Sarah Kanouse has published an excellent essay on radio as art practice in the public space. The essay “Take It to the Air: Radio as Public Art” is printed in the fall 2011 Art Journal and discusses three different art projects utilizing radio as the primary medium. Following the introduction, Sarah discusses the work of Jon Brumit and Neighborhood Public Radio, my own Public Broadcast Cart and the work of art collective LIGNA. The final wrap up of the essay is quite inspiring:

In these projects, radio is a prosthetic technology that transmits the physical world into the space of electronic communications and materializes the vast space of electromagnetic resources into something material and physically apprehensible. In so doing, it forces a confrontation with and contestation of the rules that govern and control the use of both spaces, positioning radio for creative interventions in manifold public spaces – not only those we inhabit with our bodies, as much of the best public art does, but also those we inhabit with our passions, our excesses, our energies, and our speech.

The art center, El Matadero in Madrid, Spain inaugurated its latest project – El Ranchito last Thursday, December 15, 2011. El Matadero is dedicated to contemporary art practices and El Ranchito is a gigantic space (Nave 16) within El Matadero that is dedicated to artistic research, process and social engagement. Brooke and I collaborated with two artists in Madrid to begin a long-term project titled EXCEDENTES/EXCESS that revolves around food waste in our cities. Below are images from the final night of preparation for the opening and photos from the media tour on the morning of the opening as well as an image from the opening.

André Komatsu employed largely discarded construction materials around El Matadero to create “Landscapeknowhere – Timeout”. I enjoyed getting to now André Komatsu, however, I found his installation to be very formal, not particularly interesting and not in line with the mission of El Ranchito – research oriented and engaged with social practice.

Inteligencia Colectiva bases its practice in traveling the world to discover, document and adopt alternative means of construction. Their mission is to create a public archive of alternative modes of construction. As part of their residency, they constructed the future administrative space in El Ranchito that will be self-sustaining through a bicycle generator located at the top of the office tower.

Aesthetically one of my favorite installations or series of works is by the collective Todo para la praxis. Of all the resident artists, this group has been perhaps the busiest at designing and constructing. They have created a series of practical sculptures designed for public use. Amongst the constructions are a mobile street kitchen, a dining space, a mobile boom box, an info center. They continue building new things through workshops that they lead. Soon a children’s table and workspace will be introduced.

“EXCEDENTES/EXCESS” is a collaborative project between RICARDO MIRANDA Zuniga Y BROOKE SINGER (NUEVA YORK), JOSE LUIS BONGORE, BEATRIZ MARCOS Y SISSA VERDE and was selected as part of the public call for El Ranchito. The project revolves around the large amounts of food going to the dump when there are plenty of people hungry in the cities of New York and Madrid. In NYC the focus has been research and we hope to construct a “composting bicycle” in 2012. In Madrid, the realization of the food rescue and redistribution cart (pictured last in screen documentation) has lead the Madrid group to researching the possibility of establishing a law that would facilitate the collection and redistribution of discarded food that is safe to consume. A law similar to the Good Samaritan Law in the United States, signed by President Clinton.

This past week, Brooke and I met with Joel Berg, director of the New York City Coalition Against Hunger and author of All You Can Eat, How Hungry Is America. We sought out Berg, because we’re collaborating on a food reclamation project with Spanish artist Jose Luis Bongore for a residency and exhibition at El Ranchito.

The goal of the project is to introduce mobile carts to food vendors in Madrid where they will place food that will otherwise be discarded as trash. Due to the high level of unemployment in Spain, dumpster diving is not uncommon. The desire is to present a system that will facilitate the reclamation of discarded food.

Here in NYC, Brooke and I have been researching food waste from supermarkets and in general the systems in place to salvage food. Questions we’ve been asking include: What goes to organization such as City Harvest? What stores participate in food redistribution? What becomes landfill leading to methane and greenhouse gas? So we decided to consult an expert. Joel Berg has devoted much of his career to eradicating hunger in the United States. We asked him if food reclamation at the supermarket level is a worthwhile endeavor. Below is the initial sequence from our interview. Shortly I will post more edits.

Last Thursday I made it to the opening of Ecologías Correlativas at 319 Scholes curated by chimera+ and was treated to excellent new work. The piece pictured above left the strongest impression on me as I think that it’s beautiful at many levels. “untitled slime moulds” by Dan Baker is a stop motion animation of mold seeking out food and surviving. The artist set up a backlit mold environment that he documented over an extended period of time. The final video isn’t simply a compilation of the stills, but rather the artist pans throughout the environment following the mold as it moves and grows, seeking food or dying. The animation is beautifully rendered and the manner in which the mold moves and expands appears programmatic. It brought to mind some of the more beautiful data visualizations that I’ve seen in different years, however this is a living entity moving in space. The piece immediately reminded me of Thomas Aquinas’s writings and his argument of geometry as the language of God.

Although I have mixed feelings about my work in the show, projected in the back room and documented below, I was flattered to be part of a thoughtful and compelling exhibition that thematically stemmed from Félix Guatarri’s “Three Ecologies”. The beginning of the video “El Rito Apasionado” is available online.

Another piece that I thoroughly enjoyed is Miguel Soares “Place in Time”… brilliant!

Miguel Soares, Place in Time from migso on Vimeo.

And below is a textual contribution by the Chilean artist Ignacio Nieto.

The exhibition is only up until the 27 of this month and definitely worth the trip. Gallery Hours: Thursday – Saturday, 2:00pm – 6:00pm, and by appointment, 319 Scholes, Brooklyn, NY.

I’m in a group exhibition titled “Ecologías Correlativas” at 319 Scholes curated by chimera+. The exhibition is thematically inspired by Felix Guattari’s “Three Ecologies” and the curators asked me to write a brief statement in response to the essay for the exhibition’s catalog. The following is what I submitted.

I live with a three-year-old boy named Iggy in a household that does not have a television. Iggy has never seen a movie, and yet he recently demanded to be Lightning McQueen for Halloween. Over the past year, he referred to Lightning McQueen and the characters from Disney’s “Cars” merely as “Halloween Cars”. He did not know the names of the individual characters or that they were from a movie. Iggy only knew that he had seen many young children dressed up as “Halloween Cars” last Halloween when he was two. And since then he has observed toys, billboards, posters, books, magazines, lunch boxes, caps, t-shirts, backpacks, folders, bags, stickers, balloons, banners, flags presenting the image of Lightening McQueen or some other character from “Cars”. And then he visited his cousins in Connecticut, two boys, ages three and five that live with a 36-inch television that presents hundreds of cable channels. They regularly log extended periods of time in front of this television. Since that visit, he knows the name Lightning McQueen and would like to know the names of other characters, particularly the tow truck. He has developed a small obsession with “Cars”, a movie he has never seen. From the moment of conception onward, we are all subject to the phantasmagoria of commodity capitalism. It swirls all around us, captivates our imaginations, seduces our senses and consumes years of our lives. At times it can be stimulating and good, but for the most part it is noise, bad noise, not the type of noise that takes you on a voyage, rather the type of noise that conjures ambivalence.

Currently, my partner and I are learning about schools for our son. Iggy is two years from kindergarten, however New York City is over saturated with children, so a parent must inform oneself as early as possible. There are not enough schools to properly serve kids and it is getting worse every year. I have recently learned a very important term regarding schooling – “entry point”. There are primary entry points to school – these are the years of a child’s life when there are the most seats available to gain entry into a school. A primary entry point into public schools is Pre-K – age 4. According to one friend younger siblings of kids already attending a given school largely take that entry point. So the next large entry point, because a class or two are added is kindergarten at which point in the public school system Iggy is entitled to a seat in his school district. Of course the problem then becomes overcrowded classrooms and poor learning environments, not to mention the goal to keep moving the kids along through examination and exam training.

Besides the general public school system, there are charter schools and private schools. Both charters and private schools proclaim small classes, individual attention and alternative methods to various degrees. Private schools near my home range from $25k-$30k per year for pre-k through elementary school. Charter schools are publicly financed but independently run and free to experiment in classrooms. I believe that charter schools prosper through the financial and personal intervention of parents. Generally, I do not believe that a low-income parent has the means to financially or personally intervene in a child’s school. I may be mistaken, but I tend to consider charter schools as the privatization of the public school system.

To a large extent I agree with Guattari’s “Three Ecologies”. Remarks against Integrated World Capitalism (IWC) resonate with me. I agree that

(Confronting IWC) will not come about through centralized reform, through laws, decrees and bureaucratic programs, but rather though the promotion of innovatory practices, the expansion of alternative experiences centered around a respect for singularity, and through the continuous production of an autonomizing subjectivity that can articulate itself appropriately in relation to the rest of society.

However, I am left wondering how bourgeois must we become to afford our son a good education. An education that will help provide the weapons to defend himself against the phantasmagoria of commodity capitalism through critical thinking and a nuanced perception of our society.

Last Saturday, women contained within police orange netting were pepper sprayed. The women were entirely contained, did not present a danger to anyone, were not violent and were pepper sprayed. This can not be ignored – PROTEST TODAY AT 5:30PM ONE POLICE PLAZA

Bill de Blasio believes that the government can decide what is viable free speech and what is not. de Blasio feels that he knows what messages may be censored and which may be allowed to remain in the public space. A couple years ago de Blasio demanded the removal of anti-abortion billboard and stated the following “There should never be a law prohibiting this sort of sign, Mr. de Blasio said, ‘but to have a serious debate, to have people express their outrage, and then to have a private owner of the advertising space decide that it was ultimately not appropriate, that to me is a functioning democracy.’” Read the NYTimes article.

Today the UN Assembly gathers in NYC and I comfortably sit in my office at 68th and Lexington after dodging through stand still traffic while police vehicles weaved through… all for a series of limos with international flags. If you’ve got a limo, get a flag… traffic will part for you. In preparation for the UN members’ visit Two Peoples One Future paid for posters throughout the subway system presenting Israelis and Palestinians beneath these words: “Be on our side — we are on the side of peace and justice.” Local politicians protested and now the posters are down. Just as who paid for the advertisements is public knowledge, the names of the people who demanded that freedom of speech be censored should be public knowledge. Read NYTimes article.

Now off to Wall Street to visit the protestors at Zuccotti Park, I mean Liberty Plaza.

I’m the one artist without a cart in the exhibition Mobility, however the curators elected to include my “Undocumented Drones” as part of the show. The exhibition looks great, upon entering the gallery, I wished that one of my carts was available for the show, unfortunately they are either disassembled or in another part of the world. The exhibition opens Friday, September 9th and runs through October 17th, hopefully my bots will survive. The images below are a preview, the paint bucket in the first photo is not art.

From left to right: Undocumented Drones, Blender by Hidemi Takagi and Pimp My Piragua by Miguel Luciano

From left to right: SOS Mobile Classroom by Tattfoo Tan and Máximo González’s Changarrito

Consume Love by Atom Cianfarani

Close up of an Undocumented Drone – a series of modified hobby robots that have been enhanced with an additional microcontroller, screen and radio module. Each robot presents a rotoscoped animation until it receives a twitter message with the tag “DREAMers”. Upon receiving the tweet, the animation freezes, the motors are activated and the message or tweet is displayed.

The Undocumented Drones represent a near slave class within the United States that exists for cheap labor and does not have a voice – the undocumented laborers contributing to this country and primarily concerned with providing for the children and family. The twitter tag “DREAMers” alludes to the children of undocumented immigrants, brought to this country at a young age who have grown up in the United States, but may not have a right to higher education or employment. The DREAM Act was introduced a decade ago to create a pathway toward citizenship for undocumented youth. The DREAM Act has never been passed, however many of the young adults who would benefit from it have exposed themselves as undocumented and become activists; they are the DREAMers. Each bot juxtaposes the silent day laborer with the activist offspring.

I just came across video documentation of a new public performance by Alex Villar – “Breaking into Business” that he executed as part of the Open City festival in Lublin, Poland. In “Breaking into Business”, he literally performs the concept of “Open City” by walking through the city pushing a scaffold on casters, setting the scaffold below a business window, climbing up the scaffold and into a window. As I watched the video, I kept wondering if all these places had agreed to his visit or what was the reaction within the location as Alex stepped into the building from a second or third story window. Unfortunately, the videographer only follows Villar on the street and we never see the interaction within the building. As is the nature of Alex Villar’s performative work, the focus is on his action, movement and intervention in and through the urban space.

Documentary film maker and colleague Kelly Anderson has just launched a kickstarter campaign for a doc in production titled “My Brooklyn” revolving around urban planning and gentrification in Brooklyn, particularly changes occurring in and around Fulton Mall. Check out the trailer and support the film if you like what you see!

My Brooklyn trailer from Kelly Anderson on Vimeo.