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At the Hinterlands of Paris
durational performance and poetry

Anne de Marcken & jen calkins

 

In 2019, jen calkins & Anne de Marcken planted the seed of The Hinterland,

 

For years we've talked with each other about the climate crisis, the grief, and its nature as a hyperobject. Out of these conversations we devised an emergent project that taps into the redemptive potential of lyricism, video, imagery and community by discombobulating the legal, political and social discourses surrounding climate change.

 

We began with a  process-based rewrite of “Paris When it Sizzles,” Calkins’s 2018 article about the Paris Agreement published in the Washington International Law Journal, “Paris Chopped & Screwed,” a five-hour interactive performance staged at the University of Washington’s 2019 &NOW Fall Convergence.

 

We then pushed off from our initial disruption of the legal document, to each, on our own, engage with what emerged.  Through the first year of the Covid-19 pandemic we worked on poems and images that came together in the manuscript, Annihilation is Underway.

At the same time, in 2020, when the United States became the only country in the world to officially exit the Paris Agreement, we held a virtual event of imagination and respite for people to gather together as we crossed yet another uncanny climate boundary.

 

In 2019, jen calkins & Anne de Marcken planted the seed of The Hinterland,

 

For years we've talked with each other about the climate crisis, the grief, and its nature as a hyperobject. Out of these conversations we devised an emergent project that taps into the redemptive potential of lyricism, video, imagery and community by discombobulating the legal, political and social discourses surrounding climate change.

 

We began with a  process-based rewrite of “Paris When it Sizzles,” Calkins’s 2018 article about the Paris Agreement published in the Washington International Law Journal, “Paris Chopped & Screwed,” a five-hour interactive performance staged at the University of Washington’s 2019 &NOW Fall Convergence.

 

We then pushed off from our initial disruption of the legal document, to each, on our own, engage with what emerged.  Through the first year of the Covid-19 pandemic we worked on poems and images that came together in the manuscript, Annihilation is Underway.

At the same time, in 2020, when the United States became the only country in the world to officially exit the Paris Agreement, we held a virtual event of imagination and respite for people to gather together as we crossed yet another uncanny climate boundary.

 

In 2019, jen calkins & Anne de Marcken planted the seed of The Hinterland,

 

For years we've talked with each other about the climate crisis, the grief, and its nature as a hyperobject. Out of these conversations we devised an emergent project that taps into the redemptive potential of lyricism, video, imagery and community by discombobulating the legal, political and social discourses surrounding climate change.

 

We began with a  process-based rewrite of “Paris When it Sizzles,” Calkins’s 2018 article about the Paris Agreement published in the Washington International Law Journal, “Paris Chopped & Screwed,” a five-hour interactive performance staged at the University of Washington’s 2019 &NOW Fall Convergence.

 

We then pushed off from our initial disruption of the legal document, to each, on our own, engage with what emerged.  Through the first year of the Covid-19 pandemic we worked on poems and images that came together in the manuscript, Annihilation is Underway.

At the same time, in 2020, when the United States became the only country in the world to officially exit the Paris Agreement, we held a virtual event of imagination and respite for people to gather together as we crossed yet another uncanny climate boundary.

 

In 2019, jen calkins & Anne de Marcken planted the seed of The Hinterland,

 

For years we've talked with each other about the climate crisis, the grief, and its nature as a hyperobject. Out of these conversations we devised an emergent project that taps into the redemptive potential of lyricism, video, imagery and community by discombobulating the legal, political and social discourses surrounding climate change.

 

We began with a  process-based rewrite of “Paris When it Sizzles,” Calkins’s 2018 article about the Paris Agreement published in the Washington International Law Journal, “Paris Chopped & Screwed,” a five-hour interactive performance staged at the University of Washington’s 2019 &NOW Fall Convergence.

 

We then pushed off from our initial disruption of the legal document, to each, on our own, engage with what emerged.  Through the first year of the Covid-19 pandemic we worked on poems and images that came together in the manuscript, Annihilation is Underway.

At the same time, in 2020, when the United States became the only country in the world to officially exit the Paris Agreement, we held a virtual event of imagination and respite for people to gather together as we crossed yet another uncanny climate boundary.

 

In 2019, jen calkins & Anne de Marcken opened the path that led us to The Hinterland,

 

The Hinterland had its origins in the conversations we had for years about the climate crisis, its nature as a hyperobject, and our overwhelming grief as we anticipated the crisis and then began to feel it. Out of these conversations we devised an emergent project that taps into the redemptive potential of lyricism, video, imagery and community by discombobulating the legal, political and social discourses surrounding climate change.

 

We began with a  process-based rewrite of “Paris When it Sizzles,” Calkins’s 2018 article about the Paris Agreement published in the Washington International Law Journal. In “Paris Chopped & Screwed,” we staged a five-hour interactive performance at the University of Washington’s 2019 &NOW Fall Convergence, inviting participants to interact with stations providing tools for be present for the climate crisis. During those five hours we also invited chance to dictate the strategies we employed to interact with the text.

 

We then pushed off from our initial disruption of the legal document, to each, on our own, engage with what emerged.  Through the first year of the Covid-19 pandemic we worked on poems and images that came together in the manuscript, Annihilation is Underway.

At the same time, in 2020, when the United States became the only country in the world to officially exit the Paris Agreement, we held The Hinterlands of Paris, a virtual event of imagination and respite for people to gather together as we crossed yet another uncanny climate boundary. This event opened the passageway for us to return again and again to The Hinterland.