20 Questions: Carmen Papalia
-Do I have the energy to follow through with what I have proposed; can I leave if I need to?
-Will the work – from concept to implementation – serve and sustain my health and well-being?
-Is the project necessary given what I am experiencing in life / my community / a wider social, cultural, or political context?
-Is it a good use of the opportunity to produce new work and the platform that I have access to?
– Is the value of my contribution to the field / discourse appropriately being acknowledged; how is my practice being instrumentalized by my host and the project’s stakeholders?
-How will the state of accessibility or the social, cultural, or political context affect the development process and how the work is received?
-Does what I have proposed effectively highlight, push against, or disrupt the disabling conditions that obstruct my agency?
-Does it reflect my politics and the ways that I want to live in community with others?
-Should it have a life beyond first being presented?
-Will production require additional expertise; what do I need help with and who should I ask?
-How should the project be documented?
-Does it have multiple access points; are there a variety of ways in which to enter the work?
-What will the participant experience at various points in the process?
-What does engaging as a participant require; how does the project position the participant?
-How should I approach my role as a facilitator; will I need help holding space at any point in the process?
-Are there barriers to participation based on the needs of those taking part; can I address these barriers as a facilitator?
-Can I describe the process and the implications of the work in ways that cater to the various learning styles in the room?
-How does the story of the project fit in with the other narratives that I have established with my work?
-Does documentation from a prior instance of the project carry its concept and experience?
-Does the project set a precedent that I can engage in the future?
For more information about Carmen’s work, click here.
20 Questions: Lisa Jarrett
Twenty Questions is a series that asks artists to create a list of questions that they ask themselves about their practice. Like the game “20 Questions”, the format offers readers a chance to get to know what a given artist’s practice might be.
- Skylights or Windows?
- What do you do for your shadow?
- What happens when you accept this work within an artist-defined vernacular rather than an art world defined vernacular?
- What emerges when modernism isn’t the framework for producing meaning?
- What are systems of connection as opposed to systems of oppression?
- What is a distinction without difference?
- How do you remain vulnerable?
- What social conversations do you have with yourself?
- Birds, is flying in wind more like giving up or giving in?
- How do you cross a threshold into a living room?
- Where are you hiding the honey?
- Why do things loom larger in memory, shadow, and reflection?
- Where, precisely, are your loved ones?
- Is this your weapon of choice?
- How do you talk with your blood memory?
- What is your innate choreography?
- What is the product of your labor?
- Is sensory deprivation enough?
- Is this a persistent sense of loss?
- What if love is a third thing altogether?
You can learn more about Lisa’s work here.
20 Questions: Wendy Ewald
Twenty Questions is a new series created by the Social Practice Journal that asks artists to create a list of questions that they ask themselves about their practice. Like the game “20 Questions”, the format offers readers a chance to get to know what a given artist’s practice might be. Through inquiry, we are offered a look at how other artists interrogate their own actions in relationship to the work they are making.
Twenty questions to approach a socially engaged project.
What questions does a project ask about society?
Why is this work important now?
Does it come out of an issue that I’m thinking about already?
How does it engage me as an artist?
Can I approach it in a way that is new for me?
Who are my partners/collaborators?
What is the design of the collaboration?
How does it include the vision of the collaborators?
Part Two—In the Middle
Am I able to be open to what’s happening?
Can I be flexible enough to change my vision?
Can I bring the collaborators into my vision so we can agree on how to make the most powerful work?
What do we think is the best way to reach our audience?
What do we want to say?
Part Three—Looking at what we have
How has the process of making the work changed how I see the outcome?
How will it affect the final product?
Who is the audience? (I ask this question all the way through.)
Is it important that the process be included in the piece to reach them?
What form should it take?
What further work do we need to do to engage the audience?
Is the work respectful to the audience, collaborators and my initial idea?
You can find more information about Wendy’s work here.
Existing on the Periphery
The Centre for Art and Social Practice reports from Kolkata, India with a project by Anuradha Pathak, in collaboration with Chander Haat and the Shelter Promotion Council.
EXISTING ON THE PERIPHERY
Sarsuna Theke Jana / Derives from the Metropolis
Public Art Festival | Sarsuna | Kolkata, India
June 1-10, 2016
In collaboration with Chander Haat & Shelter Promotion Council, India.
A community based art project developed by Anuradha Pathak (CASP-Kolkata), Existing on the Periphery dealt with the migration history of a community involved with the trade of selling puchkas, a famous street food of Kolkata. The project developed through various site visits to Phuchkapara at Khudirampally in Sarsuna, a village in South West Kolkata. This area is a marshy land very close to the Sunderbans, and has a history of migrants from Bangladesh who settled here around the Bangladesh Liberation War.
Phuchka is made famous by migrant communities from Bihar, Jharkhand and Uttar Pradesh. A small group of Puchkawallas (around 4 families) reside in Puchkapara and continue this generational trade, while others have shifted to alternate professions. Through several interactions, Pathak engaged with their migrant histories and their experience of place and belonging. The four families at Phuchkapara, are from the Nabada Zila in Bihar, but from different villages. They felt despite being residents of that area for around 20 years, they were not given importance like the immigrants from Bangladesh, presenting a complex layer to the discourse of migration in Bengal.
Questions of economics and livelihood emerged along with their daily experiences of selling puchkas in the glass and wood box on a mobile cart. Design ideas emerged from the families to make the box more convenient and user friendly. Pathak improvised the traditional box design by making the box bigger for containing the puchkas and added two small wooden boxes with three compartments each to hold the six accompanying ingredients. All the six compartments had six bowls to hold the ingredients. This refurbished box became a part of the participatory installation at the courtyard of the Mittir Bari, the house of one of the rich traders in Sarsuna. The installation was meant to symbolize the economic binary existing in Sarsuna and the marginalized position of the phuchkawalas in society.
The interactivity with the four families was transferred as text excerpts on the box, and the bowls had actual ingredients covered with text that underlined their health benefits. After the display, the box was returned to the community as a replicable design model and future projects with the women and families of this community are in discussion.
Transformative Change: The Summit at the Rauschenberg Residency
Madeline Gallucci reports from The Summit at the Rauschenberg Residency as co-director of Front/Space, a DIY art gallery in Kansas City, MO. Madeline’s weekly reports are part of a large project called Program Report, collecting writing from art spaces around the world that focus on creating accessible, socially engaged programs for the communities the reside within.
Transformative Change: The Summit at the Rauschenberg Residency
Every year, approximately 70 artists, activists, and organizers from all over the country convene in Captiva, FL to attend The Summit hosted by the Robert Rauschenberg Foundation. Each of these organizations received a three year installment of a $10,000 SEED Grant, nominated anonymously, to use to continue their practice, fund operations, launch fundraisers, and special projects. Front/Space received the SEED Grant in late 2012 which further legitimized and funded the work of this small DIY project space. In 2014, Kendell and I attended our first Summit nearly one month after we assumed the new title of Co-Directors. In addition to these SEED Grantees, we share the honor of attending the conference with the 2015 and 2016 Artist as Activist Fellows. These fellows are given the opportunity to develop a project relating to social justice at The Rauschenberg Residency.
Our fellow SEED Grantees are from similar mid-sized cities that are experiencing cultural growth like Kansas City. These regions include Detroit, Buffalo, Cleveland, Phoenix, Atlanta, Boise, Santa Fe, Providence, Houston, Portland, Appalachia and New Orleans. Although each organization spans different media and content (from theater to performance, non-profit to DIY) as well as stages of growth and longevity, our common thread and mission is to advance cultural labor and develop innovative work.
The Summit, like other conferences, brings in speakers and special guests to touch on common topics and challenges each organization is dealing with such as Governance, Cyber Security and Fundraising. Unlike other conferences, this intensive week of group activities and deep listening highlights the connections between these cities through intensive peer-to-peer learning. Rather than solely relying on “experts” in the field, we use each other as our greatest resource, sharing specific strategies and personal experiences. The Rauschenberg Residency campus is the ideal location for this kind of group thinking. On an island with limited distractions, we spend the week together in both work and play and develop strong bonds that further build our communities.
Now, after our third and final Summit, I think back on Front/Space’s experience over these last 3 years. Since this magical time in Captiva is critical to the growth of all these organizations I want to extend some questions to consider from Vision Change Win. I hope these questions bring an insightful and introspective look into the operations of your organization to better understand and formalize your mission and vision:
What is your work?
What are your values and structure?
How do you grow your vision?
What are your top three things you are grappling with?
What resources do you HAVE?
What resources do you NEED?
Who is supporting you?
What additional support do you NEED?
How do you recruit support?
How are decisions made?
What is the financial cost of your work?
How is this work currently funded?
What opportunities or barriers does your current structure provide to generate funds to support the work?
Based on the answers to these questions… consider what other structures could address some of the items raised and how do they align with your values?What ways can you maximize and deepen your current structure?
What steps will you take to continue to identify, build and implement a structure that might benefit your organization and work?
Some mantras to consider:
We need TRUST to begin COLLABORATION and we need COLLABORATION to move FORWARD.
Notice the power of “YES!”
Yes to PROCESS.
Practice VUCA: Vulnerability, Uncertainty, Complexity, Ambiguity
Move away from Obligation and move forward to Inspiration, move away from Transaction and move forward to Transformation.
A complete list of SEED Grantees as well as Artist as Activist Fellows can be found here:
PSST: Mack McFarland
Our new season of Portland State Social Practice Talks focuses on activism. Over the next six weeks we will explore activism in its many forms, and how it relates to art and social practice.
To inaugurate our new term, we are joined by Mack McFarland, an artist and curator at Pacific Northwest College of Art.
You can find the full conversation here.
Mack McFarland is an artist and has worked as Curator for Pacific Northwest College of Art since 2006. Currently McFarland is the Director of the Center for Contemporary Art & Culture at PNCA. His past exploits have included commissioned projects of new works from tactical media practitioners Critical Art Ensemble, Eva and Franco Mattes, and Disorientalism. He has also curated survey exhibitions such as a review of Luc Tuymans’s printed works, a group exhibit marking the centennial of John Cage’s birth, and a comprehensive look at the process of the comic journalist Joe Sacco. McFarland’s current focus swirls around issues of class, representation, information environments, and phenomenological perception. These ideas manifest in the forms of exhibitions, postcards, performances, and videos. With his artworks and exhibitions McFarland aims to develop a space for the viewer to experience an intersection of visceral aesthetic and cognition via contemplative sensory experiments.
Front/Space: Exhibitions and Programming
Exhibitions & Programming: Utilizing space in non-conventional methods
As we wrap up our Open Call for 2017, exhibitions plotted on a calendar and studio visits scheduled, we look forward to a robust year of programming featuring artists, performers and cultural workers spanning across many disciplines. This year, our call specifically emphasized proposals that were from people of color, low-income individuals, immigrants, sex workers, folks living in rural areas, Muslims, youth, people with disabilities, women, GNC and LGBTQIA+ people, as direct action against the results of the election and current administration.
Our Open Call process consists of gathering proposals over a two month period and then distributing them to a Review Collective, a 8-12 person panel, consisting of past artists who have exhibited at Front/Space. We see this as a way to create a platform that is driven not by the vision of two co-directors, but a way to generate input from those who have experience with the space, understand our audience and can envision the project coming to fruition in the small but mighty project space. We are still exploring methods of inclusion in this process and understand there are still biases that exist in choosing the work, however, as one of the only remaining DIY spaces in the Crossroads Arts District, it is a way to keep Front/Space community driven. Once the proposals are chosen, my collaborator Kendell Harbin and I, schedule the exhibitions and work on the logistics. We strive to create autonomy and confidence in each individual’s process, guide artists in directions not fully explored, create access to new partnerships and audiences. This assistance can span from installation and hardware consultation, material collection, sponsorship solicitation and/or conceptual actualization.
Front/Space has been long identified as a place for experimentation and risk taking. Due to the unusual architecture of the space, many individuals respond with site-specific work or work that is not quite fully realized that can be best executed in a non-traditional gallery context. One of the greatest defining features of Front/Space are the windows, which creates many unique relationships between inside and outside viewers during openings or performances. Many artists use the windows as part of the work utilizing projection screens, painting, or even harnessing the power of the sun.
Often the scope of projects proposed go beyond the size of the space and some artists choose to use Front/Space as a launching point to other locations in Kansas City. As exemplified through Rail Sail and Floodplain Buyout (see below), Front/Space was utilized as a type of “visitor center” or a gathering place to then be transported to the site where the physical manifestation of the project would take place.
As we look forward to the next round of exhibitions, I want to reflect on a some of the exhibitions that showcase what we strive for in a proposal. This way, to someone who has never visited Front/Space, can understand the spectrum of experimentation that happens in this small storefront. For more examples of past exhibitions please visit frontspace.info
CASP: Begumpur Community Engagement Program
CASP – Begumpur Community Engagement Program (C-BCEP) is an initiative in New Delhi which focuses on the community histories and cultural practices of this urban village, while facilitating art education workshops. The Begumpur Balwadi is housed in a two storey Basti Vikas Kendra building which is the property of Delhi Development Authority. Children and young adults follow a non-formal curriculum and are imparted training in tailoring, computer, and other soft skills. Over the last 23 years, the Balwadi program has benefited the community through a range of summer workshops and educational camps. C-BCEP collaborates with the Balwadi program to run transdisciplinary workshops for practice-led thinking, artistic ideas and open knowledge.
Two artists, Nilanjana Nandy and Anni Sharan, facilitated two workshops in the Basti Vikas Kendra, focusing on questions of gender through popular representations in children’s books, fairytales and everyday objects.
1. Little Mermaid Project | Nilanjana Nandy | Age Group of Children: 5-8 years and 9-12 years / 2 days
This workshop involved representations of a mermaid in children’s books and fairytales. The children identified this half-human/animal representation as Jalpari (Hindi word for water fairy). Through simple indirect means and play, the children were induced to draw representations of Jalpari and articulate on the connections between the word and drawn image. Consisting of both young boys and girls, the workshop gently introduced conceptions of gender and fantasy, while allowing them to discuss colour, form, postures and sea life. Examples of this hybrid female form from Indian classical and folk art were shown to introduce visual examples through art history – Matsya Avatara (Lord Vishnu in Indian temple sculptures) and Matsakanya (Madhubani folk art).
2. Gendered Objects Project | Anni Sharan | Age Group of Children: 13 -16 years / 2 days
The workshop explored questions about everyday objects in daily life and how they develop gendered attributes. Through visualization exercises and collection of found objects, the discussion involved storytelling in Hindi and to identify five gendered objects through doodling, drawing and text. The second level (Me and my Object) was photographing each child with their own found object which they consider masculine or feminine. The third level involved a walk in the informal neighbourhood headed by a volunteer. This was a visual tour of the urban village and involved making quick sketches, scribbles and notes of the urban markers of development and makeshift housing, while locating attributes of gendered objects in the public space.
These community based workshops was organized by CASP – New Delhi chapter from June 26-29, 2015
PSST: Prison Pipeline Radio
Our final conversation for our series focussing on mass incarceration welcomes Emma Lugo and Doug McVay, two of the producers of Prison Pipeline Radio.
The full conversation can be heard here.
For more information about Prison Pipeline, check out their page on the KBOO website. You can listen on KBOO every Monday from 6:30-7:00pm.
PSST: Francesca Piantadosi
Our PSST conversation from February 21st welcomed Francesca Piantadosi to talk about her work teaching playwriting in Prisons.
You can listen to the full talk here.
Francesca Piantadosi (Playwright Instructor) is an award winning playwright who hails from Portland, Oregon. She’s been a participant at Seven Devils Paywriting Conference; a Finalist for the Rosenthal New Play Prize, Seattle Rep’s New Work Festival, Ojai Playwriting Festival, Orlando Shakespeare Festival, JAW, New Harmony Project, Play Labs (Playwright’s Center Minneapolis) and has had productions from Bangalore, India to New York.
For the past three years she’s been teaching playwriting (a program she started) at MacLaren Correctional Facility (which serves men age fourteen to twenty six.)