This month marks the 26th UN Climate change conference in Glasgow UK and this theme of climate change and land art or Earth art is what we would like you to produce work on for our next open call…. The Land Art Issue 19 Haus - A - Rest - arts zine.

Intangibility in art could be the core of creation and transformation: perception, habits, culture, language, time, or memory can be channels used to define artistic practice and this is the core practice of Land art.

This symbiosis between tangible and immaterial is what, along with history, builds the identity of a territory. Whichever country you are from we want to see how you are using Land Art or Earth art in your practice to raise awareness of the environment, be that nature-related, or social-economic related. 

As a trend, "land art" expanded the boundaries of art by the materials used and the siting of the works. The materials used were often the materials of the Earth, including the soil, rocks, vegetation, and water found on-site, and the sites of the works were often distant from population centers, this has changed slightly over the years as we need to make more of an impact in bringing these issues to the fore.

You probably recognize land art, even if you don't know exactly what it is. You may have even made some yourself if you've drawn intricate patterns on a beach or arranged stones in a pattern near a stream bed. Land art is that which is made from natural materials, built or created in an outdoor setting, and which makes some kind of comment or observation about the environment.

That accessibility is part of the foundation of land art — sometimes called earthworks or earth art. It grew out of and shares common ground with the artistic movements of conceptualism and minimalism, but some think land art is arguably the oldest creative form. Monuments like Stonehenge, the Mexican pyramids, and the Nazca Lines could all be considered ancient earthworks or earth art.

Its evolution as an art form was also spurred by some artists' reactions against the increasingly commodified art world during the late 1960s. Simultaneously, many were inspired by the activism around environmental issues and the new attention towards the human relationship with the earth, a subject of books, films, and music of the time. Land art allowed its creators to work outside the dominant art paradigms of the time while commenting on something of social relevance,

"Spiral Jetty" by Robert Smithson, is a perfect example of this idea. Built-in 1970, it's made of rock, earth, and algae in a 1,500-foot-long spiral that projects into Utah's Great Salt Lake. You can see more or less of the sculpture depending on natural fluctuations in the water level.

Your submission should be a response to this climate crisis and how you choose to do this through your practice.

You will need to submit:

1) Good-quality images of your work (please do not send us thumbnail images).

2) Three lines of text to explain your concept,  why you made the piece and any obstacles you had to overcome.

3) Your Instagram name so we can tag you.

Your work will not be accepted if you do not provide all of the four requested items. If accepted your work will be featured in the Zine, Instagram, and FB for a least one month, and very likely for several.

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