The pendulum always swings back in the other direction” remains the faith based initiative for the banal hope of a reactionary tendency. “It’s our turn now” reimagines creative tendencies of yore in tome form. Such is the poetic justice of today as we progress five quarters past the inconceivable notion for those that cling. As the world of allies and alliences shatters into less and less recognizable form, distant revelations expose the notion of governing as the most paranoid actor on the block, paralyzed by inescapable representation. Can the arts project a less static notion of reality to the intractable indifference of the disillusioned? Who has not lost everything yet?
The exhibitionist notion of the city as a quiet stage has reduced all hustle and bustle to a smeared blur. More messy than in styles past, we are left with a certain solitary experience of urban space when we finally succeed in tuning it all out. Dropping into an introspective void of structure and form the commons is not quite yet uninhabited.
Moving on from a dearth of the neutral in the not quite objectified form, we escape the present political conundrums of climate and environment with the slow, deliberate meditation on the cyclical. Progress creeps in stark contrast to continued reclamation of the wild. Weeds and brambles track the seasons better than our derailed notion of progress.
How green can we be?
Is there salvation at the end of the tunnel?
To gather an overview with a positive notion it might be fun to pivot to the everyday creative. Leaving spectator mode let’s spin a yarn of sly circumstance.
Space extends beyond the pale – you may try the goods!
One final stop for future thought reborn: Detroit gathers a state of…
Valentines Day can be a bit stressful for those searching. It’s best to approach such a day completely randomly. A week ago the preparations were already massively underway. So much red, so much pink and so much advice that will teach any man how to cry. But then again hearts and cupids can be fun and even a bit mischievous. Something, though seems to have gotten a hold of retail to don a certain lavishness not seen before. While performing a bit of predatory shopping happened upon a sight. Is it perhaps because we are all already so interconnected?
Sorry for the blur but it really does say Crush-worthy * D E A L S *. This kind of cheekiness is genuine public service to relieve some of the pressures associated with our official day for love. The excitement already started to build when #ActivistPickUpLines started trending:
Suddenly an invite popped up for an event at the Chocolate Factory in Bushwick that promised less thinking about me + you with a keen mission to fundraise for a school in Kathmandu. Quite romantic search for love on a mission to Kathmandu, who could resist? Whipped up some chocolate treats and headed to the chocolate factory in Bushwick. The dance floor was in full swing, we all had a delicious time.
Find out more about the Kathmandu project in Nepal from the 108 Lives Project. The sugar free / dairy free chocolate recipe that sustained us that night, which might sustain your journey to Kathmandu:
The Bed Stuy – Bushwick metroplex area is fast becoming the bike mecca for gallery hopping doted on by roving scenes of loose artist collectives. One crew kicking off the fourteen with a massive set of interventions is Brooklyn Wild. The place they selected to inflict their damage is a spot called The Bishop, like the chess piece. The spot straddles an area of Bed Stuy sporting roving Hasidics in immense furry hats in winter and massive homebrew sound systems dotting the blocks in summer.
The Bishop, firmly on the black side of the checkerboard, not waiting to do a move though, is run by a crew up from DC. Formerly Pratt affiliated, the space now does gentle recounting in supreme artistic effort, an approach heralding from the DC African American fine arts, especially print making, still very much non-described, non-researched as already supplanted by more rootless, more etsy manifestations.
Somehow I got myself in the 12 day group show on Brooklyn with a piece I’d been meaning to get back to the party from which it sprang. On the New Year for twelve, as it happened, I was chasing some tail at off-the-hook Rubulad three spaces party. I bumped into an acquaintance at the first spot who had been comped a wristband. We ripped the band in half while on the party bus and stuck it on our wrists with spittle.
Once in, I roved the second spot, like I was promoting, making snaps, but when I got back to the door knew it would be sketchy trying to go in and out with the half band spittle stuck to my wrist. In my moment of hesitancy I started to notice all the people trying to show the bouncer with their raised wrists that they were legit.
I started to photograph that moment tween out and in as there was a never-ending stream of people. Nine of these photographs is what I wheeled to The Bishop in the guise of Comped in Brooklyn.
Arrived a bit fashionably but didn’t feel too much out of place as this seemed more legit than the university connected pop ups dotting much of the calendar in Brooklyn now, where art is but a temporary deviance on the road to either ruin of hard drugs or the blissful arrival at settled down feeling with the two kid garage, alleviating anxiety with the, still in some sense, American dream. Above all, those spots though are placeholders for the next next wave of realtor speculation making the seeming choice above profitable.
The last spot available was on a windowsill, so once I balanced the blocks I caught sight of the piece next door where a few photographs framed and hung kept close watch on a bunch more strewn on the floor just in front.
This installation was by Alan Rules, and the photos were all covered in grime and looked like they were of the tragic destruction from Hurricane Sandy – if it weren’t for boobies in all the shots.
I asked the chicken egg question on how the Sandy grime had gotten on the photos clearly shot in the devastation and Mr. Rules showed me on his phone how he had ruined a box truck to get that flood line on each photo post-disaster. Next door Jonnie Flatbush whipped out a glue gun to add a final spectacle to his cartoon inspired masks. A light heart reprieve to the Sandy devastation on either side of his.
Mr. BK Wild curating the assemblage is of course renaissance man Chris Carr. Someone to watch as he brings massive outlays of fun to events simply to post rent.
There are few that can bootstrap art these days outside of institutional bubble. Mr. Carr can and does, showing a massive print with dozens of photos from gatherings genuinely off-the-hook. The art he assembled by simply being openly inclusive accurately linked the semblance of Brooklyn being the diverse nexus, pined for around the world, in what remains this.
Lucky thirteen was the first time I found Idiotarod. I showed up at the Brooklyn Bridge in the middle of winter and saw the Idiots gather below. You could lump it into one of the “urban expression” series of events which have discarded seriousness for communal silliness, confrontation for fun, art for parody yet by doing all these things crafts a permissive space for the “everyday participant” to test their constitution, writing their own first amendment in a day filled with grueling farce.
It’s a race and last year was set in post-Sandy Red Hook to try to bring some business to the area as every spot is a different locale, offering the local drink and chow. This year the course returned to more familiar haunts in Williamsburg and Greenpoint, although now more used to Bugaboos and rustic artisan shopping rather than silly, off-the-hook shopping cart races.
Shopping carts are now foreign matter in this part of Brooklyn where space is at a premium and store shelves cannot afford to offer wide lanes for maneuvering steel wheeled baskets, a trend hitting much of New York as supermarkets with their basicingredients flee the onslaught of the readymade with higher margins and less fuss. What became clear though as the race progressed is that some of the rational for the route had to do with the beautiful wall murals we passed where most of the crews would stop, pose and snap photos. Idiotarod became a fun way to show solidarity by dressing up in absurd costume, for the proper selfie in front of these massive street art mural dotting the newly chic area.
Having been a voyeur the year before, this time we got a crew together to do our own silliness. Trying to develop a journalist approach, I found that volunteering or being a part of the action in a meaningful way, not fretting about objectivity, I am finding new ways for the unfolding events to affect me.
A lot of journalism is now copy-paste press release, social media fallout recounting, or Instagram photo rebroadcasting. A fresh look might mean hitting the streets and being over the top silly.
Our crew showed up decked out in fur and a cart shaped like a vulture and called ourselves the Predatory Shoppers with the swagger that we firmly believed that AmericanHustle will surely win the Oscar for BestMusical. We had a banging sound system which didn’t leave us odd cart out for long. Of course we had murdered all the animals for the fur, that is the bed bugs from the thrift shops with a generous dusting of baking soda, making sure to rip off all the old tags that said Fake Fur Made in China. We were the dogs from up north that had just noticed the silliness and were now raising objections. Except that they were raised on our too true costuming rather than a too fake trademark violation. One bar even refused to serve us in this getup.
That refusal might be due to a communication issue on what Predatory Shopping is and how much wits we had about us to have the critical faculties to see it through. The quote I kept giving was “We don’t fuck around. We get that XBOX on black friday and we watch the big game on a big screen,” while in the next breath urging everyone to catch the film Midway Journey. In total agreement that wearing fur in this case was only designed to leave a slightly bitter, critical aftertaste to the silliness of the day, the wholesale switch to synthetics will surely kill more, and in the wild, in the long long long run of their endless existence. If plastics embody the proverbial eye of our current civilization, they see each kill as just a blink of temporary wrapping, just as we pretend to use them for that very purpose, seemingly not privy to their permanence.
Debates surrounding preparation for Idiotarod always revolve around how to procure a cart. I spent the day on foot bringing compost to the local park and empties to the local recycling center. I asked first at the recycling center because shopping carts are the workhorses of the informal recycling economy. Tons are carted off every day in the city and cashed in for 5¢ a pop in machines linked to giant conveyor belts separating plastic from aluminum from glass for crushing and smashing and then to be reformed.
So the carts are at a premium, and I was immediately greeted with suspicion and told what a high price such a wheeled steel carriage can command. So I walked back towards the parks department compost drop off and saw a cart half buried in a snowdrift in their compound. They were holding that for one of the recyclers, they explained it was usually locked up but they did have two more they could offer me. Low and behold one sported that classic shape from the Idiotarod logo with the tapered front basket in solid steel. It wheeled great even through snow banks.
Stoked, it was transformed overnight into a winged vulture with reclaimed speakers mounted on the side in winged pine boxes salvaged from crates of imported Spanish and French wine. The shape of the vulture head and body in the cart was made of that pine as well and painted black while a black umbrella destroyed in the last gusty city rains became the skirt for the winged speakers. A lot of our team hadn’t met before and so we arrived in staggered succession. I brought the cart by subway, receiving help at the L train exit for each of the two levels to Bedford Avenue street level. After the speakers were mounted and the sound went live spontaneous dance parties broke out and photographers devoted heavy glass to capture the action.
A big part of the performance of Idiotarod is the judging. There is a certain measure of creativity demanded from “corrupt officials” dealing with “Idiots”.
Bribes are encouraged, rationalization frowned upon.
So when I arrived late the judges knew immediately where the other furry people were but it became the running obstacle to find the group in one place as the pack never really formed, unlike say the Octopi or Nintendo crews.
Seeming eerily as if we were running with the Tines, our pack scattered while our artcart, adopted for the tunes it played, wiled somewhere else. We sported a particularly disorganized furry idiocy.
Yet the cart was fast, the tunes were heavy, the team cute, so that we pulled through, not with a cash prize, which was reserved for someone else, but with the Best Music award, one day before the Grammys, having fully convinced the judges that they had been transported back to the nineties, without the use of a Tardis or a steampunk time machine, although most likely in tandem with these beautiful artcarts.
The final sprint across the Williamsburg bridge landed us in darkness and exhaustion so that half-seven felt like two in the morning.