The Cultural Dimension of Sustainability Experiences and Expertise collected by ARNA 201617
ARNA is working through the new culture dimension of sustainability in The Avian Kingdom (Fågelriket) in Sweden. During the autumn of 2015 ARNA was fortunate to get granted three project applications that all in different ways aimed to investigate how art and culture can support a sustainable development in a rural area. This is the collected experiences and expertise from the projects 'Art & Place Identity', 'Art & the Biosphere' and 'See – this is where I live'. The texts in the following four publications gives many different perspectives on the culture dimension, sustainability and the interaction between art and place. Participants are coming from around the world and represent a wide field of expertise, from artists, NGO's and state organisations. As we know it, this is the very first collection of examples in the world of how the culture dimension can be used to connect people and place for a sustainable future. We hope you will be inspired! Kerstin Jakobsson ARNA
arna.fagelriket@gmail.com org.nr 8024627047 Lidvägen 16 24164 Harlösa Sweden
HOME is where I am ARNA Art & Nature
Art & Place Identity ARNA Art & Nature
Art & Place Identity  experiences from around the Baltic Sea The photo on the cover of this publication comes from
Nature Film Festival, is named by the nearby National
Iceland. It shows a very modest little concrete building for
Park and is situated in Lihula, Estonia. In the end of the
a farm's hot water well. But the way it is painted it sparks
project the head organization ARNA also made a study
the imagination
visit to the tiny village of Krasnolesye in the eastern
of the people passing by to give the
building another story. To me, this describe the interesting
forests of Kaliningrad.
jumps, like mutations, inspiration starts in us. You never know what these mutations in the evolution of thinking will
During the project we have together learned more about
lead to. When I visited Iceland 2008, I couldn't imagine
the Culture Dimension of Sustainability. The fact that we
that a visit up in the this very end of northwest of Europe,
as partner organizations have differences has been good.
would inspire me to propose a start up of an artist in
The openness between the partner organization has
residence in my home area in Sweden. This very
given the foundation that spark that good type of ideas
mutation of ideas led to ARNA, meaning art & nature. It
that can mutate into new fields of work. As partners we
also led to the naming of our home area, now called
want to continue cooperate through sharing our different
FĂĽgelriket/The Avian Kingdom. Since 2011 ARNA i
expertize. We have found a common ground. We all
FĂĽgelriket is a NGO, working to promote a sustainable
support a sustainable development through culture in
development in our home area The Avian Kingdom
small places in ways that strengthen identities and attract
through with art projects as working method. Our work
visitors. It has the potential to inspire many other around
has arisen a great interest, not the least among artists
the world.
around the world. 2016 ARNA got 671 applications to 11
Kerstin Jakobsson
spots for working stays in 4 projects.
ARNA
Meetings, as the one I had the opportunity to get on Iceland, where you meet creative people in a way that make yourself a bit surprised, that is the very foundation for new ideas. During the project 'Art & Place Identity' ARNA has with support from the Swedish Institute got the opportunity to develop a partnership together with great organizations around The Baltic Sea. Through a series of meetings we have shared knowledge about work for a sustainable development out in rural areas within the field of culture. All three partners have strong connections to a small town and its surroundings but are also respected internationally within their different fields of art. SERDE is situated in Aizpute in Latvia, work with a heritage orientation and runs an artist in residency. MAFF, Matsalu
www.arna.nu
Art & Place Identity Ludvig Duregård, Crease
Art by Birgit Petri
Art in the right place “And this our life, exempt from public haunt, finds tongues
thematic direction, interesting problems and issues of
in trees, books in the running brooks, sermons in stones,
importance – the foundation for good artists to create
and good in everything.”
great art. The Duke (Act II),
As You Like it by W. Shakespeare (1599)
An interesting exemple of this is the Danish performance group hello!earth’s scientifically grounded piece “LIFE IN THE UNIVERSE a gathering for animals people and
I had the honor of facilitating the “Art, Place & Identity”
minerals”, where the audience become nature. All
seminar, hosted by ARNA in Harlösa late may 2016. In
individual on a microscopic scale, but collective, even
the short text below I’ll try to get a little deeper into the
communal, in their interdependence on each other.
possible exchange between place (as a space of meaning), ecology and artistic/cultural work.
The philosopher Richard Shusterman argues that the body as an artifact of the natural should be considered
Let’s look at the primary synergy of work in art combined
the foundation of all experience social, artistic, political.
with work on place. During the seminar Johanna
Taking this into account we find yet another argument
McTaggart (of the UNESCO Biosphere programme), gave
why inclusion, new perspectives and artistic practice in
us an image in her keynote, the wellknown photo of earth
nature will create greater overall engagement for the
from space. Even if we seen it before, in its simplicity, the
subject at hand – and at the same time provide aesthetic
picture presents a strong sense of earth as a shared
experiences, which in itself has massive social, cultural
space, a common place. The zoomed out perspective
and democratic value.
gives us holistic empathy of sorts – there are no national
Ludvig Duregård
borders, no demographic conflict, no parliaments in the picture. Only a green and blue ball that we all, and I mean it in the ultimate sense of the word, ALL live on. The image presents an alternate narrative on what earth is or might be. And it is in this idea of the alternate narrative that artistic production comes in. Art can, and should, present new stories from the same reality, new forms from the same matter, new ideas from the same thoughts. The creation of new perspectives and immersed experiences of place allowing the audience to build relationships and emotionally invest in topics makes
Sharing experiences of work with art, nature and a
art an ideal companion to ecology. From another
sustainable development during the seminar in Harlösa.
perspective, ecology gives artistic practice footing and
Art & Place Identity Johanna MacTaggart, MAB, Sweden
Photo Andrew Sawyer
UNESCO BIOSPHERE RESERVES Local solutions to global challenges Launched in 1971, UNESCO’s Man and the Biosphere
This may be achieved by increasing regional identity,
Programme (MAB) is an Intergovernmental Scientific
perhaps by using the concept of Terrior. A biosphere
Programme that aims to improve relationships between
reserve may use the concept of Terroir to inspire people
people and their environments. MAB combines the
and communities to work towards a common goal,
natural, social, and cultural dimensions, economics and
building trust within the group, and enhancing social
education to improve human livelihoods and the equitable
capital. In this way, we adopt a UNESCO mission to
sharing of benefits, promoting innovative approaches to
explore and develop our local role for global sustainability,
economic development that are socially and culturally
to find a common golden thread in order to achieve
appropriate, and environmentally sustainable. Its World
sustainable effects.
Network of Biosphere Reserves currently (2016) counts 669 sites in 120 countries all over the world that are designated model regions for sustainable development.
Johanna MacTaggart National Coordinator for UNESCOs Man and the Biosphere Programme (MAB)
Biosphere reserves show concrete examples of how to generate sustainable futures for coming generations and they demonstrate good practices of how to develop local solutions to global challenges by exploring "What does sustainable development mean for us?" The activities are owned by local communities along with those who have the ability to directly affect local development. The biosphere reserve organizations are process oriented, with the purpose to increase governance and community
www.biosfaromrade.se
learning. In practice, they inspire and connect people and stakeholders by developing and communicating good examples.
Background: Involved in the Man and the Biosphere Programme since 2005 with initial assignment to Biosphere Reserve Lake Vänern Archipelago, successfully designated
A biosphere reserve adds a unifying role and they are regions that show good examples of how land use and conservation
can
go
hand
in
hand
with
thriving
communities. These areas are pilot areas where new approaches and new knowledge is tested in order to achieve sustainable societies. Biosphere reserves also have a role of awareness rising, to create better links between local communities, culture and local resources and/or ecosystem services, as well as taking joint actions for a more resilient socialecological system.
in 2010. Swedish representative in global board for MAB Programme 2009 and 20132017. Interest to subject: Exploring ways to create a sustainable,
Art & Place Identity Charles Tracy, US National Park Service
Dos Duets
Art programs in U.S National Parks During our 2016 Centennial celebration, the National Park
currently being developed. We also have a large number
Service (NPS) has been reflecting on the important
of youthbased art programs at national parks that are
historic contributions of artists and photographers, such
designed to encourage young people to express their
Albert Bierstadt and Carleton Watkins, in the creation of
park experience through music, dance, photography,
the National Park System itself. The work of these early
painting, sculpture and spoken word poetry.
artists helped convince the U.S. Congress of the need to protect these places forever. We are also looking to future
Although each program is different, our experience is that
and embracing new expressions of the national park
the best structure for a successful art program is a
experience from contemporary artists. The resurgence of
partnership between a park and an arts organization. We
interest in art in National Parks is part of a larger trend
find that park managers and staff, although interested and
within the American land conservation movement and is
enthusiastic, do not have the requisite experience or time
becoming more prominent on the agenda of national art
to manage a program themselves. Last year, in
conferences and conferences about landscape and
partnership with the National Endowment for the Arts, we
ecology.
supported a national grants program, “Imagine Your Parks,” to fund new art through partnerships between
There are currently over fifty artistinresidence programs
parks and art organizations.
in the U.S. National Parks —each is uniquely designed to
Charles Tracy,
respond to the landscape context, visitor use patterns and
Arts Partnership Specialist, U.S National Park Service
interpretive themes of the park—and more programs are Why Art? Art in Parks is at the intersection of six strategic NPS goals • Art attracts and engages a much wider demographic of new visitors • Art inspires deep connections—spiritual and emotional between visitors and parks • Art activates and draws attention to new and less visited national park areas • Art challenges both visitors and staff to experience parks with fresh eyes • Art offers new interpretive lenses for telling old stories as well as surfacing untold stories • Art encourages dialogue on contemporary issues such as climate change and civil rights www.nps.gov See the film "100 years of Arts in the Parks" www.nps.gov/sublejcts/ar ts/100yearsofart.htm
Art & Place Identity Eva Grip & Lisa Tegmar
act art for Tourism 'act art' guiding generates from the Bauhaus school in
countries to participate in a three day workshop in Hörby
Germany 1919 1933, using dynamic methods of
area, Sweden 2014. The participants were very positive
education formed by leaders like Klee, Kandinsky, Itten
and could see possibilities of development in their own
and others.” Living Workshops” developed in that tradition
countries. Other workshops have been held in Germany,
were held at the Modern Museum in Stockholm from
Estonia, for safari developers in Namibia visiting Sweden
1954
direct
as well as in the region of Skåne. The outcome from the
connection with the Bauhaus. The 'act art' method makes
discussions within the differerent workshops was the
participants use all senses actively and they are
understanding of the need of an 'act art' Guide education.
via Adelyn
Cross
Eriksson
who
had
challenged to interact with others. Together and alone they express results from investigating nature and places
This is today our goal, to find the support to establish an
using playful creative tools, new perspectives and
'act art' Guide education in Skåne. We see that it would
insights.
attract both Swedish and international students in methods with the aim to give tourists new, and deeper,
As an young artist Lisa Tegmar took part in 'Living
forms of experiences in nature. The startup of an
Workshops' at the Modern Museum in Stockholm and
education will need support, but lead to a self financed
was later educated as a Living Workshop pedagog. She
education through the course fees.
has worked in the field for many years conducting groups
Eva Grip & Lisa Tegmar
in both private and public sectors, grownups as well as children. Eva Grip, a leader in a rural development project thought that the method would be useful with groups of tourists. The idea was that artists who live in rural areas and are interested in working with groups and landscapes should get education from Lisa and her collegues. For the artist it could be a supplementary way of financing themselves, and for the area where the artist live a new attraction, an 'act art' Guide who can guide tourists to explore any destination in an interesting way. The 'act art' Guide Experience creates presence in interacting
with
others,
and
it
contrasts
modern
computerised workday. To fully test 'act art' as a method, Eva and Lisa invited artists and tourism developers from four different
See film,articles and pictures from the project on www.hotspotkollerod.se/actart
Art & Place Identity Clara Norell, ISU
The city of Malmö's work with culture and sustainable urban development Already in 2009 the city of Malmö began to discuss the
Culture as a driving force for sustainable urban
role culture can play in sustainable urban development.
development
About the same time on a global level discussions started
Cities are becoming more and more like businesses on
whether culture would be a fourth dimension of
the global market. Where can we break / intersection
sustainable development.
between topdown and grassroots organization? I believe that with culture as the driving force and method, we can
2010 The Municipal allotted one million crowns to ISU
find the tangent point of where we can come together and
Institute for sustainable urban development in order to
jointly be barrierbreaking, crossborder.
examine the role of culture for sustainable urban development in Malmö. It was a oneyear mission where
In order to focus on having the citizens in the center when
ISUS identified two cases where the examination would
planning the city, we need to invite all the residents in the
happen. One was Malmo Museums and the second Norra
dialogue. How do we share, spread and manage
Sorgenfri. In one year we involved a large number of
knowledge? Where are we a broker of knowledge,
players, both within the City of Malmö's organization and
experience and contacts? When do we take intercultural
external, to see what role culture can play.
competence in the claims on a larger scale? People want to be involved include them people are often involved
In 2012 it was decided to transform the mission, from
let them participate People want to feel ownership let
temporary to permanent. ISU chose to work with the
them get the responsibility. I believe that with the help of
mission
culture, we can do the above. Through culture, we can
in
close
collaboration
with
the
Culture
Department and K3 at Malmö University. Over the years a large
number
collaborations
of etc
seminars, was
workshops,
implemented
and
create change.
essay Cultural
I strongly mean that culture and physical planning –
perspectives became an integral part of Malmö's various
whether it’s urban or rural – goes hand in hand. To
urban development projects.
channel culture where the planning of the landscape have failed/forgot to make space for culture is difficult as much
2015 conducted the Culture Department and ISU an
as landscape planning without culture as a part of the
application to the UCLG (United Nations) to become the
planning process will never be an attractive area.
Leading City in the Agenda 21 for Culture. This, after encouragement from UCLG. In the fierce competition,
Clara Norell
Malmö has now been chosen to be a Global Leading City
Institutet för hållbar stadsutveckling
in the area of culture and sustainable development, 2016 2017. Thus, we have received confirmation that the journey we started in 2009 have paid off. The tentative and questioning approach of 2010 has been passed to the implementing and continuing curiosity exploration in 2016.
www.isumalmo.se
Art & Place Identity MAFF Â Matsalu Nature Film Festival, Estonia
The story of Matsalu Nature Film Festival Matsalu National Park is a picturesque nature reserve in
visitors who come to photography and film workshops
Estonia. Situated on the coast of the Baltic Sea it is part
and show how extraordinary can nature seem from
of a big Eastern route of bird migration in spring and
outsiders view.
autumn. The area is sparsely inhabited by humans and thus gives a lot of opportunities for adventures to nature
The festival has a special program for local kids where
lovers. The local culture is closely connected to nature:
they will see some films and meet nature scientist and
the animal pastures and haymaking have been main
afterwards use their emotions in art workshops either for
activities of local peopleÍž local handicraft is mostly
drawing, photographing or making music. As a tradition
inspired by natural flowers and birds. In recent times the
also other side events happen during the festival:
area has attracted many nature film and photo people
seminars of some specific topic from conservation films
and thus it was connecting the dots that in 2003 nature
(how to protect large carnivores, birds of prey or
conservation and local community organized jointly a
amphibians), photo and art exhibitions, technology
nature film festival. In the first year there was no idea to
workshops and musical evening events. This all gives
start a long tradition but the success of the festival has
perspective and helps to interpret issues seen in nature
inspired to bring the nature film makers from all over the
films.
world together year after year. Sustaining
our
environment
is
something
so
The yearly festival has given an opportunity to see how a
overwhelmingly important and at the same time so
cultural event works for people and nature. The event is
intangible that is very difficult for a person to translate the
at the same time global and local: there are films and
need of conservation to everyday life. Yes, we can learn
filmmakers and photographers coming from all continents
how to recycle or that driving a car is bad but the cultural
and at the same time smallest local schools have
dimension helps us to really experience the diversity and
possibility to be part of the event. Festival enables to
value of natural environment.
show to locals and visitors the best and newest nature films and also disseminate the translated films to other
Silvia Lotman
parts of Estonia. But it also gives opportunity for local
Coordinator of the Matsalu Nature Film Festival
people to see their usual local environment with eyes of
CEO of Estonian Fund for Nature
www.matsalufilm.ee/en
Art & Place Identity MAFF Â Matsalu Nature Film Festival, Estonia
The culture house in Lihula where the film festival exhibits
MAFF and local economies Very big part of Lihula municipality is covered by Matsalu
networks. And we already have some good examples of
National Park and as a result it plays important role in the
local people who have gotten a kick from festivals visitors
local economics. The park gives possibilities for tourism
and have extended their service to whole summer. Of
and related services. Nevertheless visitors cannot spend
course one festival a year is not enough to give job for
money in local community if there are no services
local service providers but it is one of many drivers in
developed for them. In turn local people might not be sure
local economy. Festival gives possibilities for local people
if the investment in local service providing is sustainable Â
to try their enterpreneur skills also as ad hoc taxi trivers or
how many tourists are there and are they really ready to
running popÂup restaurants.
stay and consume? This kind of incompatabilities can be overcome with the help of creating for example cultural
One more added value to Lihula from the festival is that
events.
when last year Estonian government was sponsoring cinemas for better film showing technics then Lihula was
Matsalu Nature Film Festival draws every year some
considered too small town for the support but as the
hundreds of people from abroad and other parts of
organiser of a international nature film festival Lihula was
Estonia to Lihula. Those people need accommodation,
still given the support. Now, with some additional
food, transport. In years it has been a problem that there
financing from the local government, Lihula has one of
are not enough accommodation places for festival visitors
the most modernly equipped film showing culture houses
and this had led to some creative solutions. Some local
in Estonia.
people have opened their homes for B&B service during
Silvia Lotman
the festival, also a local kindergarden is offering
Coordinator of the Matsalu Nature Film Festival
accommodation for bakcpackers. This activity is hoped to
CEO of Estonian Fund for Nature
become more active with the help of AirB&B type of
Lihula celebrates its 805 years as a town 2016
Art & Place Identity Signe Pucena, SERDE, Latvia
Cultural Heritage as Resourse SERDE's case The Interdisciplinary Art Group SERDE is a non
including a presentation of the book and additional hands
governmental
to
on workshops with reconstruction of old recipes or
develop the regional and international collaboration
storytelling events in which the local community are
between different cultural fields, organizations and
invited to publicly recount their personal stories.
organization
professionals.
SERDE’s
(NGO),
which
activities
create
seeks
dialogue
between arts, science and education, which includes
SERDE together with artists and cultural workers offers
organizing
public educational introductions and workshops (on how
residencies,
workshops,
expeditions
and
publishing thematic notebooks, among other things.
to boil soap, make candles, brew beer, forage the medical
SERDE artist residencies centre is located on the main
plants etc.) to reinvigorate local knowledge and traditional
street in the historical centre of Aizpute – one of the
skills. Internationally SERDE's projects and performances
oldest towns of Kurzeme. The centre occupies and has
that are strongly connected with Latvian traditions were
preserved a unique house complex (1500 m2) built in the
shown in various art and culture festivals in Finland,
18th century in wood and redbrick architectural style.
Germany, Switzerland, Sweden, Ireland, Lithuania and Estonia.
In 2005 SERDE began to collaborate with researchers of
Activities of SERDE within the field of intangible cultural
folklore and traditional culture in response to the
heritage have also been acknowledged in 2015 receiving
perceived
and
a positive evaluation by the UNESCO Secretariat on its
memories. This activity included fieldwork/expeditions to
possible accreditation to the UNESCO Convention for the
rural areas of Latvia to investigate traditions—maintained
Safeguarding of the Intangible Cultural Heritage.
loss
of
important
living
practices
from generation to generation—and to collect stories
Signe Pucena
about recent history still preserved in living memory. The
SERDE
gathered materials were published by SERDE in a
www.serde.lv
Notebook of Traditions book series (currently 17 books
www.facebook.com/smgSERDE
although the process is ongoing).
https://issuu.com/smg.serde https://vimeo.com/smgserde
SERDE’s fieldworks and expeditions was organized in various places in Latvia focuses on local knowledge and traditions. The principal method employed by SERDE is fieldwork/expeditions, inviting specialists of folklore/living culture, artists and students to the chosen rural areas. The folklore specialists compile questions and organise interviews whilst artists document the environment, processes and people. The gathered audio interviews are later
transcribed
and
together
with
colour
photo
documentation are designed and printed in book form. Public events are held to celebrate the book publication
http://serde.lv/?q=node/23
Art & Place Identity Anna Karpenko, curator, Kaliningrad
Transborder projects for regional development through art and community work Rominta Forest and Lake of Vistynets (Vištytis) are
year, in 2016 there were more than 800 people there. The
situated at the crossroads of Lithuania, Poland, and
festival and general project documentation is available at
Russia (Kaliningrad region). Since 1422, one of the oldest
http://lessosedi.ru/.
European borders has run through this area. However, our purpose is to make true that there are no borders to
In 2016, the project “Forest Village” won in allRussia
nature and mutual understanding. We would like to show
museum competition for museums and community
things that unite us all love, work, sincerity, honesty, and
development programme “Changing Museum in the
friendship.
Changing World” organized by Potanin Charity Fund. Through art and community work, it would contribute to
Since 2013, we run in the area interdisciplinary projects
place identity shaping through creating new routes and
which involve both artistic and community work and
exposition devoted to contemporary life of the area.
include expeditions, mutual gatherings and festivities, workshops, photodocumentary projects (see http://les
Anna Karpenko
sosedi.ru/happystoriesen/) . The methods work through
coordinator and curator of interdisciplinary
introducing people to each other, making friends, building
transborder projects in the area
trust, sharing knowledge, and spreading information about the area to the outside world. The cooperation network is based in three centers – in Krasnolesye (Kaliningrad region, RUS), Dubeninki county (PL) and
a_karpenko@yahoo.com
Vistytis (LT). In Krasnolesye, the main partner is Vistynets
https://www.facebook.com/anna.karpenko
Museum for History and Ecology. It is an NGO located in
The museum project diary is available at
the former village school building. The museum (director
http://museum.fondpotanin.ru/projects/9456301/diary.
Alexey Sokolov) develops programs which introduce travelers to history and nature of the area. One of the programs is devoted to geology and represents the treasure of stones which formed the landscape long time ago along with movement of Scandinavian Glacier. One of the most important events is an annual festival Neighbours (Sosedi) which has been organized in August for three times since 2014. It is grassroots festival which is not a showcase event but rather a big gathering involving many local dwellers and sameminded guests who share their joy of being together. The festival’s special friendly atmosphere attracts more guests every
Cross border meeting, ARNA visit Krasnolesye
Art & Place Identity Ludvig Duregård, Crease
Meeting project partners and friends
Culture of mutuality I had the honor of observing, and in part facilitating, the
value for the participants experiencing the festivals
process of the Art and Place identity project where ARNA,
content as well as the production from “the inside”. ARNA
Matsalu Film Festival and Serde shared and deepened
has an approach that is in many ways pragmatic and I
their knowledge on the role of culture when approaching
would argue inherent to rural areas. The artist in
the identity of place.
residence needs a place to stay someone has a house, the artists needs to go to the airport someone has a car
In this short text I’ll try to provide you with some of my
and so on. This method, which I’ll simply call “Asking for
own experiences, I won’t be making any attempt at
help” feels very natural in rural areas, whereas in
catching the whole process and its essence in writing. I’d
cosmopolitan culture that kind of neighbor help neighbor
rather present you with some of the insights and ideas
mentality is not as easily found.
that caught my eye during the preparations, the seminar in Harlösa (SE) in may (hosted by ARNA) as well as in
SERDE has been active for 14 years and have by now,
the August meeting in Aizpute, LV (hosted by SERDE).
deep roots in the community. One of the core approaches of SERDE is the use of artistic practice to connect to local
“Culture is an inclusive and democratic engine”
traditions. This is presenting itself very concretely in the
Maria Ward, Chair of regional culture board
Arts and Crafts market, where local craftsmen sell and
(from the seminar in Harlösa)
present their goods side by side with international artists. The effect on audience might seem obvious but I call,
When you look at participative practices on a European
Columbo egg, this is rarely seen: the village and the
scale there’s, at least at the moment, heavy focus on
community comes en masse to see the local craftsmen’s
engaging individuals in the actual creative process. Which
work at the same time they experience fine (and
of course has its benefits depending on the target, the
sometimes provocative) arts.
process can be a tad exclusive (despite its ambition) since the demands on the participants are quite high. The
These methodologies, while they might not seem
work of ARNA, MAFF and SERDE on the other hand
groundbreaking, are highly interesting because they are
does not, in that respect, demand creative output from
approaching the local culture and people with respect.
their community ie. bringing the people out of their
Rather than forcing/elevating the communities into the
comfort zone and into a creative domain. These three
unknown, these three organizations try to find the shared
organizations are rather rather looking to meet their
values of the place engage in conversation and work
neighbours where they are.
from there. I’ve seen numerous cases where one cultural idea is trying to land in an unknown cultural landscape.
In the case of MAFF in Estonia it is in the form of working
The classic case being projects by white middle aged
with local volunteers during the festival, creating added
artists trying to “help” their (funding) target group of
Art & Place Identity Ludvig Duregård
'Walk and talk in the park' an example of an ARNAevent
In the political end of the spectrum, primarily looking at
In this case specifically interesting because of the shared
the
these
rural condition of these three organizations. Projects like
organizations there are some interesting, at least from a
different
bureaucratic
challenges
facing
these, be it mobility or shared ventures, have huge effect
Swedish perspective, findings that should be mentioned.
on participating organizations and in the larger scope this
In Lihula there seems to be a deep integration and
kind of translocal relationships are the foundation of a
mutuality between Matsalu Nature Film Festival, the
naturally connected Europe.
Municipality of Lihula as well as their neighboring Biosphere reserve HEPP. To give you an indication
On a personal note, it has been a great pleasure
during the seminar in Sweden and the meetings in
watching the relationships and the trust between the three
SERDE there where always representatives of Lihula and
organizations grow exponentially over the last couple of
HEPP present.
months. I haven’t, to be honest, seen that kind of instinctive alignment between people or organizations in
SERDE's cultural position and network nationally and
international projects before.
their political position locally has shown to attract new
Ludvig Duregård
creators and talent to, their home municipality, Aizpute
Crease
establishing an artistic scene where there usually is none (ie. small rural towns 150km+ from metropolitan areas). Because
of
SERDE's
long
relationship
with
the
community and city council it’s much easier for new artistic collectives and artists to permanently establish in Aizpute. SERDE has already proven, in a way, the value of artists in the town and can, because of their history in the town, act as a translator between artists will and officials wishes. Europe is multidimensional network, cities connect with cities,
countries
with
countries,
even
ministers
of
agriculture connect with ministers of agriculture. It’s refreshing to see that these connections between peers can happen on any scale, be it the council of ministers or conversations between three small culture organizations. Projects like this, has great value in terms of knowledge transfer and internationalization for culture organizations.
Sharing European experiences of art and nature
ARNA i Fågelriket www.arna.nu The project Art & Place Identity was developed during 2016 as a partnership between ARNA i Fågelriket in Sweden, SERDE in Latvia and Matsalu Nature Film Festival in Estonia. The project was supported by The Swedish Institute and Eslövs kommun.
HOME is where I am ARNA Art & Nature
Art & the Biosphere ARNA Art & Nature, Sweden
Art & the Biosphere Ambitious, that is the word I often hear when talking
environmentalists,
ecologists,
carpenters,
architects,
about ARNA's vision. We are working in an area that
engineers, artists, filmmakers, designers and very many
might become a new UNESCO biosphere reserve and
people with interest in heritage.
our vision is for it to become the world's first to include the Culture dimension of sustainability in its foundation.
There has been a shift in the world in believing in the combination of the arts and a sustainable development.
The reason why we are called ambitious must be that
UNESCO's Man and the Biosphere Program has now
most people don't have a clear picture of what the arts
taken in a long term goal for all biospheres in the world to
could add to a sustainable development. With financial
include the Culture dimension as the fourth pillar of
support from Kulturbryggan we have in the project 'Art &
sustainability. In UN's new Agenda 2030, culture is for the
the Biosphere' created two very different sub projects to
first time part of the international Sustainable Deve
explore how the Culture dimension of sustainability can
lopment Goals. It is also declared that 'no development
become the connector between the environmental,
can be sustainable without culture'.
economical and social dimensions of sustainability. In the 'Green Outhouse project' our partners were within the
Yes, we are ambitious, but also experienced. We say that
public sector, through 'Länsstyrelsen Skånes naturvårds
the new Culture dimension can become a powerful tool in
avdelning' and the architect school at Université Laval in
sustainability and biosphere reserves great places to
Quebec, Canada. The project built a toilet for a nature
create good examples in. Here in Vombsjösänkan in
reserve that in the end also included a barbecue area and
Sweden we can become the first to do so. As UNESCO
a 'outhouse art gallery'. In 'The windmill project' our
describe the aim for Man and the Biosphere Program:
partner was the NGO Hammarlunda mölleförening. During their final steps of a renovation of the old windmill,
Biosphere reserves are ‘learning places for sustainable development’.
the project lifted questions around future audiences and
They are sites for testing interdisciplinary approaches to under
the European landscape convention, ELC. Through
standing and managing changes and interactions between social and
ARNA's international call for applications, two young
ecological systems, including conflict prevention and management of
artists were invited to create their personal interpretations
biodiversity. They are places that provides local solutions to global
of the windmill's history. The results, a sculpture and a
challenges.
soundscape, is now part of the site. By focusing on creating real life things for long therm use,
Kerstin Jakobsson www.arna.nu
many different questions have been set in the context of a sustainable development through the project. The project
Leaflet about UNESCO's Man and the Biosphere Program.
has been working from local needs and challenges but
http://www.unesco.org/new/fileadmin/MULTIMEDIA/HQ/SC/ima
has involved young, international artists to bring in fresh
ges/MAB_leaflet_2016_2017_en.pdf
perspectives. It has also involved many specialists as;
Art & the Biosphere ARNA Art and Nature
The Culture Dimension of Sustainability ”Culture is who we are and what shapes our identity. No development
UNESCO about culture's role in a sustainable development
can be sustainable without including culture.”
"UNESCO's work promoting cultural diversity, and UNESCO’s Culture UNESCO
Conventions, are key to the implementation of the 2030 Agenda for Sustainable Development."
Background of the Culture dimension of Sustainability The Bruntland commision defined the three pillars of
"The 2030 Agenda for Sustainable Development marks a substantial
sustainability as environmental, economical and social
step forward for sustainable development in many fields, and
development 1987. But was this enough? No, something
particularly for culture as it is the first time that the international
was missing. 2004 is was declared in the UN Agenda 21
development agenda refers to culture within the framework of
for Culture that sustainable development need to have a
Sustainable Development Goals related to education, sustainable
fourth pillar, the Culture Dimension. The task to promote
cities, food security, the environment, economic growth, sustainable
Culture's role in sustainability was given to the United
consumption and production patterns, peaceful and inclusive
Cities and Local Governments (UCLG), and they describe
societies."
why; “The present canonical triangle of sustainable development
"From cultural heritage to cultural and creative industries, Culture is
environment, social inclusion and economics either doesn’t include
both an enabler and a driver of the economic, social and
culture or it is considered an instrumental element. Therefore, the
environmental dimensions of sustainable development."
Agenda 21 for culture is a tool to turn culture into a fourth pillar of sustainable development. This confirms the importance of having solid
Find out more through UNESCO's website:
and autonomous cultural policies as well as the establishment of
http://en.unesco.org/themes/culturesustainable
bridges to other dominions of the governance.”
development ARNA
The Culture Dimension in Agenda 2030 In September 2015 the United Nations General Assembly adopted the “2030 Agenda for Sustainable Development”, with 17 ambitious, universal goals to transform our world. UNESCO ensures that the role of culture is recognized through a majority of the Sustainable Development Goals (SDGs), including those focusing on quality education, sustainable cities, the environment, economic growth, sustainable
consumption
and
production
patterns,
peaceful and inclusive societies, gender equality and food security.
Art & the Biosphere Ylva van Meeningen, PhDstudent, Lund University
Photo Andrew Sawyer
Ecosystem services – and their connection to culture The term ecosystem services involve the products and
is directly experienced and intuitively understood by
services which mankind gets from nature and that have
people, it might be used as a tool for communicating the
various benefits to our wellbeing. It got its main influence
importance of protecting different ecosystems. But in
when a research team supported by UN published a
order to do so, attention needs to be paid to
report called “The Millenium Ecosystem Assessment”
communication, the constant change of cultural values
(MEA) in 2005 regarding the different values and types of
and an open mind to how different cultural values are
uses humans can get out of nature. In MEA, ecosystem
perceived by different individuals. What is apparent is that
services are divided either into supportive, regulating,
there is a need to give a better description of what cultural
provisioning or cultural services. Whilst supportive,
services entails and what it means for practical activities.
regulating and provisioning services have an economical
The connection between cultural services and practical
value of some kind, like for an example the importance of
activities has received little attention and it would be
clean air and water, cultural services are harder to define.
desirable to improve that connection further. That would
It is not providing any direct material benefits, but its
not only improve the understanding of cultural services,
values are rather defined by the practices of different
but would have positive effects on other ecosystem
social groups and how well that is communicated
services and evidently improving the wellbeing of
between
humans as a whole.
groups. As
human
societies
have
both
Ylva van Meeningen
influenced and been influenced by their surrounding environments, this connectivity has shaped people’s identity, values and perception of the world. Cultural services are therefore often defined by what values,
My name is Ylva van Meeningen and I work as a PhD student in Physical
beliefs and how different social groups perceive the world.
Geography and Ecosystem Science at Lund University in Sweden, with a
For example, a rock can simply be a rock to some, but to
main focus of interest towards ecosystem dynamics. I am also the secretary
others it can be a boundary marker, a piece of sculpture
and the environmental expert for ARNA during my spare time.
or a religious symbol depending on the person‘s beliefs or background.
Sources: Millenium Ecosystem Assesment, 2005, Ecosystems and Human Well
Cultural services are usually divided into two groups,
Being: Synthesis. Island Press, Washington, D.C.
where one topic covers spiritual, religious, aesthetic or
Chan, K., Goldstein, J., Satterfield, T., Hannahs, N., Kikiloi, K., Naidoo, R.,
inspirational values, whilst the other topic involves
Vadeboncoeur, N., Woodside, U., (2011) Cultural services and nonuse
recreational values, ecotourism, heritage and education.
values. In: Natural capital: Theory & practice of mapping ecosystem
They can be enjoyed on various scales where humans
services. Oxford University Press, Oxford, UK, 206228.
like to interact, from domestic gardens to regional
Hirons, M., Comberti, C. and Dunford, R., Valuing Cultural Ecosystem
landscapes. The importance of cultural services is often
Services. Annual Review of Environment and Resources, 2016, in review.
recognized, but as they are often characterized as being
Church, A., Burgess, J. and Ravenscroft, N. (2011), Cultural services. In:
intangible and difficult to quantify they are rarely
The UK National Ecosystem Assessment Technical Report. UK National
considered in decisionmaking processes. However, as it
Ecosystem Assessment, UNEPWCMC, Cambridge.
Art & the Biosphere Pia Sander, Skånes hembygdsförbund
Photo Andrew Sawyer
We are the landscape! Landscape,
according
to
the
European
landscape
landscape, both volunteers and professionals. Desired
convention, is "an area such as perceived by people, whose
positions are:
character is the result of the influence of and interaction of natural
• a sustainable development
and/or human factors".
• rich living environment • boost the local community participation in landscape
In Sweden the local heritage movement is firmly rooted in
design
the history of Swedish popular movements and it has an
• increase awareness of landscape value and importance
impressive infrastructure of local associations throughout
• develop a holistic view of landscape values, including
the country. Sweden also has a long and strong tradition
cultural and natural heritage, and management of these
of popular education.
• exchange knowledge and experiences.
2016 SHF, the Swedish Local Heritage Federation,
The methods to achieve this is among others a citizens '
celebrated 100 years, ”Hembygdens år”. Together with
perspective, participation in planning, codetermination
it´s 2 040 local member organisations and 450 000
and, of course, many activities, hikes and seminars where
individual members, the local heritage has been in focus
people meet and talk. A way to measure the civil dialogue
for public activities including thousands of volunteers. The
is through Arnsteins participatory ladder. It starts with
regional heritage organisation in Scania, Skånes hem
information, the lowest degree, to consultation, dialogue,
bygdsförbund, chose the European landscape conven
participation and finally to codecision.
tion as a theme for 2016. Why? Simply because land scape relates to issues of importance for the cultural
Landscape management is ultimately about the place
heritage, such as local identity and the development of
and the people who use it. Pia Sander
local society.
Head of private office Skånes hembygdsförbund
The European landscape convention is the starting point for our project. A first step is to discuss what do we mean by landscape? How do we relate to the LANDSCAPE outside us and within us? What kind of landscape do we need and want for the future? How can local cultural heritage be part of basic structures? And how can know ledge within the local heritage movement contribute to a landscape where quality of life is priority? Together with our member organisations and some of the scanian municipalities, Skånes hembygdsförbund are working in a multiyear project aiming to involve more people in the dialogue and in activities concerning
www.hembygd.se/skane/projekt/hembygdensar2016temalandskap/ www.hembygd.se/hembygdensar
Art & the Biosphere Anta Germane, Artist
Photo Andrew Sawyer
ODLAREN Through my project I wanted to talk about the heritage of
seen in many places around the area. The sculpture is
the windmill and its special role in the local community.
wrapped in red luminescent wire that can be seen glowing in the dark and creates a stitched line drawing of
During the residency I learned about the area, the
a horse pulling a wagon.
community effort to restore the windmill, the future plans for it and the stories of its past. Charmed by the brilliant
By using a public space I hope activate the area around
construction of the mill and its history, I developed a
the windmill, highlight it as something much more than a
concept for a sculpture presenting two horses pulling a
landmark and to interest people both in it's history and
wagon of grains. The aim is to tell a story from its history,
contemporary use. The opportunity to work with a
play with the physical space and bring attention to the site
community of inspirational people that share a common
as an active space used by the community.
goal efficiently and creatively has truly charged my creative drive. During the residency I have been thinking
The design of the sculpture is created in reference to a
about the ways in which I can give back through my work
functioning windmill. The construction implies that a
and how much can a work of art do in a rural setting. My
farmer would enter the mill with a wagon and horses. The
aim was to put heritage and community into the spotlight.
bags of grain would be then unloaded and taken upstairs.
This experience has shaped my ideas about future
Researching relevant details and imagining what a horse
projects and helped me to see and define the long term
driven wagon would have looked like, I selected a time
impact I wish for my art to have. In the project I am using
frame based on the last long term miller that worked in
the accessibility of public art as a metaphorical arrow
the space and also ran a bakery across the street. I
pointing to the windmill and saying “go here, see this,
brought in details such as the wagons used in late 19 th
learn more�.
and early 20 th century in the area, breeds of Swedish
Anta Germane
work horses that would have been common at the time and a characteristic style of a hat. By exploring the everyday use of the space, the road right passing the mill and the path a visitor would take I decided to play with the perspective. The sculpture can be seen when passing the windmill by road, it appears as horses pulling a wagon of grain upward to the windmill, however the perspective from the windmill itself places the sculpture in front of the building that used to be run as a bakery. Made from steel, the sculpture will rust and change it's
Artist Anta Germane
colour becoming closer to the iron based paint used
Latvia/United Kingdom
commonly for Swedish barns. This shade of red can be
www.antagermane.com
Art & the Biosphere Ante Germane
Photos Andrew Sawyer
Art & the Biosphere John Daltiero, Artist
Photo Andrew Sawyer
Hammarlunda mölla In memory of Ola and Clas On the third floor of Hammarlunda Mölla rests a central turbine that displays the monogram of one of the mill’s earliest and most prominent owners Ola Håkansson. Ola’s monogram is not just a tag like the countless others that adorn the walls of Hammarlunda Mölla; the rose insignia scribed above his initials exudes emotion and hints at Ola’s human nature. I began to romaticize Ola’s life and the mill itself, and imagined what life was like for him. I’ve come to know Ola through small bits of information that the local residents have given me: He occupied the windmill from 18971912; he was an avid fiddler; he had a jackdaw as a pet, which lived and worked with him in the mill and by worked I mean ate all of the spilled grain and got quite chubby, according to Görhan Hansson. I’ve learned other bits about him as well, but with just
My first construction is a soundscape comprised of violin tuning and songs, jackdaw chirps, footsteps, and the moving mechanisms of the windmill. To deliver that soundscape I built a speaker system that travels from one central stereo to opposite sides of the mill’s third floor. This creates the illusion that Ola and Clas are moving freely about the room using simple panning techniques and audio cues. My second construction takes the form of a permanent installation of feathers that span a jackdaw’s entire lifetime, placed in the cracks of the mill’s central turbine, which also holds Ola’s monogram and rose insignia. This creates a symbols that visually bonds Ola and Clas together. In experiencing this combination of sound and symbol one may come to better understand what life may have been like nearly one hundred years ago for the miller Ola and his jackdaw Clas. John Daltiero
those three points I believed I had enough information to bring them both back to life, so I started building.
Artist John Daltiero USA www.johndalterio.com
Art & the Biosphere John Daltiero
Photos Andrew Sawyer
Art & the Biosphere Jörgen Nilsson, Länsstyrelsen Skånes naturvårdsavdelning
Klingavälsån's valley and the Vomb hollow The area around lake Vombsjön and Krankesjön, with
In the end of the 1940:ies, lake Vombsjön became a
Kävlingeån river and Klingavälsån's valley, is one of the
water source for the city and region of Malmö, and the
county's most speciesrich areas. It is the variety of
lake surface was raised with a levee. Today, the road runs
habitats ranging from very dry sandy soils into lakes,
by the lake on top of the levee. For a time, the western
rivers, streams, wet peatlands and everything in between,
shore along the road was used as recreational beach with
that is creating the conditions for biodiversity. It features
car parks. Gradually, this area became less popular and
all from open pastures and meadows to semiopen tree
the parking areas grew back. After the Environmental
and bushland in to dense forests.
Protection Agency purchased the land west of the road and up against Kävlingeån, a birdwatcher observation
The source of the variation in this environment takes us
tower was built here in 2008. The area continues to
back to the end of the last Ice Age when a large "ice lake"
change, and a Green Outhouse, especially designed for
formed as the glacier ice sheet melted. Into the lake, sand
the location has been erected, together with shelters with
and fine soil (silt) was deposited this is what, today,
spaces for art and information. A new and exciting
represents the area's soil that created the conditions for
outdoor barbecue has also been built here.
the flora and how people have been able to use the area. The County Adminstrative Board's Nature Management The natural values in the area is why it today is identified
Unit is very pleased with the cooperation we have had
as a as a wetland site of international importance, known
with ARNA, concerning Green Outhouse and for all the
as a Ramsar site, (after the city of Ramsar in Iran where
work, dedication and pride of the area that was put down
the Convention was drawn up in 1974). Large parts of the
here. To have locally engaged people and organizations
area are also designated to be parts of the EU network of
is extremely gratifying and of importance in order to
valuable habitats Natura 2000. Klingavälsåns valley is
create a living countryside. It is especially fun when
one of the county's largest nature reserve with more than
something as trivial as an outhouse, could be designed to
2000 hectares. It has a rich bird life and has a number of
become a light and beautiful building that blends into the
facilities for visitors such as bird towers and hides.
landscape. Being able to have such a cooperation, weaves the concrete practical needs with an artistic
Gustaf Rudebeck (19132005) was one of the individuals
touch, adds value for both visitors, passersby, and for
that was most influential for protecting the area and to
those who work in the area.
describe its values. He fought against the lowering and
Jörgen Nilsson
straighting of Klingavälsån in the 1930s and 40s, and
Conservation manager
managed to stop the plans for it in the southern regions.
Deputy Head of Unit
In the beginning of the 2000:ies, he got a revenge since much of what was straightened in the creek was re meandered and the water was allowed to snake its way again.
www.lansstyrelsen.se/skane
Art & the Biosphere Mathieu Boucher Côté, Lecturer, Université Laval
The Green Outhouse project The idea to build an outdoor toilet in a natural reserve
From an educator point of view, this project is also of
came from an obvious need. But the resulting project, the
great interest for the knowledge exchange possibilities it
Green
process
bears, as studying and witnessing the building traditions
embodied in an exchange between Swedish and
of another country is probably the best way to reflect on
Canadian culture. Through the creative process that
our
brought this idea to reality, this project became an
architecture students and young graduates into the
opportunity to bring forward the natural and cultural
creative process of the Green Outhouse added the
specificity of a very special place, the Avian Kingdom.
interest and questioning of a young perspective and
Outhouse,
came
from
a
complex
own
construction
practices.
Also,
involving
brought a fresh reflection on contemporary construction The pavilion was inspired by the horizontality of the
culture and practices.
landscape and the strong presence of the Swedish sky. Like in rhetoric, where a hyperbole is an exaggeration of
Additionally,
a situation toward the impossible, the signaletic roof of
professionals and craftsmen in both the creative and
the pavilion describes a hyperbolic paraboloid that
construction process of this small building definitively
emphasis the tension between the land and the sky of
made it an occasion for meeting and exchanging around
this valley situated between two tectonic plates. Apart
many
from covering the w.c. area, the incurved roof creates a
experience and the comprehensive reflections invested
sheltered resting space that can host small exhibitions
through it definitely granted a significant and specific
and open studio. The rather horizontal proportion of the
meaning to the Green Outhouse as it really was a unique
Green Outhouse also generates a new dialogue with the
opportunity for everyone involved to have a tangible input,
vertical observation tower standing beside it.
through architecture, in ARNA’s important work of linking
cultural
the
and
contribution
creative
of
local
aspects. This
Swedish
cultural
art and nature. For us, at Université Laval, it was very logical to
Mathieu Boucher Côté
collaborate on this project since we are a Canadian
M.Arch, M.Sc, MIRAC,
leading campus in term of green practices, especially at
Lecturer Université Laval
the
School
of
architecture
where
sustainable
Canada
development is a very active field for both teaching and research.
Moreover,
for
a
knowledge
oriented
organisation like us, it is essential to be engaged in cultural exchange and learning activities through tangible projects as it gives us opportunities to both, engage with communities to show examples of what is possible through built work, and collaborate on innovative ideas such as the recognition of culture into the world UNESCO
Université Laval School of Architecture
biosphere concept.
www.arc.ulaval.ca/apropos/presentation.html
Art & the Biosphere Mathieu Boucher Côté, Lecturer, Université Laval
Inauguration of the barbecue a windy autumn evening
A place to grill… and much more! The idea to design a place for BBQ can seem trivial, but it
place to eat, rest or sleep for people hiking on the
reflects
national trail nearby. To do this we literally extended one
in
many
aspects
the
process
of
every
architectural project.
bench of the table into a platform long enough to sleep 3 persons. To this table, we added a concrete block BBQ
To start giving shape to the project we began with the
and a second bench to complete the group.
constraints. In this case, it was the nature preserved site on the bank of Vomb lake. The 3 000m2 site also host a
Throughout the process, we tried to keep the lines of the
watching tower and the Green Outhouse, which serve as
project as simple as possible because we did not wanted
a covered rest area, toilet and exhibition space. Apart
to outstand the main attraction that is the Green
from the site constraints, the program cited the desire to
Outhouse dynamic roof. We rather wanted to discreetly
receive groups up to 15 people with disabled persons and
emphasise the presence of that building by trying to
to accommodate the people camping on site for cooking
stretch the landscape. We then thought of the long and
and eating.
low form of the table as a stick insect mimicking its environment. This late inspiration influenced the details
Once the constraints are established, we nourish them
and position of the legs of both the table and the bench,
with various sources of inspiration. Here, they were
which are positioned to give movement and life to the
multiple and embodied in our cultural learning process as
bench. To us, this new creature is a playful indirect
foreigners. First, they were things we observed and
reference to the bestiary of wooden sculptures from
thought were typical for Scania such as «The Right of
Canadian surrealist artist Alfred Pellan.
Public Access» which allows to tent one night and take use of what the forests give in a respectful way. They
Finally, one of the best results of an architecture project is
were also constructions that we saw such as small
when people can easily appropriate it and it is exactly
wooden
wood
what happened at the inauguration as many persons
construction details. Said differently, our sources of
found new uses that we had not thought of such as a
inspiration were as much cultural, formal than technical.
traditional dance stage or a rest area for ice skating.
huts
for
the
hikers
or
traditional
The help of different local people were also an important influence in the design and construction process as they
Mathieu Boucher Côté
led us to the use of specific techniques and cultural
M.Arch, M.Sc, MIRAC,
interpretations.
Lecturer Université Laval Canada
The starting point for our formal design initiated from the simple model of picnic table that was found on site. From our inspirations and reflections on the program, we than modified the table to add other functions such as a dry
Université Laval School of Architecture www.arc.ulaval.ca/apropos/presentation.html
Art & the Biosphere Photos from the Green Outhouse project
Photo ARNA
www.arna.nu
The project Art & the Biosphere was developed as a partnership between föreningen ARNA i Fågelriket, Länsstyrelsen Skånes naturvårdsavdelning, Universite' Laval in Quebec, Canada and Hammarlunda mölleförening. Many organisations, businesses and individuals in connection to The Avian Kingdom/Fågelriket also took part. A warm THANK YOU to all!
HOME is where I am ARNA Art & Nature
The two art projects within 'See this is where I live' ARNA Art & Nature
See this is where I live sustainable development and children When climate change and rapid urbanization is imminent,
Avian Kingdom and transformed their impression into art.
working with children is a constructive approach that
Together with an experienced art pedagogue the project
stimulates their creativity and belief in their own ability.
inspired around 300 children to do the same.
The starting point to become involved in our home area's
The creations of both proffessional artists and local
sustainable development is to have feelings for it, to care
children show in what great variety we can experience
for it. To imagine our home area's future we also need
the nature we are surrounded by. After the project they all
fantasy. From the starting point of caring and fantasy
bear with them personal experiences of the nature here
ARNA formed a question to become developed in the
and through the process of creations they also made it to
project 'See this is where I live'.
their own, and to care for.
What can we, who live in The Avian Kingdom, learn from
This is the essence of the project. To care for a
childrens fantasy and contemporary artists creativity to
sustainable development of the area we live in, we need
view our home area with fresh eyes?
to have personal experiences that involves our senses that become embedded in our memories. Jasmine
The project's theme has so aimed to stimulate an
Cederqvist,
biologist,
artist
and
the
projects
art
interaction between international artists and children
pedagogue describes in her text the importance for
through schools in two municipalities, Eslöv and Sjöbo.
children to get these experiences. But as we become adults, we also need to let the children inspire us, to
'See this is where I live' has through its two sub projects,
continue to explore the nature, and to care for it.
'Home is where I am' and 'The spaces between' involved a total of six contemporary artists, based in South Korea,
The project, developed during 2016, also included a
Canada, UK, France and Italy. They stayed in The Avian
program for adults and families with artist talks, open
Kingdom to work in periods of four or eight weeks. During
studios, newsletters and exhibitions.
their stay they explored the nature and history of The
In Swedish listen to one of the children in 4th grade talks about how art can let you see upon a place in nature with new eyes.
Kerstin Jakobsson
The spaces between ARNA Art & Nature
The art project the spaces between What is it we, as humans, choose to see, or see away from, in the landscape that surrounds us? And how can art give new perspectives on what's interesting or important in a landscape? This was the theme for the art project 'The spaces between' developed during the autumn of 2016 in The Avian Kingdom in cooperation with the schools of Sjรถbo municipality. The project involved five different schools in Sjรถbo municipality, with a total of about 155 students, all in 4th grade. Through ARNA's artist in residency program three artists were involved, Tiki Mulvihill from Vancouver,
Planning with the teachers how to best develop the project's theme in the different classes together with art pedgagog Jasmine Cederqvist, seen to the right in the picture.
Cecilia Andrews from Paris and Margherita Marchioni from Rome. They met all the seven classes involved and talked about their work as an artist, inspiring the children to explore and express their neighbourhood with open minds. Together with art pedagogue Jasmine Cederqvist, the children created art both outdoors as land art and indoors in the classrooms with great entusiasm. Even if many of the outdoor creations can't last, we are certain that the process of using the senses to explore and express nature will last. We hope also it become part of how they care for their home areas nature in the future.
Tiki Mulvihill, Cecilia Andrews and Margherita Marchioni
Outdoor studio.
The spaces between was supported by Kultur Skรฅne
The spaces between Cecilia Andrews, Artist
New horizons The landscape of SkĂĽne, especially near HarlĂśsa, around
Working in relation to vastness opens my eyes. It gives
the reserve of the Avian Kingdom is sublime in the
me the opportunity to show a recent vision, a parallel
autumn season. Aromas, colors and sounds awake with
dimension and a new poetry. I think about the quote of
multiple contrasts of those red, yellow and green trees.
Gerard Richter: "Art is the way to address what we are
Black trunks darken through humidity. The noises and
closed, the unapproachable. ".
traces of animals, living and being protected there, amaze me immediately.
I am currently faced with a panorama charged by the silent presence of humans. After the completion of my
Going out from my studio, literally widened new horizons!
work, I decide to discretely install the sculptures in the forest so that visitors may discover them when wandering
Watching the immensity of the landscape I am hit by
through. I work here and now with certainty, to preserve
frightening simplicityÍž that we are little human beings in
nature and creation alike the preservation of human
front of the universe. This dimension allows me to admire
beings.
deeply this kingdom and I am fascinated by the sky and its birds. But strangely, this beauty and harmony cruelly
"The Space Between" became for me a mysterious
confronts me about what is happening in the world today.
dimension between artwork and the place which receives
This ambiguous feeling of "tragedy" in front of ancestral
the creation. Cecilia Andrews
landscape, buzzes my ears and constantly perceives the meaning of words, such as: preserved area, protected species, environment, consciousness and of course, "peace ".
Cecilia Andrews is based in Paris, France www.ceciliaandrews.com
The spaces between Cecilia Andrews
Wild grain
The spaces between Margherita Marchioni, Artist
VOLERE VOLARE Flying has always had to do with utopia, representing a struggle for humans since old days, a metaphor of freedom, of overcoming limits. Visionary eyes have been trying
to
fly,
sometimes
failing
and
sometimes
succeeding, changing in fact enormously our lives. Flying is related to wings. I have tried to make a combination of things that I am fascinated by in this work for ARNA. There is a first obvious reference to The Avian Kingdom and his multiplicity of birds and there are the symbolic meanings of wings. The direction I have always
I have cut beautiful autumn leaves, aluminum cans and cardboards from a shop in HarlÜsa to become feathers, creating a pair of wings and then I have imposed them to fly with a clear word, VOLA! During all the time spent inside the ARNA house with music and all this material on my working table, cutting patiently and assembling the wings, the panorama and the landscape has been a great silent discreet presence, it has been an invisible guide to my hands‌ Margherita Marchioni
tried to give to my work is also in the change of vision, showing that things are not what they seem, rubbish can be the material for an art piece, isn’t that an utopian
Margherita Marchioni is based in Rome, Italy
vision?
www.materiamorfosi.it
The spaces between Margherita Marchioni
The spaces between Tiki Mulvihill, Artist
Sandgren, The space between ARNA in Harlosa intrigues me. The land situates in ‘the
and Swedish relatives.
space between’ ancestral birthplaces of my grandmother
I fortunately accessed to a compelling site on Arnold
Thelma Sandgren. This area, and the fascinating antiquity
Hagström’s property, populated by stunning trees, lands
of Sweden, led my crosscultural artwork overlapping past
and crops perfectly adjacent to farmland. My incentive: to
and present. Before arrival, I avoided preplanning, as
create a divergent notion about the ‘space between’
unique sites strongly direct art ideas. Upon arrival, I
triggered
researched Swedish history and images for creation of a
contemporary or ancient active people outside the sea,
unique installation derived from discovery and utilization
with atypical heads of wild animals. All components
of a sitespecific area. Skane thoroughly inspired
existed between place, time and the North Seas. I named
creation!
the
a
historical
installation
boat
‘Sandgren,
reference,
The
along
Space
with
Between’.
Sandgren refers to ‘sand’ and ‘branch’; elements entirely Looking into the past
implemented from the land’s ingrained natural materials.
One ancient Viking boat, people, and animals upon a
Usage of branches, with quirky direction, shape and
Nordic Bronze Age Petroglyph from Sweden excited me. I
angles curiously delineate the sculptural work I created.
often heard of Viking transportation from Scandinavia all the way to Newfoundland, Canada (my country). As a
In the present
child an old story, ‘The KonTiki Expedition’, had a
Fundamentally as an installation artist, I create work,
Norwegian sail the Pacific Ocean to South America like
which remains openended, so spectators can creatively
Vikings, but within a raft. As my name is Tiki, that tale
interpret through their own ethnic and social background
ignited boat obsession in my youth, continuous to
within the landscape… another view through their own
present.
original lens. As a result, ‘Sandgren, The Space Between’, viewpoints a hybrid of Sweden’s deliciously
My Swedish ancestors immigrated upon sailing ships in
unique mix of culture and land within ‘fact overlapping
1889, during a peak period of vast population growth,
fiction’.
which downsized homeland’s farm sites. I reference images of my Swedish ancestors, ironically all outdoors in wilderness. Curiosity of ancestral past, within present, often remains unclear. Our knowledge limits, derived
Tiki Mulvihill Tiki Mulvihill is based in Vancouver, Canada http://tikimulvihill.com
solely from tales and objects of the past, but fortunately our imagination ignites. Looking into the future These varied Swedishbased ideas and images drove my installation. As a result, I twisted the popular boat view and joined other components through divergent ideas based on the transport and space between my Canadian
Tiki with Swedish relatives
The spaces between Tiki Mulvihill
See this i where I live Jasmine Cederqvist, Art pedagogue & Artist
Giving children a sense of awe for nature through art I am a visual artist with a background as a biologist and
Margherita Marchioni who makes magnificent objects out
with experiences of teaching in elementary schools for 7
of materials that are all around us, usually waste
years. The last 2 years I have focused on conducting
materials, that not many would consider as art materials.
different art projects in schools. The key question for the
The techniques of these three artists could later be found
project 'See – this is where I live' was how can the art
as inspiration in many of the children's work; the
making
their
repeating of a pattern and the use of natural materials
surroundings with new eyes and an open minds? The two
such as leaves of various colors, pine needles as
sub projects within 'See – this is where I live' had
Margherita and Cecilia, as well as dry branches to create
similarities, such as the artist presentation in the classes
3 dimensional objects as Tiki. The workshop continued in
and workshops, but were carried out in different ways. In
the classroom after we had collected loose natural
"Home is where I am" the artist presentations and
materials at the site to be used for new creative work. All
workshops were mainly conducted in one day in the
the students worked with great enthusiasm and fantasy.
school of Harlösa (ages 612). The theme was to create a
This enormous creativity accounts for all participating
'post card' showing the idea of what the place, Harlösa is
classes.
process
inspire
children
to
explore
to each of them. I am convinced that encounters, as with the participating The
second
project
"The
spaces
between"
was
artists and with art based nature education, gives lasting
developed during the autumn in the Sjöbo municipality
positive impressions that enrich children on many levels.
and involved five different schools, seven classes, all in
It contributes to a future care of nature and the
4th grade. The project started out with an assignment to
environment and is so a very important complement to
the classes; to choose and visit a natural area, familiar to
natural sciences education. I wish all children would have
the group, in the schools vicinity. There they explored the
the opportunity to experience this.
landscape, took photos and wrote down the reflections about the site. This material was sent to me and from this
These four lines by William Blake captures the essence of
I designed different workshops for the classes.
what this awe based perception and magic of nature and the world around us:
The workshops were conducted both outdoors at the sites and in the classrooms. At the sites the students were
"To see the world in a grain of sand
inspired to work with land art which included to explore
And a heaven in a wildflower
the site with new eyes and to use natural materials for the
To hold infinity in the palm of your hand
art making process. They were encouraged to experiment
And eternity in an hour"
with form, color and texture, both 2 and 3 dimensional.
Jasmine Cederqvist
This resembled of the technique of one of the participating artists in the project. Tiki Mulvihill who
www.jasminecederqvist.se
presented her 3 dimensional sitespecific installations,
Recommended litterature: "Levande spår att upptäcka
Cecilia Andrews who uses a form from nature which she
naturen genom konst och konsten genom natur", JanErik
repeats in different ways in her artwork. And finally
Sørenstuen, ISBN 9789144084183
See  this is where I live Children creating land art
Children creating land art
The spaces between Children's work inspired by the artists
The spaces between Children's work inspired by the artists
ARNA i Fågelriket www.arna.nu 'See this is where I live' is an ARNAproject, develope with support from Kultur Skåne and in cooperation with Kulturskolan i Eslövs kommun and the office for youth culture in Sjöbo kommun. The project worked during 2016 and contained two sub projects 'Home is where I am' and 'The spaces between'.
HOME is where I am ARNA Art & Nature
Home is where I am ARNA Art & Nature
The art project Home is where I am During a two month residency 2016, three artists explored the many different meanings of the word 'home' in connection to the area of The Avian Kingdom and the village of Harlösa. The project create an interaction between artists from around the world and children, living in connection to a future UNESCO biosphere area in The Avian Kingdom. The main aim is to create awareness within the children for the wonders of their home area and to care for its future. 'Home is where I am' is developed together with its sister project 'The spaces between' during 2016 by ARNA in cooperation with Eslöv and Sjöbo kommuner and with economical support from Kultur Skåne. Art events open for families are also part of the project's outreach, including Art Talks, Open Studios and exhibitions. Participating artists in 'Home is where I am' Nettie Edwards, UK Marianne PonLayus, Canada Jiii Choi, South Korea
Jiii Choi, Nettie Edwards and Marianne PonLayus
Home is where I am was supported by Kultur Skåne
Home is where I am
New perspectives Artwork: Marianne PonÂLayus
Home is where I am Jiii Choi, Artist
Finding the Blue Bird Like the other birds coming to The Avian Kingdom I flied
The paintings and drawings I made during my time in The
too. I came from South Korea to participate in ARNA’s pro
Avian Kingdom are so concerning the relationship between
ject ‘Home is where I am’. I found that 'home' is not just a
me, my surroundings and interpersonal relations. I have
place, it is also about people, the nature and the atmo
constantly tried to step outside my own little world to meet
sphere. As in the Anime story where the figures Tyltyl and
and express those for me, new and unfamiliar outer
Mytyl found their bluebird, not during their journey far
spaces. In my art I filled the papers with all the thousands
away, but when they got back home. They had to depart to
of details that I met and inspired me and I combined them
see things differently to actually find what they were
with my own patterns, creatures and colors. In pastels and
looking for.
ink the different artworks describe my wish to express how all our impressions meet inside our minds to be trans
Working with the project's theme I started to adjust myself
formed to our personal understanding of the environment
to feel 'here is my real home'. First, I’d tried to make a
we are part of. They are in that sense also describing my
habitual routine to figure out how or what the differences
own wish to enclose all things I meet in life, also myself,
are. Then I reenacted my little expeditions on paper,
with love and care. During my time in Harlösa, I wasn’t a
sometimes with color crayons, sometimes with black pens
traveler but a neighbor. That’s what the participation in
and paints. Skåne has a tremendously beautiful horizontal
'Home is where I am' gave me, the great inspiring chance
view. One of the most amazing 'different' moments was the
to experience life in 'difference' and the open mindset it
night view. The incredibly bright moon and the stars in the
gave to questions about what 'home' is.
vast sky stole my mind, made me stand still in the cold night. But also close things, as the dogs Chilly and Yoshi
Jiii Choi
playing on the grass, insects in the earth, the warm and worn texture and repetitive patterns of tapestries, tastes of lakrits and Påskmustsoda. But also lingual details and an uncertainty
if
really
understanding
the
relationships
between people, which were all so different, and so vivid. Communicating with others and nature has been always one of my greatest subjects in art. But since I’ve come to Sweden, this theme become more personal through the differences in language. The struggle to express myself in English eventually made me leave letters, and also a sense of depressions, into my art pieces. The letters were invented, as those I did during my childhood without
Jiii Choi is based in South Korea
knowing how to write.
www.saatchiart.com/physiologus
Home is where I am JiÂii Choi
Home is where I am Jiii Choi
Cat
Harlösa
Home is where I am JiÂii Choi
Wild
Midnight meeting in HarlĂśsa
Home is where I am ARNA Art & Nature
Exploring The Avian Kingdom The artists coming to The Avian Kingdom arrive to the residency in Harlösa with open minds to work in The Avian Kingdom for a period that can last between 3 8 weeks. During their stay they explore the area's nature and history. By guided tours and meetings, on bike and on foot they learn to know The Avian Kingdom in their own personal way. Their experiences are transformed in to many different types of expressions, as photo, paintings, texts, music, sculpture and installations. The Avian Kingdom has become a very special placein the world, where art describe the connections between human's and nature. For many artists, the stay at ARNA in The Avian Kingdom make an important imprint on their life. Here they foun between themselves and nature.
Photo top right: Jiii Choi Photo down: Nettie Edwards of Marianne sketching
Home is where I am ARNA Art & Nature
Photo: Andrew Sawyer
Home is where I am Marianne Pon Layus, Artist
Myths and patterns describe our connection to the landscape At the beginning of my stay at ARNA, I noticed that
the land. Once done, I hung them on the wall of our
people living in Skåne had colorful tapestries in their
home, the forest.
homes which are, as I learned at the museum Kulturen in
During my stay in Harlösa, the locals where welcoming
Lund, both ancestral and specific to the region. The
and very helpful. Through the explanations and stories
tapestries vernacular design is a mix of realistic natural
they told me, I perceived the perennity of the landscape,
patterns and fantastic creatures. I was captivated by their
and the lore it carries for them. Working in The Avian
motif and structure, so I started to copy and alter them. At
Kingdom on the theme of ”Home is where I am”
some point during this process, a woman appeared in
deepened my understanding of how linked the life of
those drawings, as if the human and animal figures
humans and animals are in the environment. Together we
intertwined to create some mythological figure. From an
leave tracks on the land, and through time the
animist point of view, this possibility would strengthen
connections are collected to be made visible, as myths to
their spiritual essence, as they are no longer restrained
protect the forest, or by inspiring patterns on tapestries.
by their own shape. I also felt that my drawings were describing a mental state, the one you're in when
Marianne Pon Layus
witnessing a large flock of birds flying together. So, I went outside. The landscape in The Avian Kingdom, flat, without tall buildings and city lights, made me feel different than back home in Montréal. Here I feel on the same level as the creatures living in the valley. I’m in the land, a part of it. My home is not behind a thin wall, erected between me and the field full of crows, my home is also the field full of crows. I’m an animal interacting with animals and together we transform our environment. With this in mind, I created three large paintings. The first one, Rået, Mistress of the Forest, Protectress of the link between the wild and the civilized, is haft fox, half young woman. She seduces, lures and kills men to protect the landform. The second, the Sami bear goddess, is caring but violent if need be. Those fearless creatures are frightening because they show what we keep in leash, what we hide deep down. The third one seems innocent and naive but she knows her way around these parts. It’s
Marianne Pon Layus is based in Montreal, Canada
a rite of passage for the girl scout to master the secrets of
www.marianneponlayus.com
Home is where I am Marianne Pon Layus
Photos Opposite page top: 'Beargodess'. Opposite page down right: 'Beargodess' in making. Above: 'RĂĽet'
Home is where I am Marianne Pon Layus
Postcards
Home is where I am Marianne Pon Layus
Postcards
Home is where I am Nettie Edwards, Artist
Finding the paths to the inner stories of a landscape Some of the people I met when I first arrived in Harlosa
connections that I found between land and sky, the former
commented that it was a pity I had come in February
dominated by man, the latter by birds. Finding stories was
because
look
often a matter of shifting perspective: moving the horizon
lifeless and boring at that time of year. “Better to be here
line to the extreme top or bottom of a photograph so that
in late Spring” they said “everything is so much prettier
an image was dominated either by the land or the sky.
they
considered
the
landscape
to
then!” Certainly, the countryside surrounding the house where we were staying is not overdramatic and attention
Many people who saw my photographs at our exhibition
seeking. I respected that the Avian kingdom was not
commented that they had never considered their home
going to hand me its poetry on a plate but rather, I would
landscape to be so mystical and dramatic. Others
have to seek it out by making journeys into and across
expressed strong emotional responses to my work. Both
the land. So I took daily walks and began to appreciate
viewpoints pleased me. When people are imaginatively
the
and emotionally engaged with a landscape, they care
landscape’s
quiet
strength
and
dignity.
My
explorations assumed a spiritual dimension when a friend
about its preservation.
reminded me of the following quote: Nettie Edwards is based in UK. “One thing: you have to walk, and create the way by your
https://lumilyon.wordpress.com
walking; you will not find a readymade path. It is not so
www.hortuslucis.wordpress.com
cheap, to reach to the ultimate realization of truth. You will have to create the path by walking yourself; the path is not readymade, lying there and waiting for you. It is just like the sky: the birds fly, but they don't leave any footprints. You cannot follow them; there are no footprints left behind.” (Osho) There are pathways everywhere across the Avian Kingdom. My eyes constantly sought them out and I was compelled to follow and record them with my camera: footprints disturbing lineraked churchyard gravel, muddy tractor welts through farmland, timetracks made by deer, wild boar and cows, ribbons of birds flying across a sky that may have looked grey and empty but of course there is always a lot happening up there! So as I processed my photographs, I pulled the stories from out of the sky. I wanted to express the powerful spiritual and emotional
Home is where I am Nettie Edwards
Across the water
Home is where I am Nettie Edwards
Across the water
Home is where I am Artist Nettie Edwards
Across the water
Home is where I am Postcards made by children in Harlรถsa
Find publications with childrens work during the two art projects 'Home is where I am' and 'The spaces between' at: https://issuu.com/arnasweden/docs/children_and_the_spaces_ between https://issuu.com/arnasweden/docs/katalog_barnvykort
In Swedish listen to one of the children in 4th grade talks about how art can let you see upon a place in nature with new eyes.
ARNA i Fågelriket www.arna.nu 'See this is where I live' is an ARNAproject, develope with support from Kultur Skåne and in cooperation with Kulturskolan i Eslövs kommun and the office for youth culture in Sjöbo kommun. The project worked during 2016 and contained two sub projects 'Home is where I am' and 'The spaces between'.