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.

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.

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.

German-born artist, designer and researcher Julia Lohmann (b. Hildesheim, 1977) investigates and critiques the ethical and material value systems underpinning our relationship with flora and fauna. She is Professor of Practice in Contemporary Design at Aalto University, Helsinki, where she also lives.

Join Julia Lohmann of the Department of Seaweed and immerse yourselves in a hands-on algae-experience and shared reflection on algae-inspired futures. Julia will introduce you to some techniques for working with algae in art, craft and design and you can make your own algae artefact to take away with you. Around the algae we share conversations on biomaterials and their ethics, ocean literacy and regenerative
design.

Photograph by Petr Krejci

Berlin-based artist Davey Whitcraft works with moving image, installation, and sound to explore how extraction, media infrastructures, and political histories intersect. His practice centers on “Sites of Accumulation” – locations shaped by overlapping forces such as climate change, resource mining, and technological surveillance.

His recent work To Those Who Create the Future is a filmic meditation on lithium and the violent logics of energy transition. Shot across contested sites in Atacama, Chile, and the Mojave Desert in California, the piece reflects on extraction, colonial residue, and the ideological charge of digital utopias.

Kristina Frank has studied video at the Royal Academy of Arts and has a master’s in Production Design at SADA, Stockholm. In her animation she uses space, objects and people to create life and atmosphere. Building models and creating worlds is a cornerstone of her practice, and she preferably uses traditional materials such as paper and cardboard, that she finds in the recycling.

At the Art Interventions 2Rabbits in Purgatorio will be exhibited. 2Rabbits is a performance duo consisting of Kristina Frank and Mervi Kekareinen Two rabbits dressed in handsome gray suits, white gloves and oldfasshioned suitcases. Their mission is getting to know and understand humanity, they get hurt, sometimes they die but somehow they always manage to come back safe and sound.The film is a montage made from grainy journal films, Gustave Doré’s illustrations from The Divine Comedy and sceneries from deserted places on Gotland.