: Lara Almarcegui, Amy Balkin, James Boyle, Fernando Bryce, Susan Canney, Chu Yun, Jimmie Durham & Maria Thereza Alves, Feng Yuan, Futurefarmers & Free Soil, Tue Greenfort, Thomas Hirschhorn, Katie Holten, Jiang Jun, Jeffrey Kastner, Winona LaDuke, Learning Group, Lucy R. Lippard, Wangari Maathai, Jonathan Meuser, Jason Middlebrook, Nils Norman, David Naguib Pellow & Lisa Sun-Hee Park, PLATFORM, Natascha Sadr Haghighian, Paul Schmelzer, Peter Schmelzer, Michael Shellenberger & Ted Nordhaus, Cameron Sinclair, Stephanie Smith, Bruce Sterling, Kirstine Roepstorff, Rirkrit Tiravanija, David Toop, Vitamin Creative Space, Insa Winkler, the Worldwatch Institute and Zheng Guogu. Artists’ plates section
: Claire Bishop on Francis Alÿs, Gemma Lloyd on Donna Conlon, Max Andrews on Henrik Håkansson and Insa Winkler, Diana Baldon on Marine Hugonnier, Mariana Cánepa Luna on Alfredo Jaar, Zoë Gray on Brian Jungen, Lars Bang Larsen on Aleksandra Mir, Richard Flood on Richard Prince, Alejandra Aguado on Tomás Saraceno, Francesco Manacorda on Simon Starling.
The publication 'LAND, ART: A Cultural Ecology Handbook' was commissioned by the Royal Society of Art (RSA)
in partnership with the Arts Council England
. Its London launch
on December 2006 coincided with the RSA, Arts Council England and London School of Economics & Political Science
's symposia ‘No Way Back?
Accompanying the first year of the RSA’s Arts & Ecology
programme, this compendium of essays, dialogues and commissioned pages by artists, new and reprinted texts and interviews by ecologists, cultural theorists, activists and curators explored art’s varied modes of response to notions of territory, the Earth and the emergencies of 21st century. In part a genealogy of ‘land’ and what has been understood by ‘the environment’ since the 1960s—with the activities of ‘Land artists' and the emergence of a popular ‘eco’-consciousness—the publication
proposed and tested if and how our conceptions of art and artists are relevant to a global debate about the future of the planet, and where, how and why art might operate—at the grass roots, at a tangent, as propaganda, activism or as resistance, for example.