online Kultureflash 2009-03-13T09:22:44+00:00 http://www.artscatalyst.org/projects/detail/interspeciescornerhouse/ http://www.artscatalyst.org/projects/detail/interspeciescornerhouse/#When:12:50:49Z Four artists were commissioned to develop projects with non-human animals. Kira O'Reilly, one of the most experimental and controversial performance artists in the UK, presented an action/installed performance featuring herself and a sleeping female pig. The work addresses the ethics of human and non-human animal interaction, acknowledging the implicit ambivalences and violence in the appropriation of animals as a resource. Nicolas Primat worked with primatologists and zoos to make a new work in which higher apes are taught video skills. The apes make the creative decisions, with humans simply providing guidance and training. Primat's work explores how the animals' ‘natural’ communication skills can be extended into the realm of human/ape creative collaboration. Antony Hall encouraged the public to directly communicate with live electric fish in the gallery space, through mild electrical impulses (both tactile and visual). The artist's motivation for this project relates to his long term interest in aquariums. Typically installed as calming objects, on closer inspection they are revealed as contained environments of both aggressive conflict and submissive tolerance. The Department of Eagles (Ruth Maclennan) is produced a participatory project, examining the communications between falconers and falcons. For centuries, these birds have served to naturalise human surveillance.  Arguably, their existence only continues today through human intervention such as tagging, breeding programmes, and the construction of artificial nesting environments. Two other works were shown: Rachel Mayeri's Primate Cinema, which casts human actors in the roles of mating non-human primates, Beatriz Da Costa's PigeonBlog which investigates the military use of homing pigeons. All the artists in Interspecies question the one-sided manipulation of non-human life forms for art. They instead try to absorb the animal's point of view as a fundamental part of their work and practice. Interspecies is part of the Darwin 200 celebrations in 2009. 12 February 2009 marks the 200th anniversary of Darwin's birth. A series of talks and debates between the artists, writers, scientists and animal welfare experts accompanied the exhibition. Interspecies was later shown at the A Foundation's Rochelle School in London, 1-4 October 2009 Related websites: Kira O'Reilly, Antony Hall, Ruth Maclennan, Rachel Mayeri, Beatriz da Costa, Snæbjörnsdóttir/Wilson, Cornerhouse The GuardianHuman FeaturesOpen Dialogues Blog Exhibition supported by Arts Council England, Darwin 200 2009-01-24T12:50:49+00:00 http://www.artscatalyst.org/projects/detail/nuclear/ http://www.artscatalyst.org/projects/detail/nuclear/#When:14:00:15Z Nuclear power is re-emerging as a concern for our times, both as a generator of energy and as part of a defence strategy. Today it seems to stand for the failed utopian promises of modernism and a fresh hope for a carbon-free future. The contradictions that lie at its core have provided a rich source of questioning for artists, scientists, ecologists and activists for many years. The Nuclear exhibition explores these intricacies through two new commissioned works by Chris Oakley and Simon Hollington & Kypros Kyprianou.  Last year, high court judge Jeremy Sullivan caused an apparent setback to the government's nuclear energy ambitions by ruling that public consultation into the creation of a new fleet of nuclear power stations was "misleading" and "seriously flawed". Soon after these events, Simon Hollington & Kypros Kyprianou started a residency at The British Atomic Nuclear Group as part of a public perceptions programme. Hollington & Kyprianou's work in Nuclear is the outcome from this residency, particularly their work within B.A.N.G's wide-ranging public consultation into the possibility of siting a nuclear power facility in the heart of London. Their new installation, 'The Nightwatchman' traces changing perceptions of the nuclear power industry over its 50 year history through a single immersive narrative environment, blending fact and fiction into a darkly humorous journey through hard-nosed PR and spin to a logical hysteria. Chris Oakley's new film Half-life looks at the histories of Harwell, birthplace of the UK nuclear industry, and the new development of fusion energy technology at the Culham facility in Oxfordshire. Oakley gained the cooperation of both these organisations in his research and filming. The film examines nuclear science research through a historical and cultural filter. With the recent widespread acceptance of the reality of climate change driven by carbon dioxide emissions, the work explores the realities and myths surrounding the nuclear sciences. Events: Nuclear Talkaoke, 3-7 pm, Friday 14 November 2008, Nicholls and Clarke Building, 3-10 Shoreditch High Street, Spitalfields, London E1 Hosted by The People Speak, the Talkaoke is a mobile chat-show  which will allow visitors to comment on the work and the issues around it in an informal and entertaining way. Nuclear Forum 10am-6pm, Friday 28 November 2008, at The Royal Society of Arts (RSA), 8 John Adam Street, WC2N 6EZ In partnership with RSA Arts & Ecology, The Arts Catalyst and SCAN present a forum exploring the impact of nuclear power in art and culture. Prominent artists, writers and experts discuss their work and engagement with the issues around nuclear energy, from Hiroshima through the 50s' white heat of technology and the Cold War nuclear tensions to present day energy debates. Speakers: James Acord, artist and 'nuclear sculptor' Keith Barnham (Imperial College) Paul Dorfman (Warwick University), expert on nuclear consultation and radioactivity risks, Kate Hudson (LSBU), chair of CND and editor of the journal Contemporary Politics Kyp Kyprianou & Simon Hollington, artists Steve Kurtz, artist and activist, Critical Art Ensemble (by video link) Gustav Metzger, artist and activist, founder of Auto-Destructive Art Chris Oakley, artist Pam Skelton, artist (Central St Martins College of Art) John Wills (Kent University), historian, author of Conservation Fallout, a look at nuclear protest in California Access: The Nicholls and Clarke Building and the RSA are accessible to people in wheelchairs.  Please note there is no on-site toilet at the Nicholls & Clarke Building.  For other access enquiries, please contact The Arts Catalyst on 020 7375 3690. Links to artsts' websites: Chris Oakley, Simon Hollington & Kypros Kyprianou Video and photo archive of The Nightwatchman: http://www.electronicsunset.org/node/82 Supported by: Nuclear: art & radioactivity is commissioned and produced by The Arts Catalyst with SCAN media arts agency, and in association with RSA (Royal Society for the Encouragement of the Arts, Manufacturing and Commerce) Arts & Ecology. The Arts Catalyst and SCAN are funded by Arts Council England. 2008-11-14T14:00:15+00:00 http://www.artscatalyst.org/projects/detail/satellitestories/ http://www.artscatalyst.org/projects/detail/satellitestories/#When:08:51:20Z Griffin has been collaborating with the scientists at the Mullard Space Science Laboratory (the UK's largest university-based space science research group) as part of her ongoing work about our connection to the orbiting built environment of satellites. Participants joined in the exchange of stories while moving through the spaces of the house and gardens, where satellites are woven into the fabric of this extraordinary place. Experience the voyages of spacecraft through the rooms, minds, garden, lanes, conversations, meetings, oceans, atmospheres, magnetospheres.... 3:30: Welcome talk – tea + snacks in library4:00:  Talks / guided tours, children's activities including lantern building workshop5:00 – 6:00 (twilight): Satellite Stories6:00: Satellite watching workshop, lights, music, conversation, 'Mullard' wineAn artist and educator based in the South West of England, Joanna Griffin's practice examines structures with political and scientific significance. Her work with Satellite Stories considers the complications around the control of the space of orbiting satellites, and what the technology is used for. What happens when individuals outside of this culture also want access to the view from above? This line of enquiry is detailed beautifully in the blog www.aconnectiontoaremoteplace.net .Admission to Satellite Stories is free.Satellite Stories has been produced in collaboration with the scientists of Mullard Space Science Laboratory, a department of University College London (UCL). The project is the first part of The Arts Catalyst's programme with UCL as a partner in their 'Beacons of Public Engagement' programme. Artist's website: Joanna Griffin 2008-11-02T08:51:20+00:00 http://www.artscatalyst.org/projects/detail/bipolar/ http://www.artscatalyst.org/projects/detail/bipolar/#When:12:52:50Z Two new commissioned works were shown at the Society of Antiquaries to coincide with the launch of the new book Bipolar, as the culmination of the Polar programme. Artist Anne Brodie took one of the lumps of ice that she had brought back from Antarctica out of its lodgings inside the British Antarctic Surveys freezer in Cambridge and let it not so gently melt over the course of the evening. It was acoustically wired up by sound engineers Lee Patterson and Mark Hornsby, and produced uncomfortably loud interruptions as the ancient air kept locked under pressure by the ice belched into the London air. The cabinet was recycled from an exhibition held in the British museum   Weather Permitting (Kathryn Yusoff and Jennifer Gabrys) presented a series of large snow globes containing contemporary or near-future polar landscapes. Forecast Factory: Snow Globes and Climate Change are part of a project that investigates the phenomena of weather, from tornadoes in trailer parks to drifting ice shelves in the Antarctic.  Publication: Bipolar is a interdisciplinary polar archive created for International Polar Year 2007-08. It is published to mark the 'Polar Archives' symposium and series of talks, held at the British Library in Autumn 2007, which brought together leading artists, scholars, scientists and thinkers to explore how our knowledge of the Polar regions is constructed and how it can be enriched. The book features essays from the renowned geographer Denis Cosgrove and cultural critic Kathryn Yusoff, and over 30 'archives' contributed by the symposium participants that investigate various records — visual, personal, historical, chemical, biological — that can enrich and extend our engagement with the Polar regions and their effect on global environments. The collection investigates how archives place demands on us to think about what is vital in that knowledge—vital to our present work and to the work to come—the basis on which we remake worlds. With the Polar regions under increasing pressure due to climate change, both environmentally and geopolitically, these archives assume their most potent role as the basis on which we imagine and shape the futures of both polar and global spaces. Authors include Denis Cosgrove, Kathryn Yusoff, Nicola Triscott, Eric Wolff, Heather Frazar, Rachel Weiss, London Fieldworks, Stephan Harrison, Marko Peljhan, Katrina Dean, Anne Brodie, Sverker Sörlin, Simon Faithfull, Aqqaluk Lynge. Price £12.95 ISBN 9780953454662 Edited by Kathryn Yusoff Published by The Arts Catalyst, 2008 Designed by PKMB/Paul Khera Full colour, 128 pages, softback. Dimensions 220 x 170mm. Buy online from Cornerhouse Links to artists' websites: Anne Brodie and Weather Permitting 2008-06-20T12:52:50+00:00 http://www.artscatalyst.org/projects/detail/bipolar_book/ http://www.artscatalyst.org/projects/detail/bipolar_book/#When:10:37:57Z Bipolar is a new interdisciplinary polar archive created for International Polar Year 2007-08. It comprises essays by Denis Cosgrove and ∫and over 30 'archives' by artists, scientists and thinkers, participants in the Polar programme, that consider how our knowledge of the polar regions is constructed and can be enriched. Authors also include Nicola Triscott, Eric Wolff, Heather Frazar, Rachel Weiss, London Fieldworks, Stephan Harrison, Marko Peljhan, Katrina Dean, Anne Brodie, Sverker Sörlin, Simon Faithfull, Aqqaluk Lynge Price £12.95 ISBN 9780953454662 Edited by Kathryn Yusoff Published by The Arts Catalyst, 2008 Designed by PKMB/Paul Khera Full colour, 128 pages, softback. Dimensions 220 x 170mm. BUY ONLINE from Cornerhouse 2008-06-01T10:37:57+00:00