Roaming Around the Lesser Debris of History

Today I sat, I took time watch Ursula Biemann’s film Black Sea Files. The film is showing as a video installation in gallery five at Arnolfini until Sunday 8th November.

The film explores the lives of oil affected communities, from Baku in Azerbaijan, through Georgia to the Turkish Mediterranean port of Ceyhan, tracing the route of BP’s Baku-Tblisi-Ceyhan (BTC) oil pipeline.

PLATFORM has been working to challenge BTC since 2001 pressuring institutions, organising demonstrations, raising awareness and supporting affected communities and local civil society. Biemann’s film echoes many of our own findings, gathered from similar fact finding missions in the region.

Black Sea Files has been a long term project for Biemann, the interviews and other footage screening at Arnolfini are only part of the library of film which Biemann has gathered. The film is both beautiful and thought provoking, Biemann sees herself as an artist rather than a journalist, gathering dispatches from the front-line without a press-pass. She succeeds in compiling a collection of stories which fall outside the sphere of interest for most investigative journalists, evidence which holds emotional power in its anecdotal texture.

The film was made in 2005, before BP’s pipeline came on-stream. There was still a great deal of international attention on the project at that time. Social-justice and environmental campaigners including PLATFORM joined forces with local civil-society groups in an attempt to pressure BP in London – that other front-line for the global oil industry.

Following the opening of the pipeline in 2006 international attention shifted elsewhere but PLATFORM has continued to support local groups and individuals in Azerbaijan, Georgia and Turkey. The link between corporate centres in London’s square mile and these zones of sacrifice is central to an understanding of the Carbon Web: a complex network of public and private institutions which help bring Azeri oil to our cars, planes and power-stations.

Bristol too represents a node in this Carbon Web, a growing financial centre, decisions made in boardrooms across the harbour from Arfnolfini will push our money – in the form of bank accounts, pension funds and local authority investments – into new oil frontiers around the globe.

One new frontier is Canada’s tar sands, a new oil province demanding huge investment. On 13th November Canadian First Nation activists will open a UK speaking tour at Arnolfini, speaking about the impact of these new oil developments on their communities.

Biemann describes her film as “roaming around the lesser debris of history” picking up on personal, anecdotal oral-histories, yet BTC is not history for those who have lost land or fishing grounds since the pipeline’s construction. They will deal with the consequences of our thirst for oil today, and for the next 40 years. Concerted pubic pressure on nodes of the carbon web can ensure that our money does not fund Canadian tar sands in the way that it funded BTC but that will require all of us to begin unravelling the carbon web.

The Responsibility of the Artist

For many people the C Words season raises questions about the responsibility of artists and creative practitioners in the context of the social and environmental challenges which our society faces. Last week’s Embedded conference sought – in part – to explore this issue.

For some – Art sits outside a frame of responsibility – Art might be seen as a-moral and as such artists’ primary, if not only responsibility may be to aesthetics. Yet this model sits uneasily alongside a political discourse which has begun to accept that each of us shares a degree of responsibility for climate change in the form of our own greenhouse gas emissions. That being the case, we must all shoulder a share of the burden in cutting emissions and bringing climate change under control.

C Words uses the language of Climate Justice, and opened with a quote from the Indian writer and activist Vandana Shiva: “The energy and climate-change crisis stands as a unique social and ecological challenge… Those least responsible for climate change are worst affected by it.”

We live in a culture, a society which finds it difficult to take responsibility, the concept of climate justice represents a huge challenge to this norm. Any just framework for addressing climate change forces us each to take responsibility both individually and collectively. We must be the change we would like to see in the world – as Gandhi put it.

To expect someone else to clear up our mess is essentially infantile. If we accept that each of us must take responsibility for our own actions as human beings, why should our responsibilities be any different as artists? If we take responsibility as human beings how can that not shape our artistic-practice? There is an overlap between politics and aesthetics.

No one asks whether engineers should produce work which is relevant or useful. Engineering makes things, it is assumed that it should make things that help to solve the challenges faced by society. Similarly, the arts can be viewed as a manufacturing industry: Artists make things. Sometimes a sculpture or a painting, sometimes a story or a performance. Why should we treat the artist differently from the engineer? Surely the creative industries must equally help to solve the challenges faced by society?

Benjamin,
C Words Co-Realizer.

From Coal to Oil – Fossil Fuel Focus

Next week C Words will train a spotlight on Tar Sands, described as ‘The most destructive industrial project on earth’. Join us at Arnolfini this Sunday, 25th October 2009 from 19:00 for a special preview screening on the brand new film H2Oil.

I arrived at Arnolfini late on Wednesday morning, at the start of a week as C Words Co-Realizer. Gallery three has been transformed since my previous visit with the three main objects – which fill the gallery space – all exchanging places: the tent, the sailing-boat ‘Windrush’ and PLATFORM’s Agitpod mobile cinema.

In addition to the move-around, the far wall has been given over to a temporary exhibition depicting the Camp For Climate Action. Photographs of camp life, workshops, teach-ins, lock-ons and blockades are explained in the accompanying text which hangs as colourful banners. The Camp For Climate Action, now in its fourth year pitches alongside climate-criminals: outside Drax coal-fired power station, North Yorkshire (2006), close to Heathrow airport (2007), near the proposed new coal-fired power station at Kingsnorth in Kent (2008) and this summer at Blackheath in London.

Last week, climate campers took their autumn break highlighting another of the country’s fossil fuel dinosaurs: Ratcliffe-On-Soar power station in Nottinghamshire.

Read more about last week’s Climate Swoop.

The C Words/Climate Camp photo-exhibition in Gallery three at Arnolfini Centre for Contemporary Arts, Bristol runs until Sunday 24th October 2009.

While the Great Climate Swoop highlighted the oxymoron of ‘Clean Coal’ next week PLATFORM and C Words shift the spotlight onto Tar Sands, ‘the most destructive industrial project on earth’. Join us at Arnolfini this Sunday, 25th October 2009 from 19:00 for a special preview screening on the brand new film H2Oil.

The film examines a new, hugely wasteful and hugely destructive source of oil in Canada and that focus continues next Tuesday, 27th October 2009 with a performance-storytelling event: BP 3rd Quarter 2009: This Petroleum Heat and on 13th November when first-nation Cree activists will be speaking at Arnolfini. Its a packed programme which saps my energy as a Co-Realizer but its inspiring to see that so much is going on in this city and at Arnolfini.

Benjamin,
C Words Co-Realizer.

C Words Slow Travel weekend, An Epilogue

The C words opening was advertised as a slow travel weekend. Sustrans’ art and the travelling landscape opened their Slow Travel Agency for business, while visitors and collaborating artists were encouraged to arrive by foot, bike, boat, bus and train.

I arrived home around 02:30am on Monday morning having taken almost eight hours to travel the 300 km (180 miles) from Arnolfini to my front door. I imagine that this qualifies as slow travel.

Many people seem to believe that Bristol is in that indefinable region referred to as The South West, but for those of use who live our lives at the western seaboard of these islands it takes almost as long to reach this city as to travel to London.

At the tail end of a bustling C Words opening weekend, the first stage of my journey home was conventional enough. A group of C words collaborators sharing a ride in a friend’s van along 130 km (80 miles) of asphalt corridor, cutting through the landscape more than taking it in.

Waving good-bye to my friends I was relieved to see that my train was running late. I hadn’t missed the chance to sleep in my own bed tonight. I love travelling by train, especially late at night. The distinctive clickety-clack of a locomotive is a kind of lullaby and there is a sense of security as this comfortable bubble cuts through the inhospitable night.

I was disgorged onto a midnight railway platform 170 km (100 miles) later, high on a sense of arrival yet still 18 km (11 miles) from home. At a more earthly hour a branch line would normally deposit me less than five minutes walk from my house but the last heavy eyed branch line train had long since returned to its engine-shed, so I walked to the edge of town and stuck-out my thumb.

Late on a Sunday night there was very little traffic but soon a car stopped and offered me a lift. The two young lads in the car had just finished a shift laying a new floor at a local supermarket. They revealed that they are contractors from over 500 km (300 miles) away. I reflected silently not only on the absurdity of my own hyper-mobility but also on whether in 25 years time any of us will have access to the resources necessary to re-fit shops every few years, let-alone bring contractors from so far afield.

I got out of the car, grateful for the lift but still almost 11 km (7 miles) from home, I began to walk. Taking the old roads to avoid what little speeding late night traffic there was, I made my way through darkened lanes where the tree canopy met in an arch high above me, making an overcast night even darker. Even farm dogs slept soundly as I passed quietly along familiar roads at an unaccustomed pace. Bats darted low above my head amid the call and answer of owls, I was aware of various rustlings in the hedgerows to either side. My rucksack laden with C Words newsprint I moved slowly but – tired as I was – I progressed, for once, feeling part of the landscape rather than merely passing through it.

Arriving home in the early hours I fell into bed aware that my entire journey might take on a dream-like quality when I awoke the next morning, only the soles of my feet remembering the experience. My own travels to and from Bristol have give me much to reflect upon in the context of PLATFORM’s ‘Embedded’ symposium on 28th Oct.

Embedded, Arts, Energy and Climate Change

Road distances from http://www.theaa.com/route-planner/index.jsp
Rail distances from http://www.co2balance.uk.com/co2calculators/rail-travel

 

The Hubub Begins

Saturday, 3rd October 2009
Arriving at Arnolfini early this morning, before the gallery opens to the public, a sense of eager anticipation hangs in the air.

Some of the artists and gallery staff are involved in frantic last minute preparations while others patiently pace through the days rituals in quiet corners of the gallery. Still others mill around, unsure as yet what their roles will really involve. I am excited by the energy building in this space. The wind has wiped up overnight and on a blusterous Bristol morning the energy inside the gallery mirrors the weather outside. Today marks a watershed as the public audience will see and hear C Words for the very first time.
Benjamin.
PLATFORM C Words Co-realizer

The Hubub Begins Windrush Boat Image

C Words – One Day To Go

Co-realizers' Notebook
With one day to go until the opening of PLATFORM’s C Words season at Arnolfini, Bristol the co-realizers are making themselves at home in the reading room.

We are currently sourcing tea, cake and other essentials for our first Critical Tea Party. Sunday 4th Septrmber 2009, 17:00-18:00 We look forward to seeing you here. Becky, Benjamin, Beth, Pete and Simon.

I see pirates…

It’s my first morning in Bristol, living on a canal barge near Bristol Bridge. I go out into the sun on my bike to find some bits and pieces, and within 5 minutes see my first pirate of the day, in Castle Park, in full regalia, with cutlass. Every time I’ve been here i see pirates – last time a horde of them on a walking tour. Bristol is happily obsessed with its piratical and disobedient past, yet not so convinced about a piratical and disobedient present.

The Evening Post’s front page today jutxaposed the hysteria around Peter Andre’s concert – “IDOL” screamed the headline! – with the invasion of Bristol Co-Mutineers of various high street banks – “IDLE” screamed the headline… Check it out - these guys had a very busy week, backed up with months of planning, creativity, action and re-envisioning.http://comutiny.wordpress.com

Agitpod

Agitpod is a solar-powered cinema system mounted on a quadricycle. It was designed by students at Southwark College in a mobile eco-design project led by PLATFORM. Agitpod is designed to show agitational propaganda and is being cycled from Tower Bridge in London to Arnolfini Centre for Contemporary Arts, Bristol – for C Words, a season of ecological and social justice events.It leaves on Wednesday 23rd September and will arrive in Bristol between 26th-29th September.

It will navigate a safe route between the two port cities along Roman roads, country lanes and through the backstreets of towns, roughly following the Kennet and Avon canal. Cycling is part of PLATFORM’s attempt to encourage cultural venues to move to lower carbon means of transport.

Follow the Agitpod’s progress on Twitter at: http://twitter.com/AGITPOD