LAND GRAB ONLINE seeks to display artworks that explicitly address the naming and claiming of space.
What does it mean to claim a piece of land today? Is it legitimate to desire a place of one’s own? As real estate prices skyrocket throughout the world, it is increasingly difficult to retain a space and place.
LAND GRAB ONLINE welcome submissions including - but not limited to - issues of land ownership, real estate acquisitions, squatting on private or public property, citizenship and colonialism. The projects included for this online showing need not occupy actual space; they can also exist as virtual projects or as ideas for projects that may or may not be feasible in a physical location.
Among other questions, LAND GRAB ONLINE aims to consider whether the possession, occupation or designation of a site alters the place itself. The project also aims to ponder what the place of art is in an increasingly global world where artists, like many others, are more and more on the move. Might some artists and artworks contradict such a tendency, perhaps expressing the desire to instead linger, settle and stay put?
LAND GRAB ONLINE is part of the project LAND GRAB - culminating in an exhibition at the renowned art institution APEXART in New York City (Nov. 7 - Dec. 22, 2007). In the months leading up to the physical exhibition, the curators are seeking online submissions for LAND GRAB ONLINE - the virtual counterpart to the onsite show.
A planned LAND GRAB publication will include selections from both LAND GRAB and LAND GRAB ONLINE.
LAND GRAB is a project instigated by the curators Lillian Fellmann and Sarah Lookofsky.
APPLICATION INFORMATION
1.) The application deadline for LAND GRAB ONLINE is midnight October first, 2007. (Pacific Standard Time.)
2.) In addition to visual documentation, all submissions MUST include a clear written description of the project.
4.) An entry confirmation will be sent out via email, as soon as proposal and payment has been received online.
5.) The project curators Lillian Fellmann and Sarah Lookofsky will select all submissions for LAND GRAB ONLINE. All selected submission will be featured on wooloo.org, as well as in a planned LAND GRAB publication.
6.) LAND GRAB ONLINE is part of the LAND GRAB project to be exhibited at the non-profit art institution APEXART in New York from November 7 until November 22, 2007. The physical APEXART exhibition and its online counterpart will not feature the same artworks. A planned LAND GRAB publication will include selections from both the physical and online exhibition.
7.) All applications must be made in English through your wooloo account. Please do not send physical material to us, as this cannot be returned.
8.) By submitting an application, you agree that this application and all its accompanying material can be displayed to project curators, as well as any other individuals or groups that Wooloo Productions deem appropriate.
9.) Employees, sponsors and patrons of Wooloo Productions are ineligible to apply.
10.) Wooloo Productions reserves the right to modify the project information and/or rules at any time. Any modifications go into effect the day they are posted and apply to all individuals registered for the project.
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Island Alliance, a non-profit in support of the Boston Harbor Islands; the Berwick Research Institute, a non-profit providing alternative programming and exhibition space for artists who work outside the commercial world; and Studio Soto, an artist performance, screening, exhibit space in Fort Point, invite you to participate in an Artist Encampment on Bumpkin Island in Boston Harbor. This Labor Day weekend, September 1-3, eight artists will have the opportunity to become temporary Homesteaders on the island, where we will be awarding eight plots of prime, arable land...
On July 27, 2006, during a residency at The Center for Land Use Interpretation, we claimed forty acres on the Bonneville salt flats (property managed by the federal government) without firing a shot. We then erected a flag at the center of our newly acquired property
In this project, CLANCCO seeks to investigate current restrictions on the exhibition and experience of contemporary sculpture in private and public property through the use of property law doctrines such as fixtures, trespass, and adverse possession. Through these artistic structures, CLANCCO also seeks to challenge the historical discourse of property ownership through the more recent and nascent intellectual property law discourses.
In this case, CLANCCO found private property locations across the United States and installed sculptural-architectural structures...i
When we encounter the term border, the majority of us automatically turn our thoughts to the boundary between the US and Mexico . It is after all, the most widely referenced border by US politicians and press, and often sensationalized as the epicenter of quite a few of our more challenging national problems. While this project makes no overt reference to any border, it does ask the viewer to define this arbitrary construct.
The Border I & II has been exhibited as part of Reasonable/Unreasonable: A New Normalizing Discourse at both WSU and the Ouch My Eye Gallery in Seattle, WA.
Flyover is a single-channel video work made from a sequence of aerial reconnaissance photographs produced in the mid-sixties to map the Antarctic continent. As rendered in video, the photos fade from one image to the next at roughly the speed that they were taken so as to give a sense of the scale and timing of the flight. The pictures were shot from the bottom of a plane and include in the image itself a record of the time and where the picture was taken.
A public monument has been added to the public space in Reykjavik.
Ren Thilo Funder and Stine Marie Jacobsen have found a lost
story that has been traveling around The Faroe Islands by word of
mouth since before 1944.
The story tells that when Denmark was the occupying power of Iceland,
a volcano island erupted at the shores. It is told that the Danes
sailed to the island and while planting the Danish flag claimed the
island with surrounding water territory to be theirs.
Immediately after the Danes had planted the flag on the island, it
sank into the cold waters with the flag.
Cultivate began as an art project centered around creating a community garden in the spring of 2007. From the beginning, the project was collaborative--many people participated in the planting of the seeds (at an art opening) and were given a chance to participate in the process of the garden (from planting the seeds to creating and planting the garden). There was no chosen spot for the garden to go at the conception of the project. I was intent on having it be a public place where people could come and visit their plants and enjoy the garden itself...
The title Iceberg, right ahead! is supposevly what was screamed out just seconds before Titanic had its fatal collition. I felt it suitable for my project since I believe that humanity sometimes has difficulty of seeing what is right infront of us until it might be too late.
The Artists Park is a public, albeit exclusive area constructed in the Chelsea arts district of Manhattan. Once known solely for its parking lots and similarly static, expansive spaces, Chelsea was created quite literally by the labors of artists. But as the district grew into the famed artistic epicenter it is today, an area that began as an artists base developed into a neighborhood that most artists can not afford to live in.
"Powered By Google" exists as a web application that distorts and transforms the topology of a given location through the user's interaction with Google Maps, the most notable web mapping service. The location becomes an abstraction of place; an agglomeration of maps and logos; the convergence of a site and its mediation.
The piece ultimately questions Google's activity in digitizing, repackaging, and re-branding the globe. It investigates the layers of mediation that operate amidst land informationalization and visualization...
In forensics, the absence of something can signify its presence. As reported in the Times, the chemical stain left by a body amino acids will suppress plant growth for up to two years, allowing a kind of shadow to remain after the thing casting it is gone.
On maps, the edge of a place vanishes and reappears. So do tracks, roads and the original names of things. There are no indications as to actual habitation, climate, degree of violence or calm, or even whether the area is land or water.
In Land Confiscation Order 06/24/T, Larissa Sansour explores the notion of territory as constitutive of not only national, but also personal identity. LCO 06/24/T is a requiem for a small piece of land and a house made of stone. It in turn becomes a eulogy for the dream of viable statehood and exposes Palestinian identity as a block that not only political and cultural, but also geographical factors are chopping away at on a daily basis. And as such, the video investigates the idea of the perception of the self as shaped by restrictions imposed by the other.
The Camp La Jolla Projects are various (mostly public) artist-initiated works on the University of California, San Diego campus that I began in 2006. What follows is a statement about the work itself.
This work addresses my motivations, the historical and geographical context of the information spaces I create as well as some of the broader conceptual concerns.
In a middle class residential area, an artists residence decomposes without hope of finding the financial means for repair.
The property was bequeathed by an architect-philanthropist to be used as accommodation for foreign students attending the Geneva College of Art and has been housing artists for the last 20 years.
The land itself is worth more than CHF 1500000.- on todays property market. Thus the foundation that owns the villa has no choice but to sell.
Lillian Fellmann is a curator and culture critic. The director of White Space Zurich, Fellmann is also currently organizing an interdisciplinary interrogation project on the notion of End/Ending in the hotel Kyjev in Bratislava, Slovakia, which will be torn down in the fall of 2007.
Sarah Lookofsky
Sarah Lookofsky is a critic and curator living in New York. She is an alum of The Whitney Museum's Independent Study Program where she currently works. Lookofsky is also pursuing a Ph.D. in Art History, Theory and Criticism at the University of California, San Diego.
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Opening
Exhibition opening on Wednesday, November 7th 2007 at APEXART.
APEXART
291 Church Street (between Walker and White), New York, NY 10013, USA
