Archive for the ‘art intervention’ Category
Stephen Bickford is a board member of the gallery Cuchifritos at the Essex Street Market and he sometimes sits at the gallery. As I was recording recipes from people at the market, I asked Stephen if he had a contribution. After a few notes to recall all the ingredients, Stephen shared the “Caveman Gratin”:
Listen to the full collection of recordings.
Commonly street markets around the world have both an outdoor and indoor space. The perimeters of the market may extend on to the street to invite pedestrians in to the market. Rather than walls, street markets may present large openings and awnings to create an arcade where people are at once outside and inside. The Essex Street Market in the Lower East Side of New York City does not have a side walk extension beyond sandwich boards and signage outside its brick wall. The Essex Street Market facade does not even present pedestrian level windows for those outside to peer in to the interior. The facade is rather an uninviting brick facade, perhaps a planned institutional barrier that Mayor La Guardia desired as he sought to take cart vendors off the sidewalk in an effort to clean up the streets from obstacles and noise. For the exhibition “Lettuce, Artichokes, Red Beets, Mangoes, Broccoli, Honey and Nutmeg: The Essex Street Market as Collaborator” at Cuchifritos curated by Nicolás Dumit Estévez Raful , I have sought to extend the Essex Street Market on to the sidewalk through sound.
There is a long history of market vendors announcing, singing or chanting their goods to the public. On Essex Street before cart vendors were moved off the street and into the market, they would call out their goods, hoping to attract buyers. I imagine that when the market first opened this practice continued. Today, walk through a traditional Latin American market and you will hear various products sung in to the air. To develop my project, I solicited vendors to vocalize their products and the more performative, the better. Only two vendors played along, one eagerly – Rosella Albanese from Pain d’Avignon and another through a bit of coaxing – Yanivis Rodriguez of Luna Brothers. You may listen to each of their recordings below.
Yanivis Rodriguez, Luna Brothers
Rosella Albanese, Pain d’Avignon
When I was trying to talk Yanivis into the recording while she worked the register, a shopper began to tell me about her recipes for preparing yams. It was an older Dominican woman, perhaps in her 60s who after describing her recipe, told me about the many health benefits of yams.
As I was having a difficult time convincing vendors to sing or chant their goods, I decided to request a recipe from them. This turned out effective as I’ve collected several recipes from vendors and customers. Over the next few weeks, I will describe the interactions with the subjects and you may listen to the shared recipe. The final piece is an audio montage that captures a portrait of the Essex Street Market through the voices of vendors and customers alike all recorded within the market. The audio montage is titled “Recetas y Gangas” (Recipes and Deals) and is available online. And please check out the show at Cuchifritos in the Essex Street Market opening on February 22nd, 2016.
Sadly the Brooklyn Museum hosted a real estate developers summit. Some 600 individuals registered for the 6th Annual Real Estate Developers Summit at the Brooklyn Museum today. I’m saddened that the Brooklyn Museum would host such a summit for individuals to gather, network and “shape the borough into a place to live, work and play”. The question is for whom is the borough shaped and of course by whom? Historically, it is for the highest payer/player. These people gather to figure out how to make more money and unfortunately when it comes to “shaping” the city, it’s all about money, not about creating better neighborhoods, or livelihoods, or for the care of character or any sense of history… it’s about money.
Some 70-100 people gathered in protest in lively fashion for the first time at this real estate conference. Is it too little too late? At NYC speeds, probably so, but for those who could weather the cold under the shadow of the Brooklyn Museum, it was well worth it. The community, neighborhood, artists should protest the next First Saturday at the Brooklyn Museum. It is inexcusable that this institution would host a conference of the people who have displaced so many residents, particularly artists as recently as the targeted development of Gowanus:
Developer Eli Hamway purchased a block of three Gowanus buildings for $21.2 million this spring. Hamway denied lease renewals to the more than 250 artists who rent studios in these buildings, a move many of them see as a signal the building owner wants to free the building of renters to make it easier to flip the property.
The Franklin Furnace Fund awards grants annually to emerging artists to enable them to produce major performance art works in New York. Grants range between $2,000 and $10,000 based on the peer review panel allocation of funding received by Franklin Furnace.
Franklin Furnace has no curator; each year a new panel of artists reviews all proposals. We believe this peer panel system allows all kinds of artists from all over the world an equal shot at presenting their work. Every year the panel changes, as do the definitions of “emerging artist” and “performance art.” So if at first you don’t succeed, please try again.
Artists from all areas of the world are encouraged to apply; however, artists selected by the panel are expected to present their work in New York. Full-time students are ineligible.
The Franklin Furnace Fund 2015-2016 is supported by Jerome Foundation, the NYC Department of Cultural Affairs in partnership with the City Council, and by general operating support from the New York State Council on the Arts. Artists supported by funding from Jerome Foundation must live in the five boroughs of New York City.
Deadline: April 1, 2015 at 11:59pm Eastern Standard Time
If you have any questions about the application process, please contact:
Program Coordinator, Franklin Furnace
Come out Saturday to the green space at Division and Bedford, Brooklyn – La Casita Verde – for a fun afternoon of poster making for Sunday’s People’s Climate March. 1-4pm Saturday, September 20th at 451 Bedford.
Tomorrow Brooke and I will be riding the food rescue and compost bike around New Haven collecting food for the final event of “Vagaries of the Commons.” Big thanks to curator Sarah Fritchey for lining up participating restaurants and vendors giving us food that would otherwise be thrown away!
“Vagaries of the Commons,” curated by Sarah Fritchey, will be on view July 25 through September 13. Brooke and I are participating in a group show revolving around the concept of the “commons” in today’s increasingly privatized public spaces. The curated artists are cultural producers that interact with the gray zones of private vs public to investigate various social issues.
Our food collection and compost bike for the ongoing project EXCESS NYC is on exhibit and on Saturday, September 13th, we will be collecting food and having a picnic as part of that day’s closing events.
Here’s the full description or go to the Artspace site that also includes links to the artists.
Artists and contributors include: Brad Armstrong, Ricardo Miranda and Brooke Singer; Lani Asuncion and Gary Aronsen; Mengyu Chen; The Elm City Dance Collective; Jason Friedes; Focus Lessness (Michael Romano and Milton Laüfer), Occupy New Haven; Phil Lique; Project Storefronts; Scott Shuldt; and Under 91 Project.
The concept of “the commons” predates the feudal era in early Germanic and Roman settlements, where communal land ownership prevailed. Originally, the concept referred to the public’s interest and right to access essential natural resources that are held in common and not owned privately, including land, water, animals and fish. Gradually, as royalty and then a central government gained power, the notion of communal land ownership disappeared and the concept of “the commons” evolved.
In 2014, this concept is increasingly complex. Legislation pertaining to the regulation and privatization of common space responds to changes in government, the economy, the sciences and our natural surroundings. Also, the concept of the commons extends far into the charted and uncharted vacuums of the digital realm.
This exhibition presents a group of artists, based in and around greater New Haven, who make works that operate within the penumbras and cracks of the legal systems that oversee its “commons”. These grey zones are the flexible and the often vague environments from which the show’s title takes its inspiration
The show identifies four specific sectors and human rights questions addressed by artists practicing in and around New Haven. These include: the material commons (who has the right to order the build and name structures, homes, cities, maps?), the knowledge commons (who has access higher education, public libraries, the internet?), the aesthetic commons (who has the right to define and control image production?) and the affective commons (how are emotions policed and kept public/private?). The essential question that each work asks is: who has the right to have a voice?
The exhibition is organized to mindfully accompany Laureline Kruse’s Mobile Museum Student Apprenticeship Program project, which will share an exhibition space with the show.
This is a brilliant project by art/design collective Studio Swine (Azusa Murakami and Alexander Groves). With so much waste and stuff in the world, do we really need to keep producing more? This project recycles waste – used vegetable oil and aluminum cans to create new aluminum objects via a mobile foundry. It’s an inspiring project executed in Sao Paulo, Brazil.
Artist Duke Riley is a pigeon guy and for his recent project, he worked as a pigeon trainer in the Florida Keys. As the New York Times Article “Avian Artistry, With Smuggled Cigars” states “He started the training in Florida last year with 50 pigeons; 23 went on the first mission, this summer. Only 11 returned.” (The NY Times video is well worth watching.) The mission for the pigeons was a small political intervention… they served as documentarians or Cuban Cohiba cigar smugglers. Some of the pigeons carried small cameras that captured their travel between the Florida Keys and Cuba others travelled from Florida with empty harnesses to return with cigars.
The pigeon project’s artifacts are installed in the first gallery of MegnanMetz until 25 of January 2014, where you can see the pigeon coop with the pigeons still living in it, pigeon paintings, pigeon mosaics made from sea shells and videos that the pigeons made as well as other artifacts.
The second gallery presents documentation of a collaborative performance along the canals of Zhujiajiao in China that re-stages a legendary race of the Chinese zodiac. A projected wall video shows the race and along another wall are mounted animal masks that performers wore to represent the various creatures of the Chinese zodiac. On the wall opposite from the video is a large scale drawing capturing the legend of the Chinese zodiac.
Play the NSA Game by choosing which word is a “Terrorist Threat or Harmless Phrase?” an NSA word guessing game. You will see two words, one is listed in the NSA’s watch list, the other is not, can you guess which one is not listed? The two words are set against a blue sky background with puffy clouds, flying birds, green grass and a nice tree. However, every time that you guess wrong a hidden image below the natural landscape is revealed, a dark image of a surveillance society.
Four wrong guesses and the natural landscape is entirely gone, instead a Google search window appears with your bad picks filled into the search field… Click search and your IP may now be added to the NSA watch list as you search for key terms on the NSA database.
The project is a second of a series by artist Grayson Earle who a few weeks ago created NSA Haiku Generator that does just what the title describes. With both of these projects the artist is problematizing the fact that the NSA maintains such a list and the list itself. The games portray how inane the list is and contribute to their pointlessness by generating more searches with these terms by anyone playing the games.
See a physical installation by the artist titled “NSA Lights” at the Roosevelt House Public Policy Institute this Saturday, December 14th, 2013 located at 47-49 East 65th Street, New York as part of Hunter’s Integrated Media Arts MFA exhibition.