This text by Pablo Helguera is part of a range of supplies that we are interested in submitting to a discussion about how the debate of pedagogy has transformed in recent decades. This reflection also accompanies a process of redefining the role of TEOR/éTica and how it has taken on a critical task of formation in the field of education, curating and other areas of mediation between the institution and the different audiences. We believe that one of the most important emergencies of today is to rethink what is understood as knowledge and learning, and the ways in which art introduces different ways to relate to everything around us. Helguera introduces problematizations we consider valuable about concepts like ‘community’, ‘engagement’ and ‘participation’, which are common currency in many projects from the so called ‘committed’ or ‘socially engaged art’ of recent decades, asking not only for the utopian dimension of art but especially about the processes that construct it’s public dimension, and therefore it’s ability to participate in life in common. TEOR/ética Pablo Helguera-Education for Socially Engaged Art (bookmark from page 1 to 25) TEOR/éTica is a private, non-profit independent project located in San José, Costa Rica. It is dedicated to […]
From many years on at Beta-Local, we have been interested in thinking the Caribbean, and Puerto Rico within it. Édouard Glissant is an obvious reference, but not because of that, it is all known in our context. The scarce distribution of his work in spanish is surprising for us, and we consider the invitation to participate in Fotocopioteca as a good opportunity to share a fragment from his book El Discurso Antillano (The Caribbean Discourse), published by Casa de las Américas in La Habana. In fact, the copy of the book that we keep in our library is a photocopy that a friend sent to us from USA, and the only original we have seen traveled from Cuba to México, and from there to Barcelona, before it could arrive to Puerto Rico. Beta-Local Edouard Glissant-Caribbean Discourse (bookmark from page 120 to 134) Beta-Local is a non-profit organization based in San Juan, Puerto Rico, dedicated to supporting and promoting aesthetic thought and practices through various programs: La Práctica, a 9-month research and production program for artists and other cultural agents. It’s designed specifically for those interested in creating new conditions, relations and positions from which to produce in and beyond established circuits. The […]
This was the first step on Michèle Faguet’s research on the term pornomiseria. This research placed the term on an international scenario. From that base we can put in perspective problems like social art and it’s neo-liberal mentality, the biennialization of art fairs and the fairializilation of biennales, etc. Helena Producciones Michele Faguet-Je est un autre The Institutionalization of Outsider Art Helena Producciones is an artist collective researching subjects related to artistic production and it’s conditions from different perspectives. Since 1998 they organize the Cali Performance Festival, winner of the 2012 first Visible Award from Citadellarte Pistoletto. Helena Producciones are: Wilson Díaz, Ana María Millán, Claudia Patricia Sarria, Andrés Sandoval and Gustavo Racines. It’s work has been featured in: Cuerpo Pacífico, CAC, Quito, 2015; Six Lines of Flight: Shifting Geographies in Contemporary Art, SFMOMA, 2012; Living as Form, Creative Time, New York, 2011; Cali en el espejo, Or Gallery, Vancouver, 2007; To be Political it has to Look Nice, Apexart, New York, 2003; De la Representation a l’Action, Le Plateau, Paris, 2002.
To do what urges. Never what it is, but how. This small drift-manifesto-poem by Tiqqun, included in the second edition of it’s magazine -unsigned, with no attribution-, is a call for resignation and idleness, for the thinking of certain ways of life that glow in their opacity, in the impossible cross of acceptance and the always absorbed revolutionary counter-summit. Beyond any form of union, and all forms of communitarization on behalf of causes, beyond the promise of peace, and against that promise, Tiqqun calls to civil war, to the production of distance, to existential strike. Beyond the thought of an Utopia, it is a calling to the Topos, to that which is taking place here, now. Víctor Albarracín Tiqqun-Introduction to Civil War (bookmark from page 195 to 224) Victor Albarracín Llanos (1974) works on projects of a diverse nature. He is the author of three books and a tangle of loose texts on disparate things. He has been co-founder and member of artist-run spaces including El Bodegón (Bogota, 2005-2009), Selecto-Planta Baja (Los Angeles, 2014) and La Parte Maldita, a sporadic office for curatorial projects and publications. You could say he is an artist and curator, and there are some hints that allow […]
Fotocopioteca: MINGA produced a compilation of theoretic recommendations by eight participants, AC partners in Latin America Cooperativa Cráter Invertido, TEOR/ética, Platohedro and Más Arte Más Acción, and lugar a dudas’ collaborators Víctor Albarracín, Helena Producciones, Beta-Local and Sofía Olascoaga. Keeping the format of Fotocopioteca, this edition consists of eight selected texts, on this particular case we decided to choose a group of participants that would strengthen the communication and knowledge of each other in a shorter range, as well as for pragmatic reasons -we believe in this shorter scale collaborations as more feasible projects. This common library aimed to gather texts that are significant references for each participant’s projects and practices, that could point out their vision, their on going researches or their concerns, or that would have serve as inspiration for their ways to operate and forms of living. As it came out it is a hypertext dealing in critical ways with subjects as geopolitics of education and knowledge sharing, the very ideas of revolutionary thinking in recent history and today, and problematic naturalized aspects of contemporary visual culture. Our will is that this edition of Fotocopioteca can function as a tool for each person or organization that receives it, to get […]
‘Utopia is a place where the backdoor of future is discovered’ Prasanna
El noise es un canal para encontrar otras formas de diálogo con nuestro entorno, el ruido es amorfo y sin género. contemplar el ruido, es contemplar otras realidades.
La Manga Libre es un espacio que entre muchas personas, gente del barrio, las y los niños del Matinée, La Jaquer EsCool, poco a poco se ha venido recuperando. Estos seres contagiados por la motivación de cambiar el entorno del sector, han renovado las energías del lugar. Más que la construcción de un mosaico y una plataforma/estructura en la Manga Libre se construye utopía por medio del encuentro y el diálogo.
« I buntu Ikika ? » En langue sanga « Qu’est-ce que l’humanité » ou plus précisément « qu’est-ce qui fait que je sois parce que tu es ?» L’exploration de l’utopie dans ce travail de Dzi part de l’analyse de l’interdépendance des hommes, le « buntu » et s’enrichit de plusieurs « rêves » politiques et sociaux. Les utopies idéologiques telle que l’authenticité de Mobutu, le « I have a dream » de Martin Luther King, les travaux de Cheikh Anta Diop sont présentés comme des fils entremêlés sur des périodes d’ombres et de lumières sur la ligne du temps. Mais Dzi n’est pas seulement un philosophe et un analyste de la société. Il est également artiste dont la démarche puise dans les mathématiques, les systèmes physiques et les mécaniques, des correspondances avec les faits sociaux qu’il représente visuellement. L’utopie du progrès devient ainsi un espace imaginaire dans lequel il fait apparaitre la nature en tension et les luttes humaines. « Il faut une écologie globale des idées, une philosophie et une spiritualité de tout : science, technologie, art, politique, économie, information, religion… sachant que le moindre virus dans l’un de ces paradigmes entraîne un dysfonctionnement général de tout […]
‘utopia is a moment of flash where an artist grasps faith in ‘untruth’, so that she/he sees ‘truth’ ’ Jagath
‘utopia is a terrain where artists enact immoralities; so that gods are born’ Jagath
Elevated Utopias I : See No Evil We started raising our boundary walls somewhere some time… Inside these high walled parameters happiness is sought immersed in the virtual world of the internet and satellite TVs. Closed-circuit cameras assure us our safe existence and the outside is surveyed from the safety of an insular ‘interior.’ Contentment resides on elements such as gated communities, new elevated highways, designer shops and spruced up cities with manicured gardens and ponds, a proud compendium of contemporary heritage put together by questionable regimes. Social disorganization, economic degradation, inhumanity, abuse of power and political chaos are camouflaged or made invisible within hyper-real scenes of contemporary heritage. Road rollers become the great leveler of all, literally and metaphorically, which clear the way for the so called ‘development’, a questionable process in its current form privileged above humanism and civic ethics. In our comfort zones and elevated utopias we see no evil, we hear no evil and we speak no evil. Elevated Utopias II: A Blip in the Celestial Pond The celestial pond, ‘Anothaththa Vila’ that gives life to all planes of existence is churned and disturbed by the urges to enmesh wealth and power in the name […]
Nubuke Foundation is happy to finally share with the whole group, it final report of the Minga Utopia project. Please download below. Utopia Project Report_word_Version_Final
« I buntu Ikika ? » Which means in sanga “What is humanhood” or more precisely “How to explain the fact that I am because you are?» The exploration of utopia in this work start from the analysis of the interdependence of men, the “buntu” and is enriched by several political and social “dreams”. The ideological utopias such as the “authenticity” ideology of Mobutu, the “I Have a Dream” speech by Martin Luther King, the works of Cheikh Anta Diop are presented as intermingled lines over periods of shadow and light on the time line. But Dzi is not only a philosopher and an analyst of the society. He is also an artist whose approach draws on mathematics, physical and mechanical systems, correspondences with the social facts that he visually represents. The utopia of progress becomes an imaginary space in where he brings up tensions and human struggles. “We need a global ecology of ideas, a philosophy and a spirituality of everything: science, technology, art, politics, economics, information, religion … knowing that any virus in one of these paradigms leads to a general dysfunction of the whole civilizational system because it is now clear that all these parameters are symbiotic in the functioning of the human mind […]
” Utopia ? “Is a video of artist Hervé Youmbi that highlights the dream of a free Africa economically prosperous, Africa that has managed to source healthily into electrical energy and which effectively contributes to the discovery of space. Africa a flagship of the world. This work also raises questions about the utopian nature of the achievement of dreams that inhabit the consciences of positive son of Africa. The impact of the transatlantic slave trade, colonization and globalization on the development of Africa remains very noticeable. The “Africa without Fric” as song the famous Cameroonian nationality saxophonist Manu Dibango is generally seen as the continent of all evils: poor governance, poverty, disease and pollution of all kinds are unfortunately sad facets through which the world media communicate on it. Although this continent sight born illustrious son as Nelson Mandela, Joseph Ki-Zerbo, Cheikh Anta Diop, Thomas Sankara, Oumou Kalsoum, Fela Kuti, EL Anatsui, William Kentridge … has trouble taking off, strength however, to see that it is full of all kinds of resources are undoubtedly him one of the great hope of the planet. The large population of Africa at the turn of the century was endowed with a predominantly young […]
A personal challenge to change one of my worst habits Last December I knew that my car’s circulation permit had 40000 colones ($80 aprox.) in fines for parking in areas not allowed in the central canton of San Jose. Not that I did not know, I found the tickets pressed in between the wipers every time. I work in Barrio Amon (7th Street, 11th Avenue, house # 953). On 7th Street (controlled by the Municipality of San Jose) is forbidden to park without paying a parking ticket (now you get them from a machine that often does not work) and there is a policeman who regularly passes by to check if cars are parked in rule. And on a stretch of 11th Avenue it is possible to park without such parking ticket because that’s territory of MOPT (Ministry of Public Works and Transportation) and this institution never passes by to control. Then, for the last two years, I came by car and almost always found parking on that stretch of 11th Avenue and I was kind of happy. Other times, I paid (overpaid) the parking ticket for 7th street and sometimes the machine did not work or I deliberately didn’t […]
Transferring Transfer: ANGIM Foundation Actors: Saleh Husein, farid rakun, Leonhard Bartolomeus “Make friends, not art” —SIASAT, ruangrupa, 2010 In ruangrupa, we are living and making our utopia, through friendship and trust—a condition which is under constant changes, and, in its latest manifestation, turning into ecology. Being a participant of Arts Collaboratory shows us our ridiculous dream: to have the upper hand, to give away money. Making possible through monetary put into practice. Practicing our own preach, walking the talk, this is creation through imitation: money as both method and medium. Albeit in much smaller scale, under the name of ANGIM Foundation (‘MINGA’ spelled backwards) we are establishing a trust-based patron system, to strengthen not anyone’s artistic practice per se, but our friendship with money as bond. We are trying to make a partial portrait of what Arts Collaboratory is dreaming of becoming. All of the €2,000 (too small to make any difference, to big to be treated with indifference) we are entitled to spend are being spent non-discriminatively, by and for our circle of friends, and painstakingly documented. We erase distinctions: art projects are as important as pleasure, parties, and celebrations. Receipts of financial transaction, similar to any […]
The starting point of our project is to extract the “tags” that characterize the Arts Collaboratory members in order to map our “common language”. Since we started the project, we have been exploring “tags” as a general concept and the use of social metadata in particular. Tags are an example of how the internet is changing the way in which we communicate, organize, and share information.The hashtag arose in 2007 as a way to categorize and “tag” tweets and it has become, in a few years time, part of language, representing a fundamental shift in the way we communicate, search for information, classify, but also, they way we think. Our Minga Utopia platform includes a “tagcloud” bar where the most common tags selected to accompany our posts are displayed (and their relative importance according to their use). As part of our contribution, we have been sporadically observing the changes in the tag cloud (and saving them). As we write this post, the most prominent keywords are: “change of habits,” “consume habits experiments,” and “ecology;” a few months back, “art” seemed to be a main topic. As part of the project for Casa Tres Patios, we have been developing an on-going exploratory website: the Mapping Utopias […]
By: Luis Daniel Vega for Noisey. Translated by: Mabel Aguirre Read the original text in Spanish here: ‘Aputoi, canción de un solo tiro’: La historia del nuevo disco de Velandia On Sunday August the 16th, 2015, before 150 people crammed between Matik Matik’s hot walls, Edson Velandia summoned nine musicians and two actors to play the same song for one hour. In a hurry, without falling into the traps of makeup, he did not give into the matter and two months later he releases a CD containing one of the most moving sessions in the musical history of this fabulous cantina at the Quinta Camacho neighborhood in Bogota, where there’s also been recordings of memorable evenings such as the recording of ‘Toma tu jabón Kapax’ (Take your Kapax soap), the first bite of Los Pirañas, and ‘Kalimán’, the dramatic meeting between Los Toscos and saxophonist Tony Malaby. The over the top and rambling tune was called ‘Aputoi: song at once’. A one hour song? I am not aware of any other but I do harbor the memory of having heard lengthy pieces of Yes and Jethro Tull, they were nothing but convoluted attempts of dressing up rock with a sophisticated […]
Some images of the tea ceremony held in Bamako on November 6 2015 as part of the 5th edition of the African Festival of Art Virtual Images (FAIVA)
Culture and Youth, any prospect for an equal and balanced world Guests : Pr Ismael Maiga & Issa Dicko As part of the 5th edition of the African Festival of Art Virtual Images (FAIVA) was held on November 6 2015, a Tea ceremony followed by discussions. Why a tea ceremony? Green tea, a tradition in northern Mali, passed to the South came through consolidation and popular mobilization among the youth. The tea ceremony has given a new direction: the Grin has become a place of reunion and discussions for young people of all ages and sexes, from all segments of Malian society. A kind of palaver tree and a support area that was the pride of Malians. The ceremony named three normal or three glasses offers, during a certain amount of time, a good opportunity to create a true space for sharing and communion between people. During these Grin’s Tea, all matters related to society, especially the youth, were freely discussed without moderator or speaker. It was a space where every generation issues are discussed in order to find solutions. The Tea ceremony hasn’t been well exploited as a space for education, awareness and awakening especially in the youth. It […]
What is utopia and how does one go about imagining it? Are there any existing utopias or are they merely places we are yet to find or, perhaps, never will find? Read a review of BEACON by Mpho Moshe Matheolane in the Mail & Guardian here.
PARTICIPATIVE PLAYGROUND PROJECT Within the context of L’école des communs // Sicap Jet D’Eau – Dakar Proportionally to young children population between 0 and 14 years old that represent about 40% of total inhabitants of Senegal, spaces dedicated to recreational and sport pursuits in the capital city of Dakar are nearly nonexistent. The city is permanently growing without taking into account youngsters and children’s needs in terms of personal growth (in relation to sports and culture). —- L’ÉCOLE DES COMMUNS A social lab, in the scale of Sicap Liberté Neighbourhood (Dakar) based on artistic experimentation, free culture and shared knowledge. “The commons describe that goods that are available for everyone but that do not belong to anybody. Water, air, woodlands and oceans; a language, a landscape, a source code, knowledge, public space, artistic creations, they all can be treated as common goods, as soon as a community of people is connected by the will of sharing and taking care of this collective resource.” “But the commons aren’t just the collective management of resources (natural or not) they also include the activated communities and the governance rules they put in place for their existence. It’s about immaterial common goods that constitute […]
lugar a dudas_Fotocopioteca /// Our participation in Minga is oriented to the printed publication of the project, it consists of a special edition of Fotocopioteca in the framework of MINGA. *Fotocopioteca_is a collection of eight literary recommendations, each one by a particular guest that also contributes to an introduction or preface to the recommended text. It generates a quick and more personal approach to knowledge and is developed by links of affinity and collaboration, as this literary fragments are selected specially by someone in a kind of conversational manner around a common subject. It is downloadable and comes ready to print and share with minimum cost. In the case of MINGA, this publishing exercise is built around the idea of micro-utopia, as it appears on the Temporary Autonomous Zone by Hakim Bey. The intention is to have eight guests recommending texts considering artist-run organizations (like the ones that constitute Arts Collaboratory) as micro-utopias. For this special edition we are re-thinking the nature of each booklet’s introduction, instead of a preface paragraph related to the recommended text, we want this part to be an interview with each collaborator, in which the subject of our organizations as micro-utopias can have further […]
It’s December and in San Jose is synonymous of a clear blue sky, incandescent sun and cold winds. Also that traffic decibels rise, invitations to parties increase and the demand of buying and spending is constant, foolish, even a little violent. So the experiment for the last weeks of the year, is to take five minutes (at least), lie in the hammock, close your eyes, feel the trade winds, warm a little and forget about external demands. Thanks to Miguel, our chief curator, for giving us a hammock for the backyard. Happy Holidays!
Risking it all for changing the state of things, defending what belongs to the community, is a decission that can only take those who appreciate life, those who are convinced that life is worth living in a dignified way. Ostula, an indiginous nahua community located in the pacific coast in the state of Michoacán, in Mexico, has historically characterized by this type of people and since it is situated in a very ambitious place, covet because of their resources and strategical location, the social and political struggle has been constant. Their resistance has achieved that today the security of the territory is in hands of the community people, whom watch non-stop against the constant thread of the return of criminal organizations and the state and their arm forces. The struggle of those who are alive as much as those who have passed away for unnatural reasons, are today part of the identity of the community. They are united in an ambivalent reality, where on one hand the sorrow for the death is still present, and on the other the festivities por life and justice won’t take a step back. This ambivalence is shown particularly in the day of the death, […]
After we did the experiments on paper and obtained very satisfactory results, we feel encouraged to continue with the experiments on PLASTIC. Here are the experiments we are going to practice, we will tell how it goes later on!!!! PLASTIC TO SHOP WE TAKE THIS THINGS INTO ACCOUNT: Reject unnecessary plastic bags Avoid products that come in two or more packagings Avoid products sold in plastic nets and-or styropor trays Avoid plastic gift laces and wraps Prefer products that come in glass containers Avoid food in plastic containers Don’t buy bottled water WHEN WE USE BAGS TO SHOP, RUN ERRANDS AND FOR GARBAGE CANS WE TAKE INTO ACCOUNT: Reutilize plastic bags Use cloth bags for shopping Don’t use oxo biodegradables bags TO COOK AND SERVE FOOD WE TAKE INTO ACCOUNT: Don’t use discardable plastic plates, cups, cutlery, neither straws Prefer porcelain, glass and ceramic food containers Offer drinks in glass or cups Don’t use plastic wrap WE RECYCLE PLASTIC What? All kinds and sizes of bottles and plastic containers: detergent, oil, shampoo. And any other plastic product including: chairs or plate setting. Make sure they have the numbers 4,5,6 y 7. How? Must be […]
As a complementary action to the experiments in the conscious use of paper and plastic, we installed recycling barrels for paper and cardboard, plastic, aluminum and glass. We are convinced that our experiment is not confined to recycling, but we took this action as an important part.
Sigmund Freud described the German word Heimlich “homely” as denoting “on the one hand, what is familiar and agreeable, and on the other, what is concealed and kept out of sight”. Vacillate between yearnings for the safety of home—a sanctuary; we feel its loss more deeply in a globalized society. The primary function of utopia, especially in this more holistic form, is says Miguel Abensour, the education of desire. Utopia creates a space in which the reader is addressed not just cognitively, but experientially, and enjoined to consider and feel what it would be like not just to live differently, but also to want differently so that the taken for granted nature of the present is disrupted. This is what sociologists call de-familiarizing the familiar. We enter Utopia’s proper and newfound space: the education of desire. This is not the same as ‘a moral education’ towards a given end: it is, rather, to open a way to aspiration, to ‘teach desire to desire, to desire better, to desire more, and above all to desire in a different way’. Objectives: You cannot identify what it is that is lacking without projecting what would meet that lack, without describing what is missing. […]
EXCERPTS FROM Pamela Phatsimo Sunstrum Leaping Out: Landscape, Becoming-Revolutionary, and the Yet-to-Be Response essay for keynote address by Jean-Pierre Bekolo Panel: Africa’s Speculative Futures and New Imaginaries For the AFRICAN FUTURES CONFERENCE at GOETHE JOHANNESBURG 29 October 2015 On the connections between thought and landscape, Yi-Fu Tuan proposes that landscape ‘appears to us through an effort of the imagination exercised over a highly selected array of sense data’ (Tuan 1979:90). Furthermore, continues Tuan, landscape ‘allows and even encourages us to dream. It does function as a point of departure’ (Tuan 1979:101). What ‘sense data’ might I employ in my own landscape construction? And how could this construction of an imaginary landscape serve as a ‘point of departure’ for accessing new utopianisms? Finally, how does all this imagining activate a becoming-revolutionary? I will refer to two ideas put forward by Gerald Gaylard in his essay ‘After Colonialism: African Postmodernism and Magical Realism’ (2005) as a means of locating the radical role of imagination in creative praxis. Gaylard proposes that if ‘we view the imagination as a more radical reaction against or difference from reality…the imagination will be less an already known than an irruption of a radical newness or […]
As we head close to our public performance day of 5th December, our rehearsal is gathering storm and the youth are learning very well. After the second session, we have all our groups in place… Dance sessions with lyrics laden with environmental messages, recitation of short Haiku poetry loaded with environmental messages and performed dramatically to engage and get the message both in verbal in nonverbal format, across to the audience, and of course the main drama, which is on the main content of the workshop series.
Image of Sound Mirror cited by Joe Banks & Caroline Grigson in Roadside Picnics – Disinformation and Sound Mirrors in /seconds online publishing project www.slashseconds.org
Leonardo Da Vinci’s “Blob” drawings as theorised by Lebbeus Woods: “Blobs were all the rage in architecture a few years back—does anyone recall? While that fashion has passed, to be replaced by ‘parametrics,’ these two trends do share the characteristic of being inspired by the ease with which digital computers can generate complex shapes. Or perhaps in the case of blobs we should say ‘non-shapes?’ given that these particular forms have, shall we say, fluid boundaries, evoking indeterminacy and something in continual flux…. For Da Vinci, drawing was his prime means of analyzing the phenomena of the living world…. Analyzing in the way I use it here, however, is not ‘taking apart’ something observed or experienced, nor is synthesis ‘putting parts back together.’ Da Vinci’s method of analysis was by analogy. Rather than pick apart a phenomenon, separating what he perceived as its components, he created in a drawing a parallel world, an analog to reality. Working with analogs, he could emphasize the features of phenomena he considered most important. Da Vinci’s blobs—drawn masses of turbulent water or stormy air—are prime examples of his analogical method of analysis.” (Full entry published HERE)
To be closing the documentation of the experiments on the use of paper, I would like to tell how the practices mentioned below went for us. All of them are very simple, but they require tremendous concentration to break habits that we cling like ticks. We use paper resources mindfully, which means: We use both sides of a paper sheet (reutilize printed sheets to print in the other side and/or to take notes) As I had told you before, in each of the printing stations we are handling a tray and put printed paper sheets for reuse, both for printing drafts and to take notes. We prefer taking notes to printing and we print only the strictly necessary We have substantially reduced the printing of documents as well. One of the most important decisions we have taken is to stop printing the monthly agenda of our activities. For months, we have printed 35 to 40 posters that were distributed in different places. This decision stems from the assessment of virtual media to communicate the same information, because we do not carry potential “junk” to others (we don’t know how others discard them), we also save the cost of printing and sending someone to distribute it. We […]
WATCH VIDEO HERE Lutembe Fantasy Land is an experiment into what it feels to not belong to a fixed place. The place in which the performance takes place is a decaying, and yet currently being built, beach resort (titled Lutembe Fantasy Land). The space stands next to Lake Victoria, just outside of Entebbe and in Uganda. The performance is by Ife Piankhi: a Jamaican/Ugandan poet, musician and visual artist. Screening details: To be played on a loop. Digitally projected, preferably outdoors, with surround sound. Credits: Concept: Rocca Gutteridge and Ife Piankhi Performance: Ife Piankhi Camera and sound: Alex Lyons, Eric Mukalazi, Claire McLay With special thanks to: Brian Muggaga Elsadig Mohammed Kara Blackmore Aida Mbowa Moses Serubiri Mirembe Musisi Anne Musisi Mildred Apenyo Arts Collaboratory
The Art and Environment project of Nubuke Foundation is in the second week of rehearsals. It hopes to crown its execution with a theatre performance by the youth who participated in the entire project’s series of workshops. The performance, will as matter of continuous learning, have other children and youth from neighbouring low income communities as guests who we are hoping will pick vital lessons from this project. We also hope to embed some of these children in our next projects. This project has evolved from the first to the third and final stage. Art and Environment is a project that started by looking at ways and mean to use both visual and performing arts to send messages of environmental awareness as well as reduce waste production and encourage recycling, especially within low income neighbourhoods. The targets were met in the sense that after running several workshops with children and youth on how to recycle and reduce their waste production, create art from recycled materials, they wrote and are rehearsing to play a drama that send the messages of what they have learnt, across to other people.
Two of the changes in the habits of paper consumption with which we engaged in TEOR/éTica are: 1. We prefer unbleached toilet paper, napkins and paper towels. 2. We prefer recycled certified paper to print. TEOR/éTica’s two houses dynamic consumption of toilet paper, napkins, paper towels and paper to print were: TEOR/éTica – One private/public bathroom: conventional toilet paper and a dispenser of conventional paper towels – One private kitchen: conventional paper roll dispenser, conventional paper napkins – Two printing stations: each with a ream of white conventional paper and conventional paper already printed to reuse for printing drafts. Lado V – Two public bathrooms: conventional toilet paper and a dispenser of conventional paper towels in every bathroom – One private bathroom: conventional toilet paper and a dispenser of conventional paper roll – One printing station: one ream of white conventional paper and conventional paper already printed to reuse for printing drafts. This was our commitment: 1. Remove paper roll in TEOR/éTica’s kitchen and Lado V’s private. Replace paper roll in kitchen for cloth towels and in bathroom for bath towels. 2. We would try to buy toilet paper, paper towels and napkins non-chlorinated and/or biodegradable. 3. We would try to buy certified recycled paper to print. RESULTS: 1. On September 1, 2015, we […]
For even if it is not possible literally to step outside the world or existing reality, the capacity to imagine other possible worlds creates a terrain where it becomes possible to work towards the creation of another world (Shukaitis 2009:99*). TERRITORY OF POSSIBILITY is a drawing installation that takes inspiration from the fake travel pamphlet, “Visit Port Watson!” written by Hakim Bey/Peter Lamborn Wilson*. The pamphlet describes the imaginary Pacific island of Sonsorol, a modern-day utopia. With a population of barely 2000 people, Sonsorol boasts no formal currency, no army, and no police force. Land in Sonsorol is “owned” only when it is occupied and in use. Sonsorol is, however, an imaginary place. Shortly after writing the pamphlet, author Wilson began receiving enquiries about actually visiting the utopian destination. He responded by saying, “Port Watson is that place where one is in the moment when one actually is when you believe Port Watson could exist: a mobile territory of possibility rather than a fixed location” (Shukaitis 2009:100). I am interested in this idea of locating utopia within the space of imagination, rather than in a physical place. The space of imagination opens radically vast territories of possibility. The space […]
Everybody lived from agriculture. In my childhood, my dad sailed to Buenaventura. He took rice, corn, plantain, coco, avocado, pineapple, orange. People produced a lot of food, and there was nobody whom to sell to or who could consume it all. So they sold it in the city. All this got lost. The work in group. Before you didn’t need money for field work. They did exchanges, or mingas. That day they all went to this neighbour to work; Then they went to another, like this they got all their work done. Today, this got lost as well. Few people share work or other things with the neighbour. Now, money gives power and who has money gets his work done, and who doesn’t have any can’t get things done. Happy? Some say they enjoy the moment, but they live a very accelerated and stressful life. If they have money and power they are stressed and independent from the other. This doesn’t mean happiness to me. I like friendly, respectful people who share with others. Interview with Diego González Valdez, Guachalito, Nuqui, Chocó, Colombia Direction + Production: Guillaume Parent & Sina Ribak
This is a triplet growth process where “art”, “environment” and “responsibility” are summed up together to generate a new culture. The communities that the foundation works with are embedded in the local contexts in ways that produce waste very quick in mass numbers. Blending these three words together for the children from these communities to grow up with has become one of the solutions identified in the efforts to move to utopia. As such, with these three words, to achieve a natural growth in which art becomes a tool, people become conscious of the environment and take responsibility for their actions towards the environment, is currently being pushed at community level.
September 13 was the last day of “Mingapa Bigini Mingapa Bigitu”. The day started with some participants of the event joint a festival named “Festival Kampoengku Uripku #2” organized by Sanggar Anak Kampung Indonesia (SAKI). The festival took place in ledok Tukangan, a riverbanks area. In the festival, they did some workshops related to “Mingapa Bigini Mingapa Bigitu” theme. The workshops were done based on each participants’ interests. For example, Hysteria Semarang, in collaboration with SAKI, did a workshop on drawing. There was also a workshop on bacterial accessory. Aside from workshops, some also did other things during the festival. For example, there were two participants did trees planting along the riverbanks. After the activities in the festival was done, the participants went back to iCAN to prepare their presentations as the closing activity of “Mingapa Bigini Mingapa Bigitu”. In the evening, the presentation was started. Participants presented their final remarks, findings, or even prototypes as the results of their collaborative works during the event.
Survive Garage, one of the participating communities in “Mingapa Bigini Mingapa Bigitu”, held transfer paper workshop. It’s an open-public workshop. The materials for the workshop were old-magazines and found or wasted objects. They were being used in the spirit of reuse, reduce, and recycle. It is because Survive Garage considered that some environmental problems related to the river are caused by the garbage. The following session was focus group discussion. In the focus group discussion, the participants discussed about their collaborative projects and their presentations for next day session.
The lab activities started in the fourth day. It began with all the participants discussed the needs for their works. The participants were also asked to consider their partner in collaboration. After that, the following session was open-lab. For the open-lab, the participants did movie screening and discussion. The movies for the movie screening were “Art as Therapy” and “Bio-fiction”. During the open-lab time, there were some people visiting the participants and having discussion with them. The session was continued with participants working in collaboration for their projects.
The peak activity on the third day of “Mingapa Bigini Mingapa Bigitu” started in the evening. It was the first session of open-lab activity. In the session, the participants were asked to discuss their projects for “Mingapa Bigini Mingapa Bigitu”. The representatives of each community presented their ideas that will be realized during “Mingapa Bigini Mingapa Bigitu”. After presentation session, the participants had discussion on the chance of collaboration between them in order to realize their plans.
The second day of “Mingapa Bigini Mingapa Bigitu” was started with going to the riverbanks area. The participants went to Juminahan and Tukangan Villages, two villages based in Kalicode riverbanks area. In the villages, beside observing the river and problems related to the water, the participants were also having discussions with local residents. After the riverbanks session, the participant went to Wonosadi forest for camping. The camping session aims to make participants knowing each other better. Moreover, in the forest, the participants learned about Javanese farming calendar and local history of the village and the forest from local residents. They were also asked to find and to observe local seeds.
The first day of “Mingapa Bigini Mingapa Bigitu” was the day for introduction. The first activity was the introduction of “Mingapa Bigini Mingapa Bigitu” and Minga from one of Lifepatch member, Ade Donora. In his presentation, Ade also stated the expected process and result of “Mingapa Bigini Mingapa Bigitu”. Before Ade’s introduction, the event was formally opened by a speech from Titarubi, one of iCAN (Indonesian Contemporary Art Network) founders. iCAN itself is the venue for “Mingapa Bigini Mingapa Bigitu”. The introduction was followed by presentations from the participated communities. Each representative of the communities gave short description about the community and its activities. The presentations aim to let the participants knowing each other well (especially in relation to their communities) in order to create good collaboration between them during “Mingapa Bigini Mingapa Bigitu”.
Four of the women who work in TEOR/éTica have decided to stop using sanitary napkins and tampons. Starting in September, we are switching to the menstrual cup. Why? Each tampon or sanitary napkin takes to disintegrate between 500 and 800 years. Each woman uses and discards between 10,000 and 16,000 tampons or pads in her life. The menstrual cup is made from surgical silicone, it is reusable and can be used for up to 10 years (depending on care lasts 5-10 years). In addition, the initial investment is approximately 15,000 colones (US $30), which is relatively inexpensive when you think it can be reused up to 10 years. Benefits for each of us: – Many of the materials sanitary napkins and tampons are made of cause infections and irritation to the skin. For example, components used for bleaching cotton and fibers, are toxic and can cause cancer. – Tampons absorb the natural flow of the vagina, causing dry walls. It also upsets the natural flora, which predisposes to vaginal infections and toxic shock syndrome (TSS). Benefits for the planet: – Each tampon or sanitary napkin takes to disintegrate between 500 and 800 years. – Each woman uses and discards between 10,000 and 16,000 tampons […]
Mingapa Bigini Mingapa Bigitu is a creative community networking event that is active in the practice of the arts, science and social. This event took place on 8-13 September 2015. Event Description “Mingapa Bigini Mingapa Bigitu” is a series of events both interdisciplinary collaboration activities between communities and between individuals as an exploration of the definition of utopia in a collaborative framework. In this event, Lifepatch invite some creative community who work in the arts, and social science to conduct joint activities. The event is part of the Minga, Exploring Utopia, an exploration “utopia” in the context of each – each carried out by 21 partners Arts Collaboratory. Especially for Lifepatch, a series of events was organized to try to identify forms of cultural collaboration that occurs in the practice of the creative community in Indonesia in general. Mingapa name Bigini Mingapa Bigitu is a “parody” of a private television program in Indonesia in the early 90s. The program takes the form of a short animation with a simple explanation of the scientific phenomena that occur in everyday life. The program then becomes a new breakthrough in education, especially the use of media technology in the distribution of knowledge […]
For a week we have been doing VERDE The Experiment in TEOR/éTica. We started with the experiments on PAPER. At the moment it seems appropriate to share the trash cans to recycle paper that we have in TEOR/éTica’s house as well as in Lado V’s house, also the paper trays used to print, where you can choose between white sheets and sheets for reuse. Also I’d like to tell about the experience our colaborator Christian Salablanca had in his efforts to collect the paper and make sure this is recycled. Christian is in contact with two men who periodically pass by TEOR/ética, one comes asking for old newspapers and other passes to pick up paper. Last week Christian stopped to chat a little with the gentleman who happens to pick up the paper. The man’s name is Diego Ramon Solano, who is dedicated to walk the streets of Barrio Amon to collect paper from homes and offices. Diego Ramon walks with a cart which builds up the papers and at the end of the day he takes them to Carlos Barquero, who has a place by the Children’s Museum. There he delivrs the paper and gets paid around 35 colones ($0,0018) […]
When I was invited by Casa Tres Patios to collaborate on the Minga: Exploring Utopias project, as an artist being interested in the relationship between art, language and boundaries, and using concept mapping or mind mapping as a key practice within my recent work, I decided to begin by mapping… In an effort to start exploring common motivations I began by mapping out how UTOPIA(S) and MINGA(S) relate to some of the key areas or themes that inform my practice: Then I began thinking about the idea of “a common language” as a starting point. And I started to ask how to map out the ideal worlds that each Arts Collaboratory partner organization has been imagining through the course of their work and experience… If “minga” is about a common project or purpose then what are the key words that shape our practice? With this question in mind I designed a series of steps with the idea of Mapping A Common Language…. By selecting the vision and mission statements of all the partner organizations and creating a “tag cloud” for each I am able to transform the information into a format that is useful for quickly visualizing the most prominent terms and their relative prominence. Why begin by selecting […]
Me propusieron hablar de la utopía y pensé si habrá cosa más utópica que lograr que la gente se aguante una canción de una hora llena de coplas así: ¿Maestría? Sí, la del hastío La del apátrida La del peo La de la cacofonía. La utopía no es lo meo. Y además hablárles de mi primer polvo… Porque casualmente aquella vez la jovencita me preguntó si yo sabía qué significa Utopía. (“ud” se lee como suena: la U y la D, no vayan a leer “USTED”) Yo le dije a la pelá, que se llamaba Claú “¿por qué es que tanto le apú esas cosas a esta ho?” Ella dijo: “mientras ud estrenaba los cartúch” Yo miraba los pituf por la antena paraból Y a los enanos azú les dijo la Pitufí: “que yo sea la única mú no sería la pena mí pa que sacien la utopí arréglense con la izquier”. Así por el mismo lado se me ocurrió que una utopía podría ser hacer versos octosílabos de siete sílabas, algo matemática y literariamente imposible, pero con eso descubrí el delicado peligro de creer en esas cosas. Me han decío guerrillé Por mi canto campesí Me han tildáo de […]
Lucia and I have been implementing the VERDE The Experiment exercises in each of our lives and making them our daily habits. There are still many more challenges for me to take and consumption practices that require further questioning and change. However, parallel to this experiment in my own life life, today VERDE The Experiment aims to go a step further and get into my workplace. Why? The most obvious thing: this initiative comes at the invitation of TEOR/éTica to join UTOPIA MINGA, a collaborative project of Arts Collaboratory. But beyond that, the desire that these practices affect (in a positive sense) my surroundings and invite others to join the challenge of being more aware of their habits and somehow, though small, have an impact on the environment and helpr us question our priorities as inhabitants of a planet with finite resources and beings. The first issue we will address is PAPER, here I share the tasks we are proposing. Soon I will be documenting how it goes. I’m positive about the results we will have, knowing that everything that does not go well or we do wrong, also can help us to find better ways to solve it. See you soon! Paula. Original post in spanish is […]
This is the project of the garden made by Ashirbek in his diary, the way he envisioned it.
Following words from Ashirbek’s diary sound as an epigraph to yet unwritten book: “For there is no knowledge to force you to raise the red banner and to lead you.. and there is no Christ who will turn the other cheek, go to scaffold, suffer physical pain, pacify with his spirit, overcome cold and hunger..” But there are also other words, also possible epigraph to yet not existing book “You form bonsai, and bonsai forms you” Ashirbek says that Zen lets you learn bonsai through experience to the level of intuitive, lets you grow bonsai not knowing botany. Zen is considered as the most practical Buddhist school, that puts first the actions, arguing that only with their help it is possible to gain spiritual knowledge.
What are we witnessing here in the garden? Is it a decay or vice versa a rise? Jumble of tables, chairs, unstructured household, shed clogged up with trash and constant assertion that the plan is needed, scientific approach is needed. Isn’t it a theater of absurd? A kind of weakness? Are we seeing slow death of bold adventure – the creation of bonsai here and now? Wells visiting Russia in 1918 draws his attention to the chaos and jumble in the country and compares an average russian communist with a housewife whose house is turned upside down. He calls Lenin an utopist, who criticizing utopism falls into utopism – faith into electrification, into this “bold project”. It is amazing how difficult is to recognize in an instant what is going on.
Organic. What does this mean? Organic Certification: Organic certification is a certification process for producers of organic food and other organic agricultural products. In general, anybusiness directly involved in food production can be certified, including seedsuppliers, farmers, food processors, retailers and restaurants.(1) Organic Agriculture: is a model of agriculture which its objective is to grow food without industrial agrochemicals neither genetic engineered seeds or livestock. This kind of agriculture protects biodiversity, ecosystems and waterbeds. The USDA National Organic Standards Board (NOSB) definition as of April 1995 is: Organic agriculture is an ecological production management system that promotes and enhances biodiversity, biological cycles and soil biological activity. It is based on minimal use of off-farm inputs and on management practices that restore, maintain and enhance ecological harmony. (2) READ MORE
“This place, it’s somewhere between becoming finished and being destroyed… I, want to leave but there’s nowhere to go to. I want to stay, but I don’t feel at home.” Lutembe Beach Resort was constructed in the 1970s, by Idi Amin, then president of Uganda. Rumour goes; it was built for his lover and for his friends to party, to indulge and to escape into a utopian paradise. The Resort has passed through many hands and many rumours since. Each time the Resort is passed on, an owner starts to construct sections and allows other sections to decay. Today, Lutembe Beach Resort is in a space between finished and deserted. ‘Jump’ scans the resort, absorbing it’s majestic beauty and panning over the scars of pain built into its walls. A woman with childlike bird wings is seen, passing through the shots; walking, dancing, jumping. Her voice is heard, somewhere between a bird and a woman. She is between trying to fly away and not being comfortable to walk. She seeks to make the land and air her home, to move fluidly between the two without constraints. But the concrete, steel and wooden layers of the resort and the human stories […]
His diaries are a passionate search, search of a strategy (how to act?), search of his way (maybe give up everything?). After exhausting work he attentively reads books, from children informative literature and to philosophy of Diderot, Dostoevsky, Engels, also textbooks of wushu and meditation. In diaries he thinks about life, about what he read in books, describes his observations on the garden. Here is an excerpt from his diary: “Therefore, I am inclined to the revolutionary comprehension of the world and begin to understand the meaning of this concept. The materialist revolutionary comprehension means not to rely on anyone, not to complain, not to beg for favors, not to expect kindness, but to rely on yourself, knowing the laws of spiritual and material development of yourself and of the environment, to build your own world, or how the Chinese would say – to reveal your inner inexhaustible force chi “(13 November 2011)
«The accompany in silence the coffin, until the cementery. Los Caballeros Templarios (a drug trafficking organization) passed full speed in their pick-up trucks, drinking beer, raising dust in the dirt road, listening narcocorridos at full volume (music genre typical from drug trafficking organizations). The family of the victim moved forward with their head down, we where asked not to take out our flags, for not to have any problem. One of them had with him a small one and put it above the box. I couldn’t hold any longer and with all the courage I had in my body I cried a “¡Zapata vive!” (¡Zapata lives!), just once, hoping no one else, besides us will hear it». With this words, a social combatant from Michoacán remembers the death of one of the communitary nahuas leaders from Santa María Ostula, Teodulo Santos, kidnapped may 15th, 2012 and found lifeless the next day. As chief of land tenure -highest postition in the indiginous community the professor Santos was a cornerstone in the land recovery of a ranch known as La Canaguancera, today appointed as Xayacalan. The past june 29th of 2015, exactly 6 years after almost 1000 hectares where recovered and the […]
It is true that the specific Andean communities where even the llikllas are woven, are not exactly the embodiment of the principles they contain, but this is precisely why the llikllas express a utopia, a non-place beyond time and space, a permanent reference. However, the type of social organization of these indigenous communities, called Ayllu, characterizes the fabric of interdependence and conviviality of lliklla, manifested by the collective form of reciprocity and solidarity among families that make up the community. In fact ayllu refers to a community where its members relate to each other with solidarity and reciprocity. It involves not only relations among human beings, but also with nature and the universe as a whole. That community reciprocity, specifically called ayni, is also expressed in an economic principle based on the provision of services that one receives from the other when needed and that one will return when the other needs help. The essence of community reciprocity, is not the exchange, but the given sphere of solidarity, because that reciprocity is not subject to measurement. Indeed, the suma kamaña (the utopia of “living well”) is revealed in the ayni: “All the families,” says a member of a ayllu, – […]
The weave pattern made with traditionally spun sheep’s and / or llama’s wool yarn of each lliklla is a metaphor for the vital warp in which it manifests the cosmos. The designs work as a coded language, a book of wisdom as a series of analogies: a triangle shape alludes to the mountains, there are also forms suggesting stars (chaskas), the sun (inti), the different animals with whom they live, the field in which they work and live (saltas); More complex designs turn the fabrics into friezes, such as the path with eyes (link’u ñawi), the path of the soul or deceased (amaythaki). And finally exist many techniques that are used to connect or relate to the most conceptual forms; these techniques are named after daily activities and everyday surroundings: liwk’ana qutu, referring to the tool for harvesting potatoes; wakhitu, means a row of cows, akila aywira, are the eagle’s wings; laq’u, alludes to the earthworm; etc. The llikllas are always composed of two equal parts (khallus) joined by a visible dividing seam (siray), which expresses the apparent principle of dual world, but at the same time, shows its nature of unity and completeness, as those are never separated. In […]
“Lo que paso en Cherán pues no lo podemos ver como todo se logra con paz, entonces aquí lo que se puede ver es que si te están apuntando con un arma y tú vas a pedirles paz lo único que vas a recibir es un tiro en ese momento. Estas represiones ocurren en las comunidades indígenas, no se las van a ir a hacer a las personas de dinero (…) o a las personas que ellos piensan que están más jodidas” “What happened here in Cherán, well we can’t see it like everything gets solved peacefully, then what we can see is that is someone is aiming you with a gun and you ask for peace the only thing you’ll get is a gun shot at the moment. This repressions happen in the indigenous communities, they won’t do it with rich people (…) or towards those people they believe are screwed”
It’s been four year since the town of Cherán K’eri in the state of Michoacán raised against the destruction and pollution of their woods and river carried away by the government and his organized crime along with those who wanted to destroy their woods. The struggle has not only allowed to stop the devastation but it has also allowed to dismiss the government, that for years profited with their common goods. The uprising, carried mostly by women and kids was somehow, the result of years of imposed horror conditions. In multiple opportunities, the comuneros (community people), had tried in the past to call for meetings to deal with the situation. Nevertheless, the organized crime took care of terrifying the people and even disappeared or killing those who dared to organized against them. The rage could no longer be contained when the criminals attempted with women and young girls of the community. Cherán is not a remote case. In accordance to the dispossesion dinamics that mainly affects the indigenous communities in the world, the purhépecha plateau, where Cherán is located, has been defending for decades their territory as well as their customs. This situation of constant violence and deprivation aggravated […]
At the moment we are working with Ashirbek’s diaries that he kept on writing from 1994 till today. We are scanning and decoding them. They include his observations on his experience, thoughts and reflection, his planning. These are notes from 2015 and 1998 diary.
The bird is the object they carry on their back to transfer bricks with. They start working in bricks fabrics from the age of 9 till 45 and may be longer.
The bird is the object they carry on their back to transfer bricks with. They start working in bricks fabrics from the age of 9 and till 45 and may be longer.
The house I never had… I wonder about our tendency toward wanting an ideal society and what that would involve. How might it be achieved? Dreaming of an Utopia. Utopia society does not exist, yet Despotic does. How do despotic ones develop? What do they look like? Answers are available from a real experience. We have never had a real utopia, or at least we’ve not had an odd utopia example since Egypt has a poor record when it comes to prefab city-making, to offering an ideal life that provides at least the basic needs. In Cairo, the largest city in Africa and the Middle East, half the population live in slums. It is hard to imagine utopias that are not construction attempts of community alternative lifestyles. Therefore the context socio-historical and the size of the community is a crucial factor. Poverty measure beyond income alone that encompasses the many dimensions of well being – such as housing quality, access to basic infrastructure and services. The danger of underestimating urban poverty was that policymakers would not appropriately address the issues faced by this fast growing population and direct necessary funding to them. The failure of the Egyptian government’s housing policy to provide affordable housing, has led […]
Lucia gives tips on how to get a shower under “green” standards. LUCIA’S post Hello everyone! Here is how to better your shower: some tips ad some anecdotes… I do short showers. Yes, it is better to keep it short ad sweet. You get to use less water and for those like me who like a warm shower, it keeps the electricity bill decent…READ MORE ABOUT LUCIA’S TIPS PAULA’S post Here my current status on the suggested tips to get a “greener” shower and a public written compromise to get greener on this subject…READ MORE ABOUT PAULA’S EXPERIENCE
Why is the subject of utopia interesting for Art Group 705? First of all, our country, Kyrgyzstan, participated in the construction of a better world, we have our Soviet Union past. So now we can say that we live in a kind of post-utopian time. The system we were constructing did change our life – a good and strong education system was built, our society changed, the landscape has changed etc. This was a planned motion to utopia. But at the same time it included repressions, camps, incredible cruelty. Secondly, we were working with the theme of our regional power. And we met a situation where the words “Do this for the sake of the better” are encouraging you to sacrifice today and suffer now for the better future. The power in CA often sacrifices today’s people life hiding behind the aspiration for the better future (presidents’ messages, images of the happy future life). If we call it a speculation, how to learn if all the utopias are not speculation eventually? And thirdly, many of Art Group 705 works have the form of the theater of absurd. In the theater we ask ourselves – what is the person passing through? […]
Our experiment on Waste of food! Lucia’s experience: I have been always bothered by the fact that we waste food. It hurts me to throw away that what just a couple of days before was so celebrated and wanted. So, I decided this must be changed. In our household we are two grown ups and a little girl (M) almost 2 years old. M Food is always a bit of a challenge. When she is hungry food must be there, period. And if she doesn’t like it, something else must appear on her dish ASAP. So, sometimes I end up with a lot of baby food… READ MORE Paula’s experience: This week’s experiment is one of the biggest challenges of my daily life and Lucia’s lifestyle seems very different to mine!!! I currently live with two roommates and my cat R. The cat eats cat food that i buy and my roommates and I have very different schedules, so we don’t share food and each one cooks for herself only. Sometimes we coincide at dinner, but it is something that happens randomly once every two months or less!!! It is a huge challenge to buy and cook food for only one […]
We think it’s possible to organize to transform the world, no from above, not taking the power and from there, taking measures. We think that the key is to organize from below to reach achievements, satisfy needs. How will we do it, I don’t know, but I’m sure that we can work it out. Subcomandante Insurgente Marcos A month ago, some of the cooperativists here at Cráter Invertido, had the opportunity to participate in the seminar “Critical Thought Versus the Capitalist Hydra” organized jointly by Unitierra (University of the Land) and Zapatista Army for National Liberation. The seminar, that took place between the 3rd and the 9th of may in San Cristobal, Chiapas, brought together a lot of researchers as well as agents involved in various struggles around Mexico but also in other places of the world. The seminar, offered the opportunity, not only to learn and listen from the experiences but also, to gather up information regarding the way each one of them is organizing within their cooperatives, collectives, organizations or communities in order to enable us, to take what works and to engage in creating whats necessary to fight against the life impose by neoliberal model. The capitalist […]
This guide is a list of suggestions to better our consumer habits and live a more environmental friendly life. These advises are organized by theme: Water, Clothes, Food, Electricity, Drugstore, Paper, Plastic, etc. You can choose a theme and cross off the actions that you already do. Then you pick one or two actions that will become your experiment for one week. At the end of the week you check how is your experiment. We recommend you to start with the easy ones so you get in good practice for the ones that are more challenging. Your Planet thanks you! The guide is in pdf format, DOWNLOAD IT HERE!
[scroll down for English] Las llikllas (en el idioma quechua de los indígenas del altiplano boliviano) son piezas textiles de tamaño variable, mas cuadradas que rectangulares, generalmente son tejidas por las mujeres indígenas en un telar portátil de piso (pampa away); las usan tanto las mujeres como los varones de la comunidad. Además de cumplir funciones utilitarias como cubrirse, cargar niños, transportar productos agrícolas, las llikllas están presentes en determinadas ceremonias como cuando se colocan sobre la mesa para celebrar rituales en honor de las divinidades tutelares, o cuando se cubren las cosechas o se inauguran las casas, en estos casos tienen un rol femenino, asociado a la pachamama o madre tierra; pero también los hombres las usan para cubrirse durante para el tinku, o encuentro festivo de combate entre miembros de un ayllu (comunidad o familia comunitaria). El diseño de la llikllas muestra una profusión de formas, colores y símbolos que provienen de antiguas tradiciones de origen precolonial, no obstante, muchas de las llikllas que se tejen actualmente suelen incorporar elementos, colores y materiales de origen contemporáneo. De cualquier modo, Las lliklas constituyen una interpretación – no representación- visual de la realidad en la que se incluye, simultánea e […]
Our experiment on washing clothes! Lucia’s experience: Now that I live in Germany and we have four seasons I understand better why you should take better care of your clothes and shoes. Here you have specialized pullovers, jackets and shoes for rain, wind and snow that aren’t cheap -you don’t want to buy new anyway ; ) – and that you want to have ready to wear when it is time again. Some of the tips to better take care of your clothes: READ MORE Paula’s experience: This week I tried the three suggested things to wash clothes in a environmental friendly way: 1. Find biodegradable detergent 2. Don’t use regular fabric softener or find biodegradable alternative 3. Don’t use chlorine Here the results: READ MORE
Welcome to VERDE The Experiment VERDE The Experiment is a collection of practical ideas for those who want to change their consume habits and protect the environment in their daily life. It comprises this blog and the Guide to become a better Earthling which can be downloaded. But it doesn’t end up there… We (Paula and Lucia) take these ideas and translate them into experiments in our lives and you get to read about it. Paula Piedra lives in San Jose, Costa Rica in a two person-one cat household. She works 9 to 5 and is a writer, interior designer and project manager that currently works as a cultural project manager. Lucia Madriz is Costa Rican but lives in Germany with her husband and her little daughter M. She is a visual artist working from home. She is getting used to the challenges of four seasons weather and becoming a homemaker and mom. You might want to join us and try some of our experiments and maybe make them part of your life. It takes some time to get your experiment right but every environmental friendly habit is worthy; just imagine the benefits of that action if it doesn’t happen anymore […]
We found this housing model during the Senegal meeting at the artist space Portes & Passages. A local artist explained the round house: Inside the building exist various separated apartments so that each resident has his private living space. Steeping outside to the common inner courtyard you find the other residents to share a coffee, a conversation etc. Traditional architecture combining private and common living areas (e.g. Dayak long houses in Kalimantan, Borneo, Indonesia) and new models (e.g. based on ecological criteria) exist. But there are not current practice. So more housing that offers space for sharing, space to start a Minga anytime, is still utopian.
Hola Minga crew, en esta correspondencia sonora ponemos a vuestra escucha las mesas que se llevaron a cabo en diciembre del 2014, en el marco de casAbierta, la celebración de los 10 años de platohedro. Nos parece apropiado compartir estos insumos sonoros por sus contenidos, por el contexto en el que se dieron, los temas abarcados , estos son productos han sido creados desde la acción con carácter colaborativo de muchas personas entre ellas las personas del equipo base de platohedro, y muchos de los cómplices que rodean la casa. Trans Lecturas del caos – Radio Relajo – Radio Gramola Cartas al futuro… Mesa de pedagogías alternativas (desde C3P) Mesa de radio conspirativa Una década de Pĺatohedro en Radiogramola Tecnopolitica y Dignidad 1,2 y 3
The tables were in Casabierta, celebrating 10 years of platohedro… Hearing contents of these moments are chosen by the covered topics and contexts and are inputs that are from the doing and the action of platohedro Trans Lecturas del caos – Radio Relajo – Radio Gramola Cartas al futuro… Mesa de pedagogias alternativas CasAbierta numero 1 – Radiogramola Tecnopolitica y Dignidad 001 Tecnopolitica y Dignidad 002 Tecnopolitica y Dignidad 003
“Utopía” of and for a Good Living Good Living understood as Buen Vivir – Sumak Kawsay in Quichua: In its most general sense, buen vivir denotes, organizes, and constructs a system of knowledge and living based on the communion of humans and nature and on the spatial-temporal harmonious totality of existence. That is, on the necessary interrelation of beings, knowledges, logics, and rationalities of thought, action, existence, and living. This notion is part and parcel of the cosmovision, cosmology, or philosophy of the indigenous peoples of Abya Yala (Walsh 2010: 18).1 These images are of a Minga to fix up Barahaka (a sustainable house in Santa Elena on the outskirts of Medellín) on March 28th of this year. We planted twenty-seven pioneer trees guided by three wise women, who generously shared their knowledge and friendship with and about plants. Pioneer trees are resilent warriors capable of growing under poor and difficult conditions and with them come the bees who bring honey which brings birds and they bring seeds of other trees. An we get our desired utopia, a native forrest. That same day, while most of us planted, “el cucho” fixed the composting toilet. This Minga gathered diverse people, dreams, […]