Camilio

Title: BHAVISHY: A Glimpse into the Future of Forests, Biodiversity, and Cooling Down the Planet

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Dear readers and/or blog followers,

On the 14th of August 2023 there was a FUTURE forest planted in Bikaner, Rajasthan, India, and I want to tell you about it. I'm excited to take you on a journey to explore an innovative art project that promises to redefine the future of forests in the world. Well, that is my hope and wish. Lead by example. Just like the captivating FUTURE FORESTS APAGA initiative, which I previously delved into, we now turn our attention to BHAVISHY, a conceptual art project that combines art, sustainability, and environmental conservation in the vibrant landscape of Rajasthan, India.

BHAVISHY, which translates to "future" in Hindi, encapsulates the essence of forward-thinking environmental stewardship and cultural preservation of a Dutch artist, like myself. It's an ambitious attempt that seeks to transform barren lands into lush, biodiverse forests, while simultaneously fostering a deeper connection between communities and their natural surroundings. All done with the help of the landowner and a tree supplier. And it must be stated, only indigenous trees are used.

At the heart of BHAVISHY lies the concept of reforestation through art. Much like FUTURE FORESTS APAGA planted in Armenia, Sevan, a year before, where local youth and their leaders (and EU4Culture initiative further implemented by: Regional Development and Research Centre / Sevan Community Municipality / 'Sevan Youth Club‘’ and New Art Stage (NAS)), collaborate to breathe life into deforested areas, BHAVISHY harnesses the power of creativity to inspire positive change. 

One of the most intriguing aspects of BHAVISHY is its emphasis on indigenous knowledge and community engagement. By involving local communities, but especially Familial Forestry and its founder, in every stage of the project, from planning to implementation, BHAVISHY ensures that the forests it creates are not only ecologically sustainable but also culturally significant. Through working with Familia Forestry and the students of Dunbar College, BHAVISHY forest fosters a sense of ownership and pride among residents, empowering them to become guardians of their forest heritage.

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Title: Reflecting on Art and its Evolution: A Personal Perspective

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Title: Reflecting on Art and its Evolution: A Personal Perspective

In the ever-changing world of art, there are those who rise to prominence, captivating audiences with their bold creations, and then there are those who seem to linger in the shadows of their former glory. Recently, I found myself contemplating this phenomenon, spurred on by the passing of renowned artist Richard Serra, whose work has long been a source of inspiration and intrigue for me.

Serra's journey through the art world, as well as the trajectories of other influential artists like Walter De Maria and Louise Bourgeois, serves as a fascinating lens through which to examine the evolution of contemporary art. In my recent blog, I touched upon the notion of artists who should have evolved or tried new things, citing examples of once-promising careers that seemed to plateau over time. In this context I see Louise Bourgeoise as exeption. 

Reflecting on Serra's legacy, I'm reminded of the remarkable creative power and boldness he exhibited in his early years. His sculptures, characterized by their monumental scale and raw authenticity, pushed the boundaries of what sculpture could be, challenging conventional notions of space and form. Yet, as time went on, I observed a shift in his work, a departure from the visceral energy and daring experimentation that defined his early career.

This observation led me to question not only the trajectory of individual artists but also the broader dynamics at play within the art world itself. I thought about the tendency of well esteblished artists to become, maybe, a bit to much fixated in and focused on their own success, producing work that caters to, as it seems, market demands rather than pushing the boundaries of their artistic practice. And I couldn't help but wonder about the impact of this phenomenon on emerging artists, whose voices risking being drowned out by the outcry of commercialism and conformity.

Throughout my artistic journey, I've aimed to stay loyal to my vision and principles, avoiding the pull of commercial achievements for genuine self-expression. My creations, influenced by a profound respect for nature and a quest to evoke feelings in the audience, aim to question assumptions and stimulate deep thought. Inspired by artists such as Serra, De Maria, and Bourgeois, I aim to establish my presence in the dynamic world of contemporary art, marked by originality, honesty, and a continuous pursuit of artistic growth.

As I bid farewell to Richard Serra and reflect on his enduring legacy, I'm reminded of the importance of staying true to one's artistic vision, even in the face of commercial pressures and the passage of time. For it is through authenticity and integrity that true artistic greatness is achieved, leaving an indelible mark on the world long after we're gone.

RIP Richard Serra, thank you for all your inspiration.

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The site specific performance Funky Suit / White Suit

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Exploring the lively mix of colors and people in Hoi An's Old Town, where streets are bustling and full of energy, artist Camilio van Lenteren sought a moment of calm amid the chaos. Amidst all the noise and activity, he wanted to find a simple space to start fresh.

And so came "Funky Suit / White Suit" (2024), a special art performance made just for Old Town, Hoi An, Vietnam. Looking back on his creative journey, van Lenteren says, "When everything around me gets too busy and colorful, I like to go back to the basics of creating."

The text he wrote specific to start this site specific art performance was:“When places become so colorful, so popular, so full of people and so visually and literally loud, I sometimes prefer to go back to a blank canvas and start over again.”

This performance was more than just making art; it was about connecting with the heart of Hoi An. Engaging with locals and tourists alike — from the friendly faces of shopkeepers and cooks to the curious eyes of visitors from different parts of the world — van Lenteren crafted a story that brought everyone together.

At the center of the performance was the two-layered suit, representing change and transformation. Made specifically for this occasion, the suit captured the spirit of the city. As people passed by, van Lenteren invited them to peel off the outer layer, revealing the calming white underneath. Was the playful "Funky Suit" a reflection of the artist's inner clown, or an attempt to blend into the vibrant colors of Old Town, sometimes looking almost theatrical in its excitement?

Preparing for this endeavor had its challenges, from finding the right tailor (5 tailors said NO!) — eventually recommended by photographer Molly McCarthy — to solving logistical problems. But through perseverance and teamwork, the performance came together, showing the power of art to transform. The right tailor worked together with 4 others to complete the job. The suit and idea looked simple, but it was far from that.

You can see detailed documentation of "Funky Suit / White Suit" on van Lenteren's website and YouTube channel, offering a peaceful moment in the busy streets of Old Town. Looking back on the experience, van Lenteren says, "The journey to create this site-specific art performance in Hoi An was full of challenges and successes."

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Diligente

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The exhibition “UNITED COLORS OF TIMOR-LESTE| Prototype 001”, by conceptual artist Camilio Van Lenteren. The installation, made up of a suit and 18 pieces of Tais fabric (which where used to ake te suit), hand woven throughout the country, represent Timor-Leste as a whole in a single piece: a Tais suit. The author ansered written questions to Diligent the essence of the work “in which most of the women who weave such fabrics and the linguistic groups they represent are represented” and emphasizes that “in a country dominated by male politicians, where the rights of women, girls and of children are still not guaranteed, it is necessary to appeal to the Government to do much better”

When did you first arrive in Timor-Leste and why Timor?

I arrived in Timor-Leste in June 2019. I chose Timor because it is the second youngest nation in the world, with a very colorful history, culture and art. As an artist, I wanted to learn more about this country, which is very inspiring to me. I fell in love with this part of the world.

However, learning Tetum is much more difficult than I expected. I still don't speak it well, which is a disadvantage, because I firmly believe that to absorb a culture at its fullest, you must first learn the language.

Learning other languages ​​is difficult for me, as I am dyslexic, but that hasn't stopped me from making art and helping to design exhibitions, namely as a volunteer at Fundação Oriente in Dili, Timor-Leste. To carry out my artwork, I communicate in other ways with the professionals I work with, such as tailors, carpenters, artists, transporters, hardware store owners, filmmakers, photographers, among others. So I can still do everything I need to for my art.

What expectations did you have? Did reality live up to your expectations?

I didn't know Timor-Leste, but I had been to Indonesia before and I fell in love with the art, the food and the people and contemporary artists of Yogyakarta, a city on the island of Java, Bali, Jakarta and Bandung. Timor-Leste is very different, but I heard very good things about the country, about the struggle of the people, the kindness of the people, the nature, the food. In fact, there are amazing people here, kind and very welcoming, with the most beautiful smile, a great culture, and yes, Timor is more than I expected. I am impressed with the excellent coffee and great baristas in Dili and I was immediately taken by the beauty of the Tais, the traditional fabric, which represents the various linguistic groups in the country.

What are your artistic references?
When I was young, we often went to museums, to classical music, ballet, opera. I think that's where it all started. I also attended a very creative school system inspired by Rudolf Steiner. Before starting to attend art school in 2000, I was inspired by David Bowie, a multi-artist, and I watched many art films (French, Spanish, Italian, Scandinavian, among others) and I was always very creative.

I really like the painters Willem de Kooning, Piet Mondriaan, the sculptor Dan Flavin, the Dadaists, Cubists, Minimalists, Futurists, Post-Minimalists and groups of land art artists. Now I realize these are mostly successful artists and white men. Though one of my big examples also was te French/Amercian sculpturist Louise Bourgeouise. Later I realized that what I was seeing were often manipulated results from the western art world, western art history, art sales, what was considered the “next big thing” or the latest hype. In art school, I learned Art History, but I realized that I needed to read a lot more, study and learn about art worldwide.

Later, I became more and more interested in artists from the African continent (Yinka Shonibare, (Nigeria), Stacey Gillian Abe (Uganda), from South America (Doris Salcedo, Vik Muniz), from Asia (Heri Dono, Ninidtyo Adipurnomo, Mella Jaarsma) and Pacific, and increasingly activist artists, eco-artists and emerging young artists, as they are not heavily influenced by the western art market, which increasingly demands aesthetic and overly polished artworks, ever larger and more and more like luxury goods and “the next big thing.” To be honest, I find that annoying.

In your work, you often uses elements from nature and explores social behaviours. Does that also happen in this exhibition?

In this installation, the women who weave Tais are represented, which Tais are often used by politicians in a suit, but not necesarry as a showcase of unity. In a country dominated by male politicians, perhaps more than 85% are men in leadership positions, where the rights of women, girls and children are still not guaranteed, it is necessary to appeal to the Government to do much better, especially to serve the most distant municipalities and villages (far from Dili and passable roads) in order to improve education, medical care, nutrition, food security. In my opinion, Timor-Leste is not a poor country, but it seems that most of the money does not leave Dili.

What's more, nature is never far away in Timor-Leste, real Tais are made with hand-spun and grown cotton, naturally colored with ingredients straight from the soil, plants and trees. And human beings are phenomena of nature too, we often tend to forget that. But, truth be told, this is an exhibition, an artistic installation in which nature was not the starting point, as it often happens in my other conceptual artistic installations, such as my FUTURE forest projects, which you can discover on my website (camiliovanlenteren.com).

Can you tell us about the creative process for this exhibition?

This particular exhibition was born out of a love for the cultural importance of Tais, not for fashion – fast fashion is overrated and a major polluter worldwide – for the weavers of Tais, for the rich and complex culture that is at its origin. For the context in which the weavers live and weave these beautiful complex patterns. When I arrived in Timor-Leste, four years ago, I discovered that there was a complex identity of linguistic groups in the traditional Tais, in addition to the Timorese love for their traditions, and within them precisely the love for the Tais.

It is important to emphasize that Tetum is now the official language of Timor-Leste, but we must not forget that these local languages ​​are culturally very important and that they are also expressed through the Tais. Without these local languages, Timor-Leste would not be Timor-Leste. I quickly learned from the people I worked with about “futus” (patterns made through coloring and then weaving), “sotis” (silk threads or patterns woven with cotton threads), about natural coloring and I also discovered that the Tais they are not only divided by districts, but are also specially linked to different language groups.

In this sense, I had the idea of ​​doing something about male dominance in politics, using single-origin Tais (often modern, with synthetic modern colors and strange “sotis” or “futus”), often from just one language group, in a country that is very young and united for having survived the occupations of two countries and gained independence.

In the exhibition space, you will be able to see what that initial idea brought me today, after a long process of collecting and learning. It's still not perfect, there's still a lot more to learn, a long way to go, but I was not looking for perfection in thid case, showing the process can also be beautiful, important and reveal other directions and meanings.

Why United Colors of Timor-Leste?

The title of this art installation is: “United Colors of Timor-Leste / prototype 001”. The suit was made after having worked together with translators, four different tailors to find the right way of working and geeting a correct suit, finding the correct Tais with the help of Signora Céu Lopes, Timor-Aid, sister Agostinha (Mercado de Tais), seamstress Cecília, conversations with friends, conversations with the manager at Things & Other stories store, conversations and information from Mana Rosa (from Com, municipality of Lautém), conversations with director Joana from Fundação Oriente and with artists and, thus, this work is already in progress. contribute to unity, as it is a joint effort. Tais is a unifying force, just like culture and the arts, so I created a suit to represent this colorful unity.

What does the white Tais symbolize?

These presentations, or performances, me dressed in white, are about my role as a privileged heterosexual white male in this art world, far removed from the western art world, which I've been away from for nine years (which made me happy). I express this with white clothes, adapted to the country I am in, the context in which I find myself. With these white clothes, I am that artist performing.

Therefore, it is more of a personal artistic approach, as I regularly perform in white, and I also presented myself at the opening of this exhibition in a white Tais suit. It's a self-criticism, the moment when I look in the mirror and know I'm not perfect. This last sentence is important, as I think few people do this very often: look at themselves in the mirror and reflect before criticizing others. I'm not saying I'm good at it (I do my best), but these white suits are always reminding me to try and do better. Also I train with this to be not to serious about yourself, make some self hurting jokes can make the lives easier for others and sometlimes let them smile.

The white suit also represents that I am aware of my “status” and/or “positiion” as a white man, of my privileges, that the white man dominates the Western art world too much, and that is not right, that white people are a minority all over the world and they could (I think ‘should’) be more humble, more welcoming, more available to help (after asking if help is needed and what kind of help is desired).

Is unity in diversity possible or just a utopia?

“No one is born hating another person because of the color of their skin, or their origin, or their religion. People must learn to hate, and if they can learn to hate, they can be taught to love, for love comes more naturally to the human heart than its opposite,” to quote Nelson Mandela.

So my answers here depend on what we – visitors to the exhibition and citizens of the world – define as diversity? I see humanity as a whole, we live on a planet where we should share and be in balance with the flora and fauna that surrounds us, which is definitely not happening at the moment, especially since industrialization, which started in 1760. Along with capitalism, this situation is only getting worse and worse.

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How to price your artwork

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An artist here in Timor-Leste, pointed me out this blog and article on pricing your art. It had some points of interest, but it is an over complicated piece, pricing an art work is no rocket science, focusing to much on emotions and unexperienced art behavior (as all artists experienced in their lives in the beginning), so I guess it is targeted on amateurs and starters, which is fine:

https://www.theartistnextlevel.com/blog/psychology-of-pricing-art?fbclid=IwAR3T9-8TeWjd58CgLtpuWZhHaSbQUH9wkX56BtAGszPDSQy_tYYBU4D1xoI

First thing is not 'the emotional attachment' difficulty, but ask yourself: if your up to selling an artwork, or not. If you creat

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Lieve Wim

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Lieve Wim

When the norm these days is 'The Next Big Thing', individualism, egoism, the opposite of being modest, nice and shy, last Monday, the 27th of March 2023, the Netherlands lost a great bright, smart and sweet sole, Wim de Bie.

Wim de Bie was 1 side of the duo 'van Kooten en de Bie' and where from 1983 till 1998 my heroes, Sunday evening, after the 8pm news, brought their 30 to 40 minutes reflection on the last week. They all did this with simple means and with a small team with small changes when needed. Van Kooten en de Bie, a cameraman, sound man, director and make up artist. The settings where in houses of those team, in streets where they lived, etc. Keep it close and simple, the acting and there types and roles where superbe.

Why I write about Wim de Bie and 'van Kooten' is because they shaped me, they learned me to be critical without shouting, stay true to yourself, use simple stuff around you to exress yourself, they gave me and my family (father, mother and brother) 30 minutes of joy every week, critical thinking, staying close to yourself and stay modest, while their use of language was brilliant (a word I hardly like to use, I am not a language purist) and the way they played / acted some stereo types. I also think Wim de Bie is a moralist like me, and could get really angry on TV, real anger, which was new at the time. Anger about injustice, real outed on TV. Still Wim was way more intelligent that me and brought it with reflection on himself and humour.

And again, I like to stress that they all did this with the simplest of means. Simple elements, no studio's, high expenses on renting actors, acting stages, etc. A second hand jacket, old trousers and another pare of glasses where enough, the acting did the rest. They stopped with being a duo in 1998, and that was a shock, but now, after all these years I understand it. Going on, after 38 years of being together on TV, it was enough and you don't know where the fame will bring you, into craziness or getting too arrogant, it will affect the quality. And from high quality it was of the highest level.

Thank you Wim, you will be missed.
Thanks for being a teacher, a leader, showing me a way...................


 

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White Reliefs / Normal Patterns

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White Reliefs / Normal Patterns

As an artist who could not align his portrait paintings with is love for conceptual installation art, which basically is, in simple words, everything except choosing just for painting or just for sculpture, the artist was very happy when he found himself making reliefs in the carton pierre technique, the plaquettes of recycled paper, Gipsen, water and wood glue filled with tree seeds. If buyers get bored with what they bought, they can burry the art work, and grow trees. And this is essential. That an art work can be buried, gone. It is essential because my portrait paintings where not able to do that, that you would call destroying art, or put it in a corner on the attic, while with these tree seeds invested white reliefs, there is still another life in them.

The reliefs are white, in which in my conceptual art work often, they are portable, they are sellable, they can be put in the ground to grow trees. What is there not to like? For me this was, after working with non sellable art, not necessary by choice, a gift. A dream came through. Maybe you are now wondering: why not sooner? Well, my idea’s where there, but not to be executed because of brain fog and sometimes ting simple are not coming together. It came together end 2022, in Dili, Timor-Leste. And when the idea is there, and it works, afterwards you think: why not sooner? This is simply how life goes.

The ‘burry the art work’ is besides growing trees, also a reminder that whenever an artist gets big, he/she/x is unable to do anything wrong, and this art will never be devaluated when it is in the collection of museums and super rich collectors. They would simply not allow it. Hence the shit art we see coming out of some of the biggest artist, like Hirst and Koons, or artist start working larger and larger, not able to think small anymore, humble, poetic, etc. Look at Anish Kapoor. Great artist, but where is the limit of large? And super large is also a bit arrogant, ignorant to others in our life. The large is so large, we can’t reach for it anymore, unable to comprehend it size. It is getting in to a circus act, spectacle art. Which for me, is neither interesting, neither good or important. And look in to the western art world, when an artist gets his 15 minutes of fame, a solo in a museum: the work gets 5 to 10 larger than before. While size does matter, also for your concept, so, why change this when getting in to the eye of a museum director, curator or rich collector?  If you want to know more about: look at: exit through the gifts shop,  Adam Ruins Everything - How the Fine Art Market is a Scam: https://www.youtube.com/watch?v=Dw5kme5Q_Yo.

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How to bury an art work and why

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How to bury an artwork.

Relief 0016 is buried. A relief made in the Carton Pierre technique, filled with tree seeds. When a buyer is done with this artwork, it still has the potential to become seomthing else, in this case a tree. 

To test if the seeds will grow out in to a tree.

How to bury:

1: place the relief on the ground

2: make a hole just big enough

3: Put the relief in to that hole

4: put sand over it

5: cover it completely

6: add water.

After 5 weeks we had lift off:

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FUTURE FORESTS ART / APAGA

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ECO ART, OR WHATEVER WE CAN DO TO GIVE BACK, AS ARTISTS
Subtitle:
Reflection on art that is truly green (or as green as possible) and giving back to the community.

In a respond to the question they asked me before coming to Sevan, Armenia, in the beginning of 2022, on what is ‘Eco Art’, I reflected on this question then and now, after being back from planting 404 trees in Sevan, Armenia in the word APAGA (future). My reflection started with realising I don’t necessary identify with a group of artists calling themselves Eco Artists, if they exist at all, being a group at all.

The google definition of what Eco Art could be, is more or less:  Ecological art is an art genre and artistic practice that seeks to preserve, remediate and/or vitalize the life forms, resources and ecology of Earth. Ecological art practitioners do this by applying the principles of ecosystems to living species and their habitats throughout the lithosphere, atmosphere, biosphere, and hydrosphere, including wilderness, rural, suburban and urban locations.[1][2] Ecological art is a distinct genre from Environmental art in that it involves functional ecological systems-restoration, as well as socially engaged, activist, community-based interventions.[3] Ecological art also addresses politics, culture, economics, ethics and aesthetics as they impact the conditions of ecosystems.[4] Ecological art practitioners include artists, scientists, philosophers and activists who often collaborate on restoration, remediation and public awareness projects.

In which I miss: the artist himself tries to work as “green” as possible, thinks about the ethics and morals of the project itself and the ethics/morals of the country and/or people, organisations it works for. In which in my thinking Richard Serra working for Qatar (East-West/West-East, 2014) is not a green way of making art. And also, Damien Hirst letting a Tiger shark being killed in Australia, shipped to England and put in formaldehyde solution in a glass thank to create ‘The Physical Impossibility of Death in the Mind of Someone Living’ (1991) is even moralistic repelling in the since of animal rights ethics and shipping it all around the world to having him the personal pleasure getting famous and rich (if you didn’t know, he did this with sheep, lamb, another tiger shark, etc.). That Museum Louvre worked together with Abu Dhabi creating a sister museum Louvre in the capital Abu Dhabi is also not a very ‘green’ way of helping another country knowing it is all dirty oil money. Of course, there are worse and far more bigger polluters in the world, but the art world is supposing being critical, and I don’t see that for the last 30 years. Like the Stedelijk Museum Amsterdam is getting sponsored by TaTa steel, ABN Amro (one of the biggest banks in holland giving loans to intensive farmers to expand their businesses (intensive cows, pigs and chicken farmers) even more, polluting even more) and Audi, which I think is something to reject immediately.   

With all this in mind, I got the extra motivation to start the idea of planting FUTURE forests world wide, which means going to all (officially stated) 195 countries and execute these plans. In the course of the project, I know I will find a way to travel around in a less polluting way than flying. For now, I stopped eating meat, after already buying more ecoclinal sustainable clothing for years now, resent fast fashion, fast food, having no kids, don’t use single used plastics, Pay Pall, Amazon, etc. buying more local and not stupid unnecessary stuff, voting green, never had a car before I was 40, etc. I also compensate generously my flying behaviour through TreesForAll.nl. Besides all this, I only can be honest abut the fact that I am a polluter as well, but not the biggest one.  In this mind I went to Sevan Armenia, going to plant far less tress than I initial wanted (5000), because I found out that the time was to short, but also the local water supply way to insufficient to do this. And if I don’t start with this project, I also will not learn how to move on in the future and how to improve my plans.

So, the APAGA FOREST was planted April 23, 2022 in Sevan, Armenia with 150 kids. It was an art work I designed in response to an open call (International Art residence), launched by EU4Culture further implemented by: Regional Development and Research Centre, Sevan Community Municipality, ''Sevan Youth Club‘’ and New Art Stage (NAS).

APAGA forest was sketched by Hayk Babayan and plotted with the help of his father (both architects), in an old soviet park near Sevan city, Armenia. APAGA forest was planted with 404 (196 trees growing on the side in case some trees die) pine tree yearlings (Pinus Sylvestris) and need growing, after 10 years, it will be more visible from above, after 10 to 20 years the expectation is that also the round around will be changing and without grooming the forest will expand and the letters will more and more disappear in the future process of growing (in the picture you see 6 stages of the planting and growing over time, approximately 15 to 25 years).

With the high deforestation in the world, the massive bush fires in California, Australia and the Tundra of Russia for example, exhausting Co2 is going even faster. For me as an artist to give back, is to make these super large installations, world wide, in every official country of the world we call earth, planting FUTURE forests, in the local language as a mean to keep on communicating, showing this is possible and seeding seeds in the heads of who is helping me. The real FUTURE, by the way, is not the word planted, stating FUTURE, but the forest that will grow out of it. And I believe that because it is art, the protection will be sufficient. Also, the way the forest will be planted is very important, as it will be done together with the community, preferable youth, with artists talks and all, making them fulling super involved, because they have the future, hopefully a greener future. This all sounds super positive and great, but it is also how to deal with my own fear losing the green world, and what to do about global warming with falling, greedy world leaders.

The forest I planted looks like a mono culture, with 404 Pine trees, but will be left growing on their own pace and no trimming, and are indigenous to the location. And I am in good communication with the team there, so, after 2 or 3 years, I will ask them to plant some bushes, flowers and other trees, that will go well together with the trees as well, to maximise biodiversity.

With biodiversity is meant, all species together (trees, plants, birds, insects, etc.) that, voluntarily live, on a piece of land. For instance, in holland we now have very green grasslands for cows, that are treated in a way they have less than 40 species, which we now can call green desserts. Then we have cultural forests with 300 species and food forests with more than 600 species. A food forest is a permaculture forest that also delivery crops like apple, pear, nuts, grana, fruits, etc.

For my future FUTURE forests project, I would like to get this permaculture knowledge more involved in my forest projects. As Co2 storage for the future is one thing, creating a bigger biodiversity is a must too. But this first FUTURE / APAGA forest was a big success in being inclusive with the youth, youth centre Sevan and the community of Sevan. Though a greater success could have been succeeded if I would have got more time, and could have more talks with the permaculture specialist. But besides that, I think 200 people in Sevan where very enthusiastic and my message reached them. Also, my sponsors, 56 of them, followed the process closely and hopefully some of them will stick with me and this project. Let’s see what grows out of this more.

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Shitty Fast Fashion

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Performance and Installation art work:
Title: 3rd hands clothes for(m) me
Pink, Brown, Black, White, Grey and Ashes
Second hand DAPP clothes, 5 stretcher frames in mathematical forms
75cm high x 100cm wide  x 4cm deep

This artwork is first and foremost about #nature, #climatecrises, #globalwarming, #pollution from the #FastFashion #industry and our ability not to change but are very good in clothing our eyes and ears to the facts, for something not important. We don’t need to change our garderobe 4 times a year.

So, for this performance I used second hand, fast fashion, clothes from DAPP (Development Aid from People to People), Lilongwe Malawi. Well-meant second-hand clothing, from The West, shipped to Africa, destroying local textile industries and local entrepreneurs. Mismanaged on site (DAPP stores over Malawi) also had its part in this bankruptcy. In which I mean: while the mindset is on having items to sell, profiting a few, make money and some have a job, the big profit, and “the lead” will still stay in The West. 

The Western Fashion (clothing) industry sponsors this ‘funny’ and shady trade (and Western people supporting it): in The West they think it is donated, in Zambia and Malawi it is sold, a part of it by DAPP, turning it in a donation again. And hence the pollution of the fast fashion industry already has been there before shipping, all the water spillage (growing cotton, washing, dyeing, washing) and Co2 exhaust by the transport (from Bangladesh sweat shops), child-labour in other 3rd world countries to make it affordable in The West, so we can, after wearing it for a short period (give) it away (and feel so good) to “Africa” (like our old polluting cars), another “third world country” (I am not supporting this terminology, I am using it here cynically). With all these second hands clothing, Zambian and Malawian traditional clothing and / or clothing styles that would evolve with the lack of these (not so) old (not worn out (so not efficient and supporting the clothing industry) clothes, is very much disrupted and vanished. Which is not only a loss of local job options, but very much a cultural loss. Besides this latter 2 points, this way of the shipping and than selling 2nd hand cheap clothes has also destroyed the textile industry in Zambia and Malawi, because local produced clothing is still more expansive than these 2nd hands clothing from The West.

As my thoughts where at the time of creating: ‘this system let us all go to hell’, I performed with these forms in nature, holding them up in my white suit (clown / court jester / village fool, The White Western Man) and ending with smashing ashes around, ashes from pervious burned art works.  

My last point to state: supporting fast fashion and the other fashion forms, is also closing your eyes for the big problems fashion is causing.

About the mathematical forms:
All over the world mathematical lessons are given and almost everybody will get lessons about the surface / perimeter of a triangle, square and circle. To show this fast fashion caused crisis is global, and everyone knows these forms. Personally, I would like to add here the story of Paul Cezanne, one of the front runners of cubism. Cezanne saw the world around him build up out of sphere’s, cubes, cones, cylinders, etc. (bit which “world” did he meant?) so he could paint like he did, becoming one of the founders of cubism, a very Western Art movement. In contrast we have Picasso, who for the last steps of reaching ‘full cubism’ used African masks as inspiration (Les Demoiselles d’Avignon), so, I like to play with these historical facts and would like to combine these two facts and bring culture back /

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