project bibliography 4. radical materialism: relational aesthetics & after

A 2014 – 2018 collaboration of castle grünenfelder ingram

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

castle & ingram 2014 crabapple 2010 #1bibliography heading

 

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

 

  1. radical materialism: relational aesthetics & after

 

Artcyclopedia. 2015. Artists by Movement: Arte Povera – Italy, 1960s to 1970s. http://www.artcyclopedia.com/history/arte-povera.html

Bateson, Gregory. 1972. Steps To An Ecology Of Mind: Collected Essays In Anthropology, Psychiatry, Evolution, and Epistemology. London: Jason Aronson.  http://www.edtechpost.ca/readings/Gregory%20Bateson%20-%20Ecology%20of%20Mind.pdf

Bennett, Jane. 2010. Vibrant Matter: A Political Ecology of Things. Chapel Hill, North Carolina: Duke University Press.

Bennet, Jane. 2011. “Artistry and Agency in a World of Vibrant Matter” September 27, 2011 lecture hosted by the Vera List Center for Art and Politics, New School, New York City. https://youtu.be/q607Ni23QjA

Boscagli, Maurizia. 2014. Stuff Theory: Everyday Objects, Radical Materialism. New York: Bloomsbury Academic.

Celant, Germano. 2011 Arte Povera: Histories and Protagonists. Milan: Electa.

Celant, Germano, Tommaso Trini, Jean-Christophe Amman, Harald Szeemann and Ida Gianelli. 2001. Arte Povera. Milan: Charta.

Christov-Bakargiev, Carolyn. 2005. Arte Povera. London: Phaidon.

Cole, Andrew. 2015. Those Obscure Objects of Desire: The Uses And Abuses of Object-Oriented Ontology And Speculative Realism. Artforum (Summer 2015): 318 – 323. https://artforum.com/inprint/issue=201506&id=52280

Dawson, Ashley. 2015. Radical Materialism Introduction. Social Text: Periscope (2015 March 8 Radical Materialism issue). http://socialtextjournal.org/periscope_article/radical-materialism-introduction/

Flood, Richard, and Morris, Frances. 2001. Zero to infinity: Arte povera 1962-1972. London: Tate Publishing.

Harman, Graham. 2011. The Quadruple Object. Alresford UK: Zero Books.

Harman, Graham. 2013. “Greenberg, Heidegger, McLuhan, and the Arts.” MA in Critical Theory and Creative Research program, European Graduate School, Geneva, Switzerland. November 28, 2013. https://youtu.be/hK-5XOwraQo

Ingram, Gordon Brent. 2012. From queer spaces to queerer ecologies: Recasting Gregory Bateson’s Steps to an Ecology of Mind to further mobilise & anticipate historically marginal stakeholders in environmental planning for community development. European Journal of Ecopsychology 3 (Queer Ecologies issue): 53 – 80. eje.wyrdwise.com/ojs/index.php/EJE/article/download/35/19

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

Lista, Giovanni. 2006. L’Arte Povera. Milano: Cinq Continents Éditions.

Lumley, Robert. 2004. Arte Povera. London: Tate Publishing.

Lumley, Robert 2004. Movements in Modern Art, Povera Arte. London: Tate.

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: 6. decolonising permaculture

A 2014 – 2016 collaboration of castle grünenfelder ingram

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

2015 June 28 crabapple Burgoyne #1

bibliography heading

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

  1. decolonising permaculture

Altieri, Miguel A. 1995. Agroecology: The Science Of Sustainable Agriculture (Second Edition Paperback). Boulder, Colorado: Westview Press.

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

Francis, Robyn. 2015. What is permaculture? Nimbin, New South Wales Australia: Djanbung Gardens. http://www.permaculture.com.au/articles/social-permaculture/art-activism-and-permaculture.html

Marques, Pedro Neves. 2015. SUPERCOMMUNITY – Look Above, the Sky is Falling: Humanity Before and After the End of the World. e-flux journal 56th Venice Biennale (Apocalypsis, May 23rd 2015—Day 14). http://supercommunity.e-flux.com/texts/look-above-the-sky-is-falling-humanity-before-and-after-the-end-of-the-world/

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

Mollison, Bill. 1979. Permaculture Two: Practical Design for Town and Country in Permanent Agriculture. Stanley, Tasmania: Tagari Publications.

Mollison, Bill. 1988. Permaculture: A Designers’ Manual. Stanley, Tasmania: Tagari Publications.

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

Turner, Nancy J., R. Gregory, C. Brooks, L. Failing, and T. Satterfield. 2008. From invisibility to transparency: Identifying the implications. Ecology and Society 13(2): 7. http://www.ecologyandsociety.org/vol13/iss2/art7/

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.

salmon smoking rack bean trellis

2015 August 3 treillis abstraction 04-08-15_1426 Gordon Brent Brochu-Ingram

2016 Feb 9 y trellis montage - Gordon Brent Ingram

above: early February 2016 after the runner bean vines have died back

below: July 2015 at the height of flowering of the runner beans

2015 August salmon smoking rack bean trellis Gordon Brent Brochu-Ingram

2015 August 5 Burgoyne Valley Community Farm (google satellite) Gordon Brent Brochu-Ingram

This work is currently installed on Plot 20 in The Burgoyne Valley Community Farm at 2232 Fulford Ganges Road, east of Reid Creek, on Salt Spring Island. The trellis is roughly in the centre of this modified scene, just south-west of the West Gate.

The dimensions are roughly 9 meters x 3 meters and extending at times to a height of 7 meters. Some of the vines may well establish as perennials and the local, dead wood, harvested from the riparian forest along Reid Creek, is already beginning to break down — contributing more nutrients such as nitrogen to a clay soil that is depleted by partial water-logging and standing water in the winter. The trellis will be replanted next year but the design will change as the height increases to support the long vines.

2015 Oct - aerial - trellis

2015 August 6 trellis montage Gordon Brent Brochu-Ingram

2015 August 06 07-08-15_1433 Gordon Brent Brochu-Ingram 2015 August 6 07-08-15_1447 Gordon Brent Brochu-Ingram 2015 August 6 trellis 07-08-15_1435 Gordon Brent Brochu-Ingram2015 August 2015 07-08-15_1449 Gordon Brent Brochu-Ingram

2015 August 3 04-08-15_1443 Gordon Brent Brochu-Ingram

 2015 August 3 trellis 04-08-15_1444 Gordon Brent Brochu-Ingram

2015 August 3 trellis 04-08-15_1445 Gordon Brent Brochu-Ingram

2015 August 1 02-08-15_1724 salmon smoking rack bean trellis 2015 Gordon Brent Brochu-Ingram 2015 August 1 02-08-15_1653 salmon smoking rack bean trellis 2015 Gordon Brent Brochu-Ingram 2015 August 1 02-08-15_1658 salmon smoking rack bean trellis 2015 Gordon Brent Brochu-Ingram

 

2015 August 1 trellis - darker sky montage salmon smoking rack bean trellis 2015 Gordon Brent Brochu-Ingram

2015 Sept trellis iteration - Gordon Brent Brochu-Ingram (small)

2015 August 1 trellis - lighter sky montage salmon smoking rack bean trellis 2015 Gordon Brent Brochu-Ingram (small) 2015 August 1 trellis - turquoise sky montage salmon smoking rack bean trellis 2015 Gordon Brent Brochu-Ingram (small)

 

2015 July 23 trellis & blossom - Gordon Brent Brochu-Ingram

2015 July 27 trellis blossoms #2 - Gordon Brent Brochu-Ingram

2015 July 27 trellis blossoms #1 - Gordon Brent Brochu-Ingram

 

2015 July 27 trellis blossoms #3 - Gordon Brent Brochu-Ingram

This traditional variety of Scarlet Emperor Runner Bean, that was only planted on June 10, 2015, started blossoming massively on this trellis on July 24. Many honey bees and some hummingbirds are now enjoying the trellis.

2015 July 21 salmon smoking rack bean trellis - composite - Gordon Brent Brochu-Ingram

2014 July 23 blossom montage trellis - Gordon Brent Brochu-Ingram

2015 July 21 salmon smoking rack bean trellis - composite - Gordon Brent Brochu-Ingram

2015 July 21 salmon smoking rack bean trellis - Gordon Brent Brochu-Ingram Continue reading salmon smoking rack bean trellis

Some circumpolar tree crop gene pools spanning Western Europe & Pacific Canada

2015 Utopiana, Geneva, themed residency ‘La Bête et l’adversité’

A collaboration of castle grünenfelder ingram
À la recherche de certaines récoltes presque perdu: Decolonising permaculture:
The greatest adversity comes from forgetting

2006 June 30 crabapple Belly-Rising-Up - Gordon Brent Brochu-Ingram

2006 June 30 Pacific crabapple, Malus fusca, 
Belly-Rising protected landscape, 
south-eastern corner of Tsawout Indian Reserve, 
Saanich, Vancouver Island

Some circumpolar tree crop gene pools
spanning Western Europe & Pacific Canada

 

Well over five crop gene pools are spread in an almost continuous arc from Western Europe, through Eurasia, to North America. We focus on four gene pools that produce fruit and that can thrive in small, urban public spaces:

Malus species including apple, pear and crabapple;

Prunus species including plum and cherries;

Corylus species all producing similar kinds of hazelnuts;

Rubus including raspberry and blackberry;

and

Vaccinium including blueberries and huckleberries.

2007 June 5 Salish crabapple - Malus fusca - Belly-Rising-Up Tsawout Saanich - Gordon Brent Brochu-Ingram

2007 June 5 Salish crabapple, Malus fusca, 
Belly-Rising-Up protected landscape, 
south-eastern corner of Tsawout Indian Reserve,
Saanich, Vancouver Island

The many species in these gene pools were shaped by traditional communities in both Eurasia and the Americas and our project here explores the contemporary knowledge and engagements with these gene pools in the region around Geneva spanning Romandie and eastern France and a similarly sized region on the West Coast of North America: around the Salish Sea including the metropolitan areas of Vancouver and Seattle. There is an increasing body of knowledge suggesting that some of the populations of these fruit trees on the West Coast of North America have been enriched by marine and land-based peoples moving east across the now-inundated land bridge, Beringia, at various periods over the last 14,000 years.

Analyses descriptive du RUBUS 1891

Both regions share similar latitudes and climates but differ markedly in their relationship to colonial and decolonial processes. Switzerland, as a whole, thrived on the edges of the Western European empires and that legacy is the basis of new, multinational corporate ventures that while undermining local traditional knowledge about fruit crops has not been lethal to local communities.

crab-apple 21 6 2004 Belly-Rising-Up - Gordon Brent Brochu-Ingram

2004 June 21 Pacific crabapple, Malus fusca, 
Belly-Rising protected landscape, 
south-eastern corner of Tsawout Indian Reserve, 
Saanich, Vancouver Island

In contrast, the Salish Sea gene pools, modified and managed for millennia by indigenous Salish language-speaking communities, are under threat not only from habitat change but from the loss of local languages and the cultural knowledge to which it is tied. In this context, a growing body of legal decisions have given Salish communities in Canada a basis to intervene to protect traditional lands and resources.

Swiss Flora for Tourists 1889

Curiously, a number of mid-19th Century fruit trees, planted by the first settlers, have naturalized and hybridized with local species. These introgression processes can be important for the evolution and survival of these wild and traditional tree crop populations, thickets and orchards especially in the face of climate change and environmental stress.

Rubus 1889 The Flora of Switzerland

In exploring the exploring ways to reintroduce individual trees and small orchards, of these progenitor populations, into the public spaces of both urban Geneva and Vancouver – Seattle, we are exploring the following wild and traditional tree crop species and their associated human cultures.

West Coast of Canada / Salish Sea / Puget Sound*
MALUS (apple, pear, crabapple)
Malus fusca
PRUNUS (plum & cherry)
Prunus emarginata
Prunus virginiana
CORYLUS (hazelnut)
Corylus cornuta
RUBUS (raspberry & blackberry)
Rubus leucodermis Rubus parviflorus
Rubus spectabilis Rubus ursinus
VACCINIUM (blueberry, cranberry, huckleberry)
Vaccinium ovatum Vaccinium oxycoccos Vaccinium parvifolium
*(with a focus on the Gulf Islands the location of KEXMIN field station)

imprint - Analyses descriptive du RUBUS 1891

While based at Utopiana, we will searching out the following species and associated communities and cultural landscapes.

Western Europe with a focus on Switzerland, France, and adjacent regions
MALUS (apple, pear)
Malus sylvestris
We may well also find populations that could better correspond to some the following labels.
Malus acerba
Malus communis
Malus dasyphylla
Malus florentina
Malus praecox
Malus pumila
Malus trilobata

PRUNUS (plum & cherry)
Prunus avium
Prunus brigantina
Prunus cerasifera
Prunus cerasus
Prunus cocomilia
Prunus fruticosa
Prunus mahaleb
Prunus prostrata
Prunus pumila
Prunus spinosa
If there is time and over the longer term, we may search out populations elsewhere in Europe with labels such as the following:
Prunus fruticans
Prunus laurocerasus
Pruns ramburii
Prunus serotina
Prunus tenella
Prunus webbii

CORYLUS (hazelnut)
Corylus avellana

RUBUS (raspberry & blackberry)
The nomenclature of Rubus species in Western Europe is fabulously unstable and overlapping. So we expect to encounter species that correspond to these labels and well as those associated with more modernized taxonomies.
Rubus australis
Rubus catsius
Rubus cesius
Rubus foliis
Rubus fruticosus
Rubus hispidus
Rubus idaeus
Rubus idzus
Rubus landoltii
Rubus occidentalis
Rubus rhombicus
Rubus rosaefolius
Rubus saxitilis
Rubus tomentosus

VACCINIUM (blueberry and cranberry)
Vaccinium microcarpum
Vaccinium myrtillus
Vaccinium oxycoccos
Vaccinium uliginosum
Vaccinium vitis-idaea

2004 June 21 blackcap - Rubus leucodermis Belly-Rising-Up Tsawout - Gordon Brent Brochu-Ingram2004 June 21 blackcap raspberry, 
Rubus leucodermis, 
Belly-Rising-Up protected landscape, 
south-eastern corner of Tsawout Indian Reserve, 
Saanich, Vancouver Island

 

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