Future Farmers

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Из курса от партнера Duke University

ART of the MOOC: Activismo y Movimientos Sociales

9 оценки

Duke University

ART of the MOOC: Activismo y Movimientos Sociales

9 оценки

Este curso es para activistas, artistas y pensadores que deseen entender mejor el cambio social y participar en él. El contenido del curso enfoca en la coincidencia prolífica y emocionante entre el arte socialmente comprometido y prácticas culturales generadas por recientes movimientos sociales en todo el mundo. Más que evaluar la eficacia política de actividades como el luto, la escucha, la organización, el baile, o la fiesta, las conferencias examinan tales actividades culturales al lado y dentro de la práctica artística contemporánea. El curso incluye presentaciones de importantes artistas, activistas y académicos invitados como: Rebecca Gomperts, Chido GoVera, Gulf Labor, Hans Haacke, Sharon Hayes, Jolene Rickard, Gregory Sholette, Joshua Wong, y muchos más. Diseñado por el artista y profesor de Duke, Pedro Lasch, e impartido con el director artístico de Creative Time, Nato Thompson, este curso invita a todos los que participan en él a tratar el MOOC en sí mismo como una forma social y artística. Esto sucede sobre todo a través de los componentes prácticos, proyectos producidos localmente, intercambios mundiales, y el comentario crítico. No se requiere experiencia previa con el arte o el activismo, aunque los proyectos también incluyen buenas opciones para alumnos avanzados. Para otros cursos en esta serie o versiones en otros idiomas , solo busca 'ART of the MOOC' en el catálogo de Coursera

Из урока

La estética, la historia del arte, y las instituciones culturales: Conferencias, presentaciones por invitados, y prueba

Así como los movimientos sociales recientes han transformado el arte y la cultura contemporáneo, activistas han dependido de las ideas desarrolladas en los círculos culturales más especializados, a veces sin saberlo. Empezando con una investigación de las maneras en que el arte público socialmente comprometido ha sido incluido y excluido de algunos narrativas, teorías, instituciones y eventos, utilizaremos esta lección para seguir las prácticas sociales que cuestionan el arte e historia del arte convencional. Al hacerlo, les invitará a los estudiantes crear proyectos que se comprometan directamente en el cultivo, la agricultura, la cocina, o comer—actividades que son fundamentalmente sociales, sino que se ve tradicionalmente en contradicción con la producción artística seria.

Chido Govera8:18

Hans Haacke15:03

Future Farmers8:15

Shannon Jackson13:30

Jolene Rickard12:41

Abigail Satinsky7:27

Познакомьтесь с преподавателями

Nato Thompson
Chief Curator
Creative Time
Pedro Lasch
Visual Artist and Associate Research Professor
Duke Art, Art History & Visual Studies

Hi Amy.

>> Hello.

>> Thanks for taking the time to talk to us.

I know you're traveling a lot between places and projects.

And one of the reasons we thought it would be fantastic to have your

contribution in this module on art, art history, and cultural institutions is

because the students assignment for this week is a bit against the grain, right?

We're going to ask people around the world, who are participating in the MOOC,

to think of projects that can be with food, with farming, right?

The whole idea of cultivating in the most literal sense.

And you've spent many years doing these types of projects, so

on one hand, we know our students will be inspired by learning

about your work if they didn't know it already.

But of course they can learn about your practice.

Like the whole thing has evolved.

And so, as a first question, I wanted to ask you,

with your work with Future Farmers but also the Flatbread Society,

how did you arrive at this type of work, as an artist?

>> It was very organic in a way.

I mean, Future Farmers was pretty organic.

It was an outgrowth of actually wanting to work with other people.

Not wanting to work alone.

And in 1994, I just started Future Farmers as a design studio, actually.

And I started an artist and residency program.

So, with money that was made from the design studio.

I invited artists to come and spend three to six months, or designers or architects,

or writers to work with me on a project with the agreement that

we would do some work for pay, and that we would then create a new project together.

And this residency basically formed the basis of all of our collaborators now.

So most of the people that came through the residency between 94 and

2,000 are still collaborators.

So that was not expected.

I just started the residency thinking, I wanna be continually inspired and

challenged by other skill sets, and other contexts.

So that's how Future Farm is formed.

>> And in your collaborations, you already brought up designers, architects,

it's certainly deciplinary from the outset The word farmers and your name, right?

Like, do you collaborate with farmers,

there's the politic dimension of farming the future, right?

But there's also a direct engagement with, with baking and some said but

they're also growing up food.

I know you've learned from farmers but

how often do you get to collaborate with people who farm for a living?

>> More and more, I collaborate directly with farmers.

The name was one of the metaphorical charge, or

a reminder of a certain type of farming that is very collaborative.

Like when I was a child, I lived on a small farm, and during harvest,

we had to borrow tractors from each other, and all the farmers stayed up late to

help each other get harvest done before the rain.

And of course, many of the wives made big feasts and

we ate until the moon was full in the sky.

And it was really a very communal moment in the area where I lived.

And I didn't realize until I was out of undergraduate,

that I was yearning for some sort of an ethos like this to find a way

where people could share resources and skills, and work together.

>> It's cool.

>> So a few things.

One thing that we do at Future Farmers,

that's kind of a standard, is we quickly prototype things.

And we also just throw an idea on the table and say,

let's just try to make a prototype of it really quickly.

So we often make scrappy wooden prototypes or we perform something quickly to see

how we can embody an idea, what materials are needed, what other skill sets.

And that comes from design thinking background, I think, which for

me has been really helpful as an artist as well.

Especially working in public art context where

you have to work with a lot of different people and types of people.

And so that's one kind of, what we call it a studio secret, not a secret but.

>> Yeah.

>> It really helps because you can immediately be like this is never,

we need to really have the engine to make this pendulum work.

Or we need 20 people to lift this thing,

how are we gonna recruit 20 people to do something like this.

So that's one thing.

Another thing is, I always ask for advice and that's a more recent thing

because of the scale of our projects, and the politics around our project.

I've started lately to form kind of boards of consciousness,

or like conscience withing a group of people who I admire.

I ask them to be with me on the project, so that I can consult them and

make sure that I'm staying in check with my politics.

So for instance in Oslo, we were invited to do a permanent public art piece and

new waterfront development.

And for me, that's a charged situation,

it's this huge economic gentrification,

charged environment, especially in a city that I don't live in.

So I formed a committee of thinkers.

Neil Smith was a geographer, passed away a couple of years ago.

But Neil Smith, Kobe Metu,

a seasoned artist in Brussels who deals with intellectual property,

Kendrick Lugan, he's an urban planner and anarchist in Berlin,

teaches at Humboldt University, and Amy Belkin, artist from San Francisco.

And Amy Belkin wasn't formally on my committee, but she's a confidant.

And basically, I felt I needed to run the ideas that we were

having about making a public artwork in this context with people

who were hyper critical of this kind of a development project.

And it was interesting cuz I was on the fence.

Should we situate ourselves in this project or should we not?

And I was pretty impressed that everyone said, you can decide not to take

part in this project or you can do it and try to change.

And if you have one foot in this development,

you can then talk to people who maybe you never have a chance

to talk to like, bankers or mayors of the city, or

ministers of agriculture of Norway, we're talking with now.

So that gave me the confidence to walk into this new territory, or

territory that I was uneasy about.

So I think it's, I always say like, your network is

your nest egg, or your friends are your best allies.

And that's another kind of, it's not a secret but we really just depend on

the people we know, and try to keep those relationships really healthy,

so that we always have people to fall back on and ask questions, to.

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