context – Page 6 – Broken City Lab

November 10, 2009July 5, 2018

SMS Guerilla Projector

Troika is a multi-disciplinary art and design practice founded in 2003 by Conny Freyer, Eva Rucki and Sebastien Noel, who met while studying at the Royal College of Art in London.

This project, SMS Guerilla Projector, is about four years old, but it caught my eye while flipping through my copy of the Design and the Elastic Mind book. The SMS Guerilla Projector does what you’re seeing above, basically project the screen image from a Nokia phone onto surfaces around the city. The project is somewhat reminiscent of the Image Fulgurator, which I posted on back in July of 2008.

Most speculation on the interwebs suggest it’s basically a hacked phone and slide projector mashed together, which is kind of ingenious in its simplicity. Basically, and LCD screen can have light pass through it and so by opening up a phone and shining some concentrated light at the screen, so the speculation goes, you would be able to project the image with a lens.

Some other notable and interesting projects of theirs that you should check out: The Tool for Armchair Activists, SMS Memory Wall, and Exploded Monologues.

November 9, 2009July 5, 2018

The Leona Drive Project

Organized by The Public Access Collective in collaboration with L.O.T. : Experiments in Urban Research (Collective), The Leona Drive Project took six vacant bungalows set for demolition by HYATT HOMES, a developer in Willowdale, Ontario, and turned them into temporary sites for art interventions.

The project is already over, it was up for just the last week of October, but it looks like it was a huge amount of fun, and obviously drew parallels to our own Indian Road. From their site, “While the curators anticipate several sub-themes emerging from the individual artists, the overall problematic for the exhibition is the remarkable shift from the suburbs of old to the suburbs of contemporary Canada, namely the neighborhoods and precincts of the multicultural, but nonetheless parsed state. As such, the project will interrogate what has been lost in terms of the older identities and utopias, domestic, regional and national, and the concomitant transformations around issues of gender, race, class and what was broadly proclaimed as the good life.”

Late last spring, there was some discussion about putting together a proposal for The Leona Drive Project along with some other Windsor artists / thinkers, but we just couldn’t pull our idea into the right context for the project. Our idea involved working in some capacity with the houses on Indian Road. That idea, along with some other recent discussions about the potentials for other installations to occur on a series of vacant lots or the like, might just lead to something doable. Really, there are so many places around the city that could be the centre of an excellent conversation, we need to start addressing them, so be on the look out, or help us track down some landlords (landlords other than the Ambassador Bridge).

November 7, 2009July 5, 2018

AMPHIBIOUS ARCHITECTURE

A project by xClinic Environmental Health Clinic at NYU and the Living Architecture Lab at Columbia Graduate School of Architecture, Planning and Preservation, AMPHIBIOUS ARCHITECTURE attempts to generate a new dialogue between the environment and us.

The description, quoted from the site, since it’s more clear than my attempt at synthesizing the information would be:

“Installed at two sites along the East and the Bronx Rivers in New York, the project is a network of floating interactive buoys housing a range of sensors below water and an array of LEDs above water. The sensors monitor water quality, the presence of fish, and human interest in the river’s ecosystem, while the lights respond to the sensors, creating feedback loops between humans, fish in their shared environment.

Additionally an SMS interface allows homo-citizens to text-message the fish and receive real-time information about the river, contributing towards the collective display of human interest in the aquatic environment. The aim of which is to simultaneously spark a larger public interest and dialogue about our local waterways.”

These are the sensors lit up before being installed in the river. To see some video of the sensors actually installed and floating, you’ll have to check out the site’s landing page.

This is an image of some of the sensors lit up, being activated by passing fish, water conditions, and text messages. It’s an amazing cool project, especially given our proximity and recent interest in imagining some kind of Detroit River based project.

November 6, 2009July 5, 2018

Yochai Matos: Fluorescent Installations

Here’s a really beautiful work, Eclipse done with fluorescent lights by the Israeli artist, Yochai Matos. Along with light installations, he also does some interesting street art that deal with highlighting perspective, glitter, and 8-bit aesthetics.

I know when we were up in Peterborough, I had wanted to work with fluorescent lights, but from the little research I did, it seemed prohibitively expensive. Does anyone have any insight they could share on how one might work with these lights in this way, maybe specifically—does each light need a ballast, or is there a way of wiring in parallel that can get around that?

And another work, Flame (Gate).

[via today & tomorrow]

November 4, 2009July 5, 2018

The Artist, The Good Neighbour

Theaster Gates is an artist, an activist, a community instigator and organizer, a repairman, a homeowner, and a believer in the importance of a neighbourhood. His art practice, which sits somewhere between and amongst all of those titles all at once has led to him buying an old candy store in Chicago’s South Side and beginning to renovate it into a home and a cultural anchor.

At the corner of 69th and Dorchester, Gates’ home / workspace became a hub for neighbourhood activity. He says that, “As the neighbors grew more interested, I decided to allow them to assist, when possible and have given classes, workshops, public dinners and even exhibitions in the space. Dorchester has been an informal lab for social and community experiment.”

His decision to stay and work in his city has become a catalyst for other activity, and a reason for other people to stay as well. So, I can’t help but feel that we probably need to find even more ways to turn the BCL HQ into a hub of even more activity before something else in the balance collapses and we lose the space. Maybe we need to have weekly sleepovers?

[via Art21]

October 29, 2009July 5, 2018

Carol Goodden & Gordon Matta-Clark’s Food

Carol Goodden and Gordon Matta-Clark opened up Food in New York in the early 1970s on the corner of Prince and Wooster. The restaurant, essentially the first in SoHo, was run by artists and served mostly artists, with the cooking itself becoming a performance of sorts. This transition of the space from a failed Puerto Rican restaurant to Food’s occupation to an alternative space that functioned as and questioned art and the potential in economic models based on something other than profit growth.

Established as a kind of “perpetual dinner party”, the restaurant as an idea was the art, alongside the actual dishes served up, the design, and the performance of cooking. Conceptually that’s important, but what’s really becomes interesting is the idea to open a place that wasn’t founded on profit, and indeed collapsed in some ways because of that. However, certainly that’s not the point.

Creating an idea with a sunset date, or with an acceptance of failure from the start, allows for a focus on the things beyond regular concerns. In the case of Food, artists stood in as guest chefs, inedible food was served, a hub of activity was created, and whether or not it succeeded, and indeed eve the tools with which one could measure the success or lack thereof, became irrelevant.

So, what if the next idea you have came along with a self-imposed sunset date? How would you work differently? What would become a priority and what would fade into the background? Tom’s recent post on the not-for-profit restaurant in Windsor, Namaste, invites similar questions and provides some encouraging answers.

I would be remiss if I didn’t also quickly mention Matta-Clark’s significant architectural interventions, again something deserving of its own post, eventually. His “building cuts” works in some ways paralleled the thinking behind an initiative like Food, in the case of these large-scale architectural works though, the question became, what if walls didn’t matter?

October 22, 2009July 5, 2018

Light Painting by SWEATSHOPPE

SWEATSHOPPE is a new multimedia performance collaboration between Bruno Levy and Blake Shaw that works at the intersection of art, music and technology. Their project, Light Painting, is pretty slick, using a LED-tipped paint roller along with some custom software and projector to reveal a video projection through painting movements.

[via today and tomorrow]

October 6, 2009July 5, 2018

Beautiful Light by David Therrien

4 LETTER WORD MACHINE is a giant illuminated computer-controlled / live performance text display by artist, David Therrien.

Recently exhibited at part of Nuit Blanche this past Saturday attached to Toronto’s city hall, the installation displays “the phenomema of light and electricity and the role of light in our belief systems, language, biology, natural world and cosmology – light as illumination, energy, information – and as a metaphor for good and evil.”

Guess how much I’d love to be able to work with something at this scale.

httpvh://www.youtube.com/watch?v=g0cDE2g1QQs&feature=player_embedded

Ignore the music in this video, but watch the work come together in Scottsdale back in January 09.

[via today and tomorrow]

August 20, 2009July 5, 2018

Pop-Up Book Academy

In an amazingly good interview, Daniel Fuller over at Art21‘s blog discusses projects, ideas, and philosophies of social / dialogical / relational art practice with Sam Gould of Red76.

Red76 has been organizing workshops, lectures and public dialogues in “non-hierarchical” settings since 2000, most recently working on the Pop-Up Book Academy, a school which materializes behind the mask of a temporary used book store. The school utilizes the printed form as a means of investigating social politics and its histories past and present. Much of their work has been involved in working with art spaces focused on alterative pedagogy.

Gould charts a brief history of this type of art practice, attributing the social practice and relational aesthetics trajectories that emerged in late 90s and into the 2000s to difficult economic times and political conditions (that is, the transition into Bush’s presidency). He also tackles the big question, “How is this art?” by attributing the classification of this type of practice as art in the art world (and that art world being defined by museums and galleries) to a kind of laziness by the artists working within it, which is to say that while some of the work presented in this context of social practice isn’t necessarily best suited for presentation in a gallery, it becomes a type of necessity to allow it to do just that.

In reflecting on the nature of this practice, often enacted through discussions, lectures, workshops, artist talks, seminars, Gould notes that critiques and arguments of their practice often fall into two categories: efficacy (activists), or sincerity (artists). These in particular seem to be somewhat familiar questions.

And, I had to include my favourite line of the whole interview: “You don’t need an object to make it [art]. Art is the space which we define for questioning. Objects, or the lack thereof, are placeholders for ideas and propositions.”

Again, it’s a great interview and I’ve only barely skimmed the surface in my quick recap here. It’s definitely worth reading if you’re even remotely interested in the intersection of art and activism.

[via Art21]

August 17, 2009July 5, 2018

Solutions in Deep Imagination

Sascha Pohflepp imagined a future predicated on the re-election of Jimmy Carter in 1980. In this future, there exists a think tank called, “The Golden Institute for Energy” based in Golden, Colarado, which imagines and invents new technologies to make the US the most energy-rich nation on the planet.

Capturing lightning, stealing back energy from off-ramps, and weather modification balloons are all imagined as feasible energy-generating technologies. The institute, or rather the idea of the institute, becomes a vehicle for creative and critical thought and invention, and it is more about that idea than the computer-generated images, scale models, or fake corporate videos that make Pohflepp’s project so interesting.

Rewriting and re-imagining something as huge as a national energy policy could certainly appear reckless or hopeless, but it should instead be read as hugely exciting and filled with potential. Inventing an entirely new trajectory for something so large (like say, the city of Windsor) could indeed facilitate a crucially important discussion: in the instance of Pohflepp’s project, how different would the world’s stance on climate change be if Carter had been re-elected; in the instance of imagining the future of Windsor, how bad will things get if nothing changes.

[via We Make Money Not Art]