“90N,” a solo exhibition of works created at the North Pole in 2008

 

Xavier Cortada, “Arctic Ice Painting: 90n14,” North Pole sea ice, acrylic and mixed media on paper, 12″ x 9″, 2008

90N

an exhibition of works created
at the North Pole in 2008
by

Xavier Cortada

at

Hibiscus Gallery
Pinecrest Gardens
11000 S. Red Road
Pinecrest, FL 33156

 

Exhibit runs  November 15, 2018 through January 12, 2019


 

90N

In June 2008, New York Foundation for the Arts sponsored artist Xavier Cortada traveled to the North Pole, ninety degrees North (90N), to create new works and site-specific installations addressing environmental concerns.  Cortada, a National Science Foundation (NSF) Antarctic Artists and Writers Program recipient, had traveled to Antarctica during December 2006 – January 2007 to implement various site-specific temporary installations, including the “Longitudinal Installation” and “Endangered World,” to make a point where the Earth’s longitudes converged.  He also created a series of Antarctic “ice paintings” in response to what he learned from scientists he engage with in the residency.

The North Pole works included the creation of Arctic “ice paintings,” the performance of  the North Pole Dinner Party aboard a Russian icebreaker, the reinterpretation of the South Pole‘s “Longitudinal Installation” and “Endangered World” ritualistic installations at the Earth’s northernmost point, and the launch of Native Flags, a  participatory ecoart project.  Cortada created art at the extreme ends of the planet to address issues of global climate change at every point in between.

ARCTIC ICE PAINTINGS

In the summer of 2008, Cortada used Arctic ice to create a series of Ice-paintings aboard a Russian Icebreaker as it made its way back from the North Pole.

 

NATIVE FLAGS:

At a time when melting polar sea ice had many focus on which political power control the Arctic (using the Northwest Passage shipping lanes and the petroleum resources beneath the sea ice), Cortada planted a green flag and reclaimed it for nature. To do so, he developed Native Flags, a participatory eco-art project that engages others in planting a green flag and native tree in their homes to prevent the polar regions from melting. Reforestation sequesters carbon from the atmosphere, helping reduce green house gases that warm the planet.  Learn more a twww.nativeflags.org

Xavier Cortada, “Native Flags | North Pole,” 2008. (http://nativeflags.org/native-flags-north-pole/)

 

 

ENDANGERED WORLD:

Cortada highlighted the need to protect our endangered species by placing the names of 360 endangered animals  in a circle around the North Pole, each aligned with longitudinal degree in which the struggle to survive in the world below. Learn more at www.endangeredworld.org

Xavier Cortada, “Endangered World | North Pole,” 2008 (http://endangeredworld.org/north-pole-about/)

 

LONGITUDINAL INSTALLATION:

As he did in the South Pole, Mr. Cortada placed 24 shoes in a circle around the North Pole, each shoe representing a person living in a different part of the world affected by climate change. Afterwards, he approached each shoe and recited a statement from each person about the impact of global climate change in their lives.  Learn more at www.longitudinalinstallation.org 

Xavier Cortada, “Longitudinal Installation | North Pole,” 2008. (http://longitudinalinstallation.org/north-pole-installation/)

 

Xavier Cortada, Ice Plate, North Pole Dinner Party (Miami): 90N6 , Sea Ice from the Geographic North Pole, pigment and glaze on ceramic plate, 2008

NORTH POLE DINNER PARTY

On June 29th, 2008, Xavier Cortada arrived at the North Pole to create ritualistic installations addressing global climate change and the melting polar caps.  One of Cortada’s performances included a ritual where he fed his fellow travelers pieces of ice collected at the North Pole, thereby integrating the North Pole into their very being.

“I figured that if they ingested a piece of the North Pole, it would become part of them.” said Cortada. “The North Pole water molecules would be swirling through their bodies.  The North Pole atoms would be incorporated into their very cells.  My sense was that after having North Pole communion, they would protect the North Pole.  If nothing else, they would do so for self-preservation.”

 

North Pole Dinner Party/Miami 2008: The Green Project | Claire Oliver Gallery

 

Xavier Cortada performance of North Pole Dinner Party at the Bakehouse Art Complex on August 14, 2015. (Photo by Laurie Fink)

Xavier Cortada, Ice Plate, North Pole Dinner Party (Miami): 90N_ , Sea Ice from the Geographic North Pole, pigment and glaze on ceramic plate, 2008

{in water} exhibition at Pinecrest Gardens

Xavier Cortada’s “Diatom Court,” the site-specific ceramic installation Pinecrest Gardens

 

Xavier Cortada, “{in water}: (P),” 12″ x 16″, archival ink on paper, signed, numbered, limited edition print / edition of 5, 2018..

“{in water}”

a solo exhibition of works
by

Xavier Cortada

at

Hibiscus Gallery
Pinecrest Gardens
11000 S. Red Road
Pinecrest, FL 33156

Exhibit runs from May 3 through May 27, 2018

Opening reception
May 4th, 2018
7 to 10 pm

{in water} 

Diatoms are water-bound, single-celled symmetrical organisms encapsulated in silica.  They harness the power of the sun to convert carbon dioxide into oxygen and are responsible for generating for one-third of the air we breathe.

Its shell, all that remains from the diatom that lived in the past, is used by scientists today to see what was as they research crucial environmental issues in the century to come.  Scientists—and artists—can determine the past salinity of water by examining the glass shells of diatoms preserved in sedimentary core samples.

Each diatom species has a different salinity preference, so changes in the mixture of fresh and sea water (driven by sea level and changes in water management) can be inferred from past diatom remains.

Xavier Cortada collaborated with Florida Coastal Everglades Long Term Ecological Research (FCE LTER) scientists to better understand the impact of global climate change on our ecosystems. The works in the {in water} exhibition are inspired by their scientific research.

Diatom,” (2014), is his first work ever depicting a diatom: Using a microscope, Cortada captured the image of a diatom from samples used by Florida International University FCE LTER scientiststo study the ecology of the Everglades and sea level rise.  In the art, Cortada’s diatoms hover over a layer of images (Cortada captured using Google maps) showing the artificial canals and lakes created to develop parcels of developable land where the River of Grass once flowed.

His latest diatom-themed work, “Diatom Court” (2018), is outside the Hibiscus Gallery in the gardens. On Earth Day 2018, it was unveiled as a permanent, site-specific, ceramic installation on the grounds of Pinecrest Gardens.

Xavier Cortada, “Diatom,” archival ink on aluminum, 36in x 18in, 2014 (edition 1 of 5).

About the artist:

Xavier Cortada serves as Artist-in-Residence at FIU School of Environment, Arts and Society and the College of Communication, Architecture + The Arts.

Cortada often engages scientists in his art-making: At CERN, Cortada and a particle physicist created a permanent digital-art piece to celebrate the Higgs boson discovery. Cortada has worked with scientists at Hubbard Brook LTER on a water cycle visualization project driven by real-time data collected at a watershed in New Hampshire’s White Mountains.

He has collaborated with a population geneticist to explore our ancestral journeys out of Africa 60,000-years ago, with a molecular biologist to synthesize a DNA strand from a sequence 400 museum visitors randomly generated, and with botanists to develop multi-year participatory eco-art eff orts to reforest mangrovesnative trees and wildflowers across Florida.

The Miami artist has created environmental installations (North Pole and South Pole) and eco-art (TaiwanHawaii and Hollandprojects, and painted community murals addressing peace (Cyprus and Northern Ireland), child welfare  (Bolivia and Panama), AIDS (Switzerland and South Africa) and juvenile justice (Miami and Philadelphia) concerns.

His studio is located at Pinecrest Gardens.

 

 

“Water Paintings,” an exhibition of works created at Hubbard Brook Experimental Forest by Xavier Cortada

 

“Water Paintings”

an exhibition of works
created at Hubbard Brook Experimental Forest
by


Xavier Cortada

at

Hibiscus Gallery
Pinecrest Gardens
11000 S. Red Road
Pinecrest, FL 33156

Exhibit runs from March 30th through April 29th, 2018

 Opening reception: April 8th from noon to 2pm

 

Xavier Cortada’s “Water Paintings” exhibition at Pinecrest Gardens.

 

img_3703

Xavier Cortada works with Hydrologist Mark Green to create “Water Paintings” at Hubbard Brook Experimental Forest.

WATER PAINTINGS

Water Paintings allowed me to give water at Hubbard Brook’s nine watersheds a voice.  In the work, I made water the protagonist.  In June 2016, I placed nine pencil drawings and nine pieces of watercolor paper inside nylon mesh.  I then tied the mesh bags to a rope at each of the nine weirs at Hubbard Brook Experimental Forest and left them there for a period of 16 weeks in 2016.  The water flowing through the mesh stained the paper inside.  Water samples and water data were collected by scientists over the same 16-week period from the same nine weirs.  The final work included water samples, data, even the residue in filters.  I wanted audiences to see the water, what the water did, and what it painted as it flowed and transported materials down the stream.”

Xavier Cortada

 

img_3740

Xavier Cortada, “Water Paintings: Hubbard Brook,” paper and residue captured from water flowing from each of the 9 weirs at the Hubbard Brook Experimental Forest LTER in New Hampshire, 2016

Xavier Cortada, “Water Paintings: Hubbard Brook,” paper and residue captured from water flowing from each of the 9 weirs at the Hubbard Brook Experimental Forest LTER in New Hampshire, 2016

 

Hubbard Brook scientists pioneered the small watershed approach, which transformed the study of forests by using whole watersheds as living laboratories. This ground-breaking approach fostered many new discoveries beneficial to both science and society.

Small first-order watersheds can show us how ecosystems respond to environmental change. Chemical concentrations combined with stream flow provides data on stream-water element flux for each watershed.

Water samples and data collected by scientists over a 16-week period from all nine watersheds hang on the walls CLIMA.

Nine sets of “Water Paintings” hang from the ceiling. Cortada created each using the same water scientists study. He placed watercolor paper in mesh and tied it to a rope in each of the nine weirs. The works depict 4 months of streamflow.

 

About the Hubbard Brook Experimental Forest and LTER

The Hubbard Brook Experimental Forest (HBEF) is a 3,160 hectare reserve located in the White Mountain National Forest operated by the USDA Forest Service, near Woodstock, New Hampshire. The on-site research program is dedicated to the long-term study of forest and associated aquatic ecosystems. It has produced some of the most extensive and longest continuous data bases on the hydrology, biology, geology and chemistry of a forest and its associated aquatic ecosystems.

Hubbard Brook scientists pioneered the small watershed approach, which transformed the study of forests by using whole watersheds as living laboratories. This ground-breaking approach fostered many new discoveries beneficial to both science and society.

Hubbard Brook scientists discovered acid rain in North America by taking meticulous, long-term measurements of rain and snow. Scientists continue to document acid rain’s damaging effects and track recovery linked to pollution reduction efforts.

Learn more at http://www.hubbardbrook.org

Hubbard Brook Experimental Forest

Hubbard Brook Experimental Forest

 

https://lternet.edu/sites/hbr

Overview: The Hubbard Brook Experimental Forest (HBEF) is a 3,160 hectare reserve located in the White Mountain National Forest operated by the USDA Forest Service, near Woodstock, New Hampshire. The on-site research program is dedicated to the long-term study of forest and associated aquatic ecosystems.
History: The HBEF was established by the USDA Forest Service, Northeastern Research Station in 1955 as a major center for hydrologic research in New England. In the early 1960’s, Dr. F. Herbert Bormann and others proposed the use of small watersheds to study element cycling. In 1963, the Hubbard Brook Ecosystem Study (HBES) was initiated by Bormann and Drs. Gene E. Likens and Noye M. Johnson, then on the faculty of Dartmouth College, and Dr. Robert S. Pierce of the USDA Forest Service. They proposed to use the small watershed approach at Hubbard Brook to study linkages between hydrologic and nutrient flux and cycling in response to natural and human disturbances, such as air pollution, forest cutting, land-use changes, increases in insect populations and climatic factors.Research Topics: Vegetation structure and production; dynamics of detritus in terrestrial and aquatic ecosystems; atmosphere-terrestrial-aquatic ecosystem linkages; heterotroph population dynamics; effects of human activities on ecosystems.

Special thanks to the entire Hubbard Brook team, the USDA Forest Service, Dr. Lindsey Rustad, Hydrologist Mark Green, Sr. Researcher Tammy Wooster, Amey Bailey, and Mary Martin.

 

 

 

About the artist:

 

Xavier Cortada:

Xavier Cortada serves as Artist-in-Residence at FIU School of Environment, Arts and Society and the College of Communication, Architecture + The Arts.

Cortada often engages scientists in his art-making: At CERN, Cortada and a particle physicist created a permanent digital-art piece to celebrate the Higgs boson discovery. Cortada has worked with scientists at Hubbard Brook LTER on a water cycle visualization project driven by real-time data collected at a watershed in New Hampshire’s White Mountains.

He has collaborated with a population geneticist to explore our ancestral journeys out of Africa 60,000-years ago, with a molecular biologist to synthesize a DNA strand from a sequence 400 museum visitors randomly generated, and with botanists to develop multi-year participatory eco-art eff orts to reforest mangrovesnative trees and wildflowers across Florida.

The Miami artist has created environmental installations (North Pole and South Pole) and eco-art (TaiwanHawaii and Hollandprojects, and painted community murals addressing peace (Cyprus and Northern Ireland), child welfare  (Bolivia and Panama), AIDS (Switzerland and South Africa) and juvenile justice (Miami and Philadelphia) concerns.

 

Group exhibit at the Weisman Art Museum

VANISHING ICE: ALPINE AND POLAR LANDSCAPES IN ART 1775-2012

Weisman Art Museum at the University of Minnesota
January 27th, 2018 – May 13th, 2018

astridXavier Cortada, “astrid,” (2007). Permanent collection of the Whatcom Museum.

Xavier Cortada’s “Astrid” painting will be on exhibit at the Weisman Art Museum in Minneapolis, MN from January 27th through May 13th, 2018 as part of the “Vanishing Ice” exhibit curated by Barbara Matilsky — see http://www.vanishing-ice.org.  You can learn more about Cortada’s piece by reading the American Art essay by Alan Braddock and Renée Ater, Art in the Anthropocene — see http://cortada.com/press/2014/AmericanArt.

Cortada, recipient of a 2006-2007 National Science Foundation Antarctic Artists and Writers fellowship, traveled to Antarctica to implement a series of projects and installations. While there, the Miami artist created “ice paintings” using sea ice and sediment samples provided to him by scientists working in Antarctica.  The artist titled the works on paper by randomly selecting the names of geographic features from a map of the continent that inspired their creation.  To learn more about the series visit http://cortada.com/2007/ice-paintings.

astrid-s

Artist: Xavier Cortada
Title: “astrid”
Series: Ice Paintings: Antarctic Sea Ice series
Medium: Sea ice from the Antarctica’s Ross Sea, sediment from Antarctica’s Dry Valleys and mixed media on paper
Size: 12 inches x 9 inches
Year: 2007
Created onsite at McMurdo Station, Ross Island, Antarctica
Permanent collection of the Whatcom Museum.

Curatorial Narrative
Barbara Matilsky, Curator of Art

VANISHING ICE will introduce the rich artistic legacy of the planet’s frozen frontiers now threatened by climate change, a phenomena understood by the public primarily through news of devastating climactic events The exhibition offers another perspective by providing visitors an opportunity to experience the majesty of sublime landscapes that have inspired artists, writers, and naturalists for more than two hundred years. Interweaving science, history and art, and highlighting their historical interrelationships, the exhibition encourages audiences to value the preservation of alpine and polar environments for the well-being of both nature and culture. Through this exhibition, visitors will begin to appreciate how strongly embedded these regions are in our collective consciousness

Comprised of 70 works of art, Vanishing Ice will unfold thematically and chronologically, tracing the visual impact of glaciers, icebergs, and fields of ice – unique and often fantastic formations – on artists’ imaginations. International in scope, the exhibition features artists from Australia, Canada, Finland, France, Germany, Great Britain, New Zealand, Norway, Peru, Russia, Switzerland, and the United States. It will examine the connections among generations of artists as they sought to understand and interpret the color, light, and structure of ice. Through their magical landscapes, visitors will vicariously experience the blue-green hues and extraordinary shapes of another world.

The confluence of art, science and public education is one of the major themes of the exhibition. In their quest to discover new pictorial motifs, the artist-as-explorer contributed to a greater understanding of the Earth. In the wake of the large number of voyages launched during the nineteenth century, images of alpine and polar landscapes helped popularize revolutionary scientific discoveries and theories in natural history, including the concept of an Ice Age concomitant with a vision of the planet’s ancient origins. Works of art by artists such as Jean-Antoine Linck (Swiss, 1766-1843) and Louis Lebreton (French, 1818–1866) appeared in scientific publications, expeditionary atlases, travelogues, popular magazines, and exhibitions. Today, these early landscapes continue to play a major role in science by helping climatologists measure the retreat of glaciers over the centuries.

A growing number of artists are once again journeying to alpine mountain ranges and the Poles, the most salient indicators of climate change, to document the effects of global warming. The fate of retreating glaciers have been presented by many photographers, including Gary Braasch, David Breashears, and Eirik Johnson who compare their views of the Rocky Mountains, Himalayas, and Andes with historical photographs, which will also be highlighted in the exhibition. Parallel to the nineteenth-century artists’ close relationship to natural history, their images appear in a wide range of venues, including books and exhibitions, helping to visualize the dramatic effects forecast by climate scientists.

Like their nineteenth and early-twentieth century counterparts, many artists are joining government-sponsored expeditions. The US National Science Foundation provides opportunities for artists as diverse as Eliot Porter and Camille Seaman to spend time in Antarctica as a way to increase awareness of polar research. Many artists, in the spirit of Frederic Edwin Church and William Bradford, have organized their own expeditions. Since 2007, artist David Buckland has been coordinating Arctic explorations composed of artists, scientists, musicians, and writers through the Cape Farewell Project, underscoring the expanded role of the artist-activist in publicizing climate change. Seventy artists have participated to date, including Paul D. Miller/DJ Spooky, whose work will also be featured in the exhibition along with video documentation of Cape Farewell’s inaugural expedition.

Vanishing Ice also examines the stylistic evolution of alpine and polar imagery over two centuries. Within this context, the exhibition will feature the wide array of materials, media, and techniques that artists have employed to vividly capture the frozen landscape. Initially limited to drawings, prints, paintings and later photography, artists now utilize video, sound, and site-specific sculpture to interpret these environments. Among the fifty internationally recognized historical and contemporary artists included are: Ansel Adams, Otto Olaf Becker, John Grade, Lauren Harris, Frank Hurley, Issac Julien, Rockwell Kent, Alexis Rockman, and Spencer Tunick.

Vanishing Ice will reveal the transformative power of art in shaping the public’s perception of these starkly beautiful environments. Beginning in the eighteenth century, writers and painters, such as Francois-August Biard (French, 1799–1882), and Frederic Edwin Church (American, 1826–1900) contributed to a new appreciation of alpine and polar landscapes, which were once regarded with fear and now experienced on a heightened, emotional level. This quality, described as the Sublime, intersected with spirituality and was one of the defining aspects of a culture in the throes of rapid industrialization. Polar ice and glaciated mountains became metaphors for both the control of nature and correspondingly lack of control, freedom, nationalism, and more recently climate change.

While showcasing the art, Vanishing Ice will present layers of information through illustrated text panels, graphs, maps and a multi-disciplinary time line featuring milestones in art, literature, science, exploration, and mountaineering, which will help visitors grasp the history of alpine and polar regions and their significance for Western culture. An introductory video, produced by the City of Bellingham’s TV10, will be aired in the gallery and broadcast on the cable channel. Quotes by artists, scientists, writers, and explorers will be strategically placed throughout the galleries to augment the key ideas and messages of the exhibition. The exhibition will feature interpretive graphics for understanding why the Arctic, Antarctica, and glaciers are so critical for maintaining a balanced, planetary ecosystem and suggest what individuals and communities can do to help mitigate global warming.

Additional components of the exhibition include: a 162-page catalogue, published by the University of Washington Press and a web site.

See http://www.whatcommuseum.org/galleries/upcoming/379-vanishing-ice

Regis House presents: Seahorses exhibit closing event

SeahorsesGallery | Opening InvitationPress release | Closing Invitation

Xavier Cortada, “Seahorse Society: South” 48″ x 36″, acrylic on canvas, 2014

Join us on

Thursday, May 11th, 2017
from 6 pm to 8 pm

for the official closing of

Seahorses

an exhibit by

Xavier Cortada

at

Pinecrest Gardens
Historic Entrance

11000 S Red Rd, Pinecrest, FL 33156

Exhibit runs April 6 – May 11th, 2017th

 

Proceeds from sales will benefit Regis House.
As a law student, Cortada served as Executive Director of the adolescent drug and alcohol abuse center.

Founded in 1984, Regis House is a non-profit, 501(c)(3), charitable, community-based organization with the mission to improve lives for a healthy community through mental health, family support and substance abuse services.  Regis House, Inc. has served more than 70,000 families throughout Miami-Dade County since its inception.  Programs and services such as co-occurring psychiatric/mental health, substance abuse services, individual, group, and family counseling/therapy, school-based prevention programs, and public assistance programs are many of the programs, and services the agency has to offer.

A Sea Change (Mary Ann Wolfe Theatre)

 

Multidisciplinary program to raise awareness on climate change


By Ivan Lopez

The U.S. Army Corps of Engineers predicts sea levels in South Florida will rise from three to seven inches by the year 2030 and from nine to 24 inches by the year 2060. A rise of that magnitude would put close to 30 percent of South Florida underwater, completely transforming our city in ways we cannot fully comprehend.

FIU’s College of Communication, Architecture + The Arts (CARTA) is bringing together dozens of faculty members and students from many different disciplines – theatre, dance, music, journalism, architecture, environmental science – to produce A Sea Change: a Multi-Disciplinary Collaboration in Response to a Global Threat. The 90 minute program will feature a lot of important research and facts presented in creative and impactful ways.

Phillip M. Church, associate professor of theatre, conceived and directed the evening. Church has spent much of his professional career creating art and theatre that speaks to important social issues.

“There is no greater threat to our survival right now than climate change,” he said.  “FIU has been researching and raising awareness about climate change and sea level rise for well over a decade. We are at a point, however, where all of that research needs to transform into tangible action. That requires all of us, not just the scientists and policy makers. A ‘sea change’ is needed in our collective thinking about this issue.”

Robert E. Gutsche Jr., assistant professor of journalism and media, produced the evening.

“My hope is that this project takes people beyond awareness, even beyond expertise of specific areas of climate change. We need to find ways to engage knowledge with action. It’s not enough for people to know about an issue. We have to decide to do something about our problems.”

Renowned environmental artist Xavier Cortada will present an immersive interactive piece; FIU Professor of Music Orlando Garcia composed music especially for the event; and Adjunct Lecturer of Dance Crystal Patient choreographed some dance numbers.

Joel Murray, chair and professor of theatre, wrote a short play titled Good that addresses the impact art can have on social change.

“If it is strong enough, art can change the way people think. The real question though is does that change transform into action. Will it make the audience participate, roll up their sleeves and demand change.”

Other FIU Theatre artists participating in the event include Associate Professor Wayne E. Robinson, Jr., alumni Evelyn Perez, Zack Myers, Caitlyn Lincoln, Pia Vicioso-Vila and current student Sigrid Corvo.

A Sea Change is part of CARTA’s larger Climate Change Initiative, which aspires through teaching, research, engagement and creative work to position the college as a global thought leader in climate change information, adaptation, mitigation and resilience.

“Preparing for climate resilience is among the critical imperatives of our times, and our college is particularly well-positioned to address it,” said Marilys Nepomechie, associate dean and professor of architecture. “Climate change is a complex, multi-faceted challenge. One that can only be addressed successfully by involving many areas of expertise. This collaboration between multiple college departments is, in fact, absolutely perfect.”

A Sea Change will be shown on both campuses. On April 4, it will be performed at the Wertheim Performing Arts Center at Modesto A. Maidique Campus and on April 7 at the Mary Anne Wolfe Theatre at Biscayne Bay Campus. Both performances begin at 7:30 p.m. and are free and open to the public.

Space is limited.  To make a reservation, call 305-348-0496. You can find more information about the event at eyesontherise.org/aseachange.

The Ripple Effect

Xavier Cortada, “Splash,” hand-carved, hand-painted ceramic, (detail), 2012.

 

The Ripple Effect:

Throw a stone in water and the ripples have an impact beyond your reach.

Similarly, what you do or fail to do can have a lasting impact on others.

What can you do to have a positive effect in your community and the environment?

Share your thoughts and ideas through this creative process.

Join us!

CLIMA 2016 in Hialeah during Art Basel week

clima-web-logoCLIMA Home | Main 2016 | Gallery | Statement | PressEvents | Livestream

Cortada worksDo Not Open | Climate Refugees | Hot for Hialeah | Psychoanalysis of Climate ChangeReclamation Project | Flor 500
LTER : Everglades (Florida) | HJ Andrews (Oregon) | Hubbard Brook (New Hampshire)

clima-poster-all-events-3clima2016events

 

Xavier Cortada will return to Hialeah for CLIMA 2016 during 2016 Art Basel Week  with the opening of several of his art-science exhibits:

CLIMA presenting partner Honoring the Future brings the work of Philadelphia-based artists Peter Handler and Karen Singer (Alaskan Journey: Artists Bear Witness to Climate Change.)

CLIMA is also honored to present the work of its 2016 featured local guest artist, Michael Gray.  Gray, an MFA student at FIU, will be presenting his Phyllum Floridian exhibit and contribute works to Cortada’s project on climate refugees.

 

Xavier Cortada, "Flora (sin titulo)" archival ink on aluminum, 36" x 27", (edition 1 of 5), 2015

Xavier Cortada, “Flora (sin titulo)” archival ink on aluminum, 36″ x 27″, (edition 1 of 5), 2015


 

 


Hubbard Brook Experimental Forest:
CLIMA 2016 will feature Cortada’s “Water Paintings” and the Water Visualization created at the Hubbard Brook Experimental Forest:

13413716_10154699967638797_5861217571038092306_n

 



CLIMA 2015 featured Cortada’s “Five Actions to Stop Rising Seas”

Xavier Cortada, "Five Actions to Stop Rising Seas: FREEZE IT!," video sreen shot, 2015. In acknowledgement of the support of the Rauschenberg Residency/Robert Rauschenberg Foundation.

Xavier Cortada, “Five Actions to Stop Rising Seas: FREEZE IT!,” video sreen shot, 2015. In acknowledgement of the support of the Rauschenberg Residency/Robert Rauschenberg Foundation.

 

CLIMA 2015: Main | Statement | Gallery | Press | Events | Livestream

CLIMA-Frontpostcard-web-200x300

 

CLIMA Panel: fresH2O

 

clima-logo-web-300x200

Main Statement | Gallery | Press | Events  | Livestream

Wednesday, December 10
10:00 am

 

Panel 11 Dec 10 FresH2o

fresH2O
How is our fresh water supply impacted by salt-water intrusion from rising seas and over consumption due to population growth?