Ephemeral Coast Curator’s Perspective: Celina Jeffery

One of the central intentions of Ephemeral Coast is to consider new ways of configuring culture and meaning into experiences of environmental change. As a university based curator, I’m interested in how alliances between the visual arts, academia and community can create such opportunities for us to consider this.

South West Wales, which boasts stunning beaches on the Swansea peninsula that sit side by side with a significant industrial past and a commercial present, is an obvious choice for me to locate one of the Ephemeral Coast exhibitions. It offers potential for so many facets of the project’s goals: the gallery hosting the exhibition is situated in a maritime quarter and has the capacity to connect through geographic proximity and community to the cultures of the coast. Moreover, South Wales, along with the West of Wales and most regions in the South of England, have experienced startling and aggressive weather patterns – mostly attributed to climate change, with record storm surges and flooding remapping the physical and I would argue, emotional contours of the coastline with serious ramifications of how we conceptualize living on the coast.

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I also grew up in one of the more industrial areas of South Wales and carry very vivid memories of the surprising and often sublime contrasts between this coastal region, the coal, steel and chemical works which dominated the coastal edge and the hills and valleys which envelop the habitats of the communities within. Major aspects of these industries and their associated cultures have now recessed, thwarted by lack of economic regeneration, while the long-term impact of such industries upon the environment have yet to be fully realized. The artists taking part in Ephemeral Coast, S. W. Wales were chosen for a number of reasons, but all have been concerned with the aesthetic problems and conditions that arise from coastal environmental changes occurring within their specific region.

The artists taking part in this exhibition currently employ ideas, themes and methods of exploration and mapping coastal culture and their related ecologies; and all are concerned with practices of site-specificity. Each of the artists produced new work based on the curatorial premise of the exhibition: Stefhan Caddick, (Abergavenny, Wales) will respond to the recent floods in the region with a diorama inspired by J.G. Ballard’s Drowned World, which alludes to nihilism, biblical floods as well as contemporary migrations; Fern Thomas’s (Swansea, Wales) From the Watchtower Radio Station will utilize sound recordings of her own performative practices of observing the sea as well as those of her community for ‘the […] space’ in Mission Gallery; while Julia Davis’ (NSW, Australia) video installation presents a comparative geography in which the artist positions herself ‘at the edge’ of an encounter – with nature’s wonder and imminent ecocide. Meanwhile, Gemma Copp, a Swansea based artist has produced a video for ‘the […] space’ in which she contemplates the breath of the sea and its figurative death.

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Leaving Tide, Gemma Copp, 2014

There are always and inevitably gaps in the conceptualization of such projects and their specific realization. The cultural imaginings of coastal environmental changes in local and comparatively global contexts is magnanimous; the task of identifying the ethical and aesthetic potential of curating climate change is a difficult one; and the concept of using the exhibition as a forum for exchange between multiple but related disciplines in academia while also trying to create legitimate engagement with the public sphere is challenging.  Yet, if viewed as an event that creates a series of propositions, Ephemeral Coast offers an interesting nexus of dialogue between art, ecology, and community.

Some of these questions fold back on identifying the aesthetic problem itself: the curatorial process offers for me, a unique opportunity to discover, analyze, re-imagine and re-frame the cultural and ethical discourses surrounding environmental change. It is therefore, the very ‘uniqueness’ of Caddick’s drowned world, of Davis’s numinous encounter with the coastal perimeter, of Thomas’s daily observations of the sea and Copp’s fusing of her breath with that of the tide, that present very particular and distinct takes on our relationship to the coast. Indeed, the ‘topic’ of climate change – a nebulous and indistinct phenomenon associated more with changing weather patterns than multifarious economic, political and cultural impacts on the environment, is not overtly or didactically apparent. It is not an exhibition ‘about’ climate change, so much as a series of individual, poetic and socially investigative aesthetic considerations which trace the coast as a liminal, transgressive and ‘ephemeral’ counter-narrative.

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Ephemeral Coast is a long-term research project with exhibitions currently planned for Mauritius (2015) and Alaska (2016) with further sites being investigated. A catalogue of Ephemeral Coast – S. W. Wales, will be available, with contributions by Ian Buchanan, Director of the Institute of Social Transformation, University of Wollongong, NSW, Australia; Mary H. Gagen, Associate Professor of Geography and Climate Change, University of Swansea, Wales; and Celina Jeffery.

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