Test Sites: Remedy for a City

Remedy for a City forms part of our 'Test Sites' programme, a series of inquiries into matters of concern connected with environmental change – such as flooding, pollution, and species loss – and their impact on local culture and the health and wellbeing of our ecosystems and ourselves.

In Camden, the area around Arts Catalyst's Centre in King's Cross, we are working with Dimitri Launder, the Artist Gardener, and several local projects and groups, as well as drawing on expertise from specialists in horticulture and medical health.

Treating the city as a body to explore the common ailments of communities and individuals, Launder’s Remedy for a City aims to create a dialogue with the dis-eases of society. During Summer 2017, he will be developing the Phytobscura, a mobile field device to collect medicinal plant material and hand written remedies, drawing on local knowledge around Camden.

If you would like to participate, please email Anna Santomauro at anna.santomauro@artscatalyst.org

The project will continue through 2018 and 2019 with creative activities, remedy gathering, and citizen science research leading to the creation of site-specific artworks, events, and an alternative archive of knowledge.

Artist

Dimitri Launder’s projects as Artist Gardener offer a gentle provocation to an apocalyptic view of urban ecological sustainability. His work often explores the liminal issues between public and private use of space, aspiring towards transformative urban propagation. Launder’s work has been commissioned by organisations including Tate Modern with his Apothecary Arborimum and RHS Hampton Court Palace Flower Show for Tales Of The NOOSPHERE recently featured in the Arte Útil archive. His ideas cross pollinate between commercial private gardens, public commissions and emergent ideas in his art practice. His experience in this grafted practice has developed over 15 years expertise as a garden designer and as an artist with inherent interests in ecology and socially engaged practices.

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Project

Test Sites: Calder

Test Sites is Arts Catalyst’s series of inquiries into matters of concern connected with environmental change – such as flooding, pollution, and species loss – and their impact on local culture and the health and wellbeing of our ecosystems and ourselves. At each site, we are involving local people in art-led co-inquiries, working with artists, scientists, and other experts.

In the Calder Valley in Yorkshire, where flooding and water pollution have been issues for 200 years, we are exploring water governance in relation to health, wellbeing and the resilience of communities and ecologies, in partnership with many local individuals and groups. The core team comprises artist Ruth Levene, anthropologist Megan Clinch, artist group Invisible Flock, curator Anna Santomauro from Arts Catalyst, with input from Liz Sharp at Pennine Water Group, University of Sheffield, and the water@leeds group, University of Leeds.

We began in 2017 by making two research journeys by narrowboat along the Calder/ Hebble Navigation meeting local people, river/canal users, and experts with interests in water, the history of the river and canal, and water governance.

During 2018, under the banner of ‘The River College’, we organised workshops with local groups and hosted stands and events at local festivals, using walks, games, geological cake-baking, water testing experiments and exhibits of maps and models to spark conversations around the geology, ecology, history, pollution and uses of the water system, while exchanging ideas around water’s social, spiritual, political and environmental meanings. Alongside, we held many group meetings and interviews to gather people’s varied understandings about the Calder water system and its management.

In Summer 2019, we presented a series of art installations and public events at festivals and venues along the Calder Valley, sharing our findings and continuing the inquiry with many more people. Find out more about the Summer programme here!

In 2020-21, Arts Catalyst has been working with Matterlurgy (Helena Hunter and Mark Peter Wright) who have been developing an inquiry and web platform investigating the ways in which a river’s health can be examined and understood.

CO-INQUIRERS


Ruth Levene is an artist based in Sheffield, Yorkshire working in video, performance, events, digital drawings, walks, installations and participatory work. Curious and concerned by the complex systems we live by, she is currently exploring water systems, farming and market driven developments of the countryside.

Dr Megan Clinch is an anthropologist and lecturer at Queen Mary, University of London. Her research explores how different forms of investigation, experimentality, evidence, and evaluation are understood (or not) and managed in the development of public health interventions.

Invisible Flock is an interactive arts studio based in the UK, making innovative artworks to be experienced and participated in by thousands all over the world. The artists create highly sensory installations and environments that ask us to re-negotiate our emotional relationship to the natural world.

Matterlurgy is a collaborative practice between London based artists Helena Hunter and Mark Peter Wright. They work in critical contexts of environmental change, across disciplines and media, combining the production of artworks with co-constructed events and live performance. 

Anna Santomauro is a curator, educator and researcher in micropolitics and socially engaged art. She is Programme Curator at Art Catalyst.

Test Sites: Calder Valley is supported by the Wellcome Trust, Canal and River Trust and Arts Council England.

Hero image: Design by An Endless Supply

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Warren Harper and James Ravinet: Research Residency at S-AIR, Japan

Curator Warren Harper and artist James Ravinet have been selected for a research programme in Japan organised in collaboration with Arts Catalyst and non-profit organisation S-AIR in Sapporo to research nuclear power and alternative energies.

During their time in Japan, they will meet with scientists, geographers, historians, activists and residents, including people local to the town of Toyotomi near Horonobe, where the engineering and geological research into radioactive waste storage takes place. Visits to Horonobe Underground Research Centre and Tomari Nuclear Power Plant will form an important part of the residency, which will inform their current project on nuclear culture, the Blackwater Estuary, and the complex issues around history, heritage and ecology as well as the geo-politics of energy production, consumption and subsequent ‘disposal’ in order to draw parallels between global industrial-natural sites of energy use and the communities that surround them.

The research trip will culminate with an exhibition a talk given by Harper and Ravinet who will discuss their own practices, and to coincide with these events, former Arts Catalyst artist in residence, Kota Takeuchi will give a talk about his research that he carried out during his residency in the UK.
 

This residency forms part of a wider, ongoing collaboration between S-AIR and Arts Catalyst who have partnered on several projects, including a number of artist and curator residencies, as well as co-producing the Actinium exhibition, forum and research programme, curated by Ele Carpenter, as part of Sapporo’s International Art Festival Collaborative Programme in 2014. In July 2016 artist Kota Takeuchi completed a residency at Arts Catalyst – during which time he researched the deep time concerns of monuments, site markers and memory around the UK and Belgium – and from September 2016-August 2017 S-AIR’s Programme Director Kyoko Tachibana is Curator-in-Residence at Arts Catalyst. 

During their residency at Tenjinyama Art Studio, facilitated by S-AIR, Japan, Ravinet and Harper will be taking over Arts Catalyst's Instagram account, giving glimpses of the locations that will inform their future research and work. Follow us on Instagram via @ArtsCatalyst to stay up to date.

Programme supported by:
Art Council England's Artists' International Development Fund and the Agency for Cultural Affairs, the Government of Japan

About S-AIR

S-AIR was established in 1999 with partial funding by the Agency for Cultural Affairs, to run an artist-in-residence programme in Hokkaido. Since it was approved to be a non-profit organisation in 2004, S-AIR started a collaborative residency project with ICC, in which we have been building networks with Japanese and international artists as well as art institutions in Japan and overseas. In 2011, S-AIR initiated a new programme, FRONTIER, which is supported by the Agency for Cultural Affairs. Other associated programmes were funded by the Agency for Cultural Affairs, the City of Sapporo, Pola Foundation and Japan Foundation.
 

Artists

James Ravinet is an artist and curator interested in the method of working collectively, across disciplines, and destabilising the understanding of authorship. Having graduated from the Royal College of Art Moving Image programme in 2016, recent shows include The Old Waterworks (2016); Royal College of Art, London (2016); Jerwood Space, London (2016); Firstsite, Colchester (2015); Dyson Gallery, London (2015); Light Eye Mind, London (2013). Curatorial projects have also included Migrating Origins (2014) with Warren Harper. He is currently Assistant Curator for Offsite Projects at Focal Point Gallery, Southend-on-Sea. His independent practice is comprised of a long-term project with Warren Harper on Nuclear Culture in Essex.
 
Warren Harper is a curator and researcher whose approach to working with artists is mainly collaborative, developing long-term projects and outcomes. Recent curatorial projects include Migrating Origins (2014) with James Ravinet, Digital Voices (2015) with Jonathan Weston, MORNING (2016) with artist Shaun C. Badham and the curation of the ESSEX Architecture Weekend talks programme in September 2016 with Stephanie Sutton. He has undertaken research for YoHa, Critical Art Ensemble and the Arts Catalyst for Wrecked on the Intertidal Zone and on Modernist architecture for the Radical Essex programme, led by Focal Point Gallery. He is currently working on a project with artist James Ravinet on Nuclear Culture. Warren is a former Assistant Director of TAP (Temporary Arts Project) in Southend-on-Sea, Essex.
 
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Exhibition

A Public Hearing – Cromer Street Lyric

As part of Everyday Urbanism: Architecture as Social Process postgraduate students from Goldsmiths Centre for Research Architecture, University of London have been in residence at Arts Catalyst’s Cromer Street Centre throughout May and June 2016. During this time, they have developed a project titled A Public Hearing in which they have used the form and function of the public hearing as an aid for investigating a number of contemporary experiences. This has produced a eight channel sound installation, and a range of events examining different aspects of speaking and listening.

For the final event of the project on Saturday 25 June the group have invited local choir groups, singers and musicians for a new lyric to be composed; distilled from conversations with local people and sounds heard in and around the environs of Cromer Street in King's Cross.

This final installation of A Public Hearing, organised by students from the Centre for Research Architecture, looks at oral histories and the means by which knowledge can be altered and passed along. The process for composition will be collaborative – dialogue, consensus and disruption will be made evident in the final choral arrangement. Simultaneous to the performance a live recording with feedback will play in an adjacent room suggesting the configuration of Arts Catalyst as a sensing organ attuned to and bearing witness to unfolding events.

Event schedule

Saturday 25 June, 12 noon – 7pm
12 noon – 6pm Exhibition and performance
5pm – 7pm Closing Drinks reception

This event is FREE no booking required


Support:

A Public Hearting is supported by the Wellcome Trust and Arts Council England. 

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Event

A Public Hearing – How to Speak

As part of Arts Catalyst's current programme A Public Hearing, MA students from the Centre for Research Architecture at Goldsmiths, host a workshop exploring different ways of speaking in public with vocal coach Christopher Holt and local Kings Cross barrister Ousman Noor
 

Drawing on procedural documents from public hearings* as a starting point, this workshop, organised by students from the Centre for Research Architecture at Goldsmiths, looks at the conditions and protocols under which public speaking is conducted. Beginning with a review of speaking in formalized settings – such as court, council chambers or in parliament – we will then look to different, informal, modes of speaking – such as gossiping, complaining, whispering – and invite participants to draw up an alternate set of instruction manuals that give priority to such forms of speech. The latter part of the workshop will review how formal instructions are registered and performed, revealing the impact this has on what gets said and who gets heard, and how architecture changes the register of sound, affecting the ways speech is delivered and supported.

*Public hearings originated from the process of the enclosure of public lands in Britain in the 18th and 19th centuries. They were held in order to create a petition to parliament to enclose the land, and then later to hear objections to the act created by Parliament. Today, public hearings are still used when dealing with both public lands and private properties.

This workshop is aimed at residents and workers of the Kings Cross Area. Open to all ages but 16+ preferred unless accompanied by an adult.

Event Schedule


1pm Lunch (Free)
2pm Workshop (Free)
Vocal exercises, discussion and rewriting manuals plus an introduction on court procedures. 

Biographies

Christopher Holt is an actor, a theatre director, a lecturer, a voice coach and a disability arts practitioner, and he has a 20 years experience in teaching, training and developing singing and speaking voices. Holt has lead vocal workshops and taught voice for professional actors, singers and dancers, students of theatre and groups of senior citizens.

Ousman Noor is a Barrister with extensive experience in representing individuals in immigration detention, making bail applications in Immigration Tribunals on their behalf. This experience led to a strong conviction that immigration detention was often performed unlawfully with insufficient transparency or accountability to the rule of law. In 2014 he set up The Habeas Corpus Project, a non-profit organisation that provides pro-bono legal representation in challenging unlawful detention of individuals in the UK.

Arts Catalyst's Centre will be open to the public for A Public Hearing as part of Everyday Urbanism: Architecture as Social Process
Thursday 2 June – Friday 24 June 2016
Thursdays & Fridays, 12noon – 6pm

 

 

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A Public Hearing – Technologies of Belonging

Calling all residents, workers and communities of Cromer Street and Kings Cross, come and share your stories at the first event in the A Public Hearing series

Saturday 28 May is the first in a series of events to explore the technologies of hearing and the point of mediation between the hearing and listening. It will be used as a foundation to lead into the events on the Saturday 11 June and Saturday 25 June that will continue to develop and explore these concepts and materials in more depth and alternative ones.

Technologies of Belonging investigates how hearing and vocalising are rehearsed. Presenting hearing as narration and storytelling rather than confession. Non-oral bodily sensing and an exploration of the non-human on variety of scales presented in an evolving exhibition as multi-speaker installation, with a collaged sequence of the recent interviews collected by the group with live elements fluctuating between different temporalities, histories and sounds.

Personal hearings

Through a series of informal conversations and discussions the group are inviting you between 1pm–3pm to come and contribute to a developing archive of material.

This event forms part of the first phase of Everyday Urbanism: Architecture as Social Process, where postgraduate students from the Centre for Research Architecture at Goldsmiths, University of London will be in residence at Arts Catalyst’s Cromer Street Centre throughout May and June. During this time, they will use the form and function of the public hearing as an aid for investigating a number of contemporary conditions.

Public hearings originated from the process of the enclosure of public lands in Britain in the 18th and 19th centuries. They were held in order to create a petition to parliament to enclose the land, and then later to hear objections to the act created by Parliament. Today, public hearings are still used when dealing with both public lands and private properties. Adopting the device of the public hearing, the Goldsmiths group will consider how diverse experiences and events are communicated through speech, vocalising, hearing and listening. Whose stories are heard and whose not? What other forms of nonhuman expression - animals, plants, industrial, atmospheric - are heard, and what new modes of sensing are needed? In short, who speaks and who listens, and with what technologies?

Arts Catalyst's Centre will be open to the public for A Public Hearing as part of Everyday Urbanism: Architecture as Social Process
Thursday 2 June – Friday 24 June 2016
Thursdays & Fridays, 12noon – 6pm
With events on Saturday 11 June and Saturday 25 June 2016
 
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Event

A Public Hearing

Arts Catalyst announces Everyday Urbanism: Architecture as Social Process, a research and public programme launching in May 2016 with A Public Hearing.

As the first phase of Everyday Urbanism: Architecture as Social Process, postgraduate students from the Centre for Research Architecture at Goldsmiths, University of London will be in residence at Arts Catalyst’s Cromer Street Centre throughout May and June. During this time, they will use the form and function of the public hearing as an aid for investigating a number of contemporary conditions.

Public hearings originated from the process of the enclosure of public lands in Britain in the 18th and 19th centuries. They were held in order to create a petition to parliament to enclose the land, and then later to hear objections to the act created by Parliament. Today, public hearings are still used when dealing with both public lands and private properties. Adopting the device of the public hearing, the Goldsmiths group will consider how diverse experiences and events are communicated through speech, vocalising, hearing and listening. Whose stories are heard and whose not? What other forms of nonhuman expression - animals, plants, industrial, atmospheric - are heard, and what new modes of sensing are needed? In short, who speaks and who listens, and with what technologies?

Through a series of hearings in June (some public, others with invited groups) and an exhibition, the students will bring together diverse participants, ideas and concerns. They will explore how the conditions of the hearing – vocalisation strategies, performance, technologies, architecture - affect how information travels from one body to an other and from one entity to many. Hearings will address local social issues, as well as more abstract themes.

Starting from Arts Catalyst’s new neighbourhood of Cromer Street in London’s Kings Cross and expanding out across the city, Everyday Urbanism: Architecture as Social Process will create a platform for international artists, urbanist collectives and research architects to link with a diverse range of local communities. Together these groups will explore and document the social, political and environmental issues affecting those who inhabit the city. Everyday Urbanism will evolve over the course of three years creating new relationships, networks, events, exhibitions and commissions.

Everyday Urbanism will be developed in collaboration with a curatorial advisory group including Arts Catalyst, Territorial Agency / John Palmesino and Ann-Sofi Rönnskog, curator Claire Louise Staunton (Flat Time House/MK Gallery) and Susan Schuppli, Deputy Director of the Centre for Research Architecture at Goldsmiths, University of London, and Cromer Street based Barrister Ousman Noor.

Hearings

A Public hearing – Technologies of Belonging
1.00pm - 3.00pm, Sat 28 May 2016
Arts Catalyst Centre for Art, Science & Technology, 74-76 Cromer Street, London WC1H 8DR
Calling all residents, workers and communities of Cromer Street and Kings Cross, come and share your stories at the first event in the A Public Hearing series
Saturday 28 May is the first in a series of events to explore the technologies of hearing and the point of mediation between the hearing and listening. It will be used as a foundation to lead into the events on the Saturday 11 June and Saturday 25 June that will continue to develop and explore these concepts and materials in more depth and alternative ones.
Technologies of Belonging investigates how hearing and vocalising are rehearsed. Presenting hearing as narration and storytelling rather than confession. Non-oral bodily sensing and an exploration of the non-human on variety of scales presented in an evolving exhibition as multi-speaker installation, with a collaged sequence of the recent interviews collected by the group with live elements fluctuating between different temporalities, histories and sounds.
 
A Public Hearing – How To Speak
Centre for Research Architecture at Goldsmiths with Ousman Noor
12.30pm, Sat 11 June 2016
Arts Catalyst, Centre for Art, Science & Technology, 74-76 Cromer Street, London WC1H 8DR
As part of Arts Catalyst's current programme A Public Hearing, MA students from the Centre for Research Architecture at Goldsmiths, host a workshop exploring different ways of speaking in public with vocal coach Christopher Holt and local Kings Cross barrister Ousman Noor. 
Drawing on procedural documents from public hearings* as a starting point, this workshop, organised by students from the Centre for Research Architecture at Goldsmiths, looks at the conditions and protocols under which public speaking is conducted. Beginning with a review of speaking in formalized settings – such as court, council chambers or in parliament – we will then look to different, informal, modes of speaking – such as gossiping, complaining, whispering – and invite participants to draw up an alternate set of instruction manuals that give priority to such forms of speech. The latter part of the workshop will review how formal instructions are registered and performed, revealing the impact this has on what gets said and who gets heard, and how architecture changes the register of sound, affecting the ways speech is delivered and supported.
This workshop is aimed at residents and workers of the Kings Cross Area. Open to all ages but 16+ preferred unless accompanied by an adult.
 
EVENT SCHEDULE
1pm Lunch (Free)
2pm Workshop (Free)
Vocal exercises, discussion and rewriting manuals plus an introduction on court procedures. 
Christopher Holt is an actor, a theatre director, a lecturer, a voice coach and a disability arts practitioner, and he has a 20 years experience in teaching, training and developing singing and speaking voices. Holt has lead vocal workshops and taught voice for professional actors, singers and dancers, students of theatre and groups of senior citizens.
Ousman Noor is a Barrister with extensive experience in representing individuals in immigration detention, making bail applications in Immigration Tribunals on their behalf. This experience led to a strong conviction that immigration detention was often performed unlawfully with insufficient transparency or accountability to the rule of law. In 2014 he set up The Habeas Corpus Project, a non-profit organisation that provides pro-bono legal representation in challenging unlawful detention of individuals in the UK.
 
A Public Hearing – Cromer Street Lyric
Arts Catalyst Centre for Art, Science & Technology, 74-76 Cromer Street, London WC1H 8DR
Sat 25 June 2016
For the final event of the project the group have invited local choir groups, singers and musicians for a new lyric to be composed; distilled from conversations with local people and sounds heard in and around the environs of Cromer Street in King's Cross.
This final installation of A Public Hearing, organised by students from the Centre for Research Architecture, looks at oral histories and the means by which knowledge can be altered and passed along. The process for composition will be collaborative – dialogue, consensus and disruption will be made evident in the final choral arrangement. Simultaneous to the performance a live recording with feedback will play in an adjacent room suggesting the configuration of Arts Catalyst as a sensing organ attuned to and bearing witness to unfolding events.
Event schedule:
12 noon – 6pm Exhibition and Performance
5pm – 7pm Closing Drinks Reception
 

The Centre for Research Architecture is a pedagogical experiment and political project that sits at the intersection of many fields and disciplines from architecture and media to law and climate science. Practitioners from a wide-range of backgrounds work within new conceptual frameworks, developing cutting-edge tools for undertaking spatial research and critical analysis.

The Centre investigates the urgent political conditions of our time through practice-led research. It asks: How can architecture engage with questions of contemporary culture, politics, media, ecology, and justice? Through a combination of fieldwork, theoretical enquiry, and creative approach, spatial investigations include both practical and theoretical considerations, concentrating on a distinct issue, process or site.

 

The group:

Henry Bradley is an artist whose work currently centres around concepts of the rehearsal and the gesture, using performance to enact methods of estrangement, repetition and interruption to enquire into the nature of the event itself.

Dana Abbas is an architect and academic based in Jerusalem whose practice is engaged with spaces of informality, specifically in the Palestinian-Israeli geopolitical context. Her recent research investigates spaces of exclusion and the visualisation of forced disappearances.

Sophie Dyer is a designer based between London and Berlin who studied at The Glasgow School of Art. Recent group exhibitions include; Valise, Volksbühne, Berlin; The Persistence of Type, Tramway, Glasgow and The Miraculous, Edinburgh Sculpture Workshop. She also contributes to the Parallel School community and Concrete Flux magazine.

Phoebe Eustace studied Fine Art in Leeds and Lisbon. Researching modes of 'community planning' looking specifically at forms of dialogue when the conversation centers upon the infrastructure that is necessary and at the same time relates us to each other.

Alexia Giacomazzi attended the University of Sydney, Australia. While working at Project Native Informant, her own practice revolves around questions of sonic culture and environmental attunement.

Ming Lin is a writer-researcher whose activities have frequently revolved around a small distribution point, shop and exhibition space in Hong Kong. Her work examines the poetics of production and circulation, particularly the slippages that occur as synthetising new forms of agency.

Emma McCormick-Goodhart is an artist, writer and researcher whose work engages with the notion of the voice and its enunciation. Currently conceiving a radio series for Clocktower Productions, she is a co-author of concept and participant in Infinite Ear for the 2016 Bergen Assembly.

Robert Preusse studied Visual Communications at the Berlin University of the Arts and is a contributer to the Parallel School community. His current research is focused on opacities in metadata.

Blanca Pujals studied architecture at ETSAB, Barcelona, and received an MA in Critical Theory and Museum Studies at the Independent Studies Program, Macba Museum, Barcelona. Her practice merges architecture, writing, curatorial and artistic approaches through the material conditions of regimes of representation.

Laurie Robins is based in London. Currently he’s making films approximately focused on behavioral studies, scientific management, landscape and animation.

Solveig Suess is a designer working between Beijing and London. She is co-founder of Concrete Flux, a journal addressing spatial conditions in China, and is currently enquiring into aliens, alibis and the New Silk Road.

Alexandra Symons Sutcliffe is a researcher, writer and organiser based in London. Her work is currently focused on issues of uncreative production, maintenance and fidelity.

Leonie Weber studied architecture in Stuttgart, Darmstadt and Århus. She is part of different research collectives and networks, such as baladilab, Architects for Social Housing and Concrete Action. Based in London, her current research focuses on ethical notions in the field of spatial practice, housing policies and the scope of ownership.

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Exhibition

Actinium – Residency, Exhibition & Fieldtrip, 2014

The Actinium publication is an account of the exhibition, field trip and discussion forum for Nuclear Culture during the Sapporo International Arts Festival in Japan, 2014.

Artists are making the nuclear economy increasingly visible by rethinking nuclear materials and architectures, decay rates and risk perception; questioning the 20th Century belief in nuclear modernity. As the international population becomes more aware of their role as participants in nuclear culture, this exhibition aims to create a space for open discussion.

The Actinium exhibition was an international hub for discussion about contemporary nuclear culture. The exhibition took place during the opening weeks of the SIAF 2014, and was the base for film screenings, discussion forum and field trips exploring the relationship between the metropolis and nuclear sites in rural Hokkaido.

Actinium is a radioactive element named after the Greek word ‘aktis’ a beam or ray, but its name reveals how little we know about the behavior of different kinds of alpha, beta and gamma radiation. Today the word actinium conjures ideas of action in response to radioactive materials as they enter the public realm through the nuclear cycle of weapons, energy, pollution and waste. Today artists and geologists explore the human time of the Anthropocene as the nuclear industry tries to reverse-mine radioactive waste back into the ground. The geological time frames for radioactive decay are beyond human comprehension and challenge the limits of knowledge and not-knowing.

The exhibition included works by artists James Acord (USA), Shuji Akagi (J), Chim↑Pom (J), Crowe & Rawlinson (UK/De), Karen Kramer (USA/UK), Cécile Massart (Belgium), Eva & Franco Mattes (USA), Thomson & Craighead (UK/Scotland) and was curated by Art Catalyst's Associate Curator, Ele Carpenter.

Actinium was curated by Ele Carpenter, Arts Catalyst, produced by S-AIR; and took place during the opening weeks of the Sapporo International Arts Festival (SIAF) in July 2014. The project was organised by NPO S-AIR, Sapporo. Supported by: Daiwa Foundation; Pola Foundation; The Agency for Cultural Affairs, Government of Japan; City of Sapporo; Arts Council England; Goldsmiths College, University of London.

 

Publication details

Actinium – Residency, Exhibition & Fieldtrip, 2014
Edited by NPO S-AIR and Ele Carpenter
Published in 2015
Cover design by Theodore Gray
Translated by Emi Uemura and Kyoko Tachibana
Colour and monochrome, 24 pages, softback and electronic

This publication has been made available as a PDF.

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Media or publication

Kota Takeuchi: Residency and Exhibition at Arts Catalyst

Kota Takeuchi will be artist in residency at Arts Catalyst's Centre during July 2016. His residency has been organised by S-AIR in Japan in partnership with Arts Catalyst, supported by the Sasakawa Foundation and Agency for Cultural Affairs, the Government of Japan.

During his time in the UK, Takeuchi will be researching the deep time concerns of monuments, site markers and memory around the UK and Belgium. He will undertake field research at the Belgian underground research laboratory for the geologic storage of radioactive waste in partnership with Z33 and the Belgian nuclear waste agency NIRAS / NIROND.
 
Kota Takeuchi in Discussion with Eiko Honda
3.00pm - 6.00pm, Sat 16 July 2016
Arts Catalyst Centre for Art, Science & Technology, 74-76 Cromer Street, London WC1H 8DR
Artist Kota Takeuchi in conversation with curator and writer Eiko Honda chaired by artist Kaori Homma from Art Action UK
During his time in the UK, Kota Takeuchi will be researching the deep time concerns of monuments, site markers and memory around the UK and Belgium. He will undertake field research at the Belgian underground research laboratory for the geologic storage of radioactive waste in partnership with Z33 and the Belgian nuclear waste agency NIRAS / NIROND.
 
On Saturday 16 July curator and writer Eiko Honda will be in discussion with Kota Takeuchi, chaired by artist Kaori Homma from Art Action UK. Kota Takeuchi's residency has been organised by S-AIR in Japan in partnership with Arts Catalyst, supported by the Sasakawa Foundation and Agency for Cultural Affairs, the Government of Japan.
 
EVENT SCHEDULE
 
3pm – 4pm KotaTakeuchi Open Studio
 
4pm – 5pm Eiko Honda in conversation with Kota Takeuchi, chaired by Kaori Homma.
 
5pm – 6pm Discussion and drinks
 
Kota Takeuchi is an artist based in Tokyo / Fukushima, Japan. He produces performative videos and oil paintings about how we physically view images of public scenery, social events, and their memory. His work explores the loop of digital image capture and distribution.
His solo exhibition Open Secret, 2012, explored the labour problems at the Fukushima Dai’ichi Nuclear Power Plant accident. Takeuchi acts as the agent for Finger Pointing Worker (a man who pointed at the public live camera at the Fukushima power plant after the disaster in 2011). 
 
Eiko Honda is a writer and curator of contemporary art and transnational intellectual history. She is the 2013-2016 curatorial fellow of the Overseas Study Programme for Artists, Agency for Cultural Affairs, Japan. She is a contributor to The Nuclear Culture Source Book, edited by Ele Carpenter, forthcoming September 2016. Recent papers include: 'Political Ecology of Art and Architecture in Japan: 100 Years Ago and Now' in Journal of Contemporary Chinese Art (Intellect, 2016). Her curatorial work is driven by the idea of history as an enquiry that unravels potential new understandings of the planetary past, future and present. Recent exhibitions include Saya Kubota: Material Witness, Daiwa Anglo-Japanese Foundation, London; and Missing Post Office UK, Ikon Gallery, Birmingham. 
 
Kaori Homma is an artist and co-founder and co-ordinator of Art Action UK. Homma is Associate Lecturer at University of Arts London at Central Saint Martins and Camberwell, Chelsea and Wimbledon Colleges (CCW), her art practice includes social engagement, fire etching and video exploring time, and reflecting on nuclear concerns. Art Action UK was established in response to the 2011 Japanese earthquake, tsunami and subsequent Fukushima nuclear fallout. The project supports artists who have been affected by natural and manmade disasters to undertake residencies in London including: Kyun Chome, Yoi Kawakubo, Komori & Seo, Hikaru Fujii, and Kaya Hanasaki. 
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Exhibition
Commission

Making a universe

Making a Universe explores artistic and scientific practices that deal with contained and extreme environments.

Alistair McClymont creates poetic machines that contain 'natural' environments, making a universe of their own.  Scientists similarly create miniature stars that imitate the birth of stars.

Alistair McClymont recently completed a three-month residency at the Central Laser Facility.  Dr Ceri Brenner is a physicist who enjoys communicating the extreme and inspiring science that she and others carry out at CLF.

The CLF produces some of the world’s most powerful light beams, providing scientists with an unparalleled range of state-of-the-art laser technology. These high powered lasers are used to recreate the extreme conditions inside stars and planets, others can reveal intricate detail on a microscopic scale enabling scientists to build up a complex picture of the exact molecular interactions that lead to disease.  The CLF also uses laser beam 'tweezers' capable of holding individual micro-droplets that make up clouds helping scientists gain an insight into climate change.

Alistair's previous work has included making night-time rainbows, suspending raindrops in mid-air and creating tornadoes with deceptively simple machines. A UK based artist working in sculpture, photography and video, McClymont describes these as ‘phenomena’ artworks, in which he tries to capture natural, often overlooked occurrences and evoke a sense of wonder.

He will be discussing his work, and time spent at the CLF, thinking about his work with scientists on experiments both as an outsider and insider, and how this has influenced his practice.

Making a Universe explores artistic and scientific practices that deal with contained and extreme environments

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Speakers

Dr Ceri Brenner is a Physicist who enjoys communicating the extreme and inspiring science that she and others carry out at the Central Laser Facility, Rutherford Appleton Laboratory.

Ceri’s role at the CLF spans research, innovation and communication. In particular, she is studying a form of micro-sized particle accelerator that is formed when the most intense laser light in the world strikes matter, for applications in medicine, manufacturing and security. Ceri will discuss her work, research interests and her experience of having an artist working amongst scientists. She has been closely involved in facilitating the artists' residency and will also give an introduction to the high energy density experiment on the Gemini laser that Alistair took part in during his residency.

Alistair McClymont as artist in residence has been following a team of scientists working with the Gemini Laser at the CLF studying different aspects of laser interaction. He describes the project, "My goal with this project is to investigate the strong similarity I see between scientists and artists, I wanted to do this by taking part in their experiment. My hypothesis is that both ultimately search for truth and both see beauty in that truth.

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