LABVERDE Catalogue 2019
The Amazon rainforest is a cosmic lab for the invention of shapes of life and matter, a complex ecosystem that holds a collection of memories of life experience on Earth. But this great biodiversity is reaching its tipping point. The life extinction of the forest is affected by local and international dynamics. This publication features work of the artists that were part of the 2019 Labverde Immersion programme in the Amazon. Though the artists
might not offer directly implementable solutions, they offer reflections, images and language that diversify, stretch and deepen the knowledge about the world we live in. Through the Labverde program, artists find ways to weave the complexity of the forest into the plurality of artistic language in order to better disseminate environmental and ancestral concepts.
This publication shares the methodology and results of our first Flash LAB – an short interdisciplinary workshop inspired by our experiences with the Art and Science LABs, designed to accelerate change in society and environmental awareness by sharing skills and facilitating interdisciplinary collaboration between artists, scientists and many other disciplines.
The predecessor to the Green Art Lab Alliance was the EU project ‘On-AiR’ initiated by Trans Artists. It was the first time for many gala partners to meet and it lay the foundation for a lot of the work we are doing now. In this publication you can read an interview with Geo-Air founder and artist Sophia Tabadatze, amongst many other interviews, resources and information on residency opportunities in Europe.
Connecting The Unconnected
This joint publication by APC and gala partner Common Room Networks Foundation, is part of a community networks learning grant, conducted through the project “Connecting the Unconnected: Supporting community networks and other community-based connectivity initiatives”.
The initiative intends to contribute to an enabling ecosystem for the emergence and growth of community-based connectivity initiatives in developing countries. It is part of a multi-year, multi-donor strategy envisaged to address the human capacity and sustainability challenges, along with the policy and regulatory obstacles, that limit the growth of community-based connectivity initiatives.
In 2015 HAWAPI took place in Huepetuhe, a small mining community in the heart of the Peruvian Amazon. For the last 35 years prospectors from across Peru, especially the southern Andean regions of the country have been venturing into this isolated and hostile environment in search of the abundant gold found under the forest floor. In order to create an open and inclusive platform for dialogue HAWAPI constructed a temporary structure in the town’s main plaza, which served as an open-air meeting point and venue for workshops, film screenings and performances. This temporary cultural center was built entirely out of recycled and borrowed materials sourced locally. The subsequent exhibitions were held in the Sala Luis Miroquesada Garland in Lima and Museo del Convento de Santo Domingo Qorikancha in Cusco.
In the space where the Perú-Chile border meets the Pacific coastline, lies a triangle of approximately 3.7 hectares. Known as the “Triángulo Terrestre”, this piece of land has been causing diplomatic disputes between the two nations since the middle of the 20th century.
Despite its relatively small size (equivalent to Parque Kennedy in Lima or Madison Square Park in New York) and having no agricultural, commercial or strategic value the Triángulo Terrestre has been in dispute since the signing of the 1929 treaty between Perú and Chile. The disputed land has acquired a symbolic value employed at different times by the governments of each country for political purposes. In April 2017, HAWAPI, in partnership with Galería Metropolitana (Chile) took a group of 13 artists (5 Peruvians, 5 Chileans, 1 Bolivian, 1 Israeli and 1 North American) to camp in Santa Rosa—the closest village to the “Triángulo Terrestre”. During four days camping on site, the group generated a series of artistic interventions and actions to contemplate in situ the
social, political, economic and physical impact created by this dispute; before moving to Tacna where they staged an exhibition of their work in the independent cultural centre, Laramamango.
This edition of HAWAPI was included in the BienalSUR and staged exhibitions in Tacna (Laramamango cultural Centre), Lima (Casona San Marcos) and Santiago de Chile (Centro Nacional de Arte Contemporáneo Cerrillos).
In November 2018, in its first edition in Colombia, HAWAPI took place in the Territorial Area for Training and Reincorporation (Espacio Territorial de Capacitación y Reincorporación –
ETCR) Amaury Rodríguez in the town of Pondores in La Guajira, Colombia. The ETCR Amaury Rodríguez is one of the 24 spaces of this type that were established around the country as part of the peace agreement signed between the Colombian government and the Revolutionary Armed Forces of Colombia on November 24, 2016. These provisional settlements were established in order to provide training and assistance to ex-combatants for their reincorporation into civilian life. The ETCR where HAWAPI 2018
took place is located in the Pondores locality in the department of La Guajira and has approximately 250 inhabitants, most of whom are ex-combatants of the FARC. In November 2018, the 11 artists invited to participate in this edition of HAWAPI, stayed at
the ETCR where they made a series of artworks and cultural activities that reflect on the peace process in Colombia and the current situation at the ETCR Amaury Rodríguez.
In February 2019 HAWAPI presented the collective exhibition “HAWAPI 2018 – Pondores” in Espacio El Dorado. The group of national and international artists who participated in HAWAPI 2018 presented original works developed in response to their experiences on location at the ETCR. The exhibition HAWAPI 2018 – Pondores, was curated by Andrea Muñoz. An academic program, designed by anthropologist and curator Jenny Díaz, ran in parallel to the exhibition and consisted of a roundtable, a symposium, talks and a series of guided visits that included the participation of various experts on the peace process, as well as members
of HAWAPI 2018.
Lab Art Y Ciencia
LAB de Arte y Ciencia took place in 2015 (in Chiriquí, the highlands of Panama) and in 2017 in Panama City. Each one has 4 booklets: 1 introduction booklet that explains the methodology, selection process and results, and a booklet for each art-science collaboration. The LAB is a month-long residency program, followed by exhibitions, workshops and outreach. It seeks to promote collaboration between scientists and artists to better communicate and spread scientific knowledge that has social impact, with communities that are directly affected by the research topics but who rarely have access to such information. Read Lab Arte y Ciencia 2015 here.
Aurora is an artistic experience around water and ran between 21 September – 7 October 2018 at Toxteth Reservoir in Liverpool. This is the first of two publications that accompanies the work, bringing together stories from Toxteth as well as stories of water from around the world. Our perceptions of water may vary, but the connection we have with it is essential to who we are as human beings. Aurora was co-commissioned by FACT (Foundation for Art & Creative Technology) and Invisible Flock in partnership with Liverpool City Council and Dingle 2000. Supported using public funding by the National Lottery through Arts Council England, and British Council. This publication is conceptualised and made by Quicksand, an India-based research and design agency and collaborating artists on Aurora – quicksand.co.in. The publication is designed by – studiocarrom.com.
This is the second of two research publications accompanying the Aurora installation by Invisible Flock and Quicksand, pulling together thinking, reflections, imagery, stories & research built around the project as well as deeper exploration into water and our global relationship to it. Featuring The Liverpool Water map designed by Sneha Upekar with information provided by Peter Cahill. Aurora was an epic immersive experience about our changed global relationship to water, running Autumn 2018 at the Toxteth Reservoir. Co-commissioned by FACT (Foundation for Art & Creative Technology) & Invisible Flock in partnership with Liverpool City Council & Dingle 2000. Supported using public funding by the National Lottery through Arts Council England & British Council.
Suelo (2014) is a reflection of Estudio Nuboso’s first multidisciplinary residency focused on addressing the theme of soil from various perspectives. Revealing the natural and cultural history and present of Punta San Lorenzo, Panamá.
The Sleeping Tree
This publication presents an insight into the development of The Sleeping Tree, a new immersive sound and light experience tracing a journey through the siamang habitat of north Sumatra. Using a month long sound capture process to listen to their movements and calls across a vast section of forest in Sikundur. Featuring dispatches, primatology research and insights into the Leuser Ecosystem from the academics, activists, scientists and rangers working to protect this vital habitat. The Sleeping Tree will premier at Brighton Festival in 2021 and is made in collaboration with LEAP (Landscape Ecology and Primatology) based at Bournemouth University, SOCP (Sumatran Orangutan Conservation Programme) and FKL (Forum Conservation Leuser). Invisible Flock is supported by Arts Council England as a National Portfolio Organisation.
Nada Bumi is is a work by Invisible Flock and Digital Nativ. A sound and sculptural environmental installation, created from the ecosystems and landscapes of Indonesia collected during a 3000+ mile expedition.
Abubuya catalogue by Kiosko
Abubuya, meaning to go with the flow in Mojeño-Trinidadian language, is a project created and produced by Kiosko Galería in Santa Cruz de la Sierra, Bolivia. This publication collects part of the memory of the Abubuya Km0 2014 workshop, the third version of the project Km 0 – International Artists Workshop.
Navigating the Mamoré River located in the Amazon department of Beni, Bolivia, the 26 participants (visual artists, cultural managers and curators) interacted with the territory, the crew of the Flotel Reina de Enin and the El Rosario community and from their artistic practice reflected on the environment and contexts.
The community life of Rosario is marked by the Mamoré river that offers the only access to the village. It is also the river, at the time of the floods, that takes away the homes and livelihoods of the community. In years of heavy flooding, the community members go Abubuya, they move to a higher hillside. As the waters recede, weeks or months later, they find their community displaced and have to readjust to the altered geography.
Chope Abubuya was a multifaceted exhibition that reflected parts of the artistic projects initiated during the navigation. Thanks to the conﬁdence of the president of the House of Culture of Beni, Mrs. Yuly Natusch, it figured as an official activity of Beni’s cultural month, thus presenting the first international exhibition of contemporary art in the department of Beni.
Expanded Nature: Making the Invisible Visible
The digital book “Expanded Nature: Making the Invisible Visible” gathers different creative perspectives on nature to seek to formulate a deeper and more comprehensive definition of what we understand as natural heritage. The publication is the result of the exhibition of the same name that was presented between 2020 and 2021 at the La Moneda Cultural Center (CCLM), in Chile, which brought together sounds, textures, dance, images and stories to present the forgotten and invisible of heritage natural: from the scientific to the cultural, from the individual to the collective, from the concrete to the spiritual.