Refuge in Refuse: Homesteading Art and Culture Project
For more than two decades artists, recreationalists, and the homeless have shared the Albany Bulb, a decommissioned landfill peninsula located along the east shore of the San Francisco Bay, creating infrastructure and exploring borders between public and private urban space. The group exhibition Refuge in Refuse: Homesteading Art & Culture Project includes stories, video, photography, painting, sculpture, interventions, and 3D scans reflecting the intersections of urban planning, landscape architecture, archaeology, art, ecology and community at the Bulb.
udith Leinen and Robin Lasser offer an interactive, mobile installation including wall- mounted mandalas printed on metal, sculptural bike鈥搇ike zoetropes (pre-film animation devices) animating portraits of Bulb residents. Lasser鈥檚 film and large scale photography also appear in the exhibition, highlighting the stories of the Bulb鈥檚 residents. Still and moving images depict creative collaborations between Lasser and the former residents as they participate in landfill fashion shows, boxing matches in the Bulb鈥檚 gladiator pit, and Tamara Robinson鈥檚 performance as Elphaba Thropp, the Wicked Witch of the West, melting at Mad Marc鈥檚 castle window.
Other exhibition highlights include excerpts from The Atlas of the Albany Bulb, a project of the U.C. Berkeley Global Urban Humanities Initiative, generously supported by Cal Humanities and the Andrew W. Mellon Foundation. Project director Susan Moffat and collaborating U.C. Berkeley students and faculty are recording the physical, visual and oral history of a place where nature and human culture collide and combine in complicated ways. This group of students of art, city planning, architecture, geography, biology, information design, and contemporary archaeology has worked with Bulb residents to create maps, videos, and self-narrated slideshows that reflect their intimate knowledge of the Bulb.
Barbara Boissevain exhibits two inkjet prints on mylar that illuminate two millennia of the Bulb鈥檚 history in terms of biodiversity and surrounding tidal systems. The work interrogates the human occupation of the bulb and surrounding shoreline, and invites discourse regarding how humans and various plant and animal species may coexist in balance at the Bulb in the future.
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For more than two decades artists, recreationalists, and the homeless have shared the Albany Bulb, a decommissioned landfill peninsula located along the east shore of the San Francisco Bay, creating infrastructure and exploring borders between public and private urban space. The group exhibition Refuge in Refuse: Homesteading Art & Culture Project includes stories, video, photography, painting, sculpture, interventions, and 3D scans reflecting the intersections of urban planning, landscape architecture, archaeology, art, ecology and community at the Bulb.
udith Leinen and Robin Lasser offer an interactive, mobile installation including wall- mounted mandalas printed on metal, sculptural bike鈥搇ike zoetropes (pre-film animation devices) animating portraits of Bulb residents. Lasser鈥檚 film and large scale photography also appear in the exhibition, highlighting the stories of the Bulb鈥檚 residents. Still and moving images depict creative collaborations between Lasser and the former residents as they participate in landfill fashion shows, boxing matches in the Bulb鈥檚 gladiator pit, and Tamara Robinson鈥檚 performance as Elphaba Thropp, the Wicked Witch of the West, melting at Mad Marc鈥檚 castle window.
Other exhibition highlights include excerpts from The Atlas of the Albany Bulb, a project of the U.C. Berkeley Global Urban Humanities Initiative, generously supported by Cal Humanities and the Andrew W. Mellon Foundation. Project director Susan Moffat and collaborating U.C. Berkeley students and faculty are recording the physical, visual and oral history of a place where nature and human culture collide and combine in complicated ways. This group of students of art, city planning, architecture, geography, biology, information design, and contemporary archaeology has worked with Bulb residents to create maps, videos, and self-narrated slideshows that reflect their intimate knowledge of the Bulb.
Barbara Boissevain exhibits two inkjet prints on mylar that illuminate two millennia of the Bulb鈥檚 history in terms of biodiversity and surrounding tidal systems. The work interrogates the human occupation of the bulb and surrounding shoreline, and invites discourse regarding how humans and various plant and animal species may coexist in balance at the Bulb in the future.
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