In writing 04 - July 2013 - Well how?

"How does art make you smart?" is not a question about how art transfers certain specific bits of knowledge or skills from teacher to learner. That interpretation of the question would be irrelevant because it could be anything in every possible way. It could even be nothing because art also might just confuse you and just raise questions.
So does the question refer to the way that art makes you reflect on certain things then? Again my answer is "no". I think that art makes you smart when it allows you to learn what YOU want to learn and helps you to reflect on what YOU need to reflect on.
Getting smart is not about following a master, guru or teacher, aligning yourself to his values, and copying his knowledge and skills. Getting smart is about discovering your very own authentic set of personal talents, intelligence and sensitivities. Getting smart is learning what this precious personal gift means to others and being encouraged to oblige yourself to develop it and put it to use.
So art makes people smart not by telling them what to do or think, but by allowing them or challenging them to position themselves publicly as subjects, so they can find out who they are, what they are capable off and what that means for them and for their community.
This way art gives us an opportunity to become active as human being and do more then to labor like animals or work like slaves. And it is this transition that adds the essential value we're looking for, in education but also in business or politics.

At the moment I'm writing an article for a special issue about learning democracy of the scientific journal "Policy Futures in Education". This issue explores the possible meanings of Gert Biesta's theory of public pedagogy. In this theory the ideas of thinkers like Ranciere, Mouffe and Arendt are combined to an insight that inspired my previous considerations. In my contribution I'll try to apply this theory on my first findings in my research.

In the Field 08 - June 2013 - Food for thought

Also found Johnny Cupcakes store 
on Martha's Vinyard

First case of my research is the art practice of Jeanne van Heeswijk. Her assistant told me that one of the first art projects Jeanne did was arranging a dinner. Not only the menu but also the location, the entourage, the seating at the table was composed to created a situation of optimal inspiration. Now as well in Rotterdam as in Liverpool one of the main activities Jeanne has initiated concern food: a neighborhood kitchen in Rotterdam and a bakery in Liverpool.
In the flux factory, my second case, I found out that for all the decades this organization exists they have had a thursday potluck at least every month and for a long period even every week. One or more artists would arrange the evening as an inspiring event and hard core "fluxers" consider this diner the core event of the factory.

Soon after I came here I visited the Highline. Here one of the New York performance veterans of the Fluxus movement Alison Knowles staged a performance called "make a salad". Together with the audience she prepared a massive salad and handed it out for free to the audience.
By the end of may I was invited by performance artist Richard Jochum to attend to his monthly event "diner a vingt" at the art space of the Emily Harvey Foundation one of the former strongholds of the Fluxus movement. He told me he was not shire wether this event was art but he did present it a few days later at the Bushwick Open Studio's event. His presentation was part of a program called: "We eat We are".

My third case "the colony" at Moma Ps1 appeared to be hosted by Anne Apparu … food artist. No need to explain that one of the main activities were happening around the diner table.

I remember the conclusions of a european investigation into European Cultural values in 2007. It reads that: "Food forms the most common means of cross-cultural contact". Maybe we should turn the museums and theaters into public kitchens.

Richard Jochum (2013) "Diner a Vingt"

In real life 07 - June 2013 - Hardship and dispair

To prevent that my research would be led and my findings would be biased by marketing or status anxiety I decided to seek my cases from the bottom up by visiting locations to see for myself and ask the people on the spot where to go. This method is actually nothing more then good old fashioned adventurous exploration including the hardship of getting desperately lost.
If I would have been looking for quiet common cases - like traditional art or schools - it would not have been to hard but now I had to cope with a long period of desperate search for situated art practices. These practices are quiet rare but also hard to recognize. This way I ended up in most remarkable places meeting remarkable people but it took a long time before I did find suitable cases.
I knew it would be hard and uncomfortable and I expected that the knowledge that this was the only way to find this type of unspoiled data would pull me through. But still I had my moments of despair. What if I would not find anything? Or if I would end up with some cases that turned out top be unsuitable? Like marco polo of columbus returning home to face his funders empty handed.
Nevertheless I must say that it was all worthwhile the risk. I did find beautiful pure data behind the facades and unaffected by PR. And even though I ended up in a couple of more or less formalized and reputed institutions my entrance was the backdoor and I managed to find my way to the work floor.
Besides these fine data - and I did not anticipate on it - I must conclude now that this exploration not only led me to a couple of suitable cases it also gave me a very good view on the cultural context of the New York art scene.
So let me encourage other researchers to run the risk of unprepared exploration and ask for mercy from their employers to be merciful if their courageous endeavor does not bare glorious bounty. In science finding nothing is still useful information.

In the Field 07 - may 13th 2013 - Rev Billy & the Golden Toads

Since my participation in the Jane Jacobs Walk on "Death Avenue", I considered to study the ways and strategies of some artists in the occupy movement. So I contacted them and joined a couple of meetings and rallies. 

The occupy movement has become the new face of activist left. They rally against any capitalist excess and at the moment in NYC this is the new pipeline bringing radon contaminated fracked gas into New York City.

At the meetings I found out that this movement is actually very aware of its own strategy. This is discussed and developed on several platforms but a good source is the "Tidal" the movements theory magazine.
During the rallies I got rather intimidated by the massive presence of the NYPD. This, together with the consideration that in this case art was merely a vehicle for a greater cause, made me decide not to pick up this movement as a research case. Observing them felt a bit like spying and being a guest in this country I did not want to get into trouble with the police.

Notice reverend Billy (in the White suit) and his gospel choir the Golden Toads.

Still I would like to share some footage I made during a rally at Bryant park. I want to give you an impression of present creative activism in New York.

Many of you probably recognize reverend Billy. He is a New York cult hero, preaching revolution while making good musical entertainment at the same time. He's been around since the Nineties. Check the documentaries: "Reverend Billy and the Church of Stop Shopping" and "What would Jesus buy?". I think the man has something to say.

In the Field 06 - May 09 2013 - Kitty City @ Flux Factory Queens

One of my "sources" here in the NY art scene tipped me about the Flux Factory in Queens. The project they are running at the moment is "Kitty City", a concept of Douglas Paulson. During the course of this month neighborhood kids will build a city for cats in a small factory hall during a series of workshops led by Elisabeth Hamby. They will be supported by architects, artists and designers. At the first of June the local pet asylum will provide about a dozen kittens to populate the city during a grand opening festival.

At the monthly Flux Factory potluck, every second Thursday - city poet Bob Holman reads his kitty city anthem; Ginsberg howled, Holman meows. Cat whisperer Moira Willams shows her new asylum: a NY plant seed refuge in her arm pits(!).

Moira Williams

Hm so this is the Flux Factory … a remarkable meeting place for remarkable people. At the potluck table my neighbor offers me a couple of his cookies. These are anarchist cookies he explains to me. Slightly alarmed I ask him for about the ingredients. No drugs. So why "anarchist"? The idea is to make full meal nutrient cookies that are easy to make, with ingredients that are easy to get. The recipe is free but you have to bake twice as much as you will need and give them away. If everybody joins hunger will disappear. "Food not bombs"!



Also this month a couple of brooklyn bicycle repairmen will help you to fix and pimp your bike during a couple of workshops working towards a spectacular bike tour. I think I will hang out here next couple of months.

In the Field 05 - May 4th 2013 - Jane Jacobs Walk by Occupy

Every architect, urbanist, city planner, real estate developer, urban activist and community artist should read "The life and death of great american cities" written by Jane Jacobs in 1961. And most of them did. Jane Jacobs loved the city and that's why she explored it not on paper but in real life on foot walking through the neighborhoods. She is known as the saviour of many great building in New York City. But her greatest contribution was the insight that to develop a city we need to develope its community, starting with public awareness.

Jane Jacobs demonstrating for the preservation of New York's Penn Station

In the US the Jane Jacobs is a phenomenon. All over the country so called Jane Walks are held. These are informative tours led by locals to raise awareness about the community and its urban living conditions. There is a national organization called "Jane Jacobs Walk" that is trying to keep track of these walks and organizing a nation wide city exploration festival on the 4th of May, Jane Jacobs birthday.

This Year I took part in such a walk held in one of Jane's favorite neighborhoods, the Meat Packing District at the west side of Manhattan. The walk was part of a city wide event organized by the Municipal Art Society of New York, and was led and designed (!) by a team of artists participating in the Occupy movement.

Considering my interest in situated art and informal public education I definitely wanted to take part in this. I considered it a great, peaceful and constructive way to participate as a citizen in politics. So I was completely surprised when there were almost as many police men turning up at the meeting point for this walk then there were citizen participants.

Anyhow we had a great walk with low profile ludic performances of professional actors like Kim Fraczek, Marina Tsaplina, & Monica Hunken together with lots of dedicated locals in a heart warming get together. (Watch my short video report) (Watch their online full length version)

I must say that americans have their way of giving a theatrical and dramatic turn to the things they do in public. And when singing the classic protest song "We shall overcome" I realized that there is a living tradition of democratic action in this country. The tour ended with a collective declamation of the famous poem "Don't go gentle into that good night" by Dylan Thomas. I must admit a had to swallow a sentimental sob to stand there speaking out that beautiful poem at the border of the river hudson.

So why on earth were these coppers following us? Well the tour was to raise awareness about the dangers of the fracking of natural gas near New York City. So the coppers were not protecting public order but the interest of the oil companies I concluded and I can not think of any other reason. Do you?

In the Field 04 - May 3rd 2013 - The next big thing in NYC

Most famous museums in New York are the Moma, the Metropolitan and the Gugenheim. But one of the most extraordinary museums I found is the "New Museum". It started in 1977 based on the critique that museums are only focussed on art that has already arrived.

New Museum NYC

To stretch your mind you could try to argue that once art arrives in a museum it's probably outdated. This is not bad, because good art has to be preserved. But if that is the only thing museums do then our attention might be fixed on the past and making us neglect the present and future. So what about a museum that tries to present art that is in development or yet to come?
Visionary founder Marcia Tucker gave the New Museum a head start with this mission. Now days many museums are thinking about a new position in a public domain that is also fed and led by new, social, media. They try to adapt their exhibitions to a more active and less docile audience.
Let's say that "only yesterday" culture was highly influenced by institutions and industries following a authority of merits or a logic of the market. The "old" media were "one to many" media, meaning that few people - those who were in control of the scarce media channels - were addressing a mass audience. The audience could either accept those few messages or turn away. Participation (reply, adaption, variation, alternation, etc.) was not a serious option.
Those days are gone and now we have all sorts of cultural constellations influenced by grass roots, peer groups and niche markets. The "old" media still exist but they are supplemented by the "many to many" (Youtube, Facebook) and "one on one" (WhatsApp, skype) social media. Slowly but irreversible there is a shifting power relation between the roles of "transmitter and receiver", "talker and listener", "maker and taker" and "producer and consumer" and we don't know if it will continue, bounce back or snap.

So museums as "presenters" might want to develop a new relation with their "receptors" and the New Museum is up front in this avant-garde. Producing traditional exhibitions is just a minor part of their activities. They step out of the frame, of the stage, the pedestal and out of the building. They organize workshops and events that concern contemporary living in New York.
I first got in touch with the New Museum on the Ideas City event. Part of the event was a market of ideas. Hundreds of bright New York minds presented their inventions and dreams on the streets around the New Museum. Another event was a public pitch of a handful of the most radical ideas to transform the city in one of the biggest churches of the city, Saint Patrick. After the pitches the public voted a winner. This was the so called "PlusPool". This installation would float in the waters around Manhattan island cleansing the water while at the same time offering a public swimming pool to the public.


I would say that at the moment the latest big thing happening in New York is the Highline. I don't have the impression that the next big thing in New York will be the Citibike project that was recently launched. So keep an eye on this plus pool project. New Yorks next big thing could be on the water.

Impression of Pluspool on Brooklyn side of the East River