The 2025 Climate Histories conference has the ambition to bring academics, the public, and artists together to reimagine storytelling about the experiences of living in a world with changing climate. Coinciding with the conference, we have organized a program of art interventions on the same theme. Through generous funding from Nordic Culture Fund and Future Earth we were able to support seven artists through an open call to activate their proposed art interventions during the conference. The seven interventions will be open to the public as well as the conference attendees. Tuesday, August 19th and Wednesday, August 20th from 18 – 21, these interventions will be exhibited, and you are warmly welcomed to participate. Several of the interventions will also be available for our online conference attendees.
Meet the seven artists and read about their work for the Climate Histories Art Interventions Project
C. Grace Chang
C. Grace Chang is a U.S. artist, curator, and researcher based in Malmö, Sweden. Her work
explores liminality, combining decolonial theory with moving image, sound, and installation to
examine visual coding of safe havens and refusal as a starting point.
My audio installation λεμόνι lemon ليمون citron (lemóni lemon lymun citron) archives lost places
through memory and taste. Though we may lose places to climate change, war, migration, or
time, they live on in our stories. In recorded interviews, regenerative farmers in Evia, Greece give
recollections in their preferred languages over bowls of local produce. You’re invited to listen, eat,
and remember/resurrect your own lost places.
Photograph by Orestis Seferoglou
Anna Pehrsson
Anna Pehrsson, born in Boliden, Sweden, is a dancer, choreographer and artist active in the intersection between dance, choreography and visual arts. She has danced with Alias Compagnie, Corpus / Royal Danish Ballet, and Cullberg Ballet, among others, and has since debut as a choreographer in 2016, created a wide range of works for the gallery, the public sphere, as well as commissioned works and research projects. She is also a visual artist, extending her work to medias such as writing, drawing, stone carving, metal work and video.
Departing from a thorough research into the prerequisites of movement from a geological and ecological perspective, my work seeks to articulate environments where bodies, objects and things coincide into place. Between evanescence and permanence, I explore textures, volumes and vibrations through dancing, writing, drawing and stonecarving in order to create new imaginaries. Where push meets pull, movement as transformation – with its temporality and inner logics intact -expands into an energetically driven mass, opening up towards a poetics of coexistence, an other and elsewhere.
How might imagination and poetics make sense of the relationship between the Human and the Earth at a moment of ecological crisis? The project Mountainbuilding learns from geological processes in order to produce movements within bodies and environment – activations and imaginaries that come together as speculations for change.
elieli
elieli is a multidisciplinary artist and choreographer navigating through a field of entanglement, ecology and technology. They are working through scores of listening, listening to the gentle pushes of bodies; bodies as in landscapes, bodies as in matter, bodies as in beings. How one thing is never separate from another.
This.
How we touch, through reading this, how we touch.
They have an education in fine arts, film and in 2019, they graduated from SNDO at Amsterdam University of Arts with a degree in choreography. Their work with performance & interactive installations has been showcased in theaters, galleries, and festivals around Sweden and Europe.
Heavy Metal Clouds is a performative lecture and guided meditation exploring the entanglements of minerals, toxicity, memory, and digital technology. Drawing from field notes at a toxic lake in Inner Mongolia, it considers the digital sphere as a haunted, spectral entity—shaped by extraction and environmental violence.
James Webb
James Webb is a South African artist living in Sweden. His work has been described as exploring the nature of belief and dynamics of communication in our contemporary world, often using found objects, sound, and text to achieve these aims.
There’s No Place Called Home is a recurring, worldwide intervention in which audio recordings of specific foreign bird calls are broadcast from speakers concealed in local trees. Like a hack into nature, the artwork generates meaning out of displacement, using alien and exotic elements to illuminate the social, cultural, and political interactions endemic to the installation site. As bird vocalisations are generally employed to mark territory and attract mates, the thematics of this artwork key into issues of power, freedom, hospitality, and migration. Started in 2004, over 60 versions of this intervention have been undertaken on 6 continents.
Eliza Evans
Eliza Evans experiments with data, archives, and bureaucracy to identify and exploit disconnections and contradictions in social, economic, and ecological systems. With ruthless study, analysis, and wit, Evan locates the points where the logic of these systems is vulnerable to pressure and collapse.
Hellfire Holdings is a satirical, participatory artwork structured as a legal fund for communities
directly impacted by fossil fuel extraction, presented through the form of a temporary Investor
Relations Office. It mobilizes collective investment to support high-stakes environmental
lawsuits brought by communities harmed by fossil fuel development. The project uses the
architecture of finance—contracts, filings, prospectuses—as artistic material and intervention,
transforming structures of property and profit into tools for solidarity, cultural power, and
climate justice.
Lynn Cazabon
Lynn Cazabon is an American artist whose multifaceted projects employ participation as a strategy to deepen public engagement with the environmental, existential, and emotional ramifications of the climate crisis.
For the ESEH Climate Histories Art Interventions, she will activate a unique version of her ongoing project Losing Winter, a participatory artwork and archive of memories and emotions about winter, revealing the personal and cultural ties we have to the season and reflecting upon what we are collectively losing due to climate change impacts on seasonal patterns. Losing Winter is a site-specific project intended to be realized in different locations around the world. She would like to invite the public and ESEH conference attendees to become part of the project by contributing a memory about winter from their past. Please visit the Losing Winter installation to record your memory and to experience memories contributed by people in other locations.
Niklas Wallenborg
Niklas Wallenborg is a post-digital artist exploring transformation, sampling, and inter-cultural allusions: My work critiques society by creating alternative realities through sci-fi influences. I merge past, present, and future, addressing moral, political, and technological aspects. Through art, I resist and reshape reality, exploring the gap between human emotions and the virtual world. From mythology to digital bodies, I bridge high-tech with a low-tech approach.
Climate Time Capsule is a web-based participatory artwork and archive. Where private reflections on climate change are sealed until August 22, 2050.— With this work I explore our relationship with time, the boundary between private and public, and how language, collective memory, and climate narratives evolve over time.
Photograph of work “I Also Grew Up in Silence and Solitude”
The Climate Histories Art Interventions are sponsored by
