Kelp Curing explores collective foraging, walking, writing, storytelling and movement practices connected to seaweed and the intertidal zone. Participants will be encouraged to explore ‘Curing’ (in relation to notions of Care, Healing and Curation) as both a method and a concept for encountering seaweed and other generative processes connected to ocean ecologies. Experiments in drying/smoking/fermentation will take place as well as the creation and sharing of original stories/poetic texts/recipes embedded in the local intertidal setting. These practices will score an investigation into kelp-related lifeforms/habitats, the Carbon Cycle in intertidal encounters, and enmeshed processes of digestion, composition, and decomposition.
Sarah Blissett is a PhD candidate based in London. Her practice and research explores ecology and food in performance, through a study of algae organisms and ecosystems. Her work considers how modes and materialities of cooking, tasting and digesting can reveal new insights into ecological interdependencies, disrupting anthropocentric narratives of production and consumption. Sarah is a member of the London-based artist collective Water Bodies, and has collaborated on a series of projects as part of the 2018 Whitstable Biennale, following work with LADA in 2017. Her research and writings have been published in online journals including FEAST and Something Other.
Aoife Casby is a visual artist, writer and editor living and working in the Connemara Gaeltacht area of the West of Ireland. She is currently pursuing a PhD in Creative Writing at Goldsmiths University. Her creative interests revolve around material language and the relationships between land and word, image and object. She has recently been making work, installations + texts, that use seaweed, words and local knowledge related to potato growing to explore ideas of ritual, history and how fields are shaped.
Tinna Guðmundsdóttir is an Icelandic artist and cultural manager. She graduated in 2002 with a B.A. from the multimedia department in the Iceland Academy of the Arts and in 2008 finished an M.A. in Cultural Management from Bifröst University, Iceland. She worked as the office manager at the Reykjavik Academy (2005-2008), the manager of the Living Art Museum in Reykjavík (2009-2011) and the director of Skaftfell – Center for Visual Art in Seyðisfjörður East Iceland (2012-2018). Guðmundsdóttir has also worked on independent projects such as; Lortur Biennale (2002, 2004 & 2008), Sequences Real-Time Art Festival (2008), editor of the publication “The Living Art Museum 1978-2008” (2010) and producer of the documentary “Seeing Eye Dog” (2017). As an artist Guðmundsdóttir has exhibited in The Living Art Museum, Klink & Bank, Kling & Bang, Skaftfell and The Factory in Hjalteyri. www.tinnagudm.wordpress.com
Tiina Arjukka Hirvonen is an artist-gardener-in-process, currently taking tender care of the Mustarinda Residency house and its inhabitants. She works in art education and is currently part of an art-science collaboration with a group of evolution biologists, thinking about ways of connecting and understanding biodiversity changes. Her future ambitions are to become an encouraging and inclusive space holder for learning & creating, and to find her own place in which to settle down and grow food.
Øyvind Novak Jenssen lives and works in Oslo, where he is currently enrolled in the MA programme at the Oslo National Academy of the Arts. His working methods are inspired by the field of cooking, and he uses methods such as foraging and food conservation actively in his work as an artist. Working mainly in installations compiled of a wide range of materials, his work often relates to themes such as sustainability and environmental issues, but with playful sense of humor and an openness towards the materials themselves.
Anne Cecilie Lie examines “how to create” in our current geological era proposed as the Anthropocene, with its accompanying philosophical and ethical questions, as well as for possible futures. She points out blind zones in social and built structures and proposes new alternatives for coexistence to the human-exceptional/centric. Lie works with many different media including sound, performance, installation, and text. She works both alone and often in collaboration with others in creative fields and fields of scientific research, with knowledge producers such as educational institutions, libraries, and local communities.
Paola Ruiz Moltó is a multidisciplinary artist with a PhD in Fine Arts from the University Complutense Madrid. She specialises in Contemporary sculpture and her continued research explores the relationship between space and vacuum, matter and space, and the use of vegetal textiles fibers and organic materials in the creation of sustainable sculpture. She has taken part in several international projects in recent years and teaches at a range of educational levels. Through her work with materials from nature, she contemplates the sculptural installation experience as a new temporal perception of space.
Cecilia Åsberg has been Professor and chair of Gender, nature, culture at Linköping University since 2015 and has a current role as Guest Professor at the Royal Institute of Technology (KTH) in Stockholm, researching and teaching in feminist technoscience studies, environmental humanities and planetary arts. At the intersection of art and science, Åsberg did the first PhD in Gender Studies in Sweden on the genetic imagery and science in popular visual cultures. Founding Director of The Posthumanities Hub (now with co-director Marietta Radomska), The Seed Box: An Environmental Humanities Collaboratory (2013-2017) and on editorial board of journals such as Unlikely and Ecocene. She has published extensively: most recently A Feminist Companion to the Posthumanities, Springer 2018 (with Rosi Braidotti) and Animal Places, Routledge 2017 (with Jacob Bull and Tora Holmberg), and she is presently preparing a platform for Planetary Environmental Arts and Humanities together with KTH and LiU scholars.