Marisha Farnsworth & Jeremy Fisher
Adaptive Architecture is a community construction project. Collaborating with high school students from Youth Speaks, a non-profit youth radio program in Oakland, California, this project used structural bamboo poles to create modular forms that can be connected and arranged in various configurations, creating dynamic spaces.
Built at the Life is Living festival at DeFremery Park in West Oakland, the Adaptive Architecture structures acted as the armature for canvases. Graffiti artists used non-aerosol, non-toxic paint to create environmentally themed tags. Adaptive Architectures are designed to be easily deconstructed, transformed and reconfigured to suit different sites, galleries and at events around the Bay Area.
Cardboardia (Cardboard Town Free!)
Cardboardia ‘towns’ are temporary, collaboratively built and inhabited towns manifesting so far in Moscow, Russian, Finland and Germany. Carboardia is, in essence, a role playing community, where guests can create a new identity while contributing to the growth of the town, using cardboard as their expressive and artistic medium. Every town created under the Cardboardia title is a place where people can reinvent themselves – where, for a short time, everyone can leave behind their daily worries through new ways of self-expression.
Cardboardia brings together all people of all ages and backgrounds in a conflict free environment. All the participants have the equal significance and room for self expression.
East Hollywood Utility Box Art Project
Los Angeles, CA
The Utility Box Art Project is a guided collaboration and mentorship program, that pairs artists with youth to design and create murals on utility boxes. The team first conducts a neighborhood mapping process in which the artist and youth study neighborhood issues and gather input from residents. The youth interview a broad range of locals to further their understanding of the community. After an theme is selected, the youth and artist hold story-gathering workshops in which community members contribute images, words and ideas to support the development of the final artwork.
Each project concludes with a community celebration that coincides with an important local event. The celebration provides the opportunity for the community to gather to support its success, to connect to each other and to acknowledge the work of the artists (youth and mentors) and community members who created the work. Audience members include visitors from other Los Angeles neighborhoods, who come to experience the final artistic creations.
Escombros Vivos (Live Debris)
Taylor Cass Stevenson
Portland, OR and Rio de Janeiro, Brazil
Live Debris 2009 (Escombros Vivos) is a traveling series of events and interventions dedicated to sharing and establishing new reuse traditions as a means of reducing stigmas around garbage, poverty and street culture. Starting and ending in Portland, Oregon, a greening city successfully overcoming its stigmas about garbage, Live Debris 2009 travels to Rio de Janeiro as a bi-lingual, collaborative series of events networking local and international artists to reflect upon humanity’s rapidly changing relationships with our discards.
Works of reuse art, craft and design have traveled from Portland to Rio de Janeiro, where Brazilian artists have physically and philosophically elaborated upon the same works to express their more polemic and necessity-based attitudes towards humanity’s discards. After 5 months of workshops, clothing exchange parties, public interventions and exhibitions, the artwork will return to Portland, Oregon for a series of final events.
Live Debris is an annual project which started last year in Beirut, Lebanon. This year’s project, called Escombros Vivos in Portuguese, works in collaboration with over 50 artists of diverse backgrounds and disciplines. From fashion designers, graffiti writers, street artisans and activists to clowns, dancers and poets, Live Debris aims to develop lasting relationships between people who are dedicated to reintegrating garbage, public space and marginalized communities.
The 4th annual HONK! Festival of activist street bands, Oct. 9-11, 2009, is a musical and theatrical reclamation of public space. Community participants join with 350+ musicians from around the neighborhood and around the world to play, perform, and parade in Davis Square (Somerville, MA) and surrounding underserved neighborhoods of Boston.
Participants represent a great diversity of ages, musical backgrounds and abilities and share a commitment to music as a tool for social action. The HONK! Festival serves both to create a cultural exchange between bands and to present the groups’ populist music-making to the public at large. The divisions between performer and audience, public space and private space, and music and non-music are actively challenged.
Mice’s Pace Maze is a new, interactive game based on the concept of a mouse maze. It’s essentially a human-sized mouse maze, but with no walls. A camera above a marked off space tracks the motion of the players. The players wear originally designed mouse heads that cover their eyes, and have built-in wireless headphones. Using Max/MSP software, the movements of the players is processed, and the data is turned into audio cues that are heard in the players’ headphones, letting them know if they are maneuvering correctly or hitting a ‘wall.’ Players are only able to move through a space based on what they hear.
The players’ objective is to maneuver through the maze without getting trapped by the hazards of a normal mouse. The maze’s ‘walls’ are represented by the sounds of hissing cats and snapping mousetraps. The less the players hear of these noises, the more points the players earn. If the players are able maneuver through the maze to the end they will have reached the ‘cheese bar’ and then the computer will calculate their score and record it.
Mice’s Pace Maze is highly accessible and easily customizable to different audiences. The project tours public events, such as Maker Faire.
Pollinator Appreciation Day Community Project
The Pollinator Appreciation Project was a series of workshops, events and collaborative art projects, all geared towards educating the public about the importance of pollinators. Educators and artists hosted workshops, nature walks and talks on various subjects, including butterfly gardens, healing plants and native plants. Other workshops led children and adults in the creation of small sculptures of all sorts of pollinators (butterflies, birds, moths, beetles, bees, and more,) which would later be added to to the Bumblebuzz sculpture, a kinetic, pedal powered showcase for the pollinator sculptures. The sculpture was unveiled as part of the opening of The Rev. Carl Renick Memorial Butterfly Garden.
The Work Office (TWO)
Katarina Jerinic and Naomi Miller
The Work Office (TWO) is a multidisciplinary art project disguised as an employment agency. Informed by the Works Progress Administration (WPA) of the Great Depression in the 1930s, TWO is a gesture to “make work” for visual and performing artists, writers, and others by giving them simple, idea-based assignments to explore, document, or improve daily life in New York. From a temporary central office, TWO’s administrators Katarina Jerinic and Naomi Miller interview, register, and hire employees; assign, collect, and exhibit work; and distribute Depression-era wages to employees during weekly Payday Parties.
Prospective employees submit an application online through the project’s website and, once hired, choose an assignment such as documenting a need for repairs, making a regional travel guide for their block or neighborhood, reinterpreting a newspaper photograph, or giving a concert for a houseplant. Employees have a week to turn in their assignment, for which they are paid $23.50, the weekly wage for an artist in the Federal One Project (the arts division of the WPA).
Payday Parties are held at the end of each work week. At these events, employees collect their wages and the public is invited to view the week’s works and learn about the project. The Payday Parties are inspired by the socializing that occurred between artists as they waited in line to collect their wages at their local WPA office. They also provide a forum for TWO artists and the general public to interact.
TWO is based on the idea of “making work” (WPA terminology) for artists to “make work” (artist terminology). With the current economic recession in mind, TWO revisits the approach the 1930s federal government took to alleviate the effects of the Depression on daily life. Artists were seen as a valuable work force and were employed to make art, just as others were hired to projects to rebuild the country in other ways. TWO is a wry contemporary realization of this model.