oriana – Page 11 – brooklyn spaces

micro museum

oriana on 6 Feb ’11

neighborhood: downtown brooklyn | space type: art & events | active since: 1986 | links: website, blog, twitter

I found out about the Micro Museum by accident—I was checking the directions to go somewhere else in the neighborhood, and Micro Museum showed up on the Google Map. What lovely serendipity! The tiny exhibition space on busy Smith Street is intimate and aesthetically innovative, and I spent a while examining and experiencing the art and interactive installations.

Micro Museum, founded by Kathleen and William Laziza, has been around for twenty-five years. This “living arts center” is, according to their website, “dedicated to interactive, media, visual, and performing arts.” It’s a 501(c)3 nonprofit, a Registered Trademark, a Registered Charity for the State of New York, and a founding member of the Brooklyn Cultural Circuit. It’s open every Saturday from 12–7 and only costs $2. I highly recommend stopping by.

Q&A with Kathleen Laziza, Micro Museum’s founder

brooklyn spaces: Tell me a little bit about the museum.
Kathleen: This is our twenty-fifth year on Smith Street, which is pretty fantastic. We do curated programming, classes, media art, performance art, visual art, live events, all kinds of fun things. Our current program is called “Above & Beyond,” and it features exclusively the work of myself and my husband—we’re the founders of the museum. It’s the first time we’ve ever had fully our own exhibit, and it’s been a wonderful mix of extremely fun and extremely scary. The exhibit runs until December 2013, and every few months we’ll add another installation or series of paintings or assemblages or video tapes or whatever. And we invite everyone to come, because it really is for kids of all ages, it has interactive art and things that you can manipulate and manage and experience, and it’s also got visual art and media art, too.

brooklyn spaces: How do you select the art you’re going to exhibit?
Kathleen: We usually have themes, and sometimes we work with guest curators. In 2006 I did a very famous show with Juliette Pelletier from Reflect Arts, called “Circus Surreal.” We did a whole year of curating for it and we ended up selecting forty works, and we had all kinds of live events and media. It was fabulous. In 2007 we chose “Spectrum” as our theme, so all of the shows were focused on a color. We did a program called “Big Ideas”—which was pretty esoteric, I have to admit, looking back. Once we pick a theme, we do national calls for art, but we’re really very community-minded. We often show the same artists again and again, because a lot of what Micro Museum does is create an environment where an artist can grow. There’s a long arc to the development of an artist, and you don’t make a masterpiece every single time, so you need to be in a world that gives you a chance. Was every piece that we’ve ever selected the most amazing, incredible, brilliant work ever? No. But they were often great stepping stones for the industry at large, and some of our artists went on to get accolades and do fabulous shows all over the place. We try to be as inclusive as possible, but we do have an edge to what we show. It would be rare that we’d do a watercolor show; it would be like a watercolor show on acid, you know? There would be some kind of a twist.

brooklyn spaces: I’d like to talk about your relationship with the community, and with Brooklyn in general.
Kathleen: We’ve been here twenty-five years, so we were here before anything. We were here when it was actually dangerous, when there were arsons and murders and mayhem, so we feel very integral to the development of Smith Street. Micro Museum was trendy, because art in general is always trendy, and we were a classic case of going to the edge of where we could afford to be, and the artists came to us. Then eventually the big national chains started to move in, and it really changed the character of the block. Which didn’t really mean a lot to us in the sense that we would have to re-identify, it just meant that we were in a different kind of situation. In the late nineties I went to Columbia University’s Arts Leadership Institute to find out how art works in a commercial environment, and they basically predicted what would happen, although of course I didn’t believe them. They said that Micro Museum would have to work against erasure at a certain point, because everyone around us would become very successful and would forget why they had customers in the first place, why people were showing up from all over the globe. But we’ve always been kind to artists looking for a friendly environment where they could create and be comfortable creating.

***

Like this? Read about more art galleries: Concrete Utopia, Wondering Around Wandering, Invisible Dog, 950 Hart, Ugly Art Room, Central Booking

time’s up

oriana on 31 Jan ’11

neighborhood: williamsburg | space type: community space, skillshare | active since: 1987 | links: website, wikipedia, facebook, twitter

Time’s Up is an all-volunteer, nonprofit environmental advocacy group. They do about 200 themed group bike rides a year, dozens of campaigns, and close to 300 workshops annually. They have been hugely instrumental in increasing bike-riding all over New York City (including helping to start the pedicab industry), and have done great work with community gardens, greenways, reclaiming public space, animal advocacy, deforestation, fracking, and more. They’ve been written about everywhere, from the New York Times to the Indypendent, from the Brooklyn Paper to the L Magazine.

all photos by Maximus Comissar

I took my sister with me to this interview, and, embarrassingly, we didn’t bike. (In our defense, it was snowing like crazy.) But everyone was kind andwelcoming anyway, and we took a tour of the incredible space, and also got to talk to Bill, Time’s Up’s founder, and Steve, a longtime volunteer.

These days, Time’s Up is most known for its focus on biking. According to Steve, “Time’s Up is an environmental group, and biking is very environmentally sound. The mission of the group is to increase cycling to help the environment.” Among a slew of other campaigns, they participate in the mass bike movement Critical Mass, work for auto-free streets and parks, create and maintain ghost bike memorials, offer legal aid for arrested cyclists, and recently began a “Love Your Lane” campaign, designed to make cyclists feel rewarded for bicycling, rather than persecuted or harassed. Their latest action has been to build pedal-powered generators for the ongoing #OccupyWallStreet movement.

To donate to this or any of their amazing work, click the “donate” button on any page of their site. But first, check out my Q&A with Bill, Time’s Up’s founder!

proteus gowanus

oriana on 22 Jan ’11

neighborhood: gowanus | space type: museum & events | active since: summer 2005 | links: website, facebook

The first time I went to Proteus Gowanus, I couldn’t find it. I walked around and around the block, checking and re-checking the address, and getting more and more confused. Finally I peered down a dubious-looking alley just around the corner from where it should have been, and sure enough, there was light spilling from a doorway halfway down. So, word to the wise: Proteus Gowanus is a little bit hidden, but it’s there.

Housed in a box-making factory from the 1900s, Proteus Gowanus is a multipurpose art space with a lot going on. It includes an art gallery with rotating and permanent exhibits, a micro-museum, a library, a reading and study room, an event space, and a collaborative nonprofit boutique of unique publications and “protean objects.” Proteus Gowanus has a broad scope, but all of its disparate parts come together to make a varied, fascinating whole.

Among their exhibits and projects:

The Observatory Room, an interdisciplinary event space that hosts discussions, film screenings, and lectures on a wide range of topics, from Parisian brothels to Italian medical museums to Haitian voodoo to American cartoons. (I’ve been to three Observatory events, and they’ve all been amazing.)
Morbid Anatomy, an outgrowth of the blog by the same name, featuring a collection of books, photographs, ephemera, and artifacts relating to anatomical art, cabinets of curiosity, the history of medicine, death and mortality, memorial practice, arcane media, and other topics.
Hall of the Gowanus, a micro-museum of local curiosities, including old Gowanus maps, pressed flowers from the region, a Gowanus historical timeline, and much more.

Hall of the Gowanus

The Fixers Collective, an idea that grew out of an exhibit in the gallery, which encourages people to bring in something broken, which the collective members make a collaborative effort to restore, mend, repurpose, or enhance.
The Reanimation Library, an almost whimsical permanent collection of outdated, worn, or discarded books.

Reanimation Library

Proteotypes, which extends some of Proteus Gowanus’s shows and exhibitions into the field of printed matter.
dedicated to assembling apparently incongruous ideas or forms to construct surprising yet meaningful compounds and dialogues.
The Writhing Society, a weekly class/salon dedicated to constrained writing.
A study hall and writers space in all galleries and reading rooms. (Membership only $50/mo!)

(photos from the Proteus Gowanus Facebook page)

***

Like this? Read about other micro-museums: City Reliquary, Micro Museum

trees not trash

oriana on 20 Jan ’11

photos by Maximus Comissar

neighborhood: East Williamsburg / Bushwick | space type: community space; guerilla garden | active since: 2004 | link: website, facebook

Who says a space has to be enclosed by four walls, or even have a roof? Trees Not Trash is a guerilla gardening group run by Kate and Cory, a wife and husband team, who are two of the nicest, most dedicated people I’ve ever met. Over the past seven years they’ve appropriated four abandoned outdoor spaces, working to turn plots of land that were hideously overgrown or dense with years of garbage into lovely community gardens and urban oases.

They’ve also requested and received over two thousand trees from the NYC Parks Department, which have been planted throughout Bushwick, and they’ve further beautified neighborhood blocks with dozens of planters that they made from found tires and wood. Kate and Cory involve volunteers throughout the community, including hipsters, of course, but also many neighborhood children, to whom they teach the fundamentals of gardening, often sending the kids home with fresh herbs and vegetables.

brooklyn spaces: Give me a run-down of the spaces.
Kate: There’s four: the little garden by the Morgan Ave L train stop, the big community garden on Bogart, the Jefferson Street garden, and the new one at the Bushwick Library.

brooklyn spaces: What inspired you to start this project?
Kate: We’d been working with the city to get trees put in for awhile, and we’d been thinking about the abandoned lot on McKibben Street. Then someone contacted me and said, “Hey, I rescued these four evergreen shrubs. Can you help me plant them?” I was like, “Yes! We need to do this garden now.” So we climbed over the fence and just started pulling weeds and digging up the soil. It was dirty, dirty, nasty work. The weeds there were taller than most people. We went in there with machetes and did the jungle thing.

brooklyn spaces: Were you worried about getting in trouble?
Kate: I made the assumption that everybody was going to be in support of what I was doing. I figured it would be very difficult to tell somebody not to clean up garbage and plant trees and flowers. I just wanted to improve the neighborhood I was living in. I think that’s one of the things guerilla gardening is all about.

brooklyn spaces: Was it hard to get people in the neighborhood involved?
Kate: We had this incredible group of people who would dedicate their entire Sunday to getting really disgusting and dirty. Even on days when we were going to be touching twenty-year-old garbage, everybody was like, “Yeah, I want to do that!” This is where you live, you know? It was like-minded people coming together and doing something,

brooklyn spaces: How about local kids?
Kate: The Jefferson Street garden became their hangout. All of the kids adopted a tree, and they totally made that garden their own. It’s their stomping ground. Every Sunday at 1:00, there’s kids banging on our door, wanting to plant and stuff, saying, “When are we gardening today?” We grow food there, which was huge for them, because none of them had ever grown food before.

brooklyn spaces: What kind of events do you have in the spaces?
Kate: At the library garden we’re working on doing a reading series, where it’s really beautiful and shady. We’ve really made a little oasis there, at that terrible intersection. Bushwick and Seigel is so oppressive. It’s hot, tons of traffic, no respite from anything, and with projects all around. Which is actually cool, because as we’re working, people from the projects can see what we’re doing, that this revolting little space that was strewn with garbage and filled with rats is now turning into this oasis, and they can go and sit in it. At the community garden, we’ve had garden parties where dressing up is required, and we play badminton and things. We make big pitchers of Pimm’s cocktails, using stuff from the garden, like cucumbers and lavender. We actually got married in that garden.

brooklyn spaces: Did you set out to be a guerilla gardener?
Kate: No, I didn’t really have any idea of it being guerilla gardening when I started. It was selfish as well as community-minded. I really wanted trees, and I wanted other people to want trees. But I never really had a plan, like, “I’m going to wear a bandanna and do this in the dead of night.” It just became that way.

***

Like this? Read about other community spaces: Bushwick City Farms, #OccupyWallStreet art show, Trinity Project, Time’s Up, Brooklyn Free Store, Body Actualized Center, No-Space

cave

oriana on 5 Jan ’11

photo by Jonathan Slaff from twi.ny

neighborhood: williamsburg | space type: performance / art space | active since: 1996 | links: website, tumblr

CAVE, led by video artist/curator Shige Moriya and theater-dance director/dancer Ximena Garnica, is a tiny experimental and alternative art space, one of the longest-running in Williamsburg. Their stated goal is to “maintain an environment that attracts, provokes and supports exchange, generative confrontation and collaboration among emerging and established artists and audiences from diverse cultures and artistic backgrounds.” To this end they hold workshops, performances, commissions, and exhibits, both solo and collaboratory, along with annual festivals and artist-in-residency programs.

In the nineties and early aughts, the space had a broader scope, including visual arts of all kinds, music, dance, and other types of performance. In the last decade, CAVE has refined its focus, and now primarily presents and nurtures innovative varieties of dance and performance art, and has become one of the New York hubs for butoh, a Japanese conceptual dance movement.

photo by Claudia La Rocco from New York Times

Many of the performances and events in the biennial New York Butoh Festival are held here, and CAVE jointly established New York Butoh-Kan, an ongoing intensive training program that brings butoh masters from Japan to give classes and seminars in Brooklyn.

CAVE also offers short- and long-term artist-in-residence programs, and hourly rentals of its dance studio.

photo from www.cavearts.org

Q&A with Bryan, a former CAVE artist-in-residence

brooklyn spaces: Why is it called CAVE, and what is the history of the space from your perspective?
Bryan: Shige Moriya started the space back in 1996 with a few friends. He is the only originator who still lives there. Shortly thereafter he met Ximena, and their loving relationship has conceived of, sponsored, spawned, incubated, and nurtured innumerable beautiful works. I think it was called CAVE just because the space is rather cave-like on the inside. Living there, I liked to fancy it like how I imagined the inside of the Batcave works, you know: over here is where we work out antidotes to poisons, over there is the machine that keeps profiles of the world’s most dangerous people, this is the bulletproofing cloakroom, etc. I should really encourage them to install a firepole.

brooklyn spaces: What drew you to CAVE, and how long did you live there?
Bryan: I saw a performance there many years ago and was mesmerized. Yuko Kaseki took my breath away, and the images of her movements became scorched onto my brain forever. Much later, I was working a boring office job and had spare time outside of my musical endeavors, and was just feeling under-spun, so I answered a Craigslist add for a job with CAVE. It was for a very lowly sounding position, a stamp-licker or something, which was what made me think I could handle it. But after I interviewed with Ximena and Shige, they made me the Workshop Director for the 2007 New York Butoh Festival. This meant that I was responsible for the registration and attendance of over a hundred dancers from around the world, as well as accounting for thousands of dollars of participants’ money and generally making sure the workshops went smoothly. It was daunting, but Ximena and Shige giving more confidence to me than I would have given to myself really helped me to grow. I wound up living at CAVE two separate times, for about eight months each time, between my two trips to Indonesia.

photo from CAVE's Facebook

brooklyn spaces: How did CAVE help you with your art?
Bryan: CAVE helped me with my art inside and out and everywhere in between. Aesthetically, learning about butoh, studying with masters from Japan, interviewing them for my radio program, watching it manifest, soundtracking choreographies… All of these things deepened my aesthetics and helped expand how I understand living and breathing. Meeting people was the other most remarkable impact of living and working through CAVE. One worker there, Claire Duplaniere, told me about a scholarship in Indonesia, and now I am living here on my third scholarship. Another artist-in-residence, Yana Km, found out about one of the same scholarships through me, and now she’s living here too. So things like this have really been life-changing. And it is cyclical. I had the privilege of working with Yuko Kaseki, the first butoh dancer I ever saw perform and still one of my very favorites, on a video I filmed with my band, Bloody Panda. I helped organize a music festival with CAVE two years ago, and artists who met that day are still making recordings together in different contexts. It’s thrilling to think about the potential that such a collective provides.

brooklyn spaces: What were the best and worst things about living there?
Bryan: Living there really makes you become hyper-conscious of how you conduct yourself. You’re a worker and a friend, helping to create art while helping the functioning of this non-profit collective. Personalities can clash. It taught me a lot about how to keep everyone’s best intentions in mind and to always try to show mine, especially after making mistakes.

brooklyn spaces: How does the community respond to CAVE?
Bryan: In an amazing way. CAVE’s loyal audience is responsible for the fact that just about every performance there sells out. I remember once when I was running the box office, I had to console people who hadn’t made reservations to a sold-out performance. “It’s a nice sunset over there on the East River, though, yeah?” Maybe they wanted to punch me, but instead they smiled.

***

Like this? Read about other performance spaces: Chez Bushwick, South Oxford Space, Bushwick Starr, The Muse, Cave of Archaic Remnants

bushwick project for the arts

oriana on 3 Jan ’11

photos in this post by Rachel Lefkowitz

neighborhood: east williamsburg | space type: art & event space | active: 2009–2011 | link: website

Update May 2011. As many know, Bushwick Project for the Arts was also an experiment in radical living environments: all the artists were housed in reclaimed trailers. Though the trailers were meant to be kept under wraps, it became something of an open secret within the artistic community—and the legal one. As was perhaps inevitable, BPA became a target of local law enforcement, and was shut down this spring (in a pretty shitty way) by the city.

Don’t worry about the artists, though; they’re still at it, elsewhere in Brooklyn, coming up with plenty more crazy ideas for repurposing their space, and throwing great shows and parties while they’re at it.

***

The Bushwick Project for the Arts—affectionately (and often pejoratively) known as the Bushwick Trailer Park—is a collective of mostly visual artists, housed in a former nut-roasting factory in an industrial corner of East Williamsburg. The cavernous interior space—an ever-changing work in progress—is used for all different kinds of events, including parties, plays, film screenings, classes, art exhibits, and more. Tucked into corners are a silkscreening studio, a metal and wood shop, a ceramic studio, and even a couple of kilns.

Bushwick Project for the Arts is around the corner from Shea Stadium, Werdink / Ninja Pyrate, 3rd Ward, The Archeron (which used to be Bushwick Music Studios), and House of Yes, among other great spaces.

Like this? Read about more art collectives: Swimming Cities, The Schoolhouse, Monster Island, Hive NYC, Silent Barn

the brooklyn free store

oriana on 3 Jan ’11

neighborhood: bed-stuy | space type: community space | active: 2009–2011 | links: facebook, twitter, tumblr

update: I am really sad to add an update on the closing of this terrific space. In March of 2011, the Brooklyn Free Store—along with the apartment building next door—were burned down. Arson is strongly suspected. The New York Times has an article about the blaze, and kind souls wishing to can donate to the group’s efforts to rebuild.

****

Started by a diverse group of anarchists and activists, the Brooklyn Free Store is an alternative to capitalism. In an abandoned Bed-Stuy lot, the group has assembled a cornucopia of cast-offs, including clothes, books, jewelry, furniture, tools, toys, and more, all gifted by the community. The Free Store is never closed, so anyone can take or leave anything, anytime.

The Brooklyn Free Store at its grand opening, 8/09/10, photo by Alex Maubrey

The Free Store also hosts events, including movie screenings, music performances, and skillshares, which always feature dumpstered snacks for all. The space got a lot of media attention in the few months it’s been active, including articles in the New York Times, the New York Daily News, The Awl, and the Brooklyn Paper.

Due to the results of recent unkind weather, the Free Store has been taking steps to make the space more permanent. They’ve held several “roof-raising” days, and the new structure looks amazing.

photo by Erica Sackin

Q&A with Laurel, one of the founding members of the Free Store

brooklyn spaces: What made you guys start this project?
Laurel: I think everyone had different and overlapping motives. The Free Store is about environmental issues because it reduces waste. It’s about mutual aid and building community because everything is free and the store is open to anyone and everyone. It’s about anti-capitalism because there’s no money involved. It’s about anarchism because no one is in charge. This may sound like a contradiction, but it’s also about leadership, because everyone is invited to take on any aspect of the project—we don’t seek a world without leaders, we seek a world full of leaders.

brooklyn spaces: What made you want to get involved?
Laurel: To me the Free Store is a proactive positive solution to some of the things I dislike about our society. It’s a participatory example of one alternative to capitalism, a gift economy. We shy away from terms like “donation” or “barter” or “trade”; a gift economy means giving what you have to give, and taking whatever you want or need. On paper this may seem problematic, because the assumption is that people are greedy and will just take and take, but as we’ve seen over the last few months with this project, that’s not the case at all. There’s never a lack of new items in the space.

brooklyn spaces: What has been the response from the community?
Laurel: Better than we could have imagined! This is an anarchist project, so we didn’t want to be “in charge.” And the neighbors immediately embraced the Free Store as their own. People come and tidy up, take out the trash, decide what should be put where and what should be discarded. I often hear people saying that the neighborhood feels much better now that the free store is here. Even the guy who technically owns the land has been by to say what a great thing we’re doing.

brooklyn spaces: So does the space run itself?
Laurel: For the most part it does. For the day-to-day maintenance, my friends and I don’t have to do much of anything, unless we feel like it. But for larger issues, we do sometimes need to step in. When the “roof” (which was just a tarp) collapsed during the blizzard, it was clear that there was a major problem that was bigger than an individual could or would fix. So we got a group together to come in and build a permanent structure out of wood from pallets that were gifted to us by Home Depot. More than a dozen of us came out in the freezing snow for the “roof raising,” and several more people we didn’t even know came in off the street to help, motivated only by their common belief in the project, which was a really empowering thing. This whole project has been extremely educational and personally fulfilling, watching my philosophies come to life, and it gives me great hope for humanity and the future.

***

Like this? Read about more activist spaces: No-Space, #OccupyWallStreet art show, Time’s Up, Trinity Project, Trees Not Trash, Books Through Bars, Boswyck Farms, Bushwick City Farms, Film Biz Recycling

bushwick music studios

oriana on 3 Jan ’11

neighborhood: east williamsburg | space type: music venue | active: 2009–2010 | links: myspace, facebook

Bushwick Music Studios was an underground music venue in the heart of the East Williamsburg Industrial Park. It was totally unfussy—just a tiny bright blue windowless room in a nondescript warehouse, with a handmade balcony for the soundboard, DIY lighting, and a makeshift bar selling Four Loko and PBR. But during its yearlong run, it became one of the staples of Brooklyn’s underground music scene, packing in over a hundred sweaty kids on most nights. BMS’s early shows were block-wide, all-night affairs, with music blasting from several adjacent unoccupied warehouses.