Paradise Now @ University of Maryland Stamp Gallery
Paradise Now is a game of unequal circumstances and varying objectives that invites unlocked players to alter and redefine the game’s Score by participating in various rounds of the game. The Score is a series of directive actions that happen over each 60 minute round of the game. Unlocked players may alter the Score by navigating the space with their bodily movements, altering the various gaming mechanism at play, and by adding directive phrases to its structure. Although many players may be active in the game simultaneously, every player may choose to fill the role of player 1 or player 2 and respond accordingly to their set of directive actions in the Score throughout each round played. Each round of the game played throughout its occupation of Stamp Gallery in September & October of 2016 will be documented, archived and analyzed by our team, who will compose an accumulative Score.
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ActivationA special activation of Paradise Now.
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Unlocked PlayerUnlocked player, Nikki Lee, activating a blue donut in an initial round of the game.
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Unlocked Player Altering The ScoreHere, an unofficial unlocked player is altering the score.
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Fully Altered ScoreThe game score after its alterations following the initial round of the game.
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ScreenOne of the three live footage screens in the space capturing the action.
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Unofficial Unlocked Players In ActionA movement collaboratively produced by a group of unlocked players during the game using the airport stands.
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Game Board #2One of the game boards.
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Game Board DetailA detail of Game Board #2.
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Game Board DetailDetail of Game Board #1 with flowers and Shay's foot.
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FlowersA gaming mechanism.
Press Press
Press Press (est. 2014) is an interdisciplinary publishing initiative based in a storefront studio & library in Downtown Baltimore. Press Press’s publishing practice is organized around two key goals; to shift and complicate the aesthetic and understanding of difference, primarily focusing on immigration and race in the United States; and to build meaningful networks of relationships through publishing practices centered on self-representation and gathering. Press Press’s work pushes for a culture that values the lives, minds, and voices of identities of difference, while building a supportive community that enables us to always thrive.
History
In 2014, Kimi Hanauer started a residency with Refugee Youth Project by holding creative writing workshops with a group of teens in Catonsville, Maryland. When starting to publish collaborative works, the group realized they needed to give the initiative a name, and so Press Press was born. Since then, we have broadened our activities beyond the after-school program. However, the after-school workshops have continued to be a large thread of our practice as we carry the principles the program was initiated within throughout all of our work: embracing collaboration, self-representation, and difference.
WHAT WE DO
With a focus on immigrant and refugee experiences, Press Press's practice fosters a collaborative network of relationships and surfaces the narratives of Baltimore-based communities. Through an understanding of publishing as the act of gathering a public, Press Press’s streams of work include hosting after-school publishing workshops for refugee teens in an immigrant and refugee only space, public educational and cultural programming, an open-access publishing shop that’s based on an exchange economy, and the on-going production of print and digital publications.
The Library
The Press Press library is a collection of resources and publications that were recommended and thematically organized by more than 35 individuals, collectives, and organizations throughout 2016-2017, who each selected a range of resources they deemed most essential their own livelihoods. While the collection was heavily created through a local contingency, it also works in conversation with a national network of artist-organized initiatives. The Library presents a syllabus of texts relevant to artist organizing, independent publishing, social justice, racial equity, and feminism, which influence currently active artists and organizers, both nationally and locally to Baltimore, and informs Press Press’s on-going programs. Located in Press Press’s storefront, the library was created as a way of collectively molding the culture of the space, holding Press Press’s work accountable to it’s context, and building on our approach to public making as the facilitation of a set of relationships.
Afterschool Program
Through a partnership with Refugee Youth Project since 2014, Press Press hosts publishing workshops with teen refugees in an immigrant and refugee only space. In our program, individual dialects, accents, and expanded modes of communication are embraced, as students are not pressured to assimilate into American cultural and linguistic norms. Our program was created for and by second-language speakers and is based on an understanding of language as a vessel that shapes our own identities and the ways in which we navigate the world around us. As second language speakers, we understand our use of the English language as both a personal and political act.
Exchange Economy
With Press Press’s Exchange Economy (EE), anyone can learn how to self-publishing their work in our studio, in exchange for any contribution to the broader project. Through the use of time-banking, EE cultivates new programs, resources, workshops, and relationships in our storefront space, while building a community of new and experienced independent publishers. Participants only pay for the use of materials at cost and can choose to participate in one-on-one learning with a member of our team during our weekly open hours.
Publications
We publish a range of print and digital publications on an on-going basis that give form to our programmatic and ethereal practice. Our collaborative process often takes upwards of a year to complete one publication and emphasizes social gathering as a primary mode of the work. Our publications vary widely in form, although we are keen to manifestos, conversations, specific artist projects, and gatherings.
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Party at Press PressImage by Shan Wallace
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Open Studio
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Storefront SpaceOne of our walls at our storefront space which functions as a public library, publishing studio and gathering space.
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An Inaugural Set of Library SectionsThe Press Press library is a project that invites a changing line up of individuals and group to curate and rearrange book sections into thematic compilations. Represented here, is the inaugural set of library sections curated by individuals and groups that have been a part of Press Press in some way in the past. The library will continue to evolve as others reorganize sections in weeks to come, thus acting as a constantly changing, living and breathing knowledge base that not only represents a collective and individual voice, but also directly impacts our on-going practice by literally molding the culture of our work space.
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Library
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The Making Of: Publics + Liberation
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Tender Structures for Collaborative WorkA manifesto for tender collaborative work created in collaboration with Shan Wallace, Iris Lee, and Jenna Porter.
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Tender Talk: Manifesto for Tender Collaborative WorkInside view.
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Real Real : Textbook for RealnessThe Press Press library is a collection of resources and publications that were recommended and thematically organized by more than 35 individuals, collectives, and organizations throughout 2016-2017, who each selected a range of resources they deemed most essential their own livelihoods. While the collection was heavily created through a local contingency, it also works in conversation with a national network of artist-organized initiatives. The Library presents a syllabus of texts relevant to artist organizing, independent publishing, social justice, racial equity, and feminism, which influence currently active artists and organizers, both nationally and locally to Baltimore, and informs Press Press’s on-going programs. Located in Press Press’s storefront, the library was created as a way of collectively molding the culture of the space, holding Press Press’s work accountable to it’s context, and building on our approach to public making as the facilitation of a set of relationships. REAL REAL : TEXT BOOK FOR REALNESS This xerox textbook features a collection of texts from our library collection and is traded in exchange for new contributions to our library.
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Real Real : Textbook for RealnessInside view of the textbook.
If I Ruled The World 2016
I facilitated and directed this project in collaboration with the project participants for the year-long production process. The entire digital publication can be viewed here.
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Contributors PanelThe contributors panel at our two-day conference that took place during Open Space's annual Publications and Multiples Fair at the Baltimore Design School.
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Conference People
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You Come From The StarsOne of the collaborative moments of this project was when we worked to team up Gaia with Jared Brown to produce this piece, which later became the cover of the publication, and share Jared's insight publicly on a wall in Baltimore.
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Humans Rights Manifesto DeclarationOne highlight from this yearlong piece, was a reading of a new Human Rights Declaration created by our high school aged Burmese participants, created in reaction to Myanmar’s recent historic shift into a democratic nation. The young writers declared the new rights they hope the democracy will bring including articles such as, “No wifi, no life!” and “Freedom of secular education!” Moments of positive resistance such as this, which elevate the voice of underrepresented groups while gathering a public to share in an artistic experience, are a leading thread in the participatory and social sculptures I work to cultivate.
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Human Rights BrainstormThe brainstorm that took place before creating our Human Rights Declaration with youth at the Baltimore City Community College Refugee Youth Project.
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Human Rights ManifestoA new human rights declaration created in collaboration with young artists and writers at the Baltimore City Community College Refugee Youth Project.
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If I Ruled The World Publication
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If I Ruled The World (Publication)Image from Jared Brown + Khadija Nia Adell's chapter, "You Come From The Stars Black People" in the printed publication.
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If I Ruled The World (Publication)Get Your Life! Productions' chapter of the If I Ruled The World printed publication.
Refugee Youth Project Workshops
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Min Min Announcing the 100% YES ManifestoAt the opening night of 100% YES, Min Min announces the original set of ideals agreed upon through a consensus process by our group at Refugee Youth Project.
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If I Ruled The World Chalk Board Manifesto
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Reading at If I Ruled The World ConferenceLun reading poetry at the If I Ruled The World conference.
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Two Poems By AnonymousTwo poems by a collaborating student writer who wishes to remain nameless exhibited.
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100% YESThe crew at the opening of 100% YES at Current Space Gallery. During the month of February 2015, Press Press, in partnership with RYP student-collaborators, took residence at Current Space to open up the Press Press work space. There, visiting artists and groups produced the 100% YES Manifesto while the gallery space exhibited the poetry, photography and publications of the BCCC Refugee Youth Project students. Here, our team stands in front of the original set of articles of their 100% YES Manifesto.
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100% YES Manifesto PostersThe original set of 100% YES Manifesto posters agreed upon through consensus processes by our group of collaborators at Refugee Youth Project which spawned the larger project, collecting 100% YES's from the public to create an expansive set of ideals.
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The Chilly Smart ModelA newsprint publication exploring migration created by young writers and artists at the Baltimore City Community College Refugee Youth Project.
Penthouse Gallery Presents Lian Tsai
lian tsai, a Taiwanese national living in the U.S. since 2008, found obtaining even one of these administrative positions next to impossible after graduating from the Maryland Institute College of Art in May 2015. In September, Tsai moved into the collectively run, live/work project space penthouse gallery without plans for how to handle her quickly approaching October 1st deadline.
After a series of conversations between Tsai and kimi hanauer(a member of the Penthouse collective), the two settled on a curatorial project that would have Penthouse Gallery hire Tsai as its new Gallery Manager. Hanauer wrote a letter of hire for Tsai’s visa agent and the two quickly received notice that Tsai’s visa had been extended by one full year. As part of the contract the two wrote in this project, one of Tsai’s initial responsibilities was to organize Penthouse’s October opening. “Penthouse Gallery Presents: Lian Tsai,” documented the visa process, celebrated Tsai’s newly acquired OPT visa, and recorded the occasion of her continued residency in the United States through a durational performance performed by Tsai." - Colin Alexander for Post Office Arts Journal
Read the full conversation between Kimi + Lian here.
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Penthouse Gallery Presents Lian TsaiWhen entering the event you receive a cupcake and bubble-making ingredients and are greeted by the wonderful Marcelline Mandeng.
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Lian Shakes Hands With IanLian's hands are hooked up with pumps that slowly inflate her planet (the garment she is dressed in) when she shakes hands with guests. Pictured here is Lian and Ian greeting one another.
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Lian and PlanetLian programmed her microphone to interpret what she said into tones that sound like bubbles. As she moved through the space, she spoke about her experience of migration and whispered sweet nothings into guests ears. In conjunction with her speaking, Chris reacted to the bubble sounds with improvised piano playing.
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Lian Draws With ChrisThe event starts with an organizing of thoughts and drawings. In the back is Chris, who reacts to Lian's bubble sounds with improvised piano playing.
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Lian's Time SheetPictured here is one of Lian's official time sheets, a requirement of the visa.
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Email ExchangeAn email exchange between Lian and her visa representative showing the process of obtaining the visa and proof of hire at Penthouse.
Baltimore Uprsing Archive 2015
The following is a collection of documents gathered over the period of two weeks leading up to MICA’s 2015 annual school-wide commencement show which emerged during the time of the Baltimore Uprising.
Every year, approximately two weeks before the commencement show opens to the public, huge piles of detached walls start showing up all over campus. These are the walls MICA uses to transform our metal shops, our classrooms, our studios and wood shops into traditional exhibition spaces. When audiences flood the show, the white walls attempt to lead them to disregard what actually goes on here, the daily work, discussion and upkeep of these classroom and work spaces. I am not convinced, however, that they actually succeed at hiding the reality of these spaces. As students, we know these spaces intimately, we know how they are used on the daily, we know their sounds and their smells. I suppose there are just some things that are beyond MICA’s control and much beyond MICA’s attempts at hiding. This theme of attempting disguise, is one that I have witnessed or clashed with on a few occasions over my past four years at MICA, specifically regarding MICA’s relationship with and navigation of its context: Baltimore City.
Powerful institutions, such as major news outlets or universities, too often reject the possibility that most, if not all facets of our world, ultimately stem from a contradiction of varying truths. These are the institutions that publish the catalogues, that write the histories and that exhibit the findings. In order to claim their knowledge and stability, these institutions must hide their own uncertainties and find a way of maintaining their conditional inability to control the variables which make up our world. The commencement show and its walls is just one example of MICA’s presentation of its institutional unity and stability, a disguise in itself, which inherently must disregard the paradoxes and unethical relations that define MICA, its students, faculty and staff and our relationship to the context we are based in.
This project emerged out of the need to acknowledge the context MICA's Commencement Exhibition existed in. The few documents collected in this space, which represent the two weeks surrounding Commencement, could not nearly approach the long history of systemic violence that structures this city. A violence that subsequently defines MICA’s existence and is defined and structured by MICA’s existence (whether MICA visibly acknowledges this or not). Visibility is exactly the point here. I could not possibly capture all of the facts, all of the documents, all of the efforts and beautiful moments of those two weeks, not to mention the past hundreds of years. This was not an attempt at formulating some sort of concrete conclusion or resolution. It was an attempt at surfacing one of the most important facets of any work or entity: its context. A context which MICA often works to disguise, or exist despite of. I felt it necessary that 2015's commencement catalogue be about a visibility which rejects the disguise and embraces the uncertainty and paradoxical relationships that make up this place.
In the headquarters, visitors were invited to participate in the making of the catalogue, by adding information to the archive which got bound into the publication.
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Archive OverviewIn our offsite headquarters, I created a living timeline and archive where information was collected and condensed. This space was also used as a gathering and work space. This timeline was collaboratively created and then condensed into a catalogue that was spread out throughout MICA's 2015 commencement show and acted as a commencement catalogue.
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Archive DetailVisitors could research and add to the archive.
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Fake Commencement CatalogueThe catalogue was produced as a xerox packet and scattered throughout MICA.
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Archive Detail
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Archive Detail 3
Welcome To The Floating World
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Lian on the Rolling PodiumOfficial Unlocked player Lian transports herself on the Rolling Podium.
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Nikki on the Game BoardNikki moves through the game board.
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Altering the ScoreLian altering the Score.
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Two Unlocked PlayersTwo unlocked players activating zone 3 of the game board.
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Players Activating the Rolling PodiumHere, an official and an unofficial player interact with the Rolling Podium.
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Floor MoppingOfficial unlocked player Michael, floor mopping with woman.
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Romantic ZoneTwo guests enjoying the Romantic Zone.
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Nikki on the Game BoardNikki moves through the game board.
Alloverstreet
Check out the on-going archive here.
Alloverstreet’s structure is based on two significant values:
- Alloverstreet is democratically curated. Any art space, collective or individual who wishes to be involved is welcome.
- Alloverstreet is collectively run. Participating spaces collectively control the development of the project.
This rhizomatic structure, in which no one entity may entirely control the direction of the project, has developed through years of dialogical-democratic engagement between consistent participators and continues through monthly project meetings. As part of these project meetings, where participating spaces discuss the project and its development, SNAE, inc. also hosts professional development workshops with visiting artists and professionals that are based on participators needs and desires. Alloverstreet attempts to unite different audiences and works to broaden the scope and reach of independently run art spaces. Learn more about Alloverstreet’s methodology here.
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People 4 PeopleIn July 2016, Alloverstreet teamed up with Earthseed and Greenmount West to produce People 4 People, a block party on the 400 block of East Oliver Street that included openings and events at surrounding art spaces.
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Fire Angelou Artist TalkFor the 2015-2016 year, Alloverstreet started with monthly artist talks that featured a different participating gallery and an artist of their choosing. Here, Fire Angelou recites poetry to an audience at Area 405.
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Six @ Six @ AlloverstreetAlloverstreet kicked off with Miguel Mendias' Six @ Six, a performance-based project at the Motel Six on North Avenue.