EL SE WHERE
Art at the Outermost Limits of Location-Specificity
EL SE WHERE A Free Two-Day Conference Event at Parsons School of Design, New York November 17 – 18, 2016
Art at the Outermost Limits of Location-Specificity
Curated by Sean Lowry and Simone Douglas Presented by Parsons School of Design, Project Anywhere and the University of Newcastle
Artist Presentations — Artists are increasingly moving beyond the white cube as a ‘prime’ viewing experience to more actively explore spaces, places and times well outside the limits of traditional exhibition circuits. Much of this artistic activity is concerned with events, actions, relationships or processes rather than the exhibition of discrete distributable objects. This two-day conference event will explore the challenge of exhibiting, viewing and evaluating art located elsewhere in space and time. How do artists overcome common assumptions that expanded and dynamic exhibition formats present barriers to value? How do we find appropriate language and evaluative criteria for discussing projects that often straddle art and other realms of knowledge? How might we more meaningfully account for art’s omnivorous ability to traverse diverse forms, spaces and places and evoke understandings potentially elusive in theoretical, scientific or philosophical propositions alone? This conference is specifically conceived as a vehicle for giving voice to artistic projects located anywhere and elsewhere in space and time. This conference features presentations from artists that have successfully navigated blind peer evaluation through Project Anywhere, together with a series of invited presentations from artists, curators and writers actively engaged with art and artistic research at the outermost limits of location-specificity.
A N Y W H E R E A N D E L S E W H E R E : A RT AT T H E O U T E R M O ST L I M I T S O F LO C AT I O N - S P EC I F I C I T Y
Salome Asega & Ayodamola Tanimowo Okunseinde
Anne Gaines & Nadia Williams
Frank J Miles
Sreshta Rit Premnath
Melissa Bianca Amore & William Stover
Mutant Space, Metsamor
8 – 9
10 – 11
The Slaughterhouse Project
12 – 13
Visual Literacy and the Age of Political Correctness
14 – 15
The Visits (Of Which There Were None)
16 – 17
Pizza Block 2
18 – 19
20 – 21
22 – 23
Liminal Dimensions of Memory
24 – 25
Parsons Scholars Program
26 – 27
28 – 29
Ut Pictura Poesis: Drawing into Space
30 – 31
32 – 33
34 – 35
36 – 37
38 – 39
40 – 41
37 – 36 = 0 : Durational Performance and Interplanetary Time
42 – 43
The Artist and the Built Environment
44 – 45
The Chronotopography of Mountains
46 – 47
Performosis: How Performance (Art) Affects People
48 – 49
RE – SITED
50 – 51
Riding Through Walls
52 – 53
54 – 55
Time Travel Companions
56 – 57
The Department of Accumulated Thoughts
Atıf Akın is an artist and designer living in New York. His work is about techno-scientific criticism in the context of contemporary art, science and politics. Akin studied engineering and design at Middle East Technical University in Ankara, Turkey. In the last ten years, he has taught design and media arts in Istanbul, Europe and the US. In 2011, he joined the faculty at Mason Gross School of the Arts at Rutgers University, and has since been active in the US, Europe, Turkey and the Middle East. Akın’s studio is located in New York City.
Mutant Space is a research driven, technoscientifically critical, visual art project about nuclear mobility and radioactivity. It consists of visual surveys on nuclear archaeology, scientific imagery, maps and data visualizations. The project spans a vastness of time and space — from 3 billion BC years, to 240,000 AC years — and utilizes both satellite images from 300,000 meters above ground to the perspective of 520 meters underground. Metsamor is one episode in an ongoing project. Metsamor is an area in Armenia at the border of Turkey, and is home to a Soviet-era nuclear station. The Metsamor archaeologic site, aka the “Black Swamp,” located 25 kilometers west of Yerevan — is a Bronze Age city dating from the 3rd and 2nd millennia BC. The modern town of Metsamor was built in 1969 to house the employees of the power station. Noah’s Ark, according to religious texts, is believed to have landed on Mount Ararat, and Mount Aragats is a four-peaked volcano massif and home to Stalin-era scientific research establishments. Metsamor lies between these two sacred mountains. The form of Mutant Space, Metsamor is driven by its core content — radioactive material. Significantly, the half-life of this material can vary from 24,100 years to millions of years.
MUTANT SPACE, ME TSAMOR Mutant Space, Metsamor, 2015.
SALOME ASEGA & AYODAMOLA TANIMOWO OKUNSEINDE
Salome Asega is a Brooklyn-based artist and researcher whose practice celebrates dissensus and multivocality. Through participatory research, she works collaboratively to build interactive installations and to develop odd wearables. She is the co-host of speculative talk show Hyperopia: 20/30 Vision on bel-air radio and the Assistant Director of POWRPLNT, a digital art collaboratory. Salome has participated in residencies and fellowships at Eyebeam, the New Museum and the Laundromat Project — and she has given presentations at New Inc, Performa and the Schomburg Center. Salome received her MFA in Design and Technology from Parsons School of Design at The New School, and her BA in Social Practice from New York University. Ayodamola Tanimowo Okunseinde is a New York artist and interactive designer. He holds a BA in Visual Arts from Rutgers University, and an MFA in Design and Technology from Parsons in New York, where he is a faculty member. Okunseinde's works range from the painting to explorations of Afrofuturism. He has participated in Finland’s Invitation to Helsinki, IDEO’s Fortnight and Eyebeam’s Creative Residency.
Iyapo Repository is a resource library which houses a collection of digital and physical artifacts created to affirm and project the future of people of African descent. The collection is managed and developed through a series of participatory workshops where participants become archivists of a future history they envision. Participants sketch out and rapid prototype future artifacts in domains of food, music, politics, fashion etc. The repository then works to bring a select few of these artifacts to life so that they are completely technologically functioning objects that stay true to the participants’ original blueprints. Alongside the art and artifacts collection, Iyapo Repository also hosts manuscripts, films, rare books and more. Iyapo Repository has hosted workshops at Eyebeam, Brooklyn Museum, Museum of Contemporary African Diasporic Art and has held public interventions on the streets of Bed Stuy, Brooklyn. Through a residency with The Laundromat Project, the repository is working with the Bed Stuy Museum of African Art to build a curriculum around future design thinking and prototyping methods that promotes self-determination in technology. Iyapo Repository was developed by Ayodamola Okunseinde and Salome Asega as part of their Eyebeam Project residency.
IYAP O REP OSITORY Artifact: 012, 2016. Spandex Fabric, EVA Foam, Tubing, Motors and Raspberry Pi, 72x24x24in. Photograph Â© 2016 Magali Duzant.
Brad Buckley (b. Sydney, Austrialia) is an artist, activist, and urbanist. He is a Professor of Contemporary Art and Culture at Sydney College of the Arts, University of Sydney. He was educated at St. Martin’s School of Art in London, and the Rhode Island School of Design. Buckley's work, which operates at the intersection of installation, theatre and performance, investigates questions of cultural control, democracy, freedom and social responsibility. His work has been exhibited internationally for over three decades. Buckley is also the editor, with John Conomos, of several books, the most recent of which is Erasure: The Spectre of Cultural Memory (Libri UK, 2015).
The question that stands above every other one is: how is art to be experienced directly by the spectator, in a society that is heavily laminated by cultural, museological and tertiary educational structures, agendas and self-interest groups all vying to produce normative ideas, contexts and values for the making, exhibiting and manifestation of art? Where in this miasma does the artist stand, and how is he or she to be understood as someone who is, hopefully, working in the individual and sociocultural enterprise of, to borrow George Steiner’s useful expression, producing ‘grammars of creation’? In other words, how do artists and curators relate to each other in terms of being centre stage or in the wings (metaphorically speaking) of the art world and its audiences? Is the curator’s job to be low-key, or more high-key, at the centre of things? Despite the current proliferation of curatorial and museum courses, what is painfully evident is the ascendancy of a corporate manageralism in determining the curator’s modus operandi and raison d’être. This has had a pernicious influence on what artists produce, and on how they are curated, promoted and valued by all of us who give a fig for art that is not repetitively banal, decorative and grossly depleted of critique, mystery and curiosity about our world and everything in it.
THE SL AUGHTERHOUSE PROJECT The Slaughterhouse Project: Alignment and Boundaries (L’Origine du monde) and I Wonder Whether That’s Joanna Hiffernanwith a Brazilian (revisited), 2013. Neon, Wood, Steel, Paint, Sound Scape, Performance Artist, Material, Fabricated Objects, Dimensions Variable. The Australian Centre for Photography, Sydney, Australia. Photograph © 2013 Rowan Conroy.
Daniel A Cherrin is a photographer, filmmaker, artist and educator. He documents human and political struggles globally, as well as creating scenes that are metaphors for the human condition. Cherrin's work focuses on the dichotomy of fantasy and reality; challenging comfortable assumptions, presenting documentary as art and art as documentary through a variety of mediums. He received a BFA in Cinema Studies from Temple University in Philadelphia, and an MFA in Photography and Related Media at Parsons School of Design in New York City. His images have been published by a variety of magazines and news outlets and displayed in galleries, screenings and shows globally.
If the printing press created literacy, then the camera and the computer created media literacy. Billions (perhaps trillions) of words, images, sounds and numbers are being transmitted around the world at this moment. Literacy in the traditional sense — literacy as the ability to read and write — is no longer sufficient to participate effectively in this world. Global media literacy is evolving rapidly, and widespread access to modern communication technologies is now a reality. Not only is being ‘media literate’ important to daily living, it also is essential to the struggle for justice. Access to cameras and computers generate the photographs and videos that embolden civil disobedience, just as the denial of media access by the state props up counter revolutionary, fascist regimes. Photography is more than a mechanical process, as is writing or any other form of documentation. There is always a human agent that prevents any image or piece of information from achieving objectivity. Any idea is subject of the surrounding environment. Paradoxically, whilst the camera protects free speech and documents events, it is simultaneously a manipulation. Images are both a great means of communication and can be used to prop an ideology from creation to publication to consumption.
Untitled (Scarecrow Pieta), 2013. Photograph.
VISUAL LITER ACY AND THE AGE OF P OLITIC AL CORRECTNE SS
Livia Daza-Paris is a VenezuelanCanadian transdisciplinary artist who has worked with dance, performance, video, text and documentary evidence. She uses artistic processes within artbased research, disciplines of narrative inquiry and poetic interventions to address historical trauma.
The Visits ( of which there were none ) explores the semiotics of the family portrait — creating a fictional family album from performative “visits” to well-known public locations and memorials and intercepting notions of time, portraiture, performance and place. The album also includes declassified intelligence documents in oblique reference to the political disappearance of a family member and a history omitted from official records in Cold War Venezuela. Typically, during these visits, family members assemble in the same place at the same time. Daza-Paris appropriates this traditional activity to create portraits of her family coming together through these image-dense interventions. The Visits (…) reflects connections with what has been made-to-disappear by political repression, together with the intangible resilience that remains. Accordingly, the project is at once a protest and a poem. The Visits (…) forms part of Poetic Forensics: on the disappeared its people and land, an ongoing investigation of unresolved events linked to unofficial history of state political violence and historical trauma. Poetics Forensics is proposed by Daza-Paris as conceptual framework within which to find and examining evidence and devising means for understanding what had been made-to-disappear through artistic processes and presenting them in a public forum.
THE VISITS (OF WHICH THERE WERE NONE) The Visits (of which the were none), 2015. Photography (DSLR Canon 5DM3 and iPhone 5), Dimensions Variable.
The practice of Melissa P Wolf and Paul Lamarre (aka EIDIA) assumes the form of a consistently interdisciplinary collaboration that explores the dynamics of art politics, social spaces, and the environment. The resulting work is presented in the form of multimedia installations, photography, sculpture, film, video, painting and other forms of aesthetic research. As the co-founders of EIDIA House, their primary projects include: the Starving Artist’s Cookbook, Plato’s Cave (a public exhibition space), the nea tapes (documentary/archive) and The Deconsumtionists Art As Archive (a 48ft semi-trailer as nomadic hybrid, curatorial outpost and sustainable art practice with an archive). This project was presented in its first museum solo exhibition in 2014 at the Museum of Contemporary Art Detroit. Lamarre and Wolf are Sundance Institute Film Fellows, via their 1999 and 1997 Open Society Institute, Soros Documentary Fund Fellowships, and appointed Research Affiliates of the University of Sydney in 2012.
PIZZA BLOCK 2 explores the transformation of memory through a food performance involving the making and serving of pizza. In PIZZA BLOCK 2, Lamarre will create and serve edible pizza whilst telling the story of his rather tragic youth — beginning from the age of five and including the death of his younger brother and how “art in my heart saved my ass from going insane.” Cooking and eating as a practice is an everyday realization of the struggle of ‘life’ over death. Cooking and eating can sustain life and art (and by extension save your life). Combining the two in performance creates a different kind of energy — the artist “cook” and for the observer consuming the cooking performance. Significantly, these are elementary transformations that merge culture and nature. The creation / performance of pizza involves four classical elements: fire, water, air and earth — their combined action resulting in an alchemic transformation. Cooking and eating as a social event is (like the performance) a form of art in itself. It is at once alive, fleeting, spiritual and sensual — and importantly can be (re)produced “anywhere”!
PIZ Z A BLO CK 2 PIZZA BLOCK, 2015. Two-Week Food Performance and Teaching, Using Professional Oven, Wooden Peels, Chef’s Jackets and Aprons, (All Branded and Marked EIDIA), Caputo 00 Flour and Yeast from Naples, and Various Organic Ingredients for 14 Persons, Bern University of the Arts. Performance Took Place in La Chaux, Switzerland. Photograph © 2015 Fredie Beckman.
Patricia Flanagan’s artwork is represented in collections in Australia, Italy, Ireland, Germany and China. She is the winner of four CASP funded Public Art commissions, and recipient of awards — including an Australian Postgraduate Scholarship for PhD research in public art and alternative tactics. Flanagan established the Wearables Lab at Hong Kong Baptist University, and currently works at UNSW Art and Design in Sydney. She also serves on programming committees — including Design, User Experience and Usability in the context of Human Computer Interaction International. She is the founder of the ongoing experimental research initiatives: Peripatetic Institute for Praxiology and Anthropology and Haptic InterFace.
TIME GEOGRAPHY explores topographies of the body and its tempo-spatial relationship to systems that surround it. Walking and sleeping self-generate clothing and blankets, whilst changes in the environment leave visible traces in colours and textures in textiles — much like the growth rings of a tree or traces of sunburn on the skin. In this sense, traveling generates bespoke garments unique to the body and the environments from which they emerge. TIME GEOGRAPHY is therefore a system of clothing and textile production determined by the body’s mobility and its environmental context. TIME GEOGRAPHY is built around themes that provoke a search for ontological equilibrium, re-valorising the time of sleep as productive, harnessing the expressive quality of walking, and viewing time as an accumulation of stories both captured in social objects and invested in material culture and practices. Although technology is increasingly mobile, the current generation of wearables does little to address this new mobilities paradigm. Technology is increasingly embedded into our everyday lives, in the building blocks of our cities, the textiles on our bodies and under our skin. TIME GEOGRAPHY provokes an alternative dialogue found at the intersection of these multi-layered networks and systems.
TIME GEO GR APHY Time Geography: Image of Work in Progress, Walking in the Snowy Mountains, April 9â&#x20AC;&#x201C;11th, 2014. Snowy Mountains, Australia.
Franklin Collective, The arts collective, utilizes a unique mix of artists, designers and art world professionals to create immersive environments and artworks. Employing the form of a particular system, The Collective appropriates its structure to develop a critique from within — skewing and nudging, redefining and revealing. The Collective’s “The” series of works have been said to function as living sculptures, engaging viewers in both online and physical realms. To date, works include The Call Center, The Flight, The Gallery, The Radio, The Tower, The Wine and The Writings. Franklin Collective has been featured in institutions and publications including: Ethan Cohen Gallery (New York, NY), VOLTA Art Fair (New York, NY), Stream Gallery (Brooklyn, NY), Artnet, BK Magazine, Expose Art Magazine, KRASS Journal and Widewalls while collaborating with Artists Space (New York, NY) and the Jefferson Market branch of the New York Public Library (New York, NY). Members of The Collective are bound by a mutual non-disclosure agreement.
“The” assumes a single, unified experience. “The” totalizes. Unification can, of course become beneficial. In an aesthetic sense, George Santayana states that the unification of an object’s perceived elements are a manner in which we might become susceptible to its beauty. The rendering of parts to wholes. A similar benefit can read from the unification of bodies in a political action. Totalization becomes smooth, and flows from place to space. Dominant history gives us the sense that this is more of a rare occasion. More often than not, it is a way for a viewer, a user, a member, an account holder, an employee, a student to be made comfortable insomuch as to not become privy to a expanded understanding of an apparatus with weight and invisible, numbing teeth. That resentment you feel is normal, don’t worry. “The Total” is comfortable because it assumes and subsumes. It forgets the dirty bits that do not forecast a promising second quarter at last week’s meeting. But the dirty bits aren’t removed from the equation, of course. They are merely asked to enter through first class and make their way to the back of the plane. “The” is best understood from the receiving end. “The Goal” is not only to contain and to mitigate, but to remove liability. The individual that you need to speak to is offsite. That is a different department. I am unable to do that. Ability exonerates will. An illusion of “The” is that it remains unstriated. Yet, the striations and separations exist, they are only relocated, relabeled and packaged into something that can be made invisible via purchase. Upgrade. Expedite. Removal through optimized and choreographed participation and investment. Franklin Collective exists between the definite and indefinite article. “This” points a finger. It points to evidence, the concrete, the unique. “The” shrugs its shoulders. www.franklincollective.nyc
FR ANKLIN COLLECTIVE The Flight by Franklin Collective, 2016. Laser Toner on Paper, 11x8.5in. Image Â© 2016 Franklin Collective.
Karen Frostig, PhD, is the Founding Director, producer and lead artist of The Vienna Project. She is currently Associate Professor at Lesley University, and Resident Scholar at the Women’s Studies Research Center at Brandeis University. Frostig is a multimedia and interdisciplinary artist, author, educator and cultural historian, engaged in international activist projects dealing with memory, erasure and testimony. She exhibits her work across the US and Europe, is widely published, and has received numerous awards and grants. In collaboration with Kabren Levinson, her newest project, Staging Memory, will examine the history of World War II using art, data and technology.
The Vienna Project was developed as a multimedia, interactive, collaborative, participatory, relational, performative, interdisciplinary, decentralized, inclusive and generative model of memorialization. Envisioned as an enduring performance of memory, The Vienna Project unfolded in the public sphere — occurring in 16 districts of Vienna over a period of one year. The project featured 12 conceptual modules, which included video installations and projections, street stencil sprays, performance art, video interviews, letter readings, and a historic Naming Memorial projected onto the facades of buildings surrounding Josefsplatz. The project’s smart phone app contained past and present photos of 38 memory sites and integrated rigorous research about the 38 sites with installation art and contemporary performance art. The project’s Naming Memorial is also currently being adapted and evaluated for installation in an open air museum setting. Transitioning from the temporary to the permanent raises questions about the project’s core identity as an ephemeral project that disappears — echoing the way in which memory ebbs and flows. Although maintaining an interactive design, will fixed presentation of place and time change the fundamental character of the project? This presentation will discuss the relationship between space and idea, and liminality as home to memory.
LIMINAL DIMENSIONS OF MEMORY The Vienna Projects Naming Memorial, 2014. Digital Slide Projection, Josefsplatz, Vienna. Fabrication Artist: Elisabeth Wildling. Photograph Â© 2014 Christian Wind.
# 10 ANNE GAINES & NADIA WILLIAMS
Anne Gaines has worked for 15 years in pre-college programming developing opportunities for youth through the arts. Gaines is a faculty member at Parsons School of Design, and currently serves as the Dean for the School of Art, Media and Technology. Her current projects partner with community youth organizations to build sustainable credentialing systems for youth that address equity issues. She currently serves as a project-based advisor to the Center for Children and Technology; on the education advisory boards for Mouse and the Museum of Arts and Design; and on the Digital and Emerging Media committee for the Cooper Hewitt. Nadia Williams is the director of the Parsons Scholars Program, and Assistant Professor of Diversity and Inclusion at Parsons School of Design, and has taught pre-college courses for over 13 years. Williams has designed for large brands, as well as her own, independent label. While living in Mexico, she co-established the foundational methodology used by Fรกbrica Social, a nonprofit that works with indigenous women artisans and uses design as a tool to improve their quality of life. Williams is a member of New York Collective of Radical Educators (NYCoRE), and collaborates on numerous social justice and access initiatives across The New School.
In our demographically shifting world, it is important that creative pursuits respond to increasing racial, cultural and socioeconomic diversity. We recognize the brilliance of communities who are historically underrepresented and under recognized in fields of art and design. Often, those tasked with creating innovative solutions to daily survival are in a pivotal position to be the most innovative artists and designers. We are committed to bridging the gap to college and fulfilling careers by addressing challenges often faced by students from low income backgrounds, first generation college students, and students of color. We recognize the importance of removing social and financial barriers faced by our students when entering creative fields, whilst at the same time, also advocating for increased access to college and creative professions.
PAR S ONS SCHOL AR S PRO GR AM Parsons Scholars, Mentors and Advocates, 2013. Photograph Â© 2013 Joelle Riffle
Susan Greene is an interdisciplinary artist, educator and clinical psychologist. Through public art and media, her work navigates borders, decolonization, environmental justice and memory. Her current work explores the augmentation of site-specific murals using analogue and digital technologies that provide easy access to contextual data and facilitates viewer engagement and connection. Greene conducts research at the intersections of trauma, creativity, resilience and resistance. In 2001, she founded and directs Art Forces, a multimedia project spanning locations ranging from the streets of Oakland, CA to refugee camps in Palestine and Lebanon. Originally from NYC, she resides in California’s Bay Area, where she maintains a psychotherapy practice.
Greene will present a series of community murals created within spaces of colonization and exile, such as refugee camps and occupied lands, in order to investigate the idea of ‘colonial melancholy.’ Within each project lie significant and traumatic losses which are still being grieved, often over several generations. The murals embody this not-forgetting, within which there is a hopefulness — or what Rajanna Khanna calls ‘colonial melancholy’ (2006). As part of this presentation, Greene will present ‘data’ from Art Forces projects in Nahr el Bared refugee camp in Lebanon, the village of Silwan, East Jerusalem, Occupied Palestine and from Ohlone territory, Oakland, California. Significantly, participants included local and international youth, artists and activists. Here, ‘data’ consists of documentation of mural production, interviews, reflections, observation and archival information in formats such as augmented reality apps that use smartphones and websites; audio and video productions, digital programs allowing for non-linear storytelling and interactive components in which viewers can participate and add their stories. Art Forces projects begin with the premise of the impossibility of understanding dehumanization exemplified by occupations, environmental injustice, dispossession and colonization, and maintain that to accept this impossibility can be an ethical and creative act. The acceptance of the impossibility of understanding is not denial, rather it requires that one take the impossibility as the starting point, refusing a certain framework of understanding (Caruth, 1995). Greene argues that the field of ‘colonial melancholy’ offers one such starting point.
ART FORCE S My Home is Not a Suitcase and I Am No Traveler, 2015. Acrylic on Stucco, 12x60ft. Image Credit: Susan Greene, Art Forces, and Madaa Creative Center Process
David Griffin (b. Kingston, Jamaica) works with drawing, painting, performance and writing in dynamic relationship with those practices. He holds a PhD from the Glasgow School of Art (2012), an MFA from Pratt Institute (1999), and a BFA from Parsons School of Design (1986), and is currently a lecturer at OCAD University in Toronto. Dr. Griffin's artwork has focused on notation systems, especially music notations, as true space-time drawings, allowing users to bridge the visual and auditory arts. His work has been exhibited internationally; published in major journals, most recently in MIT Press’ Leonardo Journal; and has presented his scholarship at conferences in Canada, the US, the UK and Australia.
In 1735, the mathematician Leonard Euler presented his solution to the problem of whether a single continuous route could be plotted to cross each of the seven bridges in the Prussian town of Königsberg just once. His “back of the envelope” solution used the simplest of mark making strategies: Euler did not actually cross the town’s bridges, rather, he used them as characters in a scheme, recasting their physical connections in terms points and lines, on paper. This graphical reconstruction introduced the possibility of inductive reasoning into a logical problem, and ultimately has led us to an expanding world of diagrams — simple schematic drawings, with applications beyond mere theory. But what if such a working graphic has as its target something that is simply incomprehensible? What are the upper limits of the denotational logic of such diagrams? This presentation will review a drawing research project which tests the advantages of technical graphics by directly engaging with things that cannot be made easier to understand through their use. In addition, the presentation will look at problems associated with the communication and visualization of a cascade of complex ideas derived from the three largest drawings ever made.
UT PICTUR A P OE SIS: DR AWING INTO SPACE 4 Diagrams, 2016. Hybrid Digital/Analog Drawing, Dimensions Variable.
Marta Jecu is a freelance curator and researcher at the CICANT, Universidade Lusofona, Lisbon. She has been published in journals including: E-Flux; Kaleidoscope; Berlin Art Link; Idea Art + Society; Journal of Curatorial Studies; Esse Arts + Opinions; and books, including: Jim Elkins (Ed.): Contemporary Visual Culture Reader, Routledge, New York, 2012; Iulia Dondorici (Ed.): Rumänien heute, Passagen Verlag, Wien, 2011; etc. In 2011, Jecu curated a.o. in Lisbon Subtle Construction, and edited the volume: Marta Jecu (Ed.): Subtle Costruction, Bypass, Malmo, Lisbon, 2011. In 2013, Jecu curated Open Monument at Kunstraum Kreuzberg Bethanien in Berlin, and edited OPEN MONUMENT, Revolver Verlag, Berlin. Her volume, Architecture and the Virtual, appeared this year at University of Chicago Press (US) and Intellect Books (UK).
EXODUS STATIONS is a research project in museology and contemporary art consisting of case studies performed by artists in ethnological museums in France and Portugal. Following these case studies, a publication and exhibition — as well as presentations, discussions, and screenings — will theoretically reflect on the intersection between museology and contemporary art, and by extension, both disciplines’ specific and historic ways of working with the display of objects of material culture. The project aims to fundament contemporary art’s possible contribution to the discipline of museology. It aims to elaborate on specific forms of display that can transmit the exhibited object’s layered and complex networks of historic information in a visual way. EXODUS STATIONS explores the possibilities and political implications of displays that conveys a processual, effective and interrelated museologic object. In this sense the project does not promote the creation of new works of art ‘inspired’ by ethnologic items but rather research-based work made upon museologic objects, using the tools of contemporary art.
E XODUS STATIONS Found Image (Postcard), Exodus Stations. Unattributed.
Michelle Lewis-King is a PhD research fellow for CoDE Research Institute, where she investigates intercultural connections between art, medicine and technology. She has presented her research at: ISEA 2016, DeTao Node (SIVA, China), University Paris 8, London LASER and at conferences internationally. Her publications feature in: Digital Creativity, Journal of Sonic Studies, The Acupuncturist, etc. Notable exhibitions include: Todays Art NL 2015, Drawing Towards Sound (with Cage, Cardew, Boulez, etc.), Anatomy Museum (King’s College), Ex-Teresa Museum (Mexico), V&A Museum, etc. Michelle works collaboratively with artists, scientists and technologists — most recently at 4DSOUND (HUN) and The Port @ CERN (CH).
Pulse Project (2011 – 2016) is a performancebased transdisciplinary research project that interrogates aesthetic and philosophical axioms underpinning contemporary medicine and technology through an investigation of their corollary ‘others’: pre-modern Chinese medicine and music theories. By restaging the Chinese medicine clinical encounter and adopting the role of artist/acupuncturist/investigator within her performances, Lewis-King acts as an instrument or medium between herself and others, and between cultural traditions for understanding and mediating the body. Drawing upon her experience as a clinical acupuncturist (with training in biomedicine), Lewis-King uses Chinese medicine and music theories, together with cutting edge technology, to compose bespoke electronic soundscapes expressive of an individual’s ‘being’ that register along a spectrum between Asian and Western approaches to the body. These soundscapes (composed from pulse readings) are not sonifications of Western principles of circulation, but instead offer another perspective which seeks to conceive of, and listen to, the interior spaces of the body. Each participant’s pulse is interpreted as a unique set of soundwave images based on Chinese pulse diagnosis (a complex set of 28+ waveform images corresponding to states of being) and also according to traditional Chinese music theory. This study therefore offers an alternate materialization of the alchemical nature of embodied being-in-time.
PUL SE PROJECT Pulse Project, 2014. Digital Photograph (Detail of Performance), Cambridge, UK. Photograph © 2014 Léna Lewis-King.
Steve Maher is an artist from Limerick, Ireland currently based in Helsinki, Finland. His work focuses on the memetic background of music and tropes, mining the artifacts and rituals of media to articulate new understandings. Maher’s relational practice focuses upon collaboration and dialogue, predominantly with communities oriented in musical practice, using the methodology of co-creation. To this end, Maher designs premises within which he coexplores ideas often realized as events and performances. Maher’s broader practice thematically makes use of the illusory and binary oppositions present in society, particularly when this opposition triggers cognitive dissonance. He also makes use of memes derived from TV tropes, subculture and historical research to negate or enhance this dissonance for the purposes of critique. Chronology and legacy are key to his explorations, together with the influence of seemingly arbitrary phenomena over long lengths of time. Cultural reverberations acting as provocations also offer a recurring source of inspiration within Maher’s practice. Finally, there is not one turning point but rather an infinitude/multiverse.
Calling Athlone is a relational, installation and broadcast based art project which makes use of Athlone’s (Co West-Meath, Ireland) deep connection to broadcasting both past and present. The project aims to make this connection through an exploration of the technology and sites linked to the history of broadcasting in the area. The project will connect communities within Athlone to their rich broadcasting heritage and the empowerment which broadcasting can offer, while also addressing the intricate histories which came into being as a direct result of Ireland’s contested past. The project will be centered on a series of workshops that will lead to the production of homemade crystal set radios and the material for a short radio documentary. The radio documentary will be later broadcast in the area, and the participants of the workshops able to listen to the documentary about their contributions through the radios that they themselves have made. Crystal set radios are entirely powered by radio waves, require no additional electrical source, and are cheap and simple to make. By distributing the knowledge for their construction and linking it to the legacy of innovation that has historically drawn attention toward an otherwise relatively obscure town in the center of Ireland, Calling Athlone seeks to provoke new considerations amongst the local community regarding the legacies of technology.
C ALLING ATHLONE Calling Athlone, 2016. Broadcast/Socially Engaged/Installation/Workshop, Athlone, Co West-Meath, Ireland.
Frauke Materlik has been pursuing her spatial practice since 2002, and holds degrees in landscape architecture (MA, University of Greenwich) and Fine Art (MA, Byam Shaw at Central Saint Martins). She works with sculptural, performative and architectural interventions, researching ways in which space is experienced and altered, thus conveying a deeper understanding of environments and social settings. After many years living in the Nordic countries, Materlik established an art space and research centre in the countryside north of Hamburg, Germany. Stephen Crowe is a composer of experimental music. His music uses standard scores, graphic notation, indeterminacy and controlled improvisation. Crowe studied Fine Art at John Moores University, Liverpool, and Composition at Goldsmiths College, University of London. Crowe is also a guitarist, and performs free improvisation on a regular basis in Berlin.
absens is a sound and installation project at a former outfarm called Stavali in Hardangervidda Nationalpark in Norway by Frauke Materlik (artist and landscape architect) and Stephen Crowe (composer). absens highlights changes in nature, landscape and their resultant impact on society. Is there an alternative to current developments? Former agricultural areas are changing in many countries. Farms close down every year, or are replaced by agriculture on a large scale. Significantly, animal husbandry has become an almost invisible phenomenon, and large areas become overgrown. The sound of livestock and farming, which has previously been part of the surroundings, has practically vanished from the landscape today. absens features recomposed field recordings of agricultural processes and kinetic sculpture in order to reflect the transformations in Norway. The installation takes place at the former out farm near Stavali (1024m). It pivots between past and present: How do we want the land and infrastructure to be organized in the future?
absens absens, 2016. Collage, Approaching Stavali from Google Earth, 90x90cm. Photograph ÂŠ 2016 Materlik Crowe. absens is supported by the Municipality of Bergen, Hordaland County Council, Arts Council Norway, and Hordaland Turlag. Frauke Materlikâ&#x20AC;&#x2122;s participation at this conference is supported by the Danish Arts Foundation.
FRANK J MILES
Frank J Miles is a pan-disciplinary visual artist, artistic philosopher and social sculptor based in New York City. Miles is the creator of Communitas — a creative think tank designed to anticipate new cultural topographies and bring people together to experience a refraction of the times we are racing toward. Miles' work deals with atheism, death, competition, bonding, density and utopia. He is currently looking to establish new concrete possibilities for art and philosophy in Europe.
Communitas is a New York-based collective created by Frank J Miles that seeks to speculate upon new possibilities in art, aesthetics, optimism, pacifism, iconoclasm, thought, imagination, vanguardism and New York City. Building upon a tradition of Downtown Manhattan participatory initiatives, Miles regards his social experiment as: an empire of one; a rhizomic assemblage; a transitory community grounded in linked fate; Ubuntu; and copoiesis. In this presentation, Miles will outline why he sees Communitas as variously performing the roles of: 1. Creative think tank and salon; 2. Pandisciplinary arts collective; 3. Future global arts movement, museum and civilization. For Miles, progressive circles of collaboration either flow together organically — based on a sincere desire to make new worlds through neoteric interconnections that transcend myopic, shallow, parochial social systems — or alternatively, become knots through which to intentionally produce or dissolve power. Consequently, Miles will describe how he still seeks to understand whether cooperative actions and processes (such as those utilized to create social sculpture and occurrent art formations) can actually serve any meaningful “real world” function — or by contrast, simply remain neutralized within the domains of the abstract, utopian, asymmetrical, dissonant and/or unsuitable. Finally, Miles asks whether what he describes as a panhumanist spectrum of creative voices convening in an informal bar/lounge setting can critically and sustainably engage new horizons in dialogical aesthetics and artistic intervention.
COMMUNITA S Whisky, 2016. Digital Image, Dimensions Variable.
Sara Morawetz is an interdisciplinary artist whose work explores processes that underpin scientific action and in turn, examines of how these concepts can be leveraged through artistic inquiry. Her work is devised to test and expose the internal processes of methodological labor — employing systems, actions and processes to reveal the exhaustive, the obsessive, the poetic and the absurd — all aspects inherent to scientific endeavor. Morawetz’s work has been exhibited internationally, including recent performances at Rapid Pulse International Performing Arts Festival, Bronx ArtSpace and Open Source Gallery. She is a recipient of an Australian Postgraduate Award and was the 2016 winner of the Churchie National Emerging Art Prize.
In July and August of 2015, Sara Morawetz undertook a performative action titled How the Stars Stand, in which she lived in Open Source Gallery (Brooklyn, NY) according to the local solar time on Mars. A Martian day (known as a sol) is 24h, 39m and 35s and is approximately 2.7% longer than a day on Earth. This performance was designed to span a full (although approximated) cycle that would allow Morawetz’s ‘day’ to drift out of sync with Earth, invert, and then slowly return to synchronicity — an action taking 37 days/36 sols to complete. This work, made in consultation with Dr. Michael Allison of NASA’s Goddard Institute for Space Studies (GISS), was conceived as a conceptual test of scientific standards — illustrating the arbitrary nature of time as a standardized unit of measure and challenging the certainty found in temporal constructs. This presentation will outline both an analysis of this performative action and a discussion of the physical and conceptual ruptures that occur when time is divorced from physical experience. Within this discussion, Morawetz will also examine sustained duration and performance as lived-experience, together with the implications of interplanetary interaction across incongruent systems of time.
37 - 36 = 0 : DUR ATIONAL PERFORMANCE AND INTERPL ANE TARY TIME How the Stars Stand (Sol 19), 2015. Performance Documentation.
Jane Philbrick is an artist, educator and writer. Her large-scale installations and sculpture range in media from ultrasound and rammed earth to magnetic levitation and found space. Philbrick works in collaboration across disciplines in science, engineering, architecture, music and performance. Her current work explores artists' interventions in the built environment, applying the holistic and synthetic methodologies of artist practice to real estate development in urban and suburban settings. Her focus is brownfield regeneration and reuse. Academic affiliations include: Harvard GSD, Tsinghua University, Lund University, MIT, Valand School, Brown, Cooper Union, RISD, SVA, Cornell and Columbia.
The built environment results from the dynamic coordination of multiple skill sets, expertise and stakeholder priorities, all set within and against a volatile context of human and natural forces including regulatory frameworks, supply chain networks, capital markets and climate change related weather extremes. The inherent instability of this development process conspires to perpetuate existing models of project delivery and product — a rigidity exacerbated by increasing disaggregated specializations, investor fealty and the hair-trigger threat of lawsuits. For all its bravura of scale, the mainstay of production of the built and natural world conservatively reconciles myriad competing negotiations in zero-sum resolutions as siloed constituent parties notwithstanding an environmental context that urgently requires cooperation, integration and responsiveness. Today, there is growing sense that the system is strained to breaking point. Artists working in the built environment are too often relegated to subsidiary or peripheral positions — with art functioning as a trophy to assist in building brand in real estate development, as surface decoration and/or “lite” entertainment in public spaces, or artists performing as a warm-up act for the forces of gentrification. How do such trivial decorative sensibilities differ from the lobby art of corporate office towers, the plaza “feature” plugging a hole in arbitrary public space mandated not by cultural practice or productive function but by zoning setbacks and FAR-negotiated density bonuses, or as social band-aids to underfunded or disinvested communities? In transposing the trope of body as medium from 1960s and 70s performance art to the city as medium, projects that reveal the invisible forces shaping urban places position the artist as working toward recovering the city as a living place — not as a developer carnival object but rather as a sentient subject.
THE ARTIST AND THE BUILT ENVIRONMENT The Expanded Field (Body Pockets), 2011 – 2013. Photograph © Tony Cenicola
SRESHTA RIT PREMNATH
Sreshta Rit Premnath is an artist (b. 1979, Bangalore, India) who works across multiple media, investigating systems of representation and reflecting on the process by which images become icons and events become history. He has had solo exhibitions at KANSAS, New York; Gallery SKE, Bangalore; The Contemporary Art Museum St. Louis; Tony Wight Gallery, Chicago; Galerie Nordenhake, Berlin; Wave Hill, New York; Art Statements, Art Basel; as well as numerous group exhibitions at venues including: The Logan Center, Chicago; Queens Museum, New York; YBCA, San Francisco; Galerie Balice Hertling, Paris; 1A Space, Hong Kong and Thomas Erben Gallery, New York. He is the founder and co-editor of the publication Shifter. Premnath completed his BFA at The Cleveland Institute of Art, his MFA at Bard College, and has attended the Whitney Independent Study Program. He has received grants from Art Matters and the Civitella Ranieri Foundation.
By drawing on the example of trans-Himalayan landscapes in northwestern Nepal and Tibet that are only accessible by foot, this paper proposes that time is a better unit for mapping distances in landscapes whose terrain is difficult to navigate. I propose the term chronotopography to describe a map that charts the temporal distances between sites, which function as nodes in this map. Since this region of Nepal and Tibet is part of an important pilgrimage route whose destination is Kailash-Manasarovar — a mountain and lake revered by Buddhists, Hindus and Bonpos — I consider the cairns that punctuate this landscape as spacio-temporal nodes en route. Each cairn, called a Lapcha, is constructed communally by pilgrims and travelers who deposit a rock on top of ever-growing mounds. These cairns can be seen as aesthetic artifacts that collect historical time through the intentional activity of pilgrims. I propose the term polychronous nodes to describe these forms. By rethinking landscapes as a palimpsest of multiple temporalities, I propose a new way to think about mapping and communally produced cultural artifacts.
A Lapcha in Humla, Nepal, 2016.
THE CHRONOTOP O GR APHY OF MOUNTAINS
Sylvia Schwenk creates new perspectives of the everyday and the familiar. Her practice looks at the relationship between performance and the everyday, reflecting upon the significance and beauty of commonplace activities and spaces. Sylvia’s practice unites art with social considerations. She works closely with communities in projects that explore local issues, creating works of art that are both context-responsive and universal in their presentation. Her works of socially engaged performance art are performed in everyday situations in spaces as diverse as prisons, naval bases, football grand finals, public transport, model airplane fields and art institutions. Schwenk is an artist of international standing who performs and exhibits her work in Europe, the US and Australia. She is the recipient of numerous commissions, awards, grants and scholarships, and her works are held in public and private art collections. Schwenk holds a PhD from the University of Sydney and presents her research internationally in conferences, lectures and artist talks.
Performance art and life are intrinsically linked. Real live moments are the central fulcrum of performance art and everyday life, and performance is essentially at the heart of all human activity, including performance art. Given that everybody already performs, this interrelationship places socially engaged performance art in a unique position. This presentation and the works the artist directs in everyday situations look at ways in which participatory works of performance art, and what Schwenk calls performosis might be used to build relationships that have social outcomes. Schwenk coined the term performosis to try and encapsulate the way in which everyday people become performers in socially engaged performance art, and by extension, ways in which spectators and passersby — in performing everyday activities — become active parts in the performance that is being performed in public spaces. This presentation will also briefly examine the significance of performance in the everyday. It will consider how developments in communication technology are changing the ways we communicate and interact with each other, leading us to a culture of self-focused social interaction and individualism that takes place in virtual space. Schwenk will conclude by looking at selected art projects by the artist that address the subject of this presentation.
PERFORMOSIS: HOW PERFORMANCE (ART) AFFECTS PEOPLE X Performance Sydney, Rooftop I, 2007 – 09. Photograph Courtesy Artereal Gallery.
Melissa Bianca Amore is an international curator, art critic and independent scholar. She is the co-founder and curator of Re-Sited. Her primary area of enquiry is phenomenology and interactive spatial aesthetics. Amore has curated and project managed significant exhibitions at contemporary art spaces, museums and non-profit organizations since 2001 including: ThreeFold, Architecture and Space, at El Museo de Los Sures, as part of the ISCP New York; The Jewish Museum of Australia Melbourne; Arc One Gallery, Melbourne and the Xin Dong Cheng Space for Contemporary Art, Beijing. As a highly acclaimed critic and essayist, Amore has written for leading publications and museums since 2005. William Stover is a curator of contemporary art for over 16 years, has held positions in important and diverse institutions including the Carnegie Museum of Art, New Museum of Contemporary Art, Independent Curators International and the Museum of Fine Arts, Boston. Additionally, Stover has independently curated exhibitions including Alpine Desire, Austrian Cultural Forum, New York; Sites of Memory: Architecture and Remembering, Stephan Stoyanov Gallery, New York; and Clothes make the man?, Childs Gallery, Boston. Stover co-founded Re-Sited in the spirit of his lifelong practice of enabling viewer’s engagement with art to be about extended looking, thinking and interacting with art situated within different locations and contexts.
Re-Sited, a new not for profit foundation was co-founded by Melissa Bianca Amore and William Stover in 2016. Presented in the form of ongoing chapters, Re-Sited directly examines the alterations to the artviewing process in our “meta-disciplinary age,” where the boundaries between visual arts, performance, science, technology and architecture, among many other disciplines, have become increasingly blurred. Re-Sited will evaluate historical and contemporary thinking structures by actively curating exhibitions that examine both the psychology of the “exhibition site” and the “conceptual space”— its particularities, materiality and direct relationship to the work of art. Commencing with Chapter One: PostDisciplinary Aesthetics, Re-Sited questions what the over-saturated and over-used terms “multi-disciplinary” and “inter-disciplinary” actually mean in relation to a work of art today. Are these terms simply “place holders” for a new, yet to be defined discipline? Or is the traditional notion of “discipline” itself is undergoing a critical re-evaluation? For Chapter One: Amore and Stover, will ask five artists to produce three identical works to be exhibited across five sites throughout New York City. The act of physically curating three identical works from each artist into different environments, seeks to actively question the multiple ways in which “site” alters the reception of the work.
A Re-Sited Artist, Natasha Johns-Messenger, Echo from the Exhibition Sitelines, 2016. Exhibition Site: Heide Museum of Modern Art, Melbourne Australia. Wood, Plasterboard, Mirrors and Existing Window, Dimensions Variable. A Re-Sited Artist, Natasha Johns-Messenger (in Collaboration with Leslie Eastman), Pointform, 2004. Installation Site: Conical Gallery, Melbourne, Australia. Reflective Film and Steel Frames, Dimensions Variable. Photographs ÂŠ 2016 Christian Cappuro.
Megan Smith (PhD) is a new media artist and curator. Her art practice probes new systems for delivering syndicated data through narrative structure and she often works with geo-location, live-feed installation, performance and community projects as methods for storytelling. She is currently focused on two main works, Riding Through Walls, described above, and Adrift, which takes shape as analyses of ecosystems and social structure along Canadian Heritage River routes, including the Rideau and the Yukon. Her work has been shown internationally, most recently at The Works Art Festival, Edmonton (June, 2015), Conversations électroniques, La Panacée, Montpellier, France (June – December, 2013) and Electric Fields, Ottawa (September, 2013). Smith was Creative Director and co-founder of Canada’s national capital Nuit Blanche festival (2012 – 2015) — a pop-up Contemporary Art event focused on embedding temporary transformative projects into public spaces. She holds a PhD in Contemporary Art & Graphic Design from Leeds Beckett University, and is Assistant Professor in Creative Technology within the Faculty of Media+Art+Performance at the University of Regina.
Smith will present an account of Riding Through Walls, her ongoing durational performance in physical computing. On December 1st, 2015, Smith embarked on a cross-Canada ride through Google Streetview from behind the handlebars of a stationary exercise bicycle whilst based in her studio in Regina, Saskatchewan — complete with a theatrical set including a large scale projection of the landscape that shifts in time with her pedaling, a fake road, grass and clouds on pulleys that shift throughout the performance. Consequently, Smith pierced layers of the Internet in an effort to physically absorb its infrastructure. In doing so, she intimately experienced the corporatized imagery of Google’s rendering of the Trans-Canada highway, whilst negotiating the technology stitching failures and data losses of the system and local bandwidth constraints. This performance was also wrapped in the fabric of the tourist experiences — complete with anecdotal social media updates and tourist images captured at regular intervals along the route. Thousands of kilometers into the trip, Smith reveals the experience of moving through glitches, seeing the Rockies for the first time, the thrill of momentary time-traveling through image stitching errors, expressions of love caught in the infrastructure, and the odd sensation of gravity and claustrophobia which sometimes manifests by moving through visual data.
RIDING THROUGH WALL S Riding Through Walls, 2015. Livecast Durational Performance, (Detail of Performance), Regina, SK. Photograph Â© 2015 University of Regina.
Standard Practice is a nomadic gallery committed to the elevation of exceptional artists of all career levels. It prioritizes the creation of contemporary discourse around the work it exhibits, and in doing so, aims to create a legacy of online documentation that transcends the limits of the traditional exhibition model. Founded in NYC in July of 2015, Standard Practice has shown eighteen artists across solo and group shows across NYC and by invitation at Satellite Miami Basel 2015.
Jessie English, founder and curator of Standard Practice, will discuss the necessity of developing new models for artist run initiatives in rapidly gentrifying city centers. In reflecting upon the experience of participating in Artist Run by Tiger Strikes Asteroid at Satellite Art Fair, Miami Basel 2015, English will revisit historically radical models for artist run curatorial initiatives with a view to better understanding the often more fiscally pragmatic nature of such initiatives in todayâ&#x20AC;&#x2122;s social and economic environment. Using Hito Steyerlâ&#x20AC;&#x2122;s 2015 lecture during her solo show at Artist Space as a model for hyper-linking the global economy with the machinations of the art world, English will attempt to locate the artist amongst the pragmatic debris of late capitalism, and in doing so, consider whether truly radical models for artist run initiatives are possible today.
STANDARD PR ACTICE Drywall Series #3 (Cages), 2015. Detail from Standard Practice Exhibition ABRACADABRA 2020 held on The Bowery, NYC 2015. Work Pictured: Andy Wentz, Found Drywall and Joint Compound, 18x12in. Photograph Â© 2015 Andy Wentz.
Radhika Subramaniam is a curator and researcher interested in crises and surprises; particularly crowds, cultures of catastrophe and human-animal relationships. She is Director and Chief Curator of the Sheila C Johnson Design Center (SJDC) at Parsons School of Design at The New School where she teaches. She was the Director of Cultural Programs at the Lower Manhattan Cultural Council and the founding executive editor of interdisciplinary journal, Connect: Art. Politics. Theory. Practice. She has been a SEED Foundation teaching fellow in urban studies at the San Francisco Art Institute (2012) and an artist-in-residence at The Banff Centre (2014). She has a Masters in Anthropology and a PhD in Performance Studies.
A few lines in the Royal Frankish Annals are the elephant Abu’l Abbas’s trace in history. He arrives on European shores in 800 AD as a gift from the Caliph of Baghdad to Charlemagne, so the story goes, only to die ten years later. Meanwhile, Arabic sources are tight-lipped on the subject. My research indicates that the elephant’s journey probably originated farther east in India from which he was sent to Baghdad as a gift from an “Indian raja.” But the mahout or elephant handler who likely accompanied him on this journey casts no shadow at all except in our imagination. This human migrant can be inferred into being only through the elephant, and Abu’l Abbas, shunted across borders, is bereft of sustained interactions except with his handler. How might we envision the shadow play through which these shared but distinct experiences of isolation, migration, confinement and intimacy emerge in the present? Using bioacoustician Katy Payne’s identification of infrasonic communication among elephants as a point of departure, this is a writing experiment that explores the relationship between elephant and mahout as a challenge both to telling and hearing stories across species and time.
TIME TR AVEL COMPANIONS Time Travel Companions, 2016. Digital Photograph.
Tatlo is a collaboration between Sara Jimenez and Jade Yumang. They met in New York City while completing their MFA at Parsons School of Design, and started to perform together in 2012. Sara Jimenez was born in London, Ontario and raised in Bethesda, MD. She received her BA in Semiotics and Communication Theory from the University of Toronto with departmental honours in 2008. Jade Yumang was born in Quezon City, Philippines, grew up in Dubai, United Arab Emirates, and later immigrated to Vancouver, BC. He received his BFA Honours in University of British Columbia as the top graduate in 2008.
Within the collaborative duo Tatlo, Sara Jimenez and Jade Yumang investigate relationships between site-specific, durational performance and cultural narratives. Their most recent project, The Department of Accumulated Thoughts, consisted of three iterations throughout the New York City area. Within this project, together with former member Michael Watson, Jimenez and Yumang created an intimate portable cubicle in different boroughs. This workspace served as a site to collect and archive individual voices via personalized surveys. Over the course of a year, Tatlo collected and digitally archived snapshots into peopleâ&#x20AC;&#x2122;s lives from across the New York City area. Jimenez and Yumang are currently working on a new project, which also stems from individual narratives. Within this new process, interviews with their fathers become points of entry with which to begin a multimedia project that addresses traditions and conflicts within the Filipino diaspora.
THE DEPARTMENT OF ACCUMUL ATED THOUGHTS Department of Accumulated Thoughts, 2014. Performance (Bay Ridge). Photograph Â© 2014 Em Miller.
The editors would like to sincerely thank — Parsons MFA Fine Arts, School of Art, Media and Technology, Parsons School of Design; The School of Creative Arts, The University of Newcastle; Anne Gaines (Dean of The School of Art, Media and Technology), Professor Frank Millward (Head of School of Creative Arts, UoN), The Office of AMT and Fine Arts at Parsons. This publication would not have been possible without our forward thinking publisher, Conveyor Arts. This publication is funded by: The School of Creative Arts, University of Newcastle, Australia; Parsons Fine Arts, School of Art, Media and Technology; and Project Anywhere.
Editors Sean Lowry and Simone Douglas Design Christina Labey Contact firstname.lastname@example.org ISBN 978-1-68418-636-5
Published by Project Anywhere; Parsons MFA Fine Arts, School of Art, Media and Technology, Parsons School of Design; and The School of Creative Arts, University of Newcastle, Australia. Cover, Inside Cover, Table of Contents Image: Atif Akin, Mutant Space, Metsamor, 2015 All Included Images © 2016 the Artist Unless Otherwise Noted