Search results for "IdeasCity"
Protestors shut down the New Museum’s IdeasCity Bronx
In a public statement McEwen made on Twitter, she ends with a series of questions aimed to open dialogue and to keep the conversation going. “NYC Parks Department—I have no words,” she asks, “what would a functional democratic process around public space look like for New York City?” She urges for a “radical imagining” of the spaces in which we exchange knowledge outside of the academic institution, and of a place where the pain expressed by the protestors can “coexist in dialogue with the technical, creative, and spatial work involved in change.” In a statement shared via email, the New Museum told AN:View this post on Instagram
The DreamYard Project will no longer be participating in IdeasCity Bronx—based on the lack of clarity, collaboration and communication in the planning of IdeasCity Bronx, as well as the compromised integrity of DreamYard’s community-centered values. . Three months ago, we were approached by IdeasCity for the opportunity to uplift our young people and community’s work around Arts and Activism. We were asked to collaborate in organizing a panel discussion, a student performance and community-based organization /activism booths; since then, a small team of DreamYard staff members have worked diligently to organize these parts of the event, and ensure fair compensation for our young people and representing CBOs that we have asked to get involved in this event. DreamYard staff members initially created a panel discussion on the relationship between politics and grassroots movement, “Who’s Got the Power?” which centered a young DreamYard participant, and a DreamYard alumna and current staff member. Since then, IdeasCity renamed the panel discussion we were organizing, shifted the original intention of the discussion (shaped by intentional labor of Black Indigenous Queer Femmes), and was essentially handed over to another party who was not involved in the concept, the process, nor the work we do and are seeking to uplift. We do not feel safe having our young people participate, nor having DreamYard’s name further implicated in what has turned out not to be a collaboration, but something in which DreamYard’s name has seemingly been used as merely a means to an end. . We entered this collaboration in good faith, and since then have been made aware of the missteps inherent in the planning of IdeasCity. Based on the feedback from the community as well as the challenges in planning this event, we have decided not to participate in IdeasCity Bronx. . <Continued in comments>
We wholeheartedly support V. Mitch McEwen’s curatorial vision for IdeasCity over the past year, and the ciphers and convenings that have advanced thinking in significant directions. We believe it is more important than ever to continue to provide platforms for productive dialogue, debate, and healing in a challenging and divided world. Knowing this can only happen through deeper engagement, proximity, authentic and time-tested connectivity, and sustained commitment, IdeasCity will continue to organize events in the hope that, going forward, groups of every type can come together, voicing differences, but collaborating on possible futures.
IdeasCity heads to New Orleans this April
David Adjaye in Finland, contemporary wigwams, and other updates from the architects of Instagram
Globular zoos, air-filtering musicians, and other updates from the architects of Instagram
The Chicago Architecture Biennale kicked off on September 16, and there are lots of costumes. Ana Prvacki and SO-IL collaborated on "L'air pour l'air," a sculptural performance in which wind musicians wore air-filtering enclosures meant to "clean the air that produces the music" like the plants in the surrounding conservatory.Meanwhile, at Exhibit Columbus, IKD's Conversation Plinth plays a central role with its concentric wooden platforms hosting performances, programs, and public dialogue on the plaza outside an I.M. Pei-designed library. Before heading to Chicago for preliminary festivities, renowned architectural photographer Iwan Baan paid a visit to Yale's Skidmore, Owings & Merrill-designed Beinecke Library (1963), which is covered entirely in panels of translucent marble restored last September. Okay, okay. At this point we've done too many bouncy castle posts. Instead, here's another Never Built New York gem over at the Queens Museum, via our friends at Archtober: Samuel Friede's 1906 proposal for a globular zoo at Coney Island. It contains elephants, a restaurant, and a 50,000 room hotel (#practicalspending). Joseph Grima, former director of Storefront for Art and Architecture and founder of Space Caviar, geared up for IdeasCity New York in Sara D. Roosevelt Park – a New Museum initiative that has previously hosted events in Detroit, Athens, and Arles. Musician David Byrne of Talking Heads fame will give the closing keynote. Landscape architecture dream team SCAPE has been selected as to participate in Resilient By Design's Bay Area Challenge. Their team, Public Sediment, partners with Arcadis, the Dredge Research Collaborative, TS Studio, the UC Davis Department of Human Ecology and Design, the UC Davis Center for Watershed Sciences, and the Buoyant Ecologies Lab. One last Chicago Architecture Biennial post and we're done (for now). Best for last: the long-awaited collaboration between artist Nick Cave and architect Jeanne Gang turned out to be as colorful and wild as expected, entitled Here Hear Chicago. Performers wearing Cave's well-known "soundsuits" meandered through a Studio Gang-designed set of buoys, scored by composer Kahil El’Zabar. For a video sample, head over to our Instagram.
City of Ideas
In Detroit, IdeasCity explores the role of culture in making cities more fair and successful
“We are not here to fix Detroit’s problems. We are here to learn from Detroit. This is a learning platform,” said Joseph Grima. Grima, the director of IdeasCity, a symposium hosted by the New York–based New Museum, sat in a circle flanked by mostly-young artists, activists, and designers in a utility building on the grounds of a shuttered city-owned hospital. For over two hours, the group reacted to the first days of the laboratory, an exhaustive schedule of talks, debates, and tours, to discuss its role in Detroit. A postindustrial hipster summer camp this is not: Participants used the six-day event as a space to discuss the role of culture in making cities more vibrant, equitable spaces.
The latest iteration of IdeasCity included a five-day collaborative laboratory starting on April 25, and concluded with a daylong public conference on April 30. 41 fellows, culled from a global open call, were asked to work in small groups to explore and ruminate on the future of Detroit. Each group was assigned a site to anchor its thinking, although ideas could, and did, bleed beyond cartographic boundaries and into conceptual deliverables. Locals led tours of the sites to help fellows, especially the two-thirds majority not from Detroit, understand the depth of the history that contributes to the city’s present morphology. A stream of regional expert presenters, such as Elysia Borowy-Reeder, executive director of MOCAD and Malik Yakini, executive director of the Detroit Black Community Food Security Network, placed visitors face-to-face with Detroiters to talk about what they love about their hometown and what needs to change.
The culmination of IdeasCity was the conference held at the Jam Handy, an event space in the New Center neighborhood. Opening keynote presentations were delivered by Detroit director of planning and development Maurice Cox, while Chicago-based artists Theaster Gates and Amanda Williams set the tone for the day.
Panel discussions focused on the power and importance of cultural production as a means of urban prosperity. Local experts such as filmmaker-writer dream hampton and community organizer Jenny Lee emphasized the need to change the narrative around what is, and what should be, happening in Detroit. This theme would permeate much of the day, as panelists, presenters, and fellows alike enlightened the crowd on topics often overlooked in the discussion of Detroit.
Fellows brought both knowledge from their home cities and newfound information to their presentations. Multiple groups advocated for the reexamination of current development plans. The first group situated the planned Gordie Howe Bridge to Canada, in terms of air, water, and soil, as it affected Fort Wayne, a Civil War–era site and recreation area in the Delray neighborhood. Fort Wayne is a First Nations burial site, heavily polluted by surrounding industry, but enjoyed for the water access it affords locals. “Having family in the area, I want to make sure that they are not forgotten,” noted fellow Stacy’e Jones, DJ and member of Liquid Flow Media Arts Center.
Another group took a look at the solar panel farm in O‘Shea, arguing that the recently constructed power station, built on former parkland, should have been envisioned as an integrated part of the neighborhood in a dense housing and agricultural mix. "We wanted to make sure we were reaching out to the community. There was a lot of tension in the room. The community was brought in at the very end of this process," explained Taylor Renee Aldridge, Detroiter and co-editor of ARTS.BLACK.One design-oriented proposal looked at memorializing the spaces of conflict on the site of what is now Mies van der Rohe’s cooperative community, Lafayette Park. Formerly known as Black Bottom, a neighborhood for newly arrived black residents, the area was bulldozed and reset, tabula rasa, for Mies’s modernist project in 1946. “We wanted to recognize Black Bottom, because at this time there is no physical form of memorialization there,” fellow and Detroit writer Marsha Music explained. Against a backdrop of historical images of a thriving, and then destroyed Black Bottom, the group proposed non-affirmative monuments that encourage dialogue around the themes of immaterial culture, the social culture of street life, and the city’s churches. Group member Tommy Haddock observed that housing is what ties people to place, and that themes of belonging and removal can be reflected through the motif of house and home. An architect, Haddock realized some of the group’s ideas in a series of renderings that reference the visual language of Robert Venturi and Denise Scott Brown.
Other groups addressed less physical ideas. One simply, yet boldly, proclaimed that their project was to return to their respective homes around the world to act as Detroit ambassadors, spreading their newly enlightened views of the city. “Architecture,” explained Paris designer Pinar Demirdag, “isn’t about telling what to build, sometimes it’s about telling what not to build.”
Ryan Myers-Johnson, a dancer and founder of Sidewalk Festival of Performing Arts, noted that “It’s easier to ask for forgiveness than permission when working with the City of Detroit.” Her group addressed the interaction of the city government, law enforcement, and non-traditional community-led organizations to propose a special project permit which would streamline the bureaucratic red tape surrounding the approval process for public events.
But what does this all mean for Detroit? There was obvious mutual respect and appreciation between residents and visitors and an atmosphere of profound but critical optimism at the conference and in the days leading up to it. The ambassador group had the most actionable presentation, as they will take their new perspectives back home, hopefully working from within their positions of influence to broaden others’ perceptions of Detroit and similar post-industrial cities.
“Idea” has roots in Greek, idein, meaning “to see.” So perhaps, as Grima stressed, the true point of the event was to see more clearly into the patterns and processes that shape the city. It’s worth noting that IdeasCity chooses “dysfunctional” cities for their forums. This would seem like a trap for offering prescriptive advice, yet the organizers work diligently to make sure that prescriptions are on the menu, but not the de facto option. Although some groups chose a “problem” and proposed a “solution,” They were presented with enough insider information to dispense careful, thoughtful advice.
September will find Ideas City exploring Athens, where the event’s ethos will once again be put to the test.
The New Museum will double in size in time for its 40th birthday next year, as it expands into next-door 231 Bowery, which is currently offices, a gallery, and artists' live/work space owned by the museum.
The museum announced yesterday that it had raised $43 million of the $80 million needed to pay for the expansion and to triple the endowment. Although the funds seem modest in comparison to the MoMA (annual operating budget: $147 million) or the Whitney, the capital campaign is the largest in the New Museum's history. The $80 million will also pay for the institution's business incubator, New INC, and programs like IdeasCity, which bring artists, activists, planners, and policymakers together to discuss issues facing cities like Detroit and Athens, Greece.
Lisa Phillips, the museum's director, told The New York Times that “we’ve known for a long time that we wanted an expansion, but we’ve been thinking about what an expansion means for a museum like this. We own the building next door, and it just makes sense to use it. But it was also about thinking about ways to create a parallel structure there, to make something that’s different and a counterpoint to this building.”
Since the museum's move to Soho in 2007, annual attendance has increased from 60,000 to over 400,000. The museum intends to renovate 231 Bowery and connect it to their main Sanaa–designed space, increasing the total footprint from 58,000 square feet to over 100,000. As of now, there are no plans to demolish 231 Bowery. The expansion will allow for improved circulation, and keep exhibitions on view during turnaround periods: The New Museum has a tiny permanent collection, choosing instead to focus on women artists and art that's not usually exhibited in New York.
“I don’t have [the expansion] completely laid out,” Phillips told the Times, “but it’s about trying to do things that museums haven’t done yet or maybe even imagined.”