Wake Up! – Climate Change! – The Wake UP! Memorial

moltamole (Denmark) – and so we heard them melt – Sermermiut, 2018/2019, 7:23

moltamole aka Eliza Bozek (Denmark) – and so we heard them melt – Sermermiut, 2018/2019, 7:23
° and so we heard them melt’ poses an ongoing project primarily focused on listening to and capturing the sounds of melting glaciers. It has been rooted in a personal interest of exploring the importance of soundscape and the matters it can sonify. The project consists of multiple layers and evolves around a diversity of actions – from deep listening and collecting hydrophone recordings in Greenland or Iceland, to artistic research on how one can absorb and correspond to such sonic landscape, and furthermore, to exploration of what matters it can sonify – from ecological grief to tourist industry glamourising climate change.

Lauren Bikerdike (Ireland ) – See The Nine, 2018, 15:44

Lauren Bikerdike (Ireland ) – See The Nine, 2018, 15:44
The area around the pyramids, Nazlet El-Semman, is controversial. The Egyptian government has recently approved a plan for the demolition of numerous buildings, unauthorized houses and shops that besiege the archaeological site. These buildings, the government say, disrupts the image of the wonders. Demolishing them only adds to the impact noise pollution has played in disrupting the environment.
See the nine, highlights the role that tourism, consumerism and technology have played in disrupting the natural acoustics of the ancient wonders of the Pyramids of Giza in Egypt. The field recording, brings us back to the reality of a community that is living on the tourist value of the pyramids, one with a contemporary, hectic, noisy soundscape that is totally dissonant with the western imaginary of that area.

John McVay (USA) – Don’t Break the Ice, 2019, 4:20

John McVay (USA) – Don’t Break the Ice, 2019, 4:20
This piece consists of public domain field recordings sourced from freesound.org and archive.org. I have layered and mixed different ice cracking samples, with reverb added to increase the spatial mass. The sound of waves creeps in, slowly building to a loud climax as the ice sounds crescendo and dwindle. As the ice disappears, the ocean grows more intense. John McVay (USA) – Harness the Wind, 2019, 2:09
Harness the Wind is composed of public domain field recordings of wind turbines and also an “arctic wind” sample to accentuate the wind motif. The sound of the turbines is massive, mechanical, almost terrifying. They sound malicious, yet they are an attempt to circumvent traditional, polluting methods of harnessing and generating power for humans.

John McVay works in sound, collage, and print with works that discuss capitalism, control, and the stress that comes from not living up to idealization. Using pre-existing language against itself, the stage is set for making connections across differing experiences of the same media stress. Currently based in Las Vegas, Nevada, McVay has spent most of his life between Phoenix and Tucson, Arizona. Experimental music collaborations with other sound artists and video artists, collage installation, and found-object assemblage are part of McVay’s current artistic focus.

Timo Kahlen – F O O T P R I N T” (Nr. 2) – 2017 – 00:01:04

Timo Kahlen – F O O T P R I N T” (Nr. 2) – 2017 – 00:01:04
technical details: Klangminiatur (sound miniature) und Standbild (still: m4v, 720x540p, H264, 1:04 min Laufzeit)
The bristle surface beneath your feet opening, breaking and tearing apart, as waves and water and debris rush into the unstable vessel. Resolute and full of life: the protagonist, vehemently gurgling water and inarticulate sound. Possible meanings concealed (withheld), contained and spluttering, gurgling inside and out.
The raw, grinding, splashing, dirty, gurgling sound at the base of Timo Kahlen’s sound work “F O O T P R I N T” (Nr. 2, 2017) allows for multiple and complex references – metaphors of erosion and pollution, of dissolution and instability, of fragility and chaos, of refugee crisis in the Mediterranean and radical environmental change, come to mind -, and engages the viewer to immerse in the acoustic and visual contrasts and analogies at the base of the work.
The corresponding photographic image, an integral part of the installation, presents an abstraction, a detail of a viscous fluid with a fragment of dark matter suspended into or projecting out of it.

Timo Kahlen – Sound sculptor and media artist Timo Kahlen (*1966 in Berlin) chooses to work with the ephemeral: with wind and steam, with pixels and dust, with sound, noise and vibration. His work has been featured in more than 180 national and international exhibitions.

David John Charles de la Haye (UK) – Silurian – A Work In Progress, 2019, 9:04

David John Charles de la Haye (UK) – Silurian – A Work In Progress, 2019, 9:04
For ten days in September, I joined the Hebridean Whale and Dolphin Trust on a voyage around the Hebrides. This short work-in-progress represents a day “on effort”. Awake on the shores of an uninhabited island with the snapping sounds of shrimp beneath the waters. Listen to the amplified strains and groans of the vessel in swell then drift asleep to the eerie howls of grey seals; perhaps register the echolocation of Risso’s dolphins or distant pulse of minke whales. The seas are awash with sounds, revealed through acoustic technologies. Much is anthropogenic noise, persistent throughout.

Elissa Goodrich (Australia) – Beneath_Above – Playing with listening, 2018, 7:33

Elissa Goodrich (Australia) – Beneath_Above – Playing with listening, 2018, 7:33
(Movement One from the ‘Antarctica Trilogy’)
Beneath_Above – Playing with listening (2018), is movement one of three from Elissa’s sound-art ‘Antarctica Trilogy’. It features Antarctica hydrophonic field recordings of Weddell Seals below the ice, and accompanying sound (vibraphone/percussion) ‘above’ the ice. The seals communicate constantly using over 50 different calls. Ursula le Guin in “Telling is Listening”, insists:
“Words are events, they do things, change things. They transform…speaker and hearer; they feed energy back and forth and amplify it. They feed understanding or emotion back and forth and amplify it.” In Beneath_ Above ‘words’ are replaced with sounds.
Sound Credits: Hydrophonic and Field recordings – Gabby O’Connor // Percussion (vibraphone & drums) – Elissa Goodrich // Music composition, sound art by Elissa Goodrich

Percussionist, composer Elissa Goodrich‘s sound-art plays across Europe and Australasia. 2x nominee for Australian Jazz Work of the Year, Elissa’s Forgotten Songs of Flight in duo with cellist Caerwen Martin performed at National Opera Center (NYC, New York, US) (2017). This year Elissa’s ‘One Data Day’ with artist Gabby O’Connor (NZ) played at MADATAC Festival (Spain), her sound-art premiered in Samah Sabawi’s THEM (Aus.) and in site-specific Uncle Vanya (director Bagryana Popov) for Adelaide International Arts Festival (Aus.). Elissa is composer-recipient of APRA AMCOS Art Music Fund for her Gene Tree Project (2018-2022) a large-scale work inspired by climate science.

Daniel Blinkhorn (Australia) – frostbYte – cHaTtEr, 2012, 10:00

Daniel Blinkhorn (Australia) – frostbYte – cHaTtEr, 2012, 10:00
‘cHatTer’ is essentially presented in two parts, with the primary source of sonic material for the first part being open air and hydrophone recordings of icebergs and
iceberg fragments as they melt, collide and dissolve. The second part of the work places these sonorities alongside close-microphone recordings of the
Barquentine sailing ship I travelled throughout the region within.
The title itself refers to the beautifully crisp and articulate sounds emitted by icebergs, where I was struck by how much they (seemingly) ‘chatter’ with both one
another, as well as with the surrounding water and coastline. I found that, when approaching the icebergs from an underwater recording perspective, they
became even more vocal, chirping, popping, snapping hissing and gurgling constantly. The ship also seemed to chatter ceaselessly as it interacted with the ice,
water, wind and even crew, producing sharp friction-type sounds alongside the motion-bound sounds of the hull on the waves and other shipboard sonic
miscellany. It should also be mentioned that, in the second section many of the sonorities generated from the field recordings become increasingly fictionalised,
attempting to portray the types of vessels that usually travel within the region (both by air and sea). The title also suggests the involuntary physiological response
prompted by extremely cold temperatures; the rhythm of teeth chatter!

Brit Bunkley (New Zealand) – Pillard of Cloud, 2016, 4:00

Brit Bunkley (New Zealand) – Pillard of Cloud, 2016, 4:00
Oil, ghost towns and dust devils are aligned as tropes of climate change. Tornado-like dust devils, as canaries in the coal mine, are increasingly common in hot, barren deserts and in drought-stricken areas of the world.

Brit Bunkley – International screenings include the White Box gallery in NYC and Rencontres Internationales Paris/Berlin (2016, 2018, 2019), and at the Cité Internationale des Arts in 2018. He took part in the Athens Digital Arts Festival and File Sao Paolo 2017 and 2018. Bunkley screened his video, Ghost Shelter/6 at the Channels Festival 2017, Melbourne and at the Oberhausen Short Film Festival, Oberhausen, Germany in 2018. Recent group exhibitions of his video include the “Stories of Rust,” at the Tauranga Art Gallery, Tauranga, NZ, 2018-2019 and the Sculpture on the Gulf 2019 (video in a shed) at Waiheke, Auckland, NZ.

Laura & Sira Cabrera (Spain) – Climate Dementia, 2019, 3:51 // Climate Disorder, 2019, 4:18

Laura & Sira Cabrera (Spain) – Climate Dementia, 2019, 3:51
It is a video-performance on climate change, global warming, forest fires … It refers to the impact of human activities on the planet. A being of medieval legends appears who detects the dangers and warns us of our insanity to separate nature and culture. Laura & Sira Cabrera (Spain) – Climate Disorder, 2019, 4:18
This video performance is a kind of ritual, where the impact of human activities on the planet is personified: the poisoning of the seas and their living beings, due to the plastics
we discard. We may need a being of medieval legends again, to detect the poisons in the waters and purify them. And unite nature and culture.

Laura Cabrera Díaz and Sira Cabrera Díaz are born in Cáceres, Spain, in 1947. They are twins. Both are licensed in Fine Arts by the Complutense University of Madrid. And they
have dedicated themselves to the teaching of Plastic Expression, at the same time that they made exhibitions of painting, sculpture and engraving. Since 2009 they have made 34 video art pieces and participated in more than 100 international video art festivals.

Zlatko Cosic (Bosnia) – Even The Birds Know It, 2017, 2:55

Zlatko Cosic (Bosnia) – Even The Birds Know It, 2017, 2:55
St. Louis birds share their views about the environment and the sociopolitical climate.

Zlatko Ćosić is a video artist born in Banja Luka, Yugoslavia. Ćosić’s work spans a number of disciplines, including short films, video installations, theater projections, and live audio-visual performances. His work relates to issues of identity, immigration, and the complexities of living in unfamiliar cultural environments. Ćosić’s artwork has been shown in over fifty countries, for which he has received a variety of recognition.

Stine Gonsholt (Norway) – Test 4.1, 2017, 6:12

Stine Gonsholt (Norway) – Test 4.1, 2017, 6:12
Utilizing references from both reality and the world of art, several time-periods are merged into one, which displays an imbalance between nature and civilization, moving from a utopian to a dystopian landscape. The film test 4.1 is based on the 1557 engraving “Big Fish Eat Little Fish” by Pieter Bruegel the Elder.
A large gasping fish and other mutated characters move in a landscape derived from documentation of the Grenland fjords seabed. In some places, the fjords are heavily polluted by industry and shipping traf fic. As an experiment, certain areas have been activated with the use of coal to reduce the impact of the pollution. Coal is a material that can both pollute air, purify water
and be used as a drawing tool to create art.
(Test 4.1 was made on commission for the Greenlight Art Festival in Grenland in 2017 and was screened at The Minimalen Short Film Festival in Trondheim in 2018, as part of the program for the
Nordic film competition.)

Farid Hamedi // Rohina (Iran) – A Chair For All, 2019, 7:44

Farid Hamedi (Rohina) – A Chair For All, 2019, 7:44
A Work about climate change, story of two person in desert without water or in water without

Farid Hamedi (Rohina) – He is International Artist. His activities in the field of Cinema, Graphics, music & literature, he started producing and directing video-arts. His visual works such as ‘Theatre for the Artist’, ‘The train that never stopped’, ‘The Tarnished Mirror of Existence’ and ‘The Brain and the Border’ have been screened in more than 40 international festivals.

Dee Hood (USA) – Game of Chance, 2019, 2.02

Dee Hood (USA) – Game of Chance, 2019, 2.02
What will we do to change the environment? We have the ability to change it for better or worse, but will we what actions will we take?

Dee Hood ‘s experimental videos have shown in over 25 countries around the world. She has received numerous awards for art videos and her political videos have been featured in The Nation Magazine’s Opp- Art section. She is a Professor Emerita, Ringling College of Art and Design, Sarasota Florida where she taught a range of art courses including time based media. Hood received an M.F.A. in Visual Art from the University of South Florida, Tampa in 1990. She is also known for work in painting, sculpture and installation.

Oleg Kharch (Ukraine) – Fakemet, 2019, 3:46

Oleg Kharch (Ukraine) – Fakemet, 2019, 3:46
This is how Chornobyl happened to me! 33 years ago. That was FAKE! The consequences of the Chernobyl disaster are still present today. Nobody knows what actually happened and even how to protect themselves from radiation in case of a sudden emergency. Even those who live in Kyiv (in the 100-kilometer zone of the world’s largest man-made disaster) do not know the first means of radiation safety. In addition, since 2013 our country has been in a state of hybrid war. Therefore, today, the attitude to information and media literacy issues must be of great importance for correctly defining one’s past. After all, this will be an important foundation for the future of for everyone.

Oleg Kharch / Ukrainian contemporary artist. His works are immersed in punk collages, traditional painting, street projects. As well as digital art, video work, online social media art. He also turned to the artist’s handmade book. MEDIA ART EXHIBITION ARTEFACT: CHERNOBYL 33/ KYIV ART WEEK 2019/ Hlebzawod Art Prize 2018/ Creative Climate Awards 2018/ KUNSTPREIS WORPSWEDE 2017/ GOGOLFEST2017/ “Turbulence Area” 5thOdessa Biennial/ “Event Horizon”/ Parallelism’s in Ukrainian and Uzbek/ Mashrou’ Proletkult/ VIII Art Kyiv Contemporary/ “Fame not fallen heroes”& “Glory to the heroes of the Maydan”/ The Snails Attack/ “Such earnings”.

Uri Kloss (Israel) – Word, 2017, 1:29

Uri Kloss – born in Tel Aviv, Israel 1993

Education:
2015 -2019- Bezalel Academy of Art and Design, Jerusalem, Israel // 2014-2015 – Oranim College, Tivon, Israel
2008-2014 – Private studies with artist Elie Shamir, Israel // 2005-2010 – Waldruf Harduf High School, Israel

Group Exhibitions & Festivals:
2019 – Muzeum Sztuki, M2, Lodz, LIF festival, Greece, Kunsthal Charlottenborg, Copenhagen, Denmark
2018 – International Photography Festival, Photo Israel, Changing Rooms, Curator: Sigalit Ethel Landau, Tel Aviv, Israel
2017- ‘Crowning’/ scene no.1#, Teder Town Art Fair, Tel Aviv, Israel
2016 – Rosenbach Gallery, Jerusalem, Israel // 2015 – Secret Art 8, Tel Aviv, Israel
2014 – Galilee Color, Tiberias, Israel // 2013 – Egozi Gallery, Tel Aviv, Israel

Solo Exhibitions:
2013 – Uri Kloss: Early Works, The Contemporary Art Gallery at the Memorial, Tivon,
2011- Portraits, Hecht Museum, Haifa, Israel

Prize:
2011- Winner of the Young Artist Award from Hecht Museum, Haifa, Israel

Renata Padovan (Brazil) – Aral Mermaid, 2015, 4:12

Renata Padovan (Brazil) – Aral Mermaid, 2015, 4:12
During a visit to Uzbekistan, in Central Asia I went to visit what is left of the Aral Sea. I was greatly affected by the desolated landscape, one of the biggest ecological disasters caused by the equivocal ideas of progress and economic development. Aral Mermaid is a short poetic documentary assembled with still images, video footage and historical footage. It refers to the social and ecological degradation caused by the Soviet excessive implementation of cotton monoculture in the area. Renata Padovan (Brazil) – The Scale of Desaster, 2013, 9:41
Traveling along the Xingu river in Para, north Brasil, I was very impressed with the grandeur of nature, and at the same time bewildered by the fact that without a reference the sense of scale is completely lost. It was only when I approached the construction of Belo Monte power plant that scale of nature became clear to me. Based on the sizes of men and machinery it became evident the immensity of the forest. The process of destruction of an intact region of forest, in the name of a doubtful progress, is what made me aware of the scale of what is being lost forever. Renata Padovan (Brazil) – The Voices of the Upper rio Negro, 2019, 3:21
During a three-day boat trip along Rio Negro, towards the extreme northwest of the Brazilian Amazon forest, the complete harmony between water, jungle and sky gave me a feeling of suspension. Arriving in São Gabriel da Cachoeira I met the majority of the population of indigenous people who, despite all the white interventions in the area still keep their languages alive.

Renata Padovan is a Brazilian artist living and working in São Paulo, Brazil. Graduated with a BA degree in Social Communications from FAAP São Paulo, later followed by a MA Fine Art from Chelsea College of Art and Design London. She has participated in several residency programs: 2018 | Labverde, an immersion in the Amazon; Residencia Epecuén, Argentina 2016| Seoul Art Space Geumcheon, South Korea 2014| GCC, South Korea; 2013| JKSD, Ljubljana; 2012| Arctic Circle, Norway; THAV, Taiwan; 2009| NES, Iceland 2008| Over the Fence, International winter workshop, Finse, Norway 2004| Nagasawa art park, Japan 2001| Braziers International Artists Workshop, UK; 1996| The Banff Centre for the arts, Canada. Her work has been exhibited in galleries, institutions and museums in Brazil and abroad.

Ausin Sainz (Spain) – Today, 2019, 5:00 // I like to Fly, 2019, 1:12

Ausin Sainz (Spain) – Today, 2019, 5:00
Ausin Sainz (Spain) – I like to Fly, 2019, 1:12
At present, air travel has been popularized, as the prices of its tickets are very low. We all enjoy great trips, but we don’t realize what it means to our environment and ourselves. A plane emits up to 20 times more CO2 per kilometer and passenger than the train.

Ausín Sáinz creates integral installations mixing different plastic techniques with a great reflexive and critical load.

Susanne Wiegner (Germany) – Sunrise, 2019, 5: 46 // – Melting Fields, 2018, 8:16 // Listen, 2019, 3:20

Susanne Wiegner (Germany) – Sunrise, 2019, 5: 46
The film shows soul landscapes – inner images that convey in their vastness a sense of loneliness and threat. Certain scenes are a reminiscent of German romanticism, like the paintings of Caspar David Friedrich, whose ambiguity is enhanced by cinematic means. The beauty of the sunrise marks the beginning and the end of a disaster scenario that reminds of climate change and war ruins.

Susanne Wiegner (Germany ) – Melting Fields, 2018, 8:16
A single camera movement explores a catastrophic scenario that cannot be classified neither spatially nor temporally. Is the flat overlooking the street just an illusion or the broken rooms in the inhospitable landscape. The title “melting fields” refers to climate change, the melting ice surfaces and glaciers as well as to an incipient loss of memory and orientation. How does our usual environment change when it is only fragmentarily perceived and reminded. How can this feeling of complete loneliness and despair in a fragmented and destroyed world be visualized?

Susanne Wiegner (Germany) – Listen 2019, 3:20
The film is based on a haiku poem that painfully recalls a time that no longer seems to exist. The flowering meadow is just a memory image on the retina of a dead bee in the midst of a dystopian-looking environment. At the very end “the silence is broken”.

Susanne Wiegner studied architecture at the Academy of fine Arts in Munich and at Pratt Institute in New York City. She works as a 3D-artist in Munich, Germany. Venues where her work have been shown include group exhibitions at the Pinakothek der Moderne in Munich, the ZKM in Karlsruhe, the Art + Technology Center EYEBEAM in New York City, FACT in Liverpool, Torrance Art Museum in Los Angeles, WRO Biennale in Wroclaw, National Taiwan Museum of Fine Arts, Taipei, Les Rencontres Internationales in Paris, EMAF in Osnabrück, Videonale in Bonn, Schusev State Museum of Architecture,
Moscow and festivals all over the world.