Conflux

The deadline for Conflux is now past, but I will be part of the Skillsharing & Conversation Series at Conflux HQ and hope to see you there. I’m really looking forward to finally being able to participate in this stellar event Oct. 8-10.

Investigation, Action and Transmission

“Conflux participants will transform New York’s East Village into a laboratory for creative experimentation and civic action. Through public interventions, artist-facilitated walks and tours, interactive performances and installations, bike and subway expeditions, and more, Conflux artists will confront and rewrite the rules of urban public space.”


Re Re-discovering the center

“Sociologist William Whyte’s late twentieth-century clarion call for a “rediscovery of the center” asked us to reconsider centralized, dense public spaces rich with unexpected encounters and “maximum choice”. His appeal still echoes, but against radically different conditions. Notions of density, the public and private realms, and the experience of urban space have been re-inscribed in the purview of networked culture — the decentralized, layered, re-publicized and de-privatized conditions of virtual cooperation, coordination, and performance. The explosion of mobile media has transformed understandings and experiences of mobility and presence for technology users and non-users alike. Our social, cognitive, industrial, geographic, and economic experiences and systems have become severed or skewed from traditional anchors and re-oriented within network culture.”

from  Rediscovering the Center…Again by Nepal Asatthawasi and Germaine Halegoua via the network architecture lab

Interesting article about the interpenetration of physical and virtual space and its implications for architectural practice in urban settings.

  • “Open-air green corridors are usurping the centralized agora.”
  • “In order to further understand spatial relations within networked society, we need to look at the interstices between networked culture and urban design, what is shared and what’s at stake.”
  • “Although organized through SMS or web and cell phone based applications, political assembly still occurs in parks, plazas, and at public landmarks.”
  • “Public space is not lost within network culture; it multiplies.”
  • “there may be a more nuanced understanding of … mediated practices … once they are juxtaposed against the politics and architecture of place.”
  • “The corridor structure coincides with an imagination of space as multi-layered and composed of coexisting simultaneous spheres.”
  • “The idea that information and communication technologies do not need space and do not encourage spatial organization is inaccurate.”
  • “The center is by no means dead, but it has acquired mobility and is no longer fixed.”


Fountain 193

FONTE 193 from cinthia marcelle on Vimeo.

FOUNTAIN 193
Cinthia Marcelle | 2007, Brazil | video | 12’ | color, sound

1 firefighter truck constantly drives in a perfect circle with its hose shooting water to the centre of the geometric figure, provoking the image of a fountain in reverse. This project was realized in collaboration with the Fire Department of Belo Horizonte, Brazil and the Biennial of Lyon: The 00s – The History of a Decade that has not yet been named, France.

via Today and Tomorrow via  Plotz! Blitz! Szpilman!


Summer in the city

Brad Downey, The Beginning and the End, 2010. via Eyeteeth.

“Louisville-born, Berlin-based artist Brad Downey has apparently been interpreting the ’68 Situationists graffito “Beneath the paving stones, the beach” (“Sous les pavés, la plage!”) by unearthing German street stones to create sand castles, impromptu 3D installations, and domino-style performance interventions.”–via Eyeteeth

Brad Downey, Castles Beneath Cities, 2008

See also Street Art and Cracks in the Matrix.


Puppetry in slow motion

Puppetry seems to be everywhere these days, including rush hour traffic in LA.

“The show, called Superclogger after L.A.’s endlessly clogged freeways, was conceived with Joel Kyack’s friend Peter Fuller. Fueled by a determinedly low-tech aesthetic, it stars a cast that suggests a group of funky, grimy, homemade Muppets, acting out short vignettes on themes that might speak to people stuck in traffic. Coping with uncertain conditions, for instance, or the state of being controlled.”–via NPR


Mobile Shadow Projection Theater gets mobile

Follow the Mobile Shadow Projection Theater’s bike / performance to Duluth online.

“Mobile Shadow Projection (MSP) Theater’s balloon balloon balloon, balloon balloon follows the story of a single balloon released from a human hand. The aim of the project is to take a mobile theatre experience on a 2-week tour, across Minnesota, via bicycle. Following a route from Minneapolis to Duluth, MSP Theater will stop at several campgrounds, schools and recreational family sites in order to bring live, free, interactive puppetry theatre to children and families. This blog will chronicle the experience, set to take place August 8-20, 2010.”


Re-arranging chairs in the LA River

“[Outpost for Contemporary Art] mounted a project titled “This Here and That There,” in which artist Vlatka Horvat continuously rearranged a series of 50 chairs in the [Los Angeles River] over the course of eight hours. The performance took place near Silver Lake, below the Fletcher Bridge in Elysian Valley.”
via Culture Monster

“In some arrangements, the stage seems to be set for many different scenarios: meetings, presentations, discussions, exams, interrogations, concerts, riots… Other chair configurations tends to defy altogether the everyday codes of chair-arrangement in public spaces, suggesting instead more intimate, abstract, or enigmatic encounters.”–Outpost for Contemporary Art


Taiwan Public Art Installation Project Competition

Taiwan Public ArtBureau of High Speed Rail, MOTC Taiwan Taoyuan International Airport Access MRT System Construction Project
Taipei, Taiwan
Deadline: August 30th, 2010

The Department of Urban Development, Taipei City Government (DUD) along with the Bureau of High Speed Rail, MOTC is holding an international competition that invites art consultation / advisory teams to submit artist proposals for a public art installation project, to correspond with the “Bureau of High Speed Rail, MOTC Taiwan Taoyuan International Airport Access MRT System Construction Project.” The selected art installation project will be located somewhere along the new airport MRT route—the specific location to be determined by the artist. The project seeks a design that will be consistent with its surrounding site and that takes into consideration visual movement, public open space, and interaction between people and public art. The airport route serves as a unique platform for the artwork to be seen by a large range of people and the competition offers an amazing opportunity to truly express the meaning of public art.

More Information: Please refer to the DUD website (http://www.udd.taipei.gov.tw/) or the tendering notice on the Council for Cultural Affairs’ public art website (publicart.cca.gov.tw).
Contact: Miss Rou-lan Hung in the Urban Design Division
ruolan@udd.taipei.gov.tw
886-2-27258285 (Phone)
886-2-27593318 (Fax).


New listing

via Occasional Links & Commentary


How to Build a Voice Box I: Dunce Caps into Megaphones

Join Futurefarmers on Saturday, August 7, for part of their residency “A People without a Voice Cannot Be Hear.”

Futurefarmers, A People without a Voice Cannot Be Heard

Small paper megaphones will be made by the general public. Posters will be printed with a template for the megaphone form and a space for people to write a statement they wish to shout or whisper.

Alongside the public making workshop, Futurefarmers + core group will be building a large, mobile multiple person megaphone.

http://calendar.walkerart.org/event.wac?id=5758
http://www.futurefarmers.com/buildingavoicebox/workshops.html#0807
http://tylerstefanich.com/clients/northernlights/programs/futurefarmers/

And come to the 01SJ Biennial in September for more Futurefarmers’ Sunshine Still / Speak Hard.


Futurefarmers to come to Open Field

Futurefarmers: A People Without A Voice Cannot Be Heard, August 4-September 4, 2010

Founded in 1995, Futurefarmers is a San Francisco–based interdisciplinary collective of artists aligned through an open practice of making art that is socially, politically, and environmentally relevant. As part of Open Field, the Walker is partnering with Northern Lights.mn to commission A People Without A Voice Cannot Be Heard, a temporary, free school using the “voice” as a theme to guide workshops and public events that explore methods to amplify, coordinate and channel our individual and collective voice. Auctioneers, theorists, conductors, ethnomusicologists, local newspapers, artists, and speech pathologists are invited to consider “voice” as a tool for exchange and liberation.

Working with a core group of local collaborators, Futurefarmers Amy Franceschini and Michael Swaine will look at ways that the voice has been used to pass time through song, to elevate the spirit through oratory, to create camaraderie through conversation, and as a “megaphone” in the media. The new group will then teach what they learn to the public throughout the month. The project culminates with a public event and live auction called “Auctions Speak Louder Than Words” on Saturday, September 4.

Sunshine Still

Futurefarmers will also present Sunshine Still at the 2010 01SJ Biennial in September.

Futurefarmers, Sunshine Still, 01SJ Biennial


Calling all builders, tinkerers, sound artists, collaboratives, inventors, electronic hackers, artists

Futurefarmers wants you!!

Deadline for Submissions: June 25th, 2010
When: Aug. 18, 2010 Noon – 5pm; Aug. 19, 2010 3 pm – 8pm
Where: Walker Art Center, Flatpak House
What: A two-day workshop with a core group of
art and design students building “Voice Boxes”.
Who: An amazing group of artists working with Futurefarmers on A People without a Voice Cannot Be Heard

Within the context of the Walker’s summer program, Open Field, which encompasses issues around “the commons,” Futurefarmers will be programming several events around theme of “voice” as a commons. We are looking for Minneapolis-based artists/builders to lead this workshop. We are leaving “voice box” open to interpretation. The first day will be a more intensive building workshop with a core group of design students (max 15) and the second day will be open to the public. This is a free Thursday at the Walker, so there is heavy foot traffic with many kids and people who would love to build or contribute something, so preparing some simple aspect of participation for this day is key.

More information: www.futurefarmers.com/buildingavoicebox; www.walker.org/openfield
Commission: $500

Please send

  • Name
  • Address
  • website
  • email
  • 250 word description of workshop
  • rough schedule of the two days: noon-5pm
  • link(s) to any previous work or 5 jpgs 72 dpi of related work

To: info@futurefarmers.com


Sabrina Raaf, A Light Green Light


Small Wonders


Is precedent important?

Virtual Street Corners

From the home page of Virtual Street Corners, a public art project by John Ewing with Boston Cyberarts & the Knight Foundation

This project looks great, and I’m excited to see it, but I do hope that by launch time there is at least some acknowledgment of Kit Galloway and Sherrie Rabinowitz’s pioneering Hole In Space (1980) project between LA and New York, which informed their LA Olympics original Electronic Cafe (1984), which had some of the same explicit goals of creating virtual discourse and sociability between geographically divided neighborhoods.

Kit Galloway and Sherrie Rabinowitz, Hole In Space, 1980. Via Media Art Net.

Kit Galloway and Sherrie Rabinowitz, Hole In Space, 1980. Via Media Art Net.

Maybe I’m wrong to want this acknowledgment. I’m ambivalent about artists having to be art historians. It’s not their job, even though most I know are incredibly knowledgeable about the history of their practice. I also don’t believe that “first” is synonymous with “better” or that no one else should use scrolling, LED text because Jenny Holzer has. But Kit and Sherrie have 30 years of remarkable experience thinking about and putting into practice some of the same goals and challenges as Virtual Street Corners, which I hope the creators have learned from.