actual artistic “work”. artistic actual erefore, the action of doing this became my my became this doing of action the erefore, T artist. an as eld eld f my in active and visible remain to order in community out how to remain connected to an international creative creative international an to connected remain to how out gure gure f to had quickly I resources, and income less With increase the capacity and range of my own social network. network. social own my of range and capacity the increase Social Practices Art Network (SPAN), out of a need to to need a of out (SPAN), Network Art Practices Social With this in mind, I created the creative concept for the the for concept creative the created I mind, in this With a “post-studio practice”. practice”. “post-studio a cultural production happens, and by this I mean that I have have I that mean I this by and happens, production cultural needed to redirect and expand my notion of where and how how and where of notion my expand and redirect to needed work as a socially engaged creative person, I decided that I I that decided I person, creative engaged socially a as work cult time, in order to continue to to continue to order in time, cult f di this During quickly. one year. My household income dropped substantially and and substantially dropped income household My year. one November 18, 2011, I have been unemployed for almost almost for unemployed been have I 2011, 18, November I lost my full-time job on December 16th, 2010 and as of of as and 2010 16th, December on job full-time my lost I (II) (I) Refererences Te people and tents of Occupy LA are all around me. I’m [1] 2,439 to be precise. “About Occupy Together Meet-ups Everywhere”. a little thirsty, and having worked in the sun all afternoon, http://www.meetup.com/occupytogether/. Retrieved 11.03.11. [2] I can smell my body. I can smell my neighbour’s too. Helmut Sturm, Heimrad Prem, Lothar Fischer, Dieter Kunzelmann, Hans-Peter Zimmer, Stafan Larsson, Asger Jorn, Jørgen Nash, Katja Informed and comforted by our smells I snif like a dog; Lindell & Maurice Wyckaert: Te Avant-garde is Undesirable, January though more discretely I hope. 1961. Situationist International On-line. http://www.cddc.vt.edu/ sionline/si/undesirable.html Accessed 10.29.2011. Gathered around the base of Los Angeles City Hall, [3] Gloria Anzaldúa: Borderlands-La Frontera: Te New Mestiza, Aunt Occupy LA represents a range of opinions but, reformer Lute Books, 1999, p.101 [4] Nicholas Bourriaud: Relational Aesthetics, Les Presses du Réel, 2002, and revolutionary alike, we are united by the demand that p.14 our social, political and economic structures stop servicing [5] “Social Class as Culture: Te Convergence of Resources and Rank corporate greed and re-calibrate to assuage human need. in the Social Realm”, Michael W. Kraus, Paul K. Pif & Dacher Keltner With politics-as-usual leaving no choice but submission to Current Directions in Psychological Science 2011 20: 246 a system that prioritises the pursuit of proft over absolutely [6] International Institute for Labour Studies: World of Work Report everything else, our gathering together embodies that 2011 Making Markets Work, http://www.ilo.org/wcmsp5/groups/public/- --dgreports/---dcomm/---publ/documents/publication/wcms_166021.pdf demand. Retrieved 11.3.11. [7] Richard Wolf, USA Today, “Record number in government anti- Did we all wake up one day and realise that all we really poverty programs”, 8/30/2010. http://www.usatoday.com/news/ have is a body and each other? And what do humans need washington/2010-08-30-1Asafetynet30_ST_N.htm. Retrieved 11.02.11 anyway? [8] Robert W. Hatfeld, Ph.D: Touch and Human Sexuality: in V. Bullough, B. Bullough, & A. Stein (Eds.). Human Sexuality: An Encyclopaedia. Garland Publishing, NY, 1994. http://faculty.plts.edu/ gpence/PS2010/html/Touch%20and%20Human%20Sexuality.htm. Retrieved 11.02.11 [9] Marina Sitrin: Horizontalism: Voices of Popular Power in Argentina, AK Press, 2006, p.5. [10] Gloria Anzaldúa: (un)natural bridges from this bridge we call home: radical visions for transformation, Routledge, 2002. 2,4,6,8,10,12 6 5 4 than divisive old politics-as-usual is in play in the US. the in play in is politics-as-usual old divisive than the slogan “we are the 99%”, suggests that something other other something that suggests 99%”, the are “we slogan the the dynamics of hierarchy? Possibly. But at the very least least very the at But Possibly. hierarchy? of dynamics the ridicule, violence, or any other of the strategies that sustain sustain that strategies the of other any or violence, ridicule, that will almost inevitably succumb to recuperation, recuperation, to succumb inevitably almost will that 3 2 1 dX[\n`k_nnn% gifYfjZ`j \\i%Zfd]ifd Yffbc\k Is this an optimistic interpretation of a young movement movement young a of interpretation optimistic an this Is . eyes” eagle and serpent through see once, at [3] somehow healed so that we are on both shores at once and, and, once at shores both on are we that so healed somehow bank, the split between the two mortal combatants combatants mortal two the between split the bank, “At some point…we will have to leave the opposite opposite the leave to have will point…we some “At kind of third space described by Gloria Anzaldúa: Anzaldúa: Gloria by described space third of kind authoritarian plane of “horizontalidad”, or perhaps for the the for perhaps or “horizontalidad”, of plane authoritarian rather change that stretches for the non-hierarchical, non- non-hierarchical, the for stretches that change rather . But But . live” may child the that so die must mother “the [2] for its own sake in that avant-garde fashion that decreed: decreed: that fashion avant-garde that in sake own its for . Not I think, or not only, change change only, not or think, I Not . change for desire the [1] two thousand communities worldwide, embody, above all, all, above embody, worldwide, communities thousand two e occupations that are currently happening in more than than more in happening currently are that occupations e T Optimism is warranted too, in light of the contemporary FEAST in Brooklyn (Funding Emerging Art with Sustainable cultural context. Which is not to suggest that the Tactics) is a recurring public dinner designed to use community- occupations are a product of art practice. But rather to say driven fnancial support to democratically fund new and emerging art makers. At each FEAST, patrons give a $20 donation for which that the impulses fuelling them are kin to those driving an they receive supper and a ballot. Diners spend the evening reviewing older shift of resources – both human and, increasingly, a series of project proposals and conversing with the artists behind institutional – away from the production of objects to the each idea. Attendees cast a vote for their favourite proposal, and by production of relations. Or, to put it another way, away the end of the night, the artist who garners the most votes is awarded from the “assertion of an independent and private symbolic a grant comprised of that evening’s door money. Since 2009, FEAST space” to “the realm of human interactions” where meanings Brooklyn has produced 10 dinners, funded dozens of projects and are constructed collectively [4]. raised over $15,000. Meanwhile, similar models have emerged all over the country, resulting in a network of organisations committed to rethinking how art is fnanced and communally experienced. Social Sculpture, New Genre Public Art, Social Aesthetics, FEAST in Brooklyn emerged from a collective of friends discussing Relational Aesthetics, Participatory Practice, Social Practice sustainability in the arts. We concluded that the arts should not rely – the names are numerous but the nuances that distinguish solely on the support of exclusive, private capital. We wanted a more one form from another fade in comparison to the awareness localised model for art funding. We wondered how art could serve of, engagement with, and value for interdependence which the immediate needs of a neighbourhood and in turn fnd fnancial unites them all. support within that community. We found inspiration in our CSA (Community Supported Agriculture) farm shares, and in many respects FEAST functions as a CSA for artists. (www.feastinbklyn.org) uxfactory.org) f (www. in 2002. 2002. in t in 1999 and moved to 43rd Street in Long Island City, Queens Queens City, Island Long in Street 43rd to moved and 1999 in t f pro cial 501 (c)(3) non- (c)(3) 501 cial f o an became Flux kinds. all of performances the Flux Factory living room evolved into a site for art events and and events art for site a into evolved room living Factory Flux the four years later, with a new stage built and twice as many members, members, many as twice and built stage new a with later, years four create an alternative platform to the commercial gallery scene. About About scene. gallery commercial the to platform alternative an create It was founded as an informal artist collective to to collective artist informal an as founded was It City. York New began in 1994, in an old spice factory in Williamsburg, Williamsburg, in factory spice old an in 1994, in began Flux Factory Flux “torn and disintegrated”. and “torn (www.bronxriverart.org) and future of their neighbourhood. their of future and ect “de-corporation”, which leaves the body body the leaves which “de-corporation”, ect f e technologies our residents to engage in creative activism towards the revitalisation revitalisation the towards activism creative in engage to residents our degrading memory and the collective imagination, digital digital imagination, collective the and memory degrading environmental experiences.