Museums preserve clues that can help scientists predict and analyze future pandemics

Pamela Soltis

Distinguished Professor and Curator, Florida Museum of Natural History, University of Florida

Joseph Cook

Professor of Biology and Curator, Division of Mammals, Museum of Southwestern Biology, University of New Mexico

Richard Yanagihara

Professor of Pediatrics and Principal Investigator, Pacific Center for Emerging Infectious Diseases Research, University of Hawaii

24 June 2020  8.17am EDT

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In less than 20 years, communities around the globe have been hit by a string of major disease outbreaks: SARS, MERS, Ebola, Zika and now, COVID-19. Nearly all emerging infectious diseases in humans originate from microorganisms that are harbored by wildlife and subsequently “jump,” either directly or indirectly – for example, through mosquitoes or ticks – to humans.

One factor driving the increase in zoonotic disease outbreaks is that human activities – including population growth, migration and consumption of wild animals – are leading to increased encounters with wildlife. At the same time, genetic mutations in viruses and other microbes are creating new opportunities for disease emergence.

But humans remain largely ignorant of our planet’s biodiversity and its natural ecosystems. Only two million species – about 20% of all the estimated species on Earth – have even been named. In our view, this fundamental ignorance of nearly all aspects of biodiversity has resulted in an inefficient, poorly coordinated and minimally science-based response to key aspects of the COVID-19 pandemic.

We have diverse backgrounds in plant and mammal evolution and emerging infectious diseases. In a newly published commentary that we wrote with colleagues from across the U.S. and in six other countries, we identify a largely untapped resource for predicting future pandemics: natural history collections in museums around the world.

These collections preserve specimens of animals, plants and other organisms that illustrate the diversity of life on Earth. They are reservoirs of information and samples that can help scientists identify likely pathogen sources, hosts and transmission pathways. We believe that leveraging collections in this way will require more resources and more collaboration between biodiversity scientists and disease outbreak sleuths.

Sir David Attenborough explains how museum collections contribute to our understanding of the natural world.

Archives of life on Earth

Research shows that zoonotic diseases have increased due to human intrusion into animal habitats. In particular, destruction of tropical rain forests throughout the world has brought us face to face with microbes that occur naturally in wild animals and can cause disease in our own species.

Earth’s biodiversity is connected through a family tree. Viruses, bacteria and other microbes have evolved with their hosts for millions of years. As a result, a virus that resides in a wild animal host such as a bat without causing disease can be highly pathogenic when transmitted to humans. This is the case with zoonotic diseases.

Unfortunately, national responses to disease outbreaks are often based on very limited knowledge of the basic biology, or even the identity, of the pathogen and its wild host. As scientists, we believe that harnessing centuries of biological knowledge and resources from natural history collections can provide an informed road map to identify the origin and transmission of disease outbreaks.

These collections of animals, plants and fungi date back centuries and are the richest sources of information available about life on Earth. They are housed in museums ranging from the Smithsonian Institution to small colleges.

Together, the world’s natural history collections are estimated to contain more than three billion specimens, including preserved specimens of possible hosts of the coronaviruses that have led to SARS, MERS and COVID-19. They provide a powerful distribution map of our planet’s biodiversity over space and through time.

Preserved pathogens

How can researchers channel these collections toward disease discovery? Each specimen – say, a species of pitcher plant from Florida or a deer mouse from arid New Mexico – is catalogued with a scientific name, a collection date and the place where it was collected, and often with other relevant information. These records underpin scientists’ understanding of where host species and their associated pathogens are found and when they occurred there.

Connecting the site of a disease outbreak to potential pathogen hosts that occur in that area can help to pinpoint likely hosts, sources of pathogens, and pathways of transmission from hosts to humans and from one human to another. These natural history collections are connected worldwide through massive online databases, so a researcher anywhere in the world can find information on potential hosts in far-off regions.

But that’s just the beginning. A preserved specimen of a rodent, a bat or any other potential host animal in a collection also carries preserved pathogens, such as coronaviruses. This means that researchers can quickly survey microbes using specimens that were collected decades or more before for an entirely different purpose. They can use this information to quickly identify a pathogen, associate it with particular wild hosts, and then reconstruct the past distributions and evolution of disease-causing microbes and hosts across geographic space.

Many collections contain frozen samples of animal specimens stored in special low-temperature freezers. These materials can be quickly surveyed for microbes and possible human pathogens using genetic analysis. Scientists can compare DNA sequences of the pathogens found in animal specimens with the disease-causing agent to identify and track pathways of transmission.

Nitrogen freezers for cryo-preserving specimens in the Smithsonian National Museum of Natural History’s Biorepository. Donald E. Hurlbert/SmithsonianCC BY-ND

For example, museum specimens of deer mice at the University of New Mexico were key to the rapid identification of a newly discovered species of hantavirus that caused 13 deaths in the southwest United States in 1993. Subsequent studies of preserved specimens have revealed many new species and variants of hantaviruses in other rodents, shrews, moles and, recently, bats worldwide.

Equipping museums and connecting scientists

Natural history collections have the potential to help revolutionize studies of epidemics and pandemics. But to do this, they will need more support.

Even though they play a foundational role in biology, collections are generally underfunded and understaffed. Many of them lack recent specimens or associated frozen tissues for genetic analyses. Many regions of our planet have been poorly sampled, especially the most biodiverse countries near the tropics.

To leverage biodiversity science for biomedical research and public health, museums will need more field sampling; new facilities to house collections, especially in biodiverse countries; and expanded databases for scientists who collect the samples, analyze DNA sequences and track transmission routes. These investments will require increased funding and innovations in biomedical and biodiversity sciences.

Another challenge is that natural history curators and pathobiologists who study the mechanisms of disease work in separate scientific communities and are only vaguely aware of each other’s resources, despite clear benefits for both basic and clinical research. We believe now is the time to reflect on how to leverage diverse resources and build stronger ties between natural history museums, pathobiologists and public health institutions. Collaboration will be key to our ability to predict, and perhaps forestall, future pandemics.

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Pamela Soltis, Joseph Cook, Richard Yanagihara

Museums preserve clues that can help scientists predict and analyze future pandemics

first published in “The Conversation” under a Creative Commons license

IEA: Coronavirus ‘accelerating closure’ of ageing fossil-fuelled power plants

IEA: Coronavirus ‘accelerating closure’ of ageing fossil-fuelled power plants

Josh Gabbatiss, Carbon Brief, 27 May 2020

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This year will see the largest ever drop globally in both investment and consumer spending on energy as the coronavirus pandemic hits every major sector, according to the International Energy Agency (IEA).

The crisis is accelerating the shutdown of older fossil-fuelled power plants and refineries, with the agency saying it could provide an opportunity to push the global energy sector onto a “more resilient, secure and sustainable path”.

In the latest edition of the World Energy Investment report, which Carbon Brief has covered in previous years, the IEA has gone beyond its usual remit of reviewing annual trends. 

Its analysis looks ahead to the coming year and estimates the impact of this year’s economic turmoil on energy investment, which was expected to grow by around 2% prior to Covid-19. It is now expected to drop by 20%, or almost $400bn.

Meanwhile, as demand and prices collapse, consumer spending on oil is expected to drop by more than $1tn, prompting a “historic switch” as spending on electricity exceeds oil for the first time.

Here, Carbon Brief has picked out some key charts to illustrate the economic repercussions of the pandemic across the energy sector.

Energy investment will drop by a fifth

The “baseline expectation” for 2020 is a global recession resulting from widespread lockdowns, according to the IEA. Last month, the agency estimated this will also lead to CO2 emissions dropping by 8% this year in the largest decline ever recorded.

Based on the latest investment data and project information, announcements from companies and governments, interviews with industry figures and its own analysis, the IEA concludes such a recession will see energy investment drop by a fifth. This can be seen in the chart below.

Energy investment is set to fall by a fifth in 2020 due to the coronavirus pandemic. Fuel supply (red) includes all investments associated with the production and provision of fuels to consumers, consisting mainly of oil, gas and coal investments. Power sector (blue) includes spending on power-generation technologies, grids and storage. Energy end use and efficiency (yellow) includes the investment in efficiency improvements across all end-use sectors. Source: IEA
Energy investment is set to fall by a fifth in 2020 due to the coronavirus pandemic. Fuel supply (red) includes all investments associated with the production and provision of fuels to consumers, consisting mainly of oil, gas and coal investments. Power sector (blue) includes spending on power-generation technologies, grids and storage. Energy end use and efficiency (yellow) includes the investment in efficiency improvements across all end-use sectors. Source: IEA

These estimates are based on assumptions about the duration of lockdowns and coronavirus recovery trajectories.

The IEA notes that “almost all” investment activity has been disrupted by these measures, as a result of restrictions to the movement of people, goods and equipment. 

However, the largest impacts are the result of declines in revenues due to falling demand and prices, with the clearest example coming from the oil sector. Analysis of daily data until mid-April suggests countries in full lockdown have seen energy demand drop by a quarter.

As a result, the agency also estimates that these factors, combined with a rise in cases of people not paying their energy bills, will see revenues going to both governments and industry fall by over $1tn this year.

Crisis ‘accelerating’ shift from low-efficiency technologies

Every year energy infrastructure is retired and replaced with new equipment. Typically, the replacement technologies will be cleaner and more efficient, although this is not always the case. 

The coronavirus crisis is expected to have an impact on this rate of turnover and, indeed, it is already contributing to the retirement of some older power plants and facilities, as the chart below illustrates.

The Covid-19 crisis is hastening the retirement (light blue) of some older plants and facilities, but also impacting consumer spending on new and more efficient technologies (dark blue), with the potential for a net decrease (yellow dot) in upstream oil-and-gas facilities. Source: IEA.
The Covid-19 crisis is hastening the retirement (light blue) of some older plants and facilities, but also impacting consumer spending on new and more efficient technologies (dark blue), with the potential for a net decrease (yellow dot) in upstream oil-and-gas facilities. Source: IEA.

The economic downturn and “surfeit of productive capacity in some areas” as overall demand plummets is already “accelerating” the closure and idling or inefficient technologies, including refineries and some coal-fired power plants.

However, the IEA warns that equally governments might respond to the pandemic by underinvesting in new technologies and remaining reliant on inefficient, older technology. The agency estimates efficiency investment could drop by 10-15% as spending is cut back.

The report warns that policymakers should keep these elements in mind and “combine economic recovery with energy and climate goals”. Dr Fatih Birol, executive director of the IEA, said in a statement that while the pandemic has brought lower emissions it has been “for all the wrong reasons”:

“The response of policymakers – and the extent to which energy and sustainability concerns are integrated into their recovery strategies – will be critical.”

Clean energy spending ‘relatively resilient’

The share of global energy spending going towards clean energy, including renewables as well as nuclear and efficiency improvements, has been flat-lining at around one-third for the past few years.

As the chart below shows, this is likely to change this year as clean energy’s share edges closer to two-fifths of overall spending.

Breakdown of clean energy investment by sector in USD (left x-axis), with the % overall share (right x-axis) of spending indicated by a grey line. Source: IEA.

Clean energy investment is expected to remain “relatively resilient” this year, with spending on renewable projects falling by a comparatively small 10%. 

However, according to the IEA, the main reason for clean energy increasing its share is that fossil fuels are set to take such a “heavy hit”. In absolute terms, spending on these technologies is “far below levels” required to accelerate energy transitions.

The agency notes that investment trends have long been “poorly aligned” with the world’s needs and are still set to fall short of the future it has outlined in its benchmark Sustainable Development Scenario (SDS).

Last year’s edition of the World Energy Investment report concluded that investment in low-carbon energy sources must more than double by 2030 if the world is to meet its Paris Agreement targets.

While the slowdown in clean energy spending is less significant, it still “risks undermining the much-needed transition to more resilient and sustainable energy systems,” according to Birol.

Power sector hit hard

International power investment is set to drop by 10% as a result of the Covid-19 pandemic, according to the agency. 

Virtually every component of the sector is expected to see a decline in investment, with hydro the only exception, as the chart below demonstrates.

Global investment in the power sector by technology, with figures from the previous three years and estimates for 2020 (yellow). Source: IEA.
Global investment in the power sector by technology, with figures from the previous three years and estimates for 2020 (yellow). Source: IEA.

Increases in residential electricity demand around the world during lockdown are being “far outweighed” by reductions in commercial and industrial operations, the agency reports. A 9% decline in spending on electricity networks this year is also expected.

The IEA says some parts of power investment are more exposed, specifically fossil fuel-based generation. 

Meanwhile, higher shares of renewables are being dispatched due to low operating costs and priority access to networks. Nevertheless, renewables are still taking a hit, particularly distributed solar photovoltaics (PV) as households and companies cut back on spending.

Technologies with a longer lead time, notably offshore wind and hydropower, are expected to do better despite some delays.

Electricity spending pulls ahead of oil

Oil accounts for most of the decline in revenues expected this year. Furthermore, in a “historic switch” consumer spending on electricity could exceed spending on oil for the first time ever. 

While power-sector revenues are expected to fall by $180bn, oil spending will likely drop by at least $1tn. This can be seen in the chart on the left below. Taken together, investment in oil and gas is expected to fall by almost a third in 2020. 

Both global end-use spending by consumers on energy (left) and estimated 2020 investment compared to 2019 show oil is expected to see the biggest decline in investment activity this year. Source: IEA.

The decline in aviation and road transport, which represent nearly 60% of oil demand, are responsible for this disproportionate decline.

Meanwhile, the impact on gas has so far been more moderate, but could fall further due to reduced demand in power and industry settings.

The report also highlights the global shale sector, which was already under pressure, as being particularly vulnerable. 

With investor confidence and access to capital in decline, the IEA predicts shale investment will halve in 2020 and notes the outlook for “highly leveraged shale players in the US” is now “bleak”.

Coal decline given a ‘floor’ by China

Coal is estimated to be the fuel hardest hit by the crisis after oil. Coal demand could drop by 8% this year, investment in coal supply is set to fall by a quarter and spending on new coal-fired plants is set to fall by around 11%.

However, any decline in coal’s fortunes may be curtailed by the recovery of demand for the fossil fuel in China. According to the IEA, investment activity there “may put a floor” under further reductions in coal-power investment this year.

The nation’s focus on coal is illustrated in the chart below, which shows final investment decisions (FIDs) dropping to their lowest levels in a decade, but China providing virtually all of them in the year so far.

Coal-fired power generation capacity (GW) subject to a final investment decision (FID), with China coloured in green. Source: IEA.
Coal-fired power generation capacity (GW) subject to a final investment decision (FID), with China coloured in green. Source: IEA.

Using data available so far, the IEA notes that approvals for new coal plants in the first quarter of 2020, were “running at twice the rate observed over 2019 as a whole”, primarily in China.

Electric vehicle sales rising as overall market contracts

Last year was a difficult time for the car industry, with total sales growth slowing in all major regions and turning negative in China and the US.

However, this “turbulent” period for the industry is “likely to appear mild” in comparison with 2020, according to the IEA. 

Lockdowns have already severely impacted sales and, across the year, the agency estimates a drop of around 15% – dramatic even compared to the 10% drop that followed the 2008 financial crisis. Negative trends in overall car sales can be seen in the right-hand chart below.

Global sales of electric passenger vehicles – cars, vans and small trucks – and market share, indicated by a red line (left chart). Total light-duty vehicle sales (right). Source: IEA.
Global sales of electric passenger vehicles – cars, vans and small trucks – and market share, indicated by a red line (left chart). Total light-duty vehicle sales (right). Source: IEA.

However, even though electric vehicle sales followed wider patterns and stalled in 2019 largely due to declining Chinese purchases, their overall market share continued to climb. 

This can be seen in the chart on the left, which shows that electric cars are expected to go against the broader trend in 2020. The IEA estimates that owing to policy support, particularly in Europe, electric vehicle sales will increase this year, as will their share of the market (indicated by the red line).

Battery storage spending fell as prices dropped

Investment in battery storage fell for the first time last year, as the chart below shows. Overall, spending on grid-scale and behind-the-meter batteries fell by 15%, with overall investment just above $4bn.

Investment in both grid-scale (left) and behind-the-meter battery storage (right). Source: IEA.
Investment in both grid-scale (left) and behind-the-meter battery storage (right). Source: IEA.

The IEA states this decline took place as costs for battery storage fell rapidly, a trend the agency attributes to maturing supply chains and markets, more efficient production and competition within the sector.

The report mentions fires at energy storage installations in South Korea and regulation uncertainty in China as some of the factors behind the decline in interest last year.

Declining behind-the-meter battery spending also reflects the distributed solar PV market, for which investment slowed last year in a trend expected to continue as consumer spending drops off due to coronavirus.

The agency notes that grid-scale battery investments are also expected to decline this year against the backdrop of a general decrease in power activity. 

However, it says this setback “is likely to be shortlived” due to the technology’s growing importance for system security and flexibility. 

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IEA: Coronavirus ‘accelerating closure’ of ageing fossil-fuelled power plants

Josh Gabbatiss, Carbon Brief, 27 May 2020

Published under a CC license. Carbon Brief welcomes the reproduction of unadapted material in full for non-commercial use, credited ‘Carbon Brief’ with a link to the article.

intentionality & the post-covid cultural landscape

Individually we are no match for nature. Together we are.

Stewart Simonsen, Assistant Director-General, World Health Organization; in conversation with Fareed Zakaria, GPS, 24 May 2020

Congress will have to think with knowledge that we will have another crisis.”

Gary Cohn, Former Director, National Economic Council, Former President & Chief Operating Officer, Goldman Sachs, in conversation with Fareed Zakaria, GPS, 24 May 2020

Given the health, governance, and legal risks posed by the coronavirus and the covid-19 response, a primary issue affecting us all, including galleries, museums, and cultural organizations around the world, has been how to limit its spread. As a prophylactic vaccine has not yet been developed, decisions were made to limit possible exposure and contagion by distancing people from one another. In many countries all organizations and enterprises except those providing what have been considered “essential” services were closed, museums included.

Museums are public spaces that welcome people through their doors into shared spaces to look at art together. They have had to grapple with the questions of whether or not and how to engage their audiences while closed. They grapple now with the question of how best to re-open while continuing to mitigate the risk of contagion and spread.

The learning curve has been steep and rapid. Marc Spiegler, Global Director of Art Basel, and museum leaders from Asia, Europe, and the United States addressed the learning curve and responses of the museum sector during a webinar discussion that took place on 21 May,  “How will the pandemic change institutions?

Dr. Zoé Whitley, director of the Chisenhale Gallery, London, Anne Pasternak, Shelby White and Leon Levy Director of the Brooklyn Museum, New York City, Phlip Tinari, director and CEO of the UCCA Center for Contemporary Art, Beijing, and Dr. András Szántó, author and cultural strategy advisor, New York City, shared their thoughts and perspectives on the missions, priorities, and activities of their organizations, how they were managing during the pandemic and concomitant shut-down, risks, risk management, and ways to make it possible to be back in physical spaces looking at art with other people.

“What roles should institutions play in the post-covid cultural landscape, assuming you can even guess what the landscape is going to be?”

Acknowledging that “we have a responsibility to re-think how we remain relevant to our audiences,” Dr. Whitley asked, “how do you start charting a new path under these incredibly strange circumstances?”

“I think that’s precisely the question,” she continues. “What might rank as the world’s worst hypothetical interview question: how would you lead an organization remotely in the midst of a global pandemic? And you would think it was so absurd as to be not really be able to entertain it. And yet here we are.”

While understanding that the pandemic and the global response caught many off guard, knowing what we now know, we may need to revisit underlying assumptions of absurdity and re-map our thinking. The pathogen and pandemic did not come out of nowhere.  See: “Q&A: Could climate change and biodiversity loss raise the risk of pandemics?“.

Pathogens such as the coronavirus that is causing the covid-19 response occur abundantly in nature. As we, through our many behaviors, draw closer to wild animals, for instance, and draw them closer to us, and unless we work consistently and with intention to acknowledge, manage, and mitigate risk, we may expect ever more such pandemics.

The UCCA Center for Contemporary Art in Beijing may serve as a case study. Having closed its doors on 24 January, the UCCA re-opened to the public on 21 May. 

Philip Tinari reflected on the disappearance of everyday routine during the closure, the mood of solemnity of everyday existence, the poignancy of being back in physical space looking at art with people,  and the freedom to enter into a public space and look at art.

He observed that while “it’s poignant and it’s just wonderful to be back in physical space looking at art with people, … that can only happen because of larger dynamics in the society.”

“The freedom to enter into a public space and look at art,” the freedom to enter the UCCA Center for Contemporary Art, and Beijing’s 798 Art District in which it is located, is afforded by measures taken to control the contagion and spread.

“To even enter into 798, one needs to have one’s temperature taken and one needs to show a kind of virtual pass which is generated by a government app that, you know, tracks your data and proves that you have not been in any high-risk areas for the last 14 days or 21 days, and even, in some cases, synchs to facial-recognition thermometers that are around town. So, there’s a complete panopticon, and we’re the indirect beneficiaries of it.

“And at our door, there’s another temperature check as there is at the entrance of any restaurant or store. And masking here is completely mandatory and universal. And so then it just becomes a question of how to be responsible and keep things disinfected and use our guards to keep people distanced.

From “How technology is safeguarding health and livelihoods in Asia,” Oliver Tonby, Jonathan Woetzel, Noshir Kaka, Wonsik Choi, Jeongmin Seong, Brant Carson, and Lily Ma,McKinsey & Company, 12 May 2020

“I guess all to say that we’re all kind of working inside the contexts where we find ourselves. And this one, for the draconian nature of certain measures, they paradoxically allow for the freedom to enter into a public space and look at art.”

As risks abound, continue, and even, arguably, increase, it is crucial to plan and conduct business smartly, in a forward-looking manner, clearly articulating desired outcomes, on the one had, and negative externalities, that are increasingly no longer external, on the other.

UCCA has postponed shows that were on the calendar for this year, “many of which involved intense overseas collaborations and were not going to happen as scheduled.” Yet, learning as early as early March that the museum re-opening would take place on 21 May, the first date also of the re-scheduled Beijing Gallery Week-end, Mr. Tinari and the museum curators realized “that there was no way we could get to May 21 and not have something to show everyone.”

“And so I sat in a room with my curators for about a week. And we came up with an exhibition that we titled “Meditations in an Emergency” after the Frank O’Hara anthology which kind of looks at the post-covid world from five different angles. Everything from the disappearance of everyday routine to the relationship between humans and animals to the proliferation of a sort of de-centered polyphonic or contradictory narrative around news and information.

“It’s a 26-artist group show that’s actually, I don’t mean to brag or anything, but it’s really beautifully installed. And it’s poignant and it’s just wonderful to be back in physical space looking at art with people.”

Zhang Hui, “Just Line in the Mirror 2” (2018, oil on canvas).
Credit: Zhang Hui and UCCA, Center for Contemporary Art, Beijing: “Meditations in an Emergency,” 21 May – 30 August 2020

Thinking forward, Mr. Tinari observes “a certain solemnity to just everyday existence now. People are ready to come. And in a way that’s a very not the worst frame of mind with which to enter into an exhibition.”

What he’s been calling “the new intentionality,” engaging in activities “with a very specific purpose and for a limited duration,” applies, he says, to programming as well. “It’s not that we won’t continue to do big international shows but we’ll do them for specific reasons with kind of very measurable goals in more measured ways.”

See:

Art Basel, “How will the pandemic change institutions?“, YouTube, 22 May 2020

Oliver Tonby, Jonathan Woetzel, Noshir Kaka, Wonsik Choi, Jeongmin Seong, Brant Carson, and Lily Ma, “How technology is safeguarding health and livelihoods in Asia,” McKinsey & Company, 12 May 2020

Zoé Whitley, Star Curator Behind Acclaimed ‘Soul of a Nation’ Show, Named Director of London’s Chisenhale Gallery,” ARTnews, 17 January 2020

UCCA, Center for Contemporary Art, Meditations in an Emergency, 21 May 2020 – 30 August 2020


art, the built environment, & the Bizot Green Protocol

Works of art. History. Cultural heritage. The market. Galleries. Art fairs. Museums. Private museums. Institutional and private collections. Fiduciary care. Value.

Let’s consider a pressing issue:

How collections are housed, managed, and cared for and the protection of works of art and tangible assets in an age of increasingly erratic weather, increasing sea-level rise, floods, fires, storms, … and pandemics – which in themselves and the response to which can be devastating.

Does one barricade the art behind flood walls and barriers? Insure the works of art? (Insurance is a good idea. Insurance does not, however, mitigate or prevent future damage. Insurance is used to protect the “value” of the art, not the work of art itself. It is used after damage occurs to recover value.)

Can we protect works of art while mitigating possible future damage?

Atmospheric CO2 is a key factor leading towards the storms, floods, and fires that can be so damaging to art and tangible assets. Is it possible to care for our collections while reducing emissions of CO2 into the air?

The Bizot Group of museum directors, or the International Group of Organizers of Large-scale Exhibitions, thinks so.

Max Hollein, now the Director of New York’s Metropolitan Museum of Art, was Chairman of the Bizot Group in 2014. Richard Armstrong, Director of the Solomon R. Gugenheim Museum, and Glen Lowry, Director of the Museum of Modern Art, are members.

Wangechi Mutu (Kenyan, born Nairobi, 1972), “The Seated II” (bronze, 2019) situated in one of four niches in the facade of New York’s Metropolitan Museum of Art. Courtesy of the the artist, the Metropolitan Museum of Art, and Gladstone Gallery, New York and Brussels.


Wangechi Mutu (Kenyan, born Nairobi, 1972), “The Seated II” (bronze, 2019). Courtesy of the the artist, the Metropolitan Museum of Art, and Gladstone Gallery, New York and Brussels.

Axel Rüger, Director of the Van Gogh Museum in Amsterdam from 2006 until June of 2019 when he left the Van Gogh Museum to take up a new appointment as Chief Executive of London’s Royal Academy of Arts, is a member.

So are many others.

The Bizot Group agreed the Bizot Green Protocol in 2015:

The directors agree that museums can reduce the amount of CO2 emissions they are responsible for while recognizing their duty of care to collections:

1.  Guiding Principles
Museums should review policy and practice, particularly regarding loan requirements, storage and display conditions, and building design and air conditioning systems, with a view to reducing carbon footprints.

Museums need to find ways to reconcile the desirability of long-term preservation of collections with the need to reduce energy use.

Museums should apply whatever methodology or strategies best suit their collections, building and needs, and innovative approaches should be encouraged.

The care of objects is paramount. Subject to this,

environmental standards should become more intelligent and better tailored to specific needs. Blanket conditions should no longer apply. Instead conditions should be determined by the requirements of individual objects or groups of objects and the climate in the part of the world in which the museum is located;

where appropriate, care of collections should be achieved in a way that does not assume air conditioning or other high energy cost solutions. Passive methods, simple technology that is easy to maintain, and lower energy solutions should be considered;

natural and sustainable environmental controls should be explored and exploited fully;

when designing and constructing new buildings or renovating old ones, architects and engineers should be guided significantly to reduce the building’s carbon footprint as a key objective;

the design and build of exhibitions should be managed to mimimise waste and recycle where possible.

2.  Guidelines
For many classes of object containing hygroscopic material (such as canvas paintings, textiles, ethnographic objects or animal glue) a stable relative humidity (RH) is required in the range of 40 – 60% and a stable temperature in the range 16-25°C with fluctuations of no more than ±10% RH per 24 hours within this range. More sensitive objects will require specific and tighter RH control, depending on the materials, condition, and history of the work of art. A conservators evaluation is essential in establishing the appropriate environmental conditions for works of art requested for loan.

Environmental Sustainability – reducing museums’ carbon footprint,”National Museum Directors Council

See:

Environmental sustainability – reducing museums’ carbon footprint,” National Museum Directors Council

Wangechi Mutu: The NewOnes, will free us,” Metropolitan Museum of Art, The Facade Commission, 9 September 2019 – 9 June 2020

Wangechi Mutu, Gladstone Gallery

Axel Rϋger Appointed Chief Executive of London’s Royal Academy of Arts,” Artforum, 13 February 2019

Axel Rüger,” 40 Under 40 Europe 2018, Apollo Magazine, 3 September 2018

Groupe Bizot, Letter of 26 February 2014 to Mr. Mikhail Piotrovsky, Director, State Hermitage Museum, St. Petersburg, Russia

Q&A: Could climate change and biodiversity loss raise the risk of pandemics?

Q&A: Could climate change and biodiversity loss raise the risk of pandemics?

Daisy Dunne, Carbon Brief, 15 May 2020

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Across the world, millions of people have tested positive for Covid-19 – and countless more have seen their lifestyles completely transformed as a result of the virus.

It is not yet known exactly what triggered the current outbreak, but researchers suspect that the virus passed from bats to humans through an unknown intermediary animal, possibly a pangolin.

Politicians in the UK have called this pandemic a “once-in-a-century” crisis. But scientists have warned that the ongoing disturbance of species through human activities and climate change could be raising the risk of potentially pandemic-causing diseases passing from animals to humans.

The study of the “spillover” of disease from animals to humans has received renewed focus in light of the pandemic. The Intergovernmental Panel on Climate Change (IPCC) – a major international collaboration of climate scientists – is now looking into how the influence of warming on such events could be included in its next major climate report due next year.

In this explainer, Carbon Brief examines what is known about how climate change and biodiversity disturbance, including habitat loss and human-animal conflict, could influence the risk of diseases being transmitted from animals to humans.

How does an animal-to-human disease spillover turn to a pandemic?

When humans come into contact with other animals, they can pass harmful pathogens between one another. The passing of an infection or disease from a vertebrate animal to a human is known as a “zoonosis”, according to the World Health Organisation (WHO). (Vertebrate animals include mammals, birds and reptiles, but not insects, such as mosquitoes.)

Such diseases have a major impact on health, accounting for two-thirds of all human infectious diseases and three out of four newly emerging diseases.

Serious diseases that have spilled over from animals to humans include Ebola in Africa, Marburg in Europe (and subsequently in Africa),  Hendra virus in Australia and severe acute respiratory syndrome (SARS) coronavirus and Nipah virus in east Asia. Some have gone on to have a lasting, global impact, such as HIV/AIDS and swine flu (H1N1). The current Covid-19 pandemic was also most likely caused by a spillover.

The number of potentially harmful viruses circulating in mammal and bird populations that have not yet spilled over to humans is estimated to be up to 1.7m, according to the Intergovernmental Science-Policy Platform on Biodiversity and Ecosystem Services (IPBES). (IPBES is an independent group of international researchers monitoring biodiversity issues).

The spillover of disease from animals to people can happen in many ways, including directly through animal bites, the consumption of raw or undercooked animal meat or products such as milk, or through contaminated water. Diseases can also spread indirectly if humans come into contact with a surface that has been contaminated by an infected animal. Both wild animals and livestock can pass on disease.

A mouse opossum (Marmosa sp.) raids the trash in Peru. Credit: Anton Sorokin / Alamy Stock Photo
A mouse opossum (Marmosa sp.) raids the trash in Peru. Credit: Anton Sorokin / Alamy Stock Photo

(Sometimes, transmission occurs through an intermediary species that can carry the disease without getting sick. Scientists suspect this is how the Covid-19 pandemic started.)

Out in the wild and in settings where humans and animals come into contact, these kinds of interactions happen regularly – and it is rare for one to end with a human being infected by a new disease, explains Dr David Redding, a research fellow at the Zoological Society of London. He tells Carbon Brief:

“There are lots of different factors that need to all overlap at the same time for there to be a contact that is both effective in terms of transferring a live pathogenic organism and then also for that very rare situation where that pathogen has an adaptation that allows it to invade our immune system.”

Even if a disease is effectively transmitted from an animal to a person, it is unlikely that they will then pass it on to someone else, he adds:

“I would say most – possibly 99% – of all diseases that are caused in that way can’t then be passed on. So we’ve got another ‘filter’ that dictates that people have to be infected in a particular way that allows them to shed viruses effectively to other people.”

This “virus shedding” can happen in various ways. Like other respiratory diseases, Covid-19 can be transmitted when a carrier coughs or sneezes in close proximity to another person. (Scientists are still debating whether the virus can also be passed on in other ways.)

The ability of the new pathogen to spread directly from person to person is a key ingredient for a disease to take hold in a population, Redding says. (Some animal-borne diseases require a vector to spread from person to person, such as West Nile virus and Lyme disease.)

An illness outbreak is said to become an “epidemic” when its impact on people in a single community or region is “clearly in excess of normal expectancy”, according to the WHO. The term “pandemic” describes the worldwide spread of a new disease. (When a disease is “endemic” it has a continuous presence in a population or area.) 

Since 1900, there have been pandemics at “intervals of several decades”, according to the WHO. The worst in this time period was Spanish flu, which killed an estimated 50 million people from 1918-19.

A group of people standing outdoors wearing masks over their mouths, probably taken during the Spanish Flu epidemic of 1918. Credit: Niday Picture Library / Alamy Stock Photo
A group of people standing outdoors wearing masks over their mouths, probably taken during the Spanish Flu epidemic of 1918. Credit: Niday Picture Library / Alamy Stock Photo

Prior to Covid-19, every outbreak considered to be a pandemic by the WHO since 1900 has been caused by influenza, a virus that transmits from person to person. Some new strains of flu originate in animals, such as bird flu, but most new strains arise in human populations – and so would not be considered animal-borne.

There are many factors that can determine whether an outbreak reaches epidemic or pandemic status. These include human factors, such as preparedness and early action to prevent the illness from spreading, and also the traits of the pathogen itself, says Redding:

“The characteristics of the pathogen and its ability to spread are two key components in causing these rare events.”

For instance, if the pathogen causes very severe illness, the sufferer is less likely to be able to travel to a new place to pass on the disease, Redding says. This is also the case if the mortality rate is particularly high.

In contrast, if the disease causes mild to undetectable symptoms for at least some sufferers – as is the case with Covid-19 – it is more likely that people will inadvertently spread it to new places, he says.

This may go some way to explaining why previous serious animal-borne disease outbreaks have not reached pandemic status, Redding explains.

Members of a burial team prepare for a burial in Komende Luyama village. Eastern Sierra Leone was a hot spot for Ebola for several months, but eventually authorities managed to bring down infection rates to just a few cases per week. 17 October 2014 Credit: Tommy E Trenchard / Alamy Stock Photo
Members of a burial team prepare for a burial in Komende Luyama village. Eastern Sierra Leone was a hot spot for Ebola for several months, but eventually authorities managed to bring down infection rates to just a few cases per week. 17 October 2014 Credit: Tommy E Trenchard / Alamy Stock Photo

For example, Ebola – a disease initially spread to humans by fruit bats – has caused several serious epidemics in West Africa, but has not established itself on a worldwide scale. It has a mortality rate of around 50%. The mortality rate of Covid-19 is not yet known, though it is likely to be below 10%.

It is also worth noting that the likelihood of a disease turning to a pandemic has been heightened in recent decades by increased global connectivity, particularly through frequent air travel, Redding says:

“Plagues in the medieval times took years to spread across Asia. Whereas we look at today’s outbreaks and we can see that they can spread in hours.”

Overall, for a spillover event to turn into a pandemic, there must be a “perfect storm” of several complex factors all occurring at the same time – which, at present, does not happen very often, says Redding: “I think history shows us that these sort of large outbreaks happen a couple of times a century.”

Could climate change and biodiversity disturbance affect the risk of spillover?

Every new animal-borne disease starts with humans coming into contact with wildlife. And it is likely that climate change and the disturbance of biodiversity could play a role in shaping the frequency, timing and location of these meetings, says Prof Hans-Otto Poertner, head of biosciences at the Alfred Wegener Institute (AWI) and co-chair of the impacts chapter of the next major assessment report from the IPCC. He tells Carbon Brief:

“Climate change is clearly a factor that can influence these relationships. Climate change shapes the biogeographical distribution of species. If, in the future, we see species moving into areas where humans are prevalent, we could see new opportunities for pandemics to evolve.”

Research has shown that climate change is shifting where species live, both on land and in the ocean. This is because, as temperatures increase and rainfall levels change, some species are being forced to seek out new areas with climate conditions they are able to tolerate. (Species that are not able to adapt could face extinction.)

A review published in Science in 2017 looking into 40,000 species across the world found that around half are already on the move as a result of changing climate conditions.

In general, species are seeking cooler temperatures by moving towards the Earth’s poles. Land animals are moving polewards at an average rate of 10 miles per decade, whereas marine species are moving at a rate of 45 miles per decade, according to the review.

Dugong feeding in the seagrass bed, Dimakya Island, Palawan, Philippines. Credit: Nature Picture Library / Alamy Stock Photo

However, the movement of animals is complicated by other factors, such as the changing availability of food, the shifting distribution of predators and changing patterns of human land-use, the review says. This makes it difficult to predict exactly where species will move to.

It is likely that the movement of species will have consequences for human health, says Prof Birgitta Evengard, a senior researcher of infectious diseases at Umea University in Sweden, who was one of the authors of the review. She tells Carbon Brief:

“When land-based animals move, they bring with them their [viruses] – and they will spread them.” 

So far, there has not been a great deal of research into how climate change-driven shifts to animal ranges could affect the chances of disease spillover on a global scale, says Poertner.

In one example, a research paper by Redding found that climate change could heighten the risk of new Ebola outbreaks in various parts of Africa by 2070.

This is because climate change could cause regions that are currently desert to become warmer and wetter, leading to the formation of the lush plants that bats use as a habitat. The movement of bats into these new areas could increase contact between them and humans, increasing the chances of disease spillover, the study found.

A fruit bat (flying fox) in Tissamaharama, Sri Lanka. Credit: paul kennedy / Alamy Stock Photo
A fruit bat (flying fox) in Tissamaharama, Sri Lanka. Credit: paul kennedy / Alamy Stock Photo

Another study found that climate change could enhance the risk of spillover of the Hendra virus, an animal-borne disease that can pass from flying foxes to humans through horses, which are also affected by the virus.

The virus was first identified when an outbreak broke out in Hendra, a suburb in Brisbane, Australia, in 1994. Since then, there have been at least eight separate outbreaks along the coast of northern Australia, according to the WHO. It has a mortality rate of 50-75%.

Recorded Hendra virus outbreaks in Australia. Source: WHO

The research found that climate change could cause the geographic range of flying foxes to expand southwards and further inland. “Spillover events could potentially increase farther south, and inland with climate change,” the authors say.

Elsewhere, a recent preprint – a preliminary study that has not yet completed peer review – suggests that climate change could drive substantial global increases in the passing of novel diseases from mammals to humans by 2070.

Using modelling, the study maps where around 4,000 mammals species and the diseases they carry are likely to move to by 2070. It finds mammals are “predicted to aggregate at high elevations, in biodiversity hotspots, and in areas of high human population density in Asia and Africa, sharing novel viruses between 3,000 and 13,000 times”.

The authors add: “Most projected viral sharing is driven by diverse hyper-reservoirs (rodents and bats) and large-bodied predators (carnivores).”

It will be important for the IPCC to include the emerging evidence of how climate change could affect the passing of diseases from animals to humans in its next major assessment report, currently due for release in 2021-22, says Poertner:

“We expect to include aspects as they become apparent from the literature.”

The scale of the impact of climate change on wildlife is currently second only to the damage caused by human land-use change, including deforestation, other types of habitat loss and human-animal conflict.

In its first major assessment on biodiversity published in May 2019, IPBES reported that humans have “significantly altered” 75% of the land surface and 66% of the global ocean. During 2010-15, 32m hectares of natural or recovering forest were cleared by humans. This area is roughly equal to the size of Italy.

As a result of ongoing pressures on biodiversity, around one million species are currently threatened by extinction within decades, the report concluded.

The report noted that ongoing pressures on wildlife are likely to increase contact between animals and humans, altering the chances of disease spillover. In chapter three of the full report, the authors say:

“Complex links between increased human disturbance, land-use change, habitat loss/degradation and biodiversity loss have all been linked to increases in the prevalence and risk of zoonotic [animal-borne] disease for a variety of pathogens.”

However, research into how biodiversity disturbance could affect animal-borne disease risk at a global level has so far been limited, it notes:

“Causal mechanisms are only well known for a handful of infectious diseases and it is sometimes hard to pick apart the drivers of disease to isolate the direct effects of environmental change from other human actions.”

Research has shown that bushmeat huntingdeforestation and the trade of wildlife at markets can heighten the risk of diseases passing between animals and humans.

In 2018, a study warned of a possible link between deforestation in southeast Asia and a heightened risk of spillover of novel coronaviruses from bats to humans. The authors say:

“Owing to evolving land-use, bat populations are setting up in areas closer to human dwellings…This increases the risk of transmission of viruses through direct contact, domestic animal infection, or contamination by urine or faeces.”

***

Q&A: Could climate change and biodiversity loss raise the risk of pandemics?

Daisy Dunne, Carbon Brief, 15 May 2020

Published under a CC license. You are welcome to reproduce unadapted material in full for non-commercial use, credited ‘Carbon Brief’ with a link to the article. 

coronavirus, climate change, the environment, & the arts: positive steps forward

“To my mind, one does not put oneself in place of the past; one only adds a new link.”

 Cy Twombly, quoted by Gagosian

“an elemental Dionysian force of madness rising, like a ‘fire that rises from the depths of the sea'”

Malcolm Bull, “Fire in the Water,” in Cy Twombly Bacchus Psilax Mainonmenos, exh. cat., New York, 2005, p. 55), quoted in Lot Essay, Cy Twombly (1928-2011), “Untitled” (acrylic on canvas, painted in 2005), Christie’s, Post-War & Contemporary Art Evening Sale, New York, 15 November 2017, Lot 15 B

Cy Twombly (1928-2011), “Untitled” (acrylic on canvas, painted in 2005). “Untitled” sold at the Christie’s Post-War & Contemporary Art Evening Sale of 15 November 2017 in New York realizing a price of US$ 46,437,500

Over ten feet high and sixteen feet in length, “Untitled” is the largest example from a group of giant-scaled paintings that Twombly created beginning in 2003 at age 75.

Twombly makes use of spirals of linear loops, culminating fifty years of regularly invoking scrawls, whirls, and writing/drawing.

In his catalogue essay, “Fire in the Water” that accompanied the first exhibition of Twombly’s Bacchus series in 2005, Malcolm Bull argued that the abiding theme of these paintings was that of an elemental Dionysian force of madness rising, like a “fire that rises from the depths of the sea” (M. Bull, “Fire in the Water,” in Cy Twombly Bacchus Psilax Mainonmenos, exh. cat., New York, 2005, p. 55).’ – Lot Essay

Like Dionysian forces of madness, we are all experiencing the dislocation caused by the current COVID-19 pandemic.  

Individuals, families, supply chains, industries, markets, businesses, nations – all are affected.

This pandemic, however terrible, unexpected, and unprepared for, may in part be an outcome of behaviors that we have, however unwittingly, engaged in over decades.

We are all – individuals, peoples, cultures, animals, plants, functional objects and works of art, buildings, systems of transportation, agriculture, and education, etc. etc. etc. – inextricably embedded in nature. We are part and parcel of and subject to the forces of physics. Part and parcel of and subject to the elements and interactions of chemistry. 

As living, breathing creatures, moreover, and complex systems of systems. we are part and parcel of and subject to the complex forces of biology.  We are calibrated precisely, over long periods of time, to our biosphere.

If and should we take our biosphere for granted, fundamentally alter the composition of our atmosphere, and tamper with our climate, the unexpected can occur. Mayhem may let loose,

And so it has.

Yet, in the arts we are global. We reach across time, across space, across borders, across cultures, across nations. We represent mind and passion, interests and preferences. We come from an abundance of backgrounds and industries. 

We may lead, each in our own place, taking steps to realize our ambitions anew.

Together we will have impact.

While we work in our many spheres of activity, what steps, however simple, might we take to realize our objectives while mitigating risks of future such dislocations?

If we want “to do something to prevent disease emergence, first of all we need to seriously reconsider how we do business with the biosphere.”

Q & A: A Harvard Expert on Environment and Health Discusses Possible Ties Between COVID and Climate,”

“We need to hear what nature is trying to tell us, which is clear: let’s be smarter about how we do business with the biosphere and stop disrupting the climate we depend on.” 

 Conversation on COVID-19 with Dr. Aaron Bernstein, Director of Harvard C-CHANGE

Two recently published articles are insightful. In them, Dr. Aaron Bernstein, MD, MPH, Director of The Center for Climate, Health, and the Global Environment at Harvard’s T.H. Chan School of Public Health (Harvard C-CHANGE) offers guidance.

Please take a few minutes to read them in full:

Neela Banerjee, “Q & A: A Harvard Expert on Environment and Health Discusses Possible Ties Between COVID and Climate,” Inside Climate News, 12 March 2020

A Conversation on COVID-19 with Dr. Aaron Bernstein, Director of Harvard C-CHANGE, ” Harvard C-CHANGE  

Excerpts follow, giving us some idea of what we probably already know but don’t always think about or consider in the decisions we make on a daily basis:

The bottom line here is that if you wanted to prevent the spread of pathogens, the emergence of pathogens, … you wouldn’t transform the climate.”

Q & A: A Harvard Expert on Environment and Health Discusses Possible Ties Between COVID and Climate,”

The separation of health and environmental policy is a dangerous delusion. Our health entirely depends on the climate and the other organisms we share the planet with.”

A Conversation on COVID-19 with Dr. Aaron Bernstein, Director of Harvard C-CHANGE

Simply put, “The likelihood is high that this [a next pandemic] will happen. This has happened through human history but the data we have shows that the pace is accelerating. That’s not terribly surprising. We’re living in highly dense urban places. Air travel is much more prevalent than it used to be. And climate is a part of what is fundamentally reshaping our relationship with the natural world.”

Q & A: A Harvard Expert on Environment and Health Discusses Possible Ties BetweenCOVID and Climate

You look at climate change, we have transformed the nature of the Earth. We have fundamentally changed the composition of the atmosphere, and, as such, we shouldn’t be surprised that that affects our health.”

If you look at the emerging infectious diseases that have moved into people from animals or other sources over the last several decades,the vast majority of those are coming from animals. And the majority of those are coming from wild animals. We have transformed life onEarth. We are having a massive effect on how the relationships between all life on Earth operate and also with ourselves. We shouldn’t be surprised that these emerging diseases pop up.

The principle is that we’re really changing how we relate to other species on Earth and that matters to our risk for infections.”

Q & A: A Harvard Expert on Environment and Health Discusses Possible Ties Between COVID and Climate”

Historically, we have grown as a species in partnership with the plants and animals we live with. So, when we change the rules of the game by drastically changing the climate and life on earth, we have to expect that it will affect our health.

A Conversation on COVID-19 with Dr. Aaron Bernstein, Director of Harvard C-CHANGE

How might we in our private and business capacities be smarter about how we do business with the biosphere and stop disrupting the climate we depend on?

First, think.

All industries, markets, and economies, including the arts, the art market, and the art economy, are interconnected and all are viable only within our shared biosphere.

“Art” is not self-existent. Art as a phenomenon, culture as a phenomenon, works of art, cultures, collections of works of art, collectors, and all parties to art are inextricably embedded in and dependent on nature.

Take time and steps to learn about and understand the biosphere. Take steps to reconsider how we, in every sphere of work and activity, do business with the biosphere.

We have an opportunity to consider ways to optimize connections, culture, art, the business of art, and the biosphere jointly.

Some simple steps that can be taken:

Minimize travel

Whether curator, museum director, staff, or trustee, collector, dealer, gallerist, advisor, interested party – vet travel requirements.

Minimize travel powered by combustion of hydrocarbons.

“We need to drastically decrease our greenhouse gas emissions from fossil fuels like coal, oil and natural gas.”

A Conversation on COVID-19 with Dr. Aaron Bernstein, Director of Harvard C-CHANGE

It goes without saying that travel by foot or by bike is encouraged. Travel by electric-powered cars, buses, and trains – especially insofar as the electricity is generated from renewable, non-hydrocarbon sources – is also encouraged.

Amsterdam-based art dealer Jan Six XI, for instance, bikes to and from work, and across town to consult with experts. (Russell Shorto, “Rembrandt in the Blood: AnObsessive Aristocrat, Rediscovered,” The New York Times Magazine, 27 February 2019)

Work with local partners

We are all somewhere. We do not need to be everywhere.

If you need to do work or close a transaction somewhere else, research, identify, vet, and work with local partners.

Optimize resources and connections made available online

Information, images, and opportunities to meet and discuss face-to-face, even in groups, abound online. As we are now seeing in abundance, education and research can be conducted online. Relationships developed through written and verbal communications optimized online, by mail (even mail that goes through the post office), and by telephone.

As much activity is migrating online, vet also your online service partners and their delivery options.

This website, for instance, is hosted by AISO.net. AISO.net is powered 100% by solar energy generated on site. The company does not make use of carbon credits. Members of staff are knowledgeable, of course, very personable, and extraordinarily helpful. They are great to work with.

Reduce carbon dioxide and greenhouse gas emissions from ongoing operations of physical plants

Galleries,museums, homes, businesses, offices, schools and universities, hotels,hospitals – all house works and collections of art.

Real-life steps can be taken to reduce use of hydrocarbon-based energy sources and achieve net-zero energy.

Expert and experienced stakeholders including architects, engineers, designers, builders, energy consultants, and sources of finance are able and ready to assist.

Information about service providers will follow.

Amsterdam’s Van Gogh Museum can serve as a model. The Van Gogh Museum operates 100% on renewable (wind)energy. (See Van Gogh Museum, sustainability, and accompanying infographic.)

Change habits of mind and behavior

Allow time for foot and bike travel. Schedule meetings and work requirements accordingly. 

Enjoy the great outdoors en route to work, home, meetings, and shopping.

Enjoy your locality

See:

Cy Twombly (1928 – 2011), “Untitled” (acrylic on canvas, painted in 2005), Christie’s, Post-War & Contemporary Art Evening Sale, New York, 15 November 2017, Lot 15 B 

Coronavirus, climate change, and the environment, A Conversation on COVID-19 with Dr. Aaron Bernstein, Director of Harvard C-CHANGE”, Harvard C-Change, 20 March 2020

Aaron Bernstein, MD, MPH, C-Change,Center for Climate, Health, and the Global Environment, Harvard T.H. Chan School of Public Health

Neela Banerjee, “Q&A:A Harvard Expert on Environment and Health Discusses Possible TiesBetween COVID and Climate,” Inside Climate News, 12 March 2020

Russell Shorto, “Rembrandt in the Blood: An Obsessive Aristocrat,Rediscovered,” The New York Times Magazine, 27 February 2019

Art Basel to Offer Online Viewing Rooms

As latent risks emerge, industry, business, and individuals adapt. Opportunities, and benefits, are discovered in and developed from such adaptation. Opportunities and benefits are discovered also in forward-looking mitigation.

Inaugurated in 1970 by Basel gallerists Ernst Beyeler, Trudi Bruckner and Balz Hilt, owned and managed by Switzerland-based MCH Group, art fair giant Art Basel, facing health, travel, and concomitant business risks posed by the emergent Covid-19 virus, cancelled Art Basel Hong Kong 2020.

The Art Basel fairs, offered in Basel, Miami Beach, and Hong Kong, have succeeded as an effective venue for introducing galleries, works of art, and collectors to each other.

The fairs, while offering face-to-face interactions, are, however, premised on travel, often long-distance. The fairs are premised further on the gathering of large numbers of people together in one place at one time.

The travel and costs (staff, booth rentals, insurance, hotels and lodging, shipping of works of art, …) involved with the fair – and the many art fairs that have developed over the years – are expensive for galleries and collectors alike.

The travel, further, can increase risk. Combustion of hydrocarbon-based fuels releases carbon dioxide into the atmosphere. 

Carbon dioxide molecules are precisely calibrated to attract and retain, in our atmosphere, photons of thermal energy that reach the earth from the sun. (See infographic.) Increasing levels of carbon dioxide in our atmosphere leads therefore to greater thermal energy (heat) in the atmosphere.

Acidification of the oceans, that themselvesabsorb about 30% of the carbon dioxide released into the atmosphere, also takes place.

Increased atmospheric heat leads to consequences such as melting of arctic permafrost, melting of glaciers, sea level rise, fires, storms, the release of pathogens and concomitant health risks. (See infographic developed by Zurich-based reinsurance giant Swiss Re.)

 With regard to large numbers of people gathering together in one place at one time, this currently may pose a risk of transmission of the emergent coronavirus (COVID-19).

To reduce such risk, the Swiss Federal Council, on 28 February 2020, issued an ordinance forbidding the holding of public or private events in Switzerland where more than 1,000 people are present at the same time.

MCH Group has, accordingly, not only cancelled Art Basel Hong Kong 2020 but has also postponed further events and trade shows such as the Baselworld Watch and Jewellery Show 2020 (until January-February 2021), the garden exhibition Giardina in Zurich, and Habitat-Jardin in Lausanne.

Fortunately there are means of bringing galleries, works of art, and collectors together that are premised neither on long-distance travel nor on the gathering in one place of multitudes of people.

Art Basel has been developing such a means, an initiative that, as “the art market continues to evolve, exemplifies its longstanding commitment to fostering a healthy art world ecosystem by creating new ways for its galleries to reach collectors from across the globe.”

The initiative is a digital-only platform for Art Basel’s galleries and collectors. The inaugural edition of Art Basel’s Online Viewing Rooms are planned to go live on 20 March 2020.

“Online Viewing Rooms will give visitors the opportunity to browse thousands of artworks presented by Art Basel participating galleries, many of which will be online exclusives. The exhibiting gallery can then be contacted directly for sales inquiries. The Viewing Rooms will run in parallel to the three shows in Basel, Miami Beach, and Hong Kong.”


Art Basel to launch Online Viewing Rooms,” Art Basel

While recognizing “’the essential personal interactions that continue to underlie the  art market,’” Art Basel Global Director Marc Spiegler notes that “’the Online Viewing Rooms will provide galleries with a further possibility for engaging with our global audiences.'”

All the galleries that were accepted for the cancelled 2020 Art Basel Hong Kong have been invited to participate, at no cost, in the launch of the Online Viewing Rooms.

Art Basel is not the first to organization to provide a means for galleries, works of art, and collectors to meet online. New York-based Artsy has been doing so for several years.

The process of selecting works of art, acquiring them, and developing a collection requires intent, effort, patience, and work. Such work is conducted in increments over a long-term.

Relationships of mutual trust and reliance, between collectors, galleries, and dealers, some private, are developed.

Qualifications of all parties are established. Buyers and sellers alike vet each other for acknowledgement and understanding of contract law as well as willingness to agree and adhere to contractual terms.

As works of art are identified for purchase, high-resolution images taken from multiple angles can be shared. Condition reports, provenance, and valuations provided.

The process enables collectors to learn and value not only the aesthetic, historical, and, increasingly, financial qualities of such works of art but also the supply chain logistics.

Supply chain logistics are themselves complex, often crossing cultures, history, collections, sovereign entities such as cities, states, and nations, and laws.

Supply chain logistics and the logistics of collections management evolving to include collaborations not only with art professionals but also with those with in a variety of industries. These industries include science, tech, law, engineering, energy, water, design, architecture, finance, and, insurance.

Insurance especially in a new iteration: in regard to transparent, data-driven identification of risk together with public/private collaborations structured to foster preemptive mitigation of risk.

See:

Art Basel to launch Online Viewing Rooms,” Art Basel

Anny Shaw, “MCH Group postpones Baselworld watch fair as Swiss authorities ban large events over coronavirus fears,” The Art Newspaper, 28 February2020

Christian Jecker, “MCH Group postpones forthcoming events,” MCH Group Media Release, 28 February 2020

Carbon Dioxide Absorbs and Re-Emits Infrared Radiation,” UCAR Center for Science Education

Swiss Re, “Special Feature: It’s existential – climate change and life & health,” 22 May 2019

NOAA, “Ocean Acidification