Presenting visual and performance art in unexpected public spaces.

Carolina Mayorga, AiOP 2011 artist, is making soup! Make a donation to her Kickstarter campaign

February 14, 2012 – 6:03 am

Newspaper Soup is an interactive installation and performance art piece originated by reports on desperate food choices in parts of the world. The project was introduced in the Nation’s Capital in 2007 as a pre-packaged family meal. Artists Carolina Mayorga and Craig Garrett were selected to present the second installment of the project, The L.A. Times Food Cart, as part of Un-Space Ground, a visual and performance art event at the 100th annual College Art Association Conference in Los Angeles, CA on February 25th, 2012. For this installment, artists/food vendors will offer conference attendees an eco-friendly and supportive of the local economy lunch option as it claims to recycle The L.A. Times robust advertisement and sports sections. For more information about this project visit: carolinamayorga.com

Make a donation here.

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You are invited || Flora Choi's Daeng'gi Kimchi Factory – Opening Reception Dec. 22

February 14, 2012 – 6:02 am

Flora Choi, Art in Odd Places 2011 artist, has an upcoming exhibition at Cuchifritos Gallery and Project Space. The opening reception will be on Dec. 22 from 5 to 7 pm. Flora’s work will be on display until January 15. Flora talked to us about her work:

“Daeng’gi Kimchi Factory is a performance–installation piece where I will be taking chopped off daeng’gi braids ( a traditional Korean hairstyle that was once worn by adolescent girls) for cabbage, and make my own special version of kimchi. This piece confronts the male-dominated traditions of the past and investigates the state of women in Korea today. This piece will be accompanied by several live performances”

Performance Dates are as follows:
Dec 22- 5-7pm,
Dec. 30 3-4pm,
Jan 6, 3-4pm, and
Jan 13 3-4pm.

CUCHIFRITOS Gallery and Project Space is located at 120 Essex Street, inside Essex Street Market between Rivington and Delancey Street.

We are very excited for your exhibition, Flora! See you on Dec. 22 for the opening.

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You are invited || Flora Choi’s Daeng’gi Kimchi Factory – Opening Reception Dec. 22

February 14, 2012 – 6:02 am

Flora Choi, Art in Odd Places 2011 artist, has an upcoming exhibition at Cuchifritos Gallery and Project Space. The opening reception will be on Dec. 22 from 5 to 7 pm. Flora’s work will be on display until January 15. Flora talked to us about her work:

“Daeng’gi Kimchi Factory is a performance–installation piece where I will be taking chopped off daeng’gi braids ( a traditional Korean hairstyle that was once worn by adolescent girls) for cabbage, and make my own special version of kimchi. This piece confronts the male-dominated traditions of the past and investigates the state of women in Korea today. This piece will be accompanied by several live performances”

Performance Dates are as follows:
Dec 22- 5-7pm,
Dec. 30 3-4pm,
Jan 6, 3-4pm, and
Jan 13 3-4pm.

CUCHIFRITOS Gallery and Project Space is located at 120 Essex Street, inside Essex Street Market between Rivington and Delancey Street.

We are very excited for your exhibition, Flora! See you on Dec. 22 for the opening.

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VOLUNTEER OPPORTUNITY: SOCIAL MEDIA POSITION AT ART IN ODD PLACES 2012

February 14, 2012 – 6:00 am

There are currently open volunteer positions to join the Art in Odd Places team.

http://www.idealist.org/view/volop/WKB4TNH579h4/



SOCIAL MEDIA COORDINATOR / INTERN

Art in Odd Places (AiOP) presents visual and performance art in unexpected public spaces. AiOP also produces an annual festival along 14th Street in Manhattan, NYC from Avenue C to the Hudson River each October. Art in Odd Places’ mission is to stretch the boundaries of communication in the public realm by presenting artworks in all disciplines outside the confines of traditional public space regulations. AiOP reminds us that public spaces function as the epicenter for diverse social interactions and the unfettered exchange of ideas.

We are seeking a dynamic and creative social media coordinator who can assist our PR strategy and further our branding within the NYC arts community. Ideal candidates must have a strong interest in arts and/or public art; have flexibility and the initiative to work both independently and as part of a team, have demonstrated familiarity across different social media platforms and possess excellent communication and writing skills. This opportunity will allow you the freedom to create/implement strategies and establish digital relationships to boost the organization’s online presence. Check out our past festivals and press at www.artinoddplaces.org

AiOP is a grassroots organization with no office so candidate must be prepared to work from home and have computer/cell phone availability. Ideal candidate must commit until the end of the AiOP festival in mid October 2012.

HOW TO APPLY
To apply please send an email and your resume to artinoddplaces@gmail.com

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CALL FOR PROPOSAL | Un-Space Ground – Deadline: Nov. 27, 2011

February 14, 2012 – 5:58 am
College Arts Association Conference
CALL FOR PROPOSALS
Ed Woodham of Art in Odd Places (NYC) and Deborah Oliver of Performance Exchange (LA) invite artists working with visual and performance strategies to propose projects for Un-Space Ground, a visual and performance event that is part of ART IN THE PUBLIC REALM, presented by ARTSpace at the 100th annual College Arts Association Conference at the Los Angeles Convention Center on Saturday, February, 25, 2012.
Projects selected will be part of Un-Space Ground: The unvisited, unnamed, and uninhabited empty areas beneath the normally used parts of the urban landscape. We seek to program site-specific social and spatial interventions, performances, and new media that will activate spaces outside the Convention Center entrance and selected inside spaces.
The Un-Space Ground presentations will be coordinated with three panel sessions as part of the ARTSpace day long program “ART IN THE PUBLIC REALM“, which will explore themes of activism and intervention, the environment, eco-systems and sustainable practices. Plus the role of artists and designers as dynamic catalysts in social and civic life, and how they can “feed innovative ideas into the bloodstream of society” through strategies and processes that activate the public arena.
Photos of LA Convention Center can be found at http://caasitephotos.shutterfly.com/pictures/8
For application and full guidelines visit http://artinoddplaces.org/Unspace.php
Proposal Deadline: November 27, 2011 Midnight
Curators: Ed Woodham (AiOP) and Deborah Oliver (Performance Exchange)
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CALL FOR PROPOSAL | Un-Space Ground – Deadline: Nov. 27, 2011

February 14, 2012 – 5:58 am
College Arts Association Conference
CALL FOR PROPOSALS
Ed Woodham of Art in Odd Places (NYC) and Deborah Oliver of Performance Exchange (LA) invite artists working with visual and performance strategies to propose projects for Un-Space Ground, a visual and performance event that is part of ART IN THE PUBLIC REALM, presented by ARTSpace at the 100th annual College Arts Association Conference at the Los Angeles Convention Center on Saturday, February, 25, 2012.
Projects selected will be part of Un-Space Ground: The unvisited, unnamed, and uninhabited empty areas beneath the normally used parts of the urban landscape. We seek to program site-specific social and spatial interventions, performances, and new media that will activate spaces outside the Convention Center entrance and selected inside spaces.
The Un-Space Ground presentations will be coordinated with three panel sessions as part of the ARTSpace day long program “ART IN THE PUBLIC REALM“, which will explore themes of activism and intervention, the environment, eco-systems and sustainable practices. Plus the role of artists and designers as dynamic catalysts in social and civic life, and how they can “feed innovative ideas into the bloodstream of society” through strategies and processes that activate the public arena.
Photos of LA Convention Center can be found at http://caasitephotos.shutterfly.com/pictures/8
For application and full guidelines visit http://artinoddplaces.org/Unspace.php
Proposal Deadline: November 27, 2011 Midnight
Curators: Ed Woodham (AiOP) and Deborah Oliver (Performance Exchange)
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YOU ARE INVITED | "Parts and Labor" opening November 4 at Abrons Art Center

February 14, 2012 – 5:57 am

Parts and Labor
November 4 – December 23, 2011
Opening Reception: Friday, November 4 | 6-8pm

The Abrons Arts Center is proud to present Parts and Labor, an exhibition presenting the work of five New York City-based artists – Daniel Bejar, Cecilia Biagini, Juanli Carrión, Jonathan Durham, and Noah Loesberg. These artists allude to machinery, technology and architecture through a series of geometric and non-objective compositions, tracing back to the Suprematism and Constructivism movements by the Russian avant-garde at the time of the fall of the tsarist regime. Through the use of industrial materials and motifs the artists salvage the wreckage from a years-long global recession and explore a promise of utopia and utility.

The radical change following the October Revolution inspired a rational, social function for art, emphasizing the artist as engineer. This exhibition adopts those principles, referencing the calls for democracy and economic reform in the social uprisings across the Middle East, Europe and the United States. Formally engaging the Brutalist architecture of the Abrons gallery and adjacent amphitheater, the artists yield essence over representation and process over product.

In his Realistic Manifesto Naum Gabo saw the Revolution as the beginning of a renewal of human values. As demonstrations flourish in Manhattan’s Wall Street and across the globe demanding economic reform, Parts and Labor looks to Constructivism and its examination of the fundamental properties of art and its place in the coming society.

Parts and Labor is curated by Adrian Geraldo Saldaña and part of the series Prized Vernacular, a platform for three exhibitions opening concurrently at the Abrons Arts Center that deconstruct a vernacular “everyday.” In light of the global economic recession, ordinary objects are presented as radicalized—prisms to a common unequally shared or realized. Reflecting cultural and economic difference, Prized Vernacular investigates this “new normal.”

Abrons Arts Center
466 Grand Street (at Pitt St.)
New York, NY 10002
www.abronsartscenter.org

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YOU ARE INVITED | “Parts and Labor” opening November 4 at Abrons Art Center

February 14, 2012 – 5:57 am

Parts and Labor
November 4 – December 23, 2011
Opening Reception: Friday, November 4 | 6-8pm

The Abrons Arts Center is proud to present Parts and Labor, an exhibition presenting the work of five New York City-based artists – Daniel Bejar, Cecilia Biagini, Juanli Carrión, Jonathan Durham, and Noah Loesberg. These artists allude to machinery, technology and architecture through a series of geometric and non-objective compositions, tracing back to the Suprematism and Constructivism movements by the Russian avant-garde at the time of the fall of the tsarist regime. Through the use of industrial materials and motifs the artists salvage the wreckage from a years-long global recession and explore a promise of utopia and utility.

The radical change following the October Revolution inspired a rational, social function for art, emphasizing the artist as engineer. This exhibition adopts those principles, referencing the calls for democracy and economic reform in the social uprisings across the Middle East, Europe and the United States. Formally engaging the Brutalist architecture of the Abrons gallery and adjacent amphitheater, the artists yield essence over representation and process over product.

In his Realistic Manifesto Naum Gabo saw the Revolution as the beginning of a renewal of human values. As demonstrations flourish in Manhattan’s Wall Street and across the globe demanding economic reform, Parts and Labor looks to Constructivism and its examination of the fundamental properties of art and its place in the coming society.

Parts and Labor is curated by Adrian Geraldo Saldaña and part of the series Prized Vernacular, a platform for three exhibitions opening concurrently at the Abrons Arts Center that deconstruct a vernacular “everyday.” In light of the global economic recession, ordinary objects are presented as radicalized—prisms to a common unequally shared or realized. Reflecting cultural and economic difference, Prized Vernacular investigates this “new normal.”

Abrons Arts Center
466 Grand Street (at Pitt St.)
New York, NY 10002
www.abronsartscenter.org

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Join AiOP favorite, LuLu LoLo, for a fundraiser this Saturday at Flux Factory

February 14, 2012 – 5:57 am
Insect Exotica LuLu LoLo Crowns Habitable Spaces Halloween Fundraiser Party

At Flux Factory – 39-31 29th Street Long Island City, NY 11101
Saturday, October 29
6pm – 2am
Art Auction: 6pm-10pm

http://www.habitablespaces.org/halloween-party/

In the spirit of Habitable Spaces Insect Exotica LuLu LoLo will harvest the audience for materials to create a sculptured headpiece celebrating Habitable Spaces, assisted by the multi-talented Marissa Hiller. The sculptured headpiece will be on sale to benefit Habitable Spaces. http://www.habitablespaces.org/
So come to support Alison Ward and Shane Heinemeier’s Habitable Spaces project at Flux Factory.
http://www.fluxfactory.org/events/habitable-spaces/

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"Wash" "Closely" as AiOP 2011 artist , Michael Borowski, shares his festival experience

February 14, 2012 – 5:56 am

Michael Borowski Wash/Closely

Photo provided by Michael Borowski
During the week of Art in Odd Places, exhibiting Wash/Closely, which dealt with rituals of the domestic bathroom, acquired the rituals of daily labor. Each morning I would arrive at Wix lounge at 10am. If I hit rush hour and the trains were packed, I would be late. Not that anyone seemed to mind. The mornings were slow. I think we both hoped for more of an audience. I had only one intentional visit during the week, from a group of dutiful Parsons undergraduates. At noon I would leave for a lunch break. The first day of the exhibition I could barely eat because I was so nervous about the public response to my work. My thoughts were focused on a potentially ambivalent or even aggressive public, or even being asked to leave by the police. I should have been worried about the transportation. Moving the human-sized sculpture, on its four indoor casters, down heavily trafficked sidewalks, and across cracked asphalt streets, was no easy task.

Each day at 1pm I would walk alongside my sculpture, rolling at a snails pace. My eyes were fixed on ground in front of me, looking out for cracks or bumps that might catch my wheels. It was physically exhausting. Once I reached 14th street, I would set up the piece, take a few photographs, and then pass the hours watching people’s interactions. Most people walking past gave it an odd look, doing a double take as they passed. I heard a few people say “What’s a sink doing in the middle of the street?” or “Only in New York!”. But every so often someone would briefly stop to look at him or herself in the mirror. They did it without asking what it was, or to whom it belonged to. It didn’t matter that it was a sculpture, or part of the Art in Odd Places festival. The sink and mirror were familiar enough. These brief moments contained everything I hoped my work would address: people exhibiting a level of vulnerability that comes with fixing your hair in the mirror, and a willingness to perform these subtle, intimate rituals in public.

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