Get a preview of the exhibition
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Please join us on October 7, 8 & 16th at our residency at Creative Time’s Living As Form, “a vast collection of documentation of 100 socially engaged projects from the last twenty years and from locations around the globe.”
Our residency features a new iteration of our ongoing work on the Seward Park Urban Renewal Area (SPURA), in collaboration with Temporary Services’ MARKET.
More on the Buscada SPURA project
More on MARKET
You may know SPURA as the parking lots along Delancey Street. More than forty years ago, the area was razed for “slum clearance” and few renewal projects have been so contested. Very few of the originally-planned buildings were ever built, and many people were once displaced from the site, some now live on it, and many people live in the blocks around it. Many different communities claim SPURA, and imagine different futures for it.
Our work builds on Gabrielle’s City Studio class at the New School, and considers the past, present and future of this contested site, collaborating with community organizations, and using a visual urbanist approach to create a series of annual exhibitions to create space for dialogue.
On October 7th, 8th and 16th, in residence at MARKET, we continue to present and explore the multiple stories of SPURA. Please join us, and students from four years of City Studio us to tell your own SPURA stories, to talk with others at our booth, and to discuss the future of the neighborhood.
We will also be hosting a walking tour, on October 8th at 2pm, in collaboration with Dutch artists Bik Van der Pol, to explore the layered nature of SPURA, the hidden and intersecting voices behind the often perplexing physical, political and personal landscape of SPURA.
Sign up for our walking tour
Friday, October 7, Saturday October 8, Sunday October 16th, 12-8pm
Special guided tour on the complexities of SPURA : October 8, 2pm
the historic Essex Street Market, SE corner of Essex & Delancey Streets
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Join us this weekend at the Visible Evidence conference! We’ll be speaking on August 13, at the day-long workshop at Hunter College : The City and the Expanded Documentary.
It will be a great day, and we’re looking forward to our panel, “The Urban Documentary, New Forms for New Cities” in which we’ll be talking about the new ways that our recent project, The Triangle Fire Open Archive, explores new ways to know the city and its history – through unconventional archives, visual urbanist approaches, and creative forms of participation. In particular, we’ll be talking about some of the newest objects and stories about the 1982 Chinatown garment workers strike (one of these, above) – and the way gathering these objects in the context of the 100th anniversary of the Triangle Shirtwaist factory fire tells a complex story about the city.
We’re looking forward to a compelling conversation with chair Martin Lucas and our co-participants, Lise Gantheret and Samara Smith.
9:30 AM – 11:00 AM, August 13
WORKSHOP: “The Urban Documentary, New Forms for New Cities”
Hunter College, Dept. of Integrated Media Arts / 544 Hunter North Bldg / E 68th & Lexington Ave.
The urban documentary has taken new life formally and socially as concepts move away from origins in ‘single channel’ form to a broad variety of new lives in locative media contexts, including GPS triggered audio and video, web-based media from issue-based blogs, to games, to social mapping. Sometimes these are projects initiated by filmmakers, at other times, they are framed by architects, urban planners and organizers. What do these new practices look like? What is their justification? What happens to documentary notions on these new platforms where the boundaries between subject, maker and location shift? This workshop is designed as an introduction to some of these practices in a form useful both to makers and theorists.
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Get a preview of the exhibition
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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.
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Most New Yorkers know SPURA, but often, unless they’re Lower East Siders, they don’t know that they do. Many have walked through the LES along Delancey Street, noticing the parking lots on the south side of the street near the Williamsburg Bridge. Or, they’ve walked down Norfolk to Grand Street, noting the unevenness of development and an odd sense of unfinished-ness they can’t put their finger on.
This is SPURA, the Seward Park Urban Renewal Area. It is more than six square blocks that 42 years ago were subject to highly contested “slum clearance” – resulting in the displacement of many people – and an unfinished “renewal,” with few planned buildings actually built.
These decades-old events have resulted in one of the largest and longest-standing undeveloped city-owned plots of land. SPURA is at the center of Lower East Side debates on affordable housing, debates which have sometimes been painful and highly race- and class-based. There are passionate communities involved in the question of SPURA, communities which for 42 years have been unable to reach productive dialogue and negotiation.
Each year for the past three, I have taught a class called City Studio which takes a visual urbanist approach to SPURA. I teach students creative ethnographic, visual, archival, and community-based methods to understand and represent SPURA’s contested urban space.
My classes research in archives and with community members, take part in community planning processes, and work in partnership with our community collaborators, GOLES, Place Matters and the Pratt Center for Community Development. Finally, each year’s class creates and curates an exhibition to help envision the site’s past, present and future(s), and try in one small way to spark, and create space for, productive and peaceful dialogue on the area.
This week was a big one for SPURA itself and for my class.
Today saw City Studio 2010’s final critique (one project, “Framing SPURA”, above) – and it was one that bodes very well for our exhibition which will open at common room 2 in February 2011. Images from all of the projects in the final critique are here, on flickr.
This week, SPURA itself has been in the spotlight. The question of SPURA has been under consideration by Community Board 3 for the past few months, in fascinating conversations, and some heated debates since October about the possibilities for affordable housing on the site. This Monday saw the debates grow more heated – but led a step closer toward agreement, and, importantly, to the potential for a larger stake for affordability on the site. The next few months will be crucial for SPURA – and what its development means for those displaced from the site, for those living in the neighborhood, and for the city at large.
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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.
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