Nearly lost: Re-introducing images of Vancouver’s native, Salish fruit trees

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lhexwlhéxw | chokecherry | Prunus virginiana” installed in Vancouver at Station & Terminal, late October and early November 2016, photograph by Alex Grünenfelder

 

Nearly lost: Re-introducing images of Vancouver’s native fruit trees

host
City of Vancouver Public Art Program

 

initial posters in the ongoing ‘Nearly Lost’ project

4 different posters installed in 20 bus shelters with the poster dimension 47.25 inches x 68.25 inches.

 

installation & locations
October 10 to November 7, 2016 (with locations attached)

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authorship
castle grünenfelder ingram (Julian Castle, Alex Grünenfelder, and Gordon Brent Brochu-Ingram with this project involving conceptualization by all three artists, research, photographing, and initial design conceptualization by Grünenfelder and Brochu-Ingram, text by Brochu-Ingram, and final designs and electronic conveyance by Grünenfelder)

castle grünenfelder ingram is a collective of three working on the cusp of public art, urban design, sustainability transitions, and intercultural conversations especially around First Nations legacies in public space and local territories. Only working together for two years, our individual work in Vancouver goes back decades along with other projects and installations in Kamloops, New York, London UK, Seoul, Geneva, and Prince George. As one of our projects, we coordinate KEXMIN field station, on Salt Spring Island, as a centre for research and learning spanning traditional indigenous knowledge and contemporary science for environmental planning, ecological design, public art and other forms of contemporary cultural production with a focus on the Salish Sea and its Gulf and San Juan Islands between the mainland of the North American West Coast and Vancouver Island.

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castle grünenfelder ingram, 2016 Nearly lost poster #3 kwu7upay Pacific crabapple Malus fusca, installed in Vancouver at Commercial & Adanac, late October and early November 2016, photograph by Laiwan

 

text from project proposal

Nearly lost: Re-introducing images of Vancouver’s native fruit trees We propose large 2D imagery especially at bus stops, with video loop installations also possible for the video screens, of fruit and blossoms of several of the native fruit trees that have existed and continue to survive in the City of Vancouver — and that are of continued interest for First Native use, stewardship, and cultivation. Low resolution photographs would be enlarged, slightly saturated, and ‘montaged’ with educational text in English, Halkomelem (Musqueam and Tsleil-Waututh), Sḵwx̱wú7mesh snichim (Squamish) along with other widely spoken languages, and botanical Latin. For the 2015-2016, we would be able focus on making a number of montage posters celebrating two of the most common native fruit trees and more extensive Salish orchards, Pacific crabapple, Malus fusca, and chokecherry, Prunus virginiana ssp. demissa. Both of this crabapple species and this subspecies of chokecherry are limited to coastal ecosystems in BC, Alaska, and Washington State.

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text on posters
four different posters with large type with,

1. lhexwlhéxw | chokecherry | Prunus virginiana

2. t’elemay (with two vertical accents over ‘m’ and ‘y’ and an acute accent over the ‘a’) | chokecherry | Prunus virginiana

3. ḵwu7úpay (with a vertical accent over the ‘y’) | Pacific crabapple | Malus fusca

4. qwa’upulhp | Pacific crabapple | Malus fusca

Along with the following headings is the following text for respective poster:

1. lhexwlhéxw | chokecherry | Prunus virginiana

One of the Salish names for chokecherry is lhexwlhéxw in the hən̓q̓əmin̓əm̓ Downriver dialect of Halkomelem language.

2. t’elemay (with two vertical accents over ‘m’ and ‘y’ and an acute accent over the ‘a’) | chokecherry | Prunus virginiana

One of the Salish names for chokecherry is t’elemay (with two vertical accents over ‘m’ and ‘y’ and an acute accent over the ‘a’) in the Sḵwx̱wú7mesh snichim language.

3. ḵwu7úpay (with a vertical accent over the ‘y’) | Pacific crabapple | Malus fusca One of the Salish names for Pacific crabapple is ḵwu7úpay (with a vertical accent over the ‘y’) in the Sḵwx̱wú7mesh snichim language.

4. qwa’upulhp | Pacific crabapple | Malus fusca One of the Salish names for Pacific crabapple is qwa’upulhp in the hən̓q̓əmin̓əm̓ Downriver dialect of Halkomelem language.

2016-sept-kwu7upay-crabapple-castle_grunenfelder_ingram

For the two posters on chokecherry, there is the following text: Chokecherry has been a major source of fruit and medicinal bark for indigenous bark for indigenous peoples on the West Cost. Trees continue to be owned, stewarded and harvested by families of the Musqueam, Squamish, and Tsleil-Watuth First Nations within today’s City of Vancouver.

For the two posters on Pacific crabapple, there is the following text: Pacific crabapple has been a major source of fruit and medicinal bark for indigenous bark for indigenous peoples on the West Cost. Trees continue to be owned, stewarded and harvested by families of the Musqueam, Squamish, and Tsleil-Watuth First Nations within today’s City of Vancouver. For the two posters on chokecherry, there is the following text: Chokecherry has been a major source of fruit and medicinal bark for indigenous bark for indigenous peoples on the West Cost. Trees continue to be owned, stewarded and harvested by families of the Musqueam, Squamish, and Tsleil-Watuth First Nations within today’s City of Vancouver. For the two posters on Pacific crabapple, there is the following text: Pacific crabapple has been a major source of fruit and medicinal bark for indigenous bark for indigenous peoples on the West Cost. Trees continue to be owned, stewarded and harvested by families of the Musqueam, Squamish, and Tsleil-Watuth First Nations within today’s City of Vancouver.

2016-sept-qwaupulhp-crabapple-castle_grunenfelder_ingram

All four posters have the following text: This species is being studied at KEXMIN field station, a centre for conversations spanning traditional indigenous knowledge, modern science, and contemporary art — a project of castle grünenfelder ingram (Julian Castle, Alex Grünenfelder and Gordon Brent Brochu-Ingram). The following text was provided by the City of Vancouver: Commissioned as part of the series Coastal City for the 25th Anniversary of the City of Vancouver Public Art Program Vancouver.ca/platform2016

media
Inkjet printer on paper photographing
The photographs in the attached images of the posters were photographed jointly by Alex Grünenfelder and Gordon Brent Brochu-Ingram. All of the photographs of the posters installed in the bus shelters were taken by by Alex Grünenfelder.

fabricators / suppliers
OUTFRONT MEDIA Decaux in cooperation with
the printer, LinxPrint, as service-providers to the City of Vancouver

2016-sept-telemay-chokecherry-castle_grunenfelder_ingram

 

castle-grunenfelder-ingram-2016-nearly-lost-poster-3-kwu7upay-nanaimo-e-3rd-img_0348

castle grünenfelder ingram, 2016 Nearly lost poster #3 kwu7upay Pacific crabapple Malus fusca, installed in Vancouver at Nanaimo & East 3rd, late October and early November 2016, photograph by Laiwan

 

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castle grünenfelder ingram, 2016 Nearly lost poster #4 qwa’upulhp | Pacific crabapple | Malus fusca, installed in Vancouver at King Edward & Ontario, late October and early November 2016,  photograph by Sally Ogis

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Mnidoo Mnising | chokecherry | crossroad: a multi-site installation with chokecherry, Prunus virginiana, proposed for a bicycle trail on Manitoulin Island, Ontario

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proposal by castle grünenfelder ingram
Mnidoo Mnising | chokecherry | crossroad: a multi-site installation with chokecherry, Prunus virginiana, proposed for a bicycle trail on Manitoulin Island, Ontario

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project concept

Chokecherry [asasawemin [fruit] and asasaweminagaawanzh [bush] in Ojibway, Prunus virginiana in Latin] has been crucial to all of the peoples who have enjoyed Mnidoo Mnising since the receding of the glaciers and the emergence of the island. Chokecherry fruit has been important to local communities as is the medicinal bark. This proposal for public art envisions several installations across the sites available involving:

1. already-established or planted groves of chokecherry at a relatively small scale such as around 5 meters by 5 meters (17 feet x 17 feet);

2. the trees surrounded by abstractions of different chokecherry forms made into permanent sculpture;

3. sculptural elements fabricated from local recycled and repurposed material (mainly wood and metal, no plastic, some paint) in collaboration with local elders and craftspeople;

4. so that each sculpture protects respective groves;

5. along with two plaques of roughly 1 m x 1 x, one more general information about the project, and the other plaque providing information to specific to each installation;

6. text in five languages: Anishnaabeg (Ojibwe), Odawa, Potawatomi, English, and French;

7. an archive and website of consultations with elders and fabricators (who would be presented as collaborating artists) and;

8. performances and other events adjacent to some of the installation sites, related to chokecherry, that would be documented in the archive and on the website —

with two possible manifestations of this project:

a. a larger, $50,000 work with 3 or 4 sites plus chokecherry trees planted or already established, 4 sculptural and text installations with each sculpture up to 2 to 3 metres in height or

b. a smaller $30,000 with 2 sites plus chokecherry trees planted or already established, 2 sculptural and text installations with sculptural elements smaller such as 1 to 2 metres in height and with the possibility of a second castle grünenfelder ingram work for some of these sites generating a soundscape.

This concept proposal envisions elders and fabricators who would be acknowledged as collaborating artists with a transparent and fair, financial formula for fees to these individuals, as part of the final project budget.

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inspirations

Out on the West Coast, our artist collective and field station researchers have been revisiting (and protecting and planting) chokecherry for several years as part of cultural revival of knowledge of traditional fruit and medicinals, on one hand, and for providing a point for intercultural dialogue on the other hand. In October and November of 2016, we have posters in bus-shelters, funded by the City of Vancouver, acknowledging that indigenous families continue to steward, harvest, and own chokecherry and Pacific crabapple.

This particular proposal is to explore divergent experiences of chokecherry that today are relevant to both indigenous and settle people:

the numerous traditional indigenous experiences of chokecherry that extend from harvesting of fruit and bark to protection and stewardship, including a worldview that acknowledges these trees and bushes as crucial relations within a culture of gratitude and respect

and

the modern scientific and environmentalist view of chokecherry as one of the first fruit trees in Canada that re-established after the Ice Age with today’s role being increasingly crucial for pollinators and birds. And from the standpoint of the Canada Council acknowledgements of the 150th Anniversary of Confederation, this one species of chokecherry is the only tree and shrub that occurs in any province and territory of Canada.

And in the spirit of an alternative acknowledgement of Confederation, for First Nations, we celebrate Mnidoo Mnising as the centre, the crossroad, for chokecherry, and knowledge of this important fruit and tree, on this continent.

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some chokecherry forms

The forms of the chokecherry tree, that could be explored, abstracted, and re-iterated around the groves, primarily in metal and wood, would involve recombining some of the following outlines:

1. fruit;

2. blossoms;

3. leaves;

4. trunks;

5. fruit – twigs – branches;

6. bark; and

7. seedlings.

While the actual chokecherry trees are around or near the installations, the sculptures themselves would recombine some of the key lines in the forms and biology of these trees with homages to the three aesthetic movements that have influenced us most:

a. minimalist Coast Salish wood carving that is more austere and abstract that carving further north and west on the Pacific coast;

b. relatively minimalist wood, often log, constructions once common in Métis communities particularly in far north-western Canada rather then in more populous, agricultural areas of the Prairies; and

c. early Swiss Modernism emphasizing clean, rectangular forms.

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collaborative processes with local elders and fabricators

One of us grew up on the edge of an Indian Reserve as part of a Salish-speaking First Nation that has had remarkable success at closing down a residential school (in 1960 with one of us in this collective present), revitalizing their language, and nurturing public art that transmits contentious territorial and cultural experiences (for some non-indigenous people). He has spent decades working with over a score of First Nations in numerous communities. And we are well aware of the garbage disposal issues in many remote communities. So while we have worked with numerous other First Nations artists and craftspeople, we do not have any illusions that working with elders and fabricators on Manitoulin Island would not always be easy. But chokecherry trees can bring us together in new dialogues in cooperation with 4elements Living Arts. So the selection and fabrication of found objects could well involve a wide range of people from the artists to elders who are fabricators to young people supervised by elders and even to school children.

As for pay for advising elders and local fabricators, honorariums were be proposed for a small number of days with elders as advised by 4elements Living Arts. As for pay for community members, all of the artists and local participants, including fabricators, would be asked to work for the same minimum wage in order for there to be a travel and materials budget to complete these installations. Again, one us has spend much of his life working with reserve communities and with negotiating fair exchanges – that would warrant supervision by 4elements Living Arts.

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choice of local materials

This is perhaps the biggest unknown of this particular proposal. Are there reusable materials on the island that are durable, beautiful, ‘clean’ as in not toxic, and of interest to local fabricators – especially those with indigenous knowledge? Probably there are. But the research phase, our field work after being offered a commission, might become too time-consuming. So by May of 2017 and if there were insufficient, discarded wood, metal, stone, and other local material for these installations, the ‘fall back’ would be working with local metal and wood workers with much of the labour completed by Brochu-Ingram and Grünenfelder. But in such an area with a rich history of cultural production, we hope to spark some interest from elders and school classes to become involved and make this project, in part, community-based.

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collective statement

castle grünenfelder ingram is a collective of three working on the cusp of public art, urban design, sustainability transitions, and intercultural conversations especially around First Nations legacies in public space and local territories. Only working together for two years, our individual work in Vancouver goes back decades along with other projects and installations in Kamloops, New York, London UK, Seoul, Geneva, and Prince George.

As one of our projects, we coordinate KEXMIN field station, on Salt Spring Island, as a centre for research and learning spanning traditional indigenous knowledge and contemporary science for environmental planning, ecological design, public art and other forms of contemporary cultural production with a focus on the Salish Sea and its Gulf and San Juan Islands between the mainland of the North American West Coast and Vancouver Island.

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project bibliography: 5. the arts of contesting & re-creating urban space

A 2014 – 2016  collaboration of castle grünenfelder ingram

À la recherche de certaines récoltes presque perdu: Decolonising permaculture: The greatest adversity comes from forgetting

2014 Utopiana mosaic 6 castle&ingram

bibliography heading

compiled project bibliography:  2017 February 20 bibliography À la recherche de certaines récoltes presque perdu

  1. the arts of contesting & re-creating urban space

Beuys, Joseph. 1982a. 7000 Eichen – Stadtverwaldung statt Stadtverwaltung / 7000 Oaks – City Forestation Instead of City Administration. Kassel, Hesse: documenta 7.

Beuys, Joseph. 1982b. Richard Demarco, “Conversations with Artists.” Studio International 195 (996) (September 1982): 46.

Bishop, Claire. 2004. Antagonism and Relational Aesthetics. October 110 (2004): 51 – 80. http://www.teamgal.com/production/1701/SS04October.pdf

Bourriaud, Nicolas. 1998. Relational Aesthetics. Dijon, France: Les presses du réel.

de Certeau, Michel. 1984. The Practice of Everyday Life. (Steven Rendall trans.) Berkeley: University of California Press.

Deutsche, Rosalyn. 1996. Evictions: Art and Spatial Politics. London: MIT Press.

Ingram, Gordon Brent 1997. Marginality and the landscapes of erotic alien( n)ations. in Queers in Space: Communities | Public Places | Sites of Resistance. Ingram, G. B., A.-M. Bouthillette and Y. Retter (eds.). Seattle: Bay Press. 27 – 52.

Ingram, Gordon Brent. 2013. The New Cubism: Alex Grünenfelder on Cube Living in Vancouver. designs for The Terminal City. http://gordonbrentingram.ca/theterminalcity/?p=894.

Kwon, Miwon. 2004. One Place after Another: Site-Specific Art and Locational Identity. Cambridge UK: The MIT Press.

Lefebvre, Henri. (1973) 2014. Toward an Architecture of Enjoyment. (L. Stanek editor & R. Bononno translator). Minneapolis, Minnesota: University of Minnesota Press.

Lefebvre, Henri. (1974) 1991. The Production of Space. (Donald Nicholson-Smith translation). Oxford: Basil Blackwell.

Lippard, Lucy. 1997. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkeley, California: University of California Press.

Lydon, Mike, Anthony Garcia, and Andres Duany. 2015. Tactical Urbanism: Short-term Action for Long-term Change. Washington DC: Island Press.

Miessen, Markus. 2010. The Nightmare of Participation: Crossbench Practice as a Mode of Criticality. Berlin: Sternberg Press and Archive Books.

Rendell, Jane. 2006. Art and Architecture: A Place Between. London: I.B. Tauris. http://www.janerendell.co.uk/books/art-architecture-a-place-between

Rosler, Martha. 2010-11. Culture Class: Art, Creativity, Urbanism. e-flux 21 / 23 / 25.  http://www.e-flux.com/journal/culture-class-art-creativity-urbanism-part-i/    http://www.e-flux.com/journal/culture-class-art-creativity-urbanism-part-ii/   http://www.e-flux.com/journal/culture-class-art-creativity-urbanism-part-iii/

Slater, Josephine Berry and Anthony Iles. 2010. No Room to Move: Radical Art And The Regenerate City. London: Mute Publishing.

Tavares, Paulo. 2015 Rights of Nature. Social Text: Periscope (2015 March 8 Radical Materialism issue).  http://socialtextjournal.org/periscope_article/rights-of-nature/

The Laboratory of Insurrectionary Imagination. 2009. 13 Attitudes. 9th Experiment: C.R.A.S.H: A post capitalist A to Z. London June 2009. www.labofii.net/docs/13attitudes.pdf

W.A.G.E. 2015. Day 16—W.A.G.E., “Online Digital Artwork and the Status of the ‘Based-In’ Artist’. e-flux 56th Venice Biennale (The Art of Work, May 27, 2015).

 

bibliography: 7. decolonising landart & site-based aesthetic interventions

2014 fragment of Utopiana - Geneve - Rhone study

bibliography heading

compiled project bibliographies: 2017 February 20 bibliography À la recherche de certaines récoltes presque perdu

  1. decolonising landart & site-based aesthetic interventions

Beardsley, John. 2006. Earthworks And Beyond: Contemporary Art In the Landscape. Fourth Edition. New York: Abbeville Press.

Benner, Ron. 2008. Gardens of a Colonial Present / Jardins d’un Present Colonial. London, Ontario: London Museum.

Beuys, Joseph. 1982a. 7000 Eichen – Stadtverwaldung statt Stadtverwaltung / 7000 Oaks – City Forestation Instead of City Administration. Kassel, Hesse: documenta 7.

Beuys, Joseph. 1982b. Richard Demarco, “Conversations with Artists.” Studio International 195 (996) (September 1982): 46.

Bishop, Claire. 2004. Antagonism and Relational Aesthetics. October 110 (2004): 51 – 80. http://www.teamgal.com/production/1701/SS04October.pdf

Bishop, Claire. 2006. The Social Turn: Collaboration and its discontents. Artforum (February 2006): 178 – 183.

Bishop, Claire. 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship. New York: Verso.

Bourriaud, Nicolas. 1998. Relational Aesthetics. Dijon, France: Les presses du réel.

Boetzkes, Amanda. 2010. The Ethics of Earth Art. Minneapolis, Minnesota: University of Minnesota Press

Brown, Andrew. 2014. Art and Ecology. London: Thames and Hudson.

Demos, T. J. 2015. Decolonizing Nature: Making the World Matter. Social Text: Periscope (2015 March 8 Radical Materialism issue). http://socialtextjournal.org/periscope_article/decolonizing-nature-making-the-world-matter/

Kaiser, Philipp and Miwon Kwon (curators). 2013. Ends of the Earth: Land Art to 1974. Museum of Contemporary Art in Los Angeles in collaboration with Haus der Kunst, Munich. http://moca.org/landart/

Garneau, David. 2015. Indigenous Criticism: On Not Walking With Our Sisters. Border Crossings 34(2) (#134): 78 – 82. http://bordercrossingsmag.com/article/indigenous-criticism

Grande, John K. and Edward Lucie-Smith. 2004. Art Nature Dialogues: Interviews with Environmental Artists. Albany, New York: State University of New York Press.

Hawkins, Harriet and Elizabeth Straughan (editors). 2015. Geographical Aesthetics: Imagining Space, Staging Encounters. Farnham Surrey UK: Ashgate.

Ingram, Gordon Brent. 2013. Repopulating contentious territory: Recent strategies for indigenous North-west Coast site-based & public art. FUSE (Toronto) 36(4): 7 – 8.  http://fusemagazine.org/2013/11/36-4ingram &  http://gordonbrentingram.ca/scholarship/wp-content/uploads/2013/10/paper-ingram-2013-repopulating-contentious-territory-decolonial-aesthetics.pdf

Johnson, Ken. 2015. Review: Pierre Huyghe Mixes Stones and Water for Roof Garden at the Met. New York Times (May 12, 2015).

Lailach, Michael. 2007. Land Art. New York: Taschen.

Lauder, Adam. 2015. Glue Pour, 1970: Robert Smithson’s Vancouver sojourn. Canadian Art (Summer 2015): 90 – 94.

Linklater, Duane. 2012. Untitled (A Blueberry Garden for Bard College). 12 blueberry bushes, garden implements, soil, mulch, wood, rope. Variable dimensions. http://www.duanelinklater.com/

Lippard, Lucy. 2014. Undermining: A Wild Ride Through Land Use, Politics and Art in the Changing West. New York: New Press.

Lockward, Alanna, Rolando Vázquez, Teresa María Díaz Nerio, Marina Grzinic, Michelle Eistrup, Tanja Ostojic, Dalida María Benfield, Raúl Moarquech Ferrera Balanquet, Pedro Lasch, Nelson Maldonado Torres, Ovidiu Tichindeleanu, Miguel Rojas Sotelo, and Walter Mignolo. 2011. Decolonial Aesthetics (I) Sunday, May 22nd, 2011. TDI + Transnational Institute. https://transnationaldecolonialinstitute.wordpress.com/decolonial-aesthetics/

Mann, Charles C. 2005. 1491: New Revelations of the Americas Before Columbus. New York: Knopf.

Mbembe, Achille. 2001 On the Postcolony. Berkeley: University of California Press.

Menard, Andrew. 2014. Robert Smithson’s Toxic Tour of Passaic, New Jersey. Journal of American Studies 48(04):1019-1040.

Mignolo, Walter D. 2012. Local Histories / Global Designs: Coloniality, Subaltern Knowledges, and Border Thinking. Princeton, New Jersey: Princeton University Press.

Mignolo, Walter and Rolando Vázquez. 2013. Decolonial AestheSis: Colonial Wounds/Decolonial Healings. Social Text: Periscope (July 15th, 2013). http://socialtextjournal.org/periscope_article/decolonial-aesthesis-colonial-woundsdecolonial-healings/#sthash.rNSW6zUP.pdf

Natural World Museum. 2007. Art in Action: Nature, Creativity, and Our Collective Future. San Rafael, California: Earth Aware Editions

Nisbet, James. 2014. Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s. Cambridge, Massachusetts: MIT Press.

Scott, Emily Eliza & Kirsten Swenson (editors). 2015. Critical Landscapes: Art, Space, Politics. Berkeley: University of California Press.

Smithson, Robert. 1966 (1996). Frederick Law Olmsted and the Dialectical Landscape. in Robert Smithson: The Collected Writings. Jack Flam (ed.). Berkeley: University of California Press. 157–171.

Thompson, Nato. 2009. Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism. Brooklyn, New York: Melville House.

Thompson, Nato (editor). 2012. Living as Form: Socially Engaged Art from 1991-2011. Cambridge, Massachusetts: The MIT Press.

Thompson, Nato. 2015. Seeing Power: Art and Activism in the 21st Century. Brooklyn, New York: Melville House.

Wallace, Ian. 2014. Critic Lucy Lippard on Trading Conceptual Art for Environmental Activism. Artspace (May 1, 2014). http://www.artspace.com/magazine/interviews_features/lucy_lippard_interview

Wallis, Brian. 2010. Land and Environmental Art. London: Phaidon Press.

Weintraub, Linda. 2012. To Life!: Eco Art in Pursuit of a Sustainable Planet. Berkeley, California: University of California Press.

Tavares, Paulo. 2015 Rights of Nature. Social Text: Periscope (2015 March 8 Radical Materialism issue). http://socialtextjournal.org/periscope_article/rights-of-nature/

Tuck, Eave and K. Wayen Yang. 2012. Decolonization is not a metaphor. Decolonization: Indigeneity, Education & Society 1(1): 1 – 40.

Zukin, Sharon. 2010. The Naked City: The Death and Life of Authentic Urban Places. New York: Oxford University Press.

bibliography: 8. site planning as contemporary aesthetic practice

 

2016 August 12 chokecherry by grunenfelder & ingram IMG_0008

chokecherry, Prunus virginiana, above Fulford Harbour, Salt Spring Island 2016 August 12 photograph by Alex Grünenfelder & Gordon Brent Brochu-Ingram

bibliography heading

 

compiled project bibliographies: 2017 February 20 bibliography À la recherche de certaines récoltes presque perdu

 

 

 

  1. site planning

Benedict, Mark A. and Edward T. McMahon 2006. Green Infrastructure: Linking Landscapes and Communities. Washington DC: Island Press.

Debord, Guy. 1994 [1967]. The Society of the Spectacle. (translation by Donald Nicholson-Smith). New York: Zone Books. http://www.cddc.vt.edu/sionline/si/tsots00.html

Gehl, Jan. 1987. Life Between Buildings: Using Public Space. Jo Koch (translator). New York: Van Nostrand Reinhold.

Gehl, Jan and Svarre, B. 2013. How to Study Public Life. Washington, DC: Island Press.

Hirsch, Alison . 2014. City Choreographer: Lawrence Halprin in Urban Renewal America. Minneapolis, Minnesota: University of Minnesota Press.

Lynch, Kevin and Gary Hack. 1984. Site Planning. Cambridge, Massachusetts: MIT Press.

McHarg, Ian L. 1966. Ecological Determinism. in Future Environments of North America. F. Fraser Darling and John P. Milton (eds). Garden City, New York: The Natural History Press. 526 – 538.

McHarg, Ian L. 1969 (1971). Design With Nature. Garden City, New York: Doubleday / The Natural History Press.

Reed, Chris and Nina-Marie Lister (eds.) 2014. Projective Ecologies. Cambridge, Massachusetts: ACTAR, Harvard Graduate School of Design.

Spirn, Anne W. 1985. The Granite Garden: Urban Nature And Human Design. New York: Basic Books.

Thompson, George F. and Frederick R. Steiner (editors). 1997. Ecological Design and Planning. New York: Wiley.

Vogt, Adolf Max. 1998. Le Corbusier, the Noble Savage: Toward an Archaeology of Modernism. (Translated by Radka Donnell). Cambridge, Massachusetts: MIT Press.

Whyte, William H. 1980. The Social Life of Small Urban Spaces. New York: Project for Public Spaces.

bibliography: 9. video, audio & new archives as ‘designs’ for public space

Utopiana mosaic 1 castle&ingram 2014

bibliography heading

complete project bibliographies: 2016 February 18 bibliography À la recherche de certaines récoltes presque perdu

  1. video, audio & new archives as ‘designs’ for public space

Adams, James. 2014. Must-see mischief: The fundamental strangeness of Frenkeland at MoCCA. Globe and Mail (November 28, 2014). http://www.theglobeandmail.com/arts/art-and-architecture/must-see-mischief-the-fundamental-strangeness-of-frenkeland-at-mocca/article21826940/

Balkin, Amy. 2015. A People’s Archive of Sinking and Melting. Social Text: Periscope (2015 March 8 Radical Materialism issue). http://socialtextjournal.org/periscope_article/a-peoples-archive-of-sinking-and-melting-state-as-of-bonn-climate-change-conference-october-2014/

Enwezor, Okwui. 2008. Archive Fever: Uses of the Document in Contemporary Art. Göttingen, Germany: Steidl.

Frenkel, Vera. 2005 *String Games: Improvisations for Inter-City Video, in This Must Be the Place, Inaugural Exhibition. Toronto: Inter/Access New Media Centre.

Gagnon, Jean (ed.). 1994. …from the Transit Bar (Vera Frenkel). Toronto, Ontario: The Power Plant, the National Gallery of Canada.

Guattari, Pierre-Félix. 1995. Chaosmosis: An Ethico-Aesthetic Paradigm. Paul Bains and Julian Pefanis (Translators). Bloomington, Indiana: Indiana University Press. http://autonomousuniversity.org/sites/default/files/Guattari_Production-of-Subjectivity.pdf

Hampson, Sarah. 2005 (2009). Sick of bureaucrats (interview with Vera Frenkel). Globe and Mail (Saturday, Jan. 01, 2005 12:00AM EST Last updated Tuesday, Mar. 17, 2009 2:12PM EDT). http://www.theglobeandmail.com/arts/sick-of-bureaucrats/article973858/

Milroy, Sarah. 2005. Art that’s inside the box (set). [Vera Frenkel]. Globe and Mail (Toronto): August 16, 2005. http://www.theglobeandmail.com/arts/art-thats-inside-the-box-set/article984793

Murphy, Mekado. 2015. Sean Baker Talks ‘Tangerine,’ and Making a Movie With an iPhone. New York Times (July 5, 2015). http://www.nytimes.com/2015/07/06/movies/sean-baker-talks-tangerine-and-making-a-movie-with-an-iphone.html

Schade, Sigrid (editor). 2013. Vera Frenkel (with essays by Dot Tuer, Anne Benichou, Griselda Pollock, Ryszard W. Kluszcynski, John Bentley Mays, Elizabeth Legge, Sylvie Lacerte, and Frank Wagner). Ostfildern, Germany: Hatje Cantz.

Tomic, Milena. 2015. Vera Frenkel: Toronto at Museum of Contemporary Canadian Art. Art in America (March 24, 2015). http://www.artinamericamagazine.com/reviews/vera-frenkel/

Wynne, John. 2015 Anspayaxw. Open Sound installation. Surrey Art Gallery, Surrey, British Columbia.

 

 

 

 

 

The Tree Question: Field research & cultivation practices in community-based public art in an age of ecological crises

2016 April 25 presentation Geneva University of Art & Design

Trans – Mediation, Education, * Haute École d’art et de design Genève HEAD

bosque-section-presqueperdu-Gordon-Brent-Brochu-Ingram-small

abstract: 2016 April 25 Brochu-Ingram TransHEAD ‘tree’ presentation

bilingual notes: (trad) 2016 April 25 Brochu-Ingram TransHEAD ‘tree’ presentation

powerpoint: 2016 April 25 Brochu-Ingram TransHEAD ‘The Tree Question’ PowerPoint

title of The Tree Question

abstract

Since the pioneering 1982 intervention by Joseph Beuys, the 7000 Eichen – Stadtverwaldung statt Stadtverwaltung) / 7000 Oaks – City Forestation Instead of City Administration, tree planting, and cultivation more generally, have increasingly become contemporary art practice. Employment of such cultivation interventions, as contemporary art and not as landscape architecture, have nearly always used as a way to challenge particular notions and demarcations of the ‘public’, on one hand, and experiences of communities, landscapes and ecosystems, on the other hand. Such a set of oppositional tactics often contrasts itself with professionalized landscape architecture more often employed to re-enforce the status quo of public space. And since documenta 7, a raft of experimental artists have rifted on notions of agriculture (and silviculture, horticulture, and permaculture) as visual culture most notably Alan Sonfist (et al 2014, Landi 2011), Ron Benner (2008), the Fallen Fruit collective (Goodyear 2012), and Sam Van Aken (Brooks 2014). But precisely how ‘contemporary’ are such tree planting ‘works’ and how are associated practices and conceptualizations changing as ecological crises intensify, as cultural signifiers shift, as access to scientific information increases, and as data sources and ecological and social paradigms diversify? And how do these Western and often Eurocentric aesthetic movements, involving trees and urban space, construct relationships with recoveries and practices of indigenous communities often at odds with modernity?

 

One point of inquiry is provided by Claire Bishop’s 2012 note that, “Beuys drew a conceptual line between his output as a sculptor and his discursive / pedagogic work” (page 245), the latter including his tree planting. But if cultivation is more of a conceptual disruptor and teaching opportunity than part of artistic production to produce an art work, why does the aesthetic importance of trees for interventions in public space continue to increase? A more problematic and indefinite set of questions derive from the divergent and shifting uses of tree planting in contemporary culture. For example, there is no sign that the 1982 intervention in Kassel was intended to contribute to carbon sequestration or to conserve local habitat and species, or to build community through sharing fruit as in the recent tree planting work in Los Angeles of Fallen Fruit. Today, it would be difficult to plant a tree, as a contemporary art work, without professed relationships to countering climate change, gentrification, and homelessness and contributing to carbon sequestration, food security, and social equity. So like painting, drawing, and sculpture, the basic ‘materials’ of tree planting, however organic, are infinitely pliable — as long as respective organisms and ecosystems can survive and be part of public space. There is an implicit aesthetic of survival.

 

What are the diverse roles of science in these forms of artistic research? In particular, how does tree-planting-as-contemporary-art challenge, expand, and re-enforce broader art movements such as,

  1. various forms of community participation as art (embodied in the work of Suzanne Lacey and Martha Rosler),
  2. scientific experimentation as in ‘wetware’ and biological modification,
  3. traditional knowledge and other indigenous experiences,
  4. relational aesthetics as new forms of education and community aesthetic engagement, and
  5. micro-urban tactics that transform multiple publics?

Or do the heightened skills and artifice required to sufficiently manipulate a site in deteriorating environments, to insure that trees will thrive, represent another kind of cultivation of culture that signals a new and more tenuous phase of the “Anthropocene” (Wark 2015)? In other words, are the creative perspectives and practices of contemporary artists, particularly collaboratives and collectives, increasingly necessary to keep communities, ecosystems, and public spaces ‘alive’, diverse, and evolving?

 

Brochu-Ingram presents some early results from some of his ongoing investigations, designs, and interventions in the Vancouver and Geneva regions.

 

references

Benner, Ron. 2008. Gardens of a Colonial Present / Jardins d’un Present Colonial. London, Ontario: London Museum.

Beuys, Joseph. 1982. 7000 Eichen – Stadtverwaldung statt Stadtverwaltung) / 7000 Oaks – City Forestation Instead of City Administration. Kassel, Hesse: documenta 7.

Bishop, Claire. 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship. New York: Verso.

Brooks, Katherine. 2014. This One Tree Grows 40 Different Types Of Fruit, Is Probably From The Future. The Huffington Post (July 24, 2014)

http://www.huffingtonpost.com/2014/07/24/tree-of-40-fruit_n_5614935.html

Goodyear, Dana. 2012. Eat A Free Peach: Mapping “Public Fruit.” The New Yorker (March 12, 2012). http://www.newyorker.com/culture/culture-desk/eat-a-free-peach-mapping-public-fruit

Landi, Ann. 2011. Separating the Trees from the Forest: Alan Sonfist has built a career as an urban land artist. ARTnews (Summer 2011) (POSTED 08/15/11 5:58 PM). http://www.artnews.com/2011/08/15/separating-the-trees-from-the-forest/

Sonfist, Alan, Wolfgang Becker, and Robert Rosenblum. 2004. Nature, The End of Art: Environmental Landscapes. New York: Distributed Art Publishers.

Wark, Mckenzie. 2015. Molecular Red: Theory for the Anthropocene. London: Verso.