An introduction to Cape Farewell and its Sea Change programme. More details can be found on www.capefarewell.com

1. Cape
Farewell
Founder
and
Director
David
Buckland
In
existence
since
13
years
Based
in
London,
opera;ng
interna;onally
Presenta;on
by
Nina
Horstmann

2. Cape
Farewell
was
the
first
organised
cultural
ini;a;ve
to
recognise
that
the
stories
that
we
tell
about
climate
change
and
ourselves
can
unlock
human
poten;als
in
ways
that
science,
poli;cs
and
economics
cannot.
It
has
been
in
the
vanguard
of
the
gathering
impetus
to
re-­‐think
climate
change
as
an
opportunity
for
cultural
reorienta;on
–
and
it
has
done
so
in
ways
that
scien;sts,
engineers
and
linear
thinkers
find
hard
to
do.
Professor
Mike
Hulme,
School
of
Environmental
Sciences,
University
of
East
Anglia
(Author
of
‘Why
We
Disagree
About
Climate
Change’)

3. A catalyst of change
through expeditions, art
and engagement.
We map a new territory
through story telling.

4. So
far
we
lead
12
expedi;ons
(ten
to
the
Arc;c,
one
to
the
Andes
and
one
to
Scotland;
two
of
these
were
youth
voayges)
and
engaged
over
180
ar;sts,
scien;sts
and
other
crea;ve
minds.

5. Expedi;ons
as
beginning
of
collabora;ons
between
ar;sts
of
all
disciplines,
scien;sts,
academics
and
other
crea;ve
minds.

6. Cape
Farewell
explores
what
values,
prac;ces,
models,
dialogues,
metaphors,
iconographies,
languages
can
teach
us
to
live
together,
beXer?

7. S;mula;ng
new
thinking
across
disciplines
and
finding
new
ways
of
communica;on
and
reach.
(Image:
Ice
Lense,
Ackroyd&Harvey,
2005)

8. Cape
Farewell
has
been
the
driving
force
behind
exhibi;ons,
concerts,
books,
films,
public
events,
comedy
gigs,
fes;vals,
poetry
projects,
youth
projects,
university
projects,
art
commissions,
residencies,
workshops,
research
projects,
musicals,
gardening
projects
and
novels.

11. Ian
McEwan,
Solar
(Novel)

12. Alex
Hartley,
Nowhereisland,
2005-­‐2012

13. Max Eastley, Installation - Ice
Garden, 2006 (Oxford, UK)

14. Clare Twomey, Blossom,
2007 (Eden Project,
Cornwall, UK) - followed by
the Slow Art Project at Eden

15. Billboards
and
public
screens
in
Toronto
(Gentle
Reminder
by
Shad
&
Vanishing
Glaciers
by
James
Balog),
2012

16. High
Arc;c
by
United
Visual
Ar;sts,
Na;onal
Mari;me
Museum,
London,
2011

17. Unfold
low-­‐carbon
touring
exhibi;on
to
Vienna,
London,
Chicago,
New
York,
Newlyn,
Newcastle,
Liverpool,
Beijing
and
Nanjing

18. Unfold
engagement
programme
(New
York)

19. Art
universi;es
and
the
next
genera;on
of
ar;sts.

20. Partnerships
with
Arts
Council
England,
Bri;sh
Council,
Na;onal
Oceanography
Centre,
World
Health
Organisa;on,
Southbank
Centre,
Royal
Academy
of
Arts
(London),
Natural
History
Museum
(London)
Science
Museum
(London),
Na;onal
Mari;me
Museum
(London),
University
of
the
Arts
(London),
Columbia
College,
University
of
Chicago,
MaRS
(Toronto),
COAL
(Paris),
Department
of
Energy
&
Climate
Change
(UK)
and
many
more.

21. Sea
Change.
A
4
year
programme
of
explora;on,
art
and
engagement
in
Scotland.

22. Sea
Change
is
evolving
on
Scotland’s
islands
because
island
communi;es
and
ecologies,
just
like
boats,
offer
both
palpable
and
symbolic
evidence
of
the
reality
of
resource
constraint;
the
rela;onship
between
needs
and
limits
that
is
in
the
end
the
stuff
of
climate
change.
These
islands,
in
par;cular,
with
their
histories
of
change
and
exchange,
their
exposure
to
natural
forces,
their
deep
human
histories
and
their
rich
and
fragile
ecologies,
remind
us
that
the
we
face
the
same
challenges,
at
different
levels
of
scale
and
with
different
degrees
of
exposure,
across
the
planet.

23. In
urban
environments,
it’s
easy
to
look
away.
On
islands,
this
truth
is
concentrated
in
wind
and
weather,
in
the
washing
away
of
coastal
defences,
in
the
cost
of
obtaining
resources
via
CalMac
ferries;
and
in
opportuni;es
for
some;mes
radical
small-­‐scale
experiment
in
resource
use
and
energy
supply,
in
projects
which
strive,
at
;mes
against
the
odds,
to
develop
and
maintain
community
cohesion,
and
economic,
social
and
environmental
diversity
and
resilience.
These
experiments
make
visible
ques;ons
of
concern
to
us
all.

25. We
aim
to
extend
the
confidence
and
capaci;es
of
ar;sts
as
agents
and
advocates
for
a
rejuvenated
rela;onship
between
people,
place
and
resources.

26. Deirdre
Nelson,
Bird
Yarn,
2012
(Arc;c
Turns)

27. Steve
Hurrel’s
Barra
Maps:
the
contested
area
of
the
Barra
Marine
Reserve.
Naming
as
an
act
of
dynamic
knowing;
mapping
places
in
mo;on.

28. Crea;ng
networks,
collabora;ons
and
partnerships
that
last.

29. The
Scoish
Isles
Voyage
in
2013
is
concentra;ng
on
5
specific
topics
and
invites
ar;sts
to
engage
with
these
specifically,
first
through
the
voyage
and
later
through
ar;st
residencies,
research
projects
and
collabora;ons
across
disciplines.

30. Northern
isles
fisheries
in
partnership
with
Fair
Isle
Fishing
Hands
project,
with
NAFC
Marine
Centre
Shetland.

31. Peatlands
based
on
Lewis.
In
collabora;on
with
Highland
Print
Studio
and
An
Lanntair.

32. Energy
flow
(wind,
wave
and
;de
technologies).
Partnership
with
social
scien;sts
at
Herriot-­‐WaX
University
and
Pier
Arts
Centre
Orkney/AHRC.

33. Water-­‐Cultures
in
partnership
with
the
University
of
Glasgow.

34. Place-­‐making.
Collabora;on
with
GalGael
and
the
Centre
for
Human
Ecology,
Govan.

35. Einstein:
‘The
dis;nc;on
between
the
past,
present
and
future
is
only
a
stubbornly
persistent
illusion’.
Time
and
space
fold
into
one
another
and
both
into
the
constantly
unfolding,
constantly
self-­‐genera;ng
present.
We
can
only
map
this
present,
describe
it
and
inhabit
it
fully
if
we
draw
on
mul;ple
sources
of
knowledge
and
experience
to
supplement
our
own,
to
draw
us
away
from
the
high-­‐water
mark
of
our
recklessness.

36. www.capefarewell.com

37. And
on
a
different
note:
Informa;on
around
subjects
related
to
climate
change.

38. The
Tree
-­‐
a
growing
discourse
network
around
climate
change.

39. If
you
want
to
join
the
Tree
contact
Mark
Raven
who
runs
the
London
desk
(mark@treealerts.org)
hXp://treealerts.org/