Urban horse soil action
The project investigated waste management, play, communality and re-introduction of animal power, with the intervention of two working horses, Sarah and Dalton, who joined us perform a service for social and ecological sustainability in the urban environment.
In a residence at Astrid Noacks atelier in Rådmansgade, Outer Nørrebro, Copenhagen, Kultivator built a common tombola-compost in the backyard of the artspace.
The compost can work as a meeting point for people in the backyard, but also to be a destination for school children from the area that can leave organic waste to it, and study how an organic circuit works. Symbolically, the compost becomes an image of seemingly useless scrap from many households together is broken down and converted into fine soil that gives rise to new life.
To introduce compost to a lot of people and open up for discussion around it, Kultivator ran a campaign to collect green waste by handing out buckets, and then collect them with the help of the two horses pulling a carriage through the neighborhood of Yttre Nörrebro, Copenhagen.
Anyone who wanted could also join her- or himself for parts of the travel. The origin of the idea comes from the second world war-time collection of kitchen waste by horse and buggy in European cities.
At that time, the public was called on to contribute to the common good in times of great need.
In our time and place, the immediate crisis of climate change and soil destruction is less visible, but not less serious. The day of gathering and slowly driving round the area to finally stop at the compost and start it, serves as an accessible and friendly opening to discuss and engage around composting and possible horse re-introduction in the city.
The compost will now digest its first portion of organic waste, and the soil will be used in the
installation of a future roof top garden in the backyard. Sarah and Dalton are back in their
countryside, but not unwilling to come back and work the urban again…
In the last few years we have witnessed how the corrosion of the three main modes of social imaginary that defined modernity – the market economy, the public sphere, and the self-government of citizens – has reached a critical point. As a result, the increasing number of people in different fields, social scientists, artists, public intellectuals, and activists are calling for rethinking and reinventing social change. Such voices, however, are too often fragmented in their respective boundaries, and, consequently, they have not yet been able to articulate a compelling alternative metanarrative that the public would identify with and which would thus result in a major positive change.
The project Cartographies of Hope: Change Narratives was born out of the sense of urgency and the effort to address this situation. It seeks to bring attention to this condition and to call for joint effort to identify alternatives we can agree. The premise of the project is that narratives of social imaginary play a key role in generating positive changes. Social change is always seen as a certain story, which then becomes an important driver of the change itself. This double function of reflection and agency constitutes
a methodological core of the project.
The last couple of decades have been characterized by the dominant influence of neo-liberal ideology, notably by its narrative about the market mechanisms as natural principles penetrating all fields of social life, including education, healthcare, science, and art. The result is rising inequality, thinning social cohesion, and the fragmentation of polity. In this situation, to simply critique and historicize the neo-liberal system is not enough. We need to connect alternative narratives into a coherent whole –
a metanarrative that would provide us with a sufficient social cohesion
on one hand and openness and hope on the other. The project Cartographies of Hope: Change Narratives comprises of an exhibition, two conferences, workshops, and discussions. Its objective is to map different narratives of social imaginary and to start connecting them to a coherent bigger story, as well as to develop networks and shared databases of individuals and institutions associated with those narratives on local and international levels. The exhibition is organized in several sections and subsections that represent diverse narratives of change, while their sum and sequence indicate a larger picture that may inspire thinking about a new metanarrative:
1. Multitude of social change (local and global, fast and slow, generational and inter-personal)
2. Crises (ecologial, financial and economic, political, moral)
3. Disrespect and protest (forms of disrespect: injustice, inequality, unfreedom, forms of protest, protest movements)
4. Social imagination (solidarity and participation, moral and political dimensions of economy, global respect and justice, humanity and nature)
Daniel García Andújar, Kader Attia, Eva Bakkeslett, Michael Bielicky and Kamila Richter, Matthew Connors, Teddy Cruz, Amy Franceschini, Alexandra Daisy Ginsberg, Michael Joaquin Grey, Ingo Günther, Toril Johannessen, Fran Ilich, OS Kantine, Krištof Kintera, Kitchen Budapest, Kultivator, Suzanne Lacy, Steve Lambert, Daniel Latorre and Natalia Radywyl, Lize Mogel, Naeem Mohaiemen, Nils Norman, Christian Nold, Sascha Pohflepp and Karsten Schmidt, Morgan Puett, Oliver Ressler, Abu Bakr Shawky, Superflex, Terreform ONE, Krzysztof Wodiczko, The Yes Men and Ztohoven.
Curator: Jaroslav Anděl
Supermarket artfair 2011, Kulturhuset, Stockholm
A Cross cultural Nomadic Cheese in our boot at Supermarket. 10 litre of milk will be brought from Kultivators farm om Öland, and during the art fair it will be processed into à cheese. This cheese is the second one in à series of cheese made in cultural institutions. Micro cultures in the non- pasteurised milk from the farm will react and developed together with the collective cultures from artist – run gallery's and the great culture of Stockholms Kulturhuset, for à cheese with strong and complex taste.