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Sited in a converted library building on a promontory overlooking the ocean in the town of Stykkish�lmur on the west coast of Iceland, VATNASAFN / LIBRARY OF WATER incorporates many of Roni Horn's abiding artistic concerns with water and weather, reflection and illumination, and the fluid nature of identity. Twenty-four glass columns containing water from glaciers around Iceland refract and reflect the day into a rubber floor embedded with words used to describe weather, inside or out. VATNASAFN / LIBRARY OF WATER also offers a space for community gatherings, a studio for writers, and it houses an oral archive of weather reports gathered from people who live in and around Stykkish�lmur. This book surveys the interconnecting elements of Roni Horn's long-term project on the island through a series of image sequences and texts. It also includes a selection of writings by the artist inspired by her experience of being in Iceland.
Author : James Lingwood,Gerrie van Noord Publisher : Unknown Page : 0 pages File Size : 48,6 Mb Release : 2009 Category : Water in art ISBN : 386521942X
Dedicated to an articulation of the earth from broadly ecological perspectives, eco art is a vibrant subset of contemporary art that addresses the widespread public concern with rapid climate change and related environmental issues. In Landscape into Eco Art, Mark Cheetham systematically examines connections and divergences between contemporary eco art, land art of the 1960s and 1970s, and the historical genre of landscape painting. Through eight thematic case studies that illuminate what eco art means in practice, reception, and history, Cheetham places the form in a longer and broader art-historical context. He considers a wide range of media—from painting, sculpture, and photography to artists’ films, video, sound work, animation, and installation—and analyzes the work of internationally prominent artists such as Olafur Eliasson, Nancy Holt, Mark Dion, and Robert Smithson. In doing so, Cheetham reveals eco art to be a dynamic extension of a long tradition of landscape depiction in the West that boldly enters into today’s debates on climate science, government policy, and our collective and individual responsibility to the planet. An ambitious intervention into eco-criticism and the environmental humanities, this volume provides original ways to understand the issues and practices of eco art in the Anthropocene. Art historians, humanities scholars, and lay readers interested in contemporary art and the environment will find Cheetham’s work valuable and invigorating.
"Roni Horn (b. 1955) is a prominent contemporary artist known for her sculptures, photography, and installations inspired by landscape and the natural world, and especially the isolated landscapes of Iceland, where she has travelled and lived for substantial periods of time since the early 1970s. Horn's work explores geology and climate; the interplay of nature, art, and place; and the relationships between words, appearance, androgyny, and the self. Horn is author of more than twenty books and artist's books, and is herself the subject of more than thirty books and exhibition catalogs, including a survey published by Phaidon and many by Steidl. Examples of her work include You Are the Weather (1994-96), a series of photographs of a young woman bathing in Icelandic hot springs; Pair Objects (1988), identical metal sculptures placed in two different locations; and the installation Library of Water (2007) in Iceland, with columns that enclose water from melting glaciers. Horn is arguably the most important visual chronicler of the landscape of Iceland. Upon graduating from her MFA program at Yale, she traveled to Iceland, journeying across its interior on a motorcycle. Over thirty years, she has continually returned to Iceland to explore and record the astonishing beauty of its geology, climate, and culture. This book will contain a range of texts, from evocative vignettes to illustrated essays written for Iceland's most widely-read newspaper. A combination of artists' writings and travelogue, the texts reveal Iceland as one of Horne's most important influences and inspirations, and record a unique and beautiful environment undergoing climate change"--
The reports included here were collected throughout 2005 and 2006. The accompanying snapshots were taken at the time and place of each intervew. This publication initiates the archive of weather reports that will be collected and maintained onthe VATNASAFN/LIBRARY OF WATER website.
A New York Times Notable Book Finalist for the National Book Critics Circle Award A personal, lyrical narrative about storytelling and empathy, from the author of Orwell's Roses Apricots. Her mother's disintegrating memory. An invitation to Iceland. Illness. These are Rebecca Solnit's raw materials, but The Faraway Nearby goes beyond her own life, as she spirals out into the stories she heard and read—from fairy tales to Mary Shelley's Frankenstein—that helped her navigate her difficult passge. Solnit takes us into the lives of others—an arctic cannibal, the young Che Guevara among the leprosy afflicted, a blues musician, an Icelandic artist and her labyrinth—to understand warmth and coldness, kindness and imagination, decay and transformation, making art and making self. This captivating, exquisitely written exploration of the forces that connect us and the way we tell our stories is a tour de force of association, a marvelous Russian doll of a book that is a fitting companion to Solnit's much-loved A Field Guide to Getting Lost.
Walking Methodologies in a More-than-human World by Stephanie Springgay,Sarah E. Truman Pdf
As a research methodology, walking has a diverse and extensive history in the social sciences and humanities, underscoring its value for conducting research that is situated, relational, and material. Building on the importance of place, sensory inquiry, embodiment, and rhythm within walking research, this book offers four new concepts for walking methodologies that are accountable to an ethics and politics of the more-than-human: Land and geos, affect, transmaterial and movement. The book carefully considers the more-than-human dimensions of walking methodologies by engaging with feminist new materialisms, posthumanisms, affect theory, trans and queer theory, Indigenous theories, and critical race and disability scholarship. These more-than-human theories rub frictionally against the history of walking scholarship and offer crucial insights into the potential of walking as a qualitative research methodology in a more-than-human world. Theoretically innovative, the book is grounded in examples of walking research by WalkingLab, an international research network on walking (www.walkinglab.org). The book is rich in scope, engaging with a wide range of walking methods and forms including: long walks on hiking trails, geological walks, sensory walks, sonic art walks, processions, orienteering races, protest and activist walks, walking tours, dérives, peripatetic mapping, school-based walking projects, and propositional walks. The chapters draw on WalkingLab’s research-creation events to examine walking in relation to settler colonialism, affective labour, transspecies, participation, racial geographies and counter-cartographies, youth literacy, environmental education, and collaborative writing. The book outlines how more-than-human theories can influence and shape walking methodologies and provokes a critical mode of walking-with that engenders solidarity, accountability, and response-ability. This volume will appeal to graduate students, artists, and academics and researchers who are interested in Education, Cultural Studies, Queer Studies, Affect Studies, Geography, Anthropology, and (Post)Qualitative Research Methods.
These photographs of the Thames River show many changes in light, movement and colour, and are accompanied by references to poems and short stories. An additional level is provided in Dead Body Reports, collected by the artist from London police
Weather, Religion and Climate Change by Sigurd Bergmann Pdf
Weather, Religion and Climate Change is the first in-depth exploration of the fascinating way in which the weather impacts on the fields of religion, art, culture, history, science, and architecture. In critical dialogue with meteorology and climate science, this book takes the reader beyond the limits of contemporary thinking about the Anthropocene and explores whether a deeper awareness of weather might impact on the relationship between nature and self. Drawing on a wide range of examples, including paintings by J.M.W. Turner, medieval sacred architecture, and Aristotle's classical Meteorologica, Bergmann examines a geographically and historically wide range of cultural practices, religious practices, and worldviews in which weather appears as a central, sacred force of life. He also examines the history of scientific meteorology and its ambivalent commodification today, as well as medieval "weather witchery" and biblical perceptions of weather as a kind of "barometer" of God's love. Overall, this volume explores the notion that a new awareness of weather and its atmospheres can serve as a deep cultural and spiritual driving force that can overcome the limits of the Anthropocene and open a new path to the "Ecocene", the age of nature. Drawing on methodologies from religious studies, cultural studies, art history and architecture, philosophy, environmental ethics and aesthetics, history, and theology, this book will be of great interest to all those concerned with studying the environment from a transdisciplinary perspective on weather and wisdom.
Roni Horn's "To Place" is an ongoing series of small editions, each book a unique look at the relationship between identity and location. They take as their starting point Iceland and Horn's evolving experiences there, illustrated in watercolors, photographs, typographic drawings, and text. "Doubt Box" is the ninth book in the set, printed in a limited edition of 1,000 copies, and it comes in the form of a collection of 28 loose two-sided images printed on cards, which makes for 56 color reproductions. One face of each shows the glacial river Skafta, proverbially both changing and constant. The other shows any of a collection of possibilities--a boy, an iceberg, birds. Each card offers a hybrid, a composite, while together they suggest the universality of duality, and particularly the dual nature of identity.
