The Beehive hums with activity, tackling issues as diverse as biotechnology, corporate globalization, food and agriculture, and colonialism. Our mission is to “cross-pollinate the grassroots” by creating images that educate the public and deconstruct complex geopolitical issues. Our body of work is distributed as “anti-copyright;” individuals and organizations are encouraged to reproduce the graphics for non-profit use as a means of circulating information and awareness. We make all this possible through an experimental, consensus-based, comprehensively-collaborative “live-work-create” structure, based in the small town of Machias, Maine, where we have also restored and reopened The Machias Valley Grange Hall and Cultural Center, and accept visitors and volunteers from all over the world.
The Cotard Syndicate is a collaboration of:
Stefani Bardin is a media maker working between video, film, installation, and performance. She is currently engaged with a body of work entitled The Pharmacology of Taste, which looks at the role of technology on our food systems. Her projects include the repurposing of gastroenterology devices that record images and information from the GI tract in concert with synthetic food scents, sound, behavioral neuroscience, and cultural history to re-imagine and re-contextualize our food systems within the influences of corporate culture and industrial food production.
Toby Heys produces music, sound/video installations, and web projects as a member of Battery Operated (www.batteryoperated.net). For fifteen years he has been exhibiting in Europe, North America, and Australasia at festivals, museums, and biennales with his robotic/electronic media projects as a member of The KIT Collaboration (www.kitcollaboration.net). Heys is a member of the research unit named AUDiNT along with Steve Goodman (Kode9). He runs the sound/video label Cocosolidciti (www.cocosolidciti.com) which has been releasing CD/DVDs and touring artists for twelve years. In 2011, Heys (an Arts & Humanities Research Council scholar) finished a Ph.D. (focusing on the utilization of sound, infrasound and ultrasound as a weapon) at Liverpool John Moores University and he is currently a Digital Technologies Post-Doctoral Research Fellow at the MIRIAD Institute of Manchester Metropolitan University.
Siddharth Ramakrishnan, PhD., is a Neuroscientist joining the University of Puget Sound as the Jennie M Caruthers Chair in Neuroscience in Fall 2012. As a research scientist at Columbia University, he designed microchips to record from brain cells and used proteins to create bio-batteries and biosensors. As a postdoctoral researcher at UCLA (2006- 2009) he studied the development and physiology of reproductive neurons in the zebrafish brain. His previous research addressed pattern-generating networks in snails and how they were modulated to elicit various behaviors. A Fellow of the UCLA Art|Sci center, his collaborations with artists have led to exhibitions and documentaries that blend the worlds of art and science highlighting topics like Hox genes, animal umwelts, and biomimicry. He has co-taught hybrid Art and Science courses at Parsons the New School for Design (2009-2012). More information can be found at www.siddharthramakrishnan.com
Leila Nadir and Cary Peppermint founded ecoarttech in 2005 to explore what it means to be a modern ecological being amidst networked environments, from biological systems to digital networks. Merging primitive with emergent technologies, ecoarttech’s work investigates the overlapping terrain between “nature,” built environments, mobility, and electronic spaces. Between the two of them, Leila and Cary’s research has been awarded a New York Foundation for the Arts Digital/Electronic Arts Fellowship, a New York State Council on the Arts Media Arts Distribution Grant, a Mellon Post-Doctoral Fellowship in Environmental Humanities, and a Franklin Furnace Performance Grant. They have exhibited and lectured at the Whitney Museum of American Art, UCLA, MIT Media Lab, Banff New Media Institute, European Media Art Festival, Neuberger Museum of Art, and the Centro de Arte Contemporáneo de Málaga. Their works are in the collections of the Whitney Museum of American Art, the Walker Art Center, Rhizome.org at the New Museum for Contemporary Art, Turbulence.org of New Radio & Performing Arts, Inc., and the Cornell University Rose Goldsen Archive of New Media Art. Leila earned her PhD in literature from Columbia University and was Mellon Post-Doctoral Fellow in Environmental Humanities at Wellesley College in 2010-2011. Cary is Assistant Professor of Digital Art at University of Rochester. This past summer, they were in residence at Joya: Arte+Ecología, an off-the-grid eco-art residency program located in a national park in Andalucía.
The Futurefarmers are:
Amy Franceschini (San Francisco) is an artist and educator who uses various media to encourage formats of exchange and production, many times in collaboration with other practitioners. An overarching theme in her work is a perceived conflict between humans and “nature.” Her projects reveal the history and currents of contradictions related to this divide by collectively challenging systems of exchange and the tools we use to “hunt” and “gather.” Using this as a starting point, she often provides a playful entry point and tools for an audience to gain insight into deeper fields of inquiry—not only to imagine, but to participate in and initiate change in the places we live.
Amy founded the artists collective and design studio Futurefarmers in 1995, and co-founded Free Soil, an international artist collective in 2004. Futurefarmers’ design studio serves as a platform to support art projects, an artist-in-residency program, and research interests. She is currently searching for land to house Futurefarmers and create a permanent agricultural land trust.
Amy’s solo and collaborative works have been included in exhibitions internationally including the Walker Art Center, ZKM, Whitney Museum, Museum of Modern Art, and Yerba Buena Center for the Arts, San Francisco. She received her BFA from San Francisco State University and her MFA from Stanford University. She is currently a visiting faculty at California College of the Arts and Stanford University. She is the recipient of Artadia, Cultural Innovation, Eureka Fellowship, Creative Capital, and SFMOMA SECA awards.
Myriel Milicevic (Berlin) is an artist, researcher, and interaction designer based in Berlin. With her Neighbourhood Satellites she explores the hidden connections between people and their natural, social, and technical environments. These explorations are mostly of a participatory nature, emerging from collaborations with other artists and scientists, in the context of workshops, classrooms, exhibitions, residencies, and out in the field.
Myriel received her MA from the Interaction Design Institute Ivrea, Italy and her diploma in Graphic Design from the Gerrit Rietveld Academie, Amsterdam. Further, she followed studies at the Conceptual and Information Arts department of San Francisco State University as part of her education.
Nicola Twilley (Studio-X NYC) is author of the blog Edible Geography, co-founder of the Foodprint Project, and director of Studio-X NYC, an urban futures network run by Columbia University’s Graduate School of Architecture, Preservation, and Planning.
Partners: Studio-X NYC/Columbia University Graduate School of Architecture, Planning, and Preservation.
Janette Kim (Urban Landscape Lab) is an architectural designer and educator based in New York City. She is a faculty member and director of the Urban Landscape Lab at Columbia University GSAPP. Janette’s work focuses on design and ecology in relationship to public representation, interest, and debate. Work in the Urban Landscape Lab has been featured on NPR’s Brian Lehrer Show and exhibited on the New York City subway system, and has been developed in partnership with numerous non-profit advocacy groups and municipal agencies. Janette’s ‘Underdome’ project (with Erik Carver) has been awarded by the Graham Foundation and the Van Alen Institute New York Prize Fellowship. As partner of Town/Kim studio, Janette won an international design competition to design the AIDS Memorial in San Francisco. Janette holds a Masters of Architecture from Princeton University and a Bachelor of Arts from Columbia University.
Beatriz da Costa is an artist based in New York and Los Angeles. Her practice is situated at the intersection of experimental art, social engagement, and the life sciences. da Costa has received numerous grants, awards, and residencies such as the Creative Capital Foundation grant in 2009, The Montalvo Arts Residency in 2010, The Cultural Innovation Grant in 2011, as well as a Rhizome Commission and Residency at Eyebeam in New York during the same year. Her work has been exhibited at venues such as the Andy Warhol Museum, the Natural History Museum in London, and the Centro Andaluz de Arte Contemporáneo in Sevilla, Spain. She has been reviewed in academic publications as well as major media outlets such as the New York Times and the Boston Globe. In 2008 she co-edited Tactical Biopolitics: Art, Activism, and Technoscience, an anthology comprising new writings by members of the soft and hard science communities as well as artists, literary scholars, and long term activists (ed. B. da Costa & K. Philip, MIT Press 2008). da Costa is an Associate Professor of Art, Electrical Engineering, and Computer Science at the University of California, Irvine.
Michael Mandiberg is an interdisciplinary artist, designer, and scholar whose work employs each of these methodologies, in part to investigate the significance of their overlap. He creates conceptual art projects, design objects, and publications that explore themes that include environmentalism, systems of exchange, pedagogy, software art, collaboration, Free Culture, and appropriation. He sold all of his possessions online on Shop Mandiberg, made perfect copies of copies on AfterSherrieLevine.com, and created Firefox plugins that highlight the real environmental costs of a global economy on TheRealCosts.com. He is co-author of Digital Foundations and Collaborative Futures. He is the editor of The Social Media Reader. A recipient of residencies and commissions from Eyebeam, Rhizome.org, and Turbulence.org, his work has been exhibited at the New Museum, Ars Electronica, ZKM, and Transmediale. A former Senior Fellow at Eyebeam, he is currently Director of the New York Arts Practicum, Associate Professor at the College of Staten Island/CUNY, and a member of the Doctoral Faculty at the CUNY Graduate Center. He lives in, and rides his bicycle around, Brooklyn. His work lives at Mandiberg.com.
Jennifer Monson (Artistic director, choreographer and performer, iLAND- interdisciplinary Laboratory for Art, Nature and Dance) uses choreographic practice as a means to discover connections between environmental, philosophical, and aesthetic approaches to knowledge and understandings of our surroundings. As Artistic Director of iLAND she creates large-scale dance projects informed and inspired by phenomena of the natural and the built environment. Her recent projects include BIRD BRAIN (2000-2011); iMAP/Ridgewood Reservoir (2007), NYC; Mahomet Aquifer Project (2009) in Illinois; and SIP (sustained immersive process)/watershed (2010) in NYC. Her current project, Live Dancing Archive, includes a solo performance and an installation based on more than 50 hours of documentation from the Osprey Migration and will be shown at The Kitchen in February 2013. Monson is on the faculty at the University of Illinois, Urbana Champaign in the Dance Department. She was hired through an initiative of the Environmental Council to foster sustainability across the campus and nationally. She is also currently a Marsh Professor at Large at the University of Vermont.
Kate Cahill arrived in the world of architecture through a will to combine her love of chemistry and art. She is fascinated by the intersections of social, political, and infrastructural systems in cities, and believes that urban public space is enriched by architecture that brings clarity to these complex interactions. In 2007 she was the recipient of the Robert S. Brown Traveling Fellowship, through which she embarked on an ongoing investigation into the inscription of memory on the contested landscapes of Berlin, Belfast, and Sarajevo. Recent projects include a recipe for a low-cost, off-grid artist residence based on locally available scavenged materials; portable multi-use structures for an experimental urban school; and an investigation into the nature of collaboration engaged through the multi-dimensional topic of mushrooms supported by the 2009 iLAB Residency Program. Kate holds a BArch from Rensselaer Polytechnic Institute. She currently enjoys collaborating on interdisciplinary design teams and practicing architecture in New York City.
Beverly Naidus has been using art to dream, question, stir things up, and find community for a few decades. She has been teaching others to do the same for almost as long. Internationally recognized for her art, she is also the author of Arts for Change: Teaching Outside the Frame (New Village Press, 2009).
Naidus is currently a member of the faculty of the University of Washington, Tacoma, where she has created and facilitates a unique interdisciplinary studio curriculum in art for social change and healing. She has taught at Carleton College, the Institute for Social Ecology, Goddard College, Hampshire College, CSU Long Beach, and several NYC museums and has lectured and led workshops at many alternative spaces, museums, universities, and community centers around the world. She received her BA in Studio Art from Carleton College and an MFA from the Nova Scotia College of Art and Design.
Naidus is known for her interactive installations that solicit stories about current concerns, including the environmental crisis and the perils and rewards of being an activist. Other bodies of work address consumerism, unemployment, body image, nuclear nightmares, and dreams for the future and cultural identity.
She recently completed a community-based, eco-art project, Eden Reframed, located on Vashon Island near Seattle, WA. The project was inspired by permaculture design. Eden Reframed includes a gleaning food forest, a soil remediation bed, and a community story hive. She currently lives in Seattle with her partner and teenage son.
OPENrestaurant originated as the project of a collective of restaurant professionals who moved their environment to an art space as a way to experiment with the language of their daily activities. This displacement turns the restaurant, its codes, and architecture, into a medium for artistic expression, which is made available to cooks, farmers, artists, educators, and activists as a way to explore issues around food and society. Taking the form of multi-disciplinary events, they range from the re-creation of a fully functioning restaurant over two days to small interventions exploring culture through food. OPENrestaurant events include OPENwater and OPENfuture with SFMOMA; OPENeducation at the Berkeley Art Museum; and OPENharvest with Food Light Project in Tokyo, Japan.
Jerome Waag is an artist living in San Francisco and the chef of Chez Panisse restaurant in Berkeley, CA. His work, mostly collaborative, borrows from performance and installation art to create frames for social interaction and collective expression. He is part of the collaborative OPENrestaurant, an experimental restaurant that relies on art practices to explore issues associated with the production, distribution, and consumption of food and The Citizens Laboratory, a platform to engage urban and civic issues. His work includes The Flavor of Democracy at 667 Shotwell and The Lab, San Francisco, CA; The Broken Kazan, The Global Art Lab, Osh, Kyrgyzstan; and April’s Ful’s Night, the Oakland Standard, OMCA, Oakland, CA.
The Public Laboratory for Open Technology and Science (PLOTS) is a community that develops and applies open-source tools to environmental exploration and investigation. By democratizing inexpensive and accessible “Do-It-Yourself” techniques, Public Laboratory creates a collaborative network of practitioners who actively re-imagine the human relationship with the environment. Open source licenses — Creative Commons Share Alike with Attribution and CERN OHL 1.1 – protect both end users and contributors and enable massive collaboration. Here in New York City, the local Public Laboratory community includes a variety of partnering organizations, community groups, and individuals often investigating on pollution in urban waterways or social activity in public spaces.
Liz Barry supports the Public Laboratory community in New York City as director of urban environment. She develops geographic tools and civic science methods for collaborative cities, including co-founding a second organization, TreeKIT. Previously, she has worked at Skidmore, Owings and Merrill planning international new cities and campuses, at Durham Inner-city Gardeners (DIG) coordinating youth urban agriculture enterprise, and has travelled around the country catalyzing interaction among strangers with a “Talk To Me” sign – a project that received international press including the New York Times, AP, CNN, Oprah and NPR’s This American Life. She likes to play outside.
Often situating itself in public space, or creating an atmosphere wherein the definition of space maybe have an opportunity to redefine itself, Red76 initiatives utilize overlooked histories and common shared occurrences as a means of creating a framework in which to construct their public inquiries. Social histories, collaborative research, parallel politics, free media, alternative educational constructs, gatherings, masking, and public dialogue play a continuing and vital role within the methodology and concepts of Red76’s work. The group, often in flux and geographically dispersed, is the moniker for initiatives most often conceived by Sam Gould, and collaboratively realized with the assistance of Gabriel Mindel-Saloman, Dylan Gauthier, Zefrey Throwell, Dan S. Wang, Mike Wolf, Courtney Dailey, Laura Baldwin, and many others.
Along with producing many independent initiatives, on street corners, in laundromats, bars, and kitchen tables, Gould and Red76 have engaged in projects commissioned by the Institute of Contemporary Art Philadelphia, the Drawing Center, the Yerba Buena Center for the Arts, the Lower Manhattan Cultural Council, Printed Matter, Creative Time, the Douglas F. Cooley Memorial Gallery at Reed College, 01 San Jose, SFMOMA, Rhizome/New Museum, The Bureau for Open Culture, Manifesta 8, The Walker Arts Center, and many others.
The collaborative also produces the Journal of Radical Shimming, an on-going highly fluid free publication as discursive conduit for its initiatives and concerns.
with participating organizations REV- and BRAC:
Stephanie Rothenberg is an artist and educator using performance, installation, and networked media to create provocative interactions that question the boundaries and social constructs of manufactured desires. She has lectured and exhibited at venues including the Whitney Museum of American Art Artport; Massachusetts Museum of Contemporary Art; Sundance Film Festival; 2nd Moscow International Biennale for Young Art; and LABoral Art, and Industrial Creation Center in Gijon, Spain.
She is a recipient of 2011 Harpo Foundation Award, 2009 Creative Capital Award and a 2008 NYSCA with recent residencies including Eyebeam Art & Technology Center and Harvestworks Digital Media Arts. She is currently Associate Professor of Visual Studies at SUNY Buffalo where she teaches courses in design and technology.
In 2009, Stephanie co-founded REV-, a non-profit organization that furthers socially engaged art, design, and pedagogy, with Marisa Jahn and Rachel McIntire. REV-‘s projects, public art works, and publications have been presented internationally and received acclaim in Wall Street Journal, the New York Times, GOOD magazine, and more. A non-profit organization, REV- derives its name from both the colloquial expression “to rev” a vehicle and the prefix “rev-“ which means to turn—as in, revolver, revolution, revolt, revere, irreverent, etc. www.pan-o-matic.com
Bronx River Art Center (BRAC) is a culturally diverse, multi-arts, non-profit organization that provides a forum for community, artists, and youth to transform creativity into vision. BRAC’s Education, Exhibitions, Artist Studios, and Presenting Programs cultivate leadership in an urban environment and stewardship of our natural resource — the Bronx River.
Founded in 1998, jill sigman/thinkdance exists at the complex crossroads of dance, visual installation, live art, and theater. Often through non-traditional environments, formats, and game structures, viewers are asked to think about pressing issues in the world around them. jill sigman/thinkdance has been produced by such New York venues as Dance Theater Workshop, Danspace Project, Dancing in the Streets, P.S.1 Contemporary Art Center, Arts@Renaissance, The 92nd Street Y Harkness Dance Center, The Brooklyn Museum, Brooklyn Arts Exchange, and Dixon Place. It has appeared regionally and internationally in places such as a dilapidated Belgian printing house, a former arsenal in Croatia, the American Embassy in New Delhi, and the Norwegian Opera House in Oslo. jill sigman/thinkdance has received support and acknowledgement from such national cultural supporters as the New York Foundation for the Arts (NYFA), the Jerome Foundation, the Bossak/Heilbron Charitable Foundation, the American Music Center, the Bay and Paul Foundations, as well as numerous space grants, fellowships, residencies, and commissions.
Trained in classical ballet, modern dance, art history, and analytic philosophy, Jill Sigman has been making dances and performance installations since the early 90s. She founded jill sigman/thinkdance in the same year she received her Ph.D. in philosophy from Princeton University. Sigman was a re-performer in the work of Marina Abramovic at MoMA in 2010, and is currently at work on The Hut Project, an exploration of issues around waste, sustainability, real estate, and home through the creation of a series of site-specific structures made of found materials.
Tattfoo Tan’s art practice seeks to find an immediate, direct, and effective way of exploring issues related to the individual in society through which to collapse the categories of ‘art’ and ‘life’ into one. Through the employment of multiple forms of media and various platforms of presentation, Tattfoo promotes group participation between himself and an ‘audience’. Within this collaborative practice, both minds and bodies are engaged in actions that transform the making of art into a ritualized and shared experience. In keeping with the spirit of this transformative act, Tattfoo prefers to develop projects that are ephemeral and conceptual in nature. Tattfoo’s work has been shown in various venues and institutions including; Queens Museum of Art, Lower East Side Tenement Museum, Artisphere, The City of New York Department of Cultural Affairs Percent for the Arts, Lower Manhattan Cultural Council, The Center for Book Arts, Bronx River Art Center, Jamaica Center of Arts and Learning, Aljira – A Center for Contemporary Art, Project Row Houses, and The Laundromat Project. He has been recognized for his effort, service, and artistic contribution to the community and is proud recipient of Proclamation from The City of New York. He is also awarded the Twenty-Eight Annual Awards for Excellence in Design by Public Design Commission of The City of New York for his design and branding on the super-graphic at Bronx River Art Center.
Trade School is an alternative school that runs on barter. Students pay for classes with barter items like food, artwork, and services — not money. Trade School started in New York in 2010 and has grown into a network of over 25 self-organized Trade Schools around the world. Trade School New York has expanded as well, and is now organized by the following collective: Aimee Lutkin, Christhian Diaz, Louise Ma, Rich Watts, Caroline Woolard, Or Zubalsky, Megan Snowe, Lydia Dresser, Alex Velozo, and Rachel Steinberg. Trade School is open when space is donated or bartered with Trade School. Previous venue gifts/exchanges have come from Grand Opening, a closed Catholic school, General Assembly, Cuchifritos, the Whitney Museum, and the Museum of Art and Design. Trade School New York is currently seeking a permanent location.
To sign up for classes at Trade School, go to http://tradeschool.coop/newyork.