PS 1010: Road Felt
Exhibition Opening Reception - Sept. 13th, 8pm
With performances by Bitter Party and special guests
Feeling and the Document
Communal Table Discussion - Sept. 15th, 2pm (To be followed by dinner)
With Chris Kraus, Marie Shurkus, Jon Wagner, Jean Rasenberger and David Frantz
Concord - 1010 N San Fernando Road, Los Angeles
Our collective just got back from a research adventure, living in a teal school bus rattling across the country. The bus housed a library, a photocopy machine, a propane burner, beds, many milk crates, snacks, a samurai sword, two curtains, cameras, recording devices, and various configurations of artists and writers. We traveled from LA to New Orleans to Memphis to Oakland and many places in between. We’ve returned with a mess of memories and documents (photos, notes, soil samples, rips in our clothes). Somewhere in between memory and this documentation is our archive.
We are beginning to organize our archive by feeling.
The authority of the document has been embossed in the fibers of the paper (the watermark). Reacted in silver for photographs (empirical substrate). Dripped over their enclosures to seal them in wax (the family crest). The authority of the document has also been denied to those who cannot sign them (slaves sign with an X).
How to then critically wield documents, documentation, documentary?
Feeling is a peculiar mode of organization. It can’t be disagreed with, like place or date. But unlike intuition or chance, it can be explained, explored, and justified. Feeling is neither subjective nor objective—a contradiction the difference between emotion and affect is supposed to clarify. Rather, feeling mediates the divide—a feature that capital enjoys poaching as a technology and a commodity.
Our archive exists someplace between starter fluid and surprise. Milk crates and ambivalence. Water and resentment. Walmart and confidence.
Road Felt is this archive. An exhibition where narrative and memories build the framework for ordering objects, where stories become files and feelings become filing cabinets.
To help us along (this archive is open), we’ve decide to extend the conversation and sit down with some people we’d like to learn from.
Feeling and the Document is a communal table discussion. A Sunday - where we will discuss radical archiving processes, documentary practices and educational methodology (returning to PS 1010’s departure point). We will also discuss affect theory and practice, both as a critical methodology but also as a cornerstone of the service economy that plays out through immaterial and de-materialized labour practices. And after all that, we’ll eat together, probably a kale salad and ice cream.
P.S.1010 Bus Stop: Oakland
Communal Table – August 1st
Real Time & Space
6-9p discussion, 9-2a dinner and bus dance
Bus Trip – August 3rd
Leaving from Real Time & Space
2-5p speculative bus tour and reflection
We’ve been on a research adventure in a teal school bus traveling across the country.
In Memphis we saw an arts organization funded by the developers of the former Sears Building, destined to become a vertical urban village. In Hot Springs we visited a healer’s apprentice in a non-denominational geodesic dome church where we talked about healing and the way indigo children run the advertising industry. We tried to visit the abandoned Chilocco Indian School, but security guards turned us away because the land had been rented for testing drone sensors by Oklahoma State University in collaboration with World Surveillance Group and the US Military.
We asked of the places we visited: how are spaces for learning and creative production determined? In whose name are these projects developed? We found ourselves complicit in some of the answers, so in Oakland we’d like to talk through it further.
Social practice and development projects both make a peculiar use of community, from a poetic hailing of imaginary participants, supporters and investors to at times a perverse erasure of place. “Community” is invoked in marketing pamphlets at open houses as well as at round table discussions in artist-run spaces.
We’ve been trying to locate these ideas in forms, to inhabit them as we do our school bus. In Hot Springs, AR we chalked a picture of a communal table above its right wheel. By New Mexico, we had generated a list of users: freelancers at co-working spaces, coffee shop dwellers on laptops, non-profit brainstormers, loft tenants in their lobbies, participants in dialogical art and diners at noodle bars.
On Thursday, August 1st from 6-9pm we will host a “communal table” of discussions with a wide variety of people and perspectives discussing questions and thoughts. This will be followed from 9pm-2am with a roadside dinner and dancing on the bus. Special guests to be confirmed.
On Saturday, August 3rd from 2-5pm we will embark on a speculative tour across the Bay Area exploring the way alternative histories can open up possible futures. Aboard our bus we will travel with you to a secret destination as we speculate on an archaeology found in the future. As we drive back covering the same route we took we will reflect on the trip.
P.S.1010 Bus Stop: New Orleans
July 13-August 10; Opening reception July 13th
Good Children Gallery
4037 St. Claude Ave., New Orleans, LA 70117
Ohb boy is it bumpy… excuse our typos and our tractor tires. We are writing this press release from the back of our School Bus, it’s a strange teal colour, a mixture of our collective’s different tastes: deep forest green and sea foam. We started to day with Yoga on a bus in a Walmart Parking Lot somewhere near El Paso. We ate a broccoli omelet with goat’s cheese and pesto sourced from the 40 year old Food Conspiracy Co-Op we visited in Tuscon. We love the spicy raw garlic in this pesto. We made friends in Phoenix with folks on Roosevelt Streeet. And now we are high tailing it to Marfa. We’re gonna swim in a water tower there and listen to stories.
We are getting ready for New Orleans, why do they call it n’orlans? Mayb e we’ll poach the vernacular. When we get there on Wednesday – we plan to sleepi in the agallery. We heard it has a shower and airconditioning. We’re excited for these petty luxuries, but not that much, as we’re growing into our bus, like old blue jeans. When we get there – come eat with us, we’d like that.
In the gallery we have plans – plans to make a map – for going forward and going backward. We want you to know where we’ve come from (Los Angeles– our mirror). We don’t know where we are going, just yet – but feel free to call us once we are gone. We have a landline (323-919-9126), which might be nostalgic, to call us up and say…. And sure answering machines are like milk crates – and remembering (the 90s) is so primitive – but we’ll leave an answering machine memory bank in the gallery so we can call in the middle of the night just to say hi, keep our promises and maybe sing to you when the rain comes. When will the rain come?
We aren’t pining, not for a lost time, nor for highschool dreams, actually we are driving fast forward, with high beams bright. But this is the contradiction (space for art to happen); sure the project is chronologically c0nfused, neo-analogical even, which is to say attempting a reversal of school bus nostalgia. This paradox we are all sleeping in. Going forward: looking backward; dreaming: driving. Or shall we say we want an experience of learningnt that is both conservational yet transformative – which is to say a simultanaeity of landscape ecology and radical politics. Unlike Europe it isn’t history here on the road, here in the desert of now, where official memory burns thin. It is space, or that local place that holds political potential, the contradictions`: the flowers of a road runner cactus, the twist of a tornado or the mineral veins of an education that isn’t the San Xavier Mission. Outside of Tucson we watch the sun setting over sepulchral white melancholia, as indigenous women hail Mary atop a small reservation dug out mountain.
Tofay we are a band of naïve anthropologist – practicing; educators who don’t like to read; artists reminiscing neo-liberal hippy times, but mostly we are on oour way to meet with you. Our goal is to fill this bus with memories, to let experience, phenomena, noumena, botany, and mostlu, all colours of learning permeate the riveted steel of our Navistar International. This ole bus will contine to shake, its shocks are well shot; with bent-shocks each bump knocks something a little out of place, a book falls open, fragments muddle, consciousness blends, PDFs curl in the wind – we dream together in rattles and buzz – somehow somehow learning is happening, right here as each pothole unfixes bits of knowledge as we know it, as we are starting to have known it. And the anxieties of this loosening, loss of convention gather to tumble across the interstate 10, once as weeds now bundled up sspherical, skeletal. These boney tumbleglobes of conventional modes seem to have nowhere to go save for the mercy and whimsy of hot, low desert winds. Together we pass them and drive on.
Will you sit next to us? (Say yes here.)
Our school bus won’t be yellow. It’s not for kids (though kids are welcome). This July, we’re converting a school bus into P.S.1010, a mobile laboratory for researching the connections between art, social spaces, and education.
School buses are sites for unconventional learning, social experimentation, and community building—they’re where we learned how to meet new people, plan minor rebellions, trade gossip, share secrets, doodle, and dream. We want to find out what else can they be.
Our bus will be an open place to gather, learn, talk and connect in; a social space for free rides and free dialogues. We’ll invite local artists, teachers, and community organizers, to board and give workshops, perform, install, discuss, and exhibit. And we’ll use the bus as a connector, transporting communities between spaces, and ideas between communities, collectively learning, un-learning, and re-making our world.
“Cha-Ching! is an addiction story without recourse to self-help and redemption. It’s a romance built not from exchanging vows, but traumas, drugs, and fluids. You had me at the puke on my sheets. The characters are always making something out of nothing—a dime into a jackpot, a shitty apartment into a home, a blank sky into a declaration of love. It’s gruesome. It’s hilarious. It’d make a puppet out of the hardest of hearts.”
Review of Cha-Ching! and interview Ali Liebegott (pennies, ducks, painting, and more of Ali’s obsessions) at HTML Giant.
"Play can be hard work and serious business. It’s time to push beyond the conceptualization of play as merely the pursuit of leisure and consider how the issues of power, affect, labor, identity, and privacy surround the idea and practice of play. Extending Play aims to explore, understand, and facilitate discussion of play as a mediating practice and how play operates at the center of media." — Conference Mission
So thrilled to present Rih Rih (Re)Vision at Rutgers Media Studies Conference: Extending Play next Saturday!
Find me at the Pop Culture Association / American Culture Association National Conference presenting two papers: “What New Girl Says About Post-Fordist Men” and “Queer Looks at Rihanna’s S&M.”