Program Report: CASP
The Centre for Arts & Social Practice introduces a project from 2015 that involved a notebook exchange and creation of a large collaborative rug.
Navi Mumbai l Kolkata l Pune l New Delhi
Derdh Guna Derdh | (one and half by one and half)
Community based art project by Anuradha Pathak | Installation Artist & Head – Kolkata Chapter
The community based art project Derdh Guna Derdh was developed at Shankar Camp in Vasant Kunj, New Delhi. The people living in this area are rural migrants from Sunderbans – West Bengal, Jharkhand, Bihar and Uttar Pradesh and their basic occupation is as house-helps of the residents living in Vasant Kunj area. These people live in an urban cluster with impermanent housing and civic facilities, and share diverse religious and cultural practices. The project developed through dialogues with the women of Shankar Camp who brought forth issues of migration and belonging, amidst the economic need to live in the city. The memories of domestic craft and recycling of textiles became the context through which this project was implemented in two main activities:
1. Documenting the Daily: There is a long standing practice of women in India from marginalized communities to buy household items in exchange of old clothes. Here the notebooks and pen/pencil were provided in exchange for clothes to make the 1.5 x 1.5 ft Aasans (cloth rugs). The notebooks were used as diaries by the children in that area where they documented their daily experiences and aspirations for three months.
2. Mark on the Plot: Aasans (small cloth rugs) are generally used in rural areas where they are spread on the floor for people to sit on. In this workshop, aasans, with a size of 1.5 x 1.5 ft were made from the worn-out clothes (sarees and dupattas) by the women in the community. These old clothes were exchanged first with the note-books/pencils and then each woman was given colourful cloths of the exact size along with a white small cloth on which they wrote an unfulfilled desire or an issue plaguing their living spaces in Shankar Camp. After this, they did needle-work on the writings and stitched them on their respective aasans. They also decorated the aasans with colourful beads and patterns. When each 1.5 x 1.5 ft cloth was complete, all the cloths were joined together to form a big rug.
Derdh Guna Derdh (one and half x one and half) was conceptualized and facilitated by Anuradha Pathak (installation artist, Kolkata) and supported by Parul Kiri Roy (architect-academic) and assisted by an architecture student, Michael Vivian Ekka. The community based art project workshop was organized by CASP – New Delhi chapter from 30 March – 2 April, 2015
PSST: Yaelle S. Amir
Continuing our series on mass incarceration in the United States, we are joined by curator Yaelle S. Amir of Newspace Center for Photography. She talks about the exhibition Prison Obscura which was on view at Newspace from April 1st-May 28th 2016. The exhibition, curated by Pete Brook, examines the imagery surrounding prisons both from inside and outside the walls.
You can listen to the entire podcast here.
Yaelle S. Amir has worked as a curator and researcher for over a decade, focusing primarily on socially-engaged photography, video, and installation with an emphasis on community engagement. She has held curatorial and research positions at several institutions including the International Center of Photography, Museum of Modern Art, and New York University’s Institute of Fine Arts. She has curated exhibitions at Artists Space, CUE Art Foundation, Center for Book Arts, Elizabeth Foundation for the Arts, Franklin Street Works, ISE Cultural Foundation, Marginal Utility, and the Wallach Art Gallery at Columbia University, among others. Yaelle is the recipient of several curatorial fellowships and awards by national organizations from The Luminary and Paul Artspace in St. Louis, to BRIC Media and the Art & Law Program in New York. At Newspace, Yaelle manages exhibitions, lectures, and public programs.
PSST: Sherrill Roland
SEASON 2: Mass Incarceration
For its second season of public conversations, the Portland State Social Practice Talks public conversation series has focused on various aspects of the prison-industrial complex in the United States. These talks have ranged from artists to reform advocates, playwrights to curators, all engaging with, challenging, and questioning the role of prisons in our society. The conversations serve as a form of public research in relation to an ongoing project at the Columbia River Correctional Institution. The goal is learning how different people approach contact with the corrections system, and the potential role of art in this context. The conversations were held publicly at the Portland Institute for Contemporary Art.
This week we are joined by Sherrill Roland. The full conversation can be heard here.
Sherrill Roland is a returning student entering his thesis and final year of my Master’s in Fine Arts at UNCG. He started a few years ago before his world turned upside down. In October 2013, Sherrill went to trial and subsequently lost, and 11 months later he was released from state prison in Washington, DC. Almost a year and a half after being released, he was exonerated of all charges and granted a bill of innocence.
The Jumpsuit Project is a socially engaged art project conducted at UNCG during the 2016-17 academic year to raise awareness about issues relating to incarceration.
Program Report: Front/Space
Origins and Operations: How Front/Space emerged from DIY to DI(WE)
Stepping in as co-director of Front/Space, nearly two and a half years ago, I wouldn’t have believed where we are now, what we have accomplished and what we have yet to do. Alternative and DIY spaces are a necessity to the complexity of the cultural landscape, they are safe havens for risk taking and interdisciplinary practices that do not rely on institutional critique, commercial constructs or business practices. They attempt to reimagine and redefine space and often go unnoticed by the general public.
When I speak about Front/Space I strive to speak to these ideas as it emerged from the perfect combination of opportunity of space and cheap rent that draws many artists to Kansas City. In 2010, it is was founded by a rotating crew of residents and volunteers who came back to the city after college to discover many changes and development in the Crossroads Arts District. Previously a law office, they rented a building that conveniently contained a storefront window that was big enough to exhibit solo work, a collaborative project or host an intimate performance. Steadily, Front/Space grew as a collaborative effort with each resident and volunteer contributing to multiple facets of the project. They began showing work generated by friends, colleagues, architects, writers, and civic media makers, contributing to the built-in audience of First Friday – a monthly gallery crawl that many cities from across the country have adopted.
First Friday in Kansas City transforms the Crossroads Arts District from a bustling 9 to 5 neighborhood to a packed party extending a near 8 block radius. This type of density is rare, as people travel from midtown and the suburbs to participate in this event. Food trucks, vendors and performers line the streets while people pack into galleries to view art or scope out free booze.
In the early stages, Front/Space offered a different type of experience that subverted much of the spectacle that has become First Friday. Situated on the edge of the district, many people would walk past FS after parking their car, with a slight glance thinking “what is this?” Not conforming to the traditional “white cube”, Front/Space immediately attracted those who were curious, thoughtful and wanted to build a broader conversation about what was happening in the Kansas City art scene.
In 2014, after approximately 4 years of running the project completely out of pocket, Front/Space was unknowingly nominated and received a SEED Grant from the Robert Rauschenberg Foundation – three installments of $10,000 that were to span the course of three years. In this time, the directors Kent Szlauderbach, Leandra Burnett and Sarah Murphy were working on their capstone project Civilian, a publication showcasing the intersection between art and civics. With the end of this project in sight and other prospects and opportunities on the horizon, it was time for them to move on. This surprise grant was a turning point for the previous directors. Not only did it legitimize the work they were doing, but also confirmed their determination to not let Front/Space absorb back into the Crossroads once they left. It was then I was tapped to join Front/Space in fall of 2014.
Even with a background in event planning and arts administration I was a bit nervous to embark on a project that seemed to have an established presence as one of the only alternative/DIY spaces in the Crossroads. Front/Space had been a place of discovery for me, and I was drawn to its architectural charm and unassuming presence. As a visual artist with passions for community development, I saw potential for new projects and quickly began research on artists and cultural workers I wanted to highlight and engage. However, I soon realized that this was only one perspective. After exploring multiple options, I decided to ask Kendell Harbin to be my collaborator in this project. Kendell and I had many similarities that would set the stage for a healthy collaboration including that we both had our final projects as seniors at the Kansas City Art Institute at Front/Space. Though our respective shows were completely different in content and concept, we both had a shared love for this strange space as a way to challenge what was going on in the Crossroads.
Once I had courted Kendell into being my collaborator and with funding in place our next questions were: Where do we go from here? What work is compelling? How do we want to run our space?
The first idea for a program was centered on the simple concept of “work” and “working together.” Everyone brought a task, project, writing, whatever they were putting off or needed to complete and then we gathered in the storefront to complete the task together. Kendell and I provided a small resource library, tables, space and brought in collaborators to create activities to navigate mental blocks and participate in to-do list consultations. We felt that this first event really set the tone for how we wanted to run our space, where we were working side by side, sharing resources and stories, challenges and pipedreams. We saw Front/Space as a space that could be uniquely community driven, to shape the vision of what can be possible within these walls.
Now in 2017 and the wake of the contentious election and in the face of a new administration, this concept of “work” has begun to resonate even more passionately. We have so much work to do and it is together that we make this work stronger. Moving forward, we see Front/Space as the platform to engage new audiences and extend to new communities. Though this plan doesn’t necessarily have clear action steps, we can see that our small organization has already shaped and inspired new artist run spaces in Kansas City. We hope that this pooling of resources and information is the key to a great start.
A link to all past residents, co-directors and founders can be found here.
Program Report: Greensboro Project Space
A Little Less Art
Today, the team at Greensboro Project Space (GPS) sat around our reception desk researching the logistics of breaking a Guinness world record. Let’s back up a second. Greensboro, NC is a small town. As a curator from big cities, my perception of public programs had to switch to not only what kinds of experiences to make for the public, but how I can build into them a mechanism to attract the public. The usual social practice and curatorial tools I use just weren’t enough.
Typically the goal was to create projects that are engaging, and offer new experiences that break through the monotony of the everyday. I say engaging often enough that sometimes I need to stop and examine what it means to me. Engaging for me means a sort of mental or physical investment in a project. It could be a good investment (good engagement) or bad investment (bad engagement) but nevertheless, an investment (engagement). This means that the public can participate in the project, or be responsible for creating the project of their own volition. At a base level, this is still my primary methodology, but the thing that is missing only revealed itself as I tried to fit the same projects into a different context. I can easily generate engaging scenarios, but how do I convince people that they need it?
The thing that has struck me the most is that considering the rallying of individuals for a project, greatly effects the project itself. I’ve found that this new element brings in a necessity that is sometimes overlooked. I make work for people, and I often take for granted that people are sitting around waiting for me to bring them something to digest. Our big idea is to not only create experiences designed for people, but to make projects that act as a resource. This resource doesn’t only act as way to bring people into the space, but can be a creative apparatus to construct new and exciting projects. It could be simple. In our latest exhibition about incarceration, we handed out free honeybuns to anyone who came into the space. Honeybuns act as a form of currency in contemporary prisons and jails. Not only do we have a great conversation starter to expound the important data regarding the politics of incarceration, but we can feed people in our neighborhood who are hungry.
The Guinness Book of World Records investigation came from sitting around a reception desk with my team, acting as a think-tank trying to solve simple problems with big and creative ideas. The easy question we asked, is how do we get a huge amount of people to come into our space? The more nuanced form of the question is, how do we convince people that they belong in a space like this? We have found that the answer is to become a resource that stems from the specific needs of a community. Surprisingly, the resources that I have used to bring people in are not art most of the time. This isn’t intentional, but comes about through a realistic purvey of the needs of the people in Greensboro. Art can do a lot, but compared to the spectrums of wants and needs it seems to fall low on the list. I’d say, about 10% percent of people in Greensboro enter into art spaces (this data may or may not be sarcastic). Because we are an art space that focuses on social engagement, collaboration, and participation, this is an alarming realization. More and more we think that fitting into the categorization of ‘art’ is the corrupter that is making us work against our interests. Our goal now is to not figure out how to be different from a gallery, but how to remake ourselves continuously for the different needs of our communities.
Through breaking a Guinness record, we can turn GPS into a kitchen that is baking the world’s largest apple pie, a zoo that is inhabited by the most amount of people holding a ball python with one hand, a greenhouse where the biggest amount of people simultaneously work on a bonsai tree, and a variety of different spaces that acts as an exercise in impermanence. The next time we sit around the reception desk brainstorming the intricacies of community engagement, our first hurdle will be to achieve the unthinkable; purging the perception of GPS as a space to view art. Only then, can we be free to become whatever is necessary, and needed.
“When I die burn durians for me to eat – just place them in my coffin”
On art and senior female culture.
“The Grandma Reporter is a publication committed to the subculture of senior females and their rich worlds existing across the earth, where elderly women have lived forever. We aspire to be accessible to young and old but especially to elderly women. We hope to energetically connect our readers, contributors and interviewees in a senior female culture movement. We believe in: proudly declaring your age and keeping it a mystery; dressing up, down and from the heart; talking about death and thinking about past and future lives; walking sticks, wheelchairs and flying in your dreams; wrinkles, bulges, spider veins and bunions; ‘old’, ‘elderly’, ‘senior’, ‘nag’, ‘ageless’, ‘prune’, ‘sage’; discussing disease, incontinence and great television shows; sharing stories of crime, adventure and nonconforming genders; considering the struggles of growing old in a young, technology-focused world; food, genes and other things passed through generations; uncovering long loves, heartbreaks and sex that evolves with age; swimming as a magical way to keep fit in spite of on-land mobility challenges.”
I ended up making a test issue within a frenzied week and a half, in part for the final assignment of the History of Art and Social Practice class taught by Ariana Jacob. I described it as “a publication on senior female culture (including the occasional senior male), exploring topics ranging from fashion, recipes, crime, love and adventure to bunions, caregiving, gender, aging bodies, ageism and death.” My hopes are to find new ways to express the experience of aging in its full spectrum. The name was inspired by The Asian Reporter, a Pacific Northwest news source. The font had to be big enough for seniors. I thought about the term ‘grandma’ and whether it might be alienating to certain sectors of elderly females. In the end, after soliciting advice from various groups of people (and receiving suggestions like ‘silver fox’), I decided to go with it and hope the word could gain currency as broadly referring to elderly females.
The theme of the test issue was style, which felt like a fun, accessible topic of potential depth to start with. I decided to interview female seniors on their favorite outfit and their thoughts on self-presentation as they age. After that, I would pair each senior with a youth, who would recreate the outfit and ponder the same topic. The Hollywood Senior Center in Portland kindly agreed to put out a call for a group session. Eight seniors who were active members of their community showed up, one enthusiastic male included. Per instructions, most came in their favorite outfit. As each of them mused about their clothing and style through the ages, I sensed a bubbling curiosity amongst them and by the end, a couple new friendships were made. The session felt like a kind of “forum” (as described by one of them) holding a fun investigation on a topic we momentarily found to be of great interest, and that wasn’t usually discussed. It was, eventually, a counsel on identity in old age, and I was the fortunate collector of bouquets like using coke cans to curl hair and a self-confidence that comes with maturing age.
I then went back and intuitively matched each senior to a younger person I knew. I sent them an image and some quotes from their partner, and set out to meet each of them, mostly in their personal spaces where the outfit could be experimented with. Our conversations afforded moments of intimacy in which, for me at least, there was the invisible, comforting presence of their older style accomplice. Though both sets never met, the younger participants were evidently inspired by if not curious about their partner. Our conversations made me see, in spite or because of the unbridgeable gulf in experience between the generations, a kind of longing to reach across the ages. Pondering aging when you are five or twenty-four ended up being a curious, somewhat profound exercise. I was taken by an eight year old boy who recently decided his new mission was to be “funky and classy”, “because it makes me feel better”, and my friend who said, “I think about everything that I’ve done up to now, it makes me feel like I deserve to be 24”. From the start, I had intended the audience of this publication and my projects on aging to include young people; this experience made that desire clearer.
With the same group of seniors, I conducted a discussion on what they would like to see in, and contribute to, such a publication. The wide range of responses included getting ready for death, how to keep your driver’s license, hoarding, dating, confronting ageism, protecting your bones, relationships with younger family members and having a hobby. These responses are presented in the test issue. Later this year, I may collaborate with these seniors on the next issue.
The first issue also included articles that reflected on the theme differently in terms of content and relationship/interaction with elderly females (personal essays, interviews). My hope is for future issues to include a range of articles centered around an organisation (for example, a senior center), country or topic. I also plan to invite artists to contribute to the publication, discussing or presenting artworks related to senior females.
Me with two of the younger participants, Hadar Kedem (L) and Gavriel Kedem (R). They made their mother read and reread their interviews in the publication to them.
Production costs were kept as low as color printing could reasonably go. I did it on Portland State University’s printers and would like to take a more sustainable approach for future issues. I sorted and stapled the issues together on my kitchen table. A few dozen were given to the Hollywood Senior Center for the participating seniors as well as others to enjoy. It is available as a PDF online (with a donation encouraged) and being stocked at an independent Singapore bookstore, with plans to do the same in Portland. Other possible avenues include senior centers and hip cafes that young people frequent.
I am slowly figuring out who this publication can reach and where. I imagine the networks of readers it might create in different pockets around the world, building a small movement in senior female culture. I am also thinking about the curiosity a Singaporean female elder might feel when reading about her Portland contemporary, maybe learning about lifestyles so wondrously different and others so universal. And perhaps I could organize a meetup for this issue’s young and older pairs to get together in more of their favorite outfits. The possibilities are endless, and I feel more and more like a self-appointed advocate for the elderly or someone whose serious hobby is ‘older people’.
Mama and I over this Chinese New Year
Senior female culture was validated for me through the lived experience of growing up close to my grandmothers. I have lived all my life with Mama (my paternal grandma), and Ah Ma (my maternal grandma) has always been close by. At some point in teenagehood, I started reveling in Mama’s everyday – from her schedule and the things she says, to her fats and fashion sense. I would share quotes and photos on social media, and started wondering if ‘the creative ways people live’ could be the beginnings of something that might be regarded as art, an idea I am sure most of my family members find bewildering.
When Ah Kong (my maternal grandpa) teased Ah Ma about being obsessed with durians, the potent Asian king of fruits, she said, “When I die burn durians for me to eat – just place them in my coffin.” Many Chinese believe that praying to your ancestors with meals they like or burning hell money (stacks of textured gold-leafed paper) will ensure them a happy, comfortable life in the underworld.
When Ah Ma says something like this, I start thinking about how that remark could, beyond her wildest imaginations, be transformed into something like an art installation. This might have the potential to “bring a new social imaginary into being”, in the words of Jonas Staal describing art’s contribution – except that where his commitment lies in alternative parliaments involving refugees and serious debate, mine lies in the geriatric, involving underwear choices, wrinkled body landscapes and bunions – an alternative political space of its own. Jonas’ words seem absurd in my context, where my hoped-for impact is miniscule in comparison to Staal’s. But to me this speaks to what art can do in small and possibly magical ways.
Sleepover with Ah Ma and Ah Kong for the first time as part of my residency with them
I am currently back in Singapore for the winter term and on a loose, self-initiated residency with my grandparents as site. I missed them so much in Portland that I decided to commemorate them and our relationship before it was too late. Some of the projects I’m working on are: an EP of Mama’s Hokkien (a Mandarin dialect) conversations; something on bunions; a talkshow with my grandmas on what they think of me; a short film on my grandfather’s eccentric inventions and habits. Progress has been erratic but I’m enjoying spending time with my grandparents, though their agreement to this is more of a whatever-she-wants-to-do approach. The nature of collaboration is food for thought when there are calls for deeper participation; there are just so many ways of working and being together. I am also thinking about the presentation of these experiments and would like to include my grandparents’ neighbours and friends in the audience, preferably in a personal or community space.
Coming from such an intuitive place, these artistic impulses are hard to articulate, but here’s a shot: I am transmuting my grandparents’ everyday lives, hoping to develop new ways of making art that take the sacred and banal everyday as material. In some private way not immediately apparent to even myself, I am hoping this will do something for my impossible wish that they may never pass on. More broadly, creating projects on senior female culture stems from my deep belief in the rich worlds that elderly females hold within them: fascinating, complex dimensions that go hidden today and which are at once warm, humorous, rigid, open, wise, eccentric and absurd. These worlds are inspiring material for relational art-making in thinking about form, aesthetics and audience. The geriatric has plenty of surprises in store for art.
Program Report: Centre for Arts and Social Practice (CASP), India
Photo: Derdh Guna Derdh / Community art project with rural migrants at Shankar Camp, New Delhi, 2015
The topic of sustainability has attracted much interest in recent times in the context of development discourses and policies. However, environmental, economic, and social sustainability has been discussed more than the cultural dimensions of sustainability where arts and aesthetics play a major role. Scholars now suggest that culture should be a core aspect of sustainable development and cultural producers and art institutions can embody values to create intergenerational equity and ethical perspectives of living in our world. While the term ‘culture’ is often debated, it must be understood as a ‘whole way of life’ and cultural strategies as modules for long-term sustainability of diverse communities, worldviews and practices.
Photo: Conversations Series | Public talk by the artist, Navjot Altaf, Pune, 2016
The idea of art as a ‘collaborative endeavor’ is embedded in its capacity to inculcate socially significant values of creativity, empathy and connections between humans, both tangible and intangible. Such collaboration and participation involves working with people from diverse backgrounds and fields beyond the elitist matrix of the art gallery or museum. Embedding cultural strategies within social contexts call for dialogues with citizens and communities and employing art as an agency of collective imagination. This also means research based modules to develop learning methodologies on sustainable thinking and practices essential for our contemporary world.
It is within these conceptual and contextual parameters that the Centre for Arts and Social Practice (CASP – India) was established in 2013. CASP is a transdisciplinary platform for national and international artists, writers, architects, social scientists and design engineers to facilitate critical dialogues on cultural sustainability. It aims to integrate research and practice through meaningful community initiatives and collaborative projects, fostering a relational engagement at both individual and institutional levels.
Photo: Community mural painting with art college students at Shukratal, Uttar Pradesh, India.
As a young organization, CASP supports research based artistic projects and community initiatives. It encourages collaborations between individual, institutions and communities. CASP generates dialogues around the rural-urban binaries to address the issues of habitat fragmentation, displacement and cultural degeneration due to urbanization.
A non-profit initiative, it works through four chapters in Navi Mumbai, Kolkata, Pune and New Delhi (India). Since its inception, CASP has facilitated around 25 programs/projects (workshops, conversations, community art initiatives, public art projects and social actions) with children, students, women, teachers, migrant communities, artists, filmmakers and socially engaged practitioners. It has generated dialogues in home-studios and public spaces, informal neighborhoods and a research centre, including an ongoing partnership with a local experimental art space.
Completed since 2013 | 4 chapters
- 8 Conversations Series | Kolkata and Pune
- 12 workshops | Navi Mumbai, Pune, and New Delhi
- 3 community art projects | Pune, Kolkata and New Delhi
- 2 public art installations/exhibition | Residency (Kushtia -Bangladesh) and Pune Biennale – India
- Citizen Design Lab | Urban terrace garden project (ongoing) – Navi Mumbai, India.
- 1 international collaborative project | Social Sculpture Research Unit (SSRU), Oxford Brookes University, UK.
Linear Extension | Workshop at New City Limits Collective, Belapur, Navi Mumbai, India, 2013
Workshop at Basti Vikas Kendra with children from urban village at Begumpur, Delhi, India, 2015.
Workshop at Basti Vikas Kendra with children from urban village at Begumpur, Delhi, India, 2015.
Workshop with Teachers from Zila Parishad schools (District schools) in Maharashtra, 2016.
Workshop with students from Municipal Corporation School in Pune, India, 2015.
About the Journal
The Art and Social Practice Journal is an initiative of the Portland State University Art and Social Practice Master of Fine Arts Program. The journal is a student run publication that aims to publish interviews, site visits, public research, project updates, essays, and artist writings that relate to social practice as a field.
By taking an expansive view of the journal as a platform, our goal is to build a body of written and multimedia work that reflects the places, people, dialogues, and observations that build out of socially engaged practices. We hope to do this by providing a forum and online platform for socially engaged artists to publish work (both directly and indirectly relating to their practices) and situating this work in the communities where it is taking place. The journal is not a forum for art criticism, but an attempt to create a site for critical discourse around socially engaged practices.
The Social Practice Journal is open to submissions and project proposals. We open this online space up for hosting information, data, writing, and multimedia.
For more information or to submit: firstname.lastname@example.org
Program Report is a correspondence project that collects information and reflections on creating and sustaining spaces with a socially engaged focus. The project consists of monthly posts from a variety of spaces around the world that include meeting notes, artist interviews, reflections, project updates, and photograph. The project will take place over the course of 12 months, and include 4-6 spaces with different models but a shared interest or emphasis on socially engaged art. The goal is to foster dialogue and critical reflection on these efforts in a public format, and to build a written account of the challenges and considerations involved in creating alternative models for artists to work within.
Participating in the project are:
Greensboro Project Space is an art space created by the School of Art at the University of North Carolina Greensboro. One of the inspirations for Program Report was the GPS Correspondent project, that invited artists from around the world to become local correspondents for the space, reporting back on their activities and observations from the communities they are a part of. GPS produces a prolific number of projects and exhibitions, and has a specific focus on ‘creative, dynamic, and collaborative public programming.
Front/Space is a storefront project space in Kansas City that intends to ‘demonstrate the power of friendship, passion, ambition, and the beauty of living and working together through radical and interdisciplinary practices.’ Since 2010, Front/Space has been supporting artists from a wide range of disciplines, producing pop-up shops, alternative museums, and even a camera obscura. In addition Front/Space hosts a wide range of public programming from workshops to readings to lectures and more.
Centre for Art and Social Practice (CASP) is a collective of groups based in multiple cities in India that produce collaborative and socially engaged projects. Their focus is on ecology, society and culture, through transdisciplinary research, dialogic interventions, public lectures and workshops. In addition, member produce individual and collaborative projects throughout India.
We are excited for posts to start coming in in the first week of February. Check back then to learn more, and to read introductions from some of the participants.
PSST: Kirk Rea
Artist and activist, Kirk Rea talks about his work with The City Repair Project, a Portland-based non-profit dedicated to artistic placemaking.
The full conversation can be heard here.
Each week, students in the PSU Art and Social Practice Program invite members of the community into the classroom for a public conversation. The topics discussed vary widely, ranging from ecology, to urban planning, to activism, to just about anything.