“Irrational thoughts should be followed absolutely and logically.” Sol LeWitt

“The best works of surrealism are entirely not made up.” Salman Rushdie

security booths, ticket booths, toll booths, fork-liftable booths, gaurd towers! 

caroline woolard to Natalie

show details 10:38 PM (40 minutes ago)

Reply

http://www.easyrack.org/portable-buildings-a-335.htmlMOhttp://www.portafab.com/applications_guard_booths.shtmlhttp://www.portafab.com/information_request.aspNJhttp://www.meta-lite.com/booths8.htmhttp://www.meta-lite.com/booths14.htmlhttp://www.meta-lite.com/booths15_1.htmlbulkhead and general NY permit stuffhttp://permitspace.blogspot.com/2007/10/roof-access-for-interior-stairs.html 

dark=tall

also, a bicycle for one place only (Orlan)

Q: Why are residencies appealing when they perpetuate a white-cube approach to site and context? A: The residence itself! In NYC, more than half of my income goes to housing and commuter transportation (I make $1,350 a month. I spend $675 on housing and $80 on a subway pass or bike fixes and occasional taxi rides). Many residencies provide little equipment and fly in artists from urban areas for “focused” attention. This model is familiar and therefore, more easily funded. I propose: a residency in anyone’s urban home, office, or studio! Take the money used to buy land/build studios/house artists, and use existing structures (offices, apts) in NY so you can spend the money on a project or artist’s fees. Use it as a tax write off! Find a way for individuals to affiliate with the artists-in-my-residence project or the artists-not-in-residence (a.k.a. keep-the-artist-in-my-city) support project.

Or to simply deal with the housing issue… Stop the boring and traditional industrial gentrification (artists exploited for cultural capital) and find alternative lifestyles in re-imagined urban life. House in a parking lot! House in a graveyard! House on a roof! House in a fire escape. Why can’t we have long term artistic communities in urban environments? How will I ever get to know or trust or age with my neighbors? Will my neighborhood even be distinguishable from the next? Is NY becoming the suburb we fled from? Why won’t the city and the housing department approach artists systems with the same flexibility as the netherlands or germany? And why not allow art projects as “temporary” as the temporary structures of municipal construction?

Q: Why pay for an MFA at grad school? A: Don’t! Simply formalize the conceptual art vocation enough to guarantee standards of quality and legitimacy. For example, classical musicians are certified by a single mentor’s trust to enter the profession and architect’s apprenticeships have a currency towards licensing and public trust. In new programs like the MFA program at Vermont College, students select mentors for an accredited system, allowing “students to incorporate life experience and previous education into self-designed studies.”

Natalie says: read Sexton

I’m developing a durable dress. These dresses will speak to this domestic icon’s functional potential. A dress should be produced with the same research beyond beauty as a firefighter’s uniform. This is just tactical gear for different tactics (or re-defining a woman’s tactics). As Natalie Jeremijenko demonstrates, high heels are good for climbing fences (hook the heel in the holes). What unique benefits can be mined from this gendered form?

PRECEDENTS

Rodchenko and Stepanova’s outfits of socialist ambition, the recent gallery as store, SmockShop project by Andrea Zittel (flickr set). Ixilab has the most interesting art/design approach to wearable architecture I’ve seen.

Strange examples of specialized outfits and extreme entrepreneurs are: UtiliKilt (worker skirts for men), Adventure Vest, Skillers jumpsuits, Fly fishing outfits, tactical vests, photojournalists vests, etc.

MATERIALS

For the xDesign Environmental Health Clinic, where I am a Specialist employed by Natalie Jeremijenko, I will produce a radiation shield durable dress. The material is called Demron and can be ordered here. Space suit layers can be clicked through here.

They use infrastructure and industrial machinery so well! see the set of images here

La Fura dels Baus are a Catalan radical theatre group from Barcelona, 30 years of experimenting behind them. These images are from their latest show, Naumachia III, premiered on Spiller’s Quay, in Newcastle, in July 2007.
Naumachia is a huge, outdoor event. The hour long performance appeared from every where – from the boat ( the Naumon ) , from huge cranes suspending live singers and acrobats over the quay, the boat and the audience at dizzying height. Some 90 performers contributed to this amazing performance, many whom are local trained climbers, at heights of over 30 metres from the ground in a matrix of ropes, chains and equipment creating a human mesh of movement – at the same time that an enormous illuminated ball lights up with projected images of people, the earth, crawling with figures appearing through holes in the fabric surface, and manipulated by two 20 metre tall puppet like robotic figures made from fibre glass and metal struts, hanging from massive crane.
The boat Naumon is 70 metres long, painted orange, a retired icebreaker. This is the 20th show performed from this ship on a journey taking La Fura dels Baus over 10,000 nautical miles. Next stop Russia.
Here is their web site – www.lafura.com

Rauminszenierungen

rethinking utilities: large concrete drain pipes as a hotel… reserve a room