SPQ Green Lab Report

SPQ’s held its first ever program on Governor’s Island on Saturday October 5th. From 11:30 AM to 5:30 PM, we had back to back workshops based in the Urban Farm and the new covered structure, dubbed “The Lab,” built by a group from Parsons. One current certificate student, two alumni, and a faculty member presented their projects around this year’s broad environmental theme. After months of planning and some twists and turns in the process, everyone was excited and curious to see what it was like to work in this new location. It was a crisp, sunny, early autumn day, without a cloud in the sky – perfect weather for trying new things!

GrowNYC

The first project was organized by Jamerry Kim: Cooking and Communing: a Lenape recipe by Touching Leaves Woman. We set up in GrowNYC’s garden and outdoor seating space next to the Lab, which was graciously lent to us for this workshop since it involved food. Jamerry’s practice addresses language, history, and place, bringing historical documents for reinterpretation to inform the present.

IMG_0948

For Green Lab, Jamerry responded to the plaque on Governor’s Island that tells the story of the Dutch settler who “bought” the island from the Lenape Indians for ‘two ax heads, a string of beads, and a handful of nails in 1637.’ She created a rubbing of the plaque and invited a representative from the Native Indian Community House to share more about regional Lenape history and to demystify this transaction. Then, as a way to acknowledge the history of the land and to give thanks for the fall harvest, we shared a meal of Lenape dishes. Though Jamerry had originally planned to demo the preparation of the recipes, in order to adapt to the current limitations of the site, she graciously cooked the whole meal for us in advance.

IMG_0926

kimworkshop

Sweet potato, corn, and jerky kept us all fueled for the next project by QC Urban Studies professor, Rafael de Balanzo Joue: Resilient Thinking Collaborative Workshop.

Rafael’s workshop addressed some of the very things we had already experienced and talked about that day. Just as the island was passed down (sometimes violently or aggressively) through different owners, bringing us to the present moment where cultural groups are now invited to occupy the architectural shells from America’s colonial past (sans electricity and proper building codes for cooking) – so the island would go through more cycles of being built up, destroyed, and recreated. Rafael researches these cycles of “creative destruction” whereby catastrophes, both social and ecological, make way for once marginal agents to rebuild their environments.

complexadaptivecities

In the workshop, Rafael directed people to form groups and think about Governors Island’s past cycles and possible futures, taking to account its assets and potential deficits. Many identified real estate development as a potential danger for the natural and creative environment that the island could nurture.

IMG_1035_1

The groups moved outdoors to share the results of their brainstorming, though time ran out to take their findings on the road to engage more of the public via research cart. Many students from Rafael’s classes came out to participate, and a few stayed on to check out the other events in the day.

presentations

cart

The tone changed abruptly (in the best of ways) as people filtered back into The Lab for the third workshop, Glomalin2020 by Bethany Fancher. Bethany was working the room with her miniature voice changer speakerphone, announcing the start of her presentation and pulling in young families from outside. She had set up the room to hold a mock campaign rally, complete with printed swag and demonstrations, for Glomalin, the soil fungus residue that keeps dirt healthy and clumpy.

glomalin2020

Recent breakthroughs in soil research reveal that Glomalin, and the network of fungus that creates it, is critical for soil nutrient balance, water absorption, as well as retaining CO2 in the ground. As a result, there are those who want to shift prevailing agricultural practices away from disruptive tilling to more “regenerative” methods. Bethany walked people through basic environmental cycle concepts as well as these findings via slideshow.

IMG_1123

IMG_1145

IMG_1137

Demonstrations – Top: Bethany making it rain on a stack of sliced bread, showing the difference between structured and loose substances in their ability to absorb water; Middle: A taste test between organic and non-organic apples; Bottom: Soil from an untended area (left) compared to soil from a tilled garden (right).

The last workshop was Tierra espacio para habitar: How to fall in love with a river, pt. 3, organized by Erin Turner and Alix Camacho-Vargas. Erin represented the duo team that day. Their project was part of a series of reflective walks that bring disparate locations together for consideration through personal, interpersonal, historical, and imaginative creative exercises that tie into major ecological issues in unexpected ways.

IMG_1166_1

Erin directed everyone to choose from three prompt cards that had us either walking to find a view of the city, filling in word associations for the Urban Farm area, or looking at the water. The group agreed on how long we wanted to spend on individual silent walks and a time to return to The Lab (note: apparently if you want people to commit to participating, just ask!). On the back of the cards were portions of a larger image that we were to puzzle together when we returned.

IMG_1170

IMG_9873

Many of the prompts focused on large swaths of land or water that we were familiar with as New Yorkers and imagining if they suddenly disappeared. The picture on the back of the cards was revealed to be an image of an Apache ceremony that originated from Oak Flat, Arizona, a territory sacred to the Apache which was recently swapped out of public ownership to become a copper mining site. Erin explained that this exercise was an attempt to close the distance between New York and Arizona and to help people empathize with the imminent loss of land and home that the Apache face in Oak Flat.

Though somber in its reminder of real problems across the country, it was a fitting way to the end the day of activities, slowing down the pace and in a way tying together elements from the other workshops: Native Indian communities and intimate connections to the land, destruction of ecosystems, that which builds up over time in the soil itself, and being present on Governors Island amidst the dizzying tasks of reckoning with the past and preparing for a precarious future.

IMG_9876_2

My (Naomi) view of the city from Governors Island.

The day was over, but all of us left (some with prop suitcase and research cart in tow, ready for the subways) with fresh insights into our public practices and collaborations, and new connections across the growing SPQ family. We hope to be back at Governors Island in the future!

IMG_9869

Greg Sholette getting into the Green Lab spirit repping Glomalin2020 swag.

——

SPQ Green Lab was supported by the office of the Associate Vice Chancellor of the City University of New York, CUNY Arts, as well as The Shelly & Donald Rubin Foundation.

CUNY logoCUNY_ARTS_LOGO_redSDRF logo

Upcoming Events: Fall 2019

floor mapping our microbiome

SPQ Alumni Floor Grootenhuis and Naomi Kuo will be presenting their work at Civic Art Lab: Inhabiting + Closing the Loop from October 11th through the 13th at Chinatown Soup (16 Orchard St., New York, NY).

Civic Art Lab features three days of free workshops, talks, convenings, and creative projects exploring this year’s theme: “inhabiting + closing the loop,” to include contributions from circular economics, sustainability, food science, biology, permaculture, design, wellness, and much more. The Lab is a place where disparate disciplines live and play together in public, where we are all learners, and where expertise is distributed. Check out and RSVP to the full list of events here.

Friday Oct 11th 3:30-5:00 pm and Sunday Oct 13th 3-4:30 pm: Floor Grootenhuis and microbiologist Kelly Eckenrode will be facilitating a collective piece called The Microbiome // mapping our collective fabric. This is a 2-part workshop; participants are encouraged to attend both sessions.

Friday Oct 11th 5:00-8:00 pm: Art & Design Exhibition and Performance. Naomi Kuo will be exhibiting her mixed media work that up-cycles and reflects on the material culture of the Asian American community in Flushing, Queens. Join her and the other artists in the group show in celebrating the opening of the exhibition! Drinks and light food will be served at the cafe in the back of the gallery.

Civic Art Lab was co-founded by Jeff Kasper and Laura Scherling.

 ————-

On Saturday October 19th at 5pm Julian Phillips and Floor Grootenhuis will be performing Blood Piece as part of IN|BETWEEN @New York Live Arts on 219 W 19th Street, New York, NY 10011.
Tickets for this can be reserved here:

About IN|BETWEEN:

In | Between is a group showcase co-curated by Yanira Castro and Martita Abril that assembles artists from the New York Foundation for the Art’s Immigrant Artist Mentoring Program. In this showcase, alumni of the Immigrant Artist Mentoring Program are gathering to share ideas on Live Arts stage. With the goal of reflecting on the multiplicity of their experiences, identities, practices, politics, these artists also speak to what holds them in common: the experience of displacement and disorientation and the work of communicating/finding/forming community. The artists in the showcase include Júlia Brandão, Floor Grootenhuis and Julian Louis Phillips, Robert Ó Shea, Lyto Triantafyllidou and Tina Wang.

Full listing: https://newyorklivearts.org/event/in-between/

———-

 

JCAL Where-In

Where-In: 2019 ARTWorks, Inc., Two Fellow Artist-in-Residence Show

Artist Reception: Thu Oct. 24 6:00 – 9:00 pm @ Jamaica Art Center, Miller Gallery (161-4 Jamaica Avenue, Queens, NY 11432)

On view Oct. 10 – Nov. 9

Jamaica Center for Arts & Learning (JCAL) presents the work of Ifeatuanya (Ify) Chiejina and Julian Louis Phillips, two resident fellows who have participated in the FY19 ARTWorks, Inc., a professional development artist residency & seminar series. The exhibition culminates their creative endeavors and celebrates the work that they have created during their artist-in-residence at JCAL. Julian Phillips is an SPQ Alumnus.

Join the artists for a reception on October 24th! RSVP here.

———-

Zine Workshop Poster La Placita

La Placita Collage Zine Workshop: What do you eat that feels like home?

Sunday, October 27th 1-3PM

Lowery Plaza (40th street under the 7 train in Sunnyside)

Current SPQ student, Cristina Ferrigno will be leading a zine workshop for folks of all ages. Using local takeout menus with photos of Latinx food participants will make a collaged zine thinking about the connection to food, family, home and place.

More information on the Facebook event.

———

pedro

Congratulations, Pedro Fliipe Vintimilla (SPQ Alum) on a solo exhibition, LINES . COLOR . TEXTURE at Norwalk Community College in Connecticut! The show features a series of 32 photographic portraits printed on silk, of Ecuadorian men during the Ecuadorian Day Parade (August 6, 2017, in Queens-NY), and the Parade of Morlaquía (November 3, 2018, in Cuenca-Ecuador).  On view until October 24th.

———

Congratulations, also to Prof. Chloe Bass on her new installation – Wayfinding @ The Studio Museum in Harlem!

The Studio Museum in Harlem presents Chloë Bass: Wayfinding, the conceptual artist’s first institutional solo exhibition. This monumental commission features twenty-four site-specific sculptures that gesture toward the structural and visual vernacular of public wayfinding signage. The exhibition begins with and revolves around three central questions, poetically penned by the artist and featured throughout the park in billboard form: How much of care is patience? How much of life is coping? How much of love is attention?

Through a combination of text and archival images, Bass’s sculptures activate an eloquent exploration of language, both visual and written, encouraging moments of private reflection in public space. St. Nicholas Park is located along St. Nicholas Avenue between 128th and 141st Streets. Enter at 135th Street to view Chloë Bass: Wayfinding. For wheelchair access, please use the 132nd Street entrance.

On view for one year until September 2020.

——–

WAC_MuscleMemory_05_PhotobyScottLynch-1024x683

One last shout out to alumni Setare Arashloo and Barry Cline, and their group the Workers Art Coalition, for their new installation in the Socrates Annual 2019 at the Socrates Sculpture Park:

Muscle Memory
Galvanized electrical conduit, outdoor electrical boxes, compression connectors, QR code.

‘Muscle Memory’ is a spiral sculpture of joined electrical conduit produced by the Workers Art Coalition (WAC), a group of construction workers and artists who bring representations and creative expressions of blue-collar workers into public culture. Composed through a series of workshops held at the Park, the work’s “distributed authorship” highlights the collaborative process while reversing the typical invisibility of the fabricator in contemporary art production. A sound element involving IBEW Local 3 union electricians will be added during the exhibition’s run.

SPQ Goes to Governors Island Oct 5th!

banner image_web

Social Practice Queens (SPQ) Green Lab is a one-day art event featuring experimental projects and workshops by CUNY students, alumni, and faculty, rooted in their ongoing research-based creative practices. Hosted in the new  Lab at the Urban Farm, these site-specific projects address our multifaceted and often troubled relationship to the environment. They consider our use of land over time: from the colonial past to the future of climate change, from microorganisms in the soil to our own bodies in the landscape, from local conditions to the global community. Join us!

DATE: Saturday October 5, 2019

LOCATION: Governors Island, The Lab at the Urban Farm (See full map and directions here)

TIME: 11:30AM–5:30PM

RSVP on Facebook; free and open to the public

SCHEDULE: 

11:30-12:45 Cooking and Communing: a Lenape recipe by Touching Leaves Woman

12:45-2:45  Resilient Thinking Collaborative Workshop

2:45-4:00   Glomalin2020

4:00-5:30   Tierra espacio para habitar: How to fall in love with a river, pt. 3

GI_Urban Farm Classroom map

 

 

PROJECT DESCRIPTIONS

Cooking and Communing:  a Lenape recipe by Touching Leaves Woman – Jamerry Kim

In response to the plaque that tells the historical story of the Dutch settler who bought Governors Island from the Lenape Indians for “two ax heads, a string of beads, and a handful of nails in 1637”: To welcome the Fall season and to acknowledge the land we stand at Governors Island, we will cook a traditional Lenape Indian recipe using grapes to make dumpling soup. The recipe comes from the cookbook titled “Lenape Indian Cooking with Touching Leaves Woman.” Kim will give a small presentation of Lenape cooking history according to Touching Leaves Woman, facilitate the group preparation of grape dumplings and corn fritters and enjoy them together.

Resilient Thinking Collaborative Workshop – Rafael de Balanzo

Professor de Balanzo and a group of Queens College students will facilitate a workshop in which we will identify the different short- and long-term stresses that Governors Island has experienced in the past or may experience in the future, including climate change, government programs or future real-estate development. We will explore how these different challenges generate a window of opportunity for change, in which different actors unify forces to create change—also known as creative destruction process.  By the end of this workshop, participants will be familiar with concepts such as resilience thinking approach or urban sustainability, and will engage in brainstorming on the future path for Governor’s Island.

Glomalin2020 – Bethany Fancher

An interactive presentation with t-shirt prizes – Come learn about the literal underground candidate, Glomalin, and learn how building healthy soil can reverse the worsening CO2 levels in the atmosphere, increase yield and profitability for farmers, and grow vegetables with higher nutrient value and deliciousness to keep us healthier. Glomalin is the great connector, not the divider! Your purchase power becomes your vote.

Tierra espacio para habitar: How to fall in love with a river, pt. 3

– Erin Turner & Alix Camacho-Vargas

Turner and Camacho-Vargas will present their collaborative walking project that invokes Governors Island’s ecology in order to create a dialogue between the human body, the regional landscape, and the larger context of world affairs. We will explore walking as an aesthetic practice through a series of ‘games’: Inspired by Roland Barthes, “Fragments of a Lover’s Discourse,” we will utilize archival photographs and digital photographs taken by the participants to create collages, love letters, walking scores, and/or ephemeral artworks. We will examine a variety of perspectives to consider how we connect to space and to our natural resources. At the end of the workshop, participants will have the opportunity to utilize their works as a form of resistance to urgent and significant landscape issues in the United States.

 

ARTIST/PRESENTER BIOS

Jamerry Kim Kim is an artist currently working on a socially engaged project that addresses language, history, and place in Flushing, Queens for the SPQ Certificate Program.

Rafael de Balanzo, is an adjunct professor in the QC Urban Studies Department, Director of “Actions Without Borders” for the International Union of Architects (AWB-UIA), and a frequent collaborator with SPQ.

Bethany Fancher is a transdisciplinary sculptor, photographer, performer, video maker and community-based artist who holds a certificate from SPQ.

Erin Turner is a graduate of the QC MFA in Social Practice as well as a site-specific installation artist who is interested in land-based practices, preservation, and collaboration. She is a collaborator and nomadic resident of Tierra: espacio para habitar.

Alix Camacho-Vargas is a Colombian artist. She holds an MFA in Social Practice from CUNY, Queens College and a specialization in art education from the National University of Colombia. She is the founder of Tierra: espacio para habitar, a project and nomadic residency that generates collaborations between art, pedagogy, and landscape.

 

SPQ Green Lab is supported by the office of the Associate Vice Chancellor of the City University of New York, CUNY Arts, as well as The Shelly & Donald Rubin Foundation. 

CUNY logoCUNY_ARTS_LOGO_redSDRF logo

               

 

Upcoming Events: March-April 2019

NARS Foundation Residency Exhibition: The Body Responds by Lying Down

Opening Reception March 1, 6-8PM

Exhibition on view March 1-22

NARS Foundation 201 46th Street Brooklyn NY 11223

Join SPQ alumnus Julian Phillips (’18) for the opening of “The Body Responds by Lying Down,” an exhibition at NARS Foundation, where he have been in residency for the past few months.

Phillips will be performing new work entitled, “1518 + 101 (not enough),” which challenges the perennial romanticization of the idea of the “First” given to a demographic. He will be also showing video work that is part of an expansive and unfolding new body of work.

The Body Responds Vertical_web.jpg

 

Talk by Gregory Sholette on art as social action

March 14, 1:30PM

Kresge Gallery, Ramapo College, New Jersey

A public lecture as part of an exhibition entitled “!!!PUBLIC ART??? INQUIRIES, ENCOUNTERS” which also features some of Sholette’s recent drawings.

 

“THIS IS A FILM 1.6” at Columbia College

March 20, 6PM

Hokin Lecture Hall, 623 S. Wabash, Room 109, Columbia College, Chicago, Illinois

Public lecture performance by Chloë Bass for Columbia College’s Art Now! lecture series in Chicago.

chloe-bass-march20

Chloë Bass, Obligation To Others Holds Me In My Place (Dalmatian Narrative), 201

 

“This Is A Film 1.7” at Colgate University

March 28, 4:30PM

Colgate University, Golden Auditorium, 13 Oak Drive, Hamilton, NY, 13346 ©Colgate University

Public lecture performance by Chloë Bass. This Is A Film is part of Bass’ ongoing project “Obligation To Others Holds Me In My Place,” a study of intimacy at the scale of the immediate family. The event is part of the annual Eric J Ryan Distinguished Lecture, which honors Colgate’s colleague Eric J Ryan and his interdisciplinary work across studio, art history and archaeology.

 

Guest Professor at the Geneva University of Art and Design

April 15, All Day

Geneva University of Art and Design, Geneva, Switzerland

Gregory Sholette will lead several seminars about socially engaged and activist art for the MA program.

 

SPQ News

We’re proud to share recent recognition and activity of members of the SPQ community! Below are some highlights.

In the Press

Current student, Cody Herrmann and her project “How do you get to Flushing Creek,” was featured in Hyperallergic last November:

Flushing Creek is so hidden by industrial sites and highways, it’s almost invisible to those passing through the Flushing neighborhood of Queens. “I lived in Flushing my whole life and didn’t know that I lived near waterways until I was 20 years old,” Cody Ann Herrmann told Hyperallergic. Now the artist and community organizer is advocating for its visibility through the “How do you get to Flushing Creek?” project, a multiyear initiative involving conversations on the street, a zine with maps, and guerrilla signage.

The How do you get to Flushing Creek? sign installation for City of Water Day (photo by Jonathan Baron)

“If you’re not seeing the problem, you don’t really take ownership or stewardship over it,” said Herrmann, who is currently in the Social Practice Queens MFA program at Queens College. For the July 14 City of Water Day, organized by the Waterfront Alliance, several aluminum signs were covertly installed in Flushing and Willets Point. Each pointed the way to Flushing Creek.

Continue reading here.

 

Chloë Bass was also featured recently in Hyperallergic. Her work, “The Book of Everyday Instruction,” exhibited at the Knockdown Center, was included in their list of “Best of 2018: Our Top 20 NYC Art Shows.” You’ll also find her in discussion with museum veteran Lowery Stokes Sims about imagined publics of contemporary art, public and private education, and the challenges of empathy and identity in art. Listen here.

 

Alumni Activity

Julian Phillips (SPQ ’18) has been accepted into the Artists Residency &Training Workshop Series (ARTWorks, Inc.) Program at the Jamaica Center for Arts & Learning, supported by the Jerome Foundation. He is one of two in the program to receive the Workspace Fellowship. Check out his profile here! 

Julian Phillips.jpg

 

Congratulations to students, faculty and alumni whose works are gaining media and organizational support!

Upcoming Events: Jan-Feb 2019

Engaging Artists: New Works in Practice // OPENING

Opening Reception  Jan 24 | 6-8 PM

HEREart / 145 6th Avenue Manhattan

Participating Artists: Bryan Rodriguez Cambana, Vanessa Teran Collantes, Workers Art Coalition, Álvaro Franco, Noé Gaytán, Melissa Liu, and SPQ Alumni (’17) Floor Grootenhuis. The exhibition features artists working to inspire social change engage in-depth processes often unseen by the public.

http://moreart.org/projects/engaging-artists/new-works-in-practice/

 

Teaching Art As Social Action 

February 14, 2PM

College Art Association Conference, New York Hilton Midtown

A panel discussion co-chaired by SPQ’s Chloë Bass and Jeff Kasper about Teaching Socially Engaged Art. Featuring panelists Susan Jahoda, Jen de los Reyes, Beverly Naidus, Todd Ayoung, and Sheryl Oring, with a response from SPQ’s Gregory Sholette.

https://caa.confex.com/caa/2019/meetingapp.cgi/Session/2531

 

Sonic Acts Festival 2019

February 21, 2PM

Amsterdam, The Netherlands

Jodi Dean and Gregory Sholette will be discussing topics around communism and the radical imagination, presided over by Ash Sarkar, Anglia Ruskin University, UK.

http://sonicacts.com/what-is-dark-ecology/news///

https___cdn.evbuc.com_images_52331180_193730601398_1_original

Have We Met: Dialogues on Memory and Desire

A recent exhibit on socially engaged art was on view at Stamps Gallery in the University of Michigan Stamps School of Art and Design (Sept 21-Nov 18 2018). Gregory Sholette was included as one of the artists.

Have We Met: Dialogues on Memory and Desire draws inspiration from Ann Arbor’s legacy of social movements (Anti-War Movement, Civil RightsMovements) and experimental art practices (The Once Group) from the late-1950s to the 1970s as its point of departure. It brings together archival materials and reproductions from the Labadie Collection and the Bentley Library in conjunction with radical artworks by diverse, multi-generational artists and designers whose works are deeply influenced by the ideas of freedom and self-determination, re-writing the canonical accounts of history, building contemporary culture, and solidarity. Have We Met? Dialogues on Memory and Desireretraces and learns from the models of collectivity and organizing developed by artists, designers, and cultural producers in the past and present as a lens to understand the contemporary moment and explore how can we re-imagine a vibrant and inclusive future.

Read more about it here.

Art As Social Action Book Launch at The 8th Floor, May 11th

Art as Social Action: An Introduction to the Principles and Practices
of Teaching Social Practice Art
Book Launch with Social Practice Queens
Friday, May 11, 2018
6-8pm
*RSVP has reached its capacity for this event.  
If you’d like to be placed on the waitlist, please email media@sdrubin.org.  

ArtAsSocialAction

The Shelley & Donald Rubin Foundation will host a book launch for Art as Social Action: An Introduction to the Principles and Practices of Teaching Social Practice Art, edited by Gregory Sholette and Chloë Bass of Social Practice Queens (a 2018 Rubin Foundation grantee). Art as Social Action is both a general introduction to, and an illustrated, practical textbook for the field of social practice, an art medium that has been gaining popularity in the public sphere. With content arranged thematically around such topics as direct action, alternative organizing, urban imaginaries, anti-bias work, and collective learning, among others, Art as Social Action is a comprehensive manual for educators on how to teach art as social practice. Several of the book’s contributors, including Pedro Lasch, Sheryl Oring, and Daniel Tucker, will be present to facilitate discussion about social practice methodologies.

Vilcek Foundation showcases what’s new with SPQ this May!

A Busy May for Social Practice Queens

A Fresh Civility at The Plaxall Gallery

Even though the school year is coming to an end, Social Practice Queens isn’t slowing down its efforts to share socially engaged art. In the next month, the collaborative graduate program (run by Queens College in partnership with the Queens Museum) will showcase MFA students’ art at its annual group exhibition, release a textbook on social practice, and share two students’ work at a major conference.

Social practice art can take many forms. The diversity of the work being done by the students at SPQ can be seen in the MFA program’s annual exhibition, which is currently on view at The Plaxall Gallery in Long Island City. Titled A Fresh Civility  and curated by acclaimed poet and critic John Yau, the show is an exploration of the question “What does it mean to be civil in a world in which name-calling and inflammatory positions have superseded dialog and debate?” The varied responses of the 16 featured artists include performance, video, painting, drawing, ceramics, and quiltmaking. Assistant Professor Chloë Bass, who served as a faculty advisor to the exhibition stated, ”I’ve been delighted by the responses from diverse audiences about how these creative works share poetic truths about the times we live in, demonstrating the beauty of social and aesthetic engagement.” The show will wrap up with a closing reception on May 10, and the last day to view the exhibition will be May 13.

Series: My Big Fat Catholic Tsunami by Ed Majkowski

Two SPQ students, Cody Herrmann and Julian Louis Phillips, in partnership with artist Margaretha Haughwout, will also present Trees of Tomorrow as part of Open Engagement, a three-day conference focused on socially engaged art which will take place at the Queens Museum from May 11 to May 13. The work, made in collaboration with the John Bowne High School agriculture department, is a tour of the trees in Flushing that “expos[es] the ways trees shape, and are shaped by, neighborhoods, economies, and soils.”

SPQ is one of a few programs in the country that offer an MFA in social practice, but it is working to increase prevalence of the medium in schools. To that end, SPQ is releasing Art as Social Action: An Introduction to the Principles and Practices of Teaching Social Practice Art. Edited by SPQ professors Gregory Sholette and Chloë Bass, the book explains the basics of the medium, as well as provides pedagogical projects to teach a variety of topics at the high school and college level. “Greg and I are incredibly excited to share the work of Social Practice Queens, and our engaged friends and collaborators throughout the United States and abroad, with a larger audience, in a way that we hope will be practical, exciting, and change-oriented for the classroom,” said Chloë. The launch of the book will be celebrated on May 11 with an event hosted by the Shelley & Donald Rubin Foundation at The 8th Floor arts space, and the book will be available for purchase starting May 22. Pre-orders can be placed through Amazon.

Art As Social Action Book Launch — May 11

Friday, May 11, 6-8pm
The 8th Floor, 17 West 17th Street, NYC
Art as Social Action: An Introduction to the Principles and Practices of Teaching Social Practice Art
Book Launch with Social Practice Queens
 
The Shelley & Donald Rubin Foundation will host a book launch for Art as Social Action: An Introduction to the Principles and Practices of Teaching Social Practice Art, edited by Gregory Sholette and Chloë Bass of Social Practice Queens (a 2018 Rubin Foundation grantee). Art as Social Action is both a general introduction to, and an illustrated, practical textbook for the field of social practice, an art medium that has been gaining popularity in the public sphere. With content arranged thematically around such topics as direct action, alternative organizing, urban imaginaries, anti-bias work, and collective learning, among others, Art as Social Action is a comprehensive manual for educators on how to teach art as social practice. Several of the book’s contributors will be present to discuss their work in social practice.
About The 8th Floor
The 8th Floor is an exhibition and events space established in 2010 by Shelley and Donald Rubin, dedicated to promoting cultural and philanthropic initiatives, and to expanding artistic and cultural accessibility in New York City. The 8th Floor is located at 17 West 17th Street and is free and open to the public. Schools groups are encouraged. Gallery hours are Tuesday through Saturday, 11am to 6pm. the8thfloor.org
 
About The Shelley & Donald Rubin Foundation
The Foundation believes in art as a cornerstone of cohesive, resilient communities and greater participation in civic life. In its mission to make art available to the broader public, in particular to underserved communities, the Foundation provides direct support to, and facilitates partnerships between, cultural organizations and advocates of social justice across the public and private sectors. Through grantmaking, the Foundation supports cross-disciplinary work connecting art with social justice via experimental collaborations, as well as extending cultural resources to organizations and areas of New York City in need. www.sdrubin.org
Join the conversation with the Shelley & Donald Rubin Foundation on Facebook   (The Shelley & Donald Rubin Foundation), Twitter (@rubinfoundation), and Instagram (@rubinfoundation) with the hashtags #The8thFloor, #RubinFoundation, and #ArtandSocialJustice.

Prospective Students Info Session: March 6th

SPQ Apply Today

Social Practice Queens (SPQ) will be holding an info session for prospective students. Join us and meet with current faculty and students, tour the Art Dept. facilities and graduate studios + learn more about our MFA and Advanced Certificate Programs.
 
Tuesday, March 6th
12:00PM – 1:30PM
 
Queens College CUNY
Art Department
Klapper Hall, Room 672
65-30 Kissena Boulevard 
Flushing, NY 11367
Directions
 


Please RSVP: socialpracticequeens@gmail.com

by March 4th.

Access/Points at CUE Art Foundaiton – January 24 & February 14

Social Practice Queens is proud to partner with CUE Art Foundation on the series Access/Points: Approaches to Disability Arts!

Access/Points: Approaches to Disability Arts is a series of conversations, workshops, and artist projects that explores ability as the crux of radical inclusion and access in the arts and beyond. The series investigates the ways that artists, cultural producers, and institutions are redefining disability and accessibility in contemporary art while reorienting power structures by destabilizing our notions of neutral public spaces and arts organizations and move towards inclusive body politics and social infrastructures.

All events are free and open to the general public. RSVP is required.

CUE Art Foundation and partner facilities are wheelchair accessible. Sign Language Interpretation and Real Time Captioning are available upon request with at least two weeks advance notice. Please contact Programs Assistant, Eva Elmore at (212) 206-3583 or eva@cueartfoundation.org to submit your request. Service dogs are welcome. There is an all-gender, ADA compliant, single stall bathroom in the gallery. The space is not scent-free, but we do request all those attending come low-scent. Children are welcome. The nearest wheelchair accessible MTA subway stations are Penn Station and Herald Square Station.

 

SCHEDULE

Part 2 – Access/Points Roundtable: Disability Arts
Wednesday, January 21, 2018, 6:30-8:00pm
Venue: CUE Art Foundation
Free and open to the general public. RSVP is required.

Join us for a public convening and discussion at CUE. The roundtable will bring together artists and representatives from various art and social service organizations to share approaches to building institutions that serve disabled audiences and artists who are often excluded from mainstream art resources. The session will feature a collection of guest discussants who will lead the conversation through presentations.  MORE>>

Part 1 – Let’s Keep in Touch Youth Workshop
Sunday, November 12, 2017, 12:30-3:30pm
Venue: Queens Museum

Let’s Keep in Touch (LKiT) is a multifaceted collaborative project which investigates tactility in the context of art via community dialogue, embodied learning, and the development of new critical practices and methodologies. Produced by Carmen Papalia and Whitney Mashburn in 2016, the project aims to set a precedent for tactile engagement and haptic criticism to become viable practices within contemporary art.  MORE>>


Part 3 – Let’s Keep in Touch Presentation and Open Access Workshop
Wednesday, February 14, 2018, Noon-3:00pm
Venue: CUE Art Foundation
Free and open to the general public. RSVP is required.

Artist Carmen Papalia and curator Whitney Mashburn will lead a public workshop on the topic of Open Access – a relational model for accessibility that Papalia produced in 2015. The event highlights documentation, objects, ephemera, and a lexicon produced through non-visual and tactility-based learning activities with youth collaborators who participated in the Let’s Keep in Touch workshop at Queens Museum in November.  MORE>>

Professor Chloë Bass – Solo Exhibiton at Washington and Lee University

 

Chloë Bass: The Book of Everyday Instruction
Washington and Lee University

I put these words in the bathroom because the bathroom is a place where people read

Artist’s Talk and Reception
Monday, January 22, 5:30pm
Wilson Hall’s Concert Hall

Multi-form artist Chloë Bass uses daily life as a site of deep research to study scales of intimacy: where patterns hold and break as group sizes expand. The Book of Everyday Instruction, her second phase of the intimacy series, is an eight-chapter investigation of one-on-one social interaction and the meaning of pairing. This exhibition brings together work from all eight chapters, focusing on such central questions as “how do we know when we’re really together?” or “how do we tell a story based on the proximity of two bodies in space?” Odd-numbered chapters, completed in partnership with communities and organizations in Cleveland, Greensboro, St. Louis, and New Orleans, have a social practice focus; even-numbered chapters were more meditative works produced more privately in the artist’s studio.

Find out more about Professor Bass’s upcoming exhibitions.
Image details: I put these words in the bathroom because the bathroom is a place where people read, from The Book of Everyday Instruction, Chapter Four: It’s amazing we don’t have more fights. 2016, installation in shared multistall unisex bathroom, dimensions variable

City of Gods – Book Talk with R. Scott Hanson

cityofgods

Join Social Practice Queens (SPQ) in welcoming R. Scott Hanson to Queens College October 17th, 6:30-8pm. He will be talking about his research on Religious Diversity and Tolerance in Flushing, Queens.

Event co-organized with “Beacon of Pluralism” a collaborative community project led by SPQ/QC MFA Alumni, Gina Minielli Gunkel and Nancy Bruno. Event supported by The Shelley & Donald Rubin Foundation and Vilcek Foundation.

Co-sponsored by The Dean of Social Sciences, the QC Art Department, and QC Urban Studies Department. Refreshments provided by office of the Dean of Social Sciences.

 

Artist Talks: New Media Art and Social Practice | Sept 23

Artist Talks: New Media Art and Social Practice

September 23 at 8:30 am – 5:30 pm

Lefrak Concert Hall
65-30 Kissena Boulevard
Queens, NY 11367

View Map

HG Contemporary Art Center has organized a symposium on New Media and Social Practice in art, featuring artist-professors from Queens College and beyond. Registration is free and includes lectures from the featured artists and a panel discussion. Visit the Symposium Page for more information and a full schedule of events. Registration for the event can be found at this link!

HG Contemporary Art Center, together with the Art Department of Queens College, The City University of New York will be holding an academic symposium with an initiative committed to exploring the ways in which new media artists can initiate projects that engage community participants to foster new forms of public engagement. The theme of the symposium is titled 【New Media Arts and Social Practice】.

The speakers were selected based on their in-depth review of their contributions within the field of socially engaged art, as well as their ability to positively connect with members of the public as collaborators and/or co-creators. These artists / scholars are currently undertaking several projects, respectively, that are socially engaged and are rooted from the various issues observed in their respective communities.

The New Media Arts Symposium will present the following speakers:

KEYNOTE SPEAKER

Professor Gregory Sholette, Ph.D, artist and professor of Queens College, The City University of New York.

PANEL SPEAKERS

Professor Chloe Bass, MFA, artist and public practioner, assistant professor, Queens College, The City University of New York;

Professor Jonah Bucker-Cohen, Ph.D., artist and assistant professor, Lehman College, The City University of New York; and

Professor Bo Zheng, Ph.D., artist and assistant professor, School of Creative Media, City University of Hong Kong.

Poster-HG-A14-723x1024

Public Art at Queens College

Check out the new web archive of Queens College public art collection, past and present—including figures like Vito Acconci as well as students and alumni of the university.

https://qcpublicart.wordpress.com/
Designed by Jocy Meneses, Queens College Graphic Design Student
as part of Sculpture Professor Tyronne Mitchell’s course in Public Art

SPQ in The New York Times! (FEB. 5, 2016)

Maureen Connor, Professor Emeritus and co-founder of the social practice program at Queens College, was featured in The New York Times, introducing SPQ and the rise of social practice and collaborative art in academic programs: “We try to teach collaboration,” … “Most artists haven’t had the opportunity to work collaboratively, and many of them find it difficult at first to work that way. For so many years, they have been encouraged to work on their own and in competition with others.”

Read more here: Social Practice Degrees Take Art to the Communal Level

Read more

Welcome Dr. Veronica Tello

SPQ is excited to have Dr. Tello visit SPQ this fall!  She is the Vice-Chancellor’s Postdoctoral Research Fellow National Institute for Experimental Arts, at UNSW AUSTRALIA.

Veronica Tello completed her PhD at the University of Melbourne in 2013. Her research broadly focuses on the intersections of contemporary art and politics. Her forthcoming book Counter-Memorial Aesthetics: Contemporary Art and Refugee Histories (Radical Aesthetics Radical Art series, Bloomsbury) analyses how contemporary artists have adopted experimental methods for memorialising recent refugee flows spanning Cuba–America, Middle-East–Australia and Africa–Europe.

Her current research examines contemporary art at the intersection of social practice, public art and institutional critique in the work of artists such as Tania Bruguera, Ahmet Ögüt, Renzo Martens and Jonas Staal. It traces the development of experimenal social institutions led by these artists in diverse regions including the Congo, Syria, Germany and the US amidst global crises including conflict, refugee flows and the uneven distribution of capital.

Veronica’s work has been widely published in national and international journals, most recently in Third Text, Afterall and Contemporaneity. Other publications include essays in Phaidon’s Vitamin D2 and Vitamin P2 monographs, as well as catalogue essays for numerous Australian artists in the areas of performance art, video art, photography and installation

SPQ’s Greg Sholette at 2015 Creative Time Summit: “The Curriculum NYC”

e0f14_7a0c00c6151c6ba8369c9bfe8d6b811a_images

 

2015 Creative Time Summit: “The Curriculum NYC”

November 14–15, 2015 | Register here

Boys and Girls High School
1700 Fulton Street
Brooklyn, NY 11213
After two years, the Creative Time Summit—the world’s largest international conference on art and social change—is headed home to New York City! Creative Time Summit: “The Curriculum NYC” will take place at the Boys and Girls High School in Bedford-Stuyvesant, Brooklyn on November 14 and 15, 2015.

Building on the Summit held at the Venice Biennale in August, the New York Summit is dedicated to education and other ways knowledge is disseminated and obtained. “The Curriculum NYC” will focus on the effects of specific education policies in the United States. From within Boys and Girls High School, which has come to symbolize both the democratic ambitions and the pervasive inequalities of public education today, we will explore the relationship between knowledge and geopolitics, pedagogical art practices, omissions in contemporary curricula, and political issues such as the re-segregation of public schools and student debt.

In addition to hosting presentations by a distinguished roster of over 50 participants, the Creative Time Summit: “The Curriculum NYC” invites attendees to join in our afternoon sessions, which will comprise break-out sessions held in the school’s classrooms. Taking the form of roundtables, open dialogs, or workshops, they will provide opportunities for more intimate exchanges among attendees, special guests, Summit presenters, and students or teachers from Boys and Girls High School. While diving deeper into urgent pedagogical issues, sessions will also address topics specific to the field of socially engaged art.

Keynote addresses will be given by investigative journalist Nikole Hannah-Jones and artist/community activist Boots Riley. Participants include Bill Ayers, Luis Camnitzer, Hope Ginsburg, Gugulective (Athi Mongezeleli Joja), Hans Haacke, Tia Powell Harris, Kemi Ilesanmi, Rolling Jubilee (Laura Hanna and Astra Taylor), Stanley Kinard, Pedro Lasch, Simone Leigh, MFA NO MFA (ex-USC students), Naeem Mohaiemen, Pepón Osorio, Jolene Rickard, Andrew Ross, and Jennifer Scott.

Workshops, roundtables and panels to be led by the Center for Artistic Activism, Flux Factory, Deborah Fisher, Noah Fischer, Not an Alternative, Silvia Juliana Mantilla Ortiz, Douglas Paulson, Laundromat Project, Marinella Senatore, Visible Project, Gregory Sholette, Daniel Tucker, Caroline Woolard and Sue Bell Yank. In addition, there will be a featured special project by Chto Delat.

Get your tickets for “The Curriculum NYC” today! Pay-what-you-wish tickets available here.
Special opening event by The Visible Project
On the High Line at West 16th Street
Friday, November 13, 6pm

Creative Time Summit: The Curriculum NYC kicks off with an opening event co-presented with High Line Art. Curated by Matteo Lucchetti and Judith Wielander of the Visible Project, the event will include site-specific performances by Marinella Senatore, Nástio Mosquito, and others to be announced. Performances are free and open to the public.

Call for proposals
Are you an artist, activist or cultural producer living and/or working in the neighborhoods of Bed-Stuy or Crown Heights? Interested in organizing and leading a roundtable discussion focused on important issues in your community? Click here for more information on how to get involved.

 

For more information and summit updates, visit us at creativetime.org/summit.

 

Gulf Labor, Precarious Workers Rights, and SPQ at The CUNY Graduate Center

Gulf Labor, Precarious Workers Rights, and SPQ at The CUNY Graduate Center
Join SPQ and QCMFA’s own Gregory Sholette, Setare Arashloo, and Barrie Cline (’14) for a conversation on Nov 19, 2015, 6:30 pm at the Skylight Room 9100, CUNY Graduate Center,365 Fifth Avenue, New York.
Precarious Workers Pageant, Venice Italy 8/7/2015

What does Bertolt Brecht have to do with workers’ rights in Abu Dhabi? Although politically engaged art and theater takes many forms, the recent Precarious Workers Pageant at the Venice Biennale took a Brechtian approach as it pointed out the solidification of global capital in architecture in Abu Dhabi and the precarious state of migrant workers who are building these future cultural sites. The pageant’s street performance offered a new public commons fabricated out of the deconstructed architecture of the avant-garde museum. Join artists, scholars, and activists in conversation for an evening of discussion, debate, and for an evening of discussion, debate, and propositions as part of the Social Choreography seminar at the Center for the Humanities and in tandem with the exhibition by Zoe Beloff at the James Gallery, “A World Redrawn: Eisenstein and Brecht in Hollywood.” Following the Precarious Workers Pageant video premier will be another New York premier: a presentation of The Gulf: High Culture/Hard Labor, edited by A. Ross and published by OR Books, with contributions by Sholette and other members of Gulf Labor.

Read more about the Precarious Workers Pageant on a-n Artists Information Company, Hyperallergic, tumblr, and Gregory Sholette’s blog.

The event is co-sponsored by the Social Choreography Mellon Seminar in Public Engagement and Collaborative Research in the Humanities, Center for Place, Culture and Politics, and Committee on Globalization and Social Change.

 

– See more at: http://www.centerforthehumanities.org/program/gulf-labor-and-precarious-workers-rights#sthash.IkYj7MPT.dpuf

Gregory Sholette at UChicago | October 9th

Gregory Sholette: Precarious Workers of the (Art) World Unite!

Friday, October 9
4:00 pm – 6:00 pm

Cochrane-Woods Art Center, Room 157
5540 South Greenwood Avenue
Chicago, IL 60637

Gregory Sholette, artist, writer, activist, and professor of Sculpture and social practice at Queens College, discusses the varied tactics associated with Gulf Labor Coalition as they seek to call attention to the plight of precarious migrant workers in Abu Dhabi where a new Guggenheim Museum is in the works, followed by an examination of Marina Naprushkina’s sustainable art project in the Moabit section of Berlin where she is developing an “artificial institution” whose mission is to service the needs of her “new neighbors”: political refugees fleeing military and economic conflict in Syria, Iraq and Northern Africa. The broader issue that both of these politically engaged, artistic endeavors confronts is how we might redirect resources, as well as invent new models, for rethinking the notion of a shared commons operating in opposition to the predacious appetite of neoliberal enterprise culture. This larger agenda seems especially urgent today as we witness an ever-tightening intersection between contemporary art, global capital, and the growing multitude of migratory, precarious, and paperless laborers who are simultaneously tasked with building the fabulous architectural fantasies serving the world’s .01% ultra-rich, while also demonized as a dangerous social surplus dragging down limited economic resources. People at risk, including refugees, low-income workers, indebted students, marginalized people of color and women, as well as most artists, and even perhaps an entire nation in the case of Greece, increasingly wield a dark transformative agency with nothing to lose except their precariousness.

Presented by the Neubauer Collegium for Culture and Society, Critical Inquiry, Art History, DOVA, and Art and Public Life.

Imaginary Archive: Zeppelin University Edition | Gregory Sholette with visionary architect Marcel Kalberer in Friedrichshafen, Germany

White Box, Friedrichshafen, Germany

September 12 to November 26, 2015

Tues – Thurs, 2 – 5PM

image
image

Imagine yourself uncovering a cache of materials and documents that record a past whose future never arrived? Imaginary Archive is just such a repository: pamphlets, books, photo-albums, records, blueprints, small objects, whose assorted narratives imagine alternative histories and speculative tomorrows that nevertheless frequently shed a precise light on concrete realities. SPQ’s own Gregory Sholette has invited participants from Germany, Philadelphia, Ukraine, Ireland, New Zealand, Austria as well as others from around the globe to produce this Imaginary Archive, which is a collection of unknown, under-represented, dreaded and/or hoped-for “historical” materials that point to multiple interpretations of the past, the present, and the future. Working with Sholette, architect Marcel Kalberer designed and constructed a bamboo labyrinth within Zeppelin University’s White Box exhibition space to house this most current edition of Imaginary Archive while simultaneously inaugurating this new cultural venue for students and the public.

 

image

 

Participating Imaginary Archivists (as of September, 2015) include: Aaron Burr Society: (Jim Costanzo), Agata Craftlove, Alan Hughes, Alexander Wolodarskij, Alien Abduction Collective: (Todd Ayoung, Heather Davis, Kim Asbury, Ulla Hvejsel, and Phoebe Bachman), Andrea Aversa, Anna Zvyagintseva, Austin Ivers, Azra Aksamija, Babis Venetopoulos & John Voyatzopoulos, Basekamp and Friends (Philadelphia), Ben Geoghegan, Brian Hand, Bryce Galloway & Students, Charlotte Schatz, Chris Esposito, Christina Lederhaas, Closed Engagement, Daniel Tucker, Dave Callen, Denis Pankratov, Doris Jauk-Hinz, Edda Strobl, Ellen Rothenberg, Eva Taxacher & Karin Ondas, Eva Ursprung, fabian dankl/johannes schrettle/christina lederhaas, Glen Goldberg, Grant Corbishley, Gerald Raunig, Gregory Sholette, Hanns Hoffmann Lederer, Helmut Kaplan, Jeffrey Skoller, Jenny Polak, Jeremy Booth, Liga für Kunst und Kultur: (Johannes Schrettle), City Life/Vida Urbana: (John Hulsey), Josef Fürpaß, Karl Lorac, Leah Oats, Lee Harrop, Lada Nakonechna, Lesya Khomenko, Malcolm Doidge, Matthew Friday, Matthew F. Greco, Maureen Connor, Markus Wetzel, Maryam Mohammadi , Miroslav Kulchitsky, Murray Hewitt, Mykola Ridnyi, Naeem Mohaiemen, Nannette Yannuzzi, Nayari Castillo, Niall Moore, Nikita Kadan, Oleksandr Burlaka & Oleksiy Radynskyi, Oliver Ressler, Eidia House: (Paul Lamarre & Melisa Wolf), Paul Maye, Patrik Aarnivaara, Pedro Lasch, REPOhistory, R.E.P. group, Reinhard Knall, Roger O’Shea, Salem Collo-Julin, Sarah Farahat, Sasha Dedos, Simon Fleming, Suchness, Tender & Endangered Cow/Horse of Dimness, TanzLaboratorium, Tiarnán McDonough, “TJ”, Theresa Rose, Thom Donovan, Trust Art, White Fungus Zine, Volodymyr Kuznetsov, Yevgeniya Belorusets, Yevgeniy Fiks, Zoe Beloff, and The Think Tank That Has Yet To Be Named: (Jeremy Beaudry, Katie Hargrave & Meredith Warner).

image

With special thanks to Professor Dr. Karen van den Berg,  Curator of Fine Arts Ulrike Shepherd, Bettina Pfuderer and the ZU Facility Management, as well as IA co-collaborators Olga Kopenkina and Matt Greco for their all around support, and to the White Box installation crew including: Caroline Brendel, Jona Kalberer, Laura Niemann, Toby Eckert, Friederike Kötter, Lena Mehner, Mathilde Nadeau, Maria-Luisa Villena, Christina Buck, plus the architects Prof. Eugen Rabold und Markus Müller for researching leads, Ingrid Feustel from the Hoffmann-Lederer archive and Hilde Corbo from the Narrenzunft Seegockel for materials, und Karl Heinz Mommertz for essential research.

image
image

 

Previous IA host curators and institutions include:

  • • 2015 Liz Park, Institute of Contemporary Art, University of Pennsylvania, Philadelphia.
  • • 2014: Larissa Babij, Les Kurbas Center, Kyiv, Ukraine.*
  • • 2013: Margarethe Makovec & Anton Lederer <rotor> Center for Contemporary Art, Graz, Austria.
  • • 2012: Megs Morely, Tulca Art Festival/Gallery 123, Galway, Ireland.
  • • 2010: Siv B. Fjaerestad, Enjoy Public Art Gallery, Wellington, New Zealand.

* IA Kyiv was made possible with assistance from CEC Artslink and individual supporters.

http://www.gregorysholette.com/?page_id=587

image
image
image
image

 

Precarious Workers Pageant & Gulf Labor

Deconstructing Frank Gehry’s Guggenheim Abu Dhabi

The Gulf Labor Pageant & Procession: Aug. 7, Venice, Italy @ Sale Docs

Join members of Workers Art Coalition, Aaron Burr Society, Occupy Museums, Social Practice Queens, Sale Docs, G.U.L.F. and Gulf Labor Coalition in a collective performative experiment deconstructing Frank Gerhry’s proposed Guggenheim Museum on Saadiyat Island, Abu Dhabi, UAE. Right now we are fabricating portable, modular elements based on Gehry’s design and rehearsing a public procession whose tones will be partially somber and partially celebratory.

The Gulf Labor Pageant and Procession starts off at Sale Docs on the South side of the Dorsaduro August 7th at 6PM after which we will wind our way out and around the nearby Peggy Guggenheim Museum where various stations, enactments, testimonials, and performances will focus on the struggle for social justice amongst migrant workers in the Gulf region, as well as labor conditions and the plight of migrant workers in Europe and the USA.

Following the procession stay for a book launch for The Gulf: High Culture/Hard Labor edited by Andrew Ross from OR Books. PLUS a party! (More details to follow soon, and note: a second performance is slated for this Fall in New York City, plus a panel at the CUNY Grad Center.) JOIN US! *

* This project is possible thanks to the generous support and labor of its participants, as well as the Mellon Seminar in Collaborative Research and Public Engagement in the Humanities at the Graduate Center, CUNY

Read more

Precarious Workers Pageant in Venice!

Precarious Workers Pageant in Venice

The Precarious Workers Pageant- a collaborative project with members of Workers Art Coalition, the Aaron Burr Society, Occupy Museums, G.U.L.F., and Social Practice Queens (CUNY) staged an pageant-intervention at the Venice Biennale this summer.

image

(re-blogged from: http://gregsholette.tumblr.com)

Zigzagging across the fever-hot streets of Venice a line of men and women advance. As they march a series of “liberated” geometric shapes and hand-made banners are worn or carried aloft overhead. A man in a blue cape blows a baritone trumpet. Everyone shouts, chants and sings about solidarity with migrant laborers in the Gulf State of Abu Dhabi. In fact, solidarity with precarious labor everywhere is called for. (photos by Setare Arashloo)

The group reveals dual influences. First, the Russian Futurist avant-garde of the early 20th Century, and second, the 1913 Paterson Silk Strike and Pageant, in New Jersey. After weeks of rehearsals this band of NYC based construction workers, students and artists traveled to Italy, marched past the Peggy Guggenheim Collection in the Dorsoduro on August 7th, and then come to a stop at the nearby Gallerie dell’Accademia plaza. At which point the deconstructed architectural elements of Frank Gehry’s new Guggenheim Abu Dhabi they carried with them were reassembled into a circular barricade. And there, inside this temporary public “commons,” a series of speeches, songs, poems and “mike checks” captured the attention of surprised tourists and residents.

image
image

As it turns out Guggenheim administrators were also caught off guard. The museum’s displeasure with the Pageant was compounded by other critiques made during the Venice Biennial that were similarly focused on the Guggenheim’s Abu Dhabi project. Bitterly their ire was conveyed  to members of Gulf Labor Coalition, and among other (now familiar) counter-accusations was the assertion that the museum has not exploited any workers in Abu Dhabi because no contract for building the Guggenheim there has been awarded. No exploited workers, no evil empire.

image
image

The counterargument is of course a dodge. Not only has the Guggenheim dotted its own colossal boardroom office map with the anticipated Abu Dhabi location, but they also prominently herald the coming new museum on their custom shopping bags. However, if you are of the opinion that the conspicuous rolling-out of one’s imminent plan of action does not truly constitute a line that has already been crossed; then consider the future museum site itself. The Guggenheim Abu Dhabi is literally being constructed on desert sands. Unlike an urban setting where builders can rely on a pre-established support grid for power and water and so forth, everything on Saadiyat Island must be built from the bottom up. That includes roads for trucks to travel on and water lines and power cables for contractors to use. So take a close look at the areal images of the site where  the Guggenheim Abu Dhabi is to be raised. Not only do we see roads, ramps and concrete supports already in place, but also the entire museum footprint is a man-made peninsula jutting into the water. Needless to say, the infrastructure for the future Guggenheim Abu Dhabi did not arise spontaneously. Instead, it required labor by migrant workers whose conditions of exploitation are well documented. (In fact, Gulf Labor has already commented on this all too obvious evasion: CLICK )

image
image

Still, one thing especially vexed the museum. A man with a black porkpie hat, blowing a large bass horn, and wearing a hand-lettered cloak that read: Guggenheim Abu Dhabi Evil-Empire of Art. The egregious phrase was hand-lettered onto a rectangle of canvas and hung like a thespian’s cape off the shoulders of performance artist Jim Costanzo, founder of the Aaron Burr Society. The paint-stiffened cloak declaimed its scalding indictment on a breezeless torrid day -although in Abu Dhabi the heat reached 41c, another five to six degrees hotter still than Venice- and it did not go unnoticed.

image

Along with the Precarious Workers Pageant, Costanzo’s theatrics belong to a long tradition of political satire whose practitioners include Honoré Daumier, Bertolt Brecht, Kurt Weil, Hanns Eisler, Lotte Leyna, Dario Fo, the San Francisco Mime Troupe, Carnival Knowledge (the 1980s feminist group), Reverend Billy and the Church of Stop Shopping, Occupy Museums and Pussy Riot. Against the extensive communicational power of mainstream media and established cultural institutions a certain DIY vernacular aesthetic has often been the preferred artistic weapon of the weak, the marginal, and the precarious.

Costanzo’s videos, performances and agitprop projects have often channeled this bottom-up energy, sometimes projecting into the public sphere a state of anger so raw it makes one flinch as in his 2003 piece “The Scream: 21st Century Edition.” Created in the lead-up to the illegal invasion of Iraq and made all the more unfathomable by the unprecedented global demonstrations against such aggression by the United States you can see his video here: CLICK

Years later, he founded  the “Aaron Burr Society,” a “mockstitution” whose nom de guerre honors the former US Vice President who railed against the establishment of a centralized banking system. This time Costanzo donned an archaic looking cape and topcoat, trained it down to Wall Street carrying a large, almost obscene sounding baritone trumpet with him (an instrument that he is still struggling to play “properly”) all in an effort to register his personal outrage over the 2008 financial meltdown and the subsequent welfare bailout for the world’s top bankers. CLICK

image

And so, through the steamy streets of Venice Costanzo blew his horn, clearing the way for members of Workers Art Coalition including Barrie Cline, Stephanie Lawal, Eliza Gagnon, Marquis Jenkins, Mirana Zuger and fellow participants from Gulf Labor, G.U.L.F., S.a.L.E. Docs and Social Practice Queens, as the Precarious Workers ostentatious and communal act of institutional critique called upon the planners of the Guggenheim Abu Dhabi to reconsider branding a regime whose abuse of migrant labor is as egregious as it is flagrant. Costanzo’s accusatory cloak was rhetorically embellished, for a reason. Against the extensive reach of mainstream cultural, political and media institutions the surplus army of precarious artists gleefully turns to the carnivalesque, spitting out an often vulgar aesthetics of the street, the circus, or fiesta in order to have their voices heard above the patronizing tones of proper cultural decorousness. Such ribald insurgency has its own dark strengths, even in an age of top-down, empire culture.

image