For Living as Form (The Nomadic Version) Agitprop will facilitate an incubator project called Connect San Diego (CSD). CSD is spearheaded by Kirk Hinkleman whose aim is to design a program that assists people with developmental disabilities in establishing independent living practices through the mapping of localized “assets”. This program typically begins with what is called a “Person Centered Plan” that diagrams the goals of an individual so as to specify relevant assets to be mapped. “Assets” can range from technological devices, to the available knowledge of fellow community members, to the physical designs of the built environment, and so on.
In the incubator space occupying the UAG Agitprop will implement a strategy of “asset mapping” to extract knowledge resources at the UC San Diego campus as a method of assisting Hinkleman in developing CSD. This will result in a series of meetings with researchers from UCSD in the gallery space whose work may inform Hinkleman’s development of CSD as it emerges as a practice.
In parallel, CSD will apply strategies of asset mapping typically used in assisting people with developmental disabilities to Agitprop. This allows Agitprop to act as case study for CSD while simultaneously establishing a plan of action for Agitprop as a project to evolve over time. These meetings will take place in the incubator space at the UAG as well. All meetings will result in a series of workshopped diagrams that record the planning process and those involved.
Visitors with relevant knowledge to share with either of these projects are also encouraged to attend these meetings.
Dates and times of meetings:
Some images of the installation:
photos courtesy of Joy Boe]]>
There Goes the Neighborhood! is a four day event that positions “the neighborhood” as a fluid institution of creative production, critical thinking and intersecting interests. Collaborations among artists, residents, small businesses, universities and local activists will culminate in a series of workshops, talks, installations, performances and tours that center around the North Park neighborhood of San Diego, with satellite events at the UCSD campus and the San Diego Museum of Art (in conjunction with the opening night of the Summer Salon Series).
This year the focus of the There Goes the Neighborhood is “the neighborhood” as a nexus of global conditions which manifest themselves in local, everyday, situations. These issues range from transportation networks to means of food production to how information (and knowledge) is disseminated publicly. The first iteration of There Goes the Neighborhood! took place in June of 2010 and focused on issues relating to gentrification and how art can play a role in neighborhood revitalization and can also be complicit in the displacement of existing groups by those moving in. There Goes the Neighborhood takes as its “fundamental organizing assumption the notion that individuals are inherently active, thoughtful, innovative and engaged citizens.” So please join us in examining these issues. The project is not complete without your participation!
|3pm – 5:30pm||In and With – Part I a conversational forum moderated by David White|
|5pm – 6:30pm||Wayfinding Seminar with Mario Borja and Micki Davis|
|6:30pm – 7pm||Re-locating a University presentation and sculpture by David White|
|7:30pm – 9pm||In and With – Part II: How do knowledge and information flow?
a panel discussion with Todd Gloria, Anchi Mei, Brian Goldfarb, and Xavier Leonard;
moderated by David White
|10am – noon||Brunch with Strangers|
|noon – 2pm||Photography workshop with Shane Anderson and Zach Parks at Agitprop|
|1pm – 3pm||Un-Photography workshop with Andrew Printer at Art Produce|
|2pm – 4pm||Bicycle tour of thrift stores with Joy Boe and Josh Bellfy|
|2pm – 4pm||Silkscreening workshop with Eddie Miramontes|
|2pm – 4pm||Music at Whistlestop|
|2pm – 6pm||Streetcar tours with Beryl Forman, Xavier Leonard, Leslie Ryan, and Randolph Van Vleck|
|6pm – 10pm||Hard Shoulder opening reception of new work by Shane Anderson at Agitprop|
|8pm – 10pm||Poetry reading at Agitprop|
|8pm – 9pm||You Are Here projected films by Glen Wilson|
|8:30pm – 9:30pm||Critical postcards at Art Produce garden|
|9:30pm – 11:00pm||Music by starvelab (Michael Trigilio) and Chris Warren at Art Produce garden|
|10am – 1pm||Brunch and intercambio at Santos Market|
|2pm – 4pm||Daily Unusual zine workshop at Art Produce|
|3pm – 7pm||Alt. Town Square workshops at the North Park Theatre parking lot|
|2pm – 4pm||Yard by Yard II garden tour with Lesley Stern|
|6pm – 8pm||Hay conexiones entre de los tres: a dinner atop the Landis Street overpass
with Elizabeth Chaney RSVP required, subject heading: DINNER
|8pm – 10pm||Block party on Landis near I-805 overpass|
Like other art museums The Museum of Contemporary Art, Los Angeles hosts an annual gala event, with the goal of extracting surplus wealth from donors. The time-honored quid pro quo in this transaction is entertainment, and MOCA’s newly-acquired director Jeffrey Deitch has proven himself a master of pushing the notion toward the poles of art and spectacle. The result is proving a glorious mess.
For this year’s gala Deitch commissioned the 64-year-old society artist Marina Abramović to stage a performative matrix within which the gala would proceed. Abramović’s solution involved hiring attractive young people to pose in ways that would normally be identified as degrading and humiliating objectification: lying motionless on a dinner table for hours, naked and under a skeleton; or similarly stuck under a table for hours, with only one’s head sticking through, for that Bring Me the Head of John The Baptist effect.
Artist Yvonne Rainer caught wind of the upcoming event from a disgruntled hireling, and proceeded to write a letter to Deitch questioning the moral and ethical implications of MOCA underwriting an event so classically retrograde in aesthetic. The art blog HyperAllergic then broke the story.
In short: Rainer’s letter went viral, Abramović went into defense mode (e.g., hilariously insisting that gala attendees wear white lab coats during the event), the event went off as planned, certain attendees were duly offended, and MOCA netted 2.5 mil for the night.
The amoral of the story is one of people in the world with every power in the world, save one: the power of youth. The resulting dialectic plays out in many ways — some subtle, some not — across the arts.]]>
The SATELLITE Project will be culminating in “PACHANGA ORBITAL” on Saturday November 12, and we would like you to come celebrate with us at the border!!! All of the work produced by participating artists–Constanza Camelo, Adaptive Actions, Cognate Collective and En Masse–will be on view between 1pm and 7pm. Elizabeth Chaney will be leading a kite-building workshop using recycled plastic bags that will result in an intervention with children, and there will also be poetry reading by Tijuana’s Collectivo Intrasigente, and a musical intervention spun live by DJ Ganas (aka Gary Garay). As always, there will be plenty of Mexican food to feast on and refreshments to imbibe. All of this is happening at the Mercado de Artesanias de la La Linea, located in the San Ysidro Port of Entry in Tijuana, B.C., Mexico (Directions included below).
For more information about the event and the artists participating, please visit:
Misael & Amy
If you are Walking across (our suggestion):
Take the 5 South, and exit on “Camino de la Plaza” (last U.S. Exit) and park in one of the lots in San Ysidro near the border. The closest ones are right off the exit “Camino de la Plaza”, one to the right of the intersection (which is $7) and one that is closer that you can reach by going straight past “Camino de la Plaza” on “Camiones Way”. You will walk down “Camiones Way” until you get to the entrance of Mexico, where you will walk past a set of revolving metal doors/turnstiles to enter Tijuana. You will keep walking straight, passing a small checkpoint for people with baggages, and you will KEEP STRAIGHT when you come upon a fork in the paths to get to the streets. You will see that there is a path that diverts you, to your right, leading to a corridor that exits onto the street near a McDonalds. DO NOT TAKE THIS PATH, KEEP STRAIGHT. You will pass another set of revolving doors, and to your left you’ll see a building with a silver-shell-like roof. Pass that building, ritght before getting to the TAXIS (immediately behind the public phones), you will find a pedestrian bridge that will lead you over the street and cars coming into Mexico, and also over the cars waiting to cross into the US. That bridge will connect you to the market, which is the set of small red shops with billboards on the roof beside the lanes of cars waiting to cross into the US. To get to the market, you will take the path from the bridge that descends past the small fenced off park. You made it!
If you are Driving across (we only suggest this if you are familiar with the city):
Take the 5 South, and exit into Mexico. After you pass under the first bridge move to the right most lane. As you are passing under the 2nd bridge, there will be a street on your immedate right that you will need to take (DO NOT FOLLOW THE LANES THAT TAKE YOU UP THE RAMP). You will then come upon a triple fork in the road, you will have to take the middle lane, so NOT the one to your far left (to the left of the concrete division), and NOT the one that will take you to the street to the right. If you take the middle lane you will pass under a bridge and see a large (strange) mural with icons of the city, and come to a stop sign. Continue straight until the following intersection (at the corner of the Pueblo Amigo Hotel), where you will have to turn left. On this street you will pass a parking lot to your right and a Salon de Fiestas will be on your left. You can park in this lot, but it is a farther walk to the market. So if you want to park closer, continue onto the following intersection, a very large one. You will be able to turn left into one of three lanes: you will want to turn into the one farthest from you, the one closest to the parking lot on the corner (DO NOT TAKE THE MIDDLE LANE–THAT IS THE LINE TO CROSS BACK INTO THE U.S.). The entrance to the lot is off the street to your right (It is $2 for up to 5 hours, and $3 for the entire day). From here, you will walk across the street, and be able to see the lines of cars waiting to cross. Follow the cars north towards the US exit and you will see the market to your left, across the traffic. To get there, you will have to take the pedestrian bridge tha goes over the cars, or you can weave through the cars. You made it!
If you have any questions, ask Misael at firstname.lastname@example.org, he will draw you a map.
Kristi Maxwell is the author of Realm Sixty-four (Ahsahta Press, 2008), Elsewhere & Wise (Dancing Girl Press, 2008), and Hush Sessions (Saturnalia Books, 2009). Her third full-length book, Re-, will be published by Ahsahta in Sept. 2011. In 2010, she completed work toward a Ph.D. in English & Comparative Lit at the University of Cincinnati, where she also completed a graduate certificate in Women’s, Gender, and Sexuality Studies. She teaches at the University of Arizona and the Poetry Center in Tucson.
Stephanie Balzer is the author of Revenant (Kore Press) and faster, faster (Cue Editions) and a former executive director of VOICES Community Stories Past and Present, Inc., a Tucson nonprofit that empowers youth to share their personal stories through professional media outlets. PShe holds a master’s degree in creative writing from The University of Arizona and is the 2009 recipient of the Mary Ann Campau Memorial Fellowship through The University of Arizona Poetry Center, which honors talented writers who strengthen and inspire our literary landscape. Her poems have appeared in Chelsea, MidAmerican Review, and CUE.
Agitprop readings are free, but wine and donations to the gallery are
We hope to see you there and for festivities before and afterward.
Saturday, November 5th, 7pm
2837 University Avenue in North Park (Entrance on ah, behind Glenn’s
Market) Google Map
San Diego, CA 92104
…a short performance by Collective Magpie (Melinda Barnadas and Tae Hwang), Andrew Printer, Eddie Miramontes, Jessica Sledge and David White.
Art(ist) in Context II: or How I Learned to Scrub the City of Undesirable Elements and InScribe Economic Viability onto the Urban Landscape imagines the stage of the Agitprop space as a speakeasy and a mini factory of cultural production. The five artists perform working methods indicative of practices of today; each artist, through this production method, focusing on a topic relevant to their individual interests. Through this, a performative system is established that elbows out the other over a progression through time.
Art(ist) in Context II:or How I Learned to Scrub the City of Undesirable Elements and InScribe Economic Viability onto the Urban Landscape is a collaborative performance and installation happening at the Agitprop space in North Park. It is an encore of a performance and installation originated as part of ART San Diego 2011.
This performance and installation will take as its starting point five very different artistic practices that utilize disparate approaches to extra-institutional engagement with various issues, groups and environments. The artists participating include Melinda Barnadas (Collective Magpie -with Tae Hwang), who explores the natural and biological through sculptural installations; Andrew Printer, whose “new photojournalism” captures the social idiosyncrasies of particular subcultures and individuals blurring the line between fiction and fact; Jessica Sledge, whose New Orleans-inspired performance work blends the alchemical with buried urban narratives; Eddie Miramontes, who uses traditional postering and screen-printing techniques to spread poetic and critical messages; and David White, who uses art historical conventions (and institutions) as a way of creating participatory events connecting individuals and groups in localized productions.
The performance on Friday October 28th at 8pm will unfold in three acts. Act I will take place in an old school speakeasy complete with ambiance, music and alcoholic libations. Audience members are encouraged to participate in a card game based on vegetation collected locally. Act II consists of a multi-media audio-visual performance and presentation of the processes of displacement that frequently occurs to the natural and cultural landscape when strategies of economic development are implemented on models of corporate dynamization coupled with cultural initiatives. The final Act ends with the distribution of informational material as the speakeasy resumes.
Please arrive promptly (at 8 P.M.) for the performance as space is limited.
This event is free.
2837 University Ave. (entrance on Utah)
San Diego 92104
These three events will be free and open to the public.
Featured Events to be held in the UC San Diego Literature Building, Rooms 155 and 138
&NOW is a biennial traveling festival/conference that celebrates writing as a contemporary art form: literary art as it is practiced today by authors who consciously treat their work as a process that is aware of its own literary and extra-literary history, that is as much about its form and materials, language, communities, and practice as it is about its subject matter.
&NOW brings together a wide range of writers who are interested in exploring the possibilities of form and the limits of language and other literary modes and who are interested in literature that emphasizes text as a medium, that investigates the essential emptiness of language, and that articulates an assumption that literary form both reflects and emerges from its location in time, forming multiple associations within competing matrices of power and value.
The &NOW Festival of New Writing remains invested in the idea that aesthetics are political, cultural, and interpersonal, articulating convictions about how the world works, including the literary world. Unlike much literature sold for mass appeal, this is a type of literature that by its nature tends to keep generic and even disciplinary definitions unresolved.
Sometimes called experimental, conceptual, avant-garde, freaky, hybrid, surfiction, inaccessible, radical, slip-stream, neo-baroque, hyperfeminine, afro-futurist, postmodern, self-conscious, paradiscursive, gimmicky, and most especially at this moment in history “innovative,” literary art is writing (most often made of words), whose aesthetic often shares an ethos with contemporary concerns and modes of both resistance and exhaustion. This is a literature that often takes its own medium as part of its subject matter and sometimes works against the dominant/dominating assumptions about what literature is and does by employing a variety of linguistic games, slippages, puzzles, parodies, annihilations, needs, historical disjunctions, discursive juxtapositions, visuals, appropriations, spatial play, extra-diagetic codes, and other rhetorical strategies and constraints. Literary art may draw attention to modes of performance, distribution, and reception—from the visual coding of the book and page—to other aspects of literary staging, including the author’s identity matrices, as this influences how (and if) a text is perceived and received. Contemporary literary art is as invested in its own medium, materials, practices, and engagement with others as it is engaged with the rest of the world.
By bringing together all kinds of writers who are interested in literature as a contemporary art form, &NOW fosters friendships, love affairs, arguments, new writing projects, collaborations, fabulousness, (sometimes all of these at once), the polar opposite of these previous terms, and of course, the means of its own undoing.
Oct. 13 “The Future’s History”
Our Lady J and her Gospel for the Godless
Carole Maso (keynote)
Presented by Connie Samaras
Oct. 14 “Matters of Mind”
Presented by Miranda Mellis
Oct. 15 “Always Almost Always-Already”
Black Took Collective
Presented by Ricardo Dominguez
Send questions, comments, or concerns to: andnow2011 [at] gmail [dot] com
Since March 4th 2010 little has changed at UCSD with new tuition hikes rumored, libraries closing and services being cut daily; while students increasingly rack up large quantities of debt for what eventually ends up as a de-valued diploma due to degree inflation. Simultaneously Federal and State plans ($1.3 billion dollar plans) are underway to expand the I-805 freeway to further accommodate and expedite the transfer of cheaply produced goods across the border at Otay Mesa while increasing the capacity to regulate the passing of bodies across the same space and other border crossings. Its seems products have more rights to adequate infrastructure, free exchange and open passage than people do. That is, unless those people are paying interest.
Toward the end of this video Chomsky speaks to the fact that much of the opposition from elites toward Social Security is not so much economic concerns, but rather that Social Security implies a social solidarity among individuals. It implies that people should care whether the kid across the street has an adequate education etc. It seems, despite the lack of specific demands, that this is what “Occupy” is really about. Combating the atomization of the individual in order to begin the process of working against the forces stated above and mentioned in the video below. Tomorrow afternoon is a chance to begin this process locally.
OCCUPY SAN DIEGO: FRIDAY OCTOBER 7TH at 4:30 @ THE SAN DIEGO CIVIC CENTER!
OCCUPY SAN DIEGO INFO BELOW:
From Occupy San Diego Facebook page:
@occupysd We are peacefully occupying San Diego’s Civic Center in Downtown San Diego – the 99 % WILL BE HEARD !!
Only 1% of people in this country own and control the wealth, while 99% struggle, suffer while being denied a share of the wealth and quality healthcare.
In solidarity with the occupation of and vigorous protest on Wall Street, we are people of the 99% are occupying and protesting in the Gas Lamp Quarter and downtown area of San Diego, from October 7th 2011 beginnning 4:30 PM until indefinitely. Gas Lamp/downtown is in the same area of the financially corrupt San Diego County administration and financial hub.
ALSO: Since San Diego is one of many hubs of military activity, we are exercising this opportunity and right to protest and demand an end to corporate financial backing of the present useless wars being perpetrated by our country, which is inundated with greed and aggression . We support the troops, who are really a part of the 99% of the American people, manipulated by Wall Street and the 1%.
The plan is to actually camp out in the aforementioned areas until a list of our demands in solidarity of the Wall Street NYC occupation are met or sincerely heard and considered by representatives of the financial and county conglomerate of San Diego .
We must be open for ideas, sharing and horizontal, equal leadership and representation.
Map to the occupation area at San Diego Civic Center:
Occupy San Diego Facebook page:
Art(ist) in Context II: or How I Learned to Scrub the City of Undesirable Elements and InScribe Economic Viability onto the Urban Landscape
This performance and installation takes as its starting point five very different artistic practices that utilize disparate approaches to extra-institutional engagement with various issues, groups and environments. The artists participating include Melinda Barnadas (Collective Magpie -with Tae Hwang), who explore the natural and biological through sculptural installations; Andrew Printer, whose “new photojournalism” captures the social idiosyncrasies of particular subcultures and individuals blurring the line between fiction and fact; Jessica Sledge, whose New Orleans-inspired performance work blends the alchemical with buried urban narratives; Eddie Miramontes, who uses traditional postering and screenprinting techniques to spread poetic and critical messages; and David White, who uses art historical conventions (and institutions) as a way of creating participatory events connecting individuals and groups in localized productions.
Art(ist) in Context II: or How I Learned to Scrub the City of Undesirable Elements and InScribe Economic Viability onto the Urban Landscape imagines the stage of the Agitprop space as a mini factory of cultural production. The five artists perform working methods indicative of practices of to-day; each artist, through this production method, focusing on a topic relevant to their individual interests. Through this, a performative system is established that elbows out the other over a progession through time…
the performance unfolds into a cacophony of displacements…
It is these Acts of Displacement that interest us in both their positive and negative dimensions...
Allows audience members to participate in a card game based on a sampling of vegetation collected locally. Barnadas’ plays the role of the artist working in a method akin to science and service industry approaches – a “dealer” in a bio-statistical speakeasy. Drinks are served.
A multi-media audio-visual performance and presentation of the processes of displacement that frequently occur to the natural and cultural landscape when strategies of economic development are implemented on models of corporate dynamization coupled with cultural initiatives.
The Sun-God/Taskmaster takes her throne. She (Sledge) inscibes irrational sage wisdom taken from a local woman in a journal as if creating a private corporate-self-help book.
Tiles are printed on a digital printer that produce an image of a new business which has replaced what was once a gay bathhouse. Printer has been documenting this transformation over time through photography- a local condition transformed into a model of what can be infinitely reproduced.
Eddie Miramontes and crew begin production on informational propaganda, like laundry on a clothesline, propaganda is work that is never done…
The animal[s] that therefore [we] are -images of the California Coastal Gnatcatcher displaced by images of the Common Crow. A desert bird replaced by an urban one.
A Cultural Developer (David White) outlines strategies of corporate dynamism to be used when erradicating social inefficiencies…
With enough propaganda produced we displace ourselves to another venue….
2837 University Ave. 92104
(entrance on Utah St. )
Art(ist) in Context II:or How I Learned to Scrub the City of Undesirable Elements and InScribe Economic Viability onto the Urban Landscape is a collaborative performance and installation happening at the Agitprop space in North Park as part of ART San Diego. This performance and installation will take as its starting point five very different artistic practices that utilize disparate approaches to extra-institutional engagement with various issues, groups and environments. The artists participating include Melinda Barnadas (Collective Magpie -with Tae Hwang), who explores the natural and biological through sculptural installations; Andrew Printer, whose “new photojournalism” captures the social idiosyncrasies of particular subcultures and individuals blurring the line between fiction and fact; Jessica Sledge, whose New Orleans-inspired performance work blends the alchemical with buried urban narratives; Eddie Miramontes, who uses traditional postering and screenprinting techniques to spread poetic and critical messages; and David White, who uses art historical conventions (and institutions) as a way of creating participatory events connecting individuals and groups in localized productions.
The performance on Friday September 2nd at 7pm will unfold in three acts. Act I will allow audience members to participate in a card game based on vegetation collected locally. Act II consists of an multi-media audio-visual performance and presentation of the processes of displacement that frequently occur to the natural and cultural landscape when strategies of economic development are implemented on models of corporate dynamization coupled with cultural initiatives. The final Act ends with a participatory procession to another ArtLab happening nearby in which audience members help to spread information related to the topics of the performance.
Please arrive promptly for the performance as space is limited.
This event is free.
San Diego 92101
Saturday, July 23, 2011 · 1-5PM
Westfield Horton Plaza, San Diego CA
Smack dab in the middle of Comic Con madness, Ash Eliza Smith will execute a site-specific cinema experience in San Diego’s Horton Plaza.
In 1988 Jon Jerde consulted Science Fiction Writer, Ray Bradbury, to help him build Horton Plaza in San Diego. Bradbury wrote the essay entitled “The Aesthetics of Being Lost” where he divulges the true benefits from being the embodied experience of being or feeling “lost”. Ash Eliza Smith w…ill mix Bradbury’s notions of play and imagination and use the camera to explore notions of desire and spectacle/spectator.
In this world the year is 2075 and we are on Planet X (Nibiru). We follow a group of young adults who have been sent by their parents from Earth to work as Earth Mall Mascots. These youth are older now, disgruntled and just want to go back to EARTH. The only way to go back to Earth is to win the ELPUNTO at the HUGEMASSIVESALE where the Maul Mauls are playing.
It’s Warriors meets Breaking 2 meets early Eighties London Punk dystopia featuring different Mallrat gangs (The Coutures, The Animals, The Technos, The Eyestar) who gossip, loiter, dance, and make surveillance cinema with Indy flair all as a waiting game to hopefully one day win the lottery to go back to Earth.
Featuring live performance by local and national actors, dancers and musicians including a special guest appearance by the band The Maul Mauls featuring members of Beaters, Raw Moans and Ale Mania.
Saturday July 23 1-5 PM
San Diego, CA
Various Locations in the MALL
by Ash Eliza Smith
Choreography by Christine Herde
Wardrobe/Styling by Cassandra Berner
Makeup by Charlene De La Torre
This event is curated in conjunction with the San Diego Museum of Art.
1100 & 1001 Kettner Boulevard
(between Broadway and B Street)
San Diego, CA 92101
858 454 3541
TNT info here
The third installment of Art Tap Out is here! This time at the MCASD downtown for TNT. For those not familiar with ATO it is an event that pits artist against critic in a ring resembling underground pugilism, ultimate fighting or cock fighting. As usual Kevin Freitas of Art As Authority will be in the critic’s slot throwing down verbal punches! Audience participation is strongly encouraged (in fact, it is what this is all about).
In the ring this time is:
Micha Cardenas & Elle Mermand
SEE YOU THURSDAY NIGHT AT THE FIGHTS!
(don’t be late)]]>