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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 ­ 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 ­ 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 ­

to try their enterpreneur skills also as ad hoc taxi trivers or

how many tourists are there and are they really ready to

running pop­up 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 Pon­Layus


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 Ji­ii Choi


Home is where I am Ji­ii Choi

Cat

Harlösa


Home is where I am Ji­ii 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'.

ARNA The Culture Dimension of Sustainability  

Experiences and expertise collected by ARNA when developing three projects around the Culture Dimension of Sustainability in The Avian Kingd...

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