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robertogreco : publicart   23

Every Piece of Public Art in San Diego, Mapped - Voice of San Diego
"One thing the map makes clear: Public art is hardly distributed equally throughout the city."
sandiego  publicart  art  maps  mapping  vosd  2016 
june 2016 by robertogreco
Erasing the US–Mexico Border Fence
"“If a color cannot cure, can it at least incite hope?” writer Maggie Nelson asks in Bluets, a series of prose poems about the color blue. For residents of the border town of Nogales, Mexico, blue has become a promising signal of open skies and porous borders. On October 13, artist Ana Teresa Fernández led a group of volunteers equipped with paint rollers and brushes to “erase” the border fence dividing the US and Mexico.

Students and community members from neighboring Arizona, as well as locals on the Mexican side, helped paint a 50-foot stretch of the almost 2,000-mile border fence on the southern side with a shade of blue closely matching the sky. Volunteers spent six hours covering every inch of the fence, propping up ladders to reach its height of 25 feet.

This event came on the heels of another installation that took place near Douglas, Arizona, and Agua Prieta, Mexico, where artists and community members released large balloons along the border. Ana Teresa Fernández witnessed the installation in Agua Prieta, taking part in a panel with the organizers before heading to Nogales for “Erasing the Border,” the title of her series of border fence erasures.

“The border represents the physical wound of two countries not being able to heal,” Fernández told Hyperallergic in an email. “As immigration becomes more and more of an apparent reality with deeper problems, and intimate stories of despair and frustration get revealed, the general public is more open to listen and talk about it. And art is doing just this, opening a platform to address these issues in new ways, being open, honest, but also imaginative.”

The artist herself once crossed the border with her family, having been born in Tampico, Mexico, and now living in San Francisco. While a student at the San Francisco Art Institute, Fernández worked weekends at restaurants where she spoke with co-workers about their migration experiences. Conversations with her mother, who had an interest in documenting the border through photography, also inspired her to begin the first iteration of “Erasing the Border,” which took place in 2011 at a beach bordering Tijuana and San Diego.

Unlike the 2011 event, in which the artist was almost arrested, the installation in Nogales occurred with broad support from the community, bringing together around 30 volunteers and even inspiring a border patrol agent to participate.

“In Tijuana, the first time, I was almost arrested, just having started painting because I was doing it by myself,” Fernández said. “I explained calmly to the Mexican agent that I was only bringing the sky down and erasing the fence. I could see them squinting their eyes to try and imagine it. I saw one of the agents let out a small smile of having an epiphany. He let me continue and finish.”

The response from the Mexican side of the border fence may differ markedly from the US side. While many Mexicans live alongside the border, sometimes using the fence as a fourth wall for their homes, most Americans only experience the fence from a distance. The US Border Patrol also restricts the public from walking up to the fence.

“I think had I done it in the US side in Nogales, vigilantes would have physically stopped me,” Fernández said. “Every institution I attended or gave a talk at [received calls saying] I was a Mexican Al-Qaeda and terrorist.”

For those participating in and witnessing “Erasing the Border,” the blue-painted fence represents not just a new view, but a way of reflecting on the experience of the border and connecting with others whose lives are impacted by the fence.

“It’s very sad watching families hold hands through here, that’s as far as they go, they can’t even really hug,” Mary Ochoa, a resident of Nogales, Arizona, told ASU Now.

The participation of young and old, both US and Mexican, has encouraged the artist to expand the series for other communities along the border. She hopes to paint a section of the border fence in Texas in the near future, where blue can once again serve as a portal to imagining a borderless society."
2015  anateresafernández  nogales  arizona  us  mexico  border  borders  abeahn  art  publicart  borderart 
december 2015 by robertogreco
City as University, Museum, iLab – Boston Arts & Culture Testimony | ZILLA617
"Hello, I am Maggie Cavallo and I am a curator and educator committed to contemporary art and artists in Boston. My first job after moving to Boston was at the Institute of Contemporary Art, I have also worked as the Curator of Education at Montserrat College of Art working with former Boston high school students who, as undergraduates, are our next generation of emerging artists, I am an employee of the Museum of Fine Arts, Boston and am currently enrolled in the Arts in Education program at the Harvard Graduate School of Education.

I want to start by saying that it is necessary that the teams responsible for making decisions that involve and affect the contemporary art community of Boston, have an acute understanding of how art operates in society. Further, it is necessary that these teams have an acute understanding of the history of arts and culture in Boston. There is a lot that can be learned in understanding the cultural development of the Brahmins, if only we take their tactics and turn them on their head. (Please see attached reading by Paul DiMaggio)

I want to stress that it is also necessary that that Mayor’s office be committed to risk-taking and experimentation when it comes to developing its new artistic identity. We should imagine Boston: A City of Art and Education, providing art education experiences outside of K-12 alone, focusing on developing art audiences across the board, nurturing the post-graduate trajectory of Boston’s college-level art students and providing resources for the creative community to develop its own infrastructure. The office should support social entrepreneurial ventures that will not only alleviate problems that arts community faces, but will enhance Boston’s regional, national and global identity as an innovative cultivator of art and education. We should imagine our city as a university, and the public as teachers, students and collaborators.

I would like to briefly share three examples of entrepreneurial ventures that are inspired by real problems within the contemporary art community in Boston, but are strategically designed to create opportunities outside of these issues as well. What I want to know is what type of resources will be available to social entrepreneurs such as myself to build our own projects, as well as collaborate with the city government on developing civic programming.

1. Art School 617: AS617 is an intensive arts immersion course designed for the Mayor and his cabinet that will take place in two hour sessions, once monthly, for twelve months. With a curriculum designed and facilitated by local arts leaders, AS617 identifies unique teaching and learning experiences in the arts, for the Mayor’s office, to increase the office’s ability to authentically support and collaborate with the contemporary art community. Sessions will range from onsite presentations, collaborative exercises and discussions, to off site trips to local cultural institutions and artist spaces.By investing two hours a month in learning about contemporary art and the contemporary art community of Boston, it is assured that the Mayor’s office will be able to identify unique avenues for synthesis and collaboration between these concepts and artists and the initiatives of our city government. Also, one can imagine the amount of press that the Mayor’s office would receive for celebrating a commitment to learning with and from the contemporary art community in this way. (Please see attached slides for proposed lesson themes and an in-depth assessment plan).

2. Public Art as Public Art Experience/Learning: As a city, we should take an innovative and education-based approach to how we define and design public art. While the number and quality of public art pieces in Boston must increase if we want to be artistically relevant globally, we should reconceptualize public art as a model that includes public art programming. Events and learning experiences should be designed in tandem with temporary and permanent works of public art, a quality resource that would be of value to tourists, artists, and youth art programs a like. We should consider our city a Museum, and the public as curators, educators, artists and audiences. In order to do this, the city should consider an annual rotating curator program, inviting proposals from contemporary art curators both regional, and from elsewhere, to design exhibitions and strategic arts programming for the city’s public spaces.

3. Creating opportunities for success in social entrepreneurship. Imagine a program that brings together Masters-level Business & Entrepreneurship students from Harvard, Fine Arts students from MassArt and Art History majors from Boston University, with the task of designing and building sustainable art spaces in our city. We should consider our city as an Innovation Lab, and its thousands of college students the innovators. What resources can a city provide to young social entrepreneurs that will encourage them to take risks and invest in building projects in Boston?Long-known for it’s limited gallery scene and scarce collector base, new Boston must prioritize building such a commercial foundation for the sake of a healthy contemporary art community. Imagine the new spaces built by young entrepreneurs coupled with programming that introduces collecting contemporary art as a method of civic engagement to young professionals and “contemporary curious” philanthropists. A newfound collector base of contemporary art in Boston that was developed around strategic and authentic educational art experiences would have a significant affect on not only the lives of artists, but the economic and social realities of our city as a whole."

[video: https://www.youtube.com/watch?v=6nynqjPk_mY ]
cityasclassroom  boston  maggiecavallo  2014  education  unschooling  deschooling  art  arteducation  urban  urbanism  brahmins  publicart  glvo  lcproject  openstudioproject  thechildinthecity 
february 2015 by robertogreco
Working Group on Adaptive Systems
"The Working Group on Adaptive Systems is an art, design, and research consultancy based in Baltimore, Maryland. We are interested in cities, spaces, people, & the things that connect them to each other and to the larger world.

The Working Group on Adaptive Systems was co-founded by Fred Scharmen, and encompasses an evolving set of partners and collaborators. Since 2008, we have worked with people and groups in diverse fields including education, public art, building, urban design, and strategic planning.

We are based around the principle that each project demands its own unique combination of disciplines and approaches, and that forming ad-hoc teams of horizontally organized professionals is the most effective way to address the fuzzy, complicated, and exciting problems of the urban environment."
baltimore  collaborative  urbanism  design  art  cities  fredscharmen  publicart  urbandesign  urban  strategicplanning 
january 2015 by robertogreco
The New Rules of Public Art | Public Art Now
"Demand new rules for public art now!

An organisation born in Bristol, UK, Situations reimagines what public art can be and where and when it can take place. We like to think and reflect on what happens when the spark of an idea is lit. We test out new ways in which to share those ideas through new commissions, events, interviews, books and blogs – just like this, The New Rules of Public Art.

Sign-up here to receive a link to download your free ‘The New Rules of Public Art’ poster or scroll down to get hold of your very own rulebook. In the meantime enjoy, share and debate The Rules.

THE NEW RULES OF PUBLIC ART

Rule no. 01: IT DOESN’T HAVE TO LOOK LIKE PUBLIC ART.

The days of bronze heroes and roundabout baubles are numbered. Public art can take any form or mode of encounter – from a floating Arctic island to a boat oven – be prepared to be surprised, delighted, even unnerved.

[Futurefarmers, Flatbread Society, Oslo, 2013. Photo: Max McClure]

Rule no. 02: IT’S NOT FOREVER.

From the here-today-gone tomorrow of a “one day sculpture” to the growth of a future library over 100 years, artists are shaking up the life expectancy of public artworks. Places don’t remain still and unchanged, so why should public art?

[BC System, New Works Forever, Bristol, 2013. Photo: Georgina Bolton]

Rule no. 03: CREATE SPACE FOR THE UNPLANNED.

Commissioning public art is not a simple design-and-build-process. Artworks arrive through a series of accidents, failures and experiments. Moments of uncertainty and rethinking are the points at which the artwork comes into focus. Let responses to the artwork unfold over time and be open to the potential for unforeseen things to happen.

Rule no. 04: DON’T MAKE IT FOR A COMMUNITY. CREATE A COMMUNITY.

Be wary of predefining an audience. Community is rarely born out of geography, but rather out of common purpose – whether that be a Flatbread Society of farmers, bakers and activists building a bakehouse or 23,000 citizens across 135 countries writing a constitution for a new nation. As Brian Eno once said, “sometimes the strongest single importance of a work of art is the celebration of some kind of temporary community.”

[Alex Hartley, Nowhereisland, Mevagissey, 2012. Photo: Max McClure]

Rule no. 05: WITHDRAW FROM THE CULTURAL ARMS RACE.

Towns and cities across the world are locked into a one-size fits all style of public art. In a culture of globalized brands and clone towns, we hanker after authentic, distinctive places. If we are place-making, then let’s make unusual places.

Rule no. 06: DEMAND MORE THAN FIREWORKS.

Believe in the quiet, unexpected encounter as much as the magic of the mass spectacle. It’s often in the silence of a solitary moment, or in a shared moment of recognition, rather than the exhilaration of whizzes and bangs, that transformation occurs.

[Wrights & Sites, Everything You Need to Build a Town is Here, Weston-super-Mare, 2010. Photo: Max McClure]

Rule no. 07: DON’T EMBELLISH, INTERRUPT.

We need smart urban design, uplifting street lighting and landmark buildings, but public art can do so much more than decorate. Interruptions to our surroundings or everyday activities can open our eyes to new possibilities beyond artistic embellishment.

[One Day Sculpture Heather & Ivan Morison, Journée des Barricades, Wellington, 2008. Photo: Steven Rowe]

Rule no. 08: SHARE OWNERSHIP FREELY, BUT AUTHORSHIP WISELY.

Public art is of the people and made with the people, but not always by the people. Artists are skilled creative thinkers as well as makers. They are the charismatic agents who arrive with curious ideas – a black pavilion could be barnraised in a Bristol park, a graveyard could be built to commemorate the Enrons and West India Companies of our fallen economy, the sounds of a church organ might bleed out across the city through a mobile app. Trust the artist’s judgment, follow their lead and invest in their process.

Rule no. 09: WELCOME OUTSIDERS.

Outsiders challenge our assumptions about what we believe to be true of a place. Embrace the opportunity to see through an outsider’s eyes.

[page 32 One of the Nowhereisland Ambassadors introducing the Embassy Photo Max McClureNowhereisland Ambassador, Weymouth, 2012 . Photo: Max McClure]

Rule no. 10: DON’T WASTE TIME ON DEFINITIONS.

Is it sculpture? Is it visual art? Is it performance? Who cares! There are more important questions to ask. Does it move you? Does it shake up your perceptions of the world around you, or your backyard? Do you want to tell someone else about it? Does it make you curious to see more?

Rule no. 11: SUSPEND YOUR DISBELIEF.

Art gives us the chance to imagine alternative ways of living, to disappear down rabbit holes, to live for a moment in a different world. Local specifics might have been the stepping off point – but public art is not a history lesson. Be prepared that it might not always tell the truth.

[Tony White, Missorts, Bristol, 2012. Photo: Max McClure]

Rule no. 12: GET LOST.

Public art is neither a destination nor a way-finder. Artists encourage us to follow them down unexpected paths as a work unfolds. Surrender the guidebook, get off the art trail, enter the labyrinth and lose yourself in unfamiliar territory.

[Jeppe Hein, Follow Me, Bristol, 2009. Photo: Jamie Woodley­. Courtesy University of Bristol]

Situations opens up the potential for artists to make extraordinary ideas happen in unusual and surprising places, through which audiences and participants are encouraged to explore new horizons.

We choose to work with artists who want to connect directly with people’s lives, creating space for them to take risks, to test limits and cross boundaries. Since 2002, artists have led us and thousands of others into unchartered territories, brought us together to build, bake, grow and marvel, transformed familiar surroundings, provoked us to ask ourselves challenging questions and told us tall tales of the future.

Demand new rules for public art now!"
publicart  glvo  canon  manifestos  performance  impermanence  ephemeral  ephermerality  rules  via:ablerism  imagination  community  conversation  socialpracticeart  culture  risktaking  ownership  open  openness  outsiders  empathy  perspective  listening  resistance  situationist  authorship  collaboration  participatory  cocreation  small  slow  unplanned  spontaneity  unfinished  uncertainty  ephemerality 
july 2014 by robertogreco
LAND (Los Angeles Nomadic Division)
"LAND (Los Angeles Nomadic Division) is a non-profit art organization founded in 2009 as a public art initiative committed to curating site- and situation-specific contemporary art projects in Los Angeles and beyond. LAND believes that everyone deserves the opportunity to experience innovative contemporary art in their day-to-day lives. In turn, artists deserve the opportunity to realize projects, otherwise unsupported, at unique sites in the public realm.

LAND supports dynamic and unconventional artistic practices using a tripartite approach:

• Commissioning public projects of site- and situation-specific works with national and international contemporary artists

• Collaborating with a variety of institutions and organizations, such as universities, museums, and theaters as well as other types of spaces, industries, and entities

• Offering additional programs such as performances, workshops, residencies, discussions, and publications

LAND’s innovative exhibitions and programming structure features three main types, or scales, of programming:

1. Large-scale, multi-site, multi-artist exhibitions (group thematic shows that exist over time and space)

2. Monographic exhibitions or discrete group exhibitions

3. One-night ephemeral performances and durational events"
losangeles  art  publicart  performance  ephemeral  openstudioproject  residencies  performances  publications  ephemerality 
may 2014 by robertogreco
Mary Beebe at Voice of San Diego's Meeting of the Minds - YouTube
"Mary Beebe, who runs the Stuart Collection for UC San Diego, takes us behind the scenes of some of the pieces she's commissioned over the years in a presentation at Voice of San Diego's "Meeting of the Minds" on March 19, 2014."
maybeebe  nancyrubin  timhawkinson  2014  stuartcollection  ucsd  art  publicart  sandiego  lajolla  dohosuh  murals 
march 2014 by robertogreco
Helen Marriage: Art interventions
"Helen Marriage is a co-director of Artichoke, a creative company which enables artists to create breathtaking, city-wide art installations in places like downtown London. “These life-changing moments, the joy that you see on the faces of these audiences, that is not a frivolity.”"
helenmarriage  art  publicart  poptech  artichoke  installation  spectacle  2013 
november 2013 by robertogreco
Artichoke
"ARTICHOKE IS A CREATIVE COMPANY THAT WORKS WITH ARTISTS TO INVADE OUR PUBLIC SPACES AND PUT ON EXTRAORDINARY AND AMBITIOUS EVENTS THAT LIVE IN THE MEMORY FOREVER…"



"Artichoke Trust was founded in 2005 by Helen Marriage and Nicky Webb. Our aim is to work with artists to create extraordinary, large-scale events that appeal to the widest possible audience. We don’t believe the arts should take place only behind the closed doors of theatres or art galleries. Instead, we put on shows in unusual places: in the streets, public spaces or in the countryside.

Since 2006, Artichoke has produced several large-scale events across the country, from London to Liverpool; from light festivals to giant mechanical spiders. Nearly all our events are free to attend, and attract members of the public in thousands.

As a registered charity, we rely on grants, donations and sponsors to fund our events, and run a donors scheme called Artichoke Hearts. We also work as consultants."
art  publicart  performance  publicspace  uk  publicengagement 
october 2013 by robertogreco
Think Tank brings on the news
"The creative minds behind Think Tank include MCASD’s Robert Pincus, Jill Dawsey and Cris Scorza; Perry Vasquez, co-director of Southwestern College; and representatives of 20 of San Diego’s edgier arts organizations, including The Spot, Periscope Project and Double Break Gallery.

Think Tank had been working on a zine that explores these alternative art outlets when Laurie Mitchell from the city of San Diego’s Arts and Culture Commission reached out about a public art exhibit she’s helping organize called Art Boxed. The exhibit includes nine POD storage units that are being transformed by local artists into mini-galleries that will pop up throughout San Diego during Fall for the Arts month."
sandiego  art  thinktank  mcasd  robertpincus  jilldawsey  crisscorza  perryvasquez  thespot  periscopeproject  doublebreakgallery  lauriemitchell  publicart  artboxed  2012  galleries  glvo 
april 2013 by robertogreco
ART BOXED SAN DIEGO: A PODS® PROJECT
"Art Boxed San Diego: A PODS® Project is a portable, curated exhibition highlighting local contemporary artists creating thought-provoking and participatory art in storage containers generously donated by PODS® Moving & Storage.

In September 2012, Art Boxed SD openned at Liberty Station in conjunction with Fall for the Arts, an initiative organized by the San Diego Commission for Arts and Culture. In October, viewers had the opportunity to see the containers at various locations throughout San Diego. A handful of the containers are still on view.

Visit us on Facebook to find out where you can see them, and Follow us on Twitter
______________________________

PODS® Container Installations created by:
Jamilah Abdul-Sabur
Jennifer Anderson & Chris Flores
Lael Corbin
Isaias Crow & Irene Castruita
Mike Calway-Fagen, Keenan Hartsten, & Justin Hudnall
May-ling Martinez
John Oliver Lewis
Louis Schmidt
MCASD's 'Think Tank' Collective"

[See also: http://www.mcasd.org/blog/art-boxed-san-diego-exhibition-opens-friday-october-5-ntc-liberty-station
http://www.utsandiego.com/weblogs/susan-myrland/2012/sep/24/san-diegos-emerging-art-scene-art-boxed-san-diego/ ]
artboxed  sandiego  art  crisscorza  jamilahabdul-sabur  jenniferanderson  chrisflores  laelcorbin  isaiascrow  irenecastruita  mikecalway-fagen  keenanharsten  justinhudnall  may-lingmartinez  johnoliverlewis  louisschmidt  pods  publicart  glvo 
april 2013 by robertogreco
Public Address
"Public Address is a group of public artists creating work throughout San Diego County and beyond. You can see what we're up to by checking out our calendar and our San Diego public art map. We advocate for the arts by organizing educational seminars and supporting artists' rights, and by writing public policy documents. Browse our library and supporting links to learn how artists work and think about public art."
sandiego  art  artists  publicspaces  publicart 
march 2013 by robertogreco
The Newtown Creek Armada by The Newtown Creek Armada — Kickstarter
"The Newtown Creek Armada is an artist-created model boat pond that will be installed on the Newtown Creek in September 2012. Located on the border between Brooklyn and Queens, the Newtown Creek is one of America's most polluted waterways and a recently designated federal Superfund Site. Visitors to the Newtown Creek Armada will be invited to pilot a fleet of miniature, radio-controlled boats along the creek’s surface while at the same time documenting the hidden world beneath its waters.

Each boat in The Newtown Creek Armada will represent a different aspect of the creek’s unusual past, present and future, and will be equipped with a waterproof camera, allowing participants to record a unique voyage along the creek. Video from these explorations will be on view at the boat pond, giving visitors a chance to virtually immerse themselves its toxic waters, home to the largest urban oil spill in the United States."

[via: https://twitter.com/MatthewBattles/status/257170813424377858 ]
2012  publicart  art  armadas  newtowncreekarmada  superfundsite  superfundsites  newtowncreek  environment  pollution  waterways  boatbuilding  boats  nyc  queens  brooklyn 
october 2012 by robertogreco
M12
"The M12 art collective is organized and operated by a collective of artists and creative professionals and is based in Denver and Byers, Colorado. We also operate a rural field office and land-based project site that is located 2 miles south of the HWY 71 and 36 intersection in Last Chance, Colorado. M12 creates interdisciplinary site-based art works, research projects, and education and outreach programs. Working in the fields of sculpture, architecture, and public art and design, we favor projects that are centered in rural areas and which can be developed through dialogical and collaborative approaches. Our projects explore community identity and the value of often under-represented rural communities and their surrounding landscapes. We strive to be stewards of effective local and global creative problem solving, and a community resource for evolutionary thinking and innovative communication."
byers  denver  collaboration  community  communityidentiry  sculpture  publicart  rural  lastchance  colorado  m12  art  culture  design  interdisciplinary  landscape  learning  place  architecture 
august 2012 by robertogreco
We Are Red76, Which is...
"Nomadic in nature, Red76's origins reside in Portland, Cascadia/Oregon wherein it was founded in the winter of 2000. The socio-historical landscape of the Cascadian region greatly informs the methodological underpinnings of their work. The group, often in flux and geographically dispersed, is the moniker for initiatives most often conceived by Sam Gould, and collaboratively realized with the assistance of Gabriel Mindel-Saloman, Zefrey Throwell, Dan S. Wang, Mike Wolf, Laura Baldwin, and many others.

Often situating itself in public space, or creating an atmosphere wherein the definition of space maybe have an opportunity to redefine itself, Red76 initiatives utilize overlooked histories and common shared occurrences as a means of creating a framework in which to construct their public inquiries. Social histories, collaborative research, parallel politics, free media, alternative educational constructs, gatherings, masking, and public dialogue play a continuing and vital role within the methodology and concepts of Red76's work.

Along with producing many independent initiatives, on street corners, in laundromats, bars, and kitchen tables, Gould and Red76 have engaged in projects commissioned by the Institute of Contemporary Art Philadelphia, the Drawing Center, the Yerba Buena Center for the Arts, the Lower Manhattan Cultural Council, Printed Matter, Creative Time, the Douglas F. Cooley Memorial Gallery at Reed College, 01 San Jose, SF MoMA, Rhizome/New Museum, The Bureau for Open Culture, The Walker Arts Center, and many others."
cascadia  alternative  education  socialhistory  alternativeeducation  collaboration  gatherings  making  publicinquiry  gabrielmindel-aloman  laurabaldwin  mikewolf  danswang  zefreythrowell  samgould  red76  social  aesthetics  publicart  artists  art 
july 2012 by robertogreco
TRACK
"TRACK is a unique art experience in the public and semi public space of the city of Ghent. It offers surprising, enriching and unexpected encounters with the city, its history and its inhabitants and incites to reflect upon urban realities and the contemporary human condition in a broader sense. 41 international artists were invited to conceive new art works that are strongly rooted in the urban fabric of Ghent but link the local context with issues of global significance.

The two curators Philippe Van Cauteren and Mirjam Varadinis took the time to select exemplary locations in the wider city centre of Ghent and invited artists who have an affinity with the thematical context of those places…

TRACK is conceived as a universe of parallel narrations, occurences and (hi)stories."
parallelexperience  globalization  gentrification  publicspace  publicart  space  crossdisciplinary  interdisciplinary  science  language  economics  migration  religion  mobility  glvo  culture  place  urban  urbanism  europe  cities  art  belgium  ghent  2012  track  mirjamvaradinis  philippevancauteren 
july 2012 by robertogreco
Arne Quinze - Wikipedia
"Arne Quinze (born 15 December 1971, Belgium) is a conceptual artist best known for his unconventional and controversial public art installations. Quinze also creates large and small sculptures, drawings, paintings. In his late teens he started out as a graffiti artist in Brussels."<br />
<br />
[via: http://blog.flickr.net/en/2011/08/10/cityscape/ ]
arnequinze  art  sculpture  architecture  belgium  brussels  publicart  installation 
august 2011 by robertogreco
Department of Unusual Certainties
"Department of Unusual Certainties is a Toronto-based research and design collective working at the interstices of urban design, planning, public art, spatial research and mapping. The Department’s work is informed by one guiding philosophy - that the city is the physical manifestation of a long sequence of unusual certainties, each one simultaneously more unusual and yet more certain than its predecessor."
design  art  architecture  urban  media  toronto  cities  departmentofunusualcertainties  urbandesign  publicart  spatial  mapping 
july 2011 by robertogreco
what’s wrong with “prosthetics porn”? (part II) | Abler.
"How can technologies demonstrate an outward posture? I mean, how might they extend their forms and also their functions, beyond a single user? Couldn’t they both resolve & reveal, pose more questions than answers?…"

"A built environment, a city that accommodates—& indeed demonstrates—physical or cognitive interdependence doesn’t only call for limbs & ramps. We need wholly-spectacular impracticalities, & artistic research & collaboration, & public interactive art, & we need the most durable accessibility equipment we can design."

"Moreover, we might take the long view in order to get the short view more clearly in focus. This has long been said of science fiction in literature—that our ideas about the future are really an index of our attitudes in the present. I’m interested in futurism in prosthetics as an inquiry & spectacle, & I also want to make projects that help us harness our technologies for a more inclusive world."
abler  sarahendren  prosthetics  bikes  bikesharing  interdependence  cities  architecture  technology  assistivetechnology  art  publicart  accessibility  design  present  future  inclusiveness  inclusion  futurism  objects  objectfixations  prostheticsporn  modernism  utopia  structures  spatialagency  brunolatour  parasite  michaelrakowitz  rebar  adaptivetechnology  adaptive  eyeborg  eyewear  tandems  tandembicycles  biking  spoke-o-dometer  inclusivity  inlcusivity 
march 2011 by robertogreco
Magpie
"Magpie is a trans-national, interdisciplinary, and interactive performative public art collective. Magpie’s projects invite unusual cross-disciplinary collaborations. All our projects exist in public places and are dependent on audience interaction. We aim to inspire wonder by redefining the notion of “public art” to mean not only public access, but public as collaborative contributor to the work."
art  sandiego  interactive  california  artists  melindabarnadas  taehwang  collective  collaboration  publicart  glvo  audience  performance  interdisciplinary  trans-national  interaction 
february 2011 by robertogreco
Performing Public Space
"Bringing the work of 11 LA-based artists & artist collectives to La Casa del Túnel, Tijuana, Performing Public Space presents new performances and artworks alongside growing archives of ‘non-art’ actions documented on the streets, parks and plazas of LA & Tijuana.

As towns & cities are increasingly overwritten by the needs and desires of globalized capital, so public spaces and the behaviors they support are becoming evermore shrunken & controlled. At the same time however, everyday examples of common usage – a skate boarder curving past a crowd, a girl chopping & bagging melon on the sidewalk, a child dancing up a mountain of steps – counterpoint homogenization & regulation.

Curated by Owen Driggs, Performing Public Space is both a celebration of artists who consciously adopt such tactics and instrumentalize their bodies in an effort to bend, expand, or puncture dominant spatial narratives, and an inquiry into the ways in which public space is articulated through real use."
events  exhibition  mexico  tijuana  publicart  public  publicspace  borders 
march 2010 by robertogreco
San Diego Airport Information > Sign On San Diego: San Diego International Airport Lindbergh Field
"Though the San Diego Airport doesn't overwhelm with its shopping opportunities, visitors will find a few shops with bonafide San Diego souvenirs. And if you're lucky, you'll be at the airport during a special event, like "Terminal Jazz." Check the airport's Web site for the current calendar of events, or if you're still curious, sign up for the "Airport Experience," the airport's tour.

But the true sleeper at this airport is its art. From artists Mario Torero and Julian Quintana's bronzed sun gods to sculptor Steve Bartlett's abstract steel man to John J. Whalen's footless mural of Charles Lindbergh, San Diego Airport is one of the city's best sources of public art. First, the art."
sandiego  art  publicart  airport  sandiegoairport 
february 2010 by robertogreco

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