This is a spur of the moment video (shot and edited on an iPod) we made on a recent visit to the PM Gallery & Pitzhanger Manor House in Ealing, west London. The exhibition shows the work of two distinct designers, Robin Day & Lucienne Day. The exhibition shows their individual work, and crucially shows how as a collaborative couple, they influenced each other to create new forms. It was an inspiration for us to see such an interesting dialogue between their work.
* * * *
Get a preview of the exhibition
* * * *
On March 25th, the 100th anniversary of the Triangle fire, we were honored to attend the centennial events on Washington Place – with the crowd filling the blocks from Washington Square Park all the way to Broadway. We were also excited to see objects from the Open Archive filling the jumbotron screen above the speakers on the platform. It was wild to see our good friend Amy Reddinger’s sign from the Madison, WI rallies (which she had contributed to the archive) beaming above the trees, while the inspiring Mary Bell from the Wisconsin Education Association Council was speaking. Finally, it was phenomenal to have stories and voices from the Open Archive featured on WNYC’s Brian Lehrer Show that morning.
* * * *
The Triangle Fire Open Archive – a collaboration between Buscada and the Remember the Triangle Fire Coalition – is an online, participatory archive of community contributed stories, images and documents. Each of these objects tell a piece of the history and impact of the infamous fire and its critical relevance for today’s pressing questions about labor rights and safety from New York City to Wisconsin to Bangladesh.
Join us for this rare opportunity to see some of the pictures, documents and objects from the Triangle Fire Open Archive in person!
The exhibition, honoring the Triangle fire’s centennial on March 25, will include items from BHS’ archival collections, rare documents from Our Lady of Pompei church (from the Center for Migration Studies), creations by performance artist LuLu LoLo, personal photographs, and much more.
We encourage you to bring in your own items to share – stories, photos, memorabilia, etc. about the Triangle Fire, or any kind of labor or women’s activism over the last 100 years. We will create digital photographs of your items and upload them to the Triangle Fire Open Archive, for the world to see. This event is open to the public and is free with museum admission.
The Triangle Fire Open Archive exhibition
Wednesday March 16, 3-7pm
The Brooklyn Historical Society
128 Pierrepont Street at Clinton Street
Brooklyn, New York 11201
2, 3, 4, 5 to Borough Hall, the A, C, F to Jay St/Borough Hall, or M, R to Court St.
* * * *
It is hard to win when you are playing by someone else’s rules or, worse still, do not entirely understand the rules. By redefining the “meaning” of your project you become an expert in the rules of the game, and one of the people defining those very rules.
The Meaning to Tasks model uses the idea of a “project meaning”.
It supports a practice for teams and individuals to create fundamentally new meanings for projects, products and services. By working in this way the meaning of everyday projects are changed, and projects created are differentiated from the rest of the market through innovatively integrated strategies, rather than solely through feature-level improvements.
To read this article in full, click here to download the PDF.
* * * *
In late January, Buscada attended the first of a series of meetings hosted by MAPP International Productions to plan a new arts and community-engagement project about global interdependence, inspired by the interdependence movement championed by Benjamin Barber and others.
The meeting brought together a collection of artists, writers and performers to explore ideas of civic engagement and art practice.
We took this opportunity to ask the diverse group one deceptively simple question :
How do you get people to engage in dialogue?
This is the beginning of a new project in collaboration with MAPP International Productions to understand the processes and practices of engaging civic dialogue, art practice and pedagogy. This project is a continuation of our work begun with The America Project Teaching Method.
How do you answer this question for yourself? How do you encourage dialogue? We hope this is the start of a long and productive conversation.
* * * *
This fall, we’ve been developing an exciting new collaborative curatorial project, working with the Remember the Triangle Fire Coalition and Ruth Sergel. In honor of the upcoming centennial of the Triangle Shirtwaist Factory Fire on March 25, 2011, we’ve developed and designed the Triangle Fire Open Archive, a curated online archive of community-created objects and stories. We’re encouraging people to submit objects culled from personal & public collections, and to use these objects to tell their own stories relating to the history of the Fire, or to the labor, immigration and gendered issues of the Fire that are still critical and resonant today.
Through the collaborative curation of the Open Archive, we’ll be able to see objects, and read narratives, never before seen together.
On Monday December 13, we had our first evening of collecting objects, working with Lucy Oakley and Marci Reaven’s class at NYU, who have recently curated the soon-to-open Grey Art Gallery exhibition, “Art/Memory/Place: Commemorating the Triangle Shirtwaist Factory Fire”.
The students did a phenomenal job of writing new reflections on their favorite objects they’ve found in researching the Triangle Fire – some drawn from public collections (as above, a portion of an image from the Kheel Center), and some drawn from their own family albums. Many contributed these objects (in digital form) to the Open Archive, and we’re thrilled to have started down the path building the Triangle Fire Open Archive with them.
We look forward to many more people getting involved, contributing objects, and telling stories through the Open Archive in the months to come – either through our online tool or at our open public events, when we’ll help photograph and digitize people’s objects.
All the digital material collected will be donated and archived by the Kheel Center which hosts the preeminent website on the Triangle Shirtwaist Factory Fire. The site will go live in January of 2011 – we’ll keep you posted!
* * * *
In the Fall of 2009 I embarked on an experiment with my colleague, landscape architect Elliott Maltby : co-teaching a hybrid design and social science studio on public space at Parsons the New School for Design. I reflected on the interdisciplinary process of developing our “Public Space Critical Studio + Practice-based Seminar” on this blog few months ago, here.
Once the class was over, Elliott and I did some deeper reflecting, and wrote an article on our experience of developing and teaching “hybrid ways of doing.” I am pleased to announce that this article, valuable for anyone thinking about interdisciplinary collaboration and teaching, is now available in the most recent edition of the International Journal for Architectural Research. “Hybrid ways of doing: A model for teaching public space” by Gabrielle Bendiner-Viani and Elliott Maltby is downloadable here and from the project as featured on Buscada.
We welcome your experiences with this kind of teaching and thinking.
* * * *
Our 2010 Urban Encounters festival at Tate Britain this past June was a great success, and I thought it worthwhile to reflect on our intentions for this year’s event.
This organization, co-founded by myself and Paul Halliday, and now a Buscada project as well, addresses the dialogue and practice of visual urbanism.
This year’s main event, Urban Encounters: Routes and Transitions at Tate Britain on 29 May 2010, was inspired by the multiple meanings of these words : routes and transitions. All of the talks will soon be available for download and listening on iTunes U through Tate Britain, but meanwhile, a short explanation of the intentions an interests behind this year’s main event.
We were particularly interested in both embodied local routes, as well as global flows and the individuals who experience both of these kinds of movements through space – as well as through time.
The other part of this theme – transitions – was been inspired by our interest in change – and its relationship to the city, as well as the city-dweller. What does a still (or even a moving yet finite) visual medium have to say about change? about the change of landscapes? the change or transitions or adaptations made by people themselves, traveling these global and local routes in the processes of migration and life otherwise? Are there traces that can be found, or new geographies made through the visual?
The panels addressed these routes and transitions through three major themes –
Global Routes: Personal & political addressed global routes / global flows of capital, colonialism and war, as they intersect with personal routes and connections through space and time.
Making Transitions: Practice & location considered the ways in which migrants and migrant stories inhabit, and create, locations – from front rooms to municipal buildings, housing developments or the space of radio waves. This panel asked how the process of “making space” is a part of the movement between nations and neighborhoods?
The Remembered Road: Archives & pasts explored the way in which archives from the official to the personal can be read, re-read, or reinterpreted, to find the traces of different kinds of migrant, and mobile, histories – and to understand cities’ multiple pasts.
There are some enormous questions here, and some thrilling answers and provocations were posed by our speakers’ work.
Yet, a mix of dialogue and practice is at the heart of Urban Encounters – we encourage dialogue amongst our panelists as well as with our audience. In building the field of visual urbanism and we hope that you will engage in a dialogue with us. I hope that those of you who were not able to join us at the event will listen to the podcast when it becomes available – and for those that were able to join us at this or past years, please get in touch to continue the dialogue here, via facebook, twitter, or email at info [at] urbanencounters.org.
* * * *
Gabrielle (principal of Buscada) is co-founder of Urban Encounters, a project on the dialogue and practice of visual urbanism. The Urban Encounters conference is now in its 3rd year. This year’s event takes place May 29, 2010 at Tate Britain.
Buscada collaborates with Urban Encounters to curate, participate, organize and publicize the event through multiple media.
* * * *
Urban Encounters: Routes and Transitions
29 May, 2010, 10am – 7pm (with reception)
Tickets: £25 (£15 concessions) Please visit Tate Ticketing.
Download the Routes and Transitions poster
Urban Encounters: Routes and Transitions explores the dialogue and practice of visual urbanism to bring together international researchers, academics, photographers and artists concerned with the transitional nature of contemporary urban space. It will be of particular relevance to those engaged with urban image-making, analysis and research. This third annual conference will address how photographic practices and archives intersect with an understanding of local and global routes as “places”, considering the temporality of place and the cross-cultural juxtaposition of locales.
This conference approaches the city as a palimpsest of routes and its panels will consider local, global and remembered routes through film, photography and other visual urbanisms. Considering the cultural geographies of migration, change, place, identity and the process of making transitions, the conference will facilitate an on-going interdisciplinary dialogue about the growing field of urban visual practice, method and enquiry.
This symposium is the center of the Urban Encounters Festival, which takes place in several UK-based and international locations this spring, including the London-based galleries Photofusion and Viewfinder, and at the events Urban Encounters: City to Sea at Bognor Regis, UK and Urban Encounters at the Festival of the Image, Manizales, Colombia.
Yazan Khalili, Goldsmiths, University of London
Nirmal Puwar, Goldsmiths, University of London
Kuldip Powar, independent filmmaker
Suki Ali, London School of Economics
Manuel Vazquez, Independent photographer
Michael McMillan, independent curator
Joseph Heathcott, The New School
Lasse Johansson, Fugitive Images
* * * *