Award 2021
Welcome to the Social Art Award 2021 – Online Gallery!
We are grateful for the many inspiring contributions from artists around the world. The selected works reflect a broad spectrum of contemporary social art practices and explore new relationships between humans, nature, and technology. They address themes such as ecological regeneration, climate justice, sustainable futures, social resilience, and more-than-human perspectives.
Below you will find the submissions from the Social Art Award 2021 – New Greening edition that passed the initial jury round. The Online Gallery offers public visibility to these works and encourages dialogue around their ideas and approaches; it does not replace the final jury decision.
Thank you to all artists for sharing your visionary and committed work. We invite you to explore the gallery and engage with the perspectives shaping New Greening.
36
Social Distance through Dance
643
Title:
Social Distance through Dance
Social Distance through Dance
Author:
River
River
Description:
This project is an exploration on social distancing, through dance, movement and sustainability. I hope to address our current social restrictions, and offer a sustainable solution to represent hope for the future. I had become incredible anxious from constantly thinking about distancing myself, that I wanted to make something that would spark joy, while still keeping people socially distant. I decided to focus on a costume that I could create for dancing, as a homage to the freedom of movement we had lost, and were trying to regain in a world devoid of it. I made two costumes, so that the added distance between the dancers was 1.5 meters. I was inspired by Carnival costumes that are worn on J’ouvert every year during the carnival in Antigua. I was also inspired by the Lionfish, and wanted to copy the mobility of its fins. I had swam with the invasive species many times, and wanted to replicate its colours and the way it moved. I wanted my costumes to be completely biodegradable, as many carnival costumes are only used once and then thrown away. I also wanted to source from the environment around me, and used palm fronds to create the first costume. I weaved them together (a common Caribbean practice) to create a harness, and built the rest of the costume outwards. As I had created the first costume from the land, I wanted to create the second from the sea. I found a fishing net that had washed up, and created a harness using it, and then attached sea-fans to it, almost as if the reef was growing outwards from the base I had made. I used biodegradable string to construct both costumes, so they could both be disassembled, and the materials could be returned to nature after the costumes had been worn. My father photographed my sisters and I dancing in the costumes, demonstrating that even though we must stay socially distant, we can use these new restrictions as inspiration, creating joy in a time where it is much needed. I hope this project can inspire more social art, and the ability to create sustainably.
This project is an exploration on social distancing, through dance, movement and sustainability. I hope to address our current social restrictions, and offer a sustainable solution to represent hope for the future. I had become incredible anxious from constantly thinking about distancing myself, that I wanted to make something that would spark joy, while still keeping people socially distant. I decided to focus on a costume that I could create for dancing, as a homage to the freedom of movement we had lost, and were trying to regain in a world devoid of it. I made two costumes, so that the added distance between the dancers was 1.5 meters. I was inspired by Carnival costumes that are worn on J’ouvert every year during the carnival in Antigua. I was also inspired by the Lionfish, and wanted to copy the mobility of its fins. I had swam with the invasive species many times, and wanted to replicate its colours and the way it moved. I wanted my costumes to be completely biodegradable, as many carnival costumes are only used once and then thrown away. I also wanted to source from the environment around me, and used palm fronds to create the first costume. I weaved them together (a common Caribbean practice) to create a harness, and built the rest of the costume outwards. As I had created the first costume from the land, I wanted to create the second from the sea. I found a fishing net that had washed up, and created a harness using it, and then attached sea-fans to it, almost as if the reef was growing outwards from the base I had made. I used biodegradable string to construct both costumes, so they could both be disassembled, and the materials could be returned to nature after the costumes had been worn. My father photographed my sisters and I dancing in the costumes, demonstrating that even though we must stay socially distant, we can use these new restrictions as inspiration, creating joy in a time where it is much needed. I hope this project can inspire more social art, and the ability to create sustainably.
Description:
This project is an exploration on social distancing, through dance, movement and sustainability. I hope to address our current social restrictions, and offer a sustainable solution to represent hope for the future. I had become incredible anxious from constantly thinking about distancing myself, that I wanted to make something that would spark joy, while still keeping people socially distant. I decided to focus on a costume that I could create for dancing, as a homage to the freedom of movement we had lost, and were trying to regain in a world devoid of it. I made two costumes, so that the added distance between the dancers was 1.5 meters. I was inspired by Carnival costumes that are worn on J’ouvert every year during the carnival in Antigua. I was also inspired by the Lionfish, and wanted to copy the mobility of its fins. I had swam with the invasive species many times, and wanted to replicate its colours and the way it moved. I wanted my costumes to be completely biodegradable, as many carnival costumes are only used once and then thrown away. I also wanted to source from the environment around me, and used palm fronds to create the first costume. I weaved them together (a common Caribbean practice) to create a harness, and built the rest of the costume outwards. As I had created the first costume from the land, I wanted to create the second from the sea. I found a fishing net that had washed up, and created a harness using it, and then attached sea-fans to it, almost as if the reef was growing outwards from the base I had made. I used biodegradable string to construct both costumes, so they could both be disassembled, and the materials could be returned to nature after the costumes had been worn. My father photographed my sisters and I dancing in the costumes, demonstrating that even though we must stay socially distant, we can use these new restrictions as inspiration, creating joy in a time where it is much needed. I hope this project can inspire more social art, and the ability to create sustainably.
This project is an exploration on social distancing, through dance, movement and sustainability. I hope to address our current social restrictions, and offer a sustainable solution to represent hope for the future. I had become incredible anxious from constantly thinking about distancing myself, that I wanted to make something that would spark joy, while still keeping people socially distant. I decided to focus on a costume that I could create for dancing, as a homage to the freedom of movement we had lost, and were trying to regain in a world devoid of it. I made two costumes, so that the added distance between the dancers was 1.5 meters. I was inspired by Carnival costumes that are worn on J’ouvert every year during the carnival in Antigua. I was also inspired by the Lionfish, and wanted to copy the mobility of its fins. I had swam with the invasive species many times, and wanted to replicate its colours and the way it moved. I wanted my costumes to be completely biodegradable, as many carnival costumes are only used once and then thrown away. I also wanted to source from the environment around me, and used palm fronds to create the first costume. I weaved them together (a common Caribbean practice) to create a harness, and built the rest of the costume outwards. As I had created the first costume from the land, I wanted to create the second from the sea. I found a fishing net that had washed up, and created a harness using it, and then attached sea-fans to it, almost as if the reef was growing outwards from the base I had made. I used biodegradable string to construct both costumes, so they could both be disassembled, and the materials could be returned to nature after the costumes had been worn. My father photographed my sisters and I dancing in the costumes, demonstrating that even though we must stay socially distant, we can use these new restrictions as inspiration, creating joy in a time where it is much needed. I hope this project can inspire more social art, and the ability to create sustainably.