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  • Free Soil
    From the site manifesto It is about experimental forms of organizing which develop in precarious micro situations for a limited period of time testing new modes of self organization and interplays with other experiments The organizing function of art Walter Benjamin creates new spaces in the overlapping zones of art practices political activism and theory production Nis 0 comments Articles Organizations Public Projects Add a Comment Your Name Email Website Top Features Social mental environmental A seminar and exhibition organized by Ulrike Solbrig Åsa Sonjasdotter and Nis Rømer in Sparwasser Berlin August 2007 Text by Nis R Nis 0 comments Projects nolvadex nowHere nowHere a space where a spot becomes a place 15 march 25 may 2008 nowHere is a cabinet which invokes a dialogue on re appropriation of the private and public domain Through personal tags and geographies books movies music websites drawings mappings photocopies art works it reads as a certain historical relation between human space and technology bolwerK considers the constructed in between space of architect C Kieckens within the art space Z33 not as a sub art space with a curatorial reading a cabinet as museum but as a space with a personal narrative and a

    Original URL path: http://www.free-soil.org/index.php?post_id=100&comment=yes (2016-02-10)
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  • Free Soil
    Jun 2005 openDemocracy Free thinkng for the world Global An online magazine using todays web technologies to gather and share articles on key issues By creating a democratic space with contributors from all over the world openDemocracy tries to give a more open perspective on a wide range of topics Stijn 0 comments Articles Virtual Soil Add a Comment Your Name Email Website Top Features Sørfinnset skole the nord land

    Original URL path: http://www.free-soil.org/index.php?post_id=94&comment=yes (2016-02-10)
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  • Free Soil
    me having little acces to information or publications about community art in late 90ties It is dealing with a wider approach to public arts and community where environmental and societal issues are dealt with together The review by Eleanor Heartney is quite critical and sharp read it here Nis 0 comments Articles Books Public Projects Add a Comment Your Name Email Website Top Features One Day Library Tea Readings too by Corinne Matesich Browsing the contents of a new acquaintance s bookshelves is a common impulse I do it all the time sizing pe Corinne 0 comments Projects nolvadex nowHere nowHere a space where a spot becomes a place 15 march 25 may 2008 nowHere is a cabinet which invokes a dialogue on re appropriation of the private and public domain Through personal tags and geographies books movies music websites drawings mappings photocopies art works it reads as a certain historical relation between human space and technology bolwerK considers the constructed in between space of architect C Kieckens within the art space Z33 not as a sub art space with a curatorial reading a cabinet as museum but as a space with a personal narrative and a social meaning embedded

    Original URL path: http://www.free-soil.org/index.php?post_id=70&comment=yes (2016-02-10)
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  • Free Soil
    2005 Collaborative Practices in Environmental Art by Grant Kester A good overview of environmental art practices same writer as Conversation Pieces read article Nis 0 comments Articles Public Projects Sustainability Add a Comment Your Name Email Website Top Features Designmai Designcity In January 2006 UNESCO appointed Berlin as a City of Design a title it now shares with Shanghai and Buenos Aries Not by chance Designcity was Joni T 0 comments Projects nolvadex nowHere nowHere a space where a spot becomes a place 15 march 25 may 2008 nowHere is a cabinet which invokes a dialogue on re appropriation of the private and public domain Through personal tags and geographies books movies music websites drawings mappings photocopies art works it reads as a certain historical relation between human space and technology bolwerK considers the constructed in between space of architect C Kieckens within the art space Z33 not as a sub art space with a curatorial reading a cabinet as museum but as a space with a personal narrative and a social meaning embedded in a neighborhood The active use of the space for living eating working sleeping implies that the cabinet is more a room of collection in a

    Original URL path: http://www.free-soil.org/index.php?post_id=22&comment=yes (2016-02-10)
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  • Free Soil
    Moves basic ideas about the encounter between art and science An essay on arts and science by Jan Verwoert using Nils Norman Peterman and others as examples and a discussion on their approach to research and science Nis 0 comments Articles Add a Comment Your Name Email Website Top Features Hot summer of Urban Farming The five finger plan of Copenhagen is made to make the city develop along five

    Original URL path: http://www.free-soil.org/index.php?post_id=9&comment=yes (2016-02-10)
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  • Free Soil
    I envisaged this being in the vein of a travel guide to an existing city but only using information gleaned from films fiction and anecdotes However some people gave me stories or writing about imaginary places so there is a mixture in the book I have 2 pieces in the book one on Sarajevo and one on Baghdad as these were two places that I only knew through news reports about the conflicts there Other people s ones included Springfield from the Simpsons Jessica Voorsanger Chernobyl by the Estonian artist Marko Mäetamm Bobstown by Bob Matthews and Sealand which is actually an oil refinery platform off the English coast by Alun Rowlands My two pieces and the book itself really were inspired by The Question of Bruno by Alexander Hemon in which the main character who is from Sarajevo like the author is in New York watching the war in his home town on television He had left before it had started and so this huge change had occurred while he was away and yet he only ever saw it mediated through CNN I had a friend from Sarajevo too who told me about her family who were returning there and so that became part of it as well I ve always been aware of places that I ve never been to Los Angeles for example but which I almost know the geography of through stories films etc I also read a report from the UK Home office which stated that migrants who choose to come to the UK often have unreliable versions of the country in their imaginations especially those from countries which were former colonies My pieces in Fantastic Cities were in a way the only versions of those places that I had as they included as much as I knew and that is only as reliable as anyone else s descriptions Yes you ve hit the nail on the head with thinking about subjective guides and the text being about the author too I think that most of my work can be said to be re arranging existing texts I find that much more interesting than anything I have written myself We ve already spoken briefly about Touring Riga as being an extension of your earlier work with text and representation but I m interested to know how you would place your work in regards to the history of walking as an artistic practice You mention in your interview for the 13th Tallinn Print Triennial 2004 that navigating the city using outdated guidebooks could be compared to the Situationists technique of orienting themselves in one city using the maps of another and yet I think your Tallinn Riga works are quite different in that they also play with how images of cities are created and propagated It s difficult for me to say where I would place my work although I ve always had an interest in how complicated cities are how many different versions of them there are in people s minds see Fantastic Cities and a lot of the projects I ve done are about uncovering some of the forgotten ones often forgotten intentionally for political reasons My main interest at the moment is related to Henri Lefebvre and his ideas of lived experience that he talks about in The Production of Space I m interested in how we imagine that places have some kind of sense of community or memory and how fragile this can really be In Benjamin s Arcades Project there are quotes related to a harsh criticism of Haussman s redevelopment of Paris and how it was destroying all the mini cities the different cultures and communities and replacing them with non descript boulevards and yet now the tourist s idea of Paris is of a beautiful romantic city Is there any way in which the previous places were preserved I m just about to start a project which is related to the Olympic redevelopment in East London and the changes that will take place there In that sense I think that although my work may sometimes seem gentle or poetic perhaps I hope that there is a critical edge which has a relationship to the way the Situationists re imagined Paris in particular I think that I choose to give prominence to what may have otherwise been in the background in order to question what is the generally accepted idea of a place The Canvey Islands project seems like the greatest departure from your earlier more text based work How did this project develop Were you approached by the local community Art U Need with a project or was it proposed by them What were the reactions of the community to the project It seems like the walks have continued independently even now that Art U Need has finished is this the case This project was originally advertised as a public art commission managed by Commissions East centred around Canvey Heights country park It was a series of 5 commissions in Essex The lead artist was Bob Roberta Smith and he encouraged us to develop projects which engaged local people in a more meaningful way so what could have been a more object based commission instead became something more participatory It was a huge departure partly because I wasn t used to working alongside so many other people having to set deadlines or having local press coverage I had a steering group of local people and quickly made contact with lots of other local people and approached it as a research project I didn t have many fixed ideas when I started but I explored the place as much as I could and used this as a process of discovery Canvey has already changed a great deal over the past few decades and now it is part of the Thames Gateway so it will in the future have a lot more people moving there On the one hand I could understand that people were upset that the place had changed so much from how they remembered it as children on the other hand this seemed to create a distance between them and the newcomers There was a sense that there were parallel dangers of history being forgotten but also of nostalgia becoming a negative force So although walking had been a way of experiencing a place in other projects here it became a way of getting people together and getting them talking to each other more The themes each month were a way of trying to get them to question their attitudes to the place The community were incredibly positive I now have a surprising collection of friends down there My worry has been that they see it as a history project that they only see it as preserving their memories rather than as an alternative way of speaking about a place but I think that these kinds of things are unavoidable in this kind of project and the way I engaged them was by taking an interest in anecdotes they had about things that had happened to them Some of them don t quite understand how the project was art but that s just because they ve had no experience of any other contemporary art Yes the walking club has continued so far the project officially finished in March and it s still going on although they haven t become co operative enough yet they still need an appointed leader each time so I have still done some co ordination of that How do you see the audio guides working now The most interesting part of the original tours organised by theme was the way in which they could become points of conversation between the local residents That the work itself was about creating community both in the moment of the tour and extending on throughout by identifying common and private places of interest and memory In comparison the downloadable audio guides seem to be more of a traditional audio tour albeit with personal stories interwoven with the history of the place I wanted the audio guides to enable people to experience the project independently and to allow an aspect of the project that wasn t all about groups of people and so that however much the walking club changed that there would be certain more concrete aspects such as the book and the audio guide I liked the idea that one of the remnants of the project would be that people would be wandering around with headphones rather than something more tangible and permanent I wanted it to sound like a traditional audio guide because some of the information was so incongruous so that you would be surprised by things like the place where some children found a dead dog However the thing that I had to bear in mind was that if people with no knowledge of art were going to actually use it in a practical sense it had to be usable too The actor has recorded audio guides for places like Hever Castle in Sussex so I wanted this odd combination of a very professional voice pointing out these odd pretty crap points of interest which had been provided by people who were involved with the project so in a sense it was still created by them Re the guidebook that you produced from this process how much is borrowed from the original guidebook that the project was based on Is this how it begins to tie into your earlier projects The cover is the main aspect which is borrowed I re designed the original replacing the girl on a beach with a woman with binoculars The original was beautifully if not entirely professionally designed and was an odd mixture of business advertising and useful contacts and made Canvey sound like a wonderful seaside destination it s difficult to tell how true this was Yes I suppose that does tie it in more my book is pretty useless unless you are particularly interested in finding out where particular people remember very particular things and so it s an antidote to the kind of false claims that you see in local council publications about places Katie Hepworth is an architect artist and curator With the aim of exposing the latent conditions in the urban environment her work consists of subtle interventions that disrupt everyday behaviours She is currently completing her Masters in International Studies at UTS looking at how citizenship and belonging affect access and exclusion from urban space Joni T 0 comments Articles Artists 09 Aug 2007 History Is A Weapon U S History Is A Weapon is a left counter hegemonic education project and offers a nice collection of texts focussing largely on American resistance history The list of online readings covers a wide range of great authors and is organized in chapters The blog serves to highlight updated material and offer sporadic commentary Stijn 0 comments Articles Blogs Free 29 Jun 2007 on universalism Various And more summer readings from the Transversal web journal The articles in this issue of the web journal link these new universalism debates with an analysis of specific examples such as the Zapatist fight for liberation under the motto Everything for everyone the movement of the French intermittents the revolutionary battles of the 18th century in San Domingo Haiti or feminist politics of friendship Nis 0 comments Articles Social Practice 29 Jun 2007 Metrozones Various This is a real resource for people interested in alternative city development and research Editors and authors Jochen Becker and Stephan Lanz and others have made publicly available major parts of their writing on Cities like Istanbul Teheran Farvelas in Rio and more Among the books are City og COOP and Space Troubles The books continue a strong German tradition for alternative but thoroughly researched urban investigations Nis 0 comments Articles Books Free Urban City 15 May 2007 The Tyranny of Structurelessness by Jo Freeman A texts from 1970 that reflects on working in groups and collectives with a loose structure It builds on practical experiences from especially women s liberation movement and ends by suggesting principles for democratic structuring Relevant reflections for today s collaborative practices as well Nis 0 comments Articles Social Practice 03 May 2007 Warning Art Arts in Climate Crisis By Joni Taylor Part 1 Apocalypse may be the new black but the Plague the Cold War and the Millennium Bug combined did not add up to the deserved attention that the dangers of Global Warming are receiving The scientific evidence detailed in the Intergovernmental Panel on Climate Change IPCC drove the message home to most politicians that the planet is in dire straits and their responsibilities lie further off than just the next election On a local level reports of North Alaskan fishermen hearing the sound of thunder for the first time in history and Media images of hurricanes tsunamis and shattering icebergs did their bit to freak out the couch potato public But still not everyone cares enough to be convinced Potentially thousands of viewers were misinformed by the recent documentary The Great Global Warming Swindle when the already questionable talking heads claimed that overzealous Neo Marxists and boosted Government funding were to blame for the myth of man made global warming It smacked of conspiracy theory but compared to the depressing prophecies of Al Gore s An Inconvenient Truth one almost wished the Swindle was true Artists have often aligned themselves with activist causes and have helped to move radical social change Anti establishment or outspoken views have never been at odds with the creatively minded And Nature itself has long been an inspiration At the turn of last Century the romantic landscape paintings of Caspar David Friedrich depicted the fears of the oncoming era of mechanical industrialisation Land Artists emerged alongside the noisy environmental movements of the Sixties pointing out Starship Earth s fragile beauty by making temporary and ephemeral pieces Green party candidate Joseph Beuys regenerated the city of Kassel by planting his 7000 oaks in 1984 This Century there has been a hip move towards green design and sustainable architecture The slickness of sites like Treehugger and Worldchanging can t be denied There have also been a number of exhibitions lately focusing on ecological systems such as Beyond Green Toward a Sustainable Art at Chicago s Smart Museum The Sharjah Biennial Art Ecology and the Politics Of Change and the recent focus of the RCA and accompanying book LandArt A Cultural Ecology handbook But climate change or global warming as a specific cause is a relatively new one for artists As subject matter the enemy here is invisible but its affects are not More artists are collaborating with scientists in a bid to inform their work on a technical level But while the scientists role is a didactic and theory based practise the artist deals with the nuances and the abstract Art asks to be interpreted by the viewer and its appreciation is often personal Art speaks another kind of language one of emotion and this is why it may be better understood by the public amidst the Babel of scientific jargon There are 3 artistic strains in dealing with climate change One is reducing the co2 emissions produced by artists themselves not flying to that next art fair or finding alternatives to energy sucking Plasma screens Just like a UN delegate an artist is accountable for his her carbon footprint Using recycled and green products is another indication of Slow Art The next art movement perhaps London s seven meter tall WEEE man made of the industrial detritus used in a typical lifetime was a successful shock factor device standing on the River Thames Another method is making art that depicts the effects of warming and pollution The most memorable tools in Gore s film were the postcards of glaciers in the Twenties compared with the dried up and sandy images of today Photographers relish travelling to exotic places to bear witness to both environmental damage and utopian beauty and bring back images to share with a city bound audience The last most innovative area is the collision of art and science to create visualising tools or to quote worldchanging making the invisible visible By transforming data and graphs to a visual language artists can demonstrate the bare facts with humour and delight Some even use ecological systems in their work mimicking nature As you will see in part 2 there is a range of new arts initiatives aimed specifically at publicising climate change with sponsors in tow Will the public be driven to action by seeing an image on the side of a bus or a public commission through their car window Let s hope that narrowing all the attention to climate change will not take away the real issue which is the impact humans are having on the environment The new ecosystem here is one of dangerous networks political situations technological development corporate responsibility and greed are all connnected to this alienation from the planet earth And let s hope that a walk in the country or a breathtaking sunset can also still do the trick when it comes to remembering what is at stake Commissioned by DAMn Magazine Images courtesy of The Canaray Project Joni T 0 comments Art Activism Articles Sustainability 18 Mar 2007 LiP Magazine US Oakland LiP an all volunteer not for profit media project brings a unique accessible and well edited mix of radical politics culture sex and humor guided by a serious structural critique of power and social change and a gleeful engagement with pop culture The intent is to frame the project of social change as simple common sense and to show active engagement and participation in the community as a vibrant emancipatory practice rather than the onerous leaden practice we believed is being projected by many progressive media projects Rejecting orthodoxies across

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  • Free Soil
    contemporary art taking place parallel to the 2nd Athens Biennale and takes place in the culturally diverse and dynamic Kerameikos and Metaxourgeio KM district of downtown Athens ReMap 2 considers and responds to the unique urban energy cultural particularities and dynamic artistry of the neighborhood by offering a rich web of cultural events and art happenings that aim to introduce KM as an international hub for contemporary art Stijn 0 comments Artists Events Add a Comment Your Name Email Website Top Features Hot summer of Urban Farming The five finger plan of Copenhagen is made to make the city develop along five lines of infrastructure and leave intact green belts between the fin Nis 0 comments Projects nolvadex You have the Right to Know FRUIT takes up the challenge of elevating the ecological knowledge of consumers and encouraging a way of life that is friendly to the environment We want consumers to be conscious of the entire life of a product from production to utilization and not just what they see in the stores Consumers must be aware that every phase of a product s life influences the environment and ourselves Free Soil has produced a run of FRUIT wrappers

    Original URL path: http://www.free-soil.org/index.php?post_id=973&comment=yes (2016-02-10)
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  • Free Soil
    as an alternative to traditional documentation of ephemeral art projects and practices Focusing on performances situations personal encounters actions and other temporary events the archive aims to register memorable experiences and their echoes Stijn 0 comments Artists Film Video Virtual Soil Add a Comment Your Name Email Website Top Features Designmai Designcity In January 2006 UNESCO appointed Berlin as a City of Design a title it now shares with Shanghai and Buenos Aries Not by chance Designcity was Joni T 0 comments Projects nolvadex nowHere nowHere a space where a spot becomes a place 15 march 25 may 2008 nowHere is a cabinet which invokes a dialogue on re appropriation of the private and public domain Through personal tags and geographies books movies music websites drawings mappings photocopies art works it reads as a certain historical relation between human space and technology bolwerK considers the constructed in between space of architect C Kieckens within the art space Z33 not as a sub art space with a curatorial reading a cabinet as museum but as a space with a personal narrative and a social meaning embedded in a neighborhood The active use of the space for living eating working sleeping implies

    Original URL path: http://www.free-soil.org/index.php?post_id=967&comment=yes (2016-02-10)
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