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A RADICAL ACT OF LOVE:

ARBORESCENCE, ECHOING THE MYCORRHIZAL NETWORK OF OAKS. CURATED BY SIOBHAN HEALY Image credit: Siobhan Healy

Acknowledgments xi

CONTENTS 1.

Introduction

Context

Glossary/terms used within the publication

The reason that the project came about

Tree planting locations

Curatorial discourse around ecological themes

The contributers

The commissions-storytelling

Conclusion

10.

Bibliography

ACKNOWLEDGEMENTS Ros Mcghee, Norman Macivor, Colin Lyndsay

McDougall, Gordon Turner, Valerie Sinclair, Dianne Thomas, Angela Hutchinson, Jane Miller, Falcon Scott, Julie Williamson, Ali Campbell, Gail Power, Dr Alexandra Ross, Monica Laiseca, Yvonne Billimore, Sorcha Dallas.

INTRODUCTION

THIS PUBLICATION ILLUSTRATES THE CURRENT DEVELOPMENT OF A CONSIDERED AND SLOW PACED CURATORIAL PRACTICE BY SIOBHAN HEALY, IN WHICH THE PLANTING OF OAK SAPLINGS HAS LED TO ARTISTIC COMMISSIONS AND ENDEAVOURS INSPIRED BY THE CREATION OF FUTURE FORESTS. THE PROJECT WILL CONTINUE INDEFINATLY DUE TO THE ESTABLISHMENT OF THE CHARITY ORGANISATION- HEALY ARTS FOUNDATION, WHICH WILL SUPPORT EMERGING AND MIDCAREER ARTISTS WORKING WITHIN THE FIELDS OF ECOLOGICAL ART AND ENVIRONMENTAL ARTS TO DEVELOP AND SITUATE THEIR WORK WITHIN A SUPPORTIVE NETWORK OF PRACTITIONERS. THE ORGANISATION WILL PROVIDE FINANCIAL AID AND RESIDENCY SUPPORT IN A NEWLY ESTABLISHED ART RETREAT, LOCATED IN LUNGA ESTATE, ARGYLL. THE MLITT IN CURATORIAL PRACTICE (CONTEMPORARY ART) CO-DELIVERED BY GLASGOW UNIVERSITY AND GLASGOW SCHOOL OF ART HAS PROVIDED A PLATFORM FOR THIS PROJECT TO EMERGE AND DEVELOP WITHIN THE CONTEXT OF CURATORIAL PRACTICE. A Radical Act of Love; Arborescence - Siobhan Healy - ©2021

CONTEXT

HOW THE PROJECT BEGAN

The climate and ecological emergency became even more apparent when in April 2020, The Times newspaper reported that 750,000 Oak saplings were to be burnt. The UK Government had reneged on its promise of a huge national planting scheme. Save The Oaks Campaign was created following unprecedented response from groups and individuals who have pledged to buy and plant these Oaks throughout the UK. This year in November [2021] The COP26 summit will bring worldwide parties together to accelerate action towards the goals of the Paris Agreement and the UN Framework Convention on Climate Change. As stated on the Extinction Rebellion website- “Life on Earth is in crisis. Our climate is changing faster than scientists predicted and the stakes are high. Biodiversity loss. Crop failure. Social and ecological collapse. Mass extinction. We are running out of time, and our governments have failed to act. Extinction Rebellion was formed to

WE HAVE A MORAL DUTY TO TAKE ACTION — WHATEVER OUR 1 POLITICS.

CONTEXT SHORT OVERVIEW OF GAIA BY JAMES LOVELOCK HYPOTHESIS.

Rising heat means more ice melting at the poles, which means more sunlight; open land and water absorb it), causing more ice to melt. The seas rise. More heat leads to more intense rainfall in some places, droughts in others. The Amazon rain forests and the great northern boreal forests --the belt of pine and spruce that covers Alaska, Canada and Siberia --undergo a growth spurt, then wither away. The permafrost in northern latitudes thaws, releasing methane, a greenhouse gas that is twenty times more potent than CO2 -- and on 1. https://rebellion.global. Last accessed 24th June 2021 2. Lovelock, J; Gaia,(1978)

and on it goes. In a functioning Gaian world, these positive feedbacks would be ability to radiate heat into space. But at a certain point, the regulatory has many times in the past -- to a new, hotter state. Not the end of the world, but certainly the end of the world as we know it.

for hybrids. What about capturing carbon-dioxide pollution from

where we live and how we get our food; about making plans for the migration of millions of people from low-lying regions like Bangladesh into Europe; about admitting that New Orleans is a goner and moving 3

If we consider the planet as Gaia, our mother tree, the whole organism works together to provide, shelter, shade and nutrients to us and knowledge.

The overlapping complexities of the network can be

not be any real conclusion or epiphany. Tree planting, caring for the tree and planting ceremonies are crucial ideas around the importance of the trees, the care placed upon them will help to solidify the notions of how crucial this reforesting work is. To reforest Scotland is imperative to our future as a human race and the future of our planet.

3. Planning for ‘Sustainable Retreat’By Michael Dudley. https://www.planetizen.com/node/27838 Posted October 22, 2007 Last accessed 14th July 2021

GLOSSARY/TERMS THIS PUBLICATION

USED

WITHIN

A RADICAL ACT OF LOVE, WHAT DOES THIS MEAN? Rebellion Re-wilding document, which explains in detail about the background of the trees of dispora, due to be destoyed, which groups and individuals have worked together to Save the Oaks. ‘The Radical approach to how we view trees and the natural world. Feminist and post-human thinkers within science are articulating a shift in western science and philosophy to de-centre the human. It is important that we open up discussion on new ways of knowing, and taking this opportunity to move away from dominent systems steeped in capitalism, colonial history and partriachy. We plant as an act of love, we rewild,5 came from Extinction Rebellion Rewilding,6 a group formed to attempt to tackle climate change to be answered and there are conclusions still to be reached. It is an opportunity for dialogue to take place between creative practitioners and thinkers. In the current situation of Covid-19 restrictions it seems a prudent time to rethink politics and enviromental thinking. It seems especially timely as Glasgow will host the 26th UN Climate Change Conference (COP26) on 31 October – 12 November 2021.

SAVE THE OAKS. WHAT EXACTLY DOES THIS TERM REFER TO?

“The act of rewilding will help replenish soil and biodiversity loss, sequester emissions and can be used to interrupt the genocidal economic system. The act of rewilding is Rebellion. Join XR as we begin a project to re-wild the UK. Forest gardens instead of paved front gardens, rewilded landscapes instead of airports,”7 How can this process not only re-wild Scotland and inprove diversity, but also provide places of santuary and meditative spaces for humans? 5. https://savetheoaks.org. Last accessed 24/06/21 6. https://extinctionrebellion.uk/event/extinction-rebellion-rewilding/ Last accessed 29th June 2021 7. https://extinctionrebellion.uk/event-keyword/london/page/32/. Last accessed 24th June 2021

As the pace of our lives continues to accelerate, driven by a host of ourselves drawn to engage in meditation, in this radical act of being. We are moving in the direction of meditative awareness for many reasons, not the least of which may be to maintain our individual and collective sanity, or recover our perspective and sense of meaning, or simply to deal with the stress and insecurity of this particular time in society.

MEANING OF ARBORESCENCE:

Refers to any tree-like structure. It may also refer to arborescence graph theory. In regards to the tree like structure, in the context of which have been planted but also the methodology of creating sites for ideas and events to grow, in addition to activities that provide opportunites for personal growth.

CONCEPT- ECHOING THE MYCORRHIZAL NETWORK OF TREES. the pyhlisophical concepts which include reference to Rhizome philosophy by Gilles Deleuze & Félix Guattari. It is what Deleuze apprehends multiplicities.

WHAT DOES IT ALL MEAN, AS A COLLECTION OF CONCEPTS? with the symbolism of the oak tree as a metaphor and a methodology. The underground activism and connections inherent within the work is illustrated by the underground network of mycorrhizal roots.

environmental activism, curatorial discourse around ecological themes As we are now in the new planetary age of the Anthropocene, humanity

and one capable of changing the environment. The Anthropocene geological transformations of our planet, by environmental impact and mass species extinctions. However, According to theorists such Astrida Neimanis8 and Cecilia Åsberg9 the Anthropocene risk also, as pointed out by a wide range of feminist philosophers and critical scholars, to hide troublesome differences between humans, and also to hide intimate relationships between technology, humans, and other animals. This totalisation of humanity is a parallel risk in some posthuman theorizing also, and something postdisciplinary scholars of the critical humanities and feminist philosophers have paid attention to for decades.10 In keeping with these theories I suggest and point to post-disciplinary humanities research and theory–practices that postnatural condition as an experimental remedy.

CURATING AS A MEDIUM OF ARTISTIC PRACTICE

How can I utilise serendipitous connections and moments to distill my research interests into a cohesive approach to curatorial practice? Actively growing and nurturing connections and pinpointing locations curation, but as place making.

8. Neimanis, Astrida & Jennifer Mae Hamilton; Composting Feminisms and Environmental Humanities, 9. https://www.researchgate.net/publication/323526585_Feminist_Posthumanities_in_the_Anthropocene_Forays_Into_The_Postnatural 10. Neimanis, Astrida & Jennifer Mae Hamilton; Composting Feminisms and Environmental Humanities

ARTISTS & COLLABORATORS WITH COMMISSIONS AND Q&A GERALD MANGAN - POETRY GERALD

Fiona Green

MANGAN

Glasgow-born

whose collections include Waiting for the Storm, winner of a Scottish Arts Council Book Award. He is a former writer-inresidence at Dundee College of Art and at Theatre Workshop in Edinburgh, where he also worked as an actor and designer, and his stage-plays include Crying Wolf. He lived for many years in Ireland and France, contributing to the Times Literary Supplement, Le Monde and media as a critic, translator, illustrator and cartoonist.

PLANTING THE SAPLINGS SIX HAIKU FOR SIOBHAN

1 Locked down all winter, the blank whiteness makes us blink and count on the thaw 2 through the snow, have no feeling for the frozen soil. 3 The bedraggled roots, already stiff with the cold, worm into the earth. 4 The tender branches, so hard to disentangle, spring up like caged dogs. 5 The trunks now stand upright on tiptoe, to peer into the future. 6 They foresee the birds nesting in the high branches, the sheep in their shade. GERALD MANGAN March-April, 2021

LISA NKRUMAH-MWEU IN COLLABORATION WITH STEVIE JONES: TREE DANCE & A RADICAL ACT OF LOVE TREE DANCE BY LISA NKRUMAH-MWEU

Through the articulation of gesture, image and movement motifs, this dance performance shifts the lens from research to practise, by looking at the key theme of community and its infrastructure within

Lisa Nkrumah-Mweu

explores the imaginary process of mapping the structure and growth, of a gathering of trees and the underground network of roots and fungi, that symbiotically support the individual/collective development of this conceptual woodland.

The formation of shapes represented in the performance, created through a series of lines against curves of the of the oak tree (Quercus robur) known for its size, longevity and provision as a vital source of refuge, for many species that dwell in the forest. At the heart of this creative piece, is a portrait of the ever-changing landscape; on one hand, narrators of histories long forgotten, whilst on the other, nurturers of seedlings within their underground systems – of whom are the storytellers of a vast hopeful future we ourselves will never see. Biography: Lisa Nkrumah-Mweu is a traditional African, Caribbean and Contemporary dance artist. The work that she creates is at the intersection were all these art forms have the potential to express themselves and co-exist together. She is inspired by nature and Lisa has lectured and taught dance at Surrey and Leeds Metropolitan Universities, as well as working as a dance program coordinator for

One Dance UK. Her work with One Dance UK promotes dance of the African Diaspora as a cultural narrative and to open dialogue around issues of identity and misrepresentation.

TREE DANCE/STORYTELLER INTERVIEW

Conducted by Siobhan Healy with Lisa Nkrumah-Mweu on 31st June 2021. Q. Where exactly was the piece performed? A. The piece was performed in a secluded area of a local park [in Leeds] which is surrounded by residential houses, a primary school and main roads. Q. The original choreographed performance would have been witnessed by passers-by, did you A. No I did not get any response from the public. Q. Why did you choose that location? A. The location was determined by where I found a cluster of oak trees. The next stage was looking at the different tree spaces for suitability to perform the dance work, also how the sunlight played with the shadows of the branches and leaves, became an important factor to choosing the location. Q. The contrast of the performance and the urban environment is of interest to me. is there something important within that? A. The focus of the dance was a direct interpretation of the movement and growth of trees and their relationship with nature. There was not an intention to access the urban environment in that way, although an urban environment.

ground as possible. This allowed for the scope of space and distance to be explored whilst harnessing sunlight and the shadows made by the tree. Q. Did you consider the time of day? the light? the strength of shadow from the tree? A. The piece was intentionally shot around 6pm because that is the time the sunlight shone on the tree and created the light and shadows Q. Who was involved in the production of this work? Who should be credited? A. The piece was created and shot by me. Q. What is the style of the choreography based on? A. The style is an amalgamation of African, Caribbean, and Contemporary dance. The movements are stripped and broken down to the core representation within each of the dance forms. This includes pulsations, undulations, and representation of nature through exploration of movement within time and space. Q. Could you tell me about the methodology to produce this work? A. clear focus was the oak tree with its symbolism and imagery between the ground and sky. I was intrigued by the knowledge of the mycorrhizal network and that underground relationship with trees shaped the research of the choreography. In African and Caribbean dance forms, there is a connection with nature and ancestry, that is

Q. What inspired the performance? Are there other aspects to the performance that relate to your life right now, in relation to this time of Covid-19 etc? A. There was a sense to create an environment of peacefulness and oneness between my performance and nature. The inspiration was researching about the unity of trees and their capacity of support, nourishment, and growth. mycorrhizal network, and the surrounding nature.

In the dance work, there is no interruption of energy between my movements and the nature around me. I strove to become harmoniously part of the landscape, part of the tree, the light, the network and the story of the oak tree. To respectfully dance in a space that is not my own. transaction? Is there something we can learn from taking action for the sake of love, friendship or perhaps other reasons? A. I agreed to do this dance work as a response to friendship which of community and art that it inspires. Personally, for me it was an opportunity to dance outside which is my one of my favourite pastimes. Furthermore, it was an opportunity to explore movement that I have been trained in and which, I have not truly accessed since having children twelve years ago. Finally, this experience has been for me, a re-discovery of agency and artistic craft.

CURATOR REFLECTION ON TREE DANCE WITH LISA NKRUMAH-MWEU

My connection with Lisa started when I was 12 and she was a little older and we became instant friends. This friendship has spanned 32 because I deeply respect her practice and have always wanted to work with her in some capacity. Her choreography and dance response speaks of her sensitivity to performance, her awareness of space and work has also had an additional element to it due to the soundscape developed by Stevie Jones which will be discussed in an interview directly with him.

A RADICAL ACT OF LOVE- SOUNDSCAPE COMMISSION Interview between Siobhan Healy and Stevie Jones. 1/07/21 Q. Who was involved in the production of the piece?

A. Just myself, Lisa [Nkrumah-Mweu] and Siobhan [Healy]. There passes. Siobhan and I spoke about her over-arching themes and the context of the events. Q. What types of instruments were used to create the work? A. It seemed appropriate to use entirely acoustic instruments for an earthy, organic feel and I opted for wood resonating instruments; Double bass, acoustic guitar and shrutti box (an Indian instrument typically played by a tabla player to provide an accompanying drone).

Q.Where did the recording take place? A. I recorded this at GTAC, a collective run rehearsal space which is primarily a dance studio. Q. What was the environment and circumstances? A. I recorded in a spacious and beautiful old room, coincidentally a as a recording and rehearsing space. Q. Why did you agree to do this incredible work for an oak sapling as payment?

Q. How did the Soundscape actually take shape? what was your methodology? A. Lisa had already provided her video and choreography. Circumstances prevented us working together in person, which I would have loved to have done, so my contribution was a creative response to the movement that would pulse and undulate in a sympathetic manner. I it chimes and vibrates together splendidly. I was interested in the at once robust and grounded while fragile and delicate, ostensibly too - all of these thoughts were at the back of my mind throughout. a bowed guitar, e bows droning on a guitar string with leaves resting, on the double bass and a shift between high, drifting harmonics and down, mostly stripping it back. I tried to leave plenty of space and support the dance, rather than pull focus.

CINE-POEM FILMED BY DRONE IN BERLIN

Cat Hepburn in collaboration with Romy Lagodka Hepburn wrote the poem whilst listening cinepoem is a more cinematic presentation of a poetry video, with focus on the

Kerr Sutherland

originally planned to be a spoken word video, but considering the content of the piece, Hepburn decided to ask Lagodka involved to help focus on the tree, as if the tree was speaking. They chose Dicke Marie because it is the oldest tree in Berlin (around 900 years old)

The works of artist Romy Lagodka explore the possibilities of Art as a way to interact with reality through radical empathy and shaping visions of the the unseen, nurturing intuition. Born in 1995 in Berlin, Lagodka grew up in Germany, Poland and the US, where she made sense of her upbringing and worlds that she inherited, that shaped her pluralist perception of life, appreciating and embracing curiosity for activism, collaborative work and especially social sculpture. The idea to use the drone came about in order to have an organic experience with the space and the tree. So the idea was to show would engage the viewer in discovering the intricacies of the trees structure. A synergy of technological and human solution. Cat Hepburn is an award-winning scriptwriter and spoken word artist who has written for stage, screen and page. In addition to storywriting for TV programmes for the BBC and Channel 4, her poetry has been featured on BBC6 Music, ITV and the Edinburgh Fringe. She has supported Dr John Cooper Clarke, Saul Williams, George The poetry events producers. In 2020, she was nominated as Best Writer with Burning Eye Books.

Cat Hepburn has storytelling her DNA. Her main passions are working with marginalised voices, exploring feminist issues and using contemporary stories to empower, provoke and make people laugh. She produces spoken word cabaret shows, writes poetry commissions, has authored two books, has written and performed in a solo show #GIRLHOOD at the Edinburgh Fringe and storylined for TV dramas. She also does a great deal of educational work, from lecturing in

AUGMENTED REALITY (AR) BUTTERFLIES APP

Collaboration between Siobhan Healy & Luca Ottonello The natural world can be magical and our perception of it and the different ways we can interact with it could help future nature. The Augmented Reality aspect of this working within Glasgow University and interacting with the Immersive Experience research of Luca Ottonello (PGR) with Augmented Reality (AR).

To experience it yourself, download the QR Code which will install an App. The app has a soundscape of a forest, full of life and bird song. Put the camera side of your phone about 20-cms from the image and you will see the Augmented Reality effect. The combination of

PUBLIC ART COMMISSION AT THE GARSCUBE LINK, CLAYPITS URBAN WILDLIFE AREA Collaboration between Alasdair Gray, Siobhan Healy and the Alasdair Gray Archive. 2021.

In 2017 Siobhan Healy collaborated with Alasdair Gray on a series of the text and imagery have been translated into to large-scale public artworks located at Garscube Links at the Claypits Urban Wildlife Reserve, Glasgow. The intention for the work is to provide hope and positivity in this new public space.

GILLIAN CARSON

Gillian Carson- Exhibitor at Masters exhibition Gillan Carson is a multi disciplinary artist who works across several mediums. Her work concerns itself with the passing of time and she is interested in how artefacts age- yet can defy ageing and the ways in which we relate to our ancient past. She has a fascination with religious art, particularly Madonna and child. This and other and iconography, and the ways that these connect to our sense of mortality, drives the imagery. Carson uses symbolism, imaginary portraits and her work includes abstracted features.

FUTURE CONTRIBUTOR- RENU RAMANATH and writer. Kochi, Kerela, India Former staff reporter for the Hindu Newspaper, India. and columnist focussing on visual and performing arts based in Kochi. Former Staff Reporter of The Hindu (1996 – 2007), she has been writing on art and culture, theatre, music, dance and other classical performing arts since 1992. At present she regularly contributes to The Hindu Friday Review and The Hindu Metro Plus. Recipient of Senior Fellowship in Theatre, given by Ministry of Culture, New Delhi in 2013, she has been associated in co-ordinating Festival of Kerala (ITFoK) organised by the Kerala Sangeetha Nataka Akademi and National Theatre Festival organised by the Dept. of Information & Public Relations, Govt. of Kerala. She is the founder & present president of Innerspace Little Theatre, a theatre group

CONCLUSION work dynamically in commissioning new work and inspiring ingenious minds to collaborate for mutual development. By working initially with close friends and family, this network has organically grown to include further international collaborators. Further to this, the work of my contributors will be introduced to an international platform. The intention is to perpetuate and contribute in a meaningful way and the mycorrhizal network will continue to perpetuate. By working with burgeoning technologies such as AR and drone experimentation it has allowed for new ways of working and skill development for the contributors involved. the establishment of the Healy Arts Foundation which will provide a supportive environment for artists and creatives to develop new work.

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A Radical Act of Love: Arborescence, Echoing the Mycorrhizal Network of Oaks