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A GLOBAL ART AND DESIGN PROJECT CONNECTING

MAKE A FOREST

CULTURE WITH NATURE


2 INDE X

FINSTERWOLDE GERRIT RIETVELD ACADEMY & GALERIE WAALKENS p. 18 – 19 PIKIN SLEE

AMSTERDAM

MARRONMUSEUM SAMAAKA

AMSTERDAM FASHION

p. 6 – 9

INSTITUTE p. 32 – 33 AMSTERDAM TROPENMUSEUM p. 20 – 21

SANTA CRUZ

BISHKEK

KIOSKO GALLERIA

ARTEAST

p. 10 – 13

p. 34 – 37 TAIPEI AIR TAIPEI AND TIEN TIEN CIRCLE p. 22 – 25

WENDORF

AMSTERDAM

WENDORF ACADEMY

THE ONE MINUTES

p. 14 – 15

FOUNDATION p. 38 – 41 EINDHOVEN MU p. 26 – 29

UTRECHT

CHENGDU

INNOVATIONNETWORK

CHENGDU BIENNALE 2011

p. 16 – 17

p. 42 – 43

UTRECHT SCHOOL OF THE ARTS p. 30 – 31


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ROTTERDAM DIPOLOG CITY

CENTRE FOR VISUAL ARTS

THE HAGUE

TA GLIBON LADY ART

p. 54 – 55

ROYAL ACADEMY OF ART

COLLECTIVE

THE HAGUE DEPARTMENT

p. 44 – 45

OF FURNITURE DESIGN p. 66 – 67

SARAJEVO NGO CES DRONTEN

p. 56 – 57

ZAGREB

SANDBERG INSTITUTE &

STUDENT CENTER CULTURE

THE HAPPINESS

OF CHANGE

FOUNDATION

p. 68 – 69

p. 46 – 49

SAINT ÉTIENNE CITE DU DESIGN & LYCEE HONORE D’URFE

SINGAPORE

p. 58 – 61

SCHOOL OF ART, DESIGN AND MEDIA p. 70 – 71

EXETER CENTRE FOR CONTEMPORARY ART AND THE NATURAL WORLD

ROTTERDAM

p. 50 – 51

MOTHERSHIP ART PRODUCERS

BAMAKO

p. 62 – 63

SOLEIL D’AFRIQUE p. 72 – 75

HILVERSUM

SEOUL

BOGOTÁ

MUSEUM HILVERSUM

SEOUL NATIONAL

THE SCHOOL OF

p. 52 – 53

UNIVERSITY 


ARCHITECTURE AND DESIGN

OF TECHNOLOGY

p. 76 – 77

p. 64 – 65


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5 INTRODUC TION 2011 was declared the International Year of Forests by the United Nations, a celebration of forests for people. It was our reason to start a journey to make a forest. We wondered how an artificial forest as diverse as our natural forests would look like. Thus we invited cultural institutes, artists, architects and designers but also scientists, forest specialists and environmentalists to come on this journey with us. Together we embraced the beauty and diversity of forests. From Amsterdam to Bamako, Zagreb to Taipei, San Francisco to Santa Cruz de la Sierra and many places in between creative tree projects were initiated and lectures and discussions were organized. A total of thirty five institutions joined us to Make a Forest, over hundred architects, designers and artists were inspired by the theme and thousands of people were educated on the subject of sustainable forest management. Together we rediscovered the importance of trees and forests for planet and people, locally and globally. This publication tells the story of our trees, how they came to life, how they relate to sustainable solutions or simply inspire to respect trees more. Our forest would not have existed without the support of many. THANK YOU for helping us Make a Forest, we hope the forest will grow and grow and grow. Joanna van der Zanden Anne van der Zwaag


6 PIKIN SLEE

(SR)

MARRONMUSEUM SAMAAKA Deep into the Surinam rainforest, in the village of Pikin Slee on the Upper Suriname River, lies the Maroon Saamaka Museum. Founded by a local group of artists, the museum preserves the cultural heritage of

Tales of the Forest

the Saramaccan Maroon population, which is largely based on their everyday life with the tropical forest. Besides a historic collection and a contemporary art gallery, there is a botanical garden that collects the knowledge of plants and trees that play such an important role in Maroon culture. From sacred medicine to everyday tools, plants provide the raw material for many products. In the summer of 2011, Dutch artist Bia Maas travelled to the museum to transform an adjacent piece of rainforest into a garden. Together with the help of family members and a local botanist she cleared up the forest and created paths to make the area accessible. Talking to the inhabitants of Pikin Slee, she soon discovered that almost each plant serves a purpose and that there is a story behind every tree. On the down side, some trees have been used in abundance and now have a protected status. The garden is still an important part of the community, housing a little streamlet known as the Creek. The Creek is a place for drinking water and washing, a hub of village life and activity. Vegetable patches known as ‘kostgrondjes’ surround the museum’s grounds. Here, locals grow their foods until the ground is depleted, leaving their plots of land for nature to take over. After about twenty years the same bewildered ground is burned down, chopped and used again. For Maas the kostgrondjes provided a site she had never seen before. Instead of perfect rows of veg and greens, crops were planted randomly amongst the remnants of the burned down rainforest. After a jumpstart, a local botanist has been appointed to continue making an inventory of plants and to raise awareness amongst locals for the conservation of nature and sustainability. In a community in which Western culture gains influence, the botanical garden saves the century-old knowledge and tales of the forest for future generations.


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8 The Amazon forms an abundant source of materials for the inhabitants of Pikin Slee, Surinam. Surinam artist Roberto Tjon A Meeuw decided to return obsolete wooden boats to their roots and give them back to the trees. In three sculptures, created in collaboration with local artists, the old boats cover the trees in the garden of the Maroon Samaaka Museum, serving as protection as well as decoration. In his work Tjon A Meeuw spreads the message that the world needs to be protected from its downfall and nature needs to be cared for. He advocates the important value of the jungle in Surinam, opposed to the increasing influence of mass industry. For this reason he tries to give old materials a new life through recycling, as he has done with the old boats. With this project Tjon A Meeuw hopes to keep the people in Pikin Slee, and people around the world, aware of nature’s wealth. Boat Tree Sculptures


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10 SANTA CRUZ

(BO)

KIOSKO GALERIA Hagamos un Bosque

Illegal logging, burning of forest and other forms of deforestation are hot topics in Bolivia. In a country that consists of forest for over 50 percent and that accounts for 35 to 45 percent of international biodiversity, it is only logical that local artists feel connected to nature. KIOSKO therefore went all out with a wide offering of Make a Forest activities. Besides an exhibition in which no less than 30 artists participated and an international and interdisciplinary discussion forum, KIOSKO organised a large public event to reach out to as many Bolivians as possible. Sculptures in public space, audiovisual projections and experimental music, theatre, green graffiti and educational games for children, DJ’s, video screenings and a food and cosmetics market underwrote the urgent matters regarding Bolivian forests and stimulated new solutions for its problems. The organisation found that the topic of forest conservation provided a means to bridge communication barriers between academics and artists. They also recognized how an art project can be a great way to talk about the environment and raise awareness. And they sure got people’s attention, showing from the numerous press clippings and TV appearances the contemporary art platform realized. KIOSKO feels that there is still a lot to be done, but that through its participation in Make a Forest it got the positive feeling that all together we create change and make our world a little bit better.


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12 Confession Tree

Artist Fr a n k Bruggeman was one of the Dutch participants of the Hagamos un Bosque event. In the following text he describes his working method and his observations as well as those by his travel partner Peter Zwaal. “Reading the brief of the curators of KIOSKO I thought it more appropriate to focus on the visible nature within this city. As it turned out I was allowed to make a temporary installation next to a tree that is probably known to all inhabitants of Santa Cruz. I am talking of the large toborochi tree on the Manzana Uno Square in the city centre. It is a magnificent toborochi tree that carries all kind of scars, which are the result of city life. Some branches have been cut off. People have carved the names of their loved ones into the tree. Names of political parties and trade unions have been painted onto the trunk. The tree has enwrapped some forgotten strings of Christmas lights. For some unknown purpose nails have been driven into the trunk. The toborochi (Chorisia speciosa) plays an important part in old Bolivian legends. The amphora-shaped trunk of the toborochi reminds people of pregnant women. You could say that the toborochi is a mother-like tree: it gives life, it is full of love and it is merciful. As the toborochi is indigenous to this part of Bolivia it was also chosen as the symbol of the Make a Forest event in Santa Cruz.

Against this emblematic and well-known city tree I built a simple wooden confession box, like the confessionals you can find in catholic churches. Cruceños (inhabitants of Santa Cruz) were invited to enter the confessional. Inside the confessional they were confronted with three questions, written on a piece of plywood board: (1) if they had ever sawn or cut down a tropical hardwood tree illegally, (2) if they had ever bought home or garden furniture made of illegally obtained tropical hardwood or used such wood for floor covering or panelling purposes, (3) if they had ever committed any other act of violence, abuse or negligence against tropical hardwood trees. Depending on the answer the following penances were suggested: (1) whipping yourself with a ‘peji’, that is a small braided whip made of coconut or palm leaves, (2) planting a ‘redemption’ tree, (3) hugging the nearest tree outside the confessional. For those who wanted to show their remorse by flagellation


13 three whips were available. Redemption trees could be obtained free of charge at a stall outside the confessional. In total 200 small trees, covering 15 different indigenous species, were available. These seedlings were provided by the Secretary of Parks and Gardens and the Botanical Garden of Santa Cruz. Labels were attached to these small trees, urging people to take good care of them. To Cruceños who entered the confessional it was made clear that the toborochi tree on the Manzana Uno Square would surely understand all human weakness. After all, this particular tree had dealt with humans all his life and had never seen the forest. Between 16.00 and 22.00 hours the toborochi tree took confession from approximately 250 Cruceños.

Reading the plywood board with the questions and the suggested penances took most people about a minute. Some people however stayed inside the confessional much longer, which probably meant that they were really confessing to the tree. As could be expected most people who left the confessional either chose to hug a tree or adopt a redemption tree. Some did both. Some courageous people whipped themselves, or let themselves be whipped, with one of the pejis. A professional photographer took pictures of people confessing and taking penance. Every so often these pictures were printed and then pinned to a large board outside the confessional. At the end of the event almost all the seedlings were taken and got a new home somewhere in the city of Santa Cruz.


14 WENDORF

(D)

WENDORF ACADEMY The Forest Classroom

The Wendorf Academy is an independent heterotopia. The philosopher Michel Foucault used the concept of heterotopia to describe a space of otherness, which is neither here nor there and that is simultaneously physical and mental. The academy specializes in human social design topics and is a place that stirs the mind

to seek disorder, to slow down and to speed up. The Wendorf Academy is based in an old deserted school at the former east-German countryside. In 2001 students planted 500 birch trees on the school grounds. In 2010 several of them were chopped to create an open space in the grown birch tree forest, our outdoor forest classroom. The Wendorf Academy sees itself in the same pioneering role as the birch. In a society in which people have migrated towards the city for over 100 years, the Wendorf Academy moved in the opposite direction and found a home in the deserted countryside. Even here, the world wide web enables us to log in and be part of a digital community, which means that daily life in the classroom is not so different from that in downtown universities where e-learning utilizes education as well.


15 In Wendorf Academy the classroom is ridded of its physical form. Far away from polluted air, blocked roads, crowded trains and distracting advertising, the countryside becomes the ideal location for our heterotopia. The forest classroom is the experimental outdoor place based on improvisation. As an independent heterotopia, at Wendorf Academy we question the surrounding world. The educational aim of the academy is to search for a desired, but improbable and presently impossible future. Not in a science fiction-like scenario, nor as a blueprint for a better world, but in a flexible design process. The on-going specialization, in a world that soon will be home to nine billion people crowded in mega-cities, requires a flexible process in which personal responsibility will become increasingly more important. Not just to survive on the fringes, but also to earn social respect, which no longer comes as a self-evident aspect of social status. Since postmodernism we know that the truth does not exist; the global access to often-contradictory knowledge, especially in the areas of environment and sustainability, is further proof to this. We are condemned to a continuous process of questioning, change and improvement. Therefore, the teaching is based on improvisation. Beginning with the educational space in which alienating elements, such as an old blackboard in a forest, break through the formality. “The room should”, as Christopher Dell argues in the book Improvisations on Urbanity, “be imbued with possibilities that invite or even compel anticipation.” In a normal classroom, the space is objective and formal. It is only disturbed when the lecturer forgets his papers or the lighting of the desk is not working properly and the projected text is not legible. This way of solving complex situations can be called “Improvisation Mode 1”, which involves the repair of a defect. The aim of improvisational education is to adept the production of urban reality and switch to Mode 2, so as to become a producer

of space, by placing learned rules and behavior in an anticipatory concept. Not by abandoning the original planning, but by trying to overwrite it. It is an ongoing experiment, a continuous navigational exercise that turns out to be (at times more and at times less) crisis-proof. The first results of the Forest Classroom will be shown at the Rotterdam Architectural Biennale 2012 in the Netherlands Architecture Institute. Text: Ton Matton, prof. Wendorf


16 UTRECHT

(NL)

INNOVATION NETWORK The Dutch Ministry of Economic Affairs, Agriculture and Innovation set up Innovation Network to seek new ways of making nature less vulnerable. Two main challenges have been identified in this connection. Our first priority is to look for new methods of funding – because at present, nature depends largely on government subsidies. This will always remain

the case up to a point, but InnovationNetwork also sees opportunities for nature owners and managers to tap into new sources of funding (citizens and businesses) with new products. The connection with Make a Forest was made with the special assignment InnovationNetwork gave to designer Christien Meinderstma. She was challenged to develop a project that would reconnect the Dutch public, the consumers of nature, with nature. And by doing so thus giving rise to a new awareness of the ways in which people use nature as well as new forms of taking personal responsibility for nature. InnovationNetwork believes that if people’s innate bond with nature is restored, they will also be willing to invest their own time and money in their surroundings, and thus enhance the beauty, health and robustness of the world they live in. Meindertsma worked for a year on this assignment and showed the result, Tree Track, for the first time during the kick-off of Make a Forest and many more times after. Tree Track

The Tree Track calls for answers on our use of raw materials. The Dutch use approximately one cubic meter of wood per person. With smart forestry solutions we could produce this ourselves in a sustainable manner. It will cut costs in import and therefore the use of non-reusable materials such as oil used for transport. Meindertsma used an entire birch tree in Flevoland to make a track and a lot of little trains carrying the nutrients trees needed to make / produce wood.


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18 FINSTERWOLDE

(NL)

GERRIT RIETVELD ACADEMY & GALERIE WAALKENS


19 Forest in Gallery

Manmade forests are a familiar phenomenon in the Netherlands. People plant trees, but they cannot control the landscape. For centuries shifting ice rocks and sand, peat formation and mining, floods, demarshing and agriculture have shaped the unique environment of Finsterwolde in Groningen. In the 80s the area was declared a national park and the forest was planted. 25 Students of the Architectural Design department of the Gerrit Rietveld Academy in Amsterdam lived and worked in the forest for a week, researching how nature has found its way in this manmade area. They focussed their attention on the trees present: the oak, ash, maple and sorb tree. All results were presented in Galerie Waalkens, a unique architectural building in

the shape of a triangle. The students decided to make use of the architecture to strengthen their forest projects. One of the projects took the forest literally inside the gallery by creating a miniature forest of densely placed tree trunks. Here the trees and not the people determined the path, giving the forest the power over its human visitor. Another project made use of the structure of a brick wall to form the veins of a deconstruction of a fallen tree. Each little branch was put on the wall with yellow post-it’s and in order to bring the artificial tree to life, a shadow was made with tape on the ground. After removal of the tape, a negative of the drawing emerged in the dirt on the floor, slowly disappearing again because of the footsteps of the visitors of the gallery.


20 AMSTERDAM

(NL)

TROPENMUSEUM The Tropenmuseum in Amsterdam collaborated with Israel born artist Nadav Monselise and many children to build a Qi Tree. Schoolchildren helped to craft discarded cardboard from the museum’s garbage into a large tree resembling the shape of a Baobab tree, renowned for its role in the children’s book The Little Prince, and as one of the sturdiest species of trees a symbol of sustainability. As part of the exhibition China: Qi, or life energy, the tree played a special role. It taught children about the necessity of balance in nature, where chi flows naturally, and for mankind not to disturb this balance. Hundreds of children made red amulets and decorated them with Chinese characters, based on the wish ribbons used in Chinese temples. Hung in the tree as to make it ‘bloom’, the amulets dressed the tree in visitors’ Qi.


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TAIPEI

(CN)

AIR TAIPEI AND TIEN TIEN CIRCLE Selling Huashan, Planters again

Designer collective Tien Tien Circle wanted to raise ecoawareness in the concrete jungle of Taipei. They initiated an artistic planting project to trumpet their belief that in an expanding city, the harmony between humanity and environment should get more attention. They invited inhabitants to plant the seeds of five different trees on the Huashan Grass, and, whilst doing so, to become owner of the field and influencer of the future. After a successful planting session on the Huashan field, the seeds that were planted grew into saplings. Tien Tien Circle once again called on their fellow treehuggers to reflect on the balance between urban planning and green space in the city. They moved the small trees to a new home, the artist village of Treasure Hill.


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The journey of little trees

Wondering how plants will evolve in order to survive climate change? Design collective Tien Tien Circle attempted to predict what trees would look like many years from now. They define sustainability as finding the balance between all sorts of creatures and human beings, instead of digging into the vocabulary of “green�. Nature hasn’t evolved rapidly according to the development of biology and technology in human sense. However, if there is a sort of situation that varies the substance in all sorts of species in the future, will the plants be able to break through its original form and status, and evolve into different variations to face the test of climate change? Will the trees have to grow in the ground? Are flowers able to blossom from plastics? To imagine these possibilities the designers of Tien Tien Circle pretended to be threehuggers from a faraway galaxy who came to earth to exhibit a number of artificial trees, using modern-day materials.


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Wondering how plants will evolve in order to survive climate change? Design collective Tien Tien Circle attempted to predict what trees would look like many years from now. They define sustainability as finding the balance between all sorts of creatures and human beings, instead of digging into the vocabulary of “green�. Nature hasn’t evolved rapidly according to the development of biology and technology in human sense. However, if there

The Cosmic Voyage of Treehuggers

would be a situation that varies the substance in all sorts of species in the future, will the plants be able to break through its original form and status, and evolve into different variations to face the test of climate change? Will the trees have to grow in the ground? Are flowers able to blossom from plastics? To imagine these possibilities the designers of Tien Tien Circle pretended to be threehuggers from a faraway galaxy who came to earth to exhibit a number of artificial trees, using modern-day materials.


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26 EINDHOVEN

(NL)

MU For its participation in Make a Forest, art center MU invited various designers and artists to create artificial trees and to present them in temporary forest Wild-S, a planted piece of wilderness created by the artists group Observatorium in the city of Eindhoven.


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Rubber Tree

Marc ter Horst of design studio type-b used an industrial finished product; car tires, as the raw material of his tree to show the spectator the natural source, the rubber tree, of this product.


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Design studios Raw Color and MKGK discovered trees in the Netherlands generally reach only a tenth of the age they could attain. Trees are often seen as objects, which can be relocated subject to landscape architecture or which are ruthlessly chopped if their growth does not go according to plan. While the trees actually enliven our living environment and provide information about it. For Raw Color and MKGK trees are anything but static; on a daily basis small transformations take place that determine how we experience light, shadow, wind and seasonal transitions. The designers translated this perception, the changing image of a tree, into illusions of trees in varying materials, from balloons to tie-wraps. The temporary moments of change were captured in photographs and a short video. They are illusions but ones that dramatically affect a person’s psychology. Temporary Trees


29 Bosbus

City planner and artist Ton Matton revived the Bosbus, a mobile nature reserve complete with trees and mushrooms. The bus was first created for the Architecture Biennale in 2003 when it formed the setting for debates between architects, city planners, ecologists and biologists. It challenges the perceptions of nature in cities. Through the years hundreds of indigenous plants and animals have travelled country borders. To do so, they used our human infrastructure and found new suitable habitats within the city. However, they do not match our romantic views of nature. The Bosbus visualises how nature moves around and how we desperately try to make it fit our perfect picture of what nature is.


30 UTRECHT

(NL)

SCHOOL OF THE ARTS


31 Tree Hugs and Tree Memories

How to make people more aware of the way we generally treat trees in an unfair way? 23 Students of the photography, illustration and graphic design department of the Utrecht School of the Arts received this was the assignment. The outcomes of their research and projects were exhibited in Museum Hilversum for eight weeks. Here visitors entered a forest of photographed trees, tree installations and animations that together made up for a big statement. One of the animations focused on our different reactions concerning logging permit for a tree nearby or for many trees in the tropical forest. The sound of the chainsaw, over and over again, did a good job to attract visitors’ attention. Some of the students translated the question into an activist statement and hang signs on trees asking to hug the tree, like you would hug a human person. Or they gave a last farewell with flowers and greeting cards to a tree that has been cut down. And one of the projects was dedicated to the memory of a tree. Imagining a future without trees, we would have to live with what is left as an image in our memory and sit in the shadow of it.


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AMSTERDAM

(NL)

AMSTERDAM FASHION INSTITUTE

The ‘Make a Forest’ project gave second year Amsterdam Fashion Institute students the opportunity to deliver artificial trees for the AMFI forest, which were physically unveiled on the 11th of November. The trees were presented in AMFI’s own cosy garden where they grew out of different sustainable products and materials. From garbage and wasted fabrics, to old trampled killer heels. Even the most unnatural materials were used to create one of nature’s finest beauties. Fashion turned into a sustainable forest? It looked like still a long way to go. Beyond Green Hugging


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34 BISHKEK

(KG)

ARTEAST ArtEast studio in Bishkek, Kyrgyzstan, is founded by Muratbek Djumaliev and Gulnara Kasmalieva and organizes different art projects and festivals. They linked their participation to the Trash Festival, which invites local artists to contribute. The brief for the artists was to make an artwork or performance that relates to one of the following themes: The Sacred aspect of a tree: The tree perceived as a source of life’s energy and spiritual power in Central Asia due to the dry and hot climate. The Social aspect of a tree: The “Family (Tribal) Tree” is perceived in the culture of Kyrgyzstan as a symbol of tradition and knowledge. 
 
The Ecological aspect of a tree: The cutting down of forests and trees due to construction and heating reasons provoked by poverty and energy crisis. This activity negatively affects Kyrgyzstan’s systems of irrigation, erosion of a soil etc. These three aspects formed the basis for all projects made for Make a forest.

With transparent tape, VHS tape and stickers artists Dmitry Petrovsky, Srgey Keller, Timur Hasanov created an installation that became extremely popular among the youngsters of the city. The sticker-drawing looked like a Sakura (cherry blossom) blossoming, and despite of the cold weather thousands of the red-pink stickers were filled by love messages in a few days. Memory


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Artist Chingyz went to several Chinese restaurants to collect their disposable chopsticks. With these chopsticks he built an abstract tree by imposing the chopsticks in a square on top of each other. By doing this he shows the wooden waste of 5 days produced by these Chinese restaurants that are growing explosively in numbers in Bishkek. Chopstick tree


36 In the Shadow of Trees

This collaborative project by artists and performers Nargiz Chynalieva, Samat Mambetshaev, Aytegin Muratbek Uulu consists of three components: shadow Puppet Theater, live performance and digital sound. The main topic of the work is to show the value of the forest and what kind of problems indifferent attitude towards trees it brings about. The multimedia performance was presented large scale on a wall during the opening of the festival and finalized the event.

Superprison

Tatyana Zelenskaya made an intimate artwork based on her own sensibility for nature. The animation shows a small man sitting in a nesting box slowly breathing and blinking his eyes. He probably meditates or listens to the eerie wind out of his shelter made of wooden materials and attached to the big tree.


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Temporary Trees Bishkek

Dutch designers Maarten Kolk and Daniera ter Haar, whom were invited to visit Arteast and join in at their festival, worked further on their Temporary Tree project, which they created for Make a Forest in Eindhoven, the Netherlands. This time they used typical products found at the Bazaar market in Bishkek and for the photo shoot they asked local artists to be their model. They worked together with Arthur Bolzhurov, a local photographer. One of the temporary trees was made by throwing shiny, golden candy packaging papers, so typical for Bishkek, in the air.


38 AMSTERDAM

(NL)

THE ONE MINUTES FOUNDATION The One Minutes is a worldwide network for the production and distribution of video art of exactly 60 seconds. The One Minutes acts as a hub: an intermediary between maker, stage and audience and thus contributes to a rich and divers picture of the world. For Make a Forest a special call was send out to all makers with the following brief: Trees bind the world with their leaves and branches and roots. Leaf-by-leaf, and treeby- tree, in different landscapes and different countries, their beauty and variety shine through in 60 seconds of video. This will be a trip around the world, a tribute, a visual poem, for the trees and for us. Because whoever looks closely at a tree grows in awareness. Tree one Minutes


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41 Palm Tree

One of the entries is a film made by Maartje Jaquet where she filmed the Palm Tree installation by Dutch artists Su Tomesen. “I never work with a preconceived plan but go with what comes to me in a certain situation. But looking back I can describe what’s going on in the film, how it was made and why. What struck me here were both the wonder and the alienating effect of Su Tomesen’s ‘Palm Tree’ in this chilly climate where people wear big coats and ride a bike, while at the same time it was already being absorbed by its environment (the birds). By putting the camera on the pavement I made the palm tree look impressive and the architecture around it was left out. You only see this tree and the birds flying in and out. And you would almost forget that it actually is not a real tree”.


42 CHENGDU

(CN)

CHENGDU BIENNALE 2011 Measurement and State

The Solutions: Design and Social Engineering was one of the three exhibitions at the Chengdu Biennale 2011. It examined how design could respond to the rapid changes of the social reality. Curator Ou Ning invited artist Luo Xin to design an artificial tree for Make a Forest to become one of the awareness projects of this biennale. Luo Xin called his proposal ‘Measurement and State’. He created a complicated wooden structure out of cedar wood, the wood that can be found in the area where his studio is located. Chengdu has an ancient culture and many old trees, which are considered important to the city. Chengdu inhabitants are concerned about their quality of life and living environment. They love to drink tea and chat in one of the many woods and parks. With ‘Measurement and State’ Luo Xin wanted to make the audience think. Besides a tree, the structure, executed in tenon joints - a traditional Chinese method used in architecture, is also reminiscent of a stacked building. It is a warning for the overwhelming amount of new buildings going up in the city. Or as he says it: ‘Instead of making forests of trees, we are producing forests of steel and cement.’


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DIPOLOG CITY

(PH)

TA GLIBON LADY ART COLLECTIVE With limited means and hardly any money Emma Prima one of the leading ladies behind Ta Gilbon Lady Art Collective raised awareness for Make a Forest by setting up a poetry contest in the city. Several High Schools let their students enter for the contest. The winning poem by Benz Rosete form St. Vicent’s College is called Everybody’s Business.


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Everybody’s Business Plants and trees are everywhere; their beauty we can never compare. They are refreshing to see; A sight that is beautiful and lovely. But when people came to invade, why did all of these fade? It is sad but true; but a solution there is, I say to you. Let us all be environment-friendly, For this will help us, slowly but surely. And if the world will cooperate, Everyone, too, would begin to advocate. Recycling is one thing, That would make this world worth living. Picking up the trash everywhere, is also another nature’s dare. It is a discipline, if people would say yes to going green, For our sake, let us all solve this mess, Because caring for our environment is everybody’s business. Benz Rosete


46 DRONTEN

(NL)

SANDBERG INSTITUTE & THE HAPPINESS FOUNDATION Students from different departments of the Sandberg Institute in Amsterdam have been invited to participate by Make a Forest and The Happiness Foundation in Dronten in a competition to design a gathering place for the Dronten Asylum Centre’s inhabitants. Inspired by and in collaboration with the people and place of this

particular ‘waiting’ centre, the theme of nature and the forest, the action of gathering, and the idea of place will infuse the research, creative processes and final designs. Ideas range from an outdoor theatre, a nameplate making facility, a composting production house and tree trunk benches with audio. The winning concept will be installed in the grounds of the Centre in Dronten. The coming together of students between departments creates an active studio within the institute and creative collaborative ties between the students population. The concepts that are proposed for the competition are:

The Blank Screen by Belle Phromchanya

The situation of life at the asylum can be seen as a mixture of reality and illusion, like things that appear on screens. I’m going back to the idea of framing nature itself, without having to remake it, using as little energy as possible. The idea is that a movie screen will be put in the forest, in front of trees. At night, the solar spotlights will shine on trees causing natural shadow to occur on the white space at daytime sunlight will do the work. There will be a hut as a projector station, or for people to sit around, and a Movie Night is of course expected.


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Document the Forest by Dingchang Peng

Plant some trees in a certain shape and document these trees every year by taking photographs. Make postcards with the photo of trees and send them to the people who lived here before. Let them remember the days in Dronten. After 15 years, cut these trees down. Then, leave the tree stumps on the ground. Citizens of Dronten can use these stumps as benches for leisure and chatting together.


48 The Social Library by Hannes Bernard

The Social Library addresses two core needs of the members of AZC Dronten: education & new spaces for social engagement. By curating a decentralized library – one which is not located in a single, static repository, but rather the houses around the AZC – members of this society have a new (knowledge) map with which they can navigate their terrain, form new channels of communication within the community and engage in social education. Building this network can then lead to gathering as a means of exchange and education.


49

Leave a trace, leave a line by Lisa Kläver

To live is to leave traces. Traces are things left behind, artifacts that construct the everydayness of life. Sometimes banal, they are sedate records of a life and its moments. They reflect the symmetry of the everyday, ordering the everythingness in life. In Dronten people have no shared rituals and don’t leave traces. It is a very important time in their life but nothing shows that they are there, that they exist, are a part of the place, time and story. Trees leave traces in the form of age lines. Something as simple as a line can represent everything: uniqueness, growth, time and stories. Often the only things the people in Dronten have, but don’t express and show. In the open area in Dronten are a lot of benches. Practically every culture recognizes and has etiquettes for public seating, the benches are already being used and work efficiently as gathering place. The organization says their job is to provide the people with B+B+B (bed+bread+bath). My idea is to add a 4th B: (B+B+B)+ Bench. A Bench, which functions not only as a seating element but also as a place for people to leave a trace and to create a ritual by marking their height with a line. Every year one bench will emerge.


50 EXETER

(UK)

CENTRE FOR CONTEMPORARY ART AND THE NATURAL WORLD

A Conversation Between Trees

This centre is situated in the midst of the Haldon forest in Devon and plays an important role in educating children and adults in forestry. They show a special interest in connecting art and nature, which made their participation in Make a Forest an easy one. CCA often invites artists to reflect upon the forests in their small but special gallery space, and this time it was the art group Active Ingredient. Active Ingredient is a group of four artists based in Nottingham – Rachel Jacobs, Matt Watkins, Robin Shackford and Matt Davenport – whose work explores the relationship between real and imaginary digital spaces. ‘A Conversation Between Trees’ is a new loca-

tive artwork that connects trees in forests in England with trees in the Atlantic Forest, on the edge of Rio de Janeiro, Brazil. They do so by using environmental sensors that visualize and interpret the data as an interactive installation.


51


52

HILVERSUM

(NL)

MUSEUM HILVERSUM As part of the spring exhibition the City 3D Museum Hilversum organized the Week of Architecture and Art with art projects in public space. One of the assignments was given to graffiti collective ‘Beyond our Control’ whom in three days painted a giant graffiti on the wall of a house in the Langestraat 69. The statement of the young artists slowly became visible in green, brown, black and white paint. The dedication and love put into the image that looks like a last call waking up people to care about forests, has not been unnoticed. The graffiti, though meant to be a temporary one, is still there.


53


54 ROTTERDAM

(NL)

CENTRE FOR THE VISUAL ARTS Being a tree in an urban environment, Moddlycoddler is prepared for extreme circumstances, dressed in wooden armor. In densely populated areas, nature often has to give way to construction work. Luckily, society recognizes the importance of trees and flowers. As symbols of vitality, age and wisdom they punctuate the seasons with exuberant displays of fragrant flowers and rustling leaves. People develop an unconscious bond with trees and protest their removal, protecting these living symbols, as Moddlycoddler

they would look after the innocent and vulnerable of society. In The Netherlands, trees in areas where civil work is carried out are often shielded with slats of wood. New Zealand artist Regan Gentry was taken by the Dutch perception of nature as something very precious that has to be protected to the extreme. He illustrated this by over-implicating the threat of danger and maximizing protection. The work has the feel of a coddled baby, and the look of a giant plant in fawn coloured corduroy. Rotterdam was already home to several artificial trees. For Make a Forest the Centre for the Visual Arts Rotterdam (CBK) invited Gentry to create a new addition to this city forest and organized a biking tour leading past all art trees. Functioning as a stage for art the CBK strives to create the perfect working conditions for artists whilst stimulating a wide public to familiarize themselves with the arts. Rotterdam based art production company Mothership executed the production of the Moddlycoddler.


55


56 SARAJEVO

(BA)

NGO CESI Trash forest

A group of students living in Sarajevo with diverse interests and backgrounds (architecture, economics, art and law) came together in the spring of 2011 and decided that they should start an NGO organization that focuses on local sustainability issues, as too little has been done by the government.

Make a Forest became their first project to embrace. Bosnia and Herzegovina, although geographically a small country, has an impressive heterogeneity in its geomorphology, hydrology as well as biodiversity. There are more than 100 tree species in the forest communities of B&H. The forests are spread over an area of 2,709.800 hectares, which is about 53% of the country. The main types of trees are: fir, spruce, white pine, beech and oak, and some deciduous and fruit trees. Forest trees in B&H usually live about 100 years, and afterwards become residence of many animals. As wood is one of the most important resources in every country, the main problem in Bosnia and Herzegovina is illegal deforestation, adding to that poaching. Also, the second problem is the fact that as a consequence of the last war, still some of the forestland is mined, which makes those trees a potential point for the development of plant diseases and insects. The first is not yet solved properly, because the process of establishing relevant databases is very slow and unorganized, and as a consequence of that, the management of bio and geo-diversity does not satisfy the needs of the present world tendencies. The main concern of the students was the lack of interest in deforestation problems and a general disinterest by the locals for their natural environment. As recycling is not a big issue in the city of Sarajevo, the students linked the problem of deforestation with a challenge to make trees out of trash. They focused on reaching a young audience and made an exhibition with the diverse trash trees in the Art Cinema House Kriterion. Their action didn’t stay unnoticed, since national and international TV shows filmed and discussed this a-typical activity by young people whom normally would care to go to a party than raising awareness for a problem not even notified by the government.


57


58 SAINT ÉTIENNE

(FR)

CITE DU DESIGN & LYCEE HONORE D’URFE

Forest of Feelings

How do we feel in a forest? Could we express those feelings in 2D and 3D objects? With these unusual questions a group of eleven students from the two-year course ‘Advanced Vocational Diploma in Product Design’ of the Lycée Honoré d’Urfé in SaintEtienne headed for the woods of Le Bessat in France. Actor and storyteller Jean-Paul Vinéis, who helped them evoke and recognise their feelings, accompanied them and the staff of Maison du Pilat helped them understand the forest.

During an in-situ discovery, students analysed a coniferous forest designed for forest exploitation, organized, dense and reminiscent of the frightening world of fairy tales. But they also found a forest of leafy trees, open and luminous. The students took notes, made sketches and performed some theatrical exercises during this day full of experiences and feelings. These observations formed the basis for the design process in which only the sensitive aspects of the forest were allowed to reappear: the smells, textures, lights, colours, noises, atmospheres, feelings and sensations. The resulting abstract and non-illustrative plastic and graphic experiments represent the various perceptions of the students’ Forest of Feelings.


59


60 A Nous la Forêt

For four days, seven city teenagers immersed themselves into the inspirational woods of the Pilat natural regional park in France under the guidance of designer Joris Favennec. During the workshop A Nous la Forêt they were asked to think up and create an orientation device made with materials from the forest. Away from their daily surroundings full of buildings, junctions and street names, the children were challenged to find signs in the forest that could give indications on position and direction. Soon, the shadowy universe of the forest offered a break from the urban hustle and bustle and became a playground for reflection, imagination, discovery and observation. Children learned about the forest, its composition, its ecosystem, its inhabitants and its history. The design aspect of the workshop allowed the children to understand the forest environment by having a real impact on it, as their creations were made in the forest and consisted mainly of natural materials collected from it. They tried to translate the movement and the life present in the forest by informing other users about the flora and its variety. The project A Nous la Forêt is an initiative from Saint Etienne Cité du Design and was co-organized by designer Joris Favennec and Rafik Mnii, coordinator at the Espace Boris Vian.


61


62 ROTTERDAM

(NL)

MOTHERSHIP ART PRODUCERS

As true enthusiast, art producers and advisers of the Rotterdam based agency Mothership connected two extraordinary art works in public space to Make a Forest. In response to the current trend to have more green space in cities as the outcome of all sorts of initiatives in urban planning, pocket gardens and green roofs, Mothership came up with

Copy Garden

the concept for Copy Garden. This involves copying a part of a nearby garden or city park for a less green and often cheerless spot in the city. With this green idea, a beautiful 10 × 10 metre depiction of the nearby park on the West Kruiskade was made for the wall of a small plaza on the Gaffelstraat in Rotterdam. With the natural planting in front of this first example of Copy Garden, it looks just as if you can go for a pleasant walk in the park!


63 Temporary Facade

It is not the first time 2012 Architects contribute a project in the public space that connects an awareness for our natural environment with urban building. The Temporary facade at the Stadskantoor, Rotterdam’s central administrative, is a joy for the eye and the mind. The architects were asked to design a public artwork that would span the expanse of the building facade while repairs were made and a secondary building is constructed nearby. They responded with a ‘vertical garden’ comprised of stacked potted plants nested within window frames. The plants were arranged into naive arboreal forms, which were nurtured by collected rainwater.


64

SEOUL

(ROK)

SEOUL NATIONAL UNIVERSITY 
OF TECHNOLOGY

April 5th 2011 was the 66th National Arbor Day in South Korea, which by its Korean name is called ‘Sikmogil’, meaning planting-tree. Also the students of the Seoul National University of Technology planted trees at their campus. Korea having been a thoroughly agricultural society for most of its history, has always considered April a good time for planting. The fervor for tree planting grew after the country went through the trials of Japanese colonial times (1910–1945) and the Korean war (1950-53) left the country’s hills and mountains almost bare, trees were either cut down for fuel or construction resources or simply burnt down.

Sikmogil

Today, National Arbor Day has become something more than just re-foresting mountains and hills. With climate change, the greenhouse effect and other environmental hazards around the globe, it has become imperative to increase the number of trees that not only help to ease flooding and other kinds of natural disasters, but also to capture carbon dioxide and emit clean air.


65


66 THE HAGUE

(NL)

ROYAL ACADEMY OF ART THE HAGUE DEPARTMENT OF FURNITURE DESIGN


67 Tree of Peace

In order to celebrate a year of uniting locals and expats in the city of The Hague in the Netherlands, the Haagse Brug Foundation asked the Royal Academy of Art in The Hague to create a Tree of peace to be installed in the City Hall’s atrium. A tree of peace strives to unite different cultures and religions and makes a connection between ‘desire and reality’. From the branches of the artificial tree leaves should hang in the form of various decorations, which are filled with cards containing peace wishes. These wishes will be written by children from several primary schools in the city centre district of The Hague During a workshop students of the specialization of the Interior Architecture and Furniture Design posed themselves questions about the phenomenon of the ‘Peace Tree’. What is the tree’s artificial character and appearance? Should the notion of a tree be taken literally, or is it a metaphor? The students explored historical and literary references and made associations based on current events (for instance the Nobel Prize, or the construction of a motorway in Bolivia). They studied diverse tree forms that met the brief of creating a physical tree sculpture for the City of The Hague.


68

ZAGREB

(HR)

STUDENT CENTER CULTURE OF CHANGE

Sun Of Night a proposal

Culture of Change is the Zagreb University’s centre for arts. A creative and progressive meeting point for the university, the city and the international arts and academic scene. It strives to promote, develop, and improve civil society values with a special emphasis on stimulating artistic creation and creating new forms of interdisciplinary collaborations. Their contribution to Make a Forest turned out to be more difficult to execute than expected. Switching of streetlights would have costs more than their yearly program budget. The organization decided to embrace the proposal ‘Sun of Night’ and communicate the idea anyway. Through manipulation of street lighting the authors aim to create an image and animation

of a tree, a symbol of life that would be seen and filmed from air. By extinguishing the city lights in particular streets in Zagreb an image of a tree would be created, while the event would with the help of helicopter and professional gear be shot from air and later developed in a film and a series of photographs that would be presented in a unique monument of culture – French pavilion in the Student Centre in Zagreb. The project aims to raise awareness worldwide about climate changes, energetic sustainability and preservation of the environment that we leave as a legacy to the future generations.


69


70 SINGAPORE

(SG)

SCHOOL OF ART, DESIGN AND MEDIA


71

Professor Jesvin Yeo Puay Hwa challenged twenty of her students to create ten typographical trees, in order to install a better understanding of the world in them. To research what is happening to forests, how people view these problems and what they are doing to solve them. Singapore is a very small country with a land area of around 700 square km, but there is no lack of trees. Singapore is a garden city and trees are planted everywhere: in shopping malls and along roadsides and expressways. The NTU campus has lots of green as well, which the students take for granted, not recognizing the significance a tree can make. The assignment for the students was to choose a text, a poem or lyric and translate this into a typographic tree. They all went to Bukit Timah Nature Reserve to conduct research. For many students this was the first time they visited the 50-hectare reserve that retains some primary forest characteristics. As a result students created the Tree of Love, The Worry Tree, What’s the hurry Tree and many more. The trees were set up everywhere around the university campus, which included the walkways, open resting space, outside the library, in the school lobby, study areas and outdoor fountain.

Typographic trees

The tree of love raises awareness on deforestation and tells not to take our environment for granted. Will we protect the forests and be advocates for them or take the back seat and watch as they are destroyed before our eyes? It’s time we give back! This project paid tribute to the diversity of our forests. Appreciate and revive our love for them. Message: Will you love me in December as you do in May? Will you love me the old fashion way? The Tree of Love

Students and teachers in NTU are often in a rush. They do not take time off to relax and reflect. We wanted our typographic tree to remind them that it is alright to slow down at times. We hope to have relieved their stress through this project. Message: Patience is rewarding. Slow Down

This floating typographic tree demonstrates the idea of transience. It serves as a reminder to design students to think out of the box as well as reminding passersby that change is hope and since change is constant, there is always hope. Message: Change is the only constant. Change is the only Constant


72

BAMAKO

(ML)

SOLEIL D’AFRIQUE Mali started the Make a Forest project with a drawing competition in which six art schools participated. Hama Goro, director of Soleil d’Afrique and former student of the Amsterdam Rijksacademy, not only motivated the schools to participate in Make a Forest but was also the linking pin in an exchange project with the Netherlands. Dutch artists Joep van Lieshout, Maria Verstappen and architect Césare Peeren visited Soleil d’Afrique with Anne van der Zwaag. Together with local artists and environmental specialists they discussed and researched the problem of deforestation in Mali. As discussions continued the first ideas for tree projects

started to take shape. Some artists made an animation and others worked on an individual tree project or collaborated with the Dutch artists on their ideas. After a week’s work all schoolchildren and artists gathered at the Palais de La Culture for the award ceremony and to listen to presenters and performers about forests and deforestation. Afterwards the artists showed their work to the children as well as local representatives of several cultural institutions.


73

Locating and reusing waste in order to create innovative designs is something Césare Peeren is specialized in. As one of the directors of Rotterdam-based architecture office 2012 Architects he became a professional in finding new uses for recycled objects. Though practising this skill in Bamako turned out more difficult than expected. In a country where there hardly is any forest and where the desert claims more and more land, people don’t cut trees for industrial use, but to serve a primary need. The Malian people cook on charcoal and in order to create this, trees are chopped and burned. It is an essential part of their way of living, but not necessarily one without alternatives. Peeren found that there was already a solar cooker on the market, using the one resource there is enough of –sunlight – but that it was unaffordable for most families and above all, had to come all the way from China. He decided that in his time there, he would create a cheap alternative solar cooker, made from locally sourced trash. An alternative solar cooker for Mali


74 He would only soon find out that trash, as we know it in the Western world, doesn’t exist in Mali. Here everything is of value and recyclable materials can only be obtained during informal gatherings with locals over a cup of tea. He had to purchase the cardboard box he thought to find discarded, and bought a roll of aluminium foil locals would have to buy by the meter to make his solution affordable. Glass windows to let sun through were taken from an old car and his solar cooker was born. With homemade couscous as a result.


75

Maria Verstappen made a short film about the importance of trees for fertile grounds. Her starting point was the fact that deforestation leads to erosion of the soil; without trees the rain, wind and sun directly harm the grounds. Trees capture the rain and at the same time limit the loss of water through condensation. The film Tree Evaporisation shows a silhouette of a tree drawn with water in an open sandy area. Gradually the drawing evaporates because it is exposed to the sun and the wind. Tree Evaporisation


76

BOGOTÁ

(CO)

THE SCHOOL OF ARCHITECTURE AND DESIGN 
 Treasure, Clearing The School of and Commotion Architecture and Design at the Javeriana University in Bogota trains its students in making the world a better place. Projects focus on contributing to the achievement of a better society, a more human city, a region for all, a progressive country, and ultimately, a better world. And so did their participation in Make a Forest, which started from a collective idea of what a forest contains or represents as a symbolic space. A treasure, a clearing (referring to a clearing in the woods) and a commotion (thinking of events that suddenly alter natural cycles, like deforestation) formed the three starting points for six different projects that all have a multimedia approach in common. The project with the self-explanatory title ‘Communication levels between natural and technological ecosystems’ abandons the

concept that places humans above all living systems; here the human is made obsolete. The assembly provides a communication scenario where a plant communicates its state of growth and nutrition to a computer, and it responds with sound stimulation; the two communicating without explicit human mediation. According to the students, sustainable thinking in the contemporary world involves close reading of the signals emitted by nature itself and understanding its language. Other students shared the synesthesia experiences – which occur when the senses merge and one can taste color or see sound– which they had in the ancient forest reserve Quinini through an exhibition of analog and digital work. Others looked for the similarities between video games and the forest to engage their fellow students in interactive installations. The Environmental Invisible Theatre involved co-students on a less voluntary basis with in-your-face performances throughout the campus. A performance addressing noise pollution revolved around high frequency sounds played in the school’s library. Very uncomforting and annoying, students intended to bother people in the same way people in the cities seem to trouble birds with noise pollution. Video documentation of the performance proves that they did just that.


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78 THANK YOU ALL PARTICIPANTS AIR Taipei and Tien Tien Circle Yukuan Chang Chengyi Shih Mingying Tsai Lihsin Wang Andrew Wang Matthew Wei Ralph Kuo Chiang Wu Pinwei Yang Tsungjen Chang Kangning Hsu Yuchuan Lin Kaicheng Dai Janett Wong Tanya Wang Sasson Kung Amsterdam Fashion Institute Nannet van der Kleijn Jan Piscaer All students 1st and 2nd year ArtEast Nargiz Chynalieva Samat Mambetshaev Nic Cherkasov Nellya Dzhamanbaeva Anatoly Kolesnikov Tatyana Zelenskaya Asker Mursaliev Gulnara Kasmalieva Muratbek Djumaliev Oksana Kapishnikova Rasul Kochkorbaev Dmitry Petrovsky Sergey Keller Timur Khasanov Yury Goncharov Alla Kivachitskaya

Chyngyz Aydarov Eugeny Makshakov Bermet Borubaeva Diana Ukhina Maarten Kolk Daniera ter Haar Centre for the Visual Arts Rotterdam Regan Gentry Ove Lucas Daniëlle van Wingerden Erik van Broekhuizen Chengdu Biennale Ou Ning Luo Xin Jenny Chou Celine Fu Lill Cité du Design Caroline D’auria-Goux Hélène Pangot Josyane Franc Camille Vilain Joris Favennec Rafik Mnii Sophie Badoil Jean Philippe Tardy Mr Abrial Guillaume Schmitt Paul Arnould Laurent Russias Isabelle Collombat J.P Vineis Exeter Centre for Contemporary Art and the Natural World Rachel Jacobs Robin Shackford Matt Watkins Rebecca Lee Silvia Leal Mark Selby Matt Davenport Mike Golembewski Carlo Buontempo Mario Jorge Ferreira de Oliveira


79 Dominic Price Mark Paxton Clive Adams Johanna Korndorfer Gemma Baal Chris Lewis School of the Arts Utrecht Selma Hoitink Jesse van der Knaap Saskia Bosch Sammy Hemerik Willem Stapel Emmie Boxtart Anne van Bokhoven Uljana Orlova Thomas van Asten Bob Hensen Karlijn Mulder Sophia van Twigt Iris Cliff van Thillo Digna Poelman Max Manon Noël de Gooijer Joost van Vredendaal Suze Swarte Kim Mevissen Erwin Slegers Anita van de Ven InnovationNetwork Marleen van den Ham Christien Meindertsma Royal Academy of Art The Hague Frank Heerema Marlies van Putten Claudia Linders Sanne Wiltink Jan Harm ter Brugge Paul Moor  Wim Ros Ellen Vos Stephanie Driehaus Ted Jooren Marlies van Putten Joris Hubers

Frank Niessen Roman Kienjet Jip Hilhorst Wietske van Rijnswou Anne Kranenborg Stefan Kroon Martijn Rigters. KIOSKO Sina Ribak Mimpi Raquel Schwartz Rodrigo Rada Santiago Contreras Viviane Salinas Wara Cardozo Vera Tomberg Lucie Pindat Pablo Pinell Daniel Larrea Alfonso Llobet Frank Bruggeman Roberto Valcarcel Maria del Carmen Carreras Hermes Justiniano Alfredo Roman Daniela Duran Elsa Manceaux Lara Sabatier Marcela Rivera Oscar Barbery Richard Crouchet Romanet Zarate Samy Schwartz Sergio Antelo Alejandra Alarcon Alejandra Dorado Andres Unterladstaetter Anuar Elias Beatriz O’ggero Carolina Sanjinez Cecilia Lampo Ciro Paz Eduardo Ribera Bluebox Ejty Stij Erika Ewel Galo Coca Gonzalo Cardozo


80 Jamir Johanson Julio Gonzalez Ramiro Garavito Marronmuseum Erros Gesius Marcus van den Brink Sander Maas Joney Christel van Hoeckel Bia Maas Humphrey Schmidt Mothership Jeroen Everaert Mathijs Goorhuis Joris Rockx Tonio de Roover Museum Hilversum Marianne Lammersen Vocus Architecten Moost architectuurwerkplaats Christien Meindertsma Arjen Boerstra Eva Kasbergen Beyond our Control Jaap ter Waarde Stef van Breugel Imke Ruigrok MU Angelique Spaninks Maarten Kolk Guus Kusters Christoph Brach Daniera ter Haar Ton Matton Marc ter Horst Ingrid Koenen Brenda Swinkels Albert van Abbe Jasper van Es Haiko Meijer Observatorium NGO Cesi

Adnan Brankovic Dalila Fejzagic Emina Camdzic Ena Taslaman Kenan Kapidzic Naida Kapidzic Fedra Nuci Mak Vuk Tijana Veljkovic Emina Jasarevic Sandro Drinovac Tina Mihajlovic Dino Sofic Damir Seremet Edina Camdzic Ivana Petrovic Lejla Teletovic Ilvana Dizdarevic The One Minutes Bieneke Bennekers Thierry Mandon Robyn Nesbitt Johan Govaerts Selby Gildemacher Chris Schuepp Karla Carballar Bia Maas Erwin Slegers Eleni Xintaras Maartje Jaquet Tom Jaspers Su Tomesen Weina Dubravka Zivkovic Robyn Nesbitt Anja Masling Nora Danielson Marianne Schoonderbeek Marleen van der Werf Manja Ebert Rietveld Academy Henri Snel Oene Dijk Merel Waalkens Boudewijn Rosman Beatrix Zingerle


81 Julia da Conceição Estevão Aisha Fouad Sandy Bruns Anouk van der Heijden Arthur Hortolomei Gintare Kerbelyte Anne van Klooster Setareh Maghsoudi Marina Savochkina Morag Mayer Yu Song Tom Bremer Gwen Hoopman Trimo Kromotaroeno Hanna Lee Pierre-Clement Niviere Gidion Vork Cecile Wentges Sandra Stanionyte Jisun Nowh Sandberg Institute Jurgen Bey Cynthia Hathaway Hannes Bernard Alonso Vazquez Lisa Klaever Belle Nuankhanit Phromchanya Dingchang Peng Singapore School of Art Design and Media CaI Shujuan Farhana Ja’Afar Fu Tsz Ka Joycelyn He Lim Shu Ning Kenneth Lim Joseph Mak Mohammed Hazri Bin Sapuan Yang Ge Nur Faizah Binte Omar Poh Shu Ning Benjamin Sim Tai Xueyi Donovan Tan

Elana Tan Hester Tay Zhou Yibo Quek Teng Wan Cheng Yu Hui Soleil d’ Afrique Igo Diarra Hama Goro Bourama Diakite Lassana Diarra Mamadou Diane Amadou M. Keita Massira Toure Amara Sylla Dicko Ina Traore Mahamadou Traore Delphine Gatoise Ismaël Diallo Abdoul karim Samake Sambou Sissoko Aissata Dao Fousseyni Diakate Tary Keita Salif Traore Thierno Seydou Coulibaly Siaki Togola Ouassa P. Sangare Amadou Cisse Seydou Cisse Yaya Sinayoko Kadiatou Dembele Groupe Africa Réveil Silimako Sacko Ousmane Ibrahim Dicko Seydou Sidibé Nana Abasse Diakité Coumba Sidibé Oumou Traoré Tiémoko Moussa Traoré Kanuya Ahmadou Diallo Mamadou Makalou Alfouseini Touré Yacouba Coulibaly Maria Verstappen Cesare Peeren Joep van Lieshout


82 Happiness Foundation Sameena Khan Iona Hogendoorn Ana Sonia Alina Ta Glibon Ini Lady Collective Elena Gamalinda Dhorie Santos Raquel Palama Gil Evelyn T.Uy Emma B. Prima Pinky Rabino Violeta Rosal Desa Laput Venus Yap Joventina Sasuman Elizabeth Cudal Juliet Lozano Ivy G. Asprer Hielyn G.Neslie Ku Gamalinda Lorna Bentulan Lordan Reganion Nelson Manlosam Ivy Gamalinda-Asprer Elena T.Gamalinda Lilia I. Balansag Angel I. Balansag Lorna R. Bentulan Elizabeth O. Cudal Ku Gamalinda-Fernandez Elba Ladera-Fiel Karen Gamalinda Eudessa Laput Hielyn Gamalinda-Neslie Lea Abigail B. Prima Violeta H.Rosal Choi Tan Levinia U. Ubay Ana Cris Adela Venus E.Yap Arlene Saile Ed Tabancura Aldrin Elman Dennis Batocael

Tropenmuseum Marielle Pals Annemiek Spronk Alexandra Blaauw Babette van Ogtrop Gundy van Dijk Jessica Schrier Nadav Monselise Hoi-Shan Mak Andrea Buning Bram de Jaeger Iris Vis Iris Bierenbroodspot Sameena Khan Selma Maroufi Stijn Verhagen School of Design and Aesthetics of Javeriana University Angela Homez Natalia Herrera Lozano Santiago Avellaneda Alban Natalia Bernal Laura Garcia Camilo Castro Cesar Moreno Karen Gabriel Gonzalez Carlos Ospina Jaime Garcia Jairo Serrano Juan Diego Valencia Angela Hoyos Gabriela Salamanca Marcela Cabrera Ligia Bautista Jaime Rojas Leandro Gonzalez Seoul National University of Science & Technology Sang-kyu Kim Sang-jin Lee Won-seop Kim Seok-ho Lee Ji-yoon Lee


83 Student Centre Zagreb- Culture of Change Silvija Stipanov Danijela Andrijasevic Hvroslava Brkusic Natasa Rajkovic Nikola Kukic Marta Kis Ana Suntesic Sandra Bencun Blok Daniel Rodik Danko Vucinovic Drazena Pavlovic Lucic Ivan Gregov Naturalistas Nika Petrovski Vedran Senjanovic Vladimir Totomir Konrad Kis Marijan Ocvirek Wageningen University Jessica de Koning Frits Mohren Wendorf Academy Ton Matton Ellie Smolenaars Arnold de Bruin Elsemiek Ebbers Koen Geraedts Hans Huizinga Klaas-Geert Koolhout Niels Atitawaer Lieke Roerink Geertjan van der Aa Steven van Leeuwen Ben Verbaan Antolikova Romana Lu Chen Zhang Dan Jürgen Eisenhower Patrick Großer Xi Guiyang Cheng Huang Janine Jeserig Yang Jinjin Philip Medler Sabrina Regitz

Anne Riebort Marie Linde Rob Seda Sezen Thomas Sültmann Yu Wang Liu Xiao Feng Xiaoyang Zhang Xufeng Linlin Yang Li Yuanting

AND ALSO THANKS TO Monobanda Stang Gubbels Roel Posthoorn Duzan Doepel Werry Crone Aandeboom Jaap van der Waarde NL Architects Petra Hamers (FSC)


84 COLOPHON INITIATORS Joanna van der Zanden Anne van der Zwaag ORGANISATION Joanna van der Zanden, curator and editor Anne van der Zwaag, curator and editor Nora van den Heuvel, project coordinator Dewi Pinatih, PR and communication Hoka Wen, intern BOARD Anne van der Zwaag, chairwoman Joanna van der Zanden, secretary Remco van der Voort, director Pastoe William van Esveld, William van Esveld Studio GRAPHIC DESIGN AND COMMUNICATION Vandejong: Pjotr de Jong Lucie Pindat Cyril van Sterkenburg Elsa Manceaux Esteban Berrios Vargas Femke Papma PR Coebergh Communicatie en PR: Marleen Smit Sjoerd van Sprang WEB DEVELOPMENT i-consult: Ionut Munteanu Oana Stanila George Balasca PARTNERS Mondriaan Foundation www.mondriaanfoundation.nl Arts Collaboratory www.artscollaboratory.org Prins Bernard Cultuurfonds www.prinsbernardcultuurfonds.nl

SPONSORS Tetra Pak: Birgit Kamp Magda Buelens Suzan Linssen Else Marie Bos Budget Cam: Bjinse van der Zwaag

All photographs and illustration material is the copyright property of the photographers and/or their estates, and the publications in which they have been published. Any copyright holders we have not mentioned or to whom inaccurate acknowledgement has been made are invited to contact office@makeaforest.org All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photo-copy, recording or otherwise without prior written permission of the editors. Although the highest care is taken to make the information contained in this publication as accurate as possible, neither the publishers not the authors can accept any responsibility or damage, of any nature, resulting from the use of this information.


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