“Florida is…” on exhibit at top of State’s Capitol

“Florida Is…” by Xavier Cortada

Conceptualized during Xavier Cortada‘s residency at the Robert Rauschenberg Foundation Artist Residency in Captiva, Florida, “Florida is…” is an evolving body of work that depicts the natural beauty of Florida.  It asks Floridians to define their state by its actual nature, not by things we do and build to displace it.  Some “Florida is…” works hang as public art in public venues, admonishing viewers to find better ways to coexist with nature.

The project invites participants to capture and share their images and perspectives on the project’s online platform.

 

You are cordially invited to

Florida is…

a solo show by

Xavier Cortada

at

22nd Floor Gallery
State Capitol
Tallahassee, FL

Exhibit runs December 1st,  2018 through March 31st, 2019

 

PARTICIPATE: Help others understand and appreciate Florida’s natural beauty.  Upload an image of your favorite animal, plant or place to www.floridaisnature.com and tell us why we should all care for it and strive to protect it.  We will share it on our website and social media.  We will also ask you to help us spread the word and get others to see that “Florida is… Nature.”

Xavier Cortada, “(Florida is…) Wood storks,” archival ink on aluminum, 60″ x 40”, 2016 (www.floridaisnature.com)

About Florida Is Nature

Conceptualized during Xavier Cortada‘s residency at the Robert Rauschenberg Foundation Artist Residency in Captiva, Florida, “Florida is…” is an evolving body of work that depicts the natural beauty of Florida.  It asks Floridians to define their state by its actual nature, not by things we do and build to displace it.  Some “Florida is…” works hang as public art in public venues, admonishing viewers to find better ways to coexist with nature.

The project invites participants to capture and share their images and perspectives on the project’s online platform.

In 2015, Cortada created three permanent “Florida is” public art installations in three turnpike plazas, making them cultural destinations in and of themselves.  Each focused on a different aspect of the sunshine state’s natural beauty:  Endangered Animals  (Ft. Drum Plaza),  Diatoms  (Turkey Lake Plaza), and Wildflowers (West Palm Beach Plaza).

“It is important to have the artwork connect with our local environment, and I believe that [Cortada’s] art does that in a very sophisticated way,” said architect Bernard Zyscovich in reviewing Cortada’s public art proposal for the plazas he designed. “Additionally, I love the idea of generating a series of “take aways” from [Cortada’s art] plazas and hopefully from the other plazas as well.  I think that it reinforces the plaza experience as something that adds value to each visitor’s experience.“

Merchandise  is branded with “Florida is” information so that it serves as a catalysts for conversations to address our state’s environmental concerns.

You can learn more about the artist by visiting www.cortada.com

[/column]
[/row]

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

“Florida is Nature” Artist Talks at Pinecrest Gardens

Xavier Cortada will be presenting monthly Florida is Nature Artist Talks at Pinecrest Gardens, where he serves as artist in residence. The artist talks and interactive experiences are free with paid admission to the garden on the select dates below.  After the talk, visitors are invited to walk the garden and engage in the Florida is Nature participatory art project.

Pinecrest Gardens
Participatory Art Projects
and
FIU Digital Library of the Caribbean

cordially invite you to join us for our monthly

Florida is Nature Artist Talk

by

Xavier Cortada

at

Hibiscus Gallery
Pinecrest Gardens

11000 S.W. 57th Avenue
Pinecrest, FL 33156

305-669-6990

Talk is free with $5 admission to the Gardens.
After the talk, walk the garden and participate in “Florida is Nature.”  

 

The dates of the Florida is Nature talks are:

Monday, September 11th, 2017 at 10:30a (Cancelled due to Hurricane Irma)

Monday, October 16th, 2017 at 10:30a

Tuesday, November 28th, 2017 at 10:30a

Thursday, December 7th, 2017 at 10:30a

Wednesday, January 10th, 2017 at 10:30a

Wednesday, February 14th, 2017 at 10:30a

Wednesday, March 14th, 2017 at 10:30a

Wednesday, April 11th, 2017 at 10:30a

Wednesday, May 9th,2017 at 10:30a

We also welcome groups and schools to attend the artist’s talks. If you are interested in scheduling a group for one of the dates below, please contact Lacey Bray, educational programs coordinator, at lbray@pinecrest-fl.gov for more information.

Image above:
Xavier Cortada, “Puzzled Landscape: Florida is… Wildflowers” digital art, 2015

 

“Florida Is…” by Xavier Cortada

Through Florida is Nature,”  Pinecrest Gardens artist-in-residence Xavier Cortada portrays Florida’s environment to connect viewers with our state’s natural beauty.  Come see the works on permanent display at the Hibiscus Gallery in Pinecrest Gardens.

You too can participate in “Florida is…”

Help others understand and appreciate Florida’s natural beauty.  Upload an image of your favorite animal, plant or place to www.floridaisnature.com and tell us why we should all care for it and strive to protect it.  We will share it on our website and social media.  We will also ask you to help us spread the word and get others to see that “Florida is… Nature.”

 

Xavier Cortada, “Luster (Diatoms series- high noon), archival ink on aluminum, 2015

 

 

About Florida Is Nature

Conceptualized during Xavier Cortada‘s residency at the Robert Rauschenberg Foundation Artist Residency in Captiva, Florida, “Florida is…” is an evolving body of work that depicts the natural beauty of Florida.  It asks Floridians to define their state by its actual nature, not by things we do and build to displace it.  Some “Florida is…” works hang as public art in public venues, admonishing viewers to find better ways to coexist with nature.

The project invites participants to capture and share their images and perspectives on the project’s online platform.

You can learn more about the artist by visiting www.cortada.com

“Temperature Check: Body of Evidence” exhibit in San José

Temperature Check: Body of Evidence
(September 1 – November 12, 2017)

More than 50 percent of Latinos in the United States see climate change as a key defining issue due to its far-reaching impact within the Latino community. Temperature Check: Body of Evidence will feature the work of Latino artists exploring the artifacts and patterns of climate change through installation, drawing, video and photography. The exhibition will also include a platform for education and exchange with our local community through a series of public programs including guest speakers, panel discussions and family programs to further strategies for discussion and action around issues of sustainability.  Xavier Cortada’s “Diatoms” and “DO NOT OPEN” will be presented as part of the group exhibition.

Diatoms

Xavier Cortada, “Diatoms,”  one-hundred diatom works on framed flat tile (each 6″ x 6″), 2017.

Diatoms are single-celled organisms that live in the water and harness the power of the sun to convert CO2 into oxygen. Its glass shell, all that remains from the diatom, is used by scientists today to see what was as they research environmental issues crucial to the city in the century to come. Scientists—and artists—can determine the past salinity of water by examining the 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.

 


DO NOT OPEN | San José 2117

Xavier Cortada, “DO NOT OPEN,” 2016.During the opening reception, MACLA  invites attendees to participate in Cortada’s “DO NOT OPEN” performance.  The work was first exhibited last year during the CLIMA exhibit. Here are the instructions.

  • Participant Instructions:

      • Walk up to the “DO NOT OPEN” wall in the MACLA Temperature Check
      • Close your eyes: Imagine San José 100 years in the future. Imagine the people living here then. Imagine how rising seas will impact the city and those who will live here then.
      • Think about what you would like them to know. Think about what someone living in San José in 2117 would want to hear from someone living here in 2017.
      • Unclip a piece of blank paper and envelope from the “DO NOT OPEN” wall and use a pencil to write it all down:

     

    Tell them who you are.
    Tell them why you are writing to them.
    Tell them what you thought, what you saw.
    Tell them what you felt, what you feared.
    Tell them what you did, what you hoped for.
    Tell them what you want them to do.

     

    • Fold your handwritten letter in two, kiss it, place it inside the envelope and seal it. Sign and date the back of your envelope and write the words:
      “DO NOT OPEN until 2117”
    • Clip the sealed envelope to the “DO NOT OPEN” wall with the handwritten words facing out.
    • Stare at your envelope for 100 seconds. Visualize the changes rising seas will bring over each of the next 100 years. Think of how your words will be received in San José in 2117.
    • Walk away.

     

Artist’s statement:

In “DO NOT OPEN,” I ask residents of San Jose to write letters to the future. I do so because today, many of their neighbors aren’t willing to listen. Today, too many are in denial about the human impact on global climate change. For many, denial comes easier than visualizing the future impact of rising seas on their community. Our words fall on deaf ears.

So, instead, we must write it all down, keep it in a safe place, and share it later, when others are willing to listen.

Although the letters are intended for people not yet born, the true audience is those breathing in the present.

Sure, the future will be curious.
The future will read our letters and want to know why we couldn’t show restraint when facing insurmountable evidence of our role in creating this global crisis.

The future will be incredulous.
In 2117, our great-grandchildren will read the words we wrote them and want to understand why we didn’t do more when so much—everything– was at stake.

The future will be furious.
A century from now, San Jose will read what we penned and want to know how, on our watch, ecosystems collapsed, biodiversity plummeted and so much of humanity suffered.

The future will benefit from insights, but “DO NOT OPEN” isn’t for them. It’s not about them. It’s about us.

I’m less interested in them being able to hear us. And more interested in us being able to see them. By writing to them, we name them. By writing to them, we can’t deny their existence. By writing to them, we create a connection to them.

Being able to connect with our progeny raises the stakes for us now in 2017. It lengthens the “care horizon” beyond our lifetime. It provides a path to hope, purpose. It encourages us to do all we can now to protect our planet, its future generations and the animals we coevolved with.

— Xavier Cortada

Marking “I have a dream”

Xavier Cortada, “The Markers, 1963,” South Pole, 2007.

On Aug. 28, 1963, this point (marked by the flag) on the moving ice sheet that blankets the South Pole stood at 90 degrees South, while the Rev. Dr. Martin Luther King Jr. made his “I Have a Dream” speech , in front of the Lincoln Memorial at 38’53” North, 77’02” West.

See http://www.xaviercortada.com/?Ant_Markers

Here is the text of his speech:

***

I am happy to join with you today in what will go down in history as the greatest demonstration for freedom in the history of our nation.

Five score years ago, a great American, in whose symbolic shadow we stand today, signed the Emancipation Proclamation. This momentous decree came as a great beacon light of hope to millions of Negro slaves who had been seared in the flames of withering injustice. It came as a joyous daybreak to end the long night of their captivity.

But one hundred years later, the Negro still is not free. One hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination. One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. One hundred years later, the Negro is still languished in the corners of American society and finds himself an exile in his own land. And so we’ve come here today to dramatize a shameful condition.

In a sense we’ve come to our nation’s capital to cash a check. When the architects of our republic wrote the magnificent words of the Constitution and the Declaration of Independence, they were signing a promissory note to which every American was to fall heir. This note was a promise that all men, yes, black men as well as white men, would be guaranteed the “unalienable Rights” of “Life, Liberty and the pursuit of Happiness.” It is obvious today that America has defaulted on this promissory note, insofar as her citizens of color are concerned. Instead of honoring this sacred obligation, America has given the Negro people a bad check, a check which has come back marked “insufficient funds.”

But we refuse to believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation. And so, we’ve come to cash this check, a check that will give us upon demand the riches of freedom and the security of justice.

We have also come to this hallowed spot to remind America of the fierce urgency of Now. This is no time to engage in the luxury of cooling off or to take the tranquilizing drug of gradualism. Now is the time to make real the promises of democracy. Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice. Now is the time to lift our nation from the quicksands of racial injustice to the solid rock of brotherhood. Now is the time to make justice a reality for all of God’s children.

It would be fatal for the nation to overlook the urgency of the moment. This sweltering summer of the Negro’s legitimate discontent will not pass until there is an invigorating autumn of freedom and equality. Nineteen sixty-three is not an end, but a beginning. And those who hope that the Negro needed to blow off steam and will now be content will have a rude awakening if the nation returns to business as usual. And there will be neither rest nor tranquility in America until the Negro is granted his citizenship rights. The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges.

But there is something that I must say to my people, who stand on the warm threshold which leads into the palace of justice: In the process of gaining our rightful place, we must not be guilty of wrongful deeds. Let us not seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred. We must forever conduct our struggle on the high plane of dignity and discipline. We must not allow our creative protest to degenerate into physical violence. Again and again, we must rise to the majestic heights of meeting physical force with soul force.

The marvelous new militancy which has engulfed the Negro community must not lead us to a distrust of all white people, for many of our white brothers, as evidenced by their presence here today, have come to realize that their destiny is tied up with our destiny. And they have come to realize that their freedom is inextricably bound to our freedom.

We cannot walk alone.

And as we walk, we must make the pledge that we shall always march ahead.

We cannot turn back.

There are those who are asking the devotees of civil rights, “When will you be satisfied?” We can never be satisfied as long as the Negro is the victim of the unspeakable horrors of police brutality. We can never be satisfied as long as our bodies, heavy with the fatigue of travel, cannot gain lodging in the motels of the highways and the hotels of the cities. We cannot be satisfied as long as the negro’s basic mobility is from a smaller ghetto to a larger one. We can never be satisfied as long as our children are stripped of their self-hood and robbed of their dignity by signs stating: “For Whites Only.” We cannot be satisfied as long as a Negro in Mississippi cannot vote and a Negro in New York believes he has nothing for which to vote. No, no, we are not satisfied, and we will not be satisfied until “justice rolls down like waters, and righteousness like a mighty stream.”¹

I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow jail cells. And some of you have come from areas where your quest — quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. You have been the veterans of creative suffering. Continue to work with the faith that unearned suffering is redemptive. Go back to Mississippi, go back to Alabama, go back to South Carolina, go back to Georgia, go back to Louisiana, go back to the slums and ghettos of our northern cities, knowing that somehow this situation can and will be changed.

Let us not wallow in the valley of despair, I say to you today, my friends.

And so even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream.

I have a dream that one day this nation will rise up and live out the true meaning of its creed: “We hold these truths to be self-evident, that all men are created equal.”

I have a dream that one day on the red hills of Georgia, the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.

I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice.

I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.

I have a dream today!

I have a dream that one day, down in Alabama, with its vicious racists, with its governor having his lips dripping with the words of “interposition” and “nullification” — one day right there in Alabama little black boys and black girls will be able to join hands with little white boys and white girls as sisters and brothers.

I have a dream today!

I have a dream that one day every valley shall be exalted, and every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight; “and the glory of the Lord shall be revealed and all flesh shall see it together.”

This is our hope, and this is the faith that I go back to the South with.

With this faith, we will be able to hew out of the mountain of despair a stone of hope. With this faith, we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. With this faith, we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day.

And this will be the day — this will be the day when all of God’s children will be able to sing with new meaning:

My country ’tis of thee, sweet land of liberty, of thee I sing.

Land where my fathers died, land of the Pilgrim’s pride,

From every mountainside, let freedom ring!

And if America is to be a great nation, this must become true.

And so let freedom ring from the prodigious hilltops of New Hampshire.

Let freedom ring from the mighty mountains of New York.

Let freedom ring from the heightening Alleghenies of Pennsylvania.

Let freedom ring from the snow-capped Rockies of Colorado.

Let freedom ring from the curvaceous slopes of California.

But not only that:

Let freedom ring from Stone Mountain of Georgia.

Let freedom ring from Lookout Mountain of Tennessee.

Let freedom ring from every hill and molehill of Mississippi.

From every mountainside, let freedom ring.

And when this happens, and when we allow freedom ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God’s children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual:

Free at last! Free at last!

Thank God Almighty, we are free at last!

Sweetwater Elementary to perform “Longitudinal Installation” during Power of Arts Museum at Sweetwater

Sweetwater Elementary to perform “Longitudinal Installation”

 

 

Xavier Cortada, The Longitudinal Installation (at the South Pole), 2007

Longitudinal Installation,” created by Cortada a decade ago as part of his NSF Antarctic Artists and Writers Program residency in Antarctica, will be performed by Sweetwater Elementary School students on May 24th at 7 pm.  The performance and activity is co-presented by the Reclamation Projects with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners.

Participate by following these steps:

1. Find a group of 24 people to perform the Longitudinal Installation ritual with and engage in the performance.
Click here to download instructions.

2. Document the performance with photos and video.

3. Upload photo on www.facebook.com/longitudinalinstallation

4.  Add the “25th quote.”

Xavier Cortada, The Longitudinal Installation (at the South Pole), 2007 (Listen: http://c.ymcdn.com/sites/www.xaviercortada.com/resource/resmgr/longitudinal_installation_no.mp3)

24 Global Voices

longitude11x17_graphicThese quotes taken from newspapers across 24 time zones that talking about the impact of climate change on that individual’s life. After Xavier Cortada completed the Longitudinal Installation at the South Pole, he walked to the 0 degree longitude, the prime meridian, and walked clockwise around the pole. He stopped at each shoe to recite each of the following quotes:

 

0°, Spain:
“There may be a move of wineries into the Pyrenees in the future.”
— Xavier Sort, technical director of Miguel Torres Wineries.

15° E, Switzerland:
“Losses to insurers from environmental events have risen exponentially over the past 30 years, and are expected to rise even more rapidly still.”
— Pamela Heck, Insurance Industry Expert.

30° E, Zimbabwe:
“We used to be able to grow everything we want but that has all changed.”
— Matsapi Nyathi, Grandmother.

45° E, Turkey:
“We are helpless. We’re trying to rescue trapped people while also trying to evacuate flood waters that have inundated hundreds of houses.”
— Muharrem Ergul, Mayor, Beykoz district of Istanbul.

60° E, Iran:
“More than 90 percent of our wetlands have completely dried up.”
— Alamdar Alamdari, environmental researcher, Fars Province.

75° E, Maldives:
“In the worst case scenario, we’ll have to move.”
— Foreign Ministry spokesman Ahmed Shaheed.

90° E, Tibet, China:
“The Sherpas of Khumbu may not know everything, but they are suffering the consequences of the people’s greed. We mountain people should be careful and take precautions. If we don’t save Khumbu today our fresh water will dry up and the problem will be impossible to solve in the future.”
— Ngawang Tenzing Jangpo, the Abbot of Tengboche monastery.

105° E, Borneo, Indonesia:
“There’s been no rain, it’s horrible. The governor’s office has instructed schools and offices to close until further notice.”
— Hidayat, government official.

120° E, Philippines:
“The disaster covered almost every corner of this province – rampaging floods, falling trees, damaged houses. It happened very rapidly and many people did not expect this because they haven’t experienced mud flows in those areas before.”
— Fernando Gonzalez, governor of Albay province.

135° E, Japan:
“It’s no exaggeration to say that Japan faces a critical situation when describing the rapid decline of marine supply in its domestic waters that is linked to seaweed loss. Tengusa (seaweed) provides food for marine species.”
— Tomohiro Takase, head of the fisheries department at the Hachijojima municipality.

150° E, Great Barrier Reef, Australia:
“In 20 years’ time, bleaching is highly likely to be annual and that will cause shallow-water corals to be in decline. We need to start working out how we can help people who rely on it for their income. It’s really quite a stunning fact.”
— Ove Hoegh-Guldberg, director of the Centre for Marine Studies at the University of Queensland.

165° E, Micronesia:
“We have nowhere to go.”
— Ben Namakin, Environmental Educator.

180°, Tuvalu: “Tuvalu is the first victim of global warming.”
— Koloa Talake, former prime minister.

165° W , Niue: “Yesterday morning we woke up to a scene of so much devastation, it was just unbelievable. Cyclone Heta was just so fast, furious and ruthless.”
— Cecelia Talagi, Government Secretary.

150° W, Alaska, USA:
“We are at a crossroads. . . Is it practical to stand and fight our Mother Ocean? Or do we surrender and move?”
— Shishmaref Mayor Edith Vorderstrasse.

135° W, Yukon, Canada:
“The weather is really unpredictable and the ice freezes much later and breaks up earlier. There are more incidents of hunters falling through the ice.”
— Kik Shappa, Hunter, Griese Fiord, Canada.

120° W Nunavut, Canada:
“Our cultural heritage is at stake here. We are an adaptable people. We have over the millennium been able to adapt to incredible circumstances. But I think adaptability has its limits. If the ice is not forming, how else does one adapt to seasons that are not as they used to be when the whole environment is changing underneath our feet, literally?”
— Sheila Watt-Cloutier, president of the circumpolar conference.

105° W, Colorado, USA:
“In Colorado, climate change means less snow, less water, more wildfires, less biodiversity and less economic opportunity, as there is less water available for development.”
— Stephen Saunders, president, Rocky Mountain Climate Organization.

90° W, Nicaragua:
“I closed my eyes and prayed to God.”
— Mariana González, Hurricane Mitch survivor.

75° W, Peru:
“I tell my wife the day that mountain loses its snow, we will have to move out of the valley.”
— Jose Ignacio Lambarri, farmer, Urubamba Valley.

60° W, Argentina:
“The flooding has forced us to redesign routes. We thought it would be for a short period of time, but it has been almost six years.”
— Carlos Avellaneda, manager of a trucking company.

45° W, Brazil:
“I am very frightened. One thing goes wrong, and the entire system follows.”
— Jair Souto, Mayor of Manaquiri.

30° W, Greenland:
“They tell us that we must not eat mattak [whale blubber], but this is all we know. Eating Inughuit food makes us who we are, and anyway we have nothing else to eat!”
— Tekummeq, Town of Qaanaaq.

15° W, Maurtitania:
“We are only eating one meal a day. When there is not enough food, it is the young and the old that get fed first.”
— Fatimitu Mint Eletou, Bouchamo.


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.

Seahorse Society at Sweetwater Elementary School

 

Sweetwater Elementary students to join the Seahorse Society 

Xavier Cortada, “Hippocampus,” 48″ x 24″, acrylic on canvas, 2014

 

Project Seahorse is partnering with Miami-based eco-artist Xavier Cortada to present an educational event at Sweetwater Elementary school on May 2nd, 2017. We will be teaching students about Seahorses, the magical creatures that call Biscayne National Park and the waters of south Florida their home!  Project Seahorse scientist Emilie Stump will discuss the importance of seahorses in South Florida and discuss the educational and research efforts conducted by her international group (see www.projectseahorse.org).  Students will also participate in a collaborative art project culminating in an installation that captures their pledge to protect them.  At the end of the event, students will be inducted into the Seahorse Society.  The performance and activity is co-presented by Project Seahorse and by the Participatory Art Projects, Inc. with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners.

 

#magicalcreaturesinourbackyard
#seahorses
#miamiseahorses
#biscaynenationalpark

Platform 450: Curator and Artist Tour

 

PLATFORM 450

The Deering Spring Contemporary exhibition PLATFORM 450 showcases site-specific works produced through a range of multidisciplinary art practices in virtual reality, 3-D modeling, and new media. Through data collection and investigation, this year’s presenting artists responded to the 450 acres of the Deering Estate.

PLATFORM 450 OPENING

Historic homes and grounds

3:30 pm – 10:00 pm

CURATOR & ARTIST TOUR

A walking tour of the indoor and outdoor exhibits with presenting artists and Curator Kim Yantis

6:00 pm – 7:30 pm

Presenting Artists: Priscilla Aleman, Archival Feedback: Thom Wheeler Castillo and Emile Milgrim, Dan Alvarez, Willie Avendano, John William Bailly, Frida Baranek, O’Neal Bardin III, Xavier Cortada, Mark Diamond, Eddie Dominguez, Maxwell Hartley, Home Eleven: Nelly Bonilla and Oscar Luna, Ian Honoré, Peter Hosfeld, Carol Jazzar, Charles Lindsay, Richard Medlock, Luciano Rabuske, Gretchen Scharnagl, Skip Snow, Kyle Towbridge, Freda Tschumy, Keith Waddington.

For full listing of Symposium and Playwright participants see www.DeeringEstate.org.

With the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners, the National Endowment for the Humanities, and The Deering Estate Foundation, Inc.

To request materials in accessible format, sign language interpreters, and/or any accommodation to participate in any Miami-Dade Parks sponsored program or meeting, contact Mary Palacios, 305-755-7848 or Mary.Palacios@miamidade.gov at least 7 days in advance to initiate your request. TTY users may also call 711 (Florida Relay Service).