brooklyn spaces – the book!

oriana on 19 May ’14

My darling dears, I’m delighted to announce the most exciting news:

Brooklyn Spaces is going to be a book!

Brooklyn Spaces: 50 Outrageous Hubs of Culture & Creativity will be published by the wonderful Monacelli Press in Spring 2015, and I’ll be writing it this summer.

I want this book to showcase all the most brilliant, bizarre, and beautiful places Brooklyn has to offer. So I’d love to hear from you! Tell me which spaces are the most important to you, and the most important to making Brooklyn what it is today. Find me at brooklynspacesproject@gmail.com, or on the Bk Spaces Facebook & Twitter, and let me know which spaces I absolutely MUST include.

The output on the site will be a bit lean in the coming months, but I’ll do my best to put up a thing or two. And of course I’ll be keeping up the calendar, so please continue to check there for all the most wonderful things to do in our most wonderful borough.

And now, if you’ll excuse me…

pioneer works

oriana on 15 May ’14

space type: nonprofit, skillshare, gallery | neighborhood: red hook | active since: 2012 | links: website, facebook, twitter, wikipedia

Pioneer Works is huge. It’s around 27,000 square feet with 40-foot ceilings, which is just truly, absolutely enormous. The building dates back all the way to 1866, and for more than a century was home to Pioneer Iron Works, one of the largest machine manufacturers in the country.

Prominent Brooklyn artist Dustin Yellin bough the building in 2010. As he told the New York Times, “My crazy dream is to create a kind of utopian art center.” And Pioneer Works is something pretty close to that dream. The nonprofit has several elements, including a massive exhibition gallery and event space (one of the biggest in the city), classes and workshops, a science lab with a powerful photographic microscope, artist residencies, institutional residencies (currently the Clocktower Gallery), a radio show, and a modern art periodical called Intercourse Magazine.

all photos by Maximus Comissar

The events range from open studios to lectures (“How to Fake Your Own Death” is popular and recurring), from Hackathons to concerts, with musical acts like Spiritualized, Ariel Pink, and Omar Souleyman. And the classes are equally varied—some recent examples include “Physical Storytelling,” “The Alchemy of Light,” “From Tesla to the Transistor,” “Homebrew Kimchi,” “NY Theremin Society Workshop,” and “Lock-Picking and Open-Source Security.”

So get out to Red Hook and learn something! But first read the Q&A with David, Pioneer Works’ Director of Education.

brooklyn spaces: Tell me a bit about the history of this building.
David: Okay! I know this because we had a Red Hook history class here recently. It was built in 1866, then in 1871 it burned down, and it was rebuilt in 1872. It was originally Pioneer Iron Works, one of the biggest iron works in the country. After that it was a tobacco-drying warehouse. Then they were doing something manufacturing until the 1950s; whatever they were making was super heavy, so they had this system to move it all around in here, and rollers set into the floor to roll it out the door. And then since the 1960s it was used to store financial records. When Dustin bought it, there was no heat, no running water, minimal electricity. The windows were all bricked up, the floors were wrecked, the staircases were terrifying. It took about a year of heavy work to get it into shape.

brooklyn spaces: I love that uniquely artist vision of walking into a completely decrepit space and saying, “I can see what this is going to be.” It’s like that quote about sculptors, how they look for the piece within the marble and then let it out.
David: Exactly. Dustin was like, “All right, this building is my next piece of art.”

Dustin Yellin sculpture

brooklyn space: How did you become involved?
David: I was teaching high school and really wanted to quit, so when Dustin presented me the opportunity to start a teaching program here, I thought I’d give it a shot. So we started, and it went really well in the summer, and then it went really well in the fall, and then Hurricane Sandy happened, and it just totally knocked us out. This whole building was like shoulder-deep in water. We tried to keep doing classes even though we had very little power and no heat—I bubbled in the classroom, like in ET, just encased it in plastic curtains, and we put in as many heaters as we could without blowing the circuits, but it was still so, so cold. We didn’t get heat until March, so that’s when we finally started doing classes again. Since then, we’ve just been growing and growing and growing.

brooklyn spaces: How would you classify the different kinds of classes offered here?
David: They’re pretty different, but it’s basically stuff that’s either really new or really old. We do cutting-edge stuff like microcontrollers and 3D printing and upgrading the firmware in your camera; those are for artists, designers, software developers, to demystify the process of new technologies that everyone wants to know how to use. And then we do old stuff, like paper marbling, or wet-plate or tintype photography, which is Civil War era. It’s to a similar aim as the newer stuff: giving artists a new vocabulary and a specialized practice.

brooklyn spaces: Do you come up with an idea for a class and then go out and find a teacher? Or do people bring you ideas?
David: Both. The lock-picking class, which is super popular, came about because I saw a lock-picking tent at Maker Faire—although tracking down someone who picks locks for a living was really hard. Then on the other hand, a woman came by the other day who wants to do a bread-baking class. We were like, “But we have no ovens, we have no flat surfaces, we don’t have anything.” And she was like, “It’s okay, we can make it work. How about we cook the bread on sticks over a fire?” We’ll try basically anything if it seems cool and the teacher seems competent.

brooklyn spaces: There seems to be a strong movement in Brooklyn for these kinds of classes and skillshares, as evidenced by the extreme popularity of places like 3rd Ward and Brooklyn Brainery. Why do you think that is? Do people just want to have more hobbies?
David: I think it’s deeper than that. Demystifying processes is so enabling. There’s a huge movement of open-source hardware and software in the tech world, and I think part of that is because we’re so controlled by the companies that make the technology we use. The fact that you can’t just open an iPhone and replace the battery is a conscious choice on their part. It’s not because oh you might do it wrong; it’s to keep you under their control. The open-source movement puts the power back in the hands of the individuals, and I think people are used to that idea now, so by applying that model to education, we’re unlocking it a bit. And I think it’s going to continue to grow.

brooklyn spaces: With so many choices, do you think they’re beginning to overlap? What makes Pioneer Works’ offerings unique?
David: I mean, maybe there’s some overlap with what 3rd Ward was doing, but we have something that they didn’t have.
brooklyn spaces: Integrity?
David: Oh yeah, well there’s that. But also we’re a nonprofit and they were a for-profit, which makes a huge difference. We’re an arts institution; it’s just a very different kind of space. Plus we have the nicest building. Once people come here once, it’s not hard to get them to come back.

brooklyn spaces: Do you think being in Red Hook has had an influence on how the space has developed?
David: Sure. There’s such a strong community here, and a real neighborhood feel, like I’ve never experienced anywhere else in New York. We’re trying to find ways to use this space as more of a community center. At the end of April we did a twenty-four-hour hackathon that was Red Hook themed. Business owners from the neighborhood gave us challenges, and all the tech people competed to make apps to address those issues. Pizza Moto catered the event. I love those guys—after the flood they came down to Van Brunt Street when nobody had any power and just started cooking pizzas for free, out on the street under the police lights.

brooklyn spaces: What are some of your future goals for the space?
David: We’re building a lot of relationships with terrific groups like Invisible Dog and Generally Assembly and Fractured Atlas. We don’t know what we’re going to do with them yet, but we’re kicking around ideas. We’re also starting to collaborate in a bunch of ways with Brooklyn Museum, which is perfect because they want to be linked to a gallery and we want to be linked to an institution. Obviously we don’t want to be a museum, but the way they’re organized and the integrity they have, I think it’s a really great model for us.

***

Like this? Read about more skillshares: Brooklyn Brainery, Exapno, Time’s Up, Ger-Nis Culinary Center, Lifelabs, UrbanGlass, 3rd Ward

silent barn redux

oriana on 17 Jul ’13

neighborhood: ridgewood | space type: music, art, events | active since: 2013 | links: website, facebook, twitter

By now everyone probably knows the storied history of the Silent Barn. The band Skeletons started the DIY venue in their Ridgewood apartment in 2005 (which I profiled back in 2009), and until 2011 it was a raucous, dingy, rollicking good time—and then they got ransacked. Around $15k worth of equipment was destroyed, and then the city came in and evicted them. That probably should have been that, but the Silent Barn launched a Kickstarter, which brought in more than $40k. So they decided to start over, but this time, to be as legit and legal as they could be.

the Husk; photo from Showpaper

Fast forward to early 2013, and the Silent Barn 2.0 opened its doors in Bushwick. The new incarnation is definitely a continuation of the Husk (which the original space is now called), on a much bigger scale. The building itself is a lot lager—three floors and a yard, with eight bedrooms, thirteen roommates, three stages (or more, as needed), an art gallery, a dozen art and recording studios, and on and on. The scope is bigger too; in addition to music shows nearly every night, there’s the Babycastles videogame collective, science art, Aftermath Supplies artist reuse shop, multimedia video art events, a supper club, piñatas, theatre groups, and a whole lot more. And the community involvement this time around is huge: there are about 150 people participating, in various degrees, in the conceptualizing and running of the space. Administration is framed on the metaphor of a kitchen, and there are about 60 Chefs, each responsible for keeping a small aspect of the Barn going. It’s all volunteer, all consensus, and all making it up as they go along. It is, I think, pioneering a new way to do DIY—intentional, flexible, transparent, and innovative. (Want to join in the fun? Go here.)

Here’s a short Q&A with Katie, the Press Chef, and below that I asked two questions of a dozen different Barn members: 1) What’s your favorite event you’ve participated in here, and 2) Why, out of all the myriad ways you could be spending your time, is Silent Barn where you want to be?

brooklyn spaces: From the structure of the collective to the special vocabulary to all these working groups—did that evolve spontaneously as you figured it out, or was there a model you were working from?
Katie: We’re making it up as we go. We have weekly Kitchen meetings with all the Chefs, and part of that is Stew, which is all our discussion topics, whether it’s what murals are coming up or how to deal with conflict resolution; everything goes in the Stew and we work it out together.

all pix by Alix Piorun unless noted

brooklyn spaces: I love that. I feel like this space is really breaking new ground in a lot of ways, sort of changing the meaning of DIY in Brooklyn.
Katie: Well, there’s a responsibility here. Places come and go, you know? When the Husk was ransacked, we had such a huge reaction from the community, so it was our responsibility to do things the right way. After the Kickstarter, we could have re-opened the next day—and then probably gotten shut down again. So we decided to focus on longevity. I think we’re really on the right path. People always try to define DIY; we’re still doing it ourselves, we’re just doing it differently. It’s not like we’re trying to change the model for other spaces; this is just what we have to do. Plus look at this! This place rules! This never would have happened if we hadn’t taken the route we took.

Martha Moszczynski’s painting and piñata studio

brooklyn spaces: What are your thoughts on the neighborhood? What’s it like being in Bushwick now, especially after having been in Ridgewood?
Katie: We’re really trying to make ourselves an asset to the neighborhood. We go to community board meetings every month. We want people to know us and recognize us, to know that they can come to a show or book a show or play a show or put up some art. We really want to find new ways to integrate with the community and make our presence a positive thing.

***

brooklyn spaces: What’s your favorite event you’ve participated in here?

Katie: I like the ones that seem to be holistic Barn, like when there’s a house show and a complimentary show downstairs. Like the Modular Equinox, which took place in every single room. It was really neat to have that kind of foot traffic everywhere, even in the “private” areas.

Tricia: Lani’s birthday party. We had been holding our breath waiting for a liquor license for so long, and I think that was the first show where we’d really come into our own. It was this giant wild night, everyone went crazy, just the whole Barn partying.

Joe Ahearn (Showpaper): This question never gets easier. I’ve seen / thrown / taken part in easily over a thousand shows at Silent Barn! My favorites are those that come out the blue from old friends, the ones that have strange challenges, the ones with moments that feel like magic, the ones that somehow discover a new way to use a place that thousands of bands have been playing with for years.

zine library

Mila (website): I trust that if I show up on any given night, I will see something intriguing. One evening that stands out is the Public Meeting we had in May,“Women in DIY.” It was amazing to see the room filled with women who have done really extraordinary things. It felt supportive and positive, inspiring and motivating, to be a participant in this community.

Theresa (Internal Events Chef): The Wild Boys Immersive Party, which had performances, dream machine, food, piñata, art, community costumes, etc.

another living room; sometimes transforms into the Hawkitori Dinner Club

Larissa (Paesthetics Octopus): No offense to the events (and I’ll give another shoutout to that Modular Solstice night when there were three completely different events going on simultaneously), but it’s the times in between the events and the things that happen because events are going on that I most remember.

Arielle (Aftermath Supplies): My favorite events are the ones I don’t show up for on purpose. I’ll be working in the shop or my studio and there will just be someone singing their heart out or the most nasty thrash band totally destroying. I stumble into the show room with total awe and appreciation of what’s going on and that I happen to be there to witness it.

Deep Cuts (barber shop + record shop)

Nathan Cearley (Dark Cloud Chef): On the one hand, I really love the Modular Synthesizer Solstice and Equinox shows I curate here, because I always include so many individuals who are part of the community and have such crazy visions about weird electronics. On the other hand, I really love our weekly administration meetings because it’s crazy how much we get done for a group with no traditional top-down hierarchy. Both “events” speak to the possibility of surprise still existing in such a dead, predictable, monotonous society.

***

brooklyn spaces: Why, out of all the myriad ways you could be spending your time, is Silent Barn where you want to be?

Brandon: I used to do house shows in Michigan, and the intimacy and humanity of that scale of cultural happenings was really important. When I moved to New York I was so depressed, going to all these crappy clubs where they tally at the door how many people paid for your band. It just sucked. And then I found the old Barn and it was so different. It’s a way to exist in New York and interact with other people on a much more human level.

Gravesend Recordings / Future 86 Recording Studio

Katie: I think that’s what a lot of our answers are, actually. I’m from a small town in Mississippi, where there aren’t any clubs or bars or anything, so it’s only DIY stuff, jamming with your friends, playing in someone’s basement or on the beach or whatever. And I was so depressed when I moved to New York too; I got stuck in this dorm with these people I didn’t get, and the Husk was the first place I felt at home. It’s home and family, that’s why we do it.

Larissa (Paesthetics Octopus): I love working toward the future of Silent Barn along with all these other pretty incredible people who all have such different talents and viewpoints, knowing that I might never had the change to even meet them otherwise.

backyard during Warper blockparty

Tricia: I’m here because I can be. I can’t think of anywhere else that would say, “Hey neuroscientist, come have a space!” Not only can I learn about art and music and DIY culture, but I can collaborate with artists. It’s just amazing to do science and art in the same space. And to show it to people who want to see it!

Theresa (Internal Events Chef): Being here lets us work with a bunch of people who are good at things we’re not good at. For a recent show, Martha made a huge dick piñata for us. It would have taken me ages to figure out how to make a dick piñata! There’s so many skillsets here. You can just email the Kitchen saying, “I need this weird thing. Does anyone have it or can anyone do it?” and you get three emails back saying, “I can do that!”

another living room; paintings by Devin Lily, photography by Nina Mashurova

Arielle (Aftermath Supplies): The constant friction and motion of interacting with people, art, life, and general day-to-day bullshit, like emptying trash cans or drinking coffee and sharing “that time I puked” stories over a taco. Navigating a place that is a whole made up of parts, and all the interesting drama that brings about, while ultimately having a community of people who’ve got your back. A second place to call home, to take creative refuge in.

One the living rooms; art by Lena Hawkins, Lani Combier-Kapel, Jen May

Lani (Volunteer Chef): It’s easy to get wrapped in bar culture here, or to just go to a show and leave to go home, fall asleep, and go to your 9–5 job. That’s not the life I’m interested in; I want to be immersed in the art and music that happens here. Being involved in Silent Barn satisfies a part of my personality that helps me grow as an artist and musician.

Eli (Art Chef): Silent Barn is an excellent experiment in joining art, life, and politics. We’ve managed to corral so many brilliant people and force their conflicts and concordances into creating something with the potential to be truly new and exciting.

Nina (hosts Phresh Cutz): It’s this great community environment that really supports experimental ideas or any kind of creative thing. My whole life, the events I’ve really enjoyed and been inspired by have been in community-based creative art spaces like this, so it’s really great to support that and help facilitate it by giving people space to do what they want to do.

Phresh Cutz, photo by Meghan O’Byrne

Kunal (Babycastles): The thing that’s important is the promise of this strange experiment actually producing something of immense value to the world. Once we get all the pieces solidly in place, a massively successful mechanism of including participation from almost anyone interested, a successful “community-building” pathway for any new voice interested in gathering and growing any piece of culture inside of a stew of culture, successfully extending the value of all this community, strengthening the celebration to our direct neighbors and thereby to the city as a whole as a truly exhaustively functioning projection of the social ecosystem that the world should be, the potential for the thing to be so strong that it continues to channel and nurture and organize new voices in art and communication almost entirely, and finally, some sort of flowering and seeding aspect, where the energy is too much for the small space, and the vision encompassed inside starts to blow up, fly with the wind to surrounding areas, and just take over life in the city itself, and the ideas propagate strongly and successfully. Stuff like that.

Hieroglyph Thesaurus performing

Joe Ahearn (Showpaper): Silent Barn acts as an artistically inclined autonomous zone, where we get to make the rules and share the work we want and are excited by. I don’t think it’s too different than the DIY ethos of other collective art spaces in Brooklyn and around the world throughout history, but I happen to live here and want to be able to participate directly in the culture I consume, and this is as solidly sustainable a way to do so, on my own terms, that I’ve found in New York.

Mila: The Barn is a place where my ideas about what I can and can’t do are constantly challenged. I am constantly forced to reexamine how I think and how I do things, because infinitely more is possible, permissible, and at stake. Plus it feels like family.

Title:Point theatre company’s desk/workspace.

Nathan Cearley (Dark Cloud Chef): I participate in the Silent Barn because it’s giving vitality and substance and life to the concept of constructing our own world—a concept that I find hyper-American but strangely near extinct in this country today. I love experiencing the art and ideas that all these diverse individuals create and, in a broader sense, I love helping to create the space that makes that human freedom possible.

***

Like this? Read about more collectives: Flux Factory, Monster Island, the Schoolhouse, Hive, Bushwick Project for the Arts

gemini & scorpio loft

oriana on 20 May ’13

neighborhood: gowanus | space type: art & events | active since: 2011 | links: website, facebook, twitter, flickr

G&S Glitter Ball, NYE 2013 (photo by Linus Gelber)

For ten years, Gemini & Scorpio have been throwing huge, immersive themed parties, consistently positioning themselves at the forefront of the NYC underground art-party world. Along with a few other beautifully creative affairs—Rubulad, Dances of Vice, Shanghai Mermaid, Cheryl, various Winkel + Balktick shindigs—Gemini & Scorpio curate the most creative, daring, and over-the-top events that Brooklyn has to offer. Whether it’s jazz bands in a Russian banya, a steampunk Burning Man fundraiser, an old-meets-new electro-swing dance party at Lincoln Center, or a New Year’s Eve glitter explosion, Gemini & Scorpio bring together dancers, music, and performers around lavish themes to create unforgettable occasions, party after party after party. And that’s not all: G&S also curate a weekly events listing that is second only to NonsenseNYC for finding the most fantastic things to do any day of the week. Sign up here!

After years of being nomadic, Miss Scorpio found a permanent home for G&S in a repurposed Gowanus woodshop. Now, in addition to lavish monthly parties, the loft hosts lectures, dance classes, plays, photo and video shoots, and more. And after spending months on demolition and build-out of the new space, Miss Scorpio reached out to the community she has provided with so many fantastic experiences to ask for help with the next stage of development of her space—and successfully raised more than $32k through Kickstarter. In the short term, this will mean new floors, walls, and ceiling for the loft, and in the long term it will allow G&S to keep bringing us all the best, most magical affairs—the uniquely beautiful experiences that make Brooklyn the most spectacular place to be.

photos by Maximus Comissar unless noted

brooklyn spaces: Let’s start before this space: tell me how you became one of New York’s most creative party mavens.

Miss Scorpio, photo by Linus Gelber

Miss Scorpio: It was a pure accident that started with a website about online dating. This was ten years ago, when online dating was mostly considered weird and sad, but Miss Gemini and I wanted to show people that it was actually this fabulous thing, like eBay for dating. We thought you should never just do dinner and a movie with your online date; you should do something interesting, so that even if the date sucked, at least you’d have had a cool night. So every Friday we put out a list of unique things to do with your online date, and then we started throwing “singles parties that don’t suck.” Well, they didn’t suck to such a degree that we couldn’t keep couples out! We started with a Valentine’s Day party, then we did one for Halloween, and another one for New Year’s, and now it’s ten years later and this is all I do.

brooklyn spaces: What elements are necessary to make a Gemini & Scorpio party?
Miss Scorpio: First there has to be a theme, something a bit off-beat and unexpected that gives people an excuse to dress up. Live entertainment is another factor that’s really important: there’s generally a whole evening of programming curated to the theme. A G&S party isn’t one you drop into casually on your way to something else; our ideal party guest is one who leaves the house knowing that they’re coming to see us, dresses to the theme, and stays with us for the whole night.

brooklyn spaces: Tell me about some of your favorite parties.

banya party, photo from G&S

Miss Scorpio: I always enjoy the Lost Circus steampunk party, and also the banya parties, which we’ve been doing since 2006. A fantastic recent party was a sci-fi mashup called Cantina at the End of the Universe. It was a Star Wars Day party—I’ve been wanting to do that party for four years, but I had to wait until May 4th fell on a Saturday. One of the headliners was Big Nazo, this incredible alien monster funk band. They played the Masquerade Macabre Halloween party that I co-produced with Rubulad in 2010, which had one of my favorite moments of any party I’ve ever done. Big Nazo was onstage being joined by the five-piece Raya Brass Band, and I was leading a parade from our other party location, headed up by Extraordinary Rendition, a fifteen-person brass band. Big Nazo and Raya were supposed to be done when we got there but they weren’t, so we had like thirty people onstage jamming, along with these enormous alien monster puppets, and the crowd just lost their shit. It was beautiful. [Video of the madness here.]

Big Nazo, photo from G&S

brooklyn spaces: Who are some other favorite performers you’ve worked with?
Miss Scorpio: There’s definitely a family of performers that I book again and again. Sxip Shirey is an absolute genius composer and musician, and every time he plays I’m excited to hear it, especially when he performs with the incredible beat-boxer Adam Matta. The Love Show dancers are wonderful, they combine classical dance training with a cabaret attitude and fantastic costumes. Shayfer James is a terrific dark rock musician who deserves a much bigger audience than he’s getting. Sometimes I take on artists as a personal cause, and keep booking them until people realize how incredible they are.

G&S piano

brooklyn spaces: Have you ever had someone get so big that they outgrow your parties?
Miss Scorpio: Yes! After I booked the Hot Sardines for my Lincoln Center Midsummer Night’s Swing two years ago, their career has exploded and they are now booked constantly. That’s happened with a bunch of circus people I used to book as well. But it’s a good problem to have. I’m very proud of my talented friends.

brooklyn spaces: Okay, let’s talk about this space. How long did you spend looking for it, and what shape was it in when you found it?
Miss Scorpio: Four years of constant searching, and in the end it was a random Craigslist find. The moment I walked in, I knew this was it, even though it was completely wrecked. There was plywood over all the windows, the floor was rotted in multiple places, there were strange pipes everywhere, the ceiling was half rotted out, there were signs of a recent fire. It was terrible.

a few months after move-in

brooklyn spaces: How long did it take you to get it into shape?
Miss Scorpio: First there were two months of just demolition. Everything you see, all the walls, we did it all. We re-laid much of the floor, using wood repurposed from other parts of the space. Once we got bathrooms up—with walls—I knew I was ready to let people in. The first party we did here was Swing House, one of my 1920s remix parties. Everybody loved it, but it was a party in a construction zone.

fixing the rotted floors

brooklyn spaces: Tell me about some of the non-party events you’ve had here.
Miss Scorpio: We’ve hosted a few lectures in conjunction with Observatory that have been great fun. We had one called “How to Trespass” with Wanderlust Projects, and another with my boyfriend, lexicographer Jesse Sheidlower, called “Sex in Dictionaries.” We just had a storytelling event, “I’m Tawkin’ Here,” which was all New Yorkers and New York stories. Brooklyn Swings does a weekly swing-dancing class. We hosted an immersive, participatory version of Midsummer Night’s Dream staged by Shakespeare Shakedown. I’m always looking for people who are doing innovative, interesting things and could benefit from having access to an affordable art space.

Meet Me in Paris Cabaret, photo by Binnorie Artwork

brooklyn spaces: What’s your relationship like within the rest of the underground arts community? I feel like, of everyone I’ve interviewed, you really know every single person in the creative class in Brooklyn.
Miss Scorpio: It’s an extremely tight-knit community. It’s not just me; I think we all know each other. But because I do the event listings, I have a good sense of what everyone is up to. Even if I don’t know someone personally, I can tell you what arc their work has taken over the last ten years.

G&S rooftop view

brooklyn spaces: Last year when you and I were doing Occupy Sandy volunteering together, you told me you once did the listings on your phone from Paris.
Miss Scorpio: Oh yeah. Another time I did them from a tethered connection in an RV on the way to Burning Man. Everywhere I’ve traveled, I’ve brought the listings with me. I consider it my community service, a way for me to give back to the people who trust me and honor me with their presence at my events.

 

 

G&S rooftop art

brooklyn spaces: What advice would you give someone who wanted to do what you do?
Miss Scorpio: I’d say definitely don’t get into it for the glamour! Ninety percent of what I do is spreadsheets and emails. Maybe by 11 or 12 on a party night I’ll finally get to get into costume and have a few hours of fun, but for the most part it’s a job like any other. For me the payoff is conceiving something and then seeing it become a reality.

brooklyn spaces: What are your plans for the future—ten more years of this?
Miss Scorpio: Oh gosh, I don’t know. It does seem like I’m pretty committed to the New York cultural underground, but I couldn’t tell you what will happen in my life in the next ten years. I hope it’s big and exciting.

***

Like this? Read about more underground nightlife: Rubulad, the Lab, Red Lotus Room, Newsonic, House of Yes, Gowanus Ballroom, 12-turn-13

time’s up

oriana on 10 Mar ’13

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

Environmental-activism nonprofit Time’s Up is actually one of the very first spaces I profiled when I started this project. (Read the original post here!) But that was two whole years ago, and more importantly, I just got a new (used) bike of my own from these guys, so I wanted to remind everybody how wonderful they are. They’ve also got all sorts of new initiatives and fun things in the works, so it seemed like a great time to revisit.

open workshop, pic by Eilon Paz

Time’s Up is a volunteer-run direct-action environmental group. Their most visible project is the bike co-op, which does three main things: 1) acquires, refurbishes, and sets people up with terrific, city-friendly used bikes (like mine!) for a donation of about $200; 2) leads bike repair workshops, teaching you how to fix all the different parts of your bike, including one class per week that’s for women and trans only; and 3) opens their doors three nights a week to anyone who wants to use their vast array of tools and talk to their incredibly knowledgeable mechanics while working on your own bike. (Check their calendar for dates and times.) They also hold lots of group bike rides and work on campaigns to support causes like anti-fracking, alternative energy, and safer streets, and they’re working to turn the space into a community gathering spot, with new plans like a bi-weekly movie night.

Read on for my Q&A with Keegan, one of the bottom-liners of the bike co-op and the guy who sold me my fabulous new bike!

Keegan fixing a bike, pic by me

brooklyn spaces: How would you define the Time’s Up mission?
Keegan: At heart we’re an environmental group, and because we’re in New York City, that means trying to find sustainable ways to live in an urban environment. Bike activism is a big part of it, because bicycling is sustainable transportation, and we want to make it so that everyone feels comfortable biking in the city. That means creating safe spaces, like bike lanes, but there’s always going to be a place where the bike lane ends, so we really need the streets to be safer in general. The NYPD needs to be ticketing motorists, and when cyclists and pedestrians are killed, they need to be doing proper investigations. We’re having a ride to advocate for this on March 21—everyone should come join us!

soooo many bikes! pic by me

brooklyn spaces: Where do you get the bikes you refurbish?
Keegan: We buy them in bulk, these Dutch-style Japanese bikes called mamacharis, which means “mother chariot.” They’re terrific city-friendly bikes. They’re upright, with full fenders so you can ride them in any weather, and really good brakes so they’re safe. Basically everybody rides mamacharis in Japan, they’re hugely popular. The government actually tried to ban them, because they thought it was too dangerous for women to be riding with a child on the front and a child on the back and all the groceries too. But the women of Japan rose up to defend their bicycles, and they won, the mamachari didn’t get banned.

shipment of used bikes, pix by Steve McMaster

brooklyn spaces: Tell me about some of the group rides you guys do.
Keegan: We have a monthly moonlight ride through Central Park and another in Prospect Park, there’s a Peace Ride that goes through various peace sites in Lower Manhattan, and we have some goofy theatrical rides, which are also direct actions, like we dress up as clowns and call ourselves the Bike Lane Liberation Front. We crash into the back of cars, like “Oh hey, what are you doing in this bike lane?” and give out fake tickets, stuff like that.

group ride, pic by Rich Johnson

brooklyn spaces: Are you guys part of Critical Mass?
Keegan: Critical Mass is leaderless and worldwide, but we used to help facilitate it in New York a lot, often just by showing up. Sadly, that ride has gotten smaller and smaller due to a massive police crackdown. It’s the same reason they shut down Occupy Wall Street: they don’t want to look like they’re allowing a political demonstration. This last month there were four riders and fourteen police vehicles! So now we do First Friday rides instead—those get forty or fifty people and zero police.

fixin’ bikes, pic by Eilon Paz

brooklyn spaces: How many people are involved in Time’s Up?
Keegan: Our volunteer base is pretty huge, we have about fifteen hundred people. It’s a big, amorphous, fun group. It’s also very much a community.

brooklyn spaces: Do people come here and say “I have a wacky bike idea, can you help?”
Keegan: Oh yeah, ever since Occupy Wall Street, when we built energy-generating bikes to offset the gas generators in Zucotti Park.

energy bikes in Zucotti Park, pic by David Shankbone

brooklyn spaces: You guys used those after Sandy too, right?
Keegan: Yeah, although the bikes that were in Zuccotti were taken by the NYPD and mostly broken. We had three up and running when Sandy hit, and we deployed them right away, on the Lower East Side. When the LES got power back we took them to the Rockaways. We were also doing group rides out there three times a week, delivering goods. Through Occupy Sandy, we got funding to build fifteen more energy bikes, and some of them are still in the Rockaways. The People’s Free Medical Clinic is using two of them instead of getting hooked back up to the grid.

energy bike in the LES, post-Sandy, pic by Margot Julia DiGregorio

brooklyn spaces: How did Time’s Up end up in Williamsburg?
Keegan: We used to be at 49 East Houston St., and we got kicked out of there when the owner sold it to a developer. We were scrounging around for space and we did a direct action in Williamsburg when the Bedford Ave bike lane was taken out, a mock funeral for the lane. We got quite a bit of press for that, and the landlord here, Baruch Herzfeld, who’s a pretty dramatic and funny bike advocate himself, really liked what we were doing. This space was actually previously a bike shop, and he let us move in and take it over.

bike forks, pic by me

brooklyn spaces: Do you feel that being in Williamsburg has had an affect on the space, the mission, the way it’s run, that sort of thing?
Keegan: Definitely. Being here dictated so much of what we did for the first couple of years, because we’re right on the borderline between Chasidic Williamsburg and hipster Williamsburg. When we opened the co-op, we had a shocking number of Chasidic people coming in to fix their bikes, both men and women. It’s really interesting to see them come here and work alongside a bunch of hipsters who obviously have very different values, and then they find out that they’re really not so different: they all want to work on their bikes, they all want to live cheaply and sustainably.

tools! pic by me

brooklyn spaces: Tell me a nice fond memory you have from your time here.
Keegan: It’s all pretty good. After every single workshop I’m like, “Wow, that was great!” I just helped this guy fix his bike who does the programming for the tiny theatre down the block, Spectacle. I also got to help a woman who had been hit by a car. It’s just so much great community building; we all become friends by the end of the night. Every workshop is a terrific experience.

***

Like this? Read more about community spaces: No-Space, Trees Not Trash, Bushwick City Farms, Brooklyn Free Store, The Illuminator, Occupy Wall Street art show, Books Through Bars

body actualized center

oriana on 26 Oct ’12

neighborhood: bushwick | space type: community space, yoga studio | active since: 2011 | links: website, facebook, twitter

Body Actualized Center for Cosmic Living is a new space in Bushwick that has quickly gained a lot of acclaim. A former iron foundry (and before that, briefly, a chicken slaughterhouse!), Body Actualized is now a beautiful, welcoming space with reclaimed-wood floors, a wall of windows, candles and incense, and cushions stacked along the walls. By day it’s a yoga studio offering hatha, vinyasa, and prana yoga, as well as rejuvenation classes, qi-yo workshops, new moon and full moon ceremonies, shamanic astrology, and more. By night it’s a venue for electronic music performances and “chill-out” parties.

photo by Maximus Comissar

Run by a loose collective of musicians, artists, and promoters—several of whom make up Vibes Management—Body Actualized is also known for weekly Cosmic Yoga, which is yoga with live ambient electronic music, and promoting “Healthy Hedonism”: a lifestyle reflected in organic food, community empowerment, consciousness raising, creative opportunities, and spiritual growth. You should obviously sign up for a yoga class, but first read my interview with Brian, one of the founding members.

photo by Angelina Dreem

brooklyn spaces: Did the collective exist before the space, or did the space come first?
brian: Body Actualized has been a group as well as a brand for about three years, since way before we got this space. We throw DJ parties with a cosmic aesthetic, and we did Cosmic Yoga on the roof of the Market Hotel for years. When we found this space we were excited to be able to have our own venue, but slowly it dawned on us that we didn’t want to do just a venue, so we decided to have yoga during the day. The three of us who signed the lease didn’t want to be the only ones doing things, so we called all our friends and said, “Hey guys, we’ve got something really special.” We started having meetings, and whoever kept coming back ended up being part of the founding collective.

photo by Maximus Comissar

brooklyn spaces: Is the collective consensus based?
brian: Yes. Non-hierarchical, consensus based. The one rule is that no one should do anything they don’t want to do, and that way everyone can be happy. We’re more a group of friends with a vision than a business. Having a commitment to radical honesty is really important. Everyone can say whatever they’re feeling, because it’s based in love, and thriving on love comes from mutual understanding.

brooklyn spaces: How do you crystallize the vision or mission of the space?
brian: Right now, it’s not crystallized. We’re just doing what we do. Everyone kind of gets it, but no one can put it into words. We all know what’s appropriate for the space and what falls under the purview of our vibe.

Astral Project Orchestra

brooklyn spaces: Are you guys all into yoga? Are you the yoga teachers?
brian: There are three yoga teachers in the core group, but everyone is into yoga as a way of life. I mean, it’s not some sort of didactic thing; there’s no rules. If someone doesn’t like yoga for a little while, that’s okay; yoga is just a small facet of a larger vibe and intention, just one core element in galvanizing the overall energy of what we’re doing in the larger picture.

brooklyn spaces: Tell me about some of the events.
brian: They’re mostly centered around electronic music. There’s very few guitars; I think there’s only twice been a drum set used in the space. The music plays a huge part in determining the aesthetic of an environment. There’s a whole range of styles within electronic music, and we curate them specifically to hone in on a certain vibe, just like someone would curate an art show. Everything is working on a very subtle level to open the space, to open the pathways for someone’s mind to travel to a different region.

Shawn Devlin O’Sullivan

brooklyn spaces: When I came to my first show here and there were all the cushions on the floor, it was very affecting. It really changes the way you interact with and experience the space.
brian: Yeah, it’s important for them to be “chill-out” parties, because people will feel free. If someone comes here alone, they can still be comfortable, whereas when you go to a bar or a warehouse party, it feels and looks weird to be alone. Here, you could be laying down asleep in the corner, and no one would even take a second glance. It’s like positive nightlife. You’re in an environment that’s clean, a clean welcoming wood floor. No chemicals are used to clean the space; it’s sanitary in its own way. And most people take their shoes off when they come in, which changes the mindset of everyone in the room. When you have your shoes off, you let down your guard, you feel more vulnerable, you feel like you’re at home. This space is kind of an oasis, one that’s much needed in this very hard and often distracted, isolating city. There’s a social barrier in most public places that doesn’t really exist here.

brooklyn spaces: It must attract really interesting people.
brian: Yeah, all sorts of people who think about the world in ways they were not taught in high school. We have both artistic and mystic people come through, people who practice reiki or the use of subtle energies, people who are interested in tarot cards, in astrology. It’s not a party atmosphere; it’s a place for people to come together over a different energy.

Future Shock

brooklyn spaces: How do you feel about being in Bushwick right now? Do you have a relationship with some of the other innovative spaces around here?
brian: Bushwick is just paradise right now, I can’t say enough positive things about it. People are really friendly, energy is high, there’s a lot of great stuff popping up. Secret Project Robot is really cool, the new Silent Barn is going to be in Bushwick. Everything is ending up here. And we get a pretty cool racial diversity at Body Actualized, on top of all the other types of diversity. That feels good.

brooklyn spaces: What are your goals for the future of the space?
brian: About fifteen times as many plants, like a beautiful jungle. Ambient, indirect lighting. Permanent installations that make people think differently about the world through technology. Everything about the space has to be something that no one is doing. Every element has to be an original concept. By doing unique things we can open people up to new possibilities.

Iasos performing at Cosmic Yoga

brooklyn spaces: Are there specific artists you’re hoping to bring in?
brian: Oh, yeah. We have like two hundred artists we’d like to have here. We’ve already had some incredible shows. Franco Falsini just played. For one of our first big shows we had Iasos, one of the founders of New Age music, who has never played in New York City before. That set a great tone and precedent for the music community worldwide. So when I email someone, they’re like, “Oh yeah, I know about that place.” I just emailed Maria Minerva, an amazing Estonian artist, and she was like, “Yeah, I know about the Center.” The sky’s the limit. You can do anything in this world.

***

Like this? Read about more community spaces: Trees Not Trash, Time’s Up, Trinity Project, Bushwick City Farm

bushwick city farms

oriana on 8 Jul ’12

space type: community farm | neighborhood: bushwick | active since: 2008 | links: website, facebook, twitter

The first thing my sister Laurel told me about Bushwick City Farms was that being a volunteer there went a tremendous way toward assuaging her gentrifier guilt about living in Bed-Stuy. “As soon as I unlock the gate, a dozen kids come running out of the housing projects nearby, asking if they can plant seeds, or paint planter boxes, or just play tag in the space,” she said. “And the parents come by every day to thank us for what we’re doing for the community, and for keeping an eye on their kids.” My experience was the same. The kids are so eager to help that we couldn’t do any of the planting ourselves—they practically grabbed the seeds out of our hands. And when I talked to some of the adults in the area—who were barbecuing on the sidewalk, and insisted on giving me a heaping plate of grilled chicken, sausages, and rice and beans—they reiterated how happy they were about the farm as a safe community space.

kids planting (photo by Alix)

Bushwick City Farms is really one of the most beautiful projects I’ve had the pleasure of profiling. Like Trees Not Trash, they’ve appropriated two abandoned lots (so far), and they’ve filled them with fowl—chickens, ducks, guinea hens, even a turkey—and gardens. They’re growing more than fifty different fruits, vegetables, and plants, and the entire yield is given out to the community. They’ve got a small version of the Free Store outside of one farm, where people can take or leave clothes, small appliances, and other household goods. In the past they’ve offered ESL classes in the farms, and the spaces serve as a gathering place for members of the community, as well as an opportunity for food education—one day we were harvesting and passing out arugula, and we watched many people try the spicy green for the first time.

Jason with a bucket of greens (photo by me)

The project is entirely volunteer run, and nearly everything has been donated. They’re always looking for more helping hands, so head on out to see them if you’d like to participate in this incredible project. But first, read my interview with Vinnie, Jason, Aneta, and Laurel.

planters (photo by Alix)

brooklyn spaces: How did this all get started?
Vinnie: My wife Masha, the founder, got permission from the owner of the lot on Broadway to use it as a community garden, and she and the original group of volunteers came in and started cleaning the place out. Shortly thereafter, Jason and I got involved, and other people started helping out, and little by little we started building and expanding. The goal was always to produce fresh, organic food for those in the community, and to provide a space that people could come in and enjoy. We also want to provide food education, to bring people back to basics as far as where food comes from, how to grow and produce it responsibly, and how to eat healthy.
Jason: People are so out of touch with where their food comes from, how food is grown, and what types of food you should be eating.

Jason and Laurel (photo by Alix)

brooklyn spaces: What was the lot like when you got here?
Vinnie: It was overgrown by weeds, and it had been used as an illegal dumping site for years, so it was completely full of garbage. It was a year before it started really looking like something.

Outside the Broadway lot (photo by Alix)

brooklyn spaces: What did you start with?
Vinnie: We had chickens and some container gardens. The garden itself went through a kind of a metamorphosis over the first couple of seasons. We didn’t really know what we were doing; a lot of it was a learning process. We didn’t know about the extent of the contamination in the soil, and we had built smaller beds that didn’t have enough depth to them, which were taken apart eventually.

Inside the Broadway lot (photo by me)

brooklyn spaces: What’s the soil contaminated with?
Jason: Everything. A hundred years of building and collapsing and building and collapsing.
Vinnie: Dumping too. The Stockton lot has been both an apartment building and a gas station in the past, and then it was vacant for two or three decades. It’s basically a landfill; there’s no real soil. It’s mostly cement, brick particles, and garbage.
Jason: There was a tent city, and people had been living in there up until like 2009. Apparently there was a crazy fight, some guy bashed someone’s head in with a shovel, and then there was a fire and their huts burned down, so it was vacant when we went in there.

Planting tomatoes in the Stockton lot (photo by Alix)

brooklyn spaces: When was that?
Jason: Earth Day 2011. We’d had our eye on it for a while, and we just decided to go in and start cleaning it out. We spent a long time bagging up trash, raking up the rubble, cleaning it up. We planted some flowers that first day, and then later we built the fence and got some container gardens started. We just started slowly building it up.

container gardens (photo by Alix)

brooklyn spaces: So you didn’t have prior permission to be in the Stockton space the way you did with the one on Broadway?
Vinnie: No, we just went in and did it. Eventually the manager contacted us. He asked us to write a proposal to the owner, and we did that, and we were given permission to stay. Most people, if they’re not using the land, are pretty open to the idea of community gardens. Or at least that’s been our experience so far.

photo by Alix

brooklyn spaces: What was the reaction from the community?
Vinnie: People loved it, the kids especially. They really love the chickens.

photo by Alix

brooklyn spaces: Where did the chickens come from?
Vinnie: The first ones came from the pollo de vido, the live poultry shop on Myrtle. Since then we’ve gotten more from there, and a lot of the birds have been donated. The turkey was left here on Thanksgiving; we never saw who brought it.

guinea hen & chickens (photo by Alix)

brooklyn spaces: And what about all the building materials and things? Where did all that come from?
Vinnie: We get different things from people in the community: grocery stores have donated produce, gardening companies have given us leftover plants, landscaping companies gave us all the woodchips. There’s a company that ships huge stones, and they have these pallets that are only good for one use, so we get all of our wood from them.

building planter boxes (photo by me)

brooklyn spaces: What all do you have growing now?
Vinnie: Oh, there’s so much. We have spinach, kale, all kinds of lettuce, radishes, carrots, tomatoes…
Jason: Cucumbers, green beans, cilantro, basil, mint, eggplants, a fig tree…
Vinnie: Roses, apple trees…
Jason: Pear trees, peach trees, nectarines, plums, peppers, elephant ears—just tons and tons of stuff.

photo by Alix

brooklyn spaces: And all the food gets donated to the community?
Jason: Yeah. Sundays at 2 o’clock we do distribution, we give out the eggs from the chickens and whatever we’re harvesting that week. The food is given out on an as-needed basis, but we don’t check credentials or anything. We trust people to need what they take and take what they need.

garden behind the chicken coop (photo by me)

brooklyn spaces: How many people are involved in keeping this going?
Jason: There’s a core group of about ten volunteers who come to work here almost every day, but if you include all the kids in the neighborhood and everyone who stops by to help out when they can, we probably have more than fifty people.

photo by me

brooklyn spaces: What are your goals for the future?
Vinnie: Probably by the end of the summer we’ll be thinking about expansion, going into other lots, getting schools involved, doing more educational programs.

photo by Alix

brooklyn spaces: What’s the most rewarding part of this for you?
Aneta: I like that people get really excited about it. People are so thrilled, like, “Wow, I’ve never seen a live chicken before!” That’s really fascinating and rewarding. People are happy, really happy to see this.
Vinnie: It reminds a lot of people of where they’re from, so it’s really nice to see their reactions. And the kids just love it. It’s really great to work with the kids.
Jason: For a kid to see something go from seed to harvest is unbelievable, that’s so cool. And they’re more likely to want to eat what they’ve planted, so we’re planting seeds in a lot of different ways.
Laurel: I think the community-building is my favorite part. Providing a space to bring people together and to meet their neighbors. It’s a diverse neighborhood, and I think it’s great to challenge boundaries and remember that people are people.

photo by Alix

Like this? Read about more community spaces: Time’s Up, Body Actualized Center, Boswyck Farms, Books Through Bars, No-Space, Trinity Project, #OccupyWallStreet art show

flux factory

oriana on 7 May ’12

neighborhood: long island city | space type: art collective, nonprofit | active since: 1994 | links: website, facebook, twitter

all photos by Maximus Comissar (unless noted)

Yes, I know Flux Factory is in Queens. For what it’s worth, they actually started in Brooklyn—in the Monster Island building—and they’re one of the longest-running art collectives currently active. More importantly, though, they are, individually and as a group, terrifically creative, sensationally ambitious, and just unbelievably fun. I change the standards of what I’m going to cover on this site all the time, but the best way to sum it up is this: If I think something is fabulous, I want to cover it. And Flux Factory is fabulous.

some of the fabulous Fluxers

Housed in a converted greeting card factory in Long Island City, Flux has fourteen art studios and a staff of six. That’s around twenty people give or take, and in 2011 they held seventy-five different events (here’s a sampling), including art shows, installations, performances, screenings, workshops, lectures, and more. Everything at Flux is done, per their mission statement, with a “rigorous commitment to the collaborative process.” They have four major thematic group shows each year, involving art, performance, and community events, utterly transforming the gallery space each time. Recently there was “iSpy,” a “participatory collaborative game show” that encorporated guessing games, livestreaming, piñatas, feminism according to World of Warcraft, and tweets from the Flux toilet whenever it was flushed. Before that was “Banquet for America,” a month-long extravaganza that saw the gallery redone as an entire village, with a fifty-foot banquet table-cum-catwalk down the center and each artist manning his or her own shop, “selling” things like donuts and haircuts and feminist karaoke (I meant to sing “I Will Survive,” but I ran out of time). In addition, there are dozens of smaller projects, including educational initiatives, resident solo and group shows, guest-curated projects, Flux Radio, and a monthly potluck. There was a death match debate to discuss how artists are interacting with the #OWS movement. There have been lectures on social hijinx, interviewing skills, and kayak-building.

iSpy

Have I given you a sense of the incredible creativity and diversity of the artists in this group? This is why we live in New York, you guys, or at least why I do: to be able to see and participate in this kind of expectation-thwarting, envelope-pushing, rambunctious creative glee. And listen: the Fluxers are always looking for new friends, new volunteers, and new collaborators, so please, go on up to Queens and check them out. But first check out my interview with Executive Director Christina Vassallo, Residency Director Douglas Paulson, Press & Curatorial fellow Georgia Muenster, and artists Jason Eppink, Adrian Owen, and Richard Nathaniel.

brooklyn spaces: Is there a unifying theme among the artists here? How do you decide who gets to have a studio?
Christina: We’re not focused on a specific genre or discipline. It’s really people who are interested in working collaboratively; that’s our main criteria.
Douglas: Flux is an intentional community, and we rely on consensus-based decision making. The artists choose the next residents, conceptualize and generate the work for the shows, figure out who’s doing the chores. We discuss everything, and everyone has the right to object or bring new terms. Of course, there’s never unanimous agreement on anything, but after a discussion, the people who might not necessarily agree at least feel like they’ve had a chance to be heard. One thing that comes up a lot is the idea of “fluxiness,” which is a word we all know but no one can actually define. It’s the way we describe whatever it takes for someone to endure being part of this crazy mess.
Adrian: I think it’s wrapped up with the idea that we often take on ambitious projects that we’re not quite sure how we’re going to do and then figure it out as we go.
Georgia: Fluxiness to me is a cross between ingenuity and impossibility. And the color green.
Adrian: We want to make sure we’re perceived as professional as well as fun. So that’s part of fluxiness too, knowing that we have the heads behind all these crazy things we’re trying to do.
Jason: Yeah, but also? Fuck professionality. I think it’s more being able to execute what you can and pulling it through somehow. A lot of our peers don’t execute at the level we do. We actually make shit happen.
Georgia: We do so so so much. It’s kind of preposterous how much we do.
Adrian: Getting a fully functional administration rolling has allowed us to produce so much more.

Banquet for America

brooklyn spaces: Do you find any conflict between the organization required and the creative space of doing these sorts of projects?
Adrian: Yeah, that’s what we’re navigating all the time. It’s like herding cats trying to organize artists.
brooklyn spaces: Jordan from Silent Barn said exactly the same thing about musicians. Tell me about a favorite event or exhibit you’ve seen or been a part of here. I came to the opening of “Banquet for America” last month, and it was absolutely incredible.
Christina: That show was particularly fluxy in that it required extensive participation from the artists and the audience, with all the artists’ shops and performances. The more serious side of the show was an anti-capitalist statement about how mom-and-pop shops and independent retailers are getting pushed aside by big-box retail stores. Another show I loved was “Sea Worthy,” which, in typical Flux fashion, experimented with the boundaries of what an exhibition could be. It was in conjunction with the Gowanus Studio Space and EFA Project Space, and Swimming Cities contributed as well. We paired artists with boat builders to make a whole flotilla of artworks, and we brought members of the public around the New York City waterways. Again there was a serious discussion beneath the presentation: The water is the largest open space in New York City, and we wanted to show people that there are ways we can reclaim it.
Douglas: One of my favorites was “Congress of Collectives.” It was completely different from these sorts of spectacle-heavy shows. We invited representatives of more than thirty collectives from the U.S., Europe, and the Middle East, and we set up projects, discussions, panels, and talks designed to explore what it means to work collectively.
Georgia: One of my favorites was “Going Places (Doing Stuff),” our bus tour series, where you’d get on a bus and not know where you were going.
Jason: That’s what I was going to say too!

brooklyn spaces: I didn’t know that was a Flux project. Where were some of the places that you took people?
Jason: This was a three-summer project. The first year I went on three of them, and it blew me away, it totally made my summer. I wasn’t part of Flux then, but when I heard they were doing it again, I had to get involved. My friend Matt Green and I led one called “Quest for Immortality.” First we went to visit the Self-Transcendence 3100, which is a 3100-mile foot race around a single city block, started by the late guru Sri Chinmoy. Then we met Ashrita Furman, who holds the most Guinness World Records, and we set our own records, like “most people flossing their teeth with the same string of dental floss at once.”
Adrian: I beat some fifteen-year-old girl’s record for speed-eating a bag of Skittles.
Jason: Next we went to visit a monument of Crete that this old guy has been building in his yard in Bay Ridge, and then we went to Staten Island and climbed these abandoned liquid natural gas towers. We finished at Lemon Creek State Park, where this guy has been building rock cairns along the beach for about ten years. It used to be this trashy, gross place, and he has completely transformed it.
Adrian: I have two favorite Flux experiences: “The End of the End of the End,” the last show at the previous space, and “Housebroken,” the first show at this one. They were absolute mayhem from a curatorial standpoint, but just so much fun. Every single room had something happening in it at all times. There were like 200 artists involved in each. Every nook and cranny was programmed. It was intense and awesome.
brooklyn spaces: Did you perform or curate or make something for them?
Adrian: My metal band White Limo played both, and at “Housebroken” I sang opera in the shower with the door open and the shower curtain closed, wearing gold trunks. One girl actually pulled back the curtain because she probably thought it was a recording, and she just screamed and ran out.
Jason: Another awesome thing about that show was that everyone was invited to give us something we could keep, as a way to have artists help us finish the space. Most of the artworks that you see around this space came from that show.
Richard: I think my favorite experience is the monthly Flux Thursday. It’s all the people you know and tons of people you don’t, and everybody’s showing work and drinking and talking and high-fiving.
Georgia: Those are potlucks. We love to feed people.
Richard: Also the Greenpeace stuff was dope. We worked with them to sell real estate on top of black coal mountains. Just light stuff, you know.
Adrian: It was the performance-art portion of a project for a coal awareness tour they were doing with one of their Ice Breakers. It was in Chelsea Piers, right next to the driving range. One of our artists got hit by a golf ball.

brooklyn spaces: So when an artist has a studio here, is it only about working collectively?
Douglas: No, everyone here is pursuing their individual art and their own career in one way or another as well.
Christina: Through the years we’ve gotten really good at focusing on the collaborative aspects, and now we’re starting to get better at nurturing the individual simultaneously.
Douglas: Flux used to be a lot of people in their early twenties who just got out of school, but now it’s older, more serious. We had a Fulbright Scholar here, we have career artists. But we’re extremely conscientious about maintaining the existing community. We’ve dedicated one studio to people who have had a residency here already, so there are always former residents coming back. That’s extremely important, and it’s something that we’ve been very conscious of as we’ve transformed to a formal residency program: how to maintain that kind of cohesive fluxiness.

brooklyn spaces: How do you think Flux is affected by being in Long Island City?
Christina: There are so many things we get here that we wouldn’t get anywhere else. If we were in Manhattan we’d just be another group fighting for the same resources and the same eyeballs and audience.
Adrian: It definitely makes it harder to attract foot traffic, though. Queens holds such a stigma—even though it’s easier to get here than to most of Bushwick. It’s like, “Did you say Queens? I don’t know, man.” So that’s a big hurdle.
Georgia: It’s somewhat absurd to me; there are dozens of arts organizations out in Long Island City. Sculpture Center, Noguchi, PS1, Fisher Landau, Socrates Sculpture Park, Museum of the Moving Image…
Douglas: And the fact that we’re not in Brooklyn has allowed us to make our own identity rather than being just another Bushwick space.
Jason: I feel like if we were in Brooklyn we’d be overrun. I think it’s kind of to our advantage that people think it’s not as easy to get here. The people who want to get here, get here. It’s already an awesome, big community.
Adrian: We’re starting to get a few relationships locally. We’ve been here long enough, and people are starting to figure out what we’re up to.
Jason: I love that the people from the neighborhood see us as these crazy art people. We get to be that for a lot of New York. My first experiences of Flux were like, holy hell. This is much better than art. It’s wacky and playful people doing really exuberant things. I actually think that gets back to what fluxiness is. I think that’s sort of our legacy.
Adrian: I totally agree. That’s exactly what happened to me. I had a friend who lived in Queens and I was like “What? I’m not going over there.” And then Flux asked my band to play, so I made the trek—and I’ve been here for seven years. My eyes were opened in a whole new way. I was like, “You can do this?”
Georgia: It’s the same story for me too. The sense of playfulness is just unmatched anywhere else.
Jason: There’s no context for this sort of stuff in mainstream culture. To be exposed to this happening? It’s amazing.

***

Like this? Read about more art collectives: The Schoolhouse, Rubulad, Swimming Cities, Monster Island, The Hive, Arch P&D, Silent Barn

brooklyn brainery

oriana on 12 Sep ’11

space type: skillshare | neighborhood: prospect heights | active since: 2010 | links: website, tumblr, facebook, twitter

Update: The Brainery moved! They got a sweet new space in Prospect Heights which opened in early 2013.

Brooklynites are lots of things. We’re partiers, we’re makers, we’re performers and rock stars and artists. We’re also, maybe most importantly, collaborators. We love to share our knowledge with each other, so naturally skillshare and the “quirky education” movements are huge. There’s lecture series like OCD at Pete’s Candy Store, Nerd Nite and Get Smart at Galapagos, the Secret Science Club, Adult Ed, and everything at the Observatory; plus groups that are dedicated exclusively to hobbyists and experts and those who want to learn from them, like LifeLabs, Brooklyn Skillshare, TradeSchool, 3rd Ward, and, of course, the Brooklyn Brainery.

What Dickens Drank: Historic Cocktails

The Brainery has been getting a lot of press lately—from places like the New York Times, Brooklyn Based, GOOD, and Brokelyn—and deservedly so. It’s a perfectly wonderful idea: pair people who are passionate about a topic—anything from urban forestry to microwave candy to beekeeping to Haitian Creole—with an audience who wants to learn about it. Plus (and very importantly these days) classes at the Brainery are super cheap, as low as $5 for an evening’s worth of learnin’. That’s what I paid for The History of the New York City Subway, an interactive lecture that included tons of fun facts, passed-around books with photos of old train cars and subway graffiti, and of course YouTube clips of subway scenes from Saturday Night Fever and The Warriors. That was my first Brainery class, and I plan to take a whole lot more. You should too; it would be impossible to look through their course list and not see something you find fascinating. But before you click over, check out my interview with Brainery founders Jen and Soma, who happen to be some of the nicest, most animated, funniest people I’ve interviewed yet.

[all pix courtesy of the Brainery]

Designing for Non-Designers

brooklyn spaces: Give me a quick history of how this got started and why.
Jen: I think one of the reasons we started this was to give us an excuse to learn more and research more. Soma and I are both just really curious; we had been going to all these classes and lectures, and it just started getting really expensive.

DIY Sandle-Making

Soma: We were going broke, basically. When you drop $300 on a class, there’s only so many times you can do that before you can’t pay rent.
brooklyn spaces: Yeah, I would say one time.
Jen: I guess we were richer back then.
Soma: What amazing days! So we decided that there had to be a way to offer classes more cheaply. We wanted to take classes on things like welding or shoemaking, but I mean, we’re not planning to become welders or cobblers, we just want to have a fun hobby or learn a little bit about something. And we realized that if you find people who are hobbyists at something—and really, in Brooklyn you can find an expert on anything—they love sharing it with other people. Basically the idea is that anyone can take a class, because it’s super cheap and accessible, and anyone can teach a class, because we all have a teacher hiding somewhere inside of us.

Ethiopian Cookfest

brooklyn spaces: Did you have this space from the start? How did that come about?
Jen: No, for the first year we rented space by the hour at Gowanus Studio Space, just across the canal by the Bell House. They were great, but we really needed a place we could settle into.
Soma: So we raised about $10k on Kickstarter and then spent a long time hunting for a space, because it turns out that in New York, finding a space is probably harder than finding ten grand. But eventually we moved in here, and it’s been great ever since.

Scents & Sensibility

brooklyn spaces: What were some of the earliest classes?
Soma: Man, I taught so many classes, I don’t even know. I think in the beginning I was teaching half the classes. It’s always been the same eccentric mix of stuff that we have now. We had a class about optics, a class about meat, a class about perfume.

brooklyn spaces: So what unites the class offerings?
Soma: It doesn’t matter what the subject is, but we really want everything to be collaborative. Everyone should be talking and it should be fun.
Jen: We don’t want people to be afraid to challenge the teacher or ask a question. People are still sort of in the mindset from college or whatever of like, up there is the person who knows everything and they are transmitting the information to you. But at this point in our lives, there’s no need to do that anymore.

setup for Making Ginger Ale

brooklyn spaces: What’s your background, are either of you teachers?
Soma: Absolutely not. Well, now we are. But no. I have a background in computer science, and Jen has a background in art.

extracting DNA from a strawberry

brooklyn spaces: What are some awesome classes that you’ve taught or taken?
Soma: My favorite class that Jen taught was her weather class. It turned out that the class was full of scientists. Everyone was a scientist, and they did their homework and knew all kinds of stuff and it was amazing. It was like a crystallization of what the Brainery could be in an alternate universe, where everyone in the class is already an expert. And I don’t even know, my favorite class to teach? I teach so much that I forget everything. I teach classes across the board, I teach Thai food and programming and the science of perception, just everything. I love every class I take, too. I will come to any class and be completely riveted by it. I can’t pick a favorite.

Spices 101

brooklyn spaces: How do decide what classes to offer?
Soma: People submit like crazy. We used to recruit people, but now people are always contacting us.
Jen: We’re always looking for new teachers. If anyone has anything they want to teach, tell us!

Soma at the Crawfish Boil

brooklyn spaces: Do you guys do events also?
Jen: Not as many as we’d like, but we had a big crawfish boil at the City Reliquary over the summer. We tried to make it educational, so we did trivia and we had a test, but it was basically just a party. It was really fun. Our newest thing is we’re putting together this club, Society for the Advancement of Social Studies. It’s going to meet at a bar, maybe monthly. We’re not sure what we’re going to talk about yet—labor rights? Triangle Shirtwaist Factory?—but it’s going to be nerdy and amazing. We’re really excited about it.

brooklyn spaces: How do you feel about being in Brooklyn today? Do you think something like this is inspired by Brooklyn?
Jen: Oh yeah, we’re totally a product of our environment. I don’t think we’d be doing this if we lived somewhere else.
Soma: We’re obviously doing a very Brooklyn thing in Brooklyn, I think it’s just hilariously Brooklyn what we do. But we’re totally self-aware and we love it.

***

Like this? Read about more skillshares: Pioneer Works, LifeLabs, 3rd Ward, Ger-Nis, Time’s Up, Urbanglass

the schoolhouse

oriana on 4 Sep ’11

neighborhood: bushwick | space type: art collective | active since: 1996 | links: facebook


According to The Bushwiki, PS 52 was built in 1883 and served as an arts-intensive elementary school until 1945, when it was sold for use as a manufacturing space.

I couldn’t find any information on what happened to it over the next fifty years, but the New York Times steps up to fill in the space’s modern history: in 1996, a twenty-something artist named Erin McGonigle found it listed as a rental in the Village Voice. The building was decrepit and overrun with debris, and Erin and some friends took five months getting it into livable shape. When they started living in the refurbished Schoolhouse they called themselves ORT, an acronym for “organizing resources together.” In 2002 the second floor opened, ushering in the second wave of the collective.

Some artists who passed through in those early years include: photographer David Linton, Yale drama critic Sunder Ganglani, poet Ariana Reines, composer Keiko Uenishi (who works with Issue Project Room), Grace Space director Jill McDermid, video artist Tia Dunn, Smithsonian dancer Samir Bitar, costume designer Kaibrina Sky Buck (who has paintings in the Museum of Sex), trash and performance artist Gertrude Berg, journalist Erika Yorio (who wrote for Nylon), musician Toshio Kajiwara, artist Elliot Kurtz, filmmaker Derek Deems, blogger EV Bogue, and artist Mariette Papic, who gave me a ton of information to help with this piece.

In addition to serving as home for a revolving cast of artists, the Schoolhouse (also sometimes called the Old Schoolhouse or the Old Red Schoolhouse) hosts plenty of events. A small sampling of the musicians who have performed there over the years: Neutral Milk Hotel frontman Jeff Magnum, Verbal Graffiti, Spanish Prisoners, Madame Beak, The Christopher Complex, Zachary Cale, Revival Times, The Asteroid #4, Hollow Jones, and DJ Polarity. Todd P has even put on some shows there.

The artists currently living in the Schoolhouse (there are about twenty spread over three floors) consider themselves the third wave of the collective. They run the gamut of creative pursuits, including photography and visual arts, musicians and DJs, fashion design, jewelry making, screenprinting, and even mobile art. One of the benefits of the space is of course how freaking huge it is, and though many of the bedrooms are kind of tiny, the vast common areas make up for it. I sat down with Justin, Chris, Willy, and Dave to talk about their experiences living and making art in this incredible space.

brooklyn spaces: Were you guys drawn to this space specifically, or to Bushwick in general?
Willy: The space. I’d never lived in Bushwick before, I didn’t really know much about it. I’d been to a few different spaces that were built out and thought they were cool, but I’d never seen anything like this before. You walk in here and you just feel the creative energy. And now I get to come home to it.

brooklyn spaces: Do you feel like being here has affected the way you do your art, the choices that you make thematically or physically?
Dave: Absolutely. A big thing about this space is having people bounce off each other, and inspiring each other to be greater and to dream bigger. How could you not be affected by other creative people? You’d have to be an alien.
Justin: We all have our more and less productive periods, but for the most part, most of us are always working on something. So you go into Chris’s room and you get inspired by what he’s doing, or you go downstairs and see the screenprinting and get inspired by that. And then the building itself, having artists living here for so long, it has this energy that just resonates. It’s a give and take; the more you put into the place and the more you’re doing, the more it really gets energized. But there’s definitely always something going on that you could tap into.

brooklyn spaces: I know in the space’s early years there were some robberies and trouble with community integration. Do you feel like you guys have overcome that?
Dave: Yeah, when we started throwing the block party. Block parties are incredible, every community should do it.
Chris: The block parties are a lot of fun. We do that every summer.
Justin: Everyone in the neighborhood comes out and contributes. This year they roasted a pig.
Willy: There was a giant inflatable water slide. We had the ball-throwing machine where you get dunked.
Dave: We put speakers on the roof, there was a live mariachi band, and then we played old funk records, hip-hop, salsa, Brazilian music, for the block, you know? To show the love and appreciation we have for all art and music. It really makes it safer for the artists who live here.
Willy: Now we know everyone, everyone looks out for each other.
Dave: You have to be a part of the community. You can’t just narrow-mindedly walk past the people who live right next to you. During the block party we open up our home and show people that we’re cool, that we’re in the same struggle. Artists ain’t making a lot of money, you know what I mean? So now everybody sees each other as human beings, and that’s beautiful.

brooklyn spaces: How did you get it started? Did you just go knocking on people’s doors?
Chris: We actually did have to go door-to-door to get the petition.
Dave: Yeah, but it started before that, once we made friends with Sonny. There’s always a hawk on the block who watches, a grandfather spirit, and that’s the person you have to meet and be friends with. It was actually his idea to do the block party. And then we took our strength and went and got the permits to show that we were serious, that we were taking an initiative in the community.

brooklyn spaces: Are you involved with the greater Bushwick art community?
Dave: Yeah. Jason Andrews, who does Norte Maar and Storefront, he stumbled in on one of the music shows here and he scooped me up, and then he showed Justin’s artwork at one of his galleries, so it just all started being interconnected. I performed for the first BOS show at the Collision Machine three or four years ago. I think Arts in Bushwick really started to connect the different spaces, because everybody could come and see everybody’s space and meet each other. We do shows at the McKibben Lofts now, and they come do shows over here. It’s an ongoing artistic explosion.

brooklyn spaces: Do you have any thoughts about being an artist in Bushwick these days?
Dave: I don’t think anybody can take credit for what’s happening; I think it’s universal, I think it’s a sign of the times. This area is just part of that shift. Hopefully it’s the beginning of a greater world, a new belief that we want to get together and be creative again, to be dreamers again. There’s nothing wrong with that. Not everybody’s cut out to be on Wall Street, not everybody’s cut out to be a doctor. Some people just like to fucking paint, some people want to beat on a drum. And we should let that live, not stifle it with overpriced rent and over-gentrification.
Chris: As far as art in Bushwick, I think it’s awesome. I think things like Bushwick Open Studios are brilliant. We need to get more recognition out here. Manhattan’s boring, nothing’s really going on in Manhattan. People still sometimes look at Bushwick and think dangerous, like Bed-Stuy, dangerous, and I think it’s just ridiculous. People hear about us and go, “Oh, a bunch of white kids in the ghetto making art.” Not really, we’re hanging out with our neighbors, we’re doing our thing, everybody’s doing their thing, and we’ve got this beautiful space to show for it.

***

Like this? Read about more art collectives: Flux Factory, Swimming Cities, Monster Island, Hive NYC, Arch P&D, Bushwick Project for the Arts, Silent Barn