ChristineWongYap.com

a participatory project featuring artist-created activity sheets to make things or make things happen #mkthngshppn

View activities and learn more about the artists.

Download individual activities below or the complete set (20.9 MB). Then, tweet your results to #mkthngshppn, where you can see other results.

Lauren F. Adams
My Commemorative Plate

Lauren F. Adams, My Commemorative Plate. Commemorative plates honor or remember a special occassion. Creat your own memorabilia by drawing on a paper plate or the plate design above. Celebrate a personal victory, record a favorite trip as a souvenir, or subvert celebration by documenting an anti-monumental or speculative event.Trace this plate stand out on thick paper and cut the template. Fold in the middle to create a stand for your plate. Feel free to use the decorative design throught this page to ornament your plate. #mkthngs. @lauren_f_adams

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Commemorative items make history monumental as decorative souvenirs. This prompt invites you to memorialize your own personal history, or make real what has been overlooked in history (or perhaps not even happened yet).

I mine the histories of power, labor, and material culture to make surprising connections that resonate with current sociopolitical issues. I am inspired by historical decorative forms and designs such as Chinoiserie-style wallpaper, Elizabethan-era textiles, and Soviet avant-garde agitprop.

Lauren Frances Adams lives in Baltimore, Maryland, where she is faculty at MICA. Recent solo exhibitions include Back Lane West, UK; Contemporary Art Museum St. Louis; EXPO Chicago; and Conner Contemporary. Group exhibitions include: Nymans House, UK; SECCA, NC; CUE Foundation, NY; Mattress Factory and the Andy Warhol Museum, PA. She attended Skowhegan and is a Joan Mitchell Foundation MFA Grant recipient. lfadams.com

Oliver Braid
The Bardic Tradition

Oliver Braid, The Bardic Tradition. name a novel enterprise to memorialise unreciprocated interest. produce, in this concern, enormous attainment.

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“But as for pottery and basket weaving—what good are these? As soon as the doors of the evening institution clang shut behind you, you’re back where you started. On the way home you might get into an argument with a stranger on a street corner and you’re left saying “Well I can’t express myself—you’ll have to see my baskets.” (From “An Evening with Quentin Crisp,” 1981)

Hello, my name is Oliver Braid and I am an artist living in Glasgow. I was born 1984 in Birmingham and studied at Falmouth College of Arts and Glasgow School of Art. oliverbraid.com

Maurice Carlin
Primary Sources

Maurice Carlin, Primary Sources. Primary Sources Maurice Carlin United Kingdom This assignment is based on the activities of an informal collective of which I am a member, ‘Studio Group’. Our collective explores new possibilities for how, when, and where artwork is made, all inquiries motivated by our questioning the role of the artist’s studio. By situating temporary group ‘studio’ sessions in unorthodox settings, often in public spaces, we have aimed at taking ourselves and our work into new areas, to breach the boundaries of what we think we are each capable of doing and what we believe our work to be about. As a result of these ‘interventions’, we have discovered that our approach to making art can take a parallel leap into new territories. Each 'Studio Group' session is followed by a discussion and sharing of the work that each person has made during the time. Materials - Yourself - A few simple tools or materials of your own choosing that you can carry easily - A camera/notebook to document the activity Instructions 1. Organise into a group, with no fewer than two people. 2. Suggest some spaces for the group to work. After drawing up a list of potential sites, choose one as a group. This site can be anywhere that you find interesting, and that is safe and accessible to the group. Try to think of a space that is unlike your studio or the place where you work now. 3. Bring a few things with you that you might be able to use, but don’t over-prepare in advance. The point of the activity is to be intentionally unprepared and to allow this emphasis on spontaneity to inform your group’s work. 4. Think of the space as your shared studio for the time that you are there. You should respond to the space as you find it, working with whatever comes to hand and is nearby. Try to do things quickly without pausing to consider why you are doing them or even if it is worth doing. You can work by yourself or with others. Try to make or do at least one thing while you are there, no matter how straightforward or simple it might seem. If the space feels inspiring, do as many things as you can. If you can't think of anything to do, don’t worry about what the others are doing, just enjoy being in a different place for a while. Try to get a 'feel' for the place by exploring every part of it, looking at it it closely. The point of this is not to make 'finished' works but simply to generate new ideas and ways of working; these can always be developed later. 5. The working session should last for approximately two hours (depending on the #mkthngshppnMaurice Carlin, Primary Sources. ...space you choose). 6. Photograph or document everything you do, especially if you are leaving your work there and not taking it away with you. 7. For the discussion afterwards, find somewhere comfortable nearby where you can sit down to talk. If there are more than ten of you, split up into smaller groups. It is useful to hear how each person felt about working at and exploring the space. Discuss what each person has made during the time. Are there ideas to be developed? What could it lead to next? 8. If you've been inspired, choose a space for the next session. If you found this one more of a challenge than you would have liked, try it another time to see if you feel differently. Sessions have been held in places as varied as a 19th century municipal dumping ground, a ‘Poundland’ £1 shop and a derelict train station. It is based on an idea that there are potentially rich sources of inspiration all around us that mostly go unseen and underused. Going to a space with a different purpose and intention for being there means that you naturally look and absorb your surroundings in a way that you might not do otherwise. From a sensation of being ‘intentionally unprepared’, new ideas and approaches to making are generated. A more spontaneous approach is brought about by giving up some control of the working environment and by responding to the natural limitations and possibilities of a space.

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This activity is based on the activities of an informal collective of which I am a member, ‘Studio Group.’ Our collective explores new possibilities for how, when, and where artwork is made, all inquiries motivated by our questioning the role of the artist’s studio.

My work merges performance, place, and publishing to produce dialogues between digital and physical experience. Artworks explore perceptions around the information we receive and send, whether derived from a TV screen, via the internet or through a day to day experience on the street.

Maurice Carlin is a Manchester based artist. His work has been featured in publications including Frieze, The Guardian, and Art Monthly. In 2007, he co-founded Islington Mill Art Academy, a peer-led experiment into alternative modes of art education. Recent shows include The Negligent Eye, The Bluecoat Gallery, Liverpool (2014); Self-Interruption, Jack Chiles Gallery, New York (2013); and First...Next...Then...Finally, Castlefield Gallery, Manchester (2013). mauricecarlin.com

Kevin B. Chen
Under construction

Kevin B. Chen, Under construction. Complete the skyline with a sharp graphite pencil | Original drawing to scale | Kevin B. Chen (www.kevinbchen.com) 2014 | #mkthngs

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Under construction, a collaborative exercise for the general public to complete the construction of a fictional urban skyline with the most elemental tool—a graphite pencil.

Kevin B. Chen’s most recent visual work in collage and illustration investigates population growth and the world's largest metropolitan areas.

Kevin B. Chen has been involved in the Bay Area arts community for 20 years as a curator, visual artist, and writer. He is represented by Jack Fischer Gallery in San Francisco, CA. kevinbchen.com

Torreya Cummings
The Searchers

Torreya Cummings, The Searchers. the searchers 1. take a purifying bath in salt water 2. clear your mind 3. light a candle (preferably tallow) 4. turn your attention inward 5. focus on that which you desire, conjuring it in intimate detail 6. open craigslist 7. search 8. weep uncontrollably 9. despair 10. there is nothing for you here Torreya Cummings @torreyac #mkthngshppn

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This project takes its title from the 1956 film starring John Wayne as a man intent on searching for his niece who was abducted by the Comanche and had adapted to their culture.
The plot is much more complicated than that, as is looking for jobs, housing, or love. We spend a lot of time searching for things on the internet. I’m also struck by the language around “manifesting” and other forms of magical thinking or “making things happen,” especially where it intersects with technology.

The work may take a broad a range of forms. Sculptures often function as props for performances, which can then become photographs. The recent focus of these investigations has been the idea of the “wild west” and the conflict between a cultural ideology of liberty and a practice of enclosure.

Torreya Cummings makes work in response to problems of history and place: How did we get here? Where are we going? And who is the “we” assumed by those questions?
Cummings holds an MFA in sculpture from the California College of the Arts, a BA from UC Davis, and is from California’s rural Central Valley. torreya.info

Helen de Main
Something I’ve been meaning to

Helen de Main, Something I’ve been meaning to. ask share do. something you've been meaning to for a long time

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Something I’ve been meaning to addresses personal and social responsibility, by attempting to overcome tactics of avoidance and putting things off. Consequent actions may vary from the mundane and trivial to those more significant and even potentially life changing.

Working in sculpture and printmaking, Helen de Main’s practice combines research processes with hands on approaches to making. Installations see entropic prints on paper and fabric alongside large-scale geometric forms.
Current research has been focussing on forms of activism and protest, with particular reference to the women’s movement.

Helen de Main is a visual artist based in Glasgow. She has a MFA from Glasgow School of Art and a BA (Hons) from Sheffield Hallam University. She has exhibited widely in the UK and internationally, including at Al Hoash Palestinian Art Court, Jerusalem; Overgaden Institute of Contemporary Art, Copenhagen; ReMap Athens; and Glasgow International Festival of Visual Art. helendemain.net

double zero
Call This Number

double zero, Call This Number. Call: (646) 699-3903. double zero #mkthngshppn

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Call in for an interactive telecommunications experience.

double zero is the collective duo of Hannah Ireland and Annie Vought. Their interdisciplinary collaboration builds on a friendship of over twenty years and investigates how identity is shaped in relation to those closest to us, the boundaries and connections between individuals, and different modes of taking up space in the world.

Annie Vought and Hannah Ireland grew up together in Santa Fe, New Mexico. They have been collaborating as double zero for the past three years. Annie Vought received her MFA from Mills College in 2009 and was a recipient of the Murphy and Cadogan Contemporary Art Award. Hannah Ireland received her MFA from California College of the Arts in 2010 and was a recipient of the Barclay Simpson Award. Both are from Santa Fe, NM and are currently based in the San Francisco Bay Area. thisisdoublezero.com

Galeria Rusz
This is your key to...

Galeria Rusz, This is your key to.... one's heart—use red. success—use brown. understanding—use yellow. your home—use green. your inner self—use blue. Galeria Rusz, This is your key to.... First you can do this exercise on your own. You have the following keys to choose from: the key to one's heart, the key to success, the key to understanding, the key to your home and the key to your inner self. Select the one that is most important to you. You can choose and color only one key. If you have chosen one's heart—use red. success—use brown. understanding—use yellow. your home—use green. your inner self—use blue. You can use any tools—crayons, fel-ttip pens, etc. Then you can give this piece of paper to your family, acquaintances, friends or people you do not know to continue this experiment. The final result will be a collective, colourful picture that will show what people value most.

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This experiment helps individuals or groups of people see/realise what is most important to them and what they can concentrate on in their lives. Such awareness gives us a chance to improve our quality of life and satisfaction. It also helps us become happy people.

We do thinking art for thinking people. The way we think about reality has a particularly strong influence on the shape of the world we live in. For 15 years we have been using billboards to communicate with our recipients and persuade them to rethink their own lives, their own priorities, and the surrounding reality.

Galeria Rusz is an art group established by the two artists: Joanna Gorska and Rafal Goralski. Our main interest is the creation and presentation of art in public space. Since 1999, we’ve run our own billboard gallery in Toruń, Poland. We create billboard posters, paintings, and murals; and undertake artistic interventions and public art actions. galeriarusz.art.pl

Bean Gilsdorf
How to Use It

Bean Gilsdorf, How to Use It. If you see an opening, put your finger in it. There is no right answer. Collaboration is often expedient. Do not hurt others. The status quo is boring. If all else fails, return to the basics. #mkthngshppn @beangilsdorf, Bean Gilsdorf, 2014

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How to Use It is a brief overview. It tells you how.

I make artworks by collaborating with existing images, objects, and theoretical structures.

Bean Gilsdorf is an artist and writer. Her work has been included in exhibitions nationally and internationally. She is currently the Managing Editor of DailyServing.com and the Lead Interpreter for the Bean Gilsdorf Living History Museum in San Francisco. beangilsdorf.com

Sarrita Hunn
How to...Make an (Alternative) Institution

Sarrita Hunn, How to...Make an (Alternative) Institution. HOW TO...MAKE AN (ALTERNATIVE) INSTITUTION. [a counter-power strategy] UNDERSTAND: COOPERATION: NONCOOPERATION: What is an institution? Make your own institution. Radical non-participation. (or support your local alternatives) Resist and destroy the failing system. Express your SOLIDARITY and help alternatives become the prevalent institutions by: BOYCOTT: Boycott most or all corporate products. Reduce to eliminate your consumption of gasoline. Close accounts and reinvest in local credit unions. STRIKE: Take your vacation time, sick leave. Orga- nize to strike. Spend time with friends and family! SELF-RELIANCE: Learn about wild foods. Start a garden. Increase your awareness of local market resources and strategies.4 Intitutions may be: FORMAL: U.S. Congress, Roman Catholic Church INFORMAL: marriage, family, money While institutions may seem static, they are in fact social constructs produced by collective human actions (toward a specific purpose). We understand these institutions (or organizations) through implicit images, or metaphors. “The use of metaphor implies a way of thinking or a way of seeing that prevade how we understand our world generally.”1 But METAPHORS always create distortions. 1. Morgan, Gareth. Images of Organization, Sage Publications, Inc., 1997 Organizations as... Our failing institutions are based on: market capitalist economy, authoritarian republics, patriarchy, eurocentricity Alternative institutions by necessity are based on: decentralized cooperative economics, participa- tory democracy, gender equality, ecology2 Through building alternative institutions, individuals are empowered, committed to change, and skilled in running society.3 COUNTER-POWER INSTITUTIONS: worker cooperatives, intentional communities, temporary autonomous zones 2. “An Introduction to Dual Power Strategy” by Brian A. Dominick 3. http://en.wikipedia.org/wiki/Dual_power MACHINES: factories, fast-food repetition BRAINS: bureaucracies, info systems ORGANISMS: technology, research PSYCHIC PRISONS: rules, behavior GAMES: politics, marketing outcomes ? (fill in your organizational metaphor here) INSTITUTE FOR AUTONOMOUS PRACTICES for #mkthngshppn - www.instituteforautonomouspractices.org open-ness processing decisions stability communication 4. https://www.facebook.com/pages/ Global-Strike-Real-Solidarity/ 116810318421903 REMEMBER: THEY HAVE AS MUCH POWER AS WE BELIEVE IN THEIR MONEY. -Global Strike needs compliance equilibria structures cooperation Photo: Janelle Orsi www.theselc.org conflict adapt projects learning de-humanzing power players health precision anxiety control survivial

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Inspired by Ad Reinhardt’s How to Look at Art series, How to...Make an (Alternative) Institution is an instructional activity cartoon that asks viewers to look at existing institutions in a new way, invent their own and negate those which are failing.

How to...Make an (Alternative) Institution is the first publicly presented project by the Institute for Autonomous Practices (IAP), a speculative organization whose primary function (like all institutions) is to perpetuate itself by focusing on two self-defining questions: What is an institution? and What is autonomy?

Sarrita Hunn is an interdisciplinary artist whose practice includes writing, arts administration, teaching and curating. Over the last decade, she has worked with many artist-run spaces across the globe from Andrea Zittel’s A-Z West in Joshua Tree, CA to Spor Klübü in Berlin, Germany. Additionally, she is the co-founder and managing editor of Temporary Art Review, Residency Program Director at The Luminary and Assistant Director of the Summer Institute for Visual Arts at Drury University. instituteforautonomouspractices.org

Maria Hupfield
Nay/Yea

Maria Hupfield, Nay/Yea

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Free cut-out coupons for answering 100% affirmative or negative.

I create hand-stitched human-scale sculptures that I often further activate in performance and video installation. I am curious about how we connect to our surroundings and are informed physically by our bodies and the items we carry on our person. These sculptures are based on everyday objects that I make in grey industrial felt, silver fabric and repurposed or modified materials.

Based in Brooklyn, Maria Hupfield is from Canada, of Anishnaabe (Ojibway) heritage and a member of Wasauksing First Nation, Ontario. A recipient of the 2013 Joan Mitchell Foundation Painters and Sculptors Grant, she has shown at the Museum of Art and Design NY, and Wave Hill Glyndor Gallery. Her current three-part performance, Artist Tour Guide, is commissioned by the Smithsonian National Museum of the American Indian (NY). mariahupfield.wordpress.com

Ariana Jacob
Since culture is the way we do what we do everyday, A conversation could be an art form

since culture is the way we do what we do everyday, a conversation could be an art form SINCE CULTURE IS THE WAY WE DO WHAT WE DO EVERYDAY, A CONVERSATION COULD BE AN ART FORM. HOW TO RECOGNIZE READY-MADE CONVERSATION ART TAKING PLACE: Next time you notice yourself feeling any amount of social discomfort arising in a conversation consider it to be the indication that a conversation art work is beginning. (It is somewhat arbitrary that social discomfort be the initial indicator, but there needs to be some signal to start noticing conversations differently. Social discomfort happens often enough to be rel able as an indicator, and it is interesting in its own right.) For the 3 minutes after your initial noticing begins consider the art work to be taking place between you and the person/people you are speaking with, no matter what is said or unsaid. During these 3 minutes notice as many sensations as possible. Notice the force and direction of the words shared - are you pushing or pull ng them? Are they aimed at something particular,searching, or loose? Notice expectations, obligations, goals and status. To the best of your ability continue participating in the conversation while noticing all this. After the 3 minutes is up and before you leave the conversation give the person/people one of the cards that says: Since culture is the way we do what we do everyday, this conversation could be an art form. ARIANA JACOB. #MKTHNGSHPPN @PUBLICWONDERING

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You are invited to use this form to help yourself notice ready-made conversation art taking place—and to share that shift in perception with your talking companions.

I am for an art that makes us perceive everyday life differently. Talking with other people has always been one of the best ways I have found to shift how I perceive the world. Often this comes from the different ideas and understandings people have about our common culture. At the moment I am becoming interested in paying more attention to the emotional tones and social dynamics of conversations as another way of gleaning new perspective.

Ariana Jacob makes artwork that uses conversation as medium and as a subjective research method. Her work explores experiences of interdependence and disconnection, questions her own idealistic beliefs, and investigates how people make culture and culture makes people. Her work has been included in the Northwest Biennial at the Tacoma Art Museum, Disjecta’s Portland 2012 Biennial, The Open Engagement Conference and the Discourse and Discord Symposium at the Walker Art Center. publicwondering.wordpress.com

Hannah Jickling & Helen Reed
Mystic Pizza

Pizza crusts are often discarded, but these everyday castaways contain vast potential for magic. Mystic Pizza invites you to bring your artistic concerns to the table – chew through your questions while eating a slab or two. Your wedge of intention adapts archetypal symbology from the Tarot’s Minor Arcana & Tasseomancy – use elements of these tried & true systems to read the crust of another. Mystic Pizza views divination as a social form, where the reader and querent work together to interpret meaning. Col- laborate to uncover the ‘mancy of your munching & the futures. clairvoyance in your crumbs. To observe a slice of the present moment, consider these crust divination prompts (& feel free to intuit your own). What forms emerge from the crust, crumbs & grease spots? Use these shapes to begin your inquiry. In which quadrant does the crust rest? In many divina- tion systems, each hemisphere suggests abstract correspondences for interpretation: North: Material things, health & home South: Vitality, excitement, passion & creativity East: Logic, reasoning, intellect & conflict West: Intuition, inner life & matters of the heart The location of the crust, crumbs & grease on the plate can also correspond to the immediate, near, middle & distant Thanks to our collaborators & mentors, past & present: Jen Kovach, Mandy Hardwick, Jackie Davis, Aja Rose Bond, Margaret Dragu, Jess Dobkin, Stephanie Springgay, Catherine Clarke, Karen Wielonda, Maya Suess, Matias Rozenberg, Carolyn Taylor, Lisa Smolkin, Jacob Ireland & Michael Freeman. Mystic Pizza by Hannah Jickling & Helen Reed. #mkthngshppn 1st Edition for Artists Soup Kitchen, Toronto, 2012. 2nd Edition for Make Things (Happen), 2015.

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Mystic Pizza is an ongoing relational artwork that explores everyday magic, agnostic spirituality, and collaborative meaning making. Mystic Pizza offers a system of reading pizza crusts, by borrowing basic tenets from divination practices such as taseomancy, cartomancy and palmistry. Divination can be viewed as a social form, where the reader and querant work together to assemble fragments of meaning. And pizza, a quintessentially social food, is the perfect vessel for this relational inquiry.

Helen Reed and Hannah Jickling have worked together since 2007. Their projects take shape as videos, public installations, social situations, events, photographs, printed matter and multiples. hannahjickling.com reheardregalement.com

Nick Lally
33434 Drawings

Nick Lally, 33434 Drawings Nick Lally, 33434 Drawings

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Drawing mathematical patterns by hand based on a simple set of rules, as if we were computers executing algorithms, reminds us of the imprecision of our hands.

I get away from the computer by acting like I am a computer.

Nick Lally is an artist and programmer interested in digital media, collaboration, participation, radical political theory, mathematics, education, space, and bicycles. He lives and works in Oakland, California. nicklally.com

Justin Langlois
5 Provocations

Justin Langlois, 5 Provocations. 5 (FIVE) PROVOCATIONS TOWARDS THE CULTIVATION OF THE WORLD WE MIGHT WANT: 1. We wander together. 2. We break windows together. 3. We make unreasonable demands together. 4. We hold our breath together. 5. We arm ourselves by being together. Justin A. Langlois / #mkthngshppn

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5 Provocations offers a series of short open-ended prompts for imagining practices of collectivity, affinity, and gathering in support of transforming the world around us. Whether read as an instruction manual, a to-do list, or a manifesto, the prompts aim to implicate us, together, in considering the responsibility we share for one another.

My practice explores collaborative structures, critical pedagogy, and custodial frameworks as tools for enacting divergent possibilities for gathering, learning, and making. Artistic, curatorial, and design-based methodologies intersect in my research and creative activity to support my interests in gestural and tactical actions to generate critical public dialogue.

Justin A. Langlois is an artist, educator, and organizer working across media and social practices. He is the co-founder and Research Director of Broken City Lab and an Assistant Professor of Social Practice at Emily Carr University of Art and Design. justinlanglois.com

Justin Limoges
make things misshapen

Justin Limoges, make things misshapen. Make Things / Happen after Paul Thek’s Teaching Notes & Robert Walser’s Microscripts Make things happen, make things misshapen, make the detectors lie, take the victor home and give her a comb, happen upon a question in the form of an answering machine, make a mechanical Turk that loves Douglas Sirk, happen upon Adam and Steve making memories in the technicolor leaves, make a mishap from scratch, take a powder, make a tachometer, make a mass damper, make a hillside cross, make a digital platoon, make a Phaeton hug the coast, make an immortal toast, grieve for the worst, make a dune appear beneath a sunburst, make a dromedary appear beneath Larry Arabia, make a Long Player, make an EP titled M.C. Hesher, make them go apeshit, shapeshift the shipwrecks, re­gift some paychecks, make the tension of misapprehension go away, make over my dead sodden body, make a wave behave for a phaseless moon in a waiting room, do you want a half order of side eye or a side order of eye roll, make the loud chaps tap out, make a resolution to stop stopping, dropping, and opening up a new shopping tab, clock a new aftermath class, stake your claim, deinterlace a frame, pop some corn into a makeshift life form and make the didactic die to the tune of a thousand cutty rhymes. All this duck laughter telling you to fuck faster. Dynasty­flavored travesties downing sliders and talking rhinoplasty, take two and call me when you’re mourning, make it new, break a slew, fake a clue, wake in lieu of resting in peace, fret in silence, where accuracy is a currency, fluency is a jury on a flailing spree, break things until they are broken like a token geode in a geodesic dome home. William Makepeace makes Barry Lyndon happen, make a winner interested in winning, make a loser interested in loss, and happen upon a justice interested in justice, make an irreducible ratio, make a rope trick about fellatio, gnaw through a noose, paw through all that bad news, pay through the nose, abandon rope all ye who dangle here, make a way out of no way, make hay while the sun shines, make do without, make believe withal, make Lon Chaney into Ma Rainey, make like a troublemaker and say that the doggerel ate my white flag lapel pin, make leftovers out of the dead ends and retread trends, make amends with old friends, make it : take it, take a moldering sandwich and press it into the clammy palm of a newly minted nemesis, make room for all the working stiffs mingling at the mixer with all the service Mastiffs, make Eric B. the president and/or make ‘em clap to this, mistake food and shelter for feud and swelter, make some spots on the roster for Zeno’s paradoxes, take the concept of the limited slip differential and make it more comprehensible, make a fence into a neighbor, make ends meet their maker. Fake it it ‘til you make it, make all the also­rans buy run­flats, make a résumé that puts you at the center of every corn maze, make a little fern motif in your cappuccino and call it a day, make the airbag go off in your friend’s off­gassy Prius, make a glass eye for Peter Falk, make a love balloon, then make four score and eighteen more, make a side­eye stencil and let the I & eyes have it, make the giant side­eyed balloon panopticon rise up into the air until it throws sufficient shade on those who toil below, make your pause the one that refreshes the un­beveraged, make a drawing of a stunted Laocoön on the first balloon to fall to earth, then: Make a pass at a grappler & pass go like a roadie whose inner jailer is a Mailer junkie with a rhesus on the roof rack, looking back in anger at all the strangers, at the ever­wending sameness, at the dazzlers, the hagglers, the feigners, the feckless, the fadeproof, the uncouth, the obtuse, and the freshly cut loose. justin limoges #mkthngshppn

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I was thinking about Thek’s curiosity & appetites and Walser’s discipline & fiendishness when I wrote this. In the making things/happen realm, I’m interested in consequences, intended and otherwise.

I am interested in the intersection of complexity and concision.

I live in Oakland, CA, and make occasionally. justinjlimoges.com

Jessica Longmore
Build Your Own Studio

Jessica Longmore, Build Your Own Studio. BUILD YOUR OWN STUDIO. 1. Select location 2. Define boundary 3. Allocate time 4. Remove all obstacles 5. Restrict access 6. Dedicate the space Jessica Longmore #mkthngshppn @J_Longmore

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A set of instructions to build a studio. Instructions can be interpreted as required, making the studio adaptable to individuals and available space. How you choose to use your studio is your choice.

Jessica Longmore’s practice involves a series of appropriate gestures—instinctive sculptural responses to the psychology of particular spaces. Her recent focus has surrounded the idea of the studio being a form-er in the production of work, which has led her to spend single days creating work in other artists’ studios, using only the objects she encounters there (Objects For A Studio, 2008–ongoing).

Jessica Longmore is an artist and lecturer from Manchester, UK. She received an MA in Fine Art from Manchester Metropolitan University in 2007 and since then has exhibited locally and internationally. Jessica has taken part in residencies in the UK, France, The Netherlands and China. Forthcoming projects include a publication of her ongoing project Objects For A Studio. jessicalongmore.com

Mail Order Brides/M.O.B.
Manananggoogle Training Manual: Assuming The Right Position

Mail Order Brides/M.O.B., Manananggoogle Training Manual: Assuming The Right Position. Employee Training Manual // TOPS ASSUMING THE RIGHT POSITION. Manananggoogle is a model equal opportunity workplace. Our hiring policies redress the gender imbalance rampant in corporate culture: we train women in leadership/executive positions (”Tops”) and men in administrative support roles (”Bottoms”). A successful corporation has a well-defined hierarchy. Know your place. Female/Female-Identified Trainees: Assume the positions below. Male/Male-Identified Trainees: Assume the positions on opposite page. 1. 2. 3. 4. 5. 6. 9 “The Manifest Destiny” Take any seat you want. Lean back in your chair. Raise your well-heeled feet onto the table. Clasp both hands behind your head, elbows spread wide open. Claim your territory, taking as much space as possible. Let them come to you. Mail Order Brides/M.O.B. // #mkthngshppn www.manananggoogle.com/jobs “The Iron Butterfly” 1. Stand tall with your back erect, feet spread shoulder-width apart. 2. Make fists with both hands and place them firmly on your waist. 3. Chin up, slowly survey the room as you inhale your domain. 4. Feel the power rise up from between your - shoes. 5. Let the Butterfly Effect take hold Mail Order Brides/M.O.B. Manananggoogle Training Manual: Assuming The Right Position. Employee Training Manual // BOTTOMS ASSUMING THE RIGHT POSITION Manananggoogle is a model equal opportunity workplace. Our hiring policies redress the gender imbalance rampant in corporate culture: we train women in leadership/executive positions (”Tops”) and men in administrative support roles (”Bottoms”). A successful corporation has a well-defined hierarchy. Know your place. Female/Female-Identified Trainees: Assume the positions on opposite page. Male/Male-Identified Trainees: Assume the positions below. 1. 2. 3. 4. 5. 6. 7. “The Paper Tiger” Stand with a crumpled posture, contracting your body to minimize the space you occupy. Direct your gaze downward, point your toes inward and cross your arms. Breathe softly. Tread lightly. Claim no credit. Seek no recognition. Prepare to fetch coffee for your superior. “The Glass Basement” 1. Retreat inconspicuously to a vacant seat within earshot of your superiors. 2. Sit with quiet modesty, your back hunched, legs crossed, hands resting on lap, ready to serve. 3. Keep your chin down, eyes to the floor and avoid eye contact with superiors. 4. Take up as little space as possible. 5. If a superior desires your seat, surrender it. Mail Order Brides/M.O.B. // #mkthngshppn 10 www.manananggoogle.com/jobs

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This project excerpts two pages from The Manananggoogle Training Manual, part of Mail Order Brides/M.O.B.’s ongoing corporate venture, Manananggoogle. M.O.B. embody three intimidating lady executives at the helm of a formidable Silicon Valley corporation: these executives are also, however, feared to be the mythical Philippine manananggal—a terrifying forked-tongued bloodsucker. Manananggoogle was recently featured at the San Jose Museum of Art as well as San Francisco’s Southern Exposure art space.

Our M.O.B. personae are both cultural and gender drag: a way to explore tropes of Filipino and/or female identity from a place of high camp and serious critique. With collective/individual practices rooted in sculpture, installation, photography, video, drawing, and painting, we painstakingly craft the absurd realities we inhabit: karaoke music videos, museum makeovers, photographic psychodramas, parade performances, public service posters, professional bridesmaid services and corporate ventures.

Since 1995, Eliza “Neneng” Barrios, Reanne “Immaculata” Estrada, and Jenifer “Baby” Wofford have worked collaboratively as Mail Order Brides/M.O.B., a trio of Filipina-American artists engaged in an ongoing conversation with culture, ethnicity and gender. While other mail order brides are conventionally perceived as ideal obedient domestics, it has not escaped this trio’s attention that “Mail Order Brides” abbreviates down to a more sinister acronym that informs the darker subtext of their operations. manananggoogle.com

Kari Marboe & Erik Scollon
Make Words

a b c d e f g h i j k l m n o p q r s t u v w x y z, kari marboe and erik scollonmake words. 1. Choose a three letter word from the list below. age, aim, aid, air, art, ass, ask, awe, bad, beg, bra, bro, bye, con, coy, cue, cum, cup, dad, did, die, dig, dim, dug, eat, ego, end, era, fax, fix, fly, for, gap, gay, get, got duy, gal, had, hah, has, her, him, hey, hug, irk, its ire, meh, job, joy, key, kin, lap, leg, let, lie, lot, mad, man, map, max, men, mix, mom, nag, nah, nap, new, now, nil, nob, nip, nor, nub, odd, ode, old, one, out, owe, our, pat, pee, pay, poo, pop, pow, pry, pun, run, raw, red, rim, rip, sag, saw, say, see, set, sex, shy, shh, sir, six, sob, sky, sop, son, sow, sub, sum, the tie, tip, too, tit, ton, top, tow, try, two, ugh, use, vex, via, vie, fow, wad, war, way, wed, wee, wet, why, who in, whoe, wow, wry, yay, yes, yum, zap, zed, zip, zit, soo, zzz. 2. Choose a material you want to work with- felt, yarn, clay, pipe cleaners, cardboard, string, paper mache, soap, wax, tin foil, etc..... 3. Make your three letter word out of the materials you chose. 4. Place your word someplace interesting. #mkthngshppn

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Kari Marboe and Erik Scollon both teach ceramics, one at California College of the Arts, the other at UC Berkeley. They are both interested in tiny worm holes between art and the everyday. Make Words is an expansion of one of the projects they will be doing with their class this semester. You are invited to Make Words along with them.

Erik Scollon is an artist, educator and writer working in Oakland, CA. He earned his MFA from California College of the Arts and currently teaches ceramics at UC Berkeley. erikscollon.tumblr.com
Kari Marboe is is an artist, educator and writer working in Oakland, CA. She earned her MFA from UC Berkeley and currently teaches ceramics at California College of the Arts. karimarboe.com

Betty Marín
Be More Solidary

BE MORE SOLIDARY As people who find ourselves a part of one oppressed group or another, we may sometimes forget to practice solidarity with those outside of our own experience. Being more solidary means embodying compassion, which means understanding the struggles of another group, where we fit within them, and acting based on that knowledge. While being solidary connotes identifying common interests, it also signifies difference. Systems of oppression feed off of and use difference amongst oppressed groups to encourage hatred, fighting, and divisions between us. This may cause fear, hurt, and a belief that the “other” does not understand us. This is one way systems of oppression are maintained. Practicing solidarity can help us dismantle these systems more effectively. How can we acknowledge difference and be more solidary? In the interest of being more solidary… In the place where you live, identify a community outside of your own experience.(I am a hetero Xicana living in Los Angeles. Some examples of communities I work with, live near, or encounter often, who I don’t belong to, are Korean, Black, and queer folks, to name a few.) Take time to learn and be able to recognize the struggles of that community. Talk to people, read books, newspapers, blogs, listen to radio programs, take a class. Ideally, find material spoken and written by this group and about their own struggles. Identify your role or connection to those struggles. What are the ways you actively disengage from or reproduce the structures that facilitate this oppression? (Example: How do I actively disengage from or reproduce conversations that promote the denigration or criminality of Black people?) Take the next opportunity to interrupt these situations by gently or assertively sharing the knowledge you have been accumulating. When you are ready, participate in an organized group or activity fighting against these struggles. Continue your research and learning. Always. If you are already active in your own community’s struggles, find commonalities. Where do your struggles intersect? How are they different? It is through this balance between acknowledging the unique nature of our respective struggles, our difference, and seeing where we overlap, that we can find opportunities to fight together. betty marín #mkthngshppn

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As people who find ourselves a part of one oppressed group or another, we may sometimes forget to practice solidarity with those outside of our own experience. Being more solidary means embodying compassion, which means understanding the struggles of another group, where we fit within them, and acting based on that knowledge.

My practice uses research, education, and public interventions to investigate both the way we learn, as well challenge the beliefs that separate us from each other. Using art ultimately as a discursive and critical space, visual languages and objects are tools to push this dialogue. Recent work has focused on embedding conversations about experiences still debated in the mainstream, like the immigrant or undocumented experience, into more widely accepted sites in our society.

Betty Marín is an artist, educator, and social justice worker from Los Angeles, CA, where she is currently based. Her current research is focused on the history and current context for building solidarity between Brown and Black folks in Los Angeles. She received an MFA from Portland State University in 2014. cargocollective.com/bmarinluna

Mark Anthony Martinez
Thought Experiment

Thought Experiment. What if… I gave Black people the benefit of the doubt... I realize I don’t have all the answers... I relinquish my need to partake in oneupping other

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We are taught fear above all else; we walk around with lowered heads, ignoring the third root, hardening our faces at the sight of darker others. My most recent conversations with friends and family in my hometown of San Antonio serve as a constant reminder that we have a long way to go before we are free of hate and fear.

Mark Anthony Martinez is a firm believer in self-definition and the need to mark the familiar as decidedly particular. As such he defines himself as an Offwhite [tenuously latino, non-white, non-Black and non-affiliated indigenous], Cisgender, hetero-performing, male, interdisciplinary artist whose work interrogates the contemporary function of racial identity in US society.

Born in San Antonio, TX, Mark Anthony Martinez has lived, worked and exhibited in Portland, OR and Chicago, IL. In 2008, Martinez moved to Portland where he received his BFA in Intermedia at the Pacific Northwest College of Art (2011) and MFA in Contemporary Art Practice from Portland State University (2014). Martinez currently resides in San Antonio, TX. markanthonymartinez.com

Meta Local Collaborative
(how to) make friends, make a scene, make things happen, and fall in love with your neighborhood

Meta Local Collaborative, (how to) make friends, make a scene, make things happen, and fall in love with your neighborhood Boogie Down Rides. #mkthngshppn! @boogiedownrides is a bicycling and art project organized by meta local collaborative. Learn to ride! @bikenewyork offers free classes for new cyclists of all ages. See things differently! @IntandemBike holds rides pairing sighted and visually impaired cyclists on tandem bikes. Break some barriers! @WEBikeNYC empowers women and non-gender conforming people- through bicycling. Bicycling is a form of performance art and social sculpture that transforms riders into performers, and the city into a stage. Cyclists are both participants in the intricate dance of the street and audience to the dynamics of urban life. When we ride together, we create new sites for transportation, transformation, and transgression. Stand up for your rights! @transalt has activist committees in all five boroughs, supporting local leaders making safer streets in their own neighborhoods. Bicycling is art.

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(how to) make friends, make a scene, make things happen, and fall in love with your neighborhood is based on Meta Local’s ongoing project, Boogie Down Rides. Participants are invited to consider the act of riding a bike as a form of performance and community-engaged action.

Meta Local investigates the dynamics of urban spaces; exploring the histories of buildings and neighborhoods, and tracing the flows of people, ideas and products. Combining documentary strategies with performance and fine art, we articulate concepts of origin, and the sense of place.

Meta Local is the collaborative practice of Elizabeth Hamby and Hatuey Ramos Fermin. Ms. Hamby studied at Parsons School of Design and Eugene Lang College, and Mr. Ramos-Fermin holds degrees from the University of Puerto Rico and St. Joost Academy of Art and Design. Recently, Meta Local has participated in the Create Change Public Art Residency at the Laundromat Project, the Marfa Dialogues, and exhibited their work at the Bronx River Art Center. They are based in the Bronx. metalocal.net

Melissa Miller
Söl Lewitt

SÖL LEWITT Floor Structure Black, 1965 (Legs Only), pictorial diagram of minimalist sculpture made from ikea parts (Continued on Reverse.) steps 3-6 pictorial diagram. step 7: Repeat Steps 3-6 with 7 Remaining Legs 4x. Melissa Miller #MKTHNGSHPPN

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In Söl Lewitt, I have provided the viewer with instructions for making Sol Lewitt’s sculpture Floor Structure Black from 1965 using the legs of Ikea Lack Side Tables. Minimalist artists were interested in the democratic value of stock manufacturing materials. In my version of Sol Lewitt’s sculpture, I have updated the production materials to reflect what might be considered a more contemporary ‘democratic’ building material.

By mixing the aesthetic language of post modern art movements (specifically, Feminism and Minimalism) with today’s pop-culture vocabulary, my work highlights the tension between the the past and and current period. Humor and parody fuel the critical transformations produced by my formal appropriation. By aesthetically referencing the past I am able to both recuperate and critique the politics of specific art and political movements.

Melissa Miller is an artist, writer and curator living in Oakland, CA. Melissa is currently pursuing her MFA in Studio Art and MA in Visual and Critical Studies at California College of the Arts in San Francisco. She received her BFA in Printmaking from the University of Oregon Robert D. Clark Honors College in 2011. melissamillerart.com

Roy Meuwissen
Sufficient Warning

Roy Meuwissen, Sufficient Warning. Sufficient Warning Roy Meuwissen. Materials needed: Instructions: 1 sheet of US letter-size (8.5 x11 in) white paper Computer word processor and printer (or typewriter) 1 No.9 Business-size envelope (optional) OR, web-enabled browser, a PDF Reader and printer 1. Download the PDF here: http://goo.gl/bFxDxL and print it out, then skip to Step 5. If you cannot access the PDF, continue to Step 2, following precisely the instructions specified. 2. Using a word processor or typewriter, set up a new document with the following specifications: #mkthngshppn Margins: Top: Bottom: Left: Right: Font: Size: Line space: Alignment: 4.5 1 2.5 2.5 inches Times New Roman (or Times) 14 point single (default) justified 3. Type only the following text, in 14-point Times, paying careful attention to make a line break (return) after the word ‘warning’: Give up your inquiries which are completely useless, and consider these words a final warning. We hope, for your own good, that this will be sufficient. 4. Print out your results. 5. Fold the paper in thirds, and, if you choose, insert the letter in the No. 9 Business envelope. 6. Mail or hand-deliver this message to a party of your choosing, preferably a person with whom you have no prior relation (i.e. a stranger).

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The following instructions allow you to produce a copy of the ominous note that Tom Cruise receives in Stanley Kubrick’s final film, Eyes Wide Shut (1999) and deploy it for your own purposes, whether sinister or benign. Taken out of context, this portentous and disturbing provocation becomes a kind of absurd and unsolicited warning.

Working with a variety of media, including photography, video, text and installation, Roy Meuwissen’s work negotiates the recursive economy and affective power of images to create contexts for critically re-imagining the quotidian. He maintains an interdisciplinary and conceptually oriented art practice focused on the intersections between painting, cinema, architecture and post-studio practices.

Roy Meuwissen was born in the Netherlands and is currently based in Montréal, Canada. He holds a BFA from the Alberta College of Art & Design (1997) and a MFA from the University of Windsor (2003). He is currently a resident artist at the Darling Foundry in Montréal (2013-2015). roymeuwissen.com

Laura Napier
How To Make Things Happen

How To Make Things Happen. Meet. If unable to meet in person, call. If unable to call, email. In order to call, email. In order to meet, call. Listen. Laura Napier #mkthngshppn

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To make things with others requires finding common ground. Listening effectively, while utilizing communication technologies allowing physical remove, takes careful thought and planning. While messages are deceptively easy to send across long distances, it is easy to slip into an alternate virtual world where we do not truly not connect. I adopted this hierarchy working in the Bronx in 2006.

I work with people to stage site-specific social projects and collaborative group performances. Lately I am very interested in preexisting social groups, especially ones organized inside sites of former communities—where people lived or worked together. Usually these projects begin with primary and secondary source research, interviewing, collecting, and documenting, while thinking in terms of behavior, sociology, and place.

Laura Napier is a California born, Bronx based artist and independent curator. She moved to New York City in 1994 to study at Cooper Union. She recently organized a social performance of the Flint Male Chorus and the Flint City Wide Choir in Michigan, and brought her grandfather’s window cleaning business, Motor City Window Cleaning Co., to Memphis, TN. lauranapier.com

Susan O’Malley
Signs

a new beginning starts right here right now. if you want it. susan omalley #mkthngshppn

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I wonder if what I wrote can transport you somewhere. I hope it’s a good place.

I often use simple and recognizable tools of engagement—offering Pep Talks, asking for advice from strangers, installing roomfuls of inspirational posters—to offer entry points into the understood, and sometimes humorous, interactions of everyday life. I am interested in shifting ordinary exchanges into heightened experiences and rely on the back-and-forth between myself and others in the creation of the artwork.

Based in the San Francisco Bay Area, Susan O’Malley received her MFA from California College of the Arts’ Social Practice area. Her work has been exhibited throughout the Bay Area and internationally in Denmark, Poland, and London. She has received residencies at the Montalvo Arts Center, Saratoga, CA; the Parthenon Museum, Nashville, TN; and Kala Art Institute, Berkeley, CA. susanomalley.org

Dionis Ortiz
The Blue Collar Series

Dionis Ortiz, The Blue Collar Series, color me

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My work utilizes intricate drawing and painting methods infused into various printmaking techniques. Through these processes, I am able to weave a narrative based on the immigrant experience through the eyes of the blue-collar worker, who has not been able to achieve the American dream. I portray them in noble stances with dramatic cityscapes as their backgrounds, to be viewed in the same light as iconic figures.

My work utilizes both abstract and figurative painting styles. I believe that patterns, shapes and colors are the foundations of human creativity and I use them to sculpt my visual narratives. Among my strongest influences are artists whose creations speak to the struggles inherent in the human condition, including Romare Bearden, Charles White and Emmett Wigglesworth.

Dionis Ortiz is a visual artist and mural designer. A Harlem native, his work explores his dual identity as a New Yorker and a person of Dominican descent born to immigrant parents, and visually narrates interpretations of his experiences and surroundings through the use of landscape, symbols, text, as well as various mediums and painting techniques. In 2013, he was accepted into The Bronx Museum of the Arts Artist in the Marketplace (AIM) program. dionisortiz.com

Kristina Paabus
How to Make a Village Swing

Kristina Paabus, How to Make a Village Swing; detailed schematic instructions on woodwork and installation of a four-person village swing

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How To Make a Village Swing is based on the Külakiik—a traditional Estonian, multi-person swing that harkens back to the country’s pagan roots, and is still an integral part of the culture today. In the summer of 2012 the collaborative team WITH (Matt Nichols and Kristina Paabus) built a village swing in Soldiers Grove, WI while at ACRE Residency Program. This diagram describes WITH’s social sculpture, which was designed from the study of, and participation with, Estonian village swings.

In my work I examine the systems of logic and order, which we as groups and individuals use to enforce perceptions of structure. With a multidisciplinary approach, I create hybrid spatial conversations that elaborate on the constructions that allow us to interact with, and gain control over, our surroundings. These specific systems, such as language, architecture, beliefs, and organizational tools, serve as guides to our relationship to the world around us.

Kristina Paabus has lived in only cold climates, ranging from the Northeast and Midwest to Estonia. She earned her BFA from Rhode Island School of Design and MFA from School of the Art Institute of Chicago. A visual artist with a multidisciplinary practice, Paabus is the recipient of a Fulbright Grant and has participated in many residencies and exhibitions. Currently she is the Grant Wood Fellow in Printmaking at The University of Iowa. kristinapaabus.com

Piero Passacantando
Breathe

Piero Passacantando, Breathe. Make Things Happen Turn off your phone, turn off your computer, turn off the music and the tv... whatever is on... and find a place that’s quiet. Go there, sit down and breathe. Look within and ask yourself what you need to make happen. Breathe. Tune out what you think you should be doing and what you already had planned to do. Sometimes we think we should do what others told us we should do. The line is thin. Look within, through the layers. Breathe. Align your heart and your mind. Align your mind and your heart. Breathe. It is not easy. I am going through this process myself and it is hard to hear it through the outside noise, difficult to tune to that voice that it’s often told to keep quiet. Breathe. Look within, through the layers. This process should not be a substitute to make things happen. It is not a goal, but a part of a process. It is just step #1. Breathe. It may take time. And always remember we are doing this together. Maybe not exactly at the same time, but together. Make Things Happen #mkthngshppn Piero Passacantando

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This image and the text are meant to complement and reinforce each other. This piece is based on my current experiences with introspection and meditation.

Piero Passacantando is an interdisciplinary artist. He has focused on two main bodies of work: paintings and digital images exploring patterns, geometry and color; a series of workshops aimed at artistic research and discussion around the corporate office space.

Piero Passacantando is an interdisciplinary artist. Recently, he brought his project MyNerva to the EFA Project Space and he was a resident at Flux Factory. In 2012, Piero participated to AOIP and the DAF in NYC. In 2011, he was a Fellow at the Laundromat Project. He is a Fulbright Alumnus. He has an MFA from CCA. pieropassacantando.com

Julie Perini
Instructions for White People Fighting White Supremacy in the United States #1

Instructions for White People Fighting White Supremacy in the United States #1 White people fighting white supremacy need to become conscious of themselves as white people. If you are white, you may have some consciousness of your racial identity already, but you can always develop it further. To do this, you can try the following: 1. First do some work by yourself: read and pay close attention to what writers of color have said about the subject of white people. Do the same for artists, musicians, philosophers, and others. If you need assistance finding resources, you can ask librarians for help, surf the Internet or ask the author of this set of Instructions. 2. Do not expect everything you learn to sink in immediately. You have a lot to learn as someone socialized as white in the United States. You’ll be engaged with this process for the rest of your life. 3. Next you need to engage with other people. You can do this with a group or with one other person. To engage a group, identify a public event in your community where issues around race or racism will be the focus, and where there will be an opportunity for discussion. Remember that you are not there to view people as special other people from you; you are there to learn and think. 4. Attend the event. 5. Listen to the discussion. 6. Pay attention to every word said, even if you do not speak the language. Pay attention to how people deliver their words. Listen for emotion in their voices. Notice body language. 7. If you would like to participate, formulate questions instead of making points or relating stories. What would you like to know more about or understand more deeply? Good questions will come from those places. 8. Focus on listening during every moment of the discussion. Think about what people are expressing. Think about what they are not saying out loud, and consider why that might be. 9. Some of what you learn through these reading and engaging processes may make you feel guilty and bad, or joyful and enlightened and likely a complicated combination of all of these and other emotions. Pay attention to these feelings; get to know them, they will return as you continue to change your consciousness of yourself as a white person. 10. Develop relationships with other white people and people of color who want to talk about race and white supremacy with you. Nurturing those relationships, and discussing race and racism one-on-one is the subject of Instructions for White People Fighting White Supremacy in the United States #2. By Julie Perini February 2014 #mkthngshppn

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As a white woman in the United States, most of what I have learned about race and white supremacy has come from listening to people of color. This project describes that process, and encourages other white people to become more conscious of whiteness.

I create experimental and documentary films/videos, installations, and events. My work often explores relationships between personal and political, public and private, fact and fiction. With Portland’s Safe & Sound? media collective, I have created community-based documentaries about the police and social justice. My personal diary videos often explore identity and representation, such as my recent series, White Lady Diaries.

Originally from Poughkeepie, NY, I have been exploring my immediate surroundings with cameras since age 15 when I discovered a VHS camcorder in my parents’ suburban home. I still use readily accessible technologies to make things happen in the world around me. I am an Assistant Professor in the School of Art + Design at Portland State University. julieperini.org

Ryan Pierce
Make an Entrance

make an entrance, a suggestion by ryan pierce for this project you'll need: bolt cutters or tin snips, not puny wire cutters, plus flashlight and heavy leather gloves. optional: bling: plastic flowers, welcome signs, confetti. or better yet a headlamp, or moonlight. 1. pick a place you wish you could go. maybe: a parcel of land surrounded by barbed wire and overrun with cattle or mining. if it's in the city, maybe some high-rise condos or tech campus blighting your neighborhood... be extra careful with military land—they'll shoot yoU! 2. carefully cut the fence. make sure no one sees you! FYI, don't tweet about it! 3. cautiously bend the broken fence into a more welcoming shape. 4. joyously decorate this new point of access withs ome bangles and beacons and a bit fuck you to the private property. 5. sneak away. next time: remodel a window using only a brick. #mkthngshppn

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In the U.S., and particularly in the West, we often take for granted a person’s right to surround an amount of land with what is essentially a weapon. Here’s an invitation to intervene.

I make art under the premise that climate change is unveiling a strange new version of our known world and that we will experience this mystery with equal parts dread and curiosity. I work in distinct series and contextualize most projects with self-published texts or sculptures, and increasingly rely on methods such as wilderness walks or scavenger hunts to exhibit my work in a participatory structure.

Ryan Pierce’s vivid, large-scale paintings depict our world recovering from human industry. He draws on influences from ecological theory, literature, and folk art to create scenes that portray the resilience of the natural world. Pierce is the co-founder, with activist Amy Harwood, of Signal Fire, a group that facilitates wilderness residencies and retreats for artists of all disciplines. ryanpierce.net

Pavel Romaniko
Do-It-Yourself Joseph Kosuth “One and Three Chairs” installation

Do-it yourself Joseph Kosuth “One and Three Chairs” installation. 1 Print out this diagram preferably on heavy paper or card stock. 2 Cut along the solid lines, and score and fold along the perforated lines. 3 Use glue to assemble your chair. 4 Draw a picture of your chair within this frame and then cut it out along the solid lines. 5 Cut out this frame and write a definition of the word ‘chair’ within it. 5 Assemble your personal Joseph Kosuth installation of “One and Three Chairs” ca. 1965 Pavel Romaniko 2014 #mkthngshppn

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The manual provides anyone with an opportunity to make their own a paper copy of Joseph Kosuth's One and Three Chairs piece first executed in 1965.

Pavel Romaniko constructs miniature sets of building interiors using construction paper. Although reminiscent of domestic interiors Romaniko photographed in his previous series of work, most of the photographs are not alway specific to actual locations but instead become symbolic reflections on exile, blurred memory, and explores the points of intersection between personal and cultural recollection.

Pavel Romaniko was born in Pereslavl-Zalessky, a small town outside of Moscow, Russia, in 1980. He came to the United States at the age of seventeen. Romaniko completed a BA in Studio Arts from Northwestern College in Saint Paul, MN (2002), and an MFA in Imaging Arts from the Rochester Institute of Technology (2009). Pavel works with a variety of media including photography, video, and installation. pavel-romaniko.com

Risa Puno
Connect the Dots—Personality Quiz

Risa Puno, Connect the Dots—Personality Quiz

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Connect the Dots is inspired by the recent flood of personality quizzes throughout social media. People are naturally curious about themselves, and social media has made it even easier to share and compare results. Loosely based on pop psychology theories, such as the right/left brain dichotomy and handwriting analysis, Connect the Dots is a fun, visual way to connect with others and spark a dialogue, both online and offline.

I make interactive installations and sculptures that play with elements of everyday life. The key to understanding my work is to physically engage with it — to use it, play it, touch it, smell it, and sometimes taste it. While I make every effort to craft objects that are beautiful and alluring, my main objective is to create evocative and memorable experiences for the people who use them.

Risa Puno has exhibited at venues including: The Aldrich Contemporary Art Museum, El Museo del Barrio, Socrates Sculpture Park, SculptureCenter, NURTUREart, Flux Factory, The Bronx Museum of the Arts, Galerie Stefan Röpke in Cologne, Germany, and MMX Open Art Venue in Berlin, Germany. She studied art and medicine at Brown University and earned her MFA from New York University. She grew up in Louisville, Kentucky where she fostered a love for miniature golf and all things deep-fried. risapuno.com

Genevieve Quick
How to See into the Past

Genevieve Quick, How to See into the Past, How to See into the Past Look up at the night sky The light you see emerged many years, even millennia, ago and has just traveled close enough to Earth to be visible with the naked eye or a telescope. The nearest optical supernova in two decades, SN 2014J was discovered on January 21, 2014. SN 2014J occurred in the Cigar Galaxy and lies about 12 million light-years away. When this blast oc- curred, geologically speaking Earth was in the Miocene Epoch. Count the rings on a tree Dendrochronology is the study of growth rings, which scientists can use to date temperate zone trees. In contrast, tropical trees lack the dramat- ic seasonal changes that produces periods of rapid growth and dor- mancy that result in growth rings. In 1964 Donald Currey, a graduate student in the geography department at the University of North Caro- lina, unintentionally cut down the oldest living organism on the planet. In what became known as the “Prometheus Story,” Currey’s core sample tool became lodged in bristlecone pine and the park officials advised him to simply cut down the tree, rather than lose the tool and waste this research opportunity. The tree Currey cut down became known as Prometheus, which was estimated to be 4,900 years old. Currently the old- est known living tree, about 4,600 years old, is in the White Mountains of California; there are likely even older bristlecones that have not been dated. Look at the desert landscape Movement and changes in the earth’s geology are apparent in the striated layers of rock and dirt, especially visible in the desert’s barren landscape. Stratigraphy is the study of the stratified layers of sedimen- tary and volcanic rock. Biostratigraphy, chronostatigraphy, magneto- stratigraphy, and archeological stratigraphy are all specializations that look at fossils, magnetism, and artifacts to help contextualize and date the Earth and its changes. The most recent geological period, the Holocene era covers the last 11,700 years and also corresponds with the early Mesolithic period when human began grow- ing their own food. The Prometheus bristlecone pine dates from the Holocene era, while the supernova 2014J occurred during the Miocene Epoch, 23.03 to 5.3 million years ago. During the Miocene Epoch, Earth had a warmer climate than those in the proceeding Oligocene or the following Pliocene. In addition to kelp forests, grassland ecosystems made their first appear- ance, which complimented Paleolithic man’s hunter gatherer lifestyle. Genevieve Quick #mkthngshppn

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This piece proposes that the simple act of looking can be a time traveling experience. While I use light, tree rings, and geology as examples, the residue of past events is evident in many everyday things.

I am interested in the way that light operates in the production of images and the way that visual technologies influence our ideas of opticality. As a strategy, I am interested in distilling seemingly complex optical phenomena and creating low tech approximations or analogies. I incorporate photography and video with my sculptures as documentation, process, and content.

Genevieve Quick is a San Francisco based artist and art writer. She has exhibited in Bay Area galleries and received an Investing in Artists Grant from the Center for Cultural Innovation and a Kala Fellowship. Quick has been awarded visual arts residencies at the de Young Museum, MacDowell, Djerassi, and Yaddo. She has contributed writings to Shotgun Review, The Present Group, and caa.reviews.org. genevievequick.com

Mary Rothlisberger
HOW TO HAVE A MOMENT

How to Have a Moment, or How to Make a Memory. decision tree including the following texts: Look around! Are you alone? Nope: Find Somebody around you and say Hey, wanna make a moment with me? Talk about things you like, little things like counting cars or collecting rocks or noticing the moon; go ahead and do some things together: day dream, jump rope, listen to records, pick flowers, play catch, hop scotch, take a long walk, go driving, climb a tree, read aloud, learn stars, sunset club, nap, look for birds, swimming, eat snacks; find a breeze and stand in it. feel all the feels. write it all down. say it out loud. send it to someone special. Find somebody around you and say, hey, wanna make a moment with me? Did they say no way? it's OK. It's OK. Find a soft place and lay down: lets time travel. backwards, to a very best day. can you still feel it? forward. imagine yourself at your best and brightest. open your eyes again. the future is now! we area ll here together! do you still miss someone? It's OK. Find a breeze.... Look around! Are you alone? Yeah: Go outside and listen for something you've never heard before. Put it away in the please-place behind your dream time mind. Take the very best essence of it. Make it like a potion. Add a picnic. Find a breeze... All decisions lead to send it to someone special. Mary Rothlisberger. @wrenfriender #mkthingshppn. save the economy, send more letters

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Make time don’t take time. Feel all the feels. Give me a go and I’ll give you a stay. The tragical magical notion of with. It all matters.

My work explores universal issues of relating to one another by sincerely engaging in site-specific action and encouraging an inclusive adventurous collective spirit.

Mary Rothlisberger is a citizen artist. She hails from the border town of Palouse, WA and spends most of her days taking the long way home back and forth across America. She loves small towns, long winters, optimists, parades, and the United States Postal Service. bangbangboomerang.com

Pallavi Sen
Please Mr. Postman

Pallavi Sen, Please Mr. Postman. A LOVE LETTER FOR YOU, FOR YOU, FOR YOU! A MESSAGE FOR YOU, LOVELY POSTMAN/MA’AM: ... SEND A LETTER TOO! FIND ONE AT MAKETHINGS-HAPPEN.CHRISTINEWONGYAP.COM MADE BY PALLAVI SEN FOR ‘MAKE THINGS (HAPPEN)’Pallavi Sen, Please Mr. Postman. A LOVE LETTER FOR YOU, FOR YOU, FOR YOU! A MESSAGE FOR YOU, LOVELY POSTMAN/MA’AM: ... SEND A LETTER TOO! FIND ONE AT MAKETHINGS-HAPPEN.CHRISTINEWONGYAP.COM MADE BY PALLAVI SEN FOR ‘MAKE THINGS (HAPPEN)’

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A simple template for sending letters, Please Mr. Postman encourages communication that brings delight, builds anticipation, is rich in thought and sentiment, and makes both the sender and the recipient happier than before.

With craft and the history of decorative arts as my guide, I create installations disguises, rooms, books, patterns, and prints that explore beauty, sensuality, and spectacle.

Pallavi Sen is an interdisciplinary artist living and working in India. Since her graduation, she has worked as a bench jeweler, hammering gold; as a research intern at The Metropolitan Museum of Art, looking at beautiful tapestries and studying stained glass; and most recently as a designer and teacher with the Marpha Foundation, in a little village high in the Mustang Valley of Nepal. pallavi-sen.com

Elisabeth Smolarz
Five instructions for everyday performances for a shitty day

Elisabeth Smolarz, Five instructions for everyday performances for a shitty day. MAKE THINGS (HAPPEN) SOCIAL IN PRACTICE: THE ART OF COLLABORATION Elisabeth Smolarz +++Five instructions for everyday performances for a shitty day+++ laugh out lound (3-5 times) variation: ask the person right next to you to laugh with you. whistle your favorite song (10-15 times) tell a joke watch a cat video on youtube take a selfie send to a person you know will cheer you up #mkthngshppn

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Five instructions for everyday performances for a shitty day is set of mini performances to be performed during the course of a crappy day.

I utilize the multidisciplinary forms of video, photography, sculpture and drawing to explore the social structures which constitute human interaction within a culture. In order to expose collective consciousness and patterns of behavior, I often ask strangers to become participants and collaborators in my performance-based projects.

Immigrating from Poland to Germany, Elisabeth Smolarz grew up on the cusps of two different cultures affected by a communist and democratic system. Consequently, she became involved in the idea of how consciousness and perception is formed by one’s surroundings.
Since then her work has been shown nationally and internationally—in venues such as The Bronx Museum, New York, Eyebeam Art + Technology Center, New York, the Sculpture Center and the 3rd Moscow Biennale among others. smolarz.com

Tattfoo Tan
Everyone is an Artist

fax paper ink painting. Materials needed · Heat-sensitive fax paper · Mailing tube · Glue gun · Soldering iron · Hair dryer · Electricity · Glue · Blade · Ruler page one 1. These are the materials you will need. 3. Use glue to combine a few sheets of fax paper into one large one. 5. Use the heated nozzle of a glue gun for medium lines. 2. Measure and cut fax paper to size. For the height, roughly measure with the mailing tube that will be at each end of the painting. 4. Turn on hair dryer and aim at fax paper. Watch bold and fuzzy marks appear. 6. Use the heated nozzle of a soldering iron for fine lines. Be careful. Unplug cord if iron get too hot. tattfoo:DIY:EvERYonE IS an aRTIST #mkthngshppn fax paper ink painting Difficulty moDerate time fast BuDget moDerate 7. Glue fax paper onto mailing tube. 8. Repeat action on both ends. page two 9. Enjoy the wonderful wall hanging.

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Everyone Is an Artist is a printed poster that is distributed free to demystify the art-making process; it has step-by-step instructions, making art available, accessible and achievable. Once understood, the same techniques can be applied to various media, freeing the mind to create with simple and unpretentious materials. The project is a catalyst to art-making at home with family and friends.

Tattfoo Tan’s art practice responds to issues of ecology, climate change and nutrition. His unique art making process consists of learning new forms of knowledge, practicing them, and in turn teaching others. His decade long trilogy of projects: Nature Matching System, Sustainable. Organic. Stewardship. and New Earth had been shown widely and made into replicable manuals to inspire the public to take action.

Tattfoo is a self–taught artist who resides in Staten Island and has presented, collaborated on, published, and shown his works in various venues and institutions including The City of New York Department of Cultural Affairs Percent for the Arts, Parsons the New School for Design, 601Tully/Syracuse University, Creative Time Reports, Project Row Houses, Smack Mellon, Contemporary Arts Center (Cincinnati), Robert Rauschenberg Foundation, Ballroom Marfa, The Pulitzer Arts Foundation, and The Laundromat Project. tattfoo.com

Lauren Marie Taylor
Know and Believe

The first organized system of astrology was that of the Babylonians, date between 3-2,000 BCE. It was primarily used as a tool of prognostication, through which the gods presented themselves as celestial symbols. Astronomy was very rudimentary at the time, but as it developed, so too did astrology, which was considered a science, along with medicine, mathematics, and alchemy. In the occidental world, Aristotle's model was accepted as the one true explanation of the structure of the universe. This persisted from the 3rd century BCE until the Copernican, heliocentric system, was endorsed by Thyco Brahe, Johannes Kepler, Galileo Galilei, and finally Isaas Newton. According to Aristotle, the Earth was the center of the world, with each of the planets rotating around carried on concentric spheres, moved by angels, with the outermost sphere containing all the stars of the universe. To make zodiac chart on the back, begin by cutting the circle and the tub, and separating them as see at right. You can label the months and constellations using the chart below. Or make you your own measurements of time and space. When you are finished, pleace the tub on the circle and rotate to learn which stars can be seen in the sky during the time abot which you seek to KNOW. Lauren Marie Taylor 2015 www.utopianrealism.org #mkthngshppn. Despite their belief that the Earth was not the only body around which others orbit, the astronomers were still baffled by the workings of the stars and were dedicated to understanding their influence in our leves. Brahe, Kepler, and Galilei all practice astrology and the casting of horoscopes, before it finally fell out of favor in Newton's age. In their lifetimes, each made imprtant contributions to the field of astronmy. Brahe proved that comets were not atmospheric phenomenon, but bodies whose paths would have broken through the 'spheres' in the sky. Galilei proved that the moon was an imperfect 'world,' that Jupiter had moons, and that the sun had spots. Kepler's 'laws of planetary motion' proved the elliptical orbits of the planets and the mantehmatical relationships of their paths. It is challenging today to imagine that such important work was being conducted alongside the predicting of auspicious days for weedings and wars. If we held the work of astronomers to today's standards, would we dismiss their findings, considering the lack of scientific evidence backing their other views? How do we continue to justify the practice of astrology? BELIEVE.

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Know and Believe allows you to construct a star chart in order to identify which stars and constellations will be visible in the night sky in a given time period. As you do so, please consider the historic relationship between astronomy and astrology, and the thoughts and ideas you've had that you now consider foolish. How do the foolish thoughts and ideas of others influence your opinion of them?

I am interested in futurity and all of its possibilities and potentials. I believe that by considering how we will survive in the future, we may improve our present condition, or at the very least, better understand its often ambiguous margins. My work generally takes the form of social practice, participatory, public, or community-based art, although this often manifests in a craft-based medium.

Lauren Marie Taylor holds an MFA from California College of the Arts, an MEd from Portland State University, and a BFA from the School of the Museum of Fine Arts Boston. She has recently finished a residency with the Vatican Astronomical Observatory. Recent projects include T-Minus Ten Minutes at Yerba Buena Center for the Arts. Her upcoming exhibition at Southern Exposure will share her research into robotics, science fiction, and civil rights. utopianrealism.org

sharita towne
10 Conceptual Film Prompts

10 Conceptual Film Prompts. TO REFLECT ON CULTURE. 1. Choose a character from 80s pop culture that wore shoulder pads. For the purpose of these instructions, let's use Aunty Entity. fade into Aunty Entity, or rather, you dressed like the character Tina Turner plays in Mad Max Beyond Thunderdone, walking down the street. The camera walks in front of her, in an almost full body shot. The camera cuts to the reaction of passersbys. Aunty Entity begins asking people... Aunty Entity: How much shoulder pad is too much shoulder pad? Engage in conversation with the public about the 80s, shoulder pads, etc. 2. Get a stranger to sing a song you both remember on the street with you. Film it. Repeat. repeat. repeat, with new strangers. 3. As google questions about the path of your life. Slowly. Screenrecord the whole process. See artist examples here: vimeo.com/93782013. TO REFLECT ON RACE. 4. Join okcupid. Read, respond to, or write people semi racist messages. Read and reply. live chat if possible. Screen record the whole process. See artist example here: vimeo.com/88009029 *pw:okslave. 5. Turn on a camera. Film yourself jerry-rigging a goldteeth in your mouth. Write* a rap about your neighborhood, your favorite cereal, the prison industrial complex, Claire Bishop, or some other theme of your choosing. Perform said rap. *alternative (replace gold tooth and rap with a cowboy hat a country song. 6. Ask passersby of your race 1 question about spoken/unspoken communication shared on the street. Have a friend record the interactions. See artist example here. youtube.com/watch?v=lGVbuRHa9OU. TO REFLECT ON FAMILY. 7. Invite all the members in your family on the Birthday of your Grandmother, living or dead. Cook together, share stories, recipies, and memories about your Grandmother. Hand out cameras and recorders. Take pictures. Record audio. Take video. Keep all footage as family record. Make and distribute copies to all attendees. See artist example here: vimeo.com/94092023. 8. Turn a camera on. Film your father. Ask him if he ever hit your Mom. Ask him why. Ask your Mom if she ever hit your father. Ask her why. If either of them were hit, ask them why they were hit. 9. Find some kids (yours or others'). Film them here and now, and never show them the footage. Show them the footage when they are finally the age you were when you filmed it. 10. Call your Mom (or motherlike or mentor figure in your life) for no reason in particular. Just to tell her you love her. Film the entire conversation. Choose prompts, tweak as you see fit. Email results. Sharita Towne. satowne@gmail.com @trapodelsh3biye #mkthngshppn

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These prompts come out of some of the questions I’ve had the past few years. I’ve been asking myself: Why is there unspoken rule among Black people on the street to acknowledge each other? How does the white racist mind work? How is being online changing how we look for answers? How do families share stories? How can I collaborate with other artists and audiences?

Our past burdens give shape to what worlds we may build, now and in the future. I’m interested in unpacking these burdens, in understanding how they mold our present selves, and in giving rise to collective catharsis. To this end I’ve worked at former concentration camps and memorials in Germany, in Saharawi Refugee camps, in favelas and cultural centers in Brazil, within my own family, in education, printmaking, video, stereo-photography, translation, and socially engaged art.

I’m an artist, teacher, sister, polyglot, and friend.
“Self Praise is scandalizing.” —Parthenia Fair Helms (my Grandmother) (my Father’s Mother)
“You are what you are when you’re hatched.” —Harland Dean Towne (my Grandfather ) (my Mother’s Father)
cargocollective.com/sharitatowne

Emilio Vavarella
The Family Re-Coded

Emilio Vavarella.THE FAMILY RE-CODED. A collaborative photographic glitch series based on Emilio Vavarella’s: The Sicilian Family (2013) Choose a family photo that holds sentimental value for you. If necessary, use a scanner or camera to create a digital version of the image. Save it as a JPG on your computer. Open the JPG file using Notepad, TextEdit.app or any other basic text editor to visualize the photo as text. The pixels of the image will be translated into alphanumeric ASCII code. This code is a non-intelligible sequence of characters that contains all the information required to recreate the image through an image viewer. Now write your memory about the photo into the middle of the ASCII code. The text should be based on your own memories or on memories that were passed down to you. Save the text as a JPG, transforming it into an image once again and forcing your memories to coexist with the image in an unforeseeable and new way. Use your new image as you prefer. Please send it to emilio.vavarella@gmail.com and/or tweet it at #mkthngs

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The Family Re-Coded is a a collaborative photographic glitch series based on my photographic series: The Sicilian Family (2013), sourced from my family’s collection of photographs. It’s a work about memory, error, family, and media. It proposes an open and conceptual technique for writing memories inside the code of a digital photo. This alteration forces the memories to coexist with the image, in an unforeseeable and new way.

My work is based on issues of political philosophy with a particular emphasis on the aesthetics of error and biopolitics. My work is informed by the history of conceptual art and new media practices. Using photography or other media, I highlight the ambiguous spaces of power, such as unexpected errors and unpredictability. I believe that by doing so, the intrinsic logic and hidden structures of power are revealed and an intellectual resistance is formed.

Emilio Vavarella was born in Italy in 1989. He has studied in Italy, Spain, Israel and Turkey. His work is based on issues of political philosophy and contemporary technological power and has been shown internationally. Most notably, he has recently exhibited at Eyebeam, EMAF, Currents, Mediterranea16, Fondazione Marangoni, GLITCH Festival, Boston Cyberarts gallery, Jarach Gallery and Bevilacqua La Masa. His work has been featured in Wired, the Huffington Post, and FlashArt, among others. emiliovavarella.com

David Gregory Wallace
Shadow Puppet Machine

David Gregory Wallace, Shadow Puppet Machine David Gregory Wallace, Shadow Puppet Machine

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This project provides instructions on how to make a shadow puppet machine as well as asking people to reflect on our shared vulnerability.

Through videos, installations, and shadow puppet machines, my work engages the power structures of remote warfare, surveillance, and state violence by bringing them into contact with issues of vulnerability and community.

David Gregory Wallace received his MFA in 2011 from the University of California, Berkeley. He has exhibited at the Berkeley Art Museum, Sonoma State Gallery, and Krowswork Gallery. His most recent solo exhibitions include Eye In The Sky (2012) at Right Window Gallery in San Francisco, CA, and Friends, Family, Neighbors (2013) at the Royal NoneSuch Gallery in Oakland, CA. He is currently participating in the AIM Program at the Bronx Museum of the Arts. davidwallaceprojects.org

Lexa Walsh
Facilitate a Meal and a Community Cookbook

Lexa Walsh, Facilitate a Meal and a Community Cookbook. MEAL TICKET Silver Social Club _________________________yep, that’s me ___________________told me this recipe Making Things Happen: Facilitate A Meal & a Community Cookbook Find a space & time. Reserve it. Think about how you can make it feel welcoming. Invite your guests for a free meal. Don’t tell them they are making a cookbook. People who are not cooks may feel like they don’t belong. Invite people from a variety of backgrounds that may not know each other. Ask if anyone has food allergies or restrictions. Get their contact info. Set a beautiful table, being sure that guests can talk to each other with no unintended obstacles. At each place setting there should be a blank card and a pencil. Each place should be set with a name. Seat guests next to and across from people they may not know. Try not to sit two shy people across from each other. Cook a nice meal. It can be simple and humble, or terribly decadent. Be sure to provide choices to accommodate your guests allergies/restrictions. If you are not a good cook, find one, or bring in something pre-made. They may never be allowed to know you did this. Think about plating. Wow your guests with presentation. Use clay, metal, wood and glass. After giving them something to eat, but before serving hot food that could go cold, have your guests introduce themselves to the entire table, offering a few sentences about whatever moves them. If you have many large tables, each group of ten or twelve can do it. Now ask them to each tell a recipe to the person across from them (or beside them, if at a round table). The person listening should write the recipe down. Explain this requires good communication and good listening. The recipe, it is important to say, can be for food or for life. It is simply a set of instructions. Ask them to then reverse roles. In the end you should have as many recipes as you have guests. Have them sign the cards: “…….’s recipe, transcribed by ……. ”. Notice how they start discussing family, culture, values, and history, among other things. Listen to the din at the table and smile. Take the cards, scan them, and design/compile them into a PDF. Print and distribute, or send it off to your participants as an e-book. You did get the contact info for all your guests, right? #mkthngshppn Lexa Walsh

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Meal Ticket is an ongoing series of luncheons with different groups of people to foster democracy, community, and storytelling. Sitting down to a meal together is a basic act of humanity, however simple or extravagant. Through the discussion of recipes—a set of instructions—we discuss our cultures, families, and belief systems. I propose we are all equals in the temporary utopia of a luncheon, while fitting into the rich legacy of Community Cookbooks.

I work as anthropologist, archivist, collaborator, experience maker, explorer, facilitator, and participant. The essence of my work is situated in performance and direct engagement, bringing together members of the public to share in conversation, cheer, song, play, dance, and food. These participatory public projects propose the idea of hospitable democracy.

Lexa Walsh is an interdisciplinary, socially engaged artist based in Oakland, CA working with food, music, and play to create hospitable democracy. Walsh has lived, worked, exhibited and toured internationally. She was recently Artist in Residence at Portland Art Museum, Community Artist in Residence at Atlantic Center for the Arts, and is currently Artist Fellow in San Francisco’s de Young Museum. lexawalsh.tumblr.com

Alex Wilde & Emily Chappell
Stone Soup

RECIPE FOR A STONE SOUP EVENT Stone Soup is a folk tale told all over the world and is a parable about the sharing of resources, particularly in times of scarcity. In the tale, a community who think they have no food to spare when strangers enter the village asking for a meal, create a nourishing soup by unwittingly working together. They each contribute an invaluable ingredient after being asked to help add a little something to improve the flavour of a soup that the strangers are preparing, using only boiling water and a simple stone. Before long, a delicious pot of soup has been made, to feed villagers and strangers alike. In the story, the stone serves as a tool to bring people together but it could also be an axe, button, nail, shoe or other inedible material that you might carry about with you. Why not make a stone soup in your community? This is a recipe which describes how, as artists, we have gone about it. It is a guide - a starting point - but each event will be completely different from the last. INGREDIENTS • An interest in gathering people together, connecting those with have a common cause, finding common ground in communities divided, acting in solidarity with people in times of struggle. • A desire to source what is local, make use of leftovers, be inventive, learn about different cultural ingredients. • Equal participation. This is not just about giving, it is a conversation. A bowl of soup as a universal dish connecting people together. • A space that will inspire and intrigue people. Neutral ground if needs be. It could be someone’s kitchen, a garden, the main street, a gallery, an orchard, in a van etc. • On a practical level you need: clean water source for hand washing, vegetable preparation and washing up, basic equipment of a chopping board, knife, tin opener, big pot and spoon and few staple ingredients donated in advance - oil, stock, seasoning – and a source of heat – fire, camping stove. METHODS • Find a time that enables people to fit it into their routine, which might be just after the school drop off, during lunch hour, during a festival or special feast day. • It might be possible to use social media or put up posters but it might also need one-to-one conversations, personal invites for people to feel welcome. • Ask people to bring a story with their ingredient to share with everyone. The ingredient could be a spark for a tale about family, culture, community, land etc. • The setting is important, make it cosy and welcoming but think about what atmosphere you want to create - lively, calm etc. Dress up the space so people think about it differently, bunting and tablecloths are effective. • Think about how best to facilitate conversation with the set up. Are people sitting around tables or on picnic rugs? You could cover the table with paper and ask people to write on it as everyone eats and talks so everyone can contribute to the conversation. • It helps to have some bread to go with the soup. You could ask people to bring their dough and bake it together, or everyone brings the dry ends of their bread and makes croutons. You are invited to join us for Stone Soup When. Where... The soup may need a little extra added to it so please bring an ingredient with you. Perhaps the tin of kidney beans long forgotten at the back of the cupboard, or the glut of apples from your tree, or the bag of potatoes that are about to start sprouting if you don’t use them soon. Perhaps you have a herb or spice that you use in all your cooking... Created by Emily Chappell and Alex Wilde (Glasgow, UK) #mkthngshppn

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Stone soup is a folk tale that can be interpreted in different ways but our interpretation is of the stone as a tool for collaboration with community. The tale can serve as way to frame a creative event, to capture people's imagination and draw them in and to provide a platform for conversation.

Alex and Emily as part of their work with Open Jar Collective deliver collaborative creative projects that range from hosting communal meals and staging unique pop-up events to research, workshops and exhibitions. Food is a vehicle for bringing people together, as a common language to understand the global economic system, and as a tool for exploring people’s fundamental relationship to the land.

Alex Wilde is a visual artist who graduated from Environmental Art at the Glasgow School of Art in 2001. alexwilde.info
Emily Chappell is an illustrator and designer with a BA in Visual Communication from the Glasgow School of Art. emilychappell.com
They are based in Glasgow and are both members of the Open Jar Collective, often collaborating on socially-engaged projects about the growing and eating of food, most recently for the Glasgow International Festival of Visual Art 2014.

Brian Zegeer
Dissonance Therapy

Dissonance Therapy. 1. cut and fold. 2. place on head. 3 have two friends whisper text into both ears simultaneously. Start: On the borderline of the Oriend and Occident it is built, on the mountain-heights overlooking both. No flase gods are worshipped in it—no philosophic, theologic, or anthropomorphic gods. Yea, and the god of the priests and prophets is buried beneath the Fountain, which is the altar of the Temple, and from which flows the eternatl spirit of our Maker, our Maker who blinketh when the Claws are depp in our flesh, and smilth when the Wings spring from our Wounds. Brian Zegeer 2015 #mkthngshppn

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Dissonance Therapy is a completely un-scientific experiment that seeks to temporarily trigger sensory fragmentation in the participant in order to suggest the possibility of two simultaneous minds. This process is considered ‘therapeutic’ in that it might soften the structures of guilt, social anxiety, and loneliness by presenting the person to be a loose grouping of collaborative identities and semi-conscious diagnostic algorithms.

I use stop-motion animation as a means of uncovering the narratives embedded in objects and environments. For the past several years, I have studied the contemporary geography of the former Arabic Quarter in Lower Manhattan, or ‘Little Syria.’ Using Ameen Rihani's 1911 novel, The Book of Khalid, as a visionary framework, I attempt to trace correspondences between the sleek glass high rises that now occupy the site, and the grandiose aspirations of early 20th century Lebanese-American immigrants.

Brian Zegeer was born in Lexington, KY. His videos encounter the Appalachian and Lebanese landscapes of his parentage as highly-charged networks of affiliation and group narrative. He received his MFA from the University of Pennsylvania, attended Skowhegan School of Sculpture and Painting in 2010, and has recently shown at The Queens Museum, The Delaware Art Museum, The Jersey City Museum, Louis V. ESP, Regina Rex, Elga Wimmer Gallery, and Stephan Stoyanov Gallery. Zegeer lives in Brooklyn. brianzegeer.com

Lu Zhang
make a line, use a line, fix a line

how to make a line find a large room you have ambiguous feelings towards if the room is empty: measure the diagonal length of the room from corner to corner divide this length by your height to determine the number of lines to draw make each line as long as you are tall make each line as wide as you want join all the lines together to make one line that connects the room from corner to corner if made correctly the length of your line is a multiple of your height your line can be slightly too long but should not be slightly too short if the room is full: find moments you want to connect draw them together how to use a line attach each end to synchronized rotating motors and use it as a jump rope use it as a tightrope tie knots on it to record time hang it on the wall like a painting use it as a lasso use it as a noose use it to trace all the things you want but can’t afford leave it on the ground to mark where you’ve been tie it to your house so you can find your way home if your house is light you may use your line to drag it with you tie it to the past glue it on top of a Sol LeWitt wall drawing gather it loosely and use it as a pillow how to fix a line if this text is printed: on the other side of this sheet of paper is a line as long as I am tall printing broke the line mend it by drawing the fragments together or: make something break it make something else Lu Zhang #mkthngshppn a line drawing

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The instructions of make a line, use a line, fix a line oscillate between the material, the poetic, and the impossible. The resulting drawing is a collaboration between myself, the reader, and a printer / xerox machine.

Lu Zhang is an interdisciplinary artist based in Baltimore. She received her MFA from Frank Mohr Institute in the Netherlands and her BFA from Maryland Institute College of Art. Her work has been exhibited in the United States, France, and the Netherlands. Lu recently became an inaugural recipient of a Rubys Artist Project Grant. She’s currently producing a site-specific book and installation to be housed in the George Peabody Library. lu-zhang.com