tag:www.delpesco.com,2008://3 2008-06-22T21:13:37Z Movable Type Personal 4.1 tag:www.delpesco.com,2008://3.281 2008-06-04T22:21:31Z 2008-06-22T21:13:37Z

Black Market Type & Print Shop Articule, Montréal]]> A Constructed World, Brad Adkins, Amy Balkin, Paul Butler, Harrell Fletcher, Amy Franceschini, Jamie Gili, Sam Gould, Marc Horowitz, Marisa Jahn, Steve Lambert, New Beginnings, Giancarlo Norese, and Derek Sullivan Exploring the use of type in recent art practice, the Black Market Type and Print Shop is a collection of 20 fonts culled from contemporary art publications. Picking up on the groundwork laid by appropriation art in the Eighties, these types are a byproduct of art production extracted for a second use, but without modification or addition. All of these fonts have been created without the permission of the artists, and their use is limited to the exhibition. (While the project is called a black market, none of the fonts are available for purchase.) All of the types are hand-drawn by the artists with only one or two exceptions, and all are readable letterforms except two: the General Idea AIDS logo-type infects the entire typeface, and David Shrigley's "dingbats," a collection of symbols drawn by the artist. A loose selection criteria for this resource was to omit artists employing existing typefaces, or borrowing from other sources. It was also limited to type appearing within a single artwork (or related series) rather than written correspondence or other informal output by the artist. Utilizing the black market type resource, a group of 14 international artists have been invited to make a text-only poster, to be distributed around Montréal. The resource is also available for gallery visitors to design and print their own posters in the gallery. The project instigates a distribution of the aesthetics of contemporary art into the media stream of lost-dog announcements, rock show flyers, for-sale notices and other street-post ephemera. Special thanks to InCUBATE in Chicago whose $200 sunday soup grant paid for the software necessary to turn the publication scans into fonts, and Jeff Ramsey who designed the window display and contributed the Deiter Roth type. + View the 20 types (pdf)]]> tag:www.delpesco.com,2007:/delpesco//3.199 2007-10-15T17:49:55Z 2008-06-22T20:43:56Z

On Being An Exhibition Artists Space, New York]]> Artists: BGL, Conrad Bakker, Beth Campbell, Germaine Koh, Valerie Hegarty, Isola and Norzi, Chadwick Rantanen, Derek Sullivan, Anne Walsh/Chris Kubick, Lee Walton, Laurel Woodcock The artists and organizers of every gallery exhibition offer a response to the questions "why does the gallery exist?" and "what is an exhibition good for?" Whether intended as a statement of critical self-reflexivity or a response implicit in the continued use of forms that have become the default, all institutional productions operate within an encapsulated history and logic. The hierarchy of an institutional bureaucracy, the raw materials of the physical architecture, and the modes of social exchange occuring within the boundaries of a gallery--and its child the exhibition--accumulate to form a language that is spoken by galleries around the world. While it is unclear how much of an effect a fluency in this language has on the production of artworks for public exhibition, it is apparent that a gallery can inflect the art it presents as much as the art determines the form of presentation in the gallery. Through years of experimentation, agents of culture have repeatedly tested the conceptual and physical limits of the gallery through exhibition. As a result of this gallery-as-laboratory activity, the language of exhibition has been expanded to the very threshold of its capacity. Yet, despite the excesses of pluralism in art, the gallery and the exhibition have developed a set of stable signifiers: lighting track, white walls, a front desk, a gallery attendant, etc. While these fundamental structures of meaning differ slightly from gallery to gallery (and from gallery to museum to alternative space), they can be said to accumulate as a set of expectations in the viewer/user. Once the particular dialect and idioms are identified in a given environment, this root language can be employed to construct context-contingent meaning and to support or undermine the expectations harbored by the audience. Artist Michael Asher, who has become well known for employing this kind of context-contingent meaning, uses the term "Situational Aesthetics" to describe "an aesthetic system that juxtaposes predetermined elements occurring within the institutional framework. They are recognizable and identifiable to the public because they are drawn from the institutional context itself." In other words, Asher acknowledges certain elements of the gallery or museum are known quantities despite their background/neutral status. Through combination, relocation, or removal, the value of these elements can change, making us aware of their capacity to hold meaning. Thus, context-contingent meaning arises out of a complex set of relationships between the gallery, its history, and the expectations of the viewer/user. On Being an Exhibition borrows Michael Asher's thinking as a point of departure toward the development of an exhibition that leverages the pre-conditioning of the viewer, the physical language of the gallery, and the packaging and promotion of its contents. While the exhibition does not seek to locate these practices in relation to a specific genre of art, it proposes a continued support of the infiltration of creative thinking into all corners of the institution and the re-identification of these larger practices as not limited to the strategies of institutional critique and site specificity. Download the exhibition catalog (pdf). View Additional Images from the exhibition]]> tag:www.delpesco.com,2007:/delpesco//3.198 2007-04-15T17:26:17Z 2008-06-22T20:44:35Z

Collective Foundation Yerba Buena Center for the Arts, San Francisco]]> Project Partners: Scott Oliver, Steve Lambert, Josh Greene... The Collective Foundation is a research & development organization presented via six experimental programs, mini-exhibitions and partner projects. This permeable organization of over 100 contributors was founded at the Yerba Buena Center for the Arts in San Francisco in April of 2007. The mission of this organization is to propose and prototype an array of services for artists and arts organizations while investigating new resources and locating practical ways of reducing administration and overhead. To find out more about the foundation and its programs visit: www.collectivefoundation.org View installation images: http://collectivefoundation.org/install/]]> tag:www.delpesco.com,2006:/delpesco//3.197 2006-11-30T17:33:37Z 2008-06-22T20:45:28Z

Project Placement Galerie Analix, Geneva, Switzerland]]> Artists: Conrad Bakker, Amy Balkin, Jay Heikes, Marc Horowitz, Packard Jennings, Gianni Motti, Mads Lynnerup, Zoe Sheehan Saldana. + Download the Press Release + View Images The Embedded Invisible The hidden-in-plain-view marketing strategy of product placement has recently grown beyond the insertion of commodity objects into film and television. It now appears in a variety of popular media including video games, comics, music and books. This proliferation is occurring alongside a shift in how these products are being embedded. One example involves an evolution from the more typical product-used-as-movie-prop strategy into the full-swallow integration of products or brands into the story line (see "Wilson" the volleyball in the movie "Cast Away"). This insinuation of commercial interests forces writers to alter the narrative, compromising the creative task of cultural production (and not without protest from groups like the Writers Guild of America). In some cases, marketers are actually replacing these content providers. This super-saturation of commercial content in cultural media has lead to a conflicted constellation of discourse that includes a debate between the people and the advertisers. The arguments on behalf of the people rely on the viewer's (lack of) awareness, or put another way, the product's contextual invisibility. The assumption is that product placement is a hidden exploitation of the viewers attention and expectations of veracity. A consumer protection group called Commercial Alert calls it "...an affront to basic honesty. Product placements are inherently deceptive, because many people do not realize that they are, in fact, advertisements." Attached to this argument is the theory that if the consumer is not aware of the presence of the product, and if it's invisible to them as a viewer, they are in danger of being manipulated. Research has suggested that some advertisers have been successful at connecting products to latent desires (in addition to offering solutions to problems or responding to existing needs). In this sense, product placement is like a veiled seduction. Another perspective argues that because our environment is already saturated with an accumulation of images and objects that carry intellectual property protection, whether copyright or trademark, it has become increasingly difficult to represent the world around us in a way that speaks honestly about contemporary experience or takes advantage of our shared cultural/visual lexicon without including these products. This argument is most typically used by artists or film makers in opposition to conservative copyright laws which restrict their freedom to include these everyday commercial objects and images in their work. In the case of documentary films, these placements are often accidental - a byproduct of filming in the public sphere for example. As individuals, these omnipresent quotidian product appearances are as invisible to us as singing happy birthday or wearing a brand-name t-shirt. While one argument may be said to be conservative (preserving ad-free media) and the other liberal (progressive open access), both arguments are opposing corporate hegemony and therefore approximate a shared resistance - yet the specific tension between the two is worth noting. A generalized account of the two points reads: the artists want freedom of usage and re-presentation while the advocacy groups want to filter output in an effort to stop the public from being duped. In other words, the tension exists on a spectrum between anything goes and tightly controlled, and both may be in our best interests. Rather than a reform of existing laws and practices, which is what these two arguments typically call for, this seemingly irresolvable tension needs another tack to move toward resolution. This redirection would borrow the strategy of its opponent, product placement, and take advantage of the existing streams of media distribution by embedding its own messages. This effectively turns product placement into project placement, creating room for a new context contingent meaning, and embedding ideas instead of commodities. In the context of late-capitalism, this super-saturation of media content will either lead to an overwhelming cacophony and a disruption of the power and efficacy of existing media streams, or begin the process of reclaiming culture from the capitalists. A brief history: Product placement has been around in movies for over fifty years, but became common practice for advertisers in the eighties as a result of significant gains by various placements. While not actually a paid placement, one of the most commonly cited catalysts for the growth of the product placement is the presence of Reese's Pieces in the Spielberg film "ET" (1982). The products key role in the movie resulted in a temporary sales increase of 65% for the candy. This spike in the profit charts led to a new era of creative tinkering with product placement and its spread to related media. Unusual examples of product placement: IKEA has a arrangement with Hewlett Packard to stock the mock living-room settings in their stores with (real and fake) HP products - essentially situating computer products inside IKEA's commercial mise en scène. The Google Earth software, which allows users to virtually roam the planet, has led to roof-top advertising as seen from satellite. Somewhere between product placement and road-side billboards, these birds-eye images of the global landscape are slowly being interrupted by painted adverts and crop-circle like messages. Virtual advertising, which is the superimposition of images onto real spaces in movies and television, is a particularly clandestine variation that came into public awareness as the result of a recent lawsuit over the virtual make-over of a billboard in the first Spiderman movie. Two companies vied for their rights to advertising space - one real, one virtual. Examples of project placement: In 1995, American artist Mel Chin initiated a collaboration between 102 artists to form the GALA Committee (GA for Georgia and LA Los Angeles). They persuaded the producers of Melrose Place (Spelling Entertainment Group) to allow them to provide the program with more than 150 props over the course of two seasons. These placed artworks included everything from domestic articles like bedding and furniture to framed artworks. In 1993, French artist Matthieu Laurette took part in the TV game-show Tournez Manège (The Dating Game) and, while on the set, identified himself as an artist. This was the first of a series of Apparitions/Appearances which might be considered self-placements by the artist. His presence in at least five television programs can be understood as an infiltration-performance series and self-advertisement campaign. (essay published in NUKE magazine No.4 "INVISIBLE")]]> tag:www.delpesco.com,2006:/delpesco//3.196 2006-11-15T22:55:25Z 2008-06-22T20:46:21Z

Domestic Multiplex: Heroes & Amateurs Walter Phillips Gallery, Banff Centre, Canada]]> Download the Poster ]]> tag:www.delpesco.com,2006:/delpesco//3.195 2006-04-08T21:38:50Z 2008-06-22T20:47:17Z

Claude Closky at the Banff Centre Bigert & Bergstrom at the Nelson Gallery, UC Davis Jennie Smith at the Wattis Institute, CCA]]> Journal, 2005 French artist Claude Closky presents a rapid succession of images extracted from the world media. Paired with a catalytic sound clip, each image briefly erupts, marking a moment of global ferment. + More info... The documentary Last Supper by Swedish collaborative Bigert and Bergström compares the traditional rituals of a prisoner's last rites to its contemporary form in various countries. It also includes several animated segments and sculptural installations made by the artists. + More info... For her first exhibition on the west coast, Jennie Smith presents three delicate drawings of psycho-architectures. + More info... (Image from Last Supper by Bigert and Bergström)]]> tag:www.delpesco.com,2008://3.229 2006-02-03T06:02:50Z 2008-06-22T21:14:35Z

Conrad Bakker Bigert & Bergstrom Beth Campbell Claude Closky E-team Harrell Fletcher Amy Franceschini Alison Gerber Josh Greene Valerie Hegarty Jay Heikes Marc Horowitz Helena Keeffe Horwinski Press Steve Lambert Huong Ngo Tucker Nichols Kate Pocrass Red 76 Jon Rubin Dan Seiple Lee Walton ]]> tag:www.delpesco.com,2008://3.227 2006-02-03T06:01:30Z 2008-02-03T17:00:50Z

Frank Prattle Portland Art Net via Alexis O'Hara by Laurel Woodcock Stray Show...

Frank Prattle Portland Art Net via Alexis O'Hara by Laurel Woodcock Stray Show]]> tag:www.delpesco.com,2008://3.224 2006-02-03T05:42:12Z 2008-02-03T16:49:29Z

Shotgun Review Wattis Project FFWD Calgary Ideas for Actions...

Shotgun Review Wattis Project FFWD Calgary Ideas for Actions ]]> tag:www.delpesco.com,2008://3.223 2006-02-03T05:37:04Z 2008-02-03T16:58:27Z

Lee Walton Interview Amy Balkin Interview Dean MacCannell Interview Jon Rubin Interview...

Lee Walton Interview Amy Balkin Interview Dean MacCannell Interview Jon Rubin Interview ]]> tag:www.delpesco.com,2005:/delpesco//3.194 2005-09-30T04:22:31Z 2008-06-22T20:54:51Z

Horwinski Poster Show Nelson Gallery, UC Davis]]> (wall text from exhibition - Joseph del Pesco)]]> tag:www.delpesco.com,2005:/delpesco//3.193 2005-08-21T04:18:00Z 2008-06-22T20:56:48Z

Things are People Too Taking Place Series, Portland OR]]> Objects Are Subjects In consideration of Things Are People Too Can openers are good for opening cans; shoelaces keep one's shoes firmly fastened to one's feet; basketballs are meant to be dribbled, passed, and shot through hoops while playing the game of basketball; toy talking parrots do an excellent job of mimicking real parrots; flowers are generally pleasing to look at, especially in the wild; backhoes are useful for digging big holes quickly; and world maps give us an idea of the political, geographic, and temporal divisions we've superimposed on this lonely planet. These are some of the objects we encounter in the video works collected by curator Joseph del Pesco for the video program Things Are People Too. Utilitarian descriptions alone tell us little about what and how these objects mean. Nor do they tell us much about the videos themselves. Use has never been a primary concern of art. Still there is no denying that the makers of the videos used the objects listed above in their work. Roland Barthes once wrote "use never does anything but shelter meaning."(1) Barthes, a semiotician and masterful dissector of cultural phenomena, was no doubt concerned with the sign value of functional objects. In contrast the artists represented in this collection take a more hands-on approach to the mysteries of everyday objects - physically interacting with them as a way to uncover their hidden meanings. Things Are People Too offers a definition of use in terms of specific relationships with objects, and an alternative view to Barthes in the form of a response: "Yes, but meaning can only be acquired through use." The seven artists featured in Things Are People Too (Mads Lynnerup, Jason Mortara, Chadwick Rantanen, Ben Reisman, Jon Rubin, Jackie Sumell, and Anne Walsh) are not unaware of the cultural significance of the objects they work with. Rather, in an attempt to cultivate relationships with their objects, they make an earnest effort to check their cultural assumptions and projections at the door and, in the process, ask us to do the same. For these artists objects are not simply to be talked about but talked with. In fact it would be more accurate to say that the objects featured in these videos are subjects. And they are subjects in the fullest sense-they are given subjectivity. So what these videos witness is not mere ventriloquism but meaningful transactions between person and thing. An initial reading might lead one to conclude that these videos anthropomorphize objects, but that is too easy. Besides, it is no surprise that we anthropomorphize objects. We are, after all, very anthropocentric. This too is not surprising. Nor should it necessarily be avoided. Consciousness has distinguished us from the rest of the world. There is us and there is the world. It is always over there-in front of us, behind us, above and below us. This is where our sense of otherness comes from. The world gets divided too, into good and bad, artificial and natural, object and subject, etc.- categories that confuse and intrigue us. The fact is only people can personify and only people make things. There are some exceptions, but even the extraordinary Bower Bird can hardly be said to have a penchant for things. No, only we cannot satisfy our desire for things. People and the things they make are meant for each other, and we are blind to our own seductions. For a tree can be stubborn, messy and silly just as a table (or person) might be described as shifty, pale, and smooth. It's our language that anthropomorphizes. We simply cannot help ourselves. But these videos do more than simply anthropomorphize objects. The illusory in these works is constantly thwarted by the artist's own hand-the means by which they manipulate objects are mostly made evident in the works themselves. The creators are more concerned with examining their relationship to the objects they use. So the object-subjects in these works are allowed to speak for themselves. And the artists seem to listen. This gives the videos the quality of documented performances and, in rare moments, the uncanny sense that one is overhearing a conversation. A conversation with things might sound ridiculous but taken as a whole Things Are People Too manages to revise the material world as surprisingly idiosyncratic and talkative. We are thus confronted with our own strange entanglement with things. - Scott Oliver 1. Roland Barthes, The Eiffel Tower and Other Mythologies, trans. Richard Howard (New York: Hill and Wang, 1979)]]> tag:www.delpesco.com,2005:/delpesco//3.192 2005-08-02T04:39:43Z 2008-06-22T20:57:20Z

A GOLF LESSON WITH JON RUBIN]]> Dots & Quotes No. 1) JON RUBIN: Here are some gloves, they help with the grip. JOSEPH DEL PESCO: Ok. JON: The most important part of hitting a golf ball, and where the most mistakes happen, is where and how you hold the club. What you want to do is take your left hand and interlock your forefinger and the pinky of your right. The reason you interlock your hands is that you want them to move together as one piece. The way you want to hold a club is like you're holding a dove; firm enough but don't strangle it, because when you strangle it your muscles tense-up and you can't swing. After that you just want everything else to be balanced. You want to be really comfortable. The club straight in front of you, and stand like your sitting on the edge of a stool. When you swing, its not a swing motion its just a torqing. You can think of yourself as being on a skateboard when you're doing it; turning, but keeping your balance, so you won't fall off the board, and then. . . (SOUND OF GOLF BALL BEING HIT - BY JON) It's almost like the less you do [during a swing] the more happens and the more you do the less happens. It think its why the game is so facinating, because it's not really about effort. It's about giving up to a series of balanced motions. One problem a lot of people have is that they try to hit it really hard . . .it doesnt work. It feels good up until the point where you hit the ball. (SOUND OF GOLF BALL BEING HIT - BY JOSEPH) A few minutes and several swings later. . . JOSEPH: What's the fat one for? [referring to a club] JON: Thats the driver. It's used for hitting far. They [the golf clubs] start with the pitching wedge which has the most loft, it's also the shortest. It's meant to get the ball up high. Then the numbers go down and the clubs start to flatten out. Then there's the driver which is one of the flattest clubs. JOSEPH: Can I try one of those? JON: Sure. Here. I'd choke up on it a little bit. When you take the club back, take it lower and longer. You can get more lift if you play the ball off the inside of your heel. (VERY DIFFERENT SOUND OF A GOLF BALL BEING HIT - BY JOSEPH) It's kind of like hitting a baseball with an aluminum bat. Ok, up until the last moment you were good. In that last moment you were like I'm gonna hit the shit outta this. JOSEPH: (Laughter) JON: It's a psychological block. JOSEPH: YEAH (SOUND OF A GOLF BALL BEING HIT - BY JOSEPH). JON: Good. Better. JOSEPH: Is this game a metaphor for something else? JON: It could be, but I don't stress that. . .it's not the way I approach it. (SOUND OF GOLF BALL BEING HIT - BY JOSEPH) JON: I guess the main metaphor is the less you do, the more you get. The more you try to fight everything into being the less successful it is. Golf is about taking away all the bad habits. You have to try to do certain things so you can forget about doing anything. Every time you hit the ball that lesson is reinforced. Golf is the only sport that is not reactive. You start completely inert, you generate all the energy. You're not responding to a ball coming at you, or another human being coming at you. So because of that it's probably the hardest sport there is. You're responsible for every action. It's the most difficult game mentally. It looks like everyone is doing exactly the same thing, but it's the most challenging game I've ever played. JOSEPH: For me it's a game of chance, I figure I have about a fifty percent chance of hitting the ball, and a fifty percent chance it will go where I want it to. JON: My first four years were like that. Then you master the swing. . . and eventually you master the course - the specifics of where the ball is and needs to go. It's all self mastery. When you're playing well it's effortless. You body just does what it needs to do and your mind gets out of the way. Following our lesson at the driving range, Jon Rubin and I sat at a nearby cafe and shared stories and opinions for an hour over gigantic hamburgers. A couple weeks later I emailed him a few questions, following up on our post-lesson conversation. JOSEPH: Just prior to graduating, you gave your MFA review panel a golf lesson. How did it go? Who have you taken to the driving range since then? JON: Well, I was in the painting department at that time and I had spent two years at the school without making a painting, so I think they were a little disappointed with me to begin with. In fact at that time I wasn't even a very good golfer. I think I was interested in inverting the status relationship between myself and my teachers, and recontextualizing teaching and my hobbies, or seemingly non-art activities, as a creative practice. Although, of course I was teaching something I had yet to master myself. Which is interesting, now 12 years later as an adjunct faculty member at the same school I graduated from, I realize there is no such thing as teaching from mastery, at least for me. In fact it sounds boring. Part of my desire in creating the Independent School of Art [a current project] was to create a situation where I could fold my practice as a teacher into my practice as an artist. It's a slippery preposition to begin with when you call your teaching your work. Traditionally that has been considered taboo, or at least the slogan "those who can't do, teach" would apply here. But, I've always taken my teaching very seriously and the sensibility and labor involved fundamentally resonate with my socially based practice. The idea of creating ISA at first was almost a joke, I liked the sound of it when I mentioned the idea to people, "I'm starting my own art school." It's so patently ridiculous and overblown. Yet, It's developed into a very serious and complex work and experience. I like that tension between the seemingly absurd and serious. Back to golf, I've taken several of my classes to the driving range, as well as the gun range, a senior center waltz class, the Hollywood Squares television show, a porn studio (in a class co-taught with Larry Sultan), a protest march, a comedy club, really anywhere culture is being produced. Artist are like sociologists, especially when we're in a group of peers, there is nothing better than taking a trip with colleagues and sharing the strangeness of the ordinary world. I love capital A art, but I get bored of talking about it in a classroom, I mean it's wonderfully monkish to do so, but it all gets so deadly theoretical after a while. I think it's vital that all work and dialogue rub directly against the real in someway, even if it's the bizarrely constructed reality of Hollywood Squares. JOSEPH: After our golf lesson, standing in a cue at a nearby cafe, you mentioned that you'll sometimes order the same thing as the person in front of you. This strikes me as a really simple game to disturb one's sense of complacency, kind of like writing with only your left hand for a day (assuming you're right handed). What other kinds of simple games do you employ? JON: Very similar to ordering what the person in front of me orders at a cafe, when I go to the horse races I decide I'll bet on people rather than on the horses. I mean, I know nothing about horses but I know a little about people. What I do is look around for some guy who really looks like he knows what he's doing, you know, lots of racing forums, perhaps a cigar or a limp might be my cue, and I follow him up to the betting kiosks. all the betting is electronic now like going to an ATM so I just stand real close to him and write down what he bets on and then bet it myself. There's still an element of chance, but at least I get to identify with a human. It's like some of the work that I do that involves strangers. In the end the strangers are only a cypher under which I discover my own prejudices and desires. JOSEPH: You also mentioned during our lunch conversation that you're most compelled by artwork that rubs up against reality. Games are interesting because they're a kind of suspended or simulated reality (like the game LIFE). Where is the line between an art project and a game being played? JON: I think I've always used my art practice as a way to engage in serious play. By serious play I mean that in someways all the roles we identify ourselves by as adults seem to be a bit absurd, constructed, and tenuous, just like when we imagined ourselves as doctors and sportscasters (in my case) as kids. The problem is that most adults tend to believe they are what their job title (or lack thereof) declares them to be, and don't recognize that they are only engaging in the exact same childhood game except with more stuff. I see myself as a sort of less exaggerated Walter Mitty. Doing something under the guise of art allows me to slip in and out of a variety of personas without having to worry too much whether I really know what I'm doing, or getting too attached to the persona as a singular self-definition. Institutionally, this has manifest in things like developing my own art college, opening a store in a indoor shopping mall, running my own restaurant, and hosting a game show. The majority of my work though is about strangers. It's funny because I'm basically reclusive most the time. I think making work about other people allows me to safely, and temporarily slip into their identities. I once created a show with Harrell Fletcher about a ten year old boy in Seattle based entirely on video filmed from a camera that he wore on his head for three weeks. We assembled hours and hours of footage and started pouring through it in slow motion, looking to cull out moments that perhaps he didn't even perceive when he was looking at them. In the end it was like curating from inside someone else's head. On the one hand the show comes off like a first person account of a boy's life, but it's really a highly biased and constructed third person presentation of my own reality via someone else's vision. I get to play at being a boy again.]]> tag:www.delpesco.com,2005:/delpesco//3.191 2005-07-22T04:11:04Z 2008-06-22T20:57:56Z

Lost & Found Society Momentary Academy (at Yerba Buena Center for the Arts, San Francisco)]]> Press]]> tag:www.delpesco.com,2005:/delpesco//3.190 2005-06-21T21:35:36Z 2007-10-15T13:05:09Z

Let's Trade Rooseum, Malmo Sweden]]> Dumb Economy, Funny Democracy, Impossible Projects was initiated as an experiment in economic democracy, in which buying one of the seven posters was the same as casting a vote. This election resolves in a final project by Stein who, taking his imaginary exchange seriously, has outlined a step-by-step plan for making it a reality. His installation will include a live presentation, letters ready to mail to US Rappers, and visual diagrams. Public Program: Film screenings FREESTYLE: The Art of Rhyme / Saturday 11 June 2pm BREATH CONTROL: The History of the Human Beat Box / Saturday 18 June 2pm Thanks to Barbro Osher Foundation, Alison Gerber at Hostel Projects, New Beginings and the Staff at Rooseum. ]]>