Open Engagement 2015 Pittsburgh

2015

Open Engagement

2015 Pittsburgh Table of Contents

1 Director’s Welcome

3 Acknowledgments

4 Partners

6 OE 2015 Team

7 Selection Committees

8 Keynote Presenters

9 Logistics

12 Map

14 Schedule: Friday April 17

17 Schedule: Saturday April 18

23 Schedule: Sunday April 19

28 Schedule: Ongoing

32 Contributors

Back Schedule at a Glance Director’s Welcome

Welcome to Open Engagement 2015: Place and Revolution. county. Last year marked the beginning of a rotation of the Situated this year in Pittsburgh, the conference is bringing conference from coast to coast that is building national net- attention to the local, as well as exploring broader ques- works and partnerships, which will strengthen the structures tions around the role of artists in defining place and creating that support artists engaging and working within the complex change in the world. Open Engagement 2015 features keynote social issues and struggles of our time. presenters Rick Lowe and Emily Jacir. Our keynote speakers will bring together international perspectives on locality and Now seven years into its evolution, Open Engagement is change that will include artists’ role in the creative revitaliza- in a critical moment of development. The conference has tion of communities to their role in global transformation. grown significantly each year, widening its scope and reach, as well as serving as an important site of development and The expansive program features over 200 participants from education around socially engaged art. Open Engagement is around the world from locations ranging from Australia to building a national consortium and will have landing points on Egypt. Sessions and projects at the conference explore the East Coast, West Coast, and in the Midwest in order to what it means to be revolutionary, and cover a full spectrum achieve a coast-to-coast representation of socially engaged of revolutions from sexual to political, personal to global. art practices in this country. Our upcoming landing points are Presenters will reflect on the issues in their own locations already centers of socially engaged art activity: the Bay Area, and how socially engaged art is playing out in their backyard. Chicago, and New York. The three-year annual rotation cycle Through the support of The Sprout Fund, The Pittsburgh will begin with the Bay Area in 2016 in partnership with the Foundation, and the Frank-Ratchye STUDIO for Creative In- Oakland Museum of California and the California College of quiry Open Engagement is also able to provide three types of the Arts, Chicago in 2017 in partnership with University Illinois catalytic grants that are helping to support artists working in Chicago’s Art and Social Justice Cluster, and returning back community and embedded contexts to produce projects and to New York at the Queens Museum in 2018. This national presentations specifically for OE 2015. conversation will be key in ensuring that OE is a site that more holistically represents and supports current work and In 2014, Open Engagement became a mobile itinerant confer- practices in this country. ence. With leaving behind a home base, OE has gained the ability to be site responsive in order to highlight the diverse Thank you all for being here and continuing this conversation approaches to socially engaged art happening across the with us. There is truly no other place we would rather be.

Onward!

Jen Delos Reyes Director and Founder, Open Engagement

1 2 Acknowledgments

First and foremost we must acknowledge our incredibly widening the discourse for socially engaged art. Thank you generous partners and sponsors, it is because of them that Kerri-Lynn Reeves for your tireless work serving as the Pro- we are able to keep this conference a free and accessible gram Coordinator. Thank you to Gemma-Rose Turnbull, Mario event. Thank you to A Blade of Grass, the School of Art Mesquita, and Alex Winters, our extraordinary social media and College of Fine Arts at Carnegie Mellon University, the team. Thank you to Ariana Jacob and Sheetal Prajapati for Carnegie Museum of Art, the Frank-Ratchye STUDIO for organizing the conversation series and bringing together an Creative Inquiry, The Sprout Fund, Arizona State University’s amazing group of individuals to be discussion starters. Thank Herberger Institute for Design and the Arts, Scout Books, the you to Crystal Baxley for your continued work and dedication Office of Public Art, the Miller Gallery, the Mattress Factory, to Open Engagement. Thank you to the design force behind the Pittsburgh Foundation, and the Heinz Endowments. You Open Engagement, Nicole Lavelle, Sarah Baugh, and Alex all help to make OE a reality and to broaden the access to Harris, with help from Taryn Cowart and Zack Franceschi. Big the ideas shared at the conference. thanks to Martin Rosengaard and the Human Hotel for partnering with OE to provide housing for people traveling to the A huge debt of gratitude is owed to the School of Art and conference. We are also so grateful to the Carnegie Museum College of Fine Arts at Carnegie Mellon University and A of Art for collaborating with us to produce an art camp for Blade of Grass for all of the work and resources that all have children that will coincide with the conference. so generously provided. Open Engagement could not have asked for better partners. Special thanks to John Carson, Jon The spirit of Open Engagement is manifested through the Rubin, Tom Justofin, Linda Hager, Golan Levin, Sue Tolmer, generous hosts throughout Pittsburgh who house our out of Rachael Sweetnam, Wayne Savage, Deborah Fisher, Elizabeth town presenters. Thank you all for your hospitality. Grady, Joelle Te Paske, Thomas Anesta, and Ellen Staller and everyone else on the ground at Carnegie Mellon University Our sincere thanks and appreciation goes out to all of the and A Blade of Grass who contributed to the OE effort. Open Engagement volunteers and the Selection Committee members. This type of event is not possible without the support of many individuals and institutions. The OE team is made up of many Our deepest gratitude to all of the Open Engagement incredible people who through their work on the conference presenters for allowing your work to enter this conversation. show their dedication to supporting these practices and Without all of you none of this would be possible.

Thank you,

Jen Delos Reyes Director and Founder, Open Engagement

3 OE Support

Ongoing Partner 2015 Partners

A Blade of Grass is a new funding The Carnegie Museum of Art is one of The School of Art at Carnegie Mellon non-profit that is dedicated to nurtur- the most dynamic major art institutions University considers, in practical and ing socially engaged art—an evolving in America. With our collection of more visionary terms, the role of art and the field at the intersection of art and than 35,000 objects, and through our artist in society. It is the first program in social change. We provide Fellowship programming, exhibitions, and publica- the country to offer an undergraduate resources to artists who demonstrate tions, we frequently explore the role of area of study in Contextual Practice, artistic excellence, work actively in art and artists in confronting key social which engages students in experimen- dialogue with communities at ambitious issues of our time. With our unique tal approaches to making art in the scale, and enact social change. And we history and resources, we strive to be- public realm. create events and content in order to come a leader in defining the role of art www.cmu.edu/art foster an inclusive, practical discourse museums for the 21st century. about the aesthetics, function, ethics www.cmoa.org The Frank-Ratchye STUDIO for Creative and meaning of socially engaged art. Inquiry at Carnegie Mellon University www.abladeofgrass.org The College of Fine Arts at Carnegie is a laboratory for atypical, anti-disci- Mellon University (CFA) is a community plinary, and inter-institutional research of nationally and internationally recog- at the intersections of arts, science, nized artists and professionals within a technology and culture. unique constellation of five professional www.studioforcreativeinquiry.org schools: Architecture, Art, Design, Dra- ma and Music—and associated centers The Sprout Fund is Pittsburgh’s leading and programs. CFA enhances and agency supporting innovative ideas, cat- integrates the excellence and distinc- alyzing community change, and making tion of its five schools with the strengths our region a better place to live, work, of the university to establish a position play, and raise a family. Sprout pro- of international leadership in preparing vides critical financial support for new students to transform their professions initiatives, events, and organizations that and the world through critical inquiry help citizens take action on a pressing and creative production. issue or enhance the cultural vitality of www.cfa.cmu.edu the Pittsburgh region. www.sproutfund.org

4 2015 Friends

Office of Public Art is a public-private The Heinz Endowments is based in Socially Engaged Practice at Arizona partnership that provides technical Pittsburgh, where they use the region State University’s Herberger Institute assistance and educational programs as a laboratory for the development of for Design and the Arts centers around about public art in the Pittsburgh region. solutions to challenges that are national participation, reciprocal relationships www.publicartpittsburgh.org in scope. Their mission is to help the and collaborations in which arts and region thrive as a whole community, design promote civic dialogue and The Pittsburgh Foundation Established economically, ecologically, educationally investigate pressing issues of our time. in 1945, The Pittsburgh Foundation is and culturally, while advancing the state Students earn a Certificate in Socially one of the nation’s oldest community of knowledge and practice in the fields Engaged Practice at the same time that foundations and is the 14th largest of in which we work. Their fields of em- they pursue undergraduate or graduate more than 750 community founda- phasis include philanthropy in general degrees. tions across the United States. As a and the disciplines represented by five www.herbergerinstitute.asu.edu/insti- community foundation, their resources grant-making programs: Arts & Culture; tute/initiatives/socially_engaged_cer- comprise endowment funds established Children, Youth & Families; Community tificate by individuals, businesses and organiza- & Economic Development; Education; tions with a passion for charitable giving and Environment. Scout Books are Little Books for Big and a deep commitment to the Pitts- www.heinz.org Ideas. As a customizable notebook burgh community. brand based in sunny Portland, Oregon, www.pittsburghfoundation.org The Miller Gallery Carnegie Mellon‘s Scout Books helps individuals, busi- contemporary art gallery and supports nesses, and organizations create their experimentation expanding notions own pocket-sized notebooks and of art and culture. It provides a forum books. All Scout Books are carefully for conversations about creativity and manufactured with 100% recycled pa- innovation; explorations of new forms; pers, vegetable based inks, using equip- dynamic relationships between past, ment powered by renewable energy. present and future histories of art; hy- www.scoutbooks.com brid practices; regional and international investigations across media. www.millergallery.cfa.cmu.edu

5 OE 2015 Team

Jen Delos Reyes Sheetal Prajapati Alexandra Winters Nicole Lavelle Founder / Director Conversation Series Social Media Team Design Team Coordinator Kerri-Lynn Reeves Mario Mesquita Sarah Baugh Program Coordinator Ariana Jacob Social Media Team Design Team Conversation Series Gemma-Rose Turnbull Coordinator Alex Harris Blog Project Editor / Webmaster Social Media Team Crystal Baxley Support Programs Coordinator

Jen Delos Reyes is a creative laborer, Sheetal Prajapati is Assistant Director, Mario Mesquita is currently an MFA Public educator, writer, and radical community arts Learning and Artists Initiatives at The Practice Candidate at Otis College of Art organizer. Her practice is as much about Museum of Modern Art (New York) and is and Design. He is an advocate, educator, working with institutions as it is about cre- a core member of the D’Amico Laboratory organizer, and artist transplant to Southern ating and supporting sustainable artist-run Collective (Proteus Gowanus, Brooklyn). She California. Mario’s work explores social culture. She is the director and founder of received her MA from the School of the Art constructs of relationships and borders be- Open Engagement. Institute of Chicago and BA from Northwest- tween personal space, community sphere, ern University. and perception and representation of both. Kerri-Lynn Reeves works in the arts as an artist, writer, educator, curator, and organiz- Ariana Jacob makes artwork that uses Crystal Baxley is an artist, writer, anarchist, er. She holds a BFA from the University of conversation as medium and as a subjec- and feminist living in Los Angeles, CA. She’s Manitoba and is currently a Master of Fine tive research method. She holds an MFA in trying her best to listen, ask questions, be Arts candidate at Concordia University. At Art & Social Practice from Portland State constructive, have healthy relationships, its heart, her work explores the relationship University. Her work has been included in make art that is good, and live an interest- of the social and the material. the NW Biennial at the Tacoma Art Museum, ing life. Disjecta’s Portland 2012 Biennial, and the Gemma-Rose Turnbull instigates Discourse and Discord Symposium at the Nicole Lavelle lives and works in California. photo-based projects that examine how Walker Art Center. She is an artist, a designer, and a student. the integration of collaborative strategies can catalyze social change agendas. Alexandra Winters is completing a Masters Sarah Baugh is currently pursuing an MFA She is a PhD candidate at The University of Creative Production and Arts Manage- in graphic design at Virginia Commonwealth of Queensland, Australia, a Scholar in ment at Queensland University of Technolo- University. Residence in the Social Practice program gy in Australia whilst working as the Curator at Portland State University, and writes at and Exhibitions Coordinator at Brisbane Alex Harris is a web developer and artist Photography As A Social Practice. Powerhouse. She has travelled the world living in Oakland, California. He is the Web pursuing professional development and arts Editor and Digital Communications Manager education since completing her BFA from at the Berkeley Art Museum/Pacific Film Ar- Queensland College of Art. chive. He also builds websites at internetstu- dio.codes, and makes projects at alexharr.is.

6 2015 Selection Committees

Place and Revolution Place and Revolution Continuing OE Panels/Presentations/Open Platform Projects/Workshops

Kim Beck, Carnegie Mellon University Dan Byers, Carnegie Museum of Art Amanda Donnan, Carnegie Museum of Art Rafael Canedo, Carnegie Mellon University Zhiwan Cheung, CMU Jen Delos Reyes, Open Engagement Jen Delos Reyes, Open Engagement Nima Dehghani, CMU Deborah Fisher, A Blade of Grass Elizabeth Grady, A Blade of Grass Jen Delos Reyes, Open Engagement Kate Hansen, Office of Public Art Divya Heffley, Carnegie Museum of Art Deborah Fisher, A Blade of Grass Mac Howison, The Sprout Fund Renee Piechocki, Office of Public Art Sallyann Kluz, Office of Public Art JaeWook Lee, Carnegie Mellon University Daniel Pilas, Carnegie Mellon University Kerri-Lynn Reeves, Open Engagement Joshua Reiman, CMU Kerri-Lynn Reeves, Open Engagement Jon Rubin, Carnegie Mellon University Kerri-Lynn Reeves, Open Engagement

Kim Beck grew up in Colorado and lives in Deborah Fischer is an artist and the found- vating connected communities. At Sprout Pittsburgh where she teaches at Carnegie ing Executive Director of A Blade of Grass. Mac manages a grantmaking portfolio that Mellon. She’s used skywriting to write phras- She has been a sculptor, a manager, a writer, spans a history of more than 550 projects es from billboards above Columbia, MO, a social practitioner-slash-entrepreneur, and $4.3 million invested in community and made billboard-like sculptures on rooftops a teacher, and an arts and philanthropic learning innovation since 2001. in New York and published artist’s books advisor. She loves to make interdependent about signs and weeds. systems, and her art practice largely consists JaeWook Lee is an artist, writer, and some- of public projects. time curator. Lee’s work has been exhib- Dan Byers is Senior Curator at the ICA/Bos- ited internationally, including Museo Juan ton. He was most recently the Richard Arm- Elizabeth M. Grady, Ph.D., is Programs Manuel Blanes, Montevideo (2014), Chelsea strong Curator of Modern and Contemporary Director of A Blade of Grass. A curator, she Art Museum, New York (2011), Coreana Mu- Art at the Carnegie Museum of Art, and was formerly Program Manager of a U.S. seum, Seoul (2006), MANIFESTA 9 parallel co-curator, with Daniel Baumann and Tina State Department program that presented event, Hassalt (2012). Lee is the recipient Kukielski, of the 2013 Carnegie International. fifteen socially engaged projects worldwide. of the 4th SINAP: Sindoh Artist Support She curated Proyecto Paladar for the 2012 Program. Zhiwan Cheung, a current CMU MFA Havana Biennial and has held several signifi- student, investigates the psychological ping- cant curatorial and teaching positions. Renee Piechocki is an artist, public art con- pong between fluctuating states of identity, sultant, and founding director of the Office from a non-state to an in-between-state. Kate Hansen is the Project Manager of the of Public Art. Zhiwan attempts to put the viewer in the Office of Public Art, a partnership of the same perceptual and conceptual spiral of Greater Pittsburgh Arts Council and the City Daniel Pillis (b. 1984, Red Bank, New the cultural liminal state within an invisible, of Pittsburgh which provides technical assis- Jersey) specializes in synthetic and virtual borderless realm. tance and educational programs to public experiences. He has exhibited in bath- and private sectors in Pittsburgh. rooms, train stations, old theaters, his Nima Dehghani is a multi-disciplinary artist grandmother’s house, and the Andy Warhol whose work explores the relations between Divya Heffley is the program manager of the Museum. He is currently a 2nd-year Masters society, politics, and audience interactions Hillman Photography Initiative at Carnegie student in the College of Fine Arts at CMU. in public spaces. Born in Tehran, Iran in Museum of Art, an incubator for innovative 1986. Nima works predominantly in the me- thinking about the photographic image. She Joshua Reiman is an artist working in dium of Theater and performance art, and has juried the Flash Forward and Critical sculpture, film, video and photography. He is mostly uses the internet as a context of his Mass Photography Competitions and enjoys currently a Visiting Professor of Art at Car- practices. contributing to the Greater Pittsburgh Arts negie Mellon University where he teaches Council’s Task Force on Arts, Culture & sculpture. For more information please visit Amanda Donnan is assistant curator of con- Creative Industries. www.joshuareiman.com temporary art and co-director of the Time- Based Media Project at Carnegie Museum Mac Howison is Senior Program Officer for Jon Rubin is an interdisciplinary artist and of Art. She was assistant curator of the 2013 Catalytic Funding at The Sprout Fund. The Associate Professor in the School of Art Carnegie International, one of the curators Sprout Fund is a nonprofit organization that at Carnegie Mellon University where he is of the 2014 Pittsburgh Biennial, and has enriches the Pittsburgh region’s vitality by Head of the Contextual Practice area. He organized several shows for the museum’s engaging citizens, amplifying voices, sup- has created publically engaged projects Forum series. porting creativity and innovation, and culti- nationally and internationally and is a recent recipient of the Creative Capital Grant.

7 Keynote Presenters Photo: Sarah Shatz

Emily Jacir Rick Lowe Emily Jacir’s work spans a diverse range of media and Rick Lowe is an artist who resides in Houston, Texas. His strategies including film, photography, social interventions, formal training is in the visual arts. Over the past twenty installation, performance, video, writing and sound. Jacir years he has worked both inside and outside of art world has shown extensively throughout Europe, the Americas institutions by participating in exhibitions and developing and the Middle East since 1994. Solo exhibitions include community based art projects. Whitechapel Gallery, London (2015); Darat il Funun, In 1993, Rick founded Project Row Houses, an arts and cul- Amman (2014); Beirut Art Center (2010), Guggenheim Mu- tural community located in a historically significant and cul- seum, New York (2009), Kunstmuseum, St. Gallen (2008). turally charged neighborhood in Houston, Texas. In 2006, Jacir participated in dOCUMENTA (13) (2012); the 51st he spearheaded Transforma Projects in New Orleans, a (2005), 52nd (2007), 53rd (2009), 54th (2011) and 55th collaborative effort to engage artists and creativity in the (2013) Biennale di Venezia; the 15th Biennale of Sydney rebuilding of the City after hurricane Katrina. (2006); Sharjah Biennial 7 (2005); and the 8th Istanbul Biennial (2003). His exhibitions include; Phoenix Art Museum, Contempo- rary arts Museum, Houston, Museum of Contemporary Awards include a Golden Lion at the 52nd Venice Biennale Arts, Los Angeles, Neuberger Museum, Purchase, New (2007); a Prince Claus Award from the Prince Claus Fund in York, Kwangji Bienale, Kwangji, Korea, Museum of Fine The Hague (2007); the Hugo Boss Prize at the Guggenheim Arts, Houston, Glassell School, Indianapolis Museum of Art, Museum (2008); and the Alpert Award (2011) from the the Kumamoto State Museum, Kumamoto, Japan, Venice Herb Alpert Foundation. In 2003, belongings was published Architecture Bienale. Cittadellarte, Biella, Italy, Nasher by O.K Books, a monograph on a selection of Jacir’s work Scuplture Center, Dallas, TX. from 1998–2003. Her second monograph (2008) was published by Verlag Fur Moderne Kunst Nurnberg and in 2012 Community building projects include; Project Row Houses, Buchhandlung Walther König, Köln published ex libris. Houston, Texas; Watts House Project, Los Angeles, CA; Arts Plan for Rem Koolhaus designed Seattle Public Library Select juries that Jacir has served on include Visions du with Jessica Cusick; Borough Project for Spoleto Festival Reel (2014), Berlinale Shorts International Jury (2012), the with Suzanne Lacy, Charleston, SC; Delray Beach Cultural CinemaXXI Jury Rome Film Festival (2012), and Cda-Proj- Loop, Delray Beach, Florida, a project for the Seattle Art ects Grant for Artistic Research and Production, Istanbul. Museum in their new Olympic Sculpture Park with David She is a professor at the vanguard International Academy Adjaye. Among Rick’s honors are; Rudy Bruner Awards in of Art Palestine in Ramallah since it opened in 2006 and Urban Excellence; AIA Keystone Award, the Heinz Award she served on its Academic Board from (2006–2012). in the arts and humanities; Skowhegan School of Painting Jacir led the first year of the Home Workspace Program and Sculpture Governors Award; Loeb Fellow at Harvard in Beirut and created the curriculum and programming University, Mel King Fellow at MIT; Skandalaris Award for (2011–2012), she also served on its Curricular Committee Excellence in Art Architecture, U.S. Artists Booth Fellow, from 2010–2011. Between 1999–2002 she curated several and the Creative Time Annenberg Prize for Art and Social Arab and Palestinian Film programs in NYC with Alwan for Change. President Barack Obama appointed Rick to the the Arts. She conceived of and co-curated the first Pales- National Council on the Arts in 2013. tine International Video Festival in Ramallah in 2002. She also curated a selection of shorts; “Palestinian Revolution Cinema (1968–1982)” which went on tour in 2007. She is on the advisory council for Civitella Ranieri. She currently lives around the Mediterranean.

8 Logistics Support

Welcome Families!

Open Engagement and its partners are committed to intergener- Children’s Art Camp ational spaces and will support children, parents, and caregivers Two days: to the best of our ability. Saturday, April 18: 10AM–4PM + The conference will feature an Art Camp that will explore the Sunday, April 19: 12PM—4PM idea of revolution run by Carnegie Museum of Art Education Ages 7 to 12 FREE! team. Revolution Though we provide space and activities for children, we do Explore the concept of revolution, from things that lit- not require kids to remain only within these spaces. We ask all erally revolve to ideas and actions that turn our thinking conference participants to be supportive of kids, parents, and completely around and inspire change. Explore CMOA’s caregivers wherever they are, as we do not discourage them galleries where you’ll find examples of artists who have from attending any part of the conference, including workshops. been so revolutionary that their artworks are game-chang- As prison abolitionist Jason Lydon of the Community Church of ers for artists and observers everywhere. Join us for two Boston said, “kid noises are the sign of a growing movement,” days of innovative art-making experiments and discover so please join us in the community responsibility needed for a how art can help you see the world from revolutionary new supportive and truly intergenerational environment! perspectives.

Language adapted from the NYC Anarchist Book Fair Collective’s Registration is now closed. statement on childcare.

Locations See map next SPREAD

Carnegie Mellon University (CMU) 5 Carnegie museum of art (CMOA) 5000 Forbes Avenue, Pittsburgh 4400 Forbes Avenue, Pittsburgh Located in the Oakland neighborhood, north of Schenley Park Located near CMU campus

1 College of Fine Arts Building (CFA) — The Frank-Ratchye STUDIO for Creative Inquiry Room 111, First Floor OFFSITE — Great Hall (Registration Area) — School of Art Conflict Kitchen 221 Schenley Drive, 2 Doherty Hall Pittsburgh, PA 15213 — ArtFab, Room C200 Able Laundromaxx 3 The Margaret Morrison Carnegie Hall 3518 Blvd. Of The Allies — Pick-up/drop-off for Friday tours Pittsburgh, PA 15213

4 Purnell Center for the Arts Pittsburgh’s Energy Innovation Center — The Miller Gallery 1435 Bedford Ave Pittsburgh, PA 15219

10 Information Local Info

Open Engagement Info Booth Food

The OE Info Booth will help with wayfinding and provide The Zebra Lounge assistance to conference attendees who need to ac- First Floor, College of Fine Arts building, CMU Campus cess the CMU wifi. The OE Info Booth will also feature a small installation of SexEd Presents: Pleasure by SexEd. The Museum of Art Café Carnegie Museum of Art The OE Info booth hours are: Bagel Factory — Breakfast / all day snacks Friday 9am–6pm 420 South Craig Street, Pittsburgh, PA 15213 Saturday 9am–5pm Sunday 9am–4pm Conflict Kitchen — Lunch / early dinner 221 Schenley Dr, Pittsburgh, PA, USA 15213 South Foyer, 3rd Floor, College of Fine Arts Building, CMU Butterjoint — Dinner / drinks 214 N. Craig Street, Pittsburgh, PA 15213

Carnegie Museum of Art Accommodations

All presenters and attendees get free admission to the Carnegie Museum of Art. Simply show your OE name Human Hotel for OE 2015 badge to receive free admission. For the 2nd year in a row, OE has teamed up with Human Hotel, an artist-run hospitality service matching visiting conference presenters with private Pittsburg hosts based on individual preferences and schedules.

Due to a busy weekend on campus, parking will be difficult. OE recommends that conference attendees Transit use public transportation as much as possible! 4400 Forbes Avenue, Pittsburgh Located near CMU campus

Bus — $2.50 per ride, bring exact change! Park and Ride Lots — ($3.75 to/from airport via 28x) www.portauthority.org/paac/RiderServices/ParkandRideLots.aspx

BUS routes near CMU — CAR — Free and paid parking in Schenley Park behind campus.

University Center / Forbes Ave Stop Bike — Bike PGH routes www.bikepgh.org 61A, 61B, 61D (Downtown «-» Shadyside) 67, 71C (CMU «-» Bakery Square / Point Breeze) UBER — New users can ride free with Uber for OE 2015. Sign up 61C (CMU «-» Southside / Southside Works) with the promo code O E2015 for free first ride up to $20. Valid to use between April 17–19th, 2015. 5th Ave & Craig / Oakland Stop 93 (Oakland «-» Lawrenceville/Bloomfield) Uber is a free app that gets you a reliable ride at the touch of a button. Once you get to your destination, the payment is cash- Pittsburgh Port Authority Trip Planner — less and there’s no need to tip. www.portauthority.org/paac/SchedulesMaps/TripPlanner.aspx

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12 Schedule Open House Tours — Friday, April 17

All tours are Friday, April 17, from 10am–5pm. The bus will leave from Carnegie Mellon University campus at 10am and return at approximately 5pm. All tours are on a first come first serve basis and are limited to approximately 45 people each. Pick-up and drop-off is outside The Margaret Morrison Carnegie Hall, CMU. Support for Open House tours provided by The Sprout Fund and the Office of Public Art.

#1 TOUR #1 will feature local arts organization, initia- should be. Materials include but are not limited to: tives, and projects in the Penn Avenue area. a water bottle, recycled materials, magazines, tape, string, wire mesh, glitter, pompoms, and an LED Arts organizations featured will include the Center and battery. Through this process, the attendees for PostNatural History, Assemble, The Sprout Fund, will reveal subconscious similarities and differences fieldwork contemporary gallery, Boom Concepts, with each other, opening new ways of connecting Alloy Studios, and more. The tour will also include: as well.

Handmade Revolution: Zine Making Day at Boom The Engagement Party: Pittsburgh Women in Concepts — Bekezela Mguni and D.S. Kinsel the Arts; What Inspires them to Create and Handmade Revolution invites Open Engagement at- Make Change Panelists Tameka Cage-Conely, tendees to celebrate Zines/Zine-Making as a dem- Sarah Zeffiro, Leigh Solomon Pugliano, and Janera ocratic art form while producing a collective Zine Solomon | Moderator Gina Vensel that captures the reflections of the participants’ visit to Pittsburgh. The zine will be made available Artists will answer the question, “What inspires for digital download, placed in the Zine Distro you to create and make change.” This event will catalog and the Carnegie Library of Pittsburgh Zine consist of; a pop up installation, spoken word Collection. Artists D.S. Kinsel; Co-founder of Boom and musical performances and panel discussion. Concepts and micro-resident, Bekezela Mguni will During the party, each artist will describe their discuss place-making, literacy and liberation, and work, process, inspiration, and how they engage

Friday April 17 Friday Open House Tours zines as cultural preservation. The Distro facilitates the community. Open Engagement participants collaborative publication efforts, creating zines that will have the opportunity to experience how these are available for educators to use to discuss racism, socially engaged artists approach their work and cultural appropriation, gentrification, healing, well- its impact in Pittsburgh and beyond. This event will ness, resistance and art. provide content for attendees through formal and informal discussions around women in the arts, arts Bring The Beat Back: Her time to Shine and culture in Pittsburgh, inspiration, and making — Blak Rapp Madusa change through art. Melanie Carter (aka. Blak Rapp Madusa) is cre- Hacking Objects workshop: redesigning your world ating a documentary film called, Bring the Beat — Nina Barbuta, Assemble Back: Her time to Shine. A film about How Hip Hop influences contemporary Women of Color. She is One of our original workshops, Hacking Objects also creating the score for this project as way to is based on open-source concepts, creation, and promote her film and her music simultaneously. A building confidence through making. Participants Performance with my Hip Hop/Jazz band Killor Be, are guided through a hacking activity, taking apart a quintet of fellow “artivists” (artist and activist) will an everyday, vernacular object and transforming it be performing songs from the films soundtrack. A into anything else. Participants are also asked to 15 minute live performance following the 10 minute share their name, what the new object is, where in screening ending with a 5 minute Q&A to open the universe it might be found, and what scale it dialogue about the film.

14 #2 TOUR #2 will feature local arts organization, initia- ed by Michael Lee, Jessica Sevilla and community tives, and projects in the Downtown area. members of the Villa Coronilla neighborhood in Co- chabamba, Bolivia. Collaborating with the cultural Arts organizations featured will include Manchester institution mARTadero and neighborhood board Craftsmen Guild, City of Asylum, Spaces Corners, leaders, La Casita brings diverse creative activities and the Mattress Factory. The tour will also include: to the public while stimulating an imagination of future reuse of urban spaces and activating disused Inside “A People’s History of Pittsburgh”: Open open areas in the city. Studio & Bookmaking Tour — Melissa Catanese and Ed Panar, Spaces Corners Collaborative Dialogue: Artists Working for Social Justice — Emily Hopkins A People’s History of Pittsburgh compiles family-owned, found, and anonymous photographs There is a growing trend of artists who choose to and stories from the city’s residents to create an work in communities in-stead of galleries. This is a online archive that unearths and reconstructs nar- discussion of artist projects at Side Street Projects ratives through the lives of Pittsburghers. Select that use dialogue as a methodology to mobilize images from A People’s History of Pittsburgh will communities around issues of Social Justice. We contribute to a new publication slated for release will look at artists who use conversation as a cat- in 2015, published by Spaces Corners founders, alyst that allows people to explore, question, and Melissa Catanese and Ed Panar. The artists will propose collaborative solutions that can create discuss the surprises and challenges of editing sustained interventions in communities. the archive into a book, offering a behind the Open House Tours Friday April 17 scenes look into the making of the publication. I-Hotel:Exchanges on Urbanism,Spectacular Visitors will be invited to experience the collec- Fictions, Archives — Jerome Reyes and tammy ko tion through an ongoing slideshow of over 1,000 Robinson submissions and will get a first-hand look at the I-Hotel:Exchanges on Urbanism, Fictions, Ar- process of the book production. chives examines the global human rights reso- nance of San Francisco I-Hotel’s anti-eviction legacy. This presents a 2008-15 project engaging This tour will conclude with A Social Justice and mobile spectacular capitalisms and multiply S.E.A. Panel hosted by the Mattress Factory: located solidarities. This multi-platform work (exhibition,classes,senior services,archive,future La Casita: Reimagining Public Space in book) notes antecedents to gentrification, and Villa Coronilla — Michael Lee and Jessica Sevilla global finance cities in the US/Asia across socially La Casita is a transportable cultural space execut- engaged art practices.

#3 TOUR #3 will feature local arts organization, ini- ough building, an urban homestead, and a visit to tiatives, and projects in North Braddock and West Nina’s Place. Refreshments provided by RJ Tower Miffin. This tour will include artist tour projects. Brewing.

What’s Happening in Your Neighborhood? 21st Sensory Mall — dad pranks North Braddock Residents For Our Future This project strives to bring the physical and digital aspects of “mall culture” back together, using net- Join members of North Braddock Residents For based art and e-retail aesthetics to explore con- Our Future for a guided tour of resident based temporary uses of physical, brick and mortar mall initiatives in North Braddock and Braddock. Sites architecture. Artists will use the mall as a studio include the Bath House Ceramic Studio and The to produce digital art, and will engage mall traffic Neighborhood Print Shop at Braddock Carnegie in new ways using performances, installations, or Library, Braddock’s Field, the North Braddock Bor- public engagement projects.

15 Friday April 17

9AM–6PM | OPEN ENGAGEMENT reading room, WS will display titles cho- 7–7:30PM Registration Area sen by conference participants, which Opening Remarks they consider essential to their talk and To attend OE 2015, online registration is Join members of the OE Team and 2015 research. A reader with texts focusing on required prior to the conference. Check- Partners in opening OE 2015 and intro- the library as a site of revolution, and a in at the Registration Area is required to ducing its themes and programming. catalogue of the library holdings will be attend events. The Registration Area will available on site. Music Hall, Carnegie Museum of Art be open Friday, Saturday, and Sunday of the conference. South Foyer, 3rd Floor, College of Fine 7:30–9PM | Place and Revolution The Great Hall, 1st Floor, College of Fine Arts Building, CMU Keynote Presentation: Emily Jacir Arts Building, CMU Emily Jacir’s work spans a diverse 1–3PM | Place and Revolution range of media and strategies including 9AM–6PM | Place and Revolution Mister Rogers’ Neighborhood Revisited film, photography, social interventions, Local Information Center —Next Question: M. Michelle Illuminato installation, performance, video, writing — Sean Schumacher and Emily Blair and sound. Silenced historical narratives, Vegas has gambling. Portland has On his popular show, Fred Rogers often resistance, and movement are recur- bacon-maple donuts and birds put on featured real workplaces, many of which ring concerns in her practice. Jacir has things that don’t ordinarily have birds on were in Pittsburgh, where his show was shown extensively throughout Europe, them. Tourism hasn’t yet found a story produced. These memorable segments the Americas and the Middle East since so dominant for Pittsburgh, but that made hidden labor visible, emphasizing 1994. Awards include a Golden Lion could be a chance to tell a more com- the importance of each worker’s contri- at the 52nd Venice Biennale (2007); a plex story of what living here is like. Lo- butions. While some of these businesses Prince Claus Award (2007); the Hugo cal Information Center seeks to collect are still manufacturing products, others Boss Prize at (2008); the Herb Alpert locals’ stories into travel brochures and have become upscale apartments or Award (2011). encouraging journeys to destinations technology companies. The artist team Music Hall, Carnegie Museum of Art that are perhaps perfectly ordinary. Next Question will lead a trolley tour to a selection of these sites, taking a look at

Friday April 17 Friday Schedule The Great Hall, 1st Floor, College of Fine the changes Pittsburgh and its workers 9–11PM Arts Building, CMU have gone through. Opening Mixer An opening socially mixer featuring the 10AM–5PM | OPEN ENGAGEMENT Support for Mister Rogers’ Neighborhood following musical performances: Pittsburgh Open House Tours Revisited tour is provided by The Sprout Fund and the Office of Public Art. The Tours begin at 10am. Please see Chachacha (Revolution) tour is on a first come first serve basis previous two pages for information — Afro Routes Band and is limited to approximately 30 people. regarding Pittsburgh Open House Tours. Pick-up and drop-off: outside The Marga- The style chachacha can be loosely translated as revolution songs. The Margaret Morrison Carnegie Hall, CMU ret Morrison Carnegie Hall, CMU music is African pop with lyrics rooted in the politics of the world especially the 5–7PM | Place and Revolution 4–6PM | Open Engagement politics of Africa. OE Info Booth Palestinian Dinner and Discussion with Conflict Kitchen See description on page 11. P.O.W.E.R — 1Hood Media Conflict Kitchen will host an outdoor fam- South Foyer, 3rd Floor, College of Fine An original Hip Hop performance mesh- ily-style Palestinian dinner and discussion Arts Building, CMU ing lyricism, spoken word, and a cappella about its 5 year history in Pittsburgh. joints to provide a through, yet enter- Co-directors Jon Rubin and Dawn Wele- taining synopsis of events impacting 4–6PM | Place and Revolution ski along with Culinary Director Robert the world. Performers include: Jasiri X, Wendy’s Subway Reading Room Sayre will be on hand to discuss the proj- Paradise Gray, Idasa Tariq, L.U.C. (Lucas —Wendy’s Subway ect and its current iteration. $20/person. Mickens), Tyhir Frost (Tyhir Anderson Wendy’s Subway presents a selection Location: 221 Schenley Drive, Pittsburgh Frost), Blak Rapp Madusa (Melanie Car- of books on the topic of Place and Rev- PA. Pre-registration required: https:// ter), Jacquea Mae, and Celeste Smith olution, accessible during open hours www.eventbrite.com/e/palestinian-din- Music Hall Foyer, Carnegie Museum of Art for conference-goers. In conjunction ner-and-discussion-with-conflict-kitch- with installing this temporary library and en-tickets-15611205536

16 Saturday April 18

9AM–5PM | Open Engagement unprogrammed space/open zone. Fea- does Pleasure 101 look like? Partici- Registration Area turing Diego de la Vega Coffee Co-op. pate in a conversation about this often inhibiting question and become part of See description on page 16. Room 313, 3rd Floor, College of Fine Arts the SexEd project. Supported by sex Building, CMU The Great Hall, 1st Floor, College of Fine educator Karen B. K. Chan, participants Arts Building, CMU will collaboratively define what pleasure 10AM–5PM | Place and Revolution is, investigate how it is felt, its univer- Diego de la Vega Coffee Co-op 9AM–5PM | Place and Revolution sality, and how we are wired for it. After — Fran Ilich Local Information Center the workshop, sign up to create a video — Sean Schumacher Diego de la Vega Coffee Co-op is a proj- resource about the topic of pleasure as ect that offers organic coffee sourced part of SexEd’s ongoing exhibition “You- See description on page 16. locally in Chiapas, Mexico from Zapatis- wishyouwouldhaveknownTube.” The Great Hall, 1st Floor, College of Fine ta autonomous farms. Our goal is to con- Room 307, 3rd Floor, College of Fine Arts Arts Building, CMU nect social movements and geographi- Building, CMU cal regions: Chiapas and New York City, 9AM–5PM | Open Engagement with the goal of creating a horizontal fi- 10–11: 30AM | Place and Revolution OE Info Booth nancial flow between social movements. Survival is Political — emerging Veteran The cup of coffee can be traded for See description on page 11. Artists Movement any alternative currency, barter, or time South Foyer, 3rd Floor, College of Fine deposits (as well, as voluntary money What role do veterans’ creative practices Schedule Saturday April 18 Arts Building, CMU donations). All the proceedings will be have in building a movement to survive re-invested in buying more coffee from and transform American militarism? 9AM–5PM | Place and Revolution the autonomous Zapatista Municipali- You are invited to explore this question Wendy’s Subway Reading Room ties. We fully believe that another word, with veterans from the emerging Veteran —Wendy’s Subway another culture, another economy, and Artists Movement while participating in another narrative are possible. an open studio and workshop. Partici- See description on page 16. pating members of emerging Veteran Room 313, 3rd Floor, College of Fine Arts Artists Movement: Erica Slon, Yvette South Foyer, 3rd Floor, College of Fine Building, CMU Arts Building, CMU Pino, Ash Kyrie, Drew Cameron, Lovella Calica, Aaron Hughes, Eli Wright, Rachel 10–11: 30AM | Place and Revolution McNeill, and Amber Hoy. 10AM–5PM | Place and Revolution La Ruedada: Embodied Stories of Places Race, Community, and Creative Action and (Dis)belonging — Talk Is Cheap: Room 303, 3rd Floor, College of Fine Arts — Michelada Think Tank Unincorporated Language Laboratories Building, CMU The Michelada Think Tank will host a In this workshop, members from “La 10–11: 30AM | Conversation Series physical space during Open Engage- Ruedada” will perform dance steps and It’s My Revolution: Inverting Curatorial ment specifically convening socially-en- poems that were developed based on Discretion — Megan Johnston and gaged practitioners of color and their the lived experiences of immigrant youth. Carmen Papalia allies. This is a space to connect, to be, After this brief introductory performance, to unearth challenges, and collectivize the group will share one of the exercises This discussion-based session looks at analyses, assets and strategies. The it share community narratives and artic- unpacking tensions between curatorial space will be collaboratively pro- ulate commonalities: migration mapping. authority and expertise and audiences. grammed to support these intentions The workshop participants will then work There has been a recognized shift in au- and to cultivate creative social change. with “La Ruedada” to develop a new step thority, where the museum workers are based on the stories that emerge from becoming more interested in notions of Two culminating events are planned: the activity. community, collective authority, and the a mixer and a workshop for creating a priority of audience engagement over Room 308, 3rd Floor, College of Fine Arts more inclusive field. the fixation of objects. So what does Building, CMU North Foyer, 3rd Floor, College of Fine this mean when the collective authority Arts Building, CMU becomes a priority? Key ideas include: 10–11: 30AM | Place and Revolution slow curating, radical accessibility, SexEd Presents: Pleasure; Pleasure Con- creative contestation and risk, context, 10AM–5PM | Open Engagement versations and Workshop — SexEd collaboration, and collective assets. The Un-conference Space What do you wish someone taught or The Miller Gallery, CMU An open space for conference attend- told you about pleasure and sex? What ees to use as a meeting space/lounge/

17 10–11: 30AM | Conversation Series key individuals implicated in and working cultural considerations included In Solidarity — Paige Sarlin with the criminal justice system, who use China’s discouragement of individual artistic strategies and cultural produc- questioning, legal concerns, issues Today, solidarity serves as the basis for tion to confront and radically re-imagine of censorship, language barriers, and all sorts of cultural practices. We see criminal justice issues. Comprising a adaptation of our activist goals. This it asserted online and offline, enacted constellation of conversations, interactive roundtable discussion will include six through boycotts and die-ins, projects performances, and pre-recorded seg- of the thirteen delegate artists who and performances. But what are the lim- ments, the event will take place in a mock traveled to China for the exhibition its of these assertions of similarity and news/talk show set during a 90-minute and events and will be moderated by proclamations of allegiance across dif- live program. the project director. Audience partici- ference and distance? How does solidar- pation is encouraged. ity as a structure of feeling differ from its Room 310, 3rd Floor, College of Fine Arts deployment as an organizing principle or Building, CMU Panelists: Sherri Cornett, HTS:IISPA political strategy? What’s at stake when Director; Christine Giancola, HTS:IISPA we are working “in solidarity?” 12:30–2PM | Conversation Series Documentation Director; Mido Lee HTS:I- The Miller Gallery, CMU Saturday Lunchtime: Revolution For Two ISPA Technology and Language Director; — Ariana Jacob and Sheetal Prajapati Rosemary Meza-DesPlas, HTS:IISPA 11AM–5PM | Place and Revolution Get to know your fellow conference Installation Director; Neda Moridpour Lyrics and Lettering — The Arts participants in this speed-dating style HTS:IISPA Event Leader/Delegate Artist, Greenhouse and Mobile Print Power discussion format. Bring your lunch and and Priscilla Otani, HTS:IISPA Logistics join us for a series of short 15-minute Director. Arts Greenhouse (AG) will collaborate conversations with four different confer- with Mobile Print Power (MPP) to bring a Room 307, 3rd Floor, College of Fine Arts ence participants. Network and exchange participatory Hip Hop printmaking event Building, CMU ideas. This series is limited to 50 partic- to Open Engagement. Lyrics and Letter- ipants on a first-come, first served basis. ing combines two inherently social medi- 2:30–4PM | Place and Revolution No pre-registration required. ums, Hip Hop and silkscreen printmaking. S.E.A. and Accessibility Session The collectives will invite OE guests and The Miller Gallery, CMU — Presenters Amanda Cachia and passers-by to compose lyrics inspired Anne Mulgrave by social justice and empowerment at a 2:30–4PM | Place and Revolution Performing Crip Time: Bodies in Delibera- pop-up writing station. AG will perform Waging Art: Cultural Production and tion Motion — Amanda Cachia lyrics while MPP transfers them onto Political Crisis — Laura Raicovitch in silkscreens and guides participants in conversation with Jon Rubin This talk will focus on the art of rebel- printing their lines onto t-shirts, utilizing lion and revolution through the work of the group’s fully equipped mobile screen If art has the power to shift the ways international artists, filmmakers, design- printing cart. AG and MPP will give print- we see the world, then artists can play ers, organizations, grass roots activists, Saturday April 18 Saturday Schedule ed shirts to each participant in recogni- important roles in galvanizing political and collectives, who explore disability tion for their lyrical contribution. Support and social consciousness. Artist Jon activism as a critical social movement in provided by The Sprout Fund. Rubin delves into the specific politics various forms. The talk is spurred by the embedded in his work, how various 25th anniversary of the Americans with CFA Patio, College of Fine Arts, CMU publics encounter his thinking, and the Disabilities Act (ADA) that will occur in impacts of his practices. They will discuss 2015, and thus it also aims to honor the 12PM–5:15PM | OPEN PLATFORM experiences of contending with changing legacy of the ADA. Open Platform programming begins at political landscapes during times of crisis, 12pm. See schedule on pages 21–22. specifically working inside and outside Accessibility Revolution: Welcoming the United States, and how this impacts PWD to you Place — Anne Mulgrave, The Frank-Ratchye STUDIO for Creative both the political moment as well as the Greater Pittsburgh Arts Council Accessi- Inquiry, 1st Floor, College of Fine Arts reception of their work. bility Initiative Building, CMU CMOA Theatre, Carnegie Museum of Art Since 2010, GPAC has partnered with over 60 regional arts and culture organi- 12:30–2PM | Place and Revolution 2:30–4:00PM | Place and Revolution zations in a regional initiative to increase Touching Revolution: Radical Visions and Considerations and Challenges: Social- access to the arts for people with Creative Responses to Mass Incarcera- ly-Engaged Art in China — International disabilities. In the three years since, this tion — Gregory Sale, Mark Strandquist, Caucus of the Women’s Caucus for Art initiative has become a national model and Courtney Bowles for regional efforts to increase access to Under the aegis of the non-profit With only 5% of the world’s population, the arts for patrons, volunteers, em- Women’s Caucus for Art’s Interna- the U.S. incarcerates 25% of the world’s ployees and artists with disabilities. The tional Caucus and by invitation of prisoners. Since the War on Drugs began presentation will discuss how, by working Luxun Academy of Fine Arts, Chinese in the 1970s, U.S. prison populations have with the disability community SWPA has and American volunteers created risen 700%. How can we reform a system changed. Half the Sky: Intersections in Social that continuously invokes notions of war- Practice Art (HTS:IISPA) in Shenyang, Room 308, 3rd Floor, College of Fine Arts fare? Touching Revolution brings together China, April 2014. In preparation, Building, CMU

18 2:30–4PM | Place and Revolution performance and installation-based various schools have pioneered, both Place and Transformation Session intervention. The Drift will speak to their undergraduate and graduate program- — Presenters Kristelle Holliday and Elena approach of utilizing bodies of water ming, and look for congruency and best Marchevska as sites for production and experience practices that we can share and discuss that also expand our understanding of with other social practice educators. An The role art can play in rebuilding a land. They wonder how artistic platforms ultimate aim would be to encourage an sense of place — Kristelle Holliday can respond to geography as a tactile, international network. (Théâtre des Petites Lanternes) ecological, historical, economic, and Room 303, 3rd Floor, College of Fine Arts Tragedies strike and wreck entire commu- mythological space. Also, what assump- Building, CMU nities. Each community deals with the af- tions does one make about programing termath of tragedy in unique and resilient in public spaces, and how can these ways while finding their bearings and re- contexts be re-imagined? 5–6:30PM | Continuing OE storing their sense of place. Art can play The Value Proposition for S.E.A. — Pre- The Miller Gallery, CMU a crucial role in this. Is it an imperative senters Sunny Widmann, Ethany Uttech, role? Can it have a negative as well as a Mac Howison, and Dawn Weleski | Mod- positive impact? We would like to explore 4:30–6PM | Conversation Series erator Deborah Fisher Shop Talk: Teaching Socially and Publicly some of these more complicated and In this session, let’s think about the value Engaged Art — Jon Rubin ethical concepts using the Lac-Mégantic of socially engaged art projects. What train disaster of 2013 as a starting point. This conversation invites those who are value does a social practitioner impart teaching publicly engaged practices to an arts organization? A community The one who sings, means no evil– to share the challenges and successes foundation? A crowd? How does an artist Self-organised choirs — Elena from their unique pedagogical situations. or an art project declare its value and Marchevska Focusing on the nuts and bolts of how earn its own revenue? What can artists This discussion session will present the this is happening on the ground, we learn from entrepreneurs, who focus work of the self-organised choir “Ra- will discuss curricular structures and relentlessly on developing a clear value speani Skopjani,” who through their work philosophies, course offerings and syllabi, proposition? Does understanding the val- try to produce a counter-analysis of the strategies for negotiating institutional ue of your project make it easier to fund? Schedule Saturday April 18 political history of Republic of Mace- bureaucracy, integration with other Does it make it a better project? donia and the urban development of its disciplines and areas of study, and new capital Skopje, which has been for so methods for engaging students in critical Sunny Widmann of National Arts Strat- long and still remains largely falsified. research and fieldwork. egies will explore the ways in which artists/entrepreneurs working at the Two aspects will be discussed: their The Miller Gallery, CMU self-organised structure and the perfor- margins of the ecosystem and longstand- mance of solidarity through the use of ing institutions at the center can work to social media. 4:30–6PM | Conversation Series create mutually beneficial, synergistic Slow Down / A Practice of Notice relationships. Room 310, 3rd Floor, College of Fine Arts — M. Michelle Illuminato Building, CMU Stop what you are doing. Sit still. What Ethany Uttech of the national nonprofit do you see, hear, feel? Now, change your crowd-resourcing platform ioby (in our 2:30–4PM | Conversation Series perspective. Stand on your head, jump on back yards) will share case studies of Common Field: a new nationwide network a pogo stick, or climb a tree. Look around funded projects, and provide important for artist-run culture — Common Field again, what do you notice? Great ideas tips on crowd-funding for cultural work. Join a conversation about the new- are all around. Seeing them is what is ly formed Common Field, a national difficult. How do we identify the interest- Mac Howison of The Sprout Fund will grassroots network of non-profit visual ing? How do we cultivate the ability to discuss the value of socially engaged arts organizations and artist-run projects. notice? How might this practice of notice art projects to a community foundation The founders will lead with its goals and challenge us to reinvent our artmaking that is focused on local grassroots social gather feedback as well as talk about the toolkits and our classrooms? change. Sprout has supported a number of local artworks from a community-build- Hand in Glove conference happening The Miller Gallery, CMU September 17–20th in Minneapolis which ing point of view. will bring together independent arts organizers from across the country to address 5–6:30PM | Continuing OE Dawn Weleski of Conflict Kitchen will the practical and philosophical challeng- S.E.A. and Education Session: Creating a offer alternatives to typical funding es of their work. Global Network: Social Practice in Higher mechanisms through “Co-dependency Ed — Panelists Dean Merlino, Susanne Anonymous: 12 Steps to Freedom from The Miller Gallery, CMU Cockrell, Ted Purves, Susan Stewart, and Arts Funding Addiction,” suggesting that Kenneth Krafchek financial support can be produced within 2:30–4PM | Conversation Series This panel will be comprised of educa- the artwork itself and from unconvention- Buoyant Interventions — The Drift tional leaders in community engagement al outside institutions. This discussion will center around artistic representing the United States, Australia Room 307, 3rd Floor, College of Fine Arts strategies that explore geographic and Canada. The goal of the panel is Building, CMU commons as a location for temporary to share ideas and initiatives that our

19 5–6:30PM | Continuing OE 6–6:30PM | Arts @ the Frontier Archiving a Socially Engaged Practice OPENING — Adam Milner — Lexa Walsh OPENING responds to “Carnegie”, a How can artists and institutions collab- large, steel, Minimalist sculpture by orate to find a safe and functional way Richard Serra. Through a series of per- to archive the ephemeral practices of formances and interventions, OPENING Socially Engaged Art? What gets lost attempts to understand, appreciate, and in the creative process consisting of relate to the sculpture, while simul- meetings and emails? When is ephemera taneously challenging its unforgiving the archive and when is it the artwork? masculinity. Together, in this workshop, we will develop best practices for archiving a socially OPENING consists of a lineup of artists, engaged practice. writers, and performers who will use the sculpture’s aggressive form as a starting Room 308, 3rd Floor, College of Fine Arts point to examine notions of intimacy and Building, CMU gender.

5–6:30PM | Continuing OE Support provided through the Frank- S.E.A. and Institutions Session Ratchye Fund for Arts @ the Frontier. — Panelists Jaime Kopke and Maria Morta- ti, Yesomi Umolu, and Synthia Griffin Location: sculpture outside of the Carne- Moderator Allison Agsten gie Museum of Art SEA and Institutions covers a range of 7:30–9PM | Place and Revolution topics relevant to the presentation of SIX x ATE — Casey Droege socially engaged art inside and outside of museums. From institutional values SIX x ATE is a free dinner and lecture to internal workings, Jaime Kopke of event in Pittsburgh focused on creating a Denver Art Museum and Maria Mortati, stronger, more diverse and interdisciplin- an independent exhibition designer and ary creative community. social practice artist, discuss the politics of bringing socially engaged art to life For OE, a special SIX x ATE will feature 6 in the context of museums. Curator local artists and a cuisinier responding to Yesomi Umolu discusses the insertion of the theme of “Place and Revolution.” At- languages of resistance and revolution tendees will see 5 minute presentations Saturday April 18 Saturday Schedule in the gallery space in an overview of or performances from the artists, eat her 2013 exhibition, The Museum of Non delicious treats, and walk away with new Participation: The New Deal, featuring connections. Pre-registration is required the work of artists Karen Mirza and Brad to attend this event. Butler. Synthia Griffin from the Tate will Online registration is now open at the talk about the gallery’s role as a local following web address: https://www. museum and share ideas about develop- eventbrite.com/e/six-x-ate-place-and-rev- ing the “social model.” Moderated by the olution-tickets-15626940600 Hammer Museum’s Allison Agsten.

Room 310, 3rd Floor, College of Fine Arts Pittsburgh’s Energy Innovation Center Building, CMU (1435 Bedford Ave, Pittsburgh, PA 15219)

20 Open Platform — Saturday April 18

Open Platform programming runs from 12PM–5:15PM. All Open Platform sessions are located in The Frank- Ratchye STUDIO for Creative Inquiry, 1st Floor, College of Fine Arts Building, CMU.

12–12:15PM ents Pedro Reyes’ legislative that ended Communism. This Department of Play: Fictional theatre project “Amendment to discussion will consider how art Narrative in Public Space the Amendment/(Under)stand can serve as a tool for bringing — Katarzyna Balug (DoP) Your Ground” (2014) within the together diverse viewpoints context of Florida’s controver- in order to contemplate and Department of Play (DoP) is a sial “stand your ground” law. question civic life in the present Boston-based collective that Reyes worked with university, through the lens of the past. momentarily transforms public local middle and high school spaces into fantastical alterna- students on a performance 1:40–1:55PM tive realities. Temporary play script through a series of The Battle for Public Visual zones bring people together to workshops resulting in a one- Space — Grayson Earle, Mark collectively imagine visions of night event engaging audience Read, Rachel Brown, Chris the future. Participants break participants in a public debate Rogy, and Christian Flemming from immediate realities to on gun control and a rewriting (The Illuminator Art Collective) explore different ways of being of the Second Amendment. and relating to each other and A brief history of our collective

the world. The talk will share which was born during Occupy Open Platform Saturday April 18 DoP’s practice and research 1–1:15PM Wall Street followed by an inves- positing play as a model for Creative Campaigning: tigation into our continued bat- collaborative governance. Performance As Resistance tle over the visual environment — Suzanne Carte of New York City and beyond.

12:20–12:35PM In collaboration with a diverse Processes of Community range of York University student 2–2:15PM Theatre: Representation advocacy groups and associ- Contemporary Aesthetic and through Maps — Rudy Gerson ations, Creative Campaigning: Revolutionary Practices Performance as Resistance is a — Dena Al-Adeeb Rudy Gerson will present on an performance series that works Ithaca-based community play In light of September 11, the to further articulate students’ and how mapping can provide War on Terror, the invasions of concerns on campus. Student visual representations of civic Afghanistan and Iraq, and the leaders learn how to collectively engagement processes. Civic ongoing uprisings in the West identify issues, build alliances, Ensemble’s SAFETY project, a Asia and North Africa region, and understand how art can community-based play on po- this presentation examines play a central role in public lice relations, will be the central contemporary aesthetic and awareness strategies. case of his investigation into revolutionary practices as well the geography of community as decolonial architecture, with 1:20–1:35PM outreach. A discussion to follow a focus on exchanges of peda- Talking About Revolution in will center on mapping tech- gogical engagements and artis- Romanian Public Space — Anna nologies and how temporal and tic collaborative productions. Harsanyi, Hot and Cold: Revolu- spatial relationships and events tion in the Present Tense can be represented. 2:20–2:35PM How does a revolution alter Direct Provision Centres as 12:40–12:55PM public space? In December manifestations of resistance Amendment to the Amendment/ 2014, three artist groups pre- — Vukasin Nedeljkovic (Under)stand Your Ground sented interventions in public Direct Provision Centres are the — Sarah Howard and Megan spaces in Timişoara and Cluj, new category of institutions; Voeller, USFCAM Romania during a period of “non-places,” “deprived of singu- commemoration of the 25th University of South Florida Con- lar identity or relations”; where anniversary of the Revolution temporary Art Museum pres- the undefined incarceration is

21 the only existence (Auge, 1995; How can local communities 4:20–4:35PM Schinkel, 2009). The identity of begin a conversation about the Mycoremediation: Fairy Rings to asylum seekers is unknown; their conflict in Syria? This session the gBP — Jan Mun identity is reduced to having no explains how public installation known identity; direct provision art is a method of activism in The Fairy Rings and the Green- sites are “non-places” where Syrian resistance efforts, and point Bioremediation Project asylum seekers establish their how it ought to initiate local (gBP) are interfaces that activate new identity through the process civic response. “Red Lines” is an the use of mycoremediation of negotiating belonging. upcoming, community-funded and art to incite the imagination public installation piece that of a historically contaminated 2:40–2:55PM aims to start this very conversa- community. As social sculptures #ChalkedUnarmed: Ferguson, tion. It hopes to remind us of the they take their form as a creative MO is Everywhere — Mallory interconnectedness of our world cleanup and community part- Nezam and the innate obligation we nership to develop and innovate have toward it. #ChalkedUnarmed demands bioremediation practices for res- public confrontation with a idents in Greenpoint, Brooklyn. 3:40–3:55PM pattern of extra-judicial killing of The China Outpost > on the road unarmed black men and women 4:40–4:55PM — Nuttaphol Ma by police in the United States. Melting exercises for the On public sidewalks and streets The China Outpost is a nomadic reinhabitation of place — Sarah throughout the country, chalked self-imposed sweatshop created Lewison body outlines performatively by Nuttaphol Ma. Ma stages drawn are accompanied by the these temporal settlements This presentation draws from name, date and location of an throughout LA. They function as research on evolutionary symbi- unarmed African Americans make-shift forums to demon- osis that suggests that complex killed extrajudicially by the po- strate how Ma transforms dis- animals like humans are walking lice. Originating in Ferguson, MO, carded plastic bags into plastic assemblages of microorganisms #ChalkedUnarmed educates, threads, a material he will use as that are capable of thought and disrupts, and honors lives lost. the core building material for the affect. So who feels when we are reconstruction of his ances- feeling sad? In experimenting 3–3:15PM tral house. The sociocultural with the edges of our beings we PACE/THE CROSSING intervention invites passerby to look to invoke new ecological

Saturday April 18 Saturday Open Platform — Andrew Ellis Johnson and conversations about migration sense-abilities. Susanne Slavick and the labor of adapting to a new home. As part of Open En- 5–5:15PM A presentation of two videos gagement 2015, Ma will present From the lleca to the Cohue: relating to the 2011 Revolution The China Outpost’s contextual Photography education in prison in Egypt. PACE features the backdrop, highlight significant — Helena Acosta and Violette Great Pyramid of Giza and the events that shape its current Bule, Imago Collective Washington Monument swinging form and share future direction inverted in a tense and unstable Photographic educational of the project. relationship. Its rhythm echoes project inside of the prisons the erratic pace of change. THE in Venezuela. Demonstrating 4–4:20PM CROSSING features mirrored the process of teaching history Partnering with Government imagery of Egyptians celebrating photography and composition Agencies — Su Legatt in Tahrir Square. Their waving techniques can raise sensibility flags create a portal between Working as an individual artist in the participant, develop social liberation and the disillusionment not formally connected with a dynamics, generating in the and repression that has ensued. government agency, this presen- participants a different way of tation will focus on steps and seeing themself and their con- 3:20–3:35PM tips to successfully partner with text. Using photography as a tool Crossing Red Lines: Art a cata- government agencies to create for humanization as a creative lyst for political discourse — Laila community engagement projects. way of relief, a tool to give voice Al-Soulaiman to the other.

22 Sunday April 19

9AM–4PM | Open Engagement creative tactics and strategies used by 10–11:30AM | Place and Revolution OE Info Booth artists to challenge dominant discourse, Contemporary Urban Projection and expand legal/legislative advocacy Practices — Ali Momeni and Stephanie See description on page 11. efforts around complex human rights Sherman South Foyer, 3rd Floor, College of Fine issues. Featuring Favianna Rodriguez During this session, the Center for Urban Arts (CFA) Building, CMU of Culture Strike and Mark Strandquist Intervention Research (www.c-uir.org) and Courtney Bowles of the People’s will host a round-table on the topic of Paper Co-op, the workshop will highlight 9AM–4PM | Place and Revolution urban projection. The event will include: their work and impact, and engage with Wendy’s Subway Reading Room a rapid-fire show-and-tell (3 min presen- participants on developing innovative —Wendy’s Subway tations by participants); a presentation practices that shift culture and policy. See description on page 16. by Ali Momeni and Stephanie Sherman The discussion will be moderated by about their upcoming book, A Manual for South Foyer, 3rd Floor, CFA Building Independent Curator and Cultural Pro- Urban Projection (www.c-uir.org/projects/ ducer, Raquel de Anda. mup); a discussion on contemporary 10AM–4PM | Open Engagement Room 303, 3rd Floor, College of Fine Arts urban projection practices facilitated by Registration Area Building, CMU Momeni and Sherman (those interested See description on page 16. in participating in the panel should send proposals to [email protected]); and an The Great Hall, 1st Floor, CFA Building 10–11:30AM | Place and Revolution Slow Revolution — Betty Marín and informal reception.

Transformazium ArtFab, Room C200, Doherty Hall, CMU Schedule Sunday April 19 10AM–4PM | Place and Revolution Local Information Center The word revolution implies a sudden – Sean Schumacher dramatic change in society, obvious 10–11:30AM | Conversation Series through its force and power. Most social Group Bio — Lenka Clayton See description on page 16. change work is actually much slower and We will endeavor to together write a short often invisible. The work necessary for The Great Hall, 1st Floor, CFA Building collective biography that is equally true revolution to occur is often the long-term for each and every individual member of relationship and leadership building that 10AM–4PM | Place and Revolution the group. From the shared starting point make the foundation of social move- Race, Community, and Creative Action of this meeting we will search for acci- ments. What does a sustained practice —Michelada Think Tank dental correlations in our own personal in a community teach us about the slow- histories including coincidental mo- See description on page 17. ness of revolution? ments (we’re all wearing yellow!), shared North Foyer, 3rd Floor, CFA Building Room 308, 3rd Floor, College of Fine Arts experiences (we’ve been to Mexico!), Building, CMU accidental correlations (we’re all sensitive 10AM–5PM | Open Engagement to wool!), similarities in taste (we like The Un-conference Space 10–11:30AM | Place and Revolution the smell of books!) and so on. Common ground will be sought through directed See description on page 17. America’s Most Wanted: Hip Hop, Media and Mass Incarceration — Jasiri X discussion, open conversation, question- Room 313, 3rd Floor, CFA Building naires and special charts. We will try to Jasiri X discusses the intentional crimi- get as specific as possible. nalization of young men of color by mass 10AM–5PM | Place and Revolution media and how it directly connects to The Miller Gallery, CMU Diego de la Vega Coffee Co-op mass incarceration of the same de- — Fran Ilich mographic. Overwhelmingly negative 10–11:30AM | Conversation Series See description on page 17. stereotypic imagery utilized in today’s The Never-Ending Book of Women’s Room 313, 3rd Floor, CFA Building media, specifically in rap music, impacts Rights — Jennifer Nagle Myers how various members of society view A simple and open invitation to create the young men of color and how they view next chapter for the Never-Ending Book 10–11:30AM | Place and Revolution themselves. Jasiri X further explores how of Women’s Rights. As a small group Shifting Culture / Shifting Policy 1Hood Media found a way of combating of people, we will discuss this lifelong — Raquel de Anda, Courtney Bowles, Favi- this negative imagery. anna Rodriguez, and Mark Strandquist project and its many possibilities, while Room 310, 3rd Floor, College of Fine Arts working on the very newest chapter to- Shifting Culture/Shifting Policy is a pre- Building, CMU gether (The Open Engagement Chapter). sentation and brainstorming workshop Materials will be provided and the only that will showcase and examine different experience necessary is the ability to

23 remember and speak about some of the and organizational design, it considers art residency that goes beyond conflict women in your life (including yourself). themes of: equity, inclusion, belonging, and mobility. Participants will investigate leadership development, shared owner- methodologies to utilize the art residency The Miller Gallery, CMU ship and vision; meaningful contributions mechanism as a tool in areas of conflict. to a place’s social and cultural fabric; and Each individual will propose methods to 12PM–5:15PM | OPEN PLATFORM who determines the aesthetics of place. break physical and imaginary boundaries Open Platform programming begins at in areas of restricted mobility. 12pm. See schedule on pages 21–22. CMOA Theatre, Carnegie Museum of Art Room 303, 3rd Floor, College of Fine Arts The Frank-Ratchye STUDIO for Creative 2:30–4PM | Place and Revolution Building, CMU Inquiry, 1st Floor, College of Fine Arts Stamp Your Feet: Women’s Work in Building, CMU Hazelwood — Panelists Saundra Cole, 2:30–4PM | Conversation Series Andrea Coleman-Betts, Patrice Church, Appropriate Social Technology: Ethics & Mary Ann McHarg, Leah Hardaway, and 12:30–2PM | Conversation Series Ecology in the Classroom — Daniel Tucker Sunday Lunchtime: Open Forum Dianne Shenk For over 30 years artists have been trying — Ariana Jacob and Sheetal Prajapati A panel of six women organizers working to grapple with environmental problems in Hazelwood discuss their past, present, Reflect on the experience of OE 2015 and ethics in the space of art school and and future contributions to the neighbor- during lunch on Sunday in an Open universities. This work is concerned with hood, ranging from youth development, Forum series of discussions. These small looking bioregionally, scaling projects public safety, economic vitality, job train- group discussions will explore topics dis- and technology appropriately to various ing, aging, food production, and hunger. cussed throughout the conference in an environmental and social challenges, and Representing KOJAR, the Hazelwood open dialog format. Each group of up to deeply understanding the role that place YMCA, the Grandparent’s Coffee Hour, 25 participants will be led by facilitators plays in shaping the conditions of what is POORLAW, the Carnegie Library of Pitts- to discuss topics of interest to the group. both possible and responsible in a given burgh-Hazelwood, and Dylamato’s Market. Forum facilitators include artist Ariana Ja- context. This interplay between ethics cob and educator Sheetal Prajapati. Meet Room 307, 3rd Floor, College of Fine Arts and place was never able to be signifi- facilitators at The Miller Gallery with your Building, CMU cantly integrated into academic art due in lunch for lively and exciting discussion part to the requirement of long-term time with fellow participants. No pre-registra- 2:30–4PM | Place and Revolution commitments and serious interdisciplin- tion required. here, without: art, otherness and Isra- ary collaboration. The Miller Gallery, CMU el-Palestine — here, without These impediments should offer a warn- A few of the artists and mentors will pres- ing to socially-engaged artists working in 1–4PM | Place and Revolution ent their work and discuss their experi- academia today that our work may not fit SexEd Presents: Pleasure; Pleasure ences throughout the process leading up the rigidity and constraints of academ- Sunday April 19 Schedule Videos — SexEd to exhibition and discussion at Harvard’s ic culture, despite schools welcoming View videos made by participants from Carpenter Center for the Visual Arts social-practice artists in order to open up the SexEd Presents: Pleasure workshop. in May. We will discuss issues such as new educational markets and symbolical- Based on findings and experiences of otherness, neocolonialism, receptiveness, ly repair damaged university-community pleasure from work with sex educator, ethics and cross-cultural exchange. This relationships. Karen B.K. Chan, the videos respond engagement with the public is envisioned The Miller Gallery, CMU to the question, “What do you wish you as an integral part of this collaborative would have known about pleasure?” enquiry. Videos will be included in SexEd’s 2:30–4PM | Conversation Series ongoing online exhibition “Youwishyou- Panelists include: Ethan Pierce (Har- Curating Socially Engaged Art wouldhaveknownTube,” a platform for vard College), Awais Hussain (Harvard — Michael G. Birchall College), Kythe Heller (Harvard Divinity encouraging and sharing video tools to The expanse in curating and socially School), Julia Rooney (Harvard College), start discussions about a range of sexual engaged art has transformed how institu- Jackson Davidow (MIT). health topics. tions, artists and curators produce short South Foyer, 3rd Floor, College of Fine Room 310, 3rd Floor, College of Fine Arts and long term projects. Increasingly both Arts Building, CMU Building, CMU enter a working alliance and become producers of arts’ social relations. Therefore, have curators surpassed their function 2:30–4PM | Place and Revolution 2:30–4PM | Place and Revolution and become carers of communities? The Ethics and Aesthetics of Place Formatting the AIR blueprint, beyond How are curators becoming emblematic — Panelists Mike Blockstein, Reanne conflict & mobility — Presenters Gaby in arts critical reception, mediation and Estrada, Theresa Hwang, and Jeremy Liu Ron, Sara Raza, Favianna Rodriguez, Maayan Strauss, and Serra Ozhan dissemination? Is there is no longer a dis- The Ethics and Aesthetics of Place tinction between the labour of the artist discusses and questions the artist’s role This roundtable brings together curators, and the curator? in low-income urban communities of artists, producers and conflict experts for The Miller Gallery, CMU color. Led by panelists with expertise in a discussion and call for action. The ob- real estate, public health, urban planning, jective will be to create a blueprint for an

24 4:30PM–6PM | Conversation Series editorial collective of the journal FIELD. 5–7PM | Place and revolution Language is the doing – Transformazium The conversation will highlight a range of RPM – The Drift and the Institute methodologies and will draw attention to for New Feeling We work in complex contexts. Together, new modes of critical engagement that we will share, expand and play with the This project will manifest a series of rethink writing on socially engaged art languages we use to describe our work, energy vortexes around the city. For practices. Panelists include: Julia Fernan- forms of collaboration, and material two hours, conference attendees are dez, Paloma Checa-Gismero, Stephanie realities of our places. How we describe encouraged to visit these impermanent Sherman, and Noni Brynjolson. what we do. May not be how you describe phenomena by following an energy map. what we do. Who do we include and how? Room 303, 3rd Floor, College of Fine Arts Visitors with sensitivity to subtle forces What are our adjectives and pronouns? Building, CMU may feel a sense of euphoria, enhanced Do we prioritize clarity, brevity, poetics, hearing or dry skin as they approach a statistics, inspirations, outcomes, truth. power center. Grab a Vortex Map at www. 5–6:30PM | Continuing OE . .? My politics affect the construction of Education and SEA Session: Facilitation InstituteforNewFeeling.com/vortex or visit my descriptions. Applications require Skills from the field of Experiential Educa- the screening room. our measurement to be determined by tion – IlaSahai Prouty Room 308, 3rd Floor, College of Fine Arts the structures we work in resistance to. Building, CMU Projects outside of first/primary/original Through a combination of discussion and context need description to go beyond activity, this workshop will explore three the limits of space, place and time. What key theoretical constructs from the field 6–6:30PM | Arts @ the Frontier do we sound like when the describing is of experiential education and how they OPENING — Adam Milner can aid in facilitating successful commu- not separate from the doing? See description on page 20. nity-based art experiences. The Miller Gallery, CMU Support provided through the Frank- Room 307, 3rd Floor, College of Fine Arts Ratchye Fund for Arts @ the Frontier.Lo- Building, CMU 4:30–6PM | Conversation Series cation: sculpture outside of the Carnegie Working It, Owning It — Justseeds Museum of Art 5–6:30PM | Continuing OE Schedule Sunday April 19 Member/owners of Justseeds Artists’ Yesterday and Tomorrow: Socially En- 7:30–9PM | Place and Revolution Cooperative will discuss our working gaged Art and Institutional Practice Keynote Presentation — Rick Lowe dynamics, both internally and with — Presenters Maori Holmes, Sarah Bern- organizations working for social and hardt and Dave Pawl, and Diane Borsato Rick Lowe is an artist who resides in environmental justice. We position our Moderator Sheetal Prajapati Houston, Texas. His formal training is in practice as a creative facet of radical left the visual arts. Over the past twenty years What we understand today as social- movements, rather than as contemporary he has worked both inside and outside ly-engaged work has long been part of graphic art with political content. How do of art world institutions by participating community-based institutional practice, our backgrounds in movements inform in exhibitions and developing community both inside and outside of the art world. our horizontal dynamic as an art cooper- based art projects. In 1993, Rick founded Today, we find the field has been defined ative? How do our politics inform our de- Project Row Houses, an arts and cultural in new ways through research, academia, cision to run a business? When working community located in a historically sig- and organizational frameworks. Looking with institutions, how we have extended nificant and culturally charged neighbor- at the structure and development of those opportunities to create a space of hood in Houston, Texas. President Barack localized community-based organiza- commons, and nurture collective growth? Obama appointed Rick to the National tions of the mid 20th century, this panel Council on the Arts in 2013. The Miller Gallery, CMU will explore current practices and future planning for embedding and articulating Lecture Hall, Carnegie Museum of Art 5–6:30PM | Continuing OE socially-engaged art into institutions Curation and Criticism Session: while considering the role artists play in Socially Engaged Art Criticism connecting communities to organizations — FIELD Editorial Collective through their work. The conversation will include perspectives of art workers, This panel will bring together four arts artists, and programmers, exploring their writers working in different critical role and responsibility in presenting and disciplines to consider how discourse, defining the field today and in the future. style and modes of analysis shape and strengthen art production. The panel Room 310, 3rd Floor, College of Fine Arts will be moderated by members of the Building, CMU

25 Open Platform — Sunday April 19

Open Platform programming runs from 12PM–5:15PM. All Open Platform sessions are located in The Frank- Ratchye STUDIO for Creative Inquiry, 1st Floor, College of Fine Arts Building, CMU.

12–12:15PM forms, the artists build upon — Lucrecia Urbano and Cecilia A Place to Get Your Life: models of creative placemaking Mandrile Collaborative Structures for and asset-based community Zona Imaginaria: Taller + Residen- Youth — Lee Heinemann and Mag- development in order to sustain- cia is a non for profit Art Project gie Fitzpatrick, GET YOUR LIFE! ably transform communal spaces. established in San Fernando, an Productions Three case studies that employ unpriviledged neighbourhood this model will be presented in Get Your Life! Productions found- located in the outskirt of Buenos the context of public markets, ing artist Lee Heinemann discuss- Aires, Argentina. Zona Imaginaria community development corpora- es developing collaborative youth and its program Pequeños Apren- tions, and neighborhood initiated programming that is both reflexive dices aim to develop a sustain- dialogues around race and racism and ambitious. While GYL! able creative space that brings in East Baltimore. creates many products—ranging local, national and international from videos to exhibitions to artists to work together with the 1–1:15PM public events—the most signifi- community through creative and Table Alchemy — Linda Fernandez, cant creation is the culture within educational projects. Amber Art and Design the collaborative group. Working in a structure that treats adults Table Alchemy uses food as a de- 2–2:15PM and youth as equal collaborators vice for engaging communities by Reciprocity & Exchange: Power at creates a kind of micro-utopian creating open-air restaurants run Play in Artist Residencies — Justin moment amongst the participants. on community involvement. The Langlois targeted locations are areas in Langlois will discuss the tactics, 12:20–12:35PM the city of Philadelphia more than planning, and implementation of On The Map|Over-the-Rhine 1 mile distance of a food market the Neighborhood Time Exchange, — Mary Clare Rietz or sit-down restaurant—neighbor- a residency that offers an oppor- hoods such as Hartranft in North On The Map|Over-the-Rhine aims tunity to explore the ways in which

Sunday April 19 Open Platform Philadelphia. to challenge and subvert the nar- forms of value and exchange are rative, cartography, and economy identified and distributed, creat- 1:20–1:35PM of a rapidly gentrifying Cincinnati ing a framework through which Wassaic Project: Transformation neighborhood. the often-invisible resources of through Participation — Bowie a neighborhood (the people, the Zunino and Jeff Barnett-Winsby 12:40PM-12:55PM history, and the experience of ev- Catalyzing Communities: Story- The Wassaic Project is an incuba- eryday life) can be made explicitly telling, Organizing, and Place tor for emerging artists located valuable beyond standard cultural making as Development Method- in the historic hamlet of Wassaic, market measures. ologies — Alanna Purdy, Aletheia NY. Founded in 2008, the Wassa- Shin, and Juan Ortiz, Maryland ic Project has immersed itself into 2:20–2:35PM Institute College of Art the local community. Through 75º West/75º Oeste — Maria Möller participating with the local vol- Catalyzing Communities ex- Created by artist Maria Möller and unteer fire department, hosting plores a counterrevolution to the cultural manager Daniel Urrea in community events, and creating practice of using external creative response to the recent free trade new community traditions, the capital to develop neighborhoods agreement between the U.S. and Wassaic Project has transformed by considering how residents can Colombia, 75º West/75º Oeste the hamlet of Wassaic and re- create more vibrant, diverse, and is an on-going, exchange-based invigorated town pride. healthy places to live by relying collaboration between the citi- on existing social capital within zens of Philadelphia and Medellín. 1:40–1:55PM their communities. Incorporating Through the act of trading art, Zona Imaginaria: Art Bridge elements of community orga- culture, knowledge and ideas, between the World and the Barrio nizing and socially engaged art participants interpolate humanity

26 into the corporate values of free ing a home in a place most would Francisco. The Office of Environ- trade and investigate ways to find uninhabitable and accessing mental Experiments (OEE), is a regain a sense of agency in the food only when others bring it participatory arts and technology face of the global economy. to them. This project brings into initiative that aims to address the view the complexity’s of food ac- ecological and environmental 2:40–2:55PM cess from the perspective of the health concerns of urban citizens, Art, Money and Technical Agency: homeless men and women who particularly those in marginalized From tactics to strategies — Paz participated. They used dispos- communities, via novel and cre- Sastre able cameras to document how ative uses of ecological research, they accessed food, what they environmental sensing, and Today money as a medium of ate, and where it came from. renewable energy technologies. expression is the main subject of many artistic and social practices. 3:40–3:55PM 4:40–4:55PM Alternative currencies, crypto- What We Learned at Sponge HQ Assembling to Assemble, Creat- currencies and digital currencies — Hope Ginsburg ing a Community Platform — Nina are growing all over the world. In Barbuto, Assemble this context, the main objective is Taking the sea-sponge as muse, to develop a theoretical frame- Sponge HQ is a porous project Assemble, a community space work to analyze these artistic space within a university. “The for arts + technology in Pitts- and social practices in relation to HQ” hosts collaborations, crosses burgh, unites artists, makers, and changes on the technical agency from art into science and allows technologists to come and share that occurred since the second for fluid knowledge exchange their expertise through social

half of the twentieth century to between experts and learners. situations. Though “showcase, Open Platform — Sunday April 19 the present time. Sponge HQ has generated knowl- incubate,and educate”, Assemble edge about stealth reassembling serves as a connector for people 3–3:15PM of curriculum, equitable collabo- with little access to the ivory tow- Public Utility 2.0: Investigating ration with students, and models ers of academia as well as STEM Social Practice and the Biennial for orienting students to proj- industries. Assemble, a start-up Model — Emily Wilkerson and ect-based strategies. An overview non-profit, activates community Mary Ellen Carroll will be given to catalyze dialogue. through trust and building confidence through MAKE-ing. For Prospect.3, Mary Ellen Carroll 4–4:15PM developed Public Utility 2.0, an Outer Seed Shadow (OSS) 5–5:15PM initiative utilizing unused televi- — Juanli Carrion Teaching Social Engagement sion frequencies to provide Super in Revolutionary Cairo — Nada Wifi to underserved communities OSS is a series of public art Shalaby along New Orleans’ infamous interventions that materializes the Interstate-10 corridor. Carroll’s union between plant and human Nada Shalaby discusses her project proposes research, im- behaviors, using different plant experience teaching socially plementation, and shifts in public species as representatives of engaged art at the American policy for years ahead, beyond social groups or individuals. The University in Cairo during the the exhibition’s closing. Here, main component of the inter- past two years of turmoil and Emily Wilkerson and Mary Ellen vention is a community garden, change in Egypt. She shares ex- Carroll will discuss this work and based upon a series of video amples of student interventions problematize socially engaged interviews in which plants are demonstrating the deployment practices within the biennial self-identified by specific subjects, of various social engagement model. which ultimately hosts weekly strategies on campus and online. workshops in partnership with Opening a discussion on how ed- 3:20–3:35PM local groups and institutions. ucators and students work within Project NOLA: Under the Bridge challenging environments, she — Jeni Hansen Gard and Forrest 4:20–4:35PM talks about mediating risk, apathy Sincoff Gard, Gard Clay Studios Office of Environmental Experi- and conservatism. ments — Carlos Castellanos Project NOLA is an exploration of the place and people who live Artistic Explorations of Ecolo- under the bridge in New Orleans, gy, Technology and Community Louisiana. These people are mak- in Bayview-Hunters Point, San

27 Ongoing

Place and Revolution place and Revolution Arts @ the Frontier Laundromat / Prison — Matan Israeli Open Engagement: A Social Response Two itinerant quilters — Joanna Wright — Temporary Art Review and Lenka Clayton In 2008 Israeli was sentenced to military prison for refusing to serve in the occu- Throughout April, 2015, Temporary Art Joanna Wright and Lenka Clayton will pied West Bank. Like other inmates, Israeli Review is publishing a “social response” make a patchwork quilt using scraps of wore an American army uniform to distin- to Open Engagement, offering a subjec- fabric cut from the clothing of conference guish him from his jailors. After released, tive survey of the conference from the goers and collected door-to-door from he took the uniform with him. During the perspectives of organizers, participants, nearby homes. OE conference, Israeli will rid himself of and the public. The series will attempt to Support provided through the Frank- the uniform by washing it continuously comprehensively consider the confer- Ratchye Fund for Arts @ the Frontier. at a local laundromat until the uniform ence’s vision, history, and reception, as Located in the South Foyer, 3rd Floor, Col- disintegrates. The work will last till the well as offer critical responses to this lege of Fine Arts Building, CMU uniform vanishes. This project is gener- year’s events, with a broader goal of ously supported by the Prefix Institute considering a new form of critical writing of Contemporary Art and the Artis Grant around socially engaged practices that The Sprout Fund Program. Field Producer: Matthew Sandler. emphasizes the complex and decentered One Large — Cynthia Croot and Joy Katz, This project will take place 24/7 through- dialogues around the work. Participants Ifyoureallyloveme out the entire conference. and audiences at this year’s conference “Large” is a playful reference to thou- are encouraged to submit their perspec- sand-dollar bills. ONE LARGE divides a Able Laundromaxx, 3518 Blvd Of The Allies tives to [email protected]. $1,000 arts grant between 100 conference www.temporaryartreview.com registrants. Upon accepting a special $10 Arts @ the Frontier bill, participants agree to spend it at a Posted Notes — Kim Beck Arts @ the Frontier black-owned business in Pittsburgh (or Working in collaboration with her Intergalactic Human Immigration Office in their home community, anywhere on Carnegie Mellon interdisciplinary class — Zhiwan Cheung, Daniel Pillis, and Leah earth) and to document the transaction. “Mutable Landscapes,” Kim Beck will post Wulfman Black businesses lag behind businesses hundreds of self-adhesive Post-it notes We propose to open a temporary “Inter- of all other racial and ethnic groups in ev- ranging in size from 3x3 inches to 3x3 ery measure of success. Almost all money Ongoing Projects Schedule galactic Human Immigration Office”, a site feet around Pittsburgh prior to and during specific social sculpture that will dispense spent by black Americans flows out of the Open Engagement conference. These a national identity based in space, not “on” their communities. Scant money spent by notes will be hand-screen printed with earth. In doing so, we will manufacture a people of other races flows to black busi- directional messages and images devel- situation where everyone becomes a new nesses. ONE LARGE activates awareness oped in the class. type of human, a member of the galaxy, of the black economy and creates new encounters for artists in their communities. Support provided through the Frank- from a world without states or countries. Ratchye Fund for Arts @ the Frontier Locat- Support provided through the Frank- Support for this project provided by The ed around Pittsburgh and OE locations Ratchye Fund for Arts @ the Frontier. Lo- Sprout Fund. The Great Hall, 1st Floor, cated around Pittsburgh and OE locations College of Fine Arts Building, CMU

28 Open Engagement In Print is a publishing imprint dedicated to the creation and distribution of printed matter focused on socially engaged art. OE In Print features edited volumes, artist conversation series, and small publications that highlight the work of Open Engagement presenters and beyond.

OEIP_001 | The questions we ask together Edited by Gemma-Rose Turnbull. Featuring contributions from 100 members of the Open Engagement community. | Released 2015

OEIP_002 | Open Engagement: Looking Back, Looking Ahead by Jen Delos Reyes | Released 2015

OEIP_003 | Place and revolution In Conversation: Lisa Lee and Rick Lowe | Released 2015

OEIP_004 | I’m Going to LIve the Life I Sing About in my Song: How Artists Make and Live Lives of Meaning by Jen Delos Reyes | Coming 2016

Learn more and order titles at www.openengagement.info/in-print

29 30 Contributors

31 Contributors

1Hood Media is a collective a robust public discourse write, compose, and then Artists Mike Blockstein and of conscious Hip Hop artists about the conflict in Syria record songs in a state-of- Reanne Estrada (Public Mat- and activists who utilize Hip through public installation art the-art recording studio. ters), Architect Theresa Hwang Hop as a means of raising and, more broadly, advocacy (Skid Row Housing Trust), and awareness around issues campaigns that educate the Located in the Garfield neigh- Artist/Community Developer effecting oppressed people Pittsburgh community. borhood of Pittsburgh, Assem- Jeremy Liu (Creative Ecolo- around the world. ble is a 501 (c) 3 organization gies) work on place-based Lauren B. Allen is a biologist with the mission to unite projects that integrate art, Edith Abeyta is an artist living and learning researcher who artists, technologists, and participatory design, educa- in North Braddock, PA. She focuses on understanding how makers with their neighbors of tion and planning. combines post-consumer people learn to respond to all demographics and provide goods and participatory ges- the complex socio-scientific a platform for experiential Diane Borsato has established tures to form temporary instal- challenges that we collectively learning, open creative pro- a significant international lations. She is currently artist face, including, for example, cesses, and building confi- reputation for works in various in residence at the Carnegie the power of genetic engi- dence through making. media, including performance, Contributors Library Pittsburgh-Hazelwood. neering and its accompanying social and interventionist human exploits, and adapting Asylum Archive is not practices. She is Associate Allison Agsten, Curator of to a changing global climate. conceived as a singular art Professor of Studio Art at Public Engagement at the Lauren studies the learning project that stands ‘outside of the University of Guelph, and Hammer Museum, leads a that happens outside of formal society’ engaged in an internal is based in Toronto. Diane program that creates an ex- learning spaces, examining conversation. Rather it is a Borsato’s work can be seen at: change between visitors and learning through human inter- platform open for dialogue www.dianeborsto.net the museum through works of action in museums, galleries, and discussion inclusive to art. She is presently organiz- and other public spaces. individuals who have experi- Noni Brynjolson, Paloma Che- ing the museum’s first Public enced a sense of sociological ca-Gismero, Julia Fernandez, Engagement Partnership with Amber Art + Design is a displacement. and Stephanie Sherman are Art + Practice, a new art and Philadelphia-based collective PhD students in Art Histo- social services non-profit in that work in the public art Kim Beck See bio on page 7. ry and Practice at UCSD. South L.A. sphere within communities Coming from different back- that possess few resources Sarah Bernhardt is a St. Louis grounds, they form part of the Dena Al-Adeeb is an artist/ and little or no access to art. based artist, professor, and editorial collective of FIELD, scholar/activist born in We believe in the necessity the director at Intersect Arts a journal of socially engaged Baghdad, Iraq and is currently of time invested in a location Center. art criticism. based in New York. She is a in order to establish trust and Ph.D. candidate in the Middle real impact. Michael G. Birchall is a curator, Amanda Cachia is an inde- Eastern and Islamic Studies writer, lecturer, publisher pendent curator from Sydney, Department, Culture and Rep- The Arts Greenhouse is a and PhD candidate based in Australia and is currently resentation track with a focus music education outreach pro- Berlin. He has held curatorial completing her PhD in Art in Arts Politics at New York gram for Pittsburgh teens that appointments at The Western History, Theory & Criticism at University. is affiliated with the Carnegie Front, Vancouver, Canada, The the University of California, Mellon’s Studio for Creative In- Banff Centre, Banff, Canada, San Diego. Her dissertation Laila Al-Soulaiman is a Syri- quiry. With the help of faculty and Künstlerhaus Stuttgart, will focus on the intersection an-American undergraduate and students, as well as local Germany, and is co-publisher of disability, phenomenology student dedicated to fostering hip-hop performers, teens of the journal On Curating. and contemporary art.

32 Juanli Carrion focuses on perimental dance and theater. Raquel de Anda is an Indepen- Jeni and Forrest Gard are site-specific multidisciplinary Currently, Cockrell’s work fo- dent Curator, Art Writer and a husband and wife team interventions addressing the cuses on creating large-scale Cultural Organizer currently interested in ceramic objects nature of human behavior commissions for museums based in New York City. From and the social realm that through interaction with social and public spaces (www. 2003–2010 Raquel served as surrounds them. Jeni is a can- groups, working internationally fieldfaring.org). These collab- Associate Curator at Galería didate in the Master of Fine with organizations like NYC orative projects ask questions de la Raza (San Francisco, Arts program at Ohio State Department of Parks, Ex-Te- about systems of critical CA). Raquel is currently craft- University and Forrest recently resa Museum, LMCC, and exchange, food and farming ing up projects with the Peo- received his MFA from Louisi- Spanish Ministry of Culture. in the urban landscape, and ple’s Climate Arts team in New ana State University. explorations of informal social York City, while pursuing her Suzanne Carte is an indepen- economies. Cockrell is an As- graduate degree at Parsons, Rudy Gerson is an actor/eth- dent curator and the Assistant sociate Professor and Chair of The New School in Design and nographer passionate about Curator at the Art Gallery of Community Arts at California Urban Ecologies. engaged theatre and per- York University. She sits on the College of the Arts. formance as public practice. board of Images Festival and Department of Play brings a Currently, he’s finishing up his holds an MA in Contemporary Common Field is led by spirit of empathy and wonder thesis and looking forward to Art History from Sotheby’s Art Elizabeth Chodos, Court- to to public life through im- performing, writing, and creat- Institute in New York. ney Fink, Nat May, Abigail mersive, irresistible, and aes- ing more after graduation. Satinsky, Stephanie Sherman, thetically appealing collective Melanie Carter, artistically and Shannon Stratton. Other experiences in public space. Get Your Life! Productions is a known as Blak Rapp Madusa, founding membership is com- The Boston-based collective collaborative, youth-centered is a Hip Hop “artivist” an artist posed of 20 visual arts leaders creates temporary play zones video production company and an activist. The name from across the US who have where residents step out of consisting of student artists MADUSA is an acronym for been meeting since 2013 to the everyday. aged 10-21 in Baltimore, MD. Making A Difference Using support the development of GYL! is engaged in a yearlong Skills and Activism. the initiative. Common Field Casey Droege was raised by project related to utopia, the membership opens publicly in two artists and a mime. Their future and world-making that Carlos Castellanos, PhD is Spring 2015. incessant side hustles created spans many public platforms. Contributors an interdisciplinary artist and the time management mon- researcher working at the Conflict Kitchen is a restau- ster/slightly organized tornado Hope Ginsburg is a Rich- intersection art, science and rant that only serves cuisine that is Casey. She now lives mond, VA based artist whose technology. He is Assistant from countries with which the and works as an artist and work is informed by curiosity Professor in the Department United States is in conflict. cultural producer in Pittsburgh. about the natural world and of Art, Kansas State University. Each Conflict Kitchen itera- Her work can be seen at knowledge exchange. Her tion is augmented by events, www.caseywhat.com. project-based work spans Zhiwan Cheung, Daniel Pillis, performances, publications, sculpture, performance and and Leah Wulfman are CMU and discussions that seek to The Drift is an artist-run participatory events. She students. As artists, Daniel expand the engagement the platform that explores bodies is Associate Professor at specializes in virtual experi- public has with the culture, of water as a context for VCUarts, where her ongoing ences as a vehicle to explore politics, and issues at stake temporary public art. Since artwork, Sponge (2006–pres- issues of sensation and within the focus region. The 2012, they have worked with ent) is headquartered at the perception while Zhiwan looks restaurant rotates identities in resident artists and collab- university gallery. to non-states and in-between- relation to current geopoliti- orative groups to produce a states of social and cultural cal events. range of projects and events Synthia Griffin leads Tate identity. Leah is an architect on the three converging rivers Modern’s work on Regenera- interested in natural and Dadpranks is an all female in Pittsburgh, PA. They host tion and Community Partner- human dimensions within a new media collective based in monthly programs that are ships, she is passionate about digital conception. Pittsburgh, Los Angeles, and free and open to the public. the role contemporary art and Amherst, Mass. Their work www.the-drift.org culture can play as a catalyst Lenka Clayton was the is spontaneously created in for discovery about the way world’s first artist-in-res- physical and online collab- The emerging Veteran Artists we interact with social and idence-in-motherhood. orative environments and Movement is not a organiza- public space as well as the Amongst other things she exhibited at www.dadpranks. tion or project but a decen- built environment. makes daily drawings on a com and in various IRL tralized collection of veterans typewriter and is one half settings, including the Three committed to using creative Anna Harsanyi is a curator of a team writing unique, Rivers Arts Festival, VIA, Mote practices to transform them- and arts manager. She orga- hand-written letters to every 078, SPACES Cleveland, and selves and a society rooted in nized “Hot & Cold” together household in the world. upcoming shows at SPACE militarism and dehumanization. with Roxana Bedrule, and has Gallery in Pittsburgh and also worked at the Bronx River Susanne Cockrell is a visual MOCA Cleveland. Deborah Fisher See bio on Art Center, No Longer Empty, artist with a background in ex- page 7. MoMA and A Blade of Grass.

33 Maori Holmes is a filmmaker, a fully stocked infoshop and with visual culture and civil committed to intervening with writer, curator, and producer. mini-library. It is designed engagement. Her PhD, Slow productive social processes. She is the founder and artistic to bring the spirit of Occupy Curating: A Reflective Practice director of the BlackStar Film Wall Street to streets and introduces new approaches Su Legatt is Professor of Prac- Festival. Her award-winning neighborhoods throughout the to contemporary curating and tice in photography and digital film/video work has been boroughs of New York City museology. media at North Dakota State screened internationally and and beyond. University. She works with broadcast throughout the US. Justseeds Artists’ Cooper- several government, school, Imago Collective develops ative is a decentralized net- and municipal organizations in Emily Hopkins is an artist, projects that straddle in the work of 30 artists committed the Fargo/Moorhead area to curator, and Executive Direc- line between art and activism. to making print and design strengthen the role of art and tor of Side Street Projects. Our main project is placed in work that reflects a radical artists in the community. Emily develops sustainable, the prisons of Venezuela. The social, environmental, and po- community-based systems basic goal is to question our litical stance. With members Sarah Lewison is an artist, that connect artists directly to role in an era of global crisis; working from the U.S., Cana- writer and activist concerned communities. She has a BFA what can we do as an attempt da, and Mexico, we produce with political ecology and in Art and an MA in Aesthetics to transform or talk about this collective portfolios, contrib- ecological perception. Her and Politics from CalArts. reality. ute graphics to grassroots research based projects use struggles for justice, and work play, dialogue and media to Mac Howison See bio on The Institute for New Feeling collaboratively both in and invoke environment, materi- page 7. is an artist collective and outside the co-op. ality and the mattering of the experimental “wellness” insti- non-human. She lives in rural Ifyoureallyloveme, a collective tution, offering unconventional Jaime Kopke is the Manager Southern Illinois. of theater practitioners and treatments, therapies, retreats of Adult & College Programs, poets, uses word, music, and and products. www.institute- Denver Art Museum, where “How can I make work about performance, combined with fornewfeeling.com she co-produces projects with life if I do not live?” This pro-beauty and anti-racist the creative community. question profoundly affects strategies, to create art in The International Caucus of Nuttaphol Ma’s multi-disci- Pittsburgh and other U.S. cit- the Women’s Caucus for Art Ken Krafchek has been a plinary works. Through critical ies. Ifyoureallylove me values and its membership of women member of the Maryland interventions of spaces and true communion. artists and academics, devel- Institute College of Art (MICA) movements between the ops collaborative projects with faculty since 1985, receiving dreams of leaving and dreams Fran Ilich, artist and author of other global organizations the Trustee Fellowship for Ex- of roots, Ma create interac-

Contributors several novels and the book- and entities around activist cellence in Teaching in 1998. tions that blur the boundary length essay “Otra Narrativa themes, uses WCA’s NGO Ken founded MICA’s Office of between art and life. es Posible.” He participated status to bring attention to UN Community Arts Partnerships in Berlinale Talent Campus, priorities and honors activist (CAP) and MA/MFA in Com- Lucrecia Urbano (Argentina, Transmediale, Documenta artists. www.wcainternational- munity Arts program, currently 1968) and Cecilia Mandrile (Ar- 12 and 13, Creative Time caucus.weebly.com serving as Graduate Director gentina, 1969) are artists and exhibition. He was a fellow at for the MFA. educators. In 2008, Lucrecia Eyebeam and was awarded Matan Israeli is an artist who funded Zona Imaginaria with an A Blade of Grass inau- lives and works in Jerusalem, Justin A. Langlois is an the aim to connect the local gural fellowship of Socially mostly on the border of East artist and educator. He is community with visiting artists Engaged Art. and West Jerusalem. In his the co-founder and research through collaborative projects. work, Israeli offers an alter- director of Broken City Lab, Cecilia acts as international M. Michelle Illuminato creates native to the official estab- principal of Antagonism.Works, co-director of ZI. events, public-exchanges, lishment’s attitude towards and an Assistant Professor and artworks to help reveal contested urban spaces. teaching Social Practice in the Dr Elena Marchevska is an the complicated and often co-founder and artistic direc- Faculty of Culture and Com- interdisciplinary artist and re- contradictory relationship tor of Muslala project which munity at Emily Carr University searcher based in UK. She is between people, their culture aims to turn the No-Man’sLand of Art and Design. currently engaged in research- and the land they live on. She Into ALL-Man’sLand. ing radical self organised per- works individually and with Michael Lee (USA) and formance practices in South the collective Next Question Megan Johnston is current- Jessica Sevilla (Mexico) are East Europe on projects that have been ly Director at The Model in currently graduate candidates exhibited nationally and Ireland. Her socially engaged in Harvard University’s School Betty Marín is an artist, educa- internationally. She teaches at curatorial practice centers of Design, pursuing research tor, and social justice worker Alfred University. on fundamental questions and development in the Art, from Wilmington, CA. about art, its display and Design and the Public Domain The Illuminator is a cargo mediation. She is interested in program. Both come from Dean Merlino is a teacher, van equipped with video and where sociopolitical/historical diverse interdisciplinary back- researcher and musician audio projection, as well as issues and creativity converge grounds as architects and are at the Centre for Cultural

34 Partnerships at the Univer- Ali Momeni is a builder, some of the leading business intentionally altered through sity of Melbourne. His areas composer and performer school faculty in the United selective breeding or genetic of research include a) the interested in using technology States. engineering. The Center for development of the pedagogic to bring people together. His PostNatural History operates philosophies underpinning the work makes use of all man- Next Question is artist team a permanent exhibition facility future professionalization of ners of technology to explore Emily Blair and M. Michelle in Pittsburgh, Pennsylvania, community practice and b) the how computation can give us Illuminato. We invite public and produces traveling exhi- role of sound in cultural sys- a more intimate understanding collaboration in our works— bitions that have appeared tems and cosmologies. He has of the world around us. He from initial ideas to interaction in science and art museums published and been engaged teaching at the intersection of with the finished piece. Our throughout Europe and the internationally to speak and art, design and engineering at works investigate the social United States. lecture on these themes. Carnegie Mellon University. aspects of urban space, with an emphasis on including Dave Pawl is an artist, edu- Bekezela Mguni is a queer, Maria Mortati is an Exhibition multiple voices. cator and President of the abundant bodied, Trinidadian Designer and Social Practice Watertown Arts Council in WI. femme. She works as an inde- Artist, working on projects that Mallory Nezam’s creative inter- He was the first resident artist pendent librarian, Reproduc- push on community engage- ventions instigate and catalyze at Intersect in 2014. tive Justice and Human Rights ment and art museums. people in public space. Cen- activist, doula, poet and artist. tral to her work is the partici- “here, without” is a project She is a co-founder of New Anne Mulgrave is long time pation and transformation of that brings a multidisciplinary Voices Pittsburgh: Women of advocate for people with the audience, the line between group of young participants Color for Reproductive Jus- disabilities who uses her deep artist and spectator dissolving, based at Harvard University tice, is a servant leader and ties to the disability communi- and the work co-emerging live. together with 32 Israeli and bridge builder in Pittsburgh. ty to connect people with dis- She is convinced that sharing Palestinian artist-mentors. abilities to the arts. Anne leads creative expressions in public They will ultimately produce Adam Milner is an artist whose GPAC’s nationally recognized space strengthens autonomy, work centering around the practice relies on document- initiative to increase access to builds community. Israeli-Palestinian relationship. ing his private life as a way the arts. to examine cultural methods Serra Ozhan works as Project IlaSahai Prouty works with Contributors of personal exchange. He Jan Mun is a NYC-based me- Coordinator at Anadolu Kültür installation and performance. received a BFA in Visual Art dia artist that creates social (Istanbul) for Tandem Cultural She’s an Assistant Professor and a BS in Journalism from sculptures. Using a combina- Managers Exchange Turkey at Appalachian State Univer- the University of Colorado. He tion of artistic and scientific – EU programme since 2011. sity teaching Art for Social is currently an MFA candidate processes, Jan is an amateur She was the coordinator of an Change and an author/facili- at CMU. mycologist, microbiologist, artist initiative named Apart- tator focused on disseminat- and beekeeper working in col- ment Project (2008–2010). ing experiential education Mobile Print Power (MPP) is laboration with communities She has worked in the field of techniques. She has an MFA a multi-generational mobile to innovate ways to communi- arts and culture since 2005 from the California College of print collective based in cate with each other and the both on administrative level the Arts. Corona, Queens that uses the larger public. and as a curator. inherently social medium of Aletheia Shin, Alanna Purdy printmaking as a vehicle for Jennifer Nagle Myers is a Carmen Papalia is a Social and Juan Ortiz are community collaboration and empower- visual artist and director of Practice artist who makes par- artists working in Baltimore ment. Over the past two years, site-specific performances. ticipatory projects on the topic City. By incorporating the the ten core members of MPP The Never-Ending Book of of access as it relates to pub- methodologies of community have developed a working Women’s Rights is a lifelong lic space, the art institution organizing, storytelling, and methodology for collaborative, project that she envisions as a and visual culture. His work creative place-making in their socially engaged printmaking practice to engage in conver- has been featured as part of artistic praxes, the presenters in public space. sation around women’s rights. engagements at the Whitney build local leadership through Her work confronts dominant Museum of American Art, the creative platforms that pro- Maria Möller is a Philadel- systems of power through the Solomon R. Guggenheim mote neighborhood solidarity phia-based artist whose profound language of creative Museum and the Museum of and sustainable community socially-engaged work distills expression. Modern Art in New York. development in East Baltimore. narrative from fact and inter- prets how place can reflect National Arts Strategies has Richard Pell works at the Ted Purves is a writer and our innermost longings and been working with leaders in intersections of science, engi- artist based in Berkeley, collective hopes. Rooted arts and culture for over thirty neering, and culture. He is the California. He produces social- in collaboration, her work years. In their organizational founder of the Center for Post- ly-based projects in collabo- includes site-specific instal- leadership programs arts Natural History, an outreach ration with Susanne Cockrell lations, participatory projects, leaders explore the toughest organization dedicated to under the umbrella name of and community-based events. challenges facing organiza- the collection and exposition Fieldfaring (www.fieldfaring. tions today, and learn from of life-forms that have been org). Their most recent project,

35 The Red Bank Pawpaw Circle, and materials in what she calls Paz Sastre lives and works in create, educate, inspire and a large public planting project, “aesthetic action.” Mexico city as professor of make change. was completed in Cincinnati, media arts in the Universidad Ohio in Fall 2012. Purves was tammy ko Robinson, artist-re- Autónoma Metropolitana. She Founded in 2011, Spaces the founder of the MFA con- searcher, investigates public is a member of the Research- Corners is an artist-run photo- centration in Social Practice stewardship of land, water, er National System of the book shop and project space at California College of the and airwaves. tammy is Asso- Mexican Government and based in Pittsburgh PA. Their Arts in 2005. His book, What ciate Professor at Hanyang also collaborate in independet bookshop is carefully edited We Want is Free: Generos- University and has collaborat- projects. to reflect important trends in ity and Exchange in Recent ed with Jerome Reyes on the I contemporary photography Art, was published by SUNY Hotel Project since 2008. SexEd is an ongoing quest to that they hope will inspire Press in 2005. A significantly use art as a catalyst to expose and educate their visitors. In expanded and revised edition, Favianna Rodriguez is a trans- the current state of sexual January 2015, Spaces Corners What We Want Is Free: Critical national interdisciplinary artist education in the US, encour- opened the doors to their per- Exchange in Recent Art, was and cultural organizer. Her age a public discourse around manent headquarters in the released in 2014. art and collaborative projects the topics of sexual health and exciting North Side neighbor- deal with migration, global pol- education, and develop sex hood of Troy Hill. Laura Raicovich is President itics, economic injustice, pa- education curricula that are and Executive Director of triarchy, and interdependence. artist-inspired and communi- Susan Stewart is the Founding The Queens Museum where Rodriguez lectures globally ty-based. Dean of the Faculty of Culture she directs all aspects of the on the power of art, cultural and Community at Emily Carr Museum’s activities and is organizing and technology Nada Shalaby is a visual artist University of Art + Design, charged with envisioning its to inspire social change, born in Cairo. She began work Vancouver, British Columbia. future. She is a champion of and leads art workshops at in social practice in 2009 and She is a trans-disciplinary so- socially engaged art prac- schools around the country. two years later she co-found- cial practice artist and educa- tices that address the most ed an art space and social en- tor. Recent work is concerned pressing social, political, and Gaby Ron is a curator current- gagement residency program with the relational, ecological, ecological issues of our times, ly based in Brooklyn. After in Chicago. She lives in Cairo and political aspects of the and has defined her career graduating from CSM collage and teaches at the American social body within the context with artist-driven projects and in London she established University in Cairo. of environmental and cultural programs. “Peila” a non-profit art residen- crisis. (Change Without Notice, cy in Tel-Aviv. Gaby curates Stephanie Sherman is a 2009) Sara Raza, the Guggenheim and produces art, theory and curator, writer, and organizer

Contributors UBS MAP Curator for the Mid- design workshops, panels, whose projects transform sites Maayan Strauss studied archi- dle East & North Africa and and exhibitions in the field of of consumption as places for tecture at the Bezalel Acade- YARAT Head of Education and social engagement. collaborative co-production. my in Jerusalem and received 2015 Public Art Festival Cura- She is the founder of Else- her MFA in Photography from tor. She is a PhD candidate at Jon Rubin See bio on page 7. where, Kulturpark, and Provi- Yale School of Art in 2012. In the Royal College of Art, and sions Research Residencies. 2014 Maayan lunched her founder of Punk Orientalism, As an informal collective, www.stephaniesherman.net project Container Residency an umbrella for her multi-dis- Gregory Sale, Mark Strand- at World Wide Storefront ciplinary post-soviet contem- quist, and Courtney Bowles Andrew Ellis Johnson and Su- in New York. The Container porary art practice on Central see art as a vehicle for sanne Slavick are artists who Residency is an onboard art Asia and the Caucasus. challenging the criminal work and exhibit individually residency in commercial con- justice system. Utilizing direct and collaboratively. They are tainer carriers along existing Jerome Reyes, artist, works services, public advocacy, and both on the School of Art fac- international shipping routes. across institutions and alter- symbolic actions, they create ulty at Carnegie Mellon. PACE, ity. Jerome is Artist Liaison platforms for diverse com- their collaborative video, has Talk Is Cheap: Unincorporated at Stanford’s Institute for munities to come together to been screened in New York, Language Laboratories is a Diversity in the Arts and has learn, perform, and manifest Los Angeles, Dubai and Cairo. transdisciplinary collective collaborated with tammy ko more creative and equitable using the rich and affordable Robinson on the I Hotel Proj- ways of being within the world. Leigh Solomon Pugliano be- medium of dialogue, and ect since 2008. gan performing professionally pairing it with action in public Paige Sarlin is an artist, writer, at age 11. By her twenties she space, to advance narratives Mary Clare Rietz grew up in and political activist. She is had recorded three albums and modes of communication Akron, Ohio to the smell of currently at work on a book- and performed, lectured unincorporated in mainstream burning rubber. Now pursuing length manuscript entitled and conducted workshops contexts. her MFA, Mary Clare com- Interview-Work: The Geneal- throughout the US about bines her two labors of love, ogy of a Cultural Form. She is the steelpan. She’s an arts Temporary Art Review is a art and community organiz- an Assistant Professor in the advocate, focused on youth platform for contemporary ing, as she develops an art Department of Media Study at engagement and enjoy collab- art criticism that focuses on practice that engages people University at Buffalo, SUNY. orating with diverse artists to alternative spaces and critical

36 exchange among disparate while making connections its community and commis- co-executive directors at the art communities. Temporary with regional and national sions exploratory projects Wassaic Project and the Was- was founded in St. Louis, MO discourses. by leading artists. USFCAM saic Artist Residency. They live with an international network extends this programming in Wassaic, NY. of contributors, and decentral- Daniel Tucker works as an beyond the museum through izes the conversation about artist, writer and organizer socially-engaged artist Dawn Weleski is co-director contemporary practice by developing documentaries, projects, in collaboration with of Conflict Kitchen, a take-out emphasizing the breadth of publications and events community-based partners. restaurant that serves cuisine projects taking place outside inspired by his interest in from countries with which the of traditional art centers. social movements and the Before joining the ioby team, U.S. government is in conflict. people and places from which Ethany Uttech led Brooklyn Weleski has exhibited at Mer- The Théâtre des Petites they emerge. His writings and Arts Council’s grant-giving cosul Biennial, Brazil; Anyang Lanternes is a professional lectures on the intersections and professional development Public Art Project, South Ko- theatre company in Québec, of art and politics and his programs for seven years, and rea; Townhouse Gallery, Cairo; Canada which uses social collaborative art projects have worked in a variety of organi- 91mQ, Berlin; CCA Wattis engagement as the basis of its been published and present- zational development, project Institute, San Francisco; San artistic approach. It has four ed widely. management, and teaching Jose Museum of Art; The Mat- main sections to its work: the capacities in the arts. tress Factory, Pittsburgh. Big Creations, Great Harvest Yesomi Umolu (Nigeria/UK) of Words, Art Residencies and is Assistant Curator at the Eli Lexa Walsh is an interdisci- Emily Wilkerson is a writer and Partner Shows. and Edythe Broad Art Museum plinary socially engaged artist curator based in New Orleans. at Michigan State University. based in Oakland, CA. Walsh Mary Ellen Carroll is a concep- Transformazium (Leslie Stem, She has held curatorial posi- has lived, worked, exhibited tual artist based in New York Dana Bishop-Root and Ruthie tions at the Walker Art Center, and toured internationally. City and Houston. The two Stringer) is a seven-year-old Minneapolis; Manifesta 8, She was recently Artist in met working on “Prospect.3: project embedded at the Murcia and the Serpentine Residence at Kala Art Institute Notes for Now,” an internation- Braddock Carnegie Library. Gallery, London. in Berkeley and Artist Fellow al contemporary art exhibition Transformazium aims to foster at San Francisco’s de Young in New Orleans. multiplicity of voice through University of South Florida Museum. Contributors the use of a neighborhood Contemporary Art Museum Joanna Wright is a Welsh artist print studio, and participate in presents significant exhibi- Bowie Zunino and Jeff Bar- who works with documentary, existing local arts discourses tions of contemporary art to nett-Winsby are founders and photography and archives.

37 OE Schedule at a Glance

Friday Saturday Sunday

9AM–6PM 9AM–5PM 9AM–4PM Registration Registration OE Info Booth

9AM–6PM 9AM–6PM 9AM–6PM Ongoing projects Ongoing projects Ongoing projects

10AM–5PM 10 –11: 30AM 10AM–4PM Open House Tours Parallel Sessions Registration (Place and Revolution, 1–3PM Conversation Series) 10 –11: 30AM Tour project Parallel Sessions 12–5:15PM (Place and Revolution, 7–7:30PM Open Platform Conversation Series) Opening Remarks 2:30–4PM 12–5:15PM 7:30–9PM Parallel Sessions Open Platform Keynote: Emily Jacir (Place and Revolution, Conversation Series) 2:30–4PM 9–11PM Parallel Sessions Opening Mixer 4:30–6PM (Place and Revolution, Parallel Sessions Conversation Series) (Conversation Series) 4:30–6PM 5–6:30PM Parallel Sessions Parallel Sessions (Conversation Series) (Continuing OE) 5–6:30PM 6–6:30PM Parallel Sessions Arts @ the Frontier (Continuing OE)

6–6:30PM Arts @ the Frontier

7:30–9PM Keynote: Rick Lowe