social practice – Page 2 – Broken City Lab

May 10, 2010July 5, 2018

Open Engagement, Group Work: The Collective Impetus

Danielle and I will head to Portland State University this weekend to participate in Open Engagement, the conference that asks questions like, “Does socially engaged art have a responsibility to create public good? Can there be transdisciplinary approaches to contemporary art making that would contribute to issues such as urban planning and sustainability?”

We’ll be speaking on the panel, Group Work: The Collective Impetus, along with folks from National Bitter Melon Council, InCUBATE, and students from OTIS’s Public Practice program.

This trip is going to incredible for a few reasons (including getting to see the city of Portland, in all of it’s functionality), but perhaps more importantly, we’re going to be able to speak to a lot of people who are engaged in a practice that is at least slightly aligned to what we do here in BCL. It’s more often the case that we go to a conference as some of the only artists in attendance (an interesting position to be in, but always a little lonely).

There’s so many conversations we want to have, the 3 days we’re actually there likely won’t be enough.

January 11, 2010July 5, 2018

Save the City: an overview

The Save the City project aims to create a concentrated series of positive community-based activities facilitated by Broken City Lab in collaboration with community members. The project will address a number of issues and ideas specific to Windsor, Ontario through various collaborative community-based activities. As Windsor is situated in precarious economic, cultural, and geographic positions, the Save the City project will serve as a much needed injection of positive collaboration, engagement, and dialogue with the city itself and its diverse communities.

The objectives of the Save the City project are to prompt and initiate creative solutions for social change within Windsor through direct connections between emerging artists and community members. Save the City will focus on the process of creative and artistic practice extending into the community and the everyday, selecting and inviting a range of collaborators and participants from within the many communities of the City of Windsor.

The Save the City project will bring together emerging artists and city residents to imagine and prompt creative social engagements and civic activation. Within the project’s series of five activities, the content of each activity will be based on a creative interaction with a part of Windsor’s current and historical social, economic, and regional culture.

Below is the schedule of events (with some details still to be announced):

January 24, 2010 – Listen to the City : Community storytelling workshop to brainstorm, uncover, and share your personal histories of Windsor (Phog Lounge, 157 University Ave W, 8PM)

February 28, 2010 – Sites of Apology / Sites of Hope : Social Mapping event of the places we need to apologize for and the place we need to care about (362 California Ave, 1PM)

March – Sing to the Streets : A celebratory parade of French history, singing French Folk songs to French Streets (meet at Pelissier and University)

April – Things Worth Saving : Help us to document the thousands of things worth saving in this city, we’ll turn them into free postcards to send out to other cities (362 California Ave)

May – How to Save a City : Community think tank / artist talk / open forum, asking how in the world do you save a place like Windsor (TBA)

Broken City Lab: Save the City is generously supported by the Ontario Arts Council.

January 5, 2010July 5, 2018

Love in a Cemetery: Art as Examination

If you haven’t already signed up for the Art&Education email list, do it now. Also, make sure you tick off at least the E-Flux list too. It’s nearly always a joy to get these in my inbox, always making me wish I had more time to read, to apply, to attend these exhibitions and schools and conferences that I see advertised on these lists.

Love in a Cemetery is just the most recent interesting thing to come from these lists, with the title taken from a quote by Allan Kaprow that goes like this, “Life in a museum is like making love in a cemetery.” With L.A.-based visual artist Andrea Bowers and curator Robert Sain, students from the Otis College of Art and Design and community organizations from throughout L.A. are participating in this exploration of aesthetics, pedagogy, and cultural politics.

Ok, sounds pretty good, definitely something that we’d generally be interested in, but here’s the really good part…

The project features a unique take on art as examination, as investigation into the future of cultural organizations, including art schools and community-based activist groups in the same learning circle as the better known museums of L.A.

And…

Sain considers the opportunity and obligation for arts organizations to be socially responsible and responsive in an age of diminished resources and uncertainty.

By the way, this is all part of the new residency model that 18th Street is attempting to generate, with this year’s cycle called Status Report: The Creative Economy.

18th Street itself has recently shifted from running a standard gallery program to an entirely different model for using the space — making it active by curating artists involved in process-based work continually. It’s still art, it’s still curated art, but it’s committing to thinking about what art can do or what art can be today.

It’s exciting to read this stuff. You should be excited. It’s exciting because this is part of what we try to do and it’s nice to know that other people like doing this as well.

[via Art&Education]

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 21, 2009July 5, 2018

Canadian Association of Cultural Studies Conference, McGill University

Danielle and I will be heading to Montreal to speak at this year’s Canadian Association of Cultural Studies Biannual Conference at McGill University. We’re presenting in the Cultural Production panel under the theme of Social Practice and Public Space.

Our presentation entitled, “Social Practice: New Models for Collaborative Cultural Production,” will frame the city of Windsor and the research and practice of Broken City Lab as a model for collaborative cultural production and an experiment in tactically infiltrating the institutions of the city.

It should be a really great conference with other papers tackling, “Youth Artist Networks and Cultural Policy: Possibilities and Pitfalls” by Miranda Campbell, McGill University, or “The Art of Change? Toward Theorizing Community-based Cultural Production” by Sheryl Peters, York University … things like this are hugely good for getting a really fast overview of what other kinds of research are going on across the country—awesome!!!

(Plus, catching up with long lost friends and seeing Immony’s opening at Videographe are huge bonuses!)

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]