Carbon Generation 碳世代

Carbon must be the hit word now.
Caron emission, carbon footprint, carbon capture and sequestration or storage, carbon cycle, carbon generation ... all are in a carbon era.

Carbon Generation is a performance done by London artist-activist group Platform. They currently have a big exhibition at Arnolfini Gallery in Bristol with a series of program on discussion, performance and workshops. The exhibition is entitled "C Words: carbon, climeate, capital, culture, How did you get here and where are we going?"

I went to see the exhibition all the way from London, taking two days over there, and attending the discussion on "Isn't this all just Green Imperialism?" For someone who comes from a different culture and different society like me, this topic seems more attractive. I'm really glad to know that Platform always examine and self-reflect on the related issues without self-rightousness even though they believe in activism. The discussion was broad, somehow difficult to pin down certain answers people usually like to have, but open up an expansive ground to think about which isn't too bad at all.

Platform's works are quite complex indeed, involving aspects of environmental, socio-economical, political and cultural. They're all intertwined and difficult to analyze by just cutting through. The same applys to their performance.

When Jane recommended me to stay and see the "Carbon Generation", I was a little bit reluctant. I thought the performance would be some kind of body movement and the title gives me an impression of some sort of chemical engineering, a bit dull and lackluster. But Janey wanted to stay and watch it for a while before she had to catch the train, so I stayed along.

It turned out to be the three performers (Tim Fairs, James Marriott, Benjamin D) made a beautifully scripted act by telling their family histories juxtaposed with the hard facts of cheap oil depletion or the so called peak oil. The method which required someone to look back 3 generations and 3 forward as well particularly invoked a yearning in me to do the same thing and similar application. The individual and personal approach seems to be working successfully on me.

I talked to James next morning and learned that their works obviously weren't just confined in the art gallery. They used to do it on street or workshops, involving corporate workers and city officials. Arnolfini is the first time they have it in an art gallery, and it's a test on a new turf to exert their ideas on art and works. Although some audience might question "Is this art?" James says he doesn't care a bit of it. I greatly admire their focus and passion which, as David Haley put it, never got lost in the diffent phases of their art and activist practicing.