Lumarca is a truly volumetric display which allows viewers to see three dimensional images and motion. The system requires only a computer, a projector, and common materials found at most hardware stores. This provides an affordable platform for artists to design compelling content that conveys information, narrative, and aesthetic information in a new way. Lumarca is a collaboration between Albert Hwang and Matt Parker.
The Life Garden is an anti-cancer medicinal and demonstration garden. Currently on display are our first attempts at growing various plants and herbs indoors that commonly need outdoor space in various different climate zones.
Currently in development are an anti-cancer kitchen survival kit, a hydroponic community-based version of the edible parts of the garden, a series of performative nutritional lectures, and cooking workshops combined Alchemy Fun & Development (AFD) activities.
Dying for the Other is a video triptych addressing a situation of shared suffering involving mice used in breast cancer research, and humans afflicted with the same disease. In order to produce this video, da Costa documented scenes of her own life during the summer of 2011 and combined them with footage taken at a breast cancer research facility in New York City over the same time span.
Dying for the Other, is part of da Costa’s Cost of Life project series, currently being developed at Eyebeam and supported by the Creative Capital Foundation.
Sharon Mizrahi, Eyebeam Project Description of Short Film
Make Stuff Get Famous (written and directed by Student Resident Sharon Mizrahi) is a short film in the truest sense of the phrase, capping in at a curt two minutes and twenty seconds. Initially conceived as a plot-based “New York drama,” the film evolved into a non-linear piece laced with rich, nearly literary symbolism. The high contrast, black-and-white videofeatures two male characters (both played by Fellow Fran Ilich) in vastly different contexts. Richard, a suit-clad professional, is heard gently pleading with his son on the phone in Times Square between business calls, and Adrian, an introspective booze-guzzler, delivers impromptu philosophy on the Highline while taking swigs out of a paper bag. Through Richard and Adrian, two sides of the urban spectrum are explored: the iconic “skyscraper-and-lights” glamour, and the comparatively unremarkable lives of those who keep the city running.
The film is punctuated with shots of “the other side” of Times Square: the ordinary slices of life lurking between exaggerated tourist smiles and blaring marquee ads for Domino’s Pizza. A voiceover of Richard pacifying his young son is paired with scenes of frustrated urbanites speed-walking to the subway, cheery Broadway ticket-sellers in outlandish costumes, and ever-present taxicab traffic. Somber-eyed and quietly dramatic, Highline drunkard Adrian provides a bizarre sense of reprieve from the inner-city chaos. In the leafy confines of Manhattan’s miles-long, elevated parks, he gives quaint but poignant reflections on cigarettes and the weather.
Richard and Adrian live in wholly different urban worlds: the former, in the wildly affable core of New York City, and the latter, in the cozy confines of a mock-suburban park. Make Stuff Get Famous initially reads as a stark juxtaposition between high-impact city life and quiet solitude—but perhaps these two extremes are not as foreign as they appear.
Eye To Eyebeam is a series on Eyebeam's residents and fellows. It includes interviews, photos, and other news and is authored by Eyebeam intern Katherine DiPierro. These interactive posts offer visitors the opportunity to learn more about Eyebeam's diverse community of creative practitioners.
Each week, you'll see interviews profiling individual Eyebeamers. Artists who have already engaged in conversation about their projects include:
In the summer of 2011, Eyebeam Fellow Taeyoon Choi organized a tour to South Korean rivers in development with a group of five artists who are also fellows at Eyebeam Art and Technology Center in New York and about ten artists and activists from South Korea. The tour was designed in collaboration with an activist groups “Listen to the city” and lead by environmental activists and local communities, and hosted by Total Museum of Contemporary Art in Seoul. The purpose of the tour was to experience urbanization and river development in first hand and to initiate creative dialogue between international artists and activists to imagine alternative future of our relationship to the cities and natural resources. Through 6 day tour and other events that proceeded over the course of 10 days, the roadshow team learned a great deal about the issue, strategies of participation and the limits of translating cultural context.
Taeyoon Choi is working on documentation in multiple media (Animation and website) that will follow the journey, recreate conversations about issues raised during the tour and personal interests and memories. The document is an artistic research in a sense that the its purpose is not purely political or academic, but artistic in search of creative thought and conversations.
Ruins (Carcinomas) highlights breast cancer’s links to carcinogens in our everyday environment. Depicting fallen urban landscapes over-run with tumors, the pieces are based on breast cancer tumor forms, imaged and “digitally removed” through a special process devised by caraballo-farman, that combines Magnetic Resonance Imaging and rapid prototyping. The grey ‘support material’ used by 3D printers to build up a form is generally meant to be removed. But the artists used Eyebeam’s 3D printer in such a way as to maximize the architectural form of the printer’s support structures and then hacked at the structures to partially reveal the white tumor embedded.
The project was begun at Eyebeam after one of the artists was diagnosed with breast cancer. For most of the 1.3 million women in the world diagnosed every year, the tumor has no image. It’s an invisible malignancy. This prompted caraballo-farman to start their on-going project, Object Breast Cancer, as a way of exploring the tumor’s “image” in various registers.
The project has been supported by fellowships from the Guggenheim Foundation and New York Foundation for the Arts, residencies at Eyebeam Art and Technology Center, the Lower Manhattan Cultural Council and Art Omi, and assistance from Stratasys, Inc and NYU’s Advanced Media Studios. caraballo-farman have exhibited internationally in such venues as the Tate Modern, PS1/Moma and the Yerba Buena Center for The Arts.
Flock House is a group of migratory, public, sculptural habitats that host on underused urban infrastructure as they move with the help of preexisting transportation routes: from barges to flat bed trucks to helicopters, they can easily catch a ride to the next destination while living off and providing for their surroundings.
Commencing in New York City and choreographed throughout urban centers in the United States and three planes of living (subterranean, ground, and sky) the shape and form of Flock House is inspired by current global human migration patterns. Built collaboratively upon reclaimed, redesigned, and rethought materials within a gift culture, Flock House sets out to inspire reinvention of mobile structures in a time when growing urban populations are faced with imminent environmental, political, and economic instability.
Part fantastic and part realistic living, mobile Flock House living systems are both autonomous and dependent on their local community, inhabited by people experimenting with peripatetic existence to reflect our current age framed by global migration, and representing migratory structures as part of an urban ecology.
While migratory birds stock up on energy before journeying, Flock House structures depend on the built environments they land in, as well as the interdependence of human relationships to care for, share amongst, and inspire new ideas. Flock House living systems are bridges for cross-discipline, cross-boundary, and cross-border notions of property and community. Flock House reflects community-interdependence and resourcefulness, learning, curiosity, and creative exploration while fostering flexibility, adaptability, and ingenuity by imagining new notions of perimeter, property, and polity.
Due to a rise in environmental and political risk, dislocation and relocation is an increasing fixture in life and is important to consider and reconcile. The need to move is pervasive.
The FM Ferry Experiment, a project conceived and programmed by neuroTransmitter, will be an eight-day mobile radio project held on the Staten Island Ferry during the fall of 2007. With the collaboration of the New York City Department of Transportation and the FM signal of WSIA-FM, this project will transform the ferry into a floating radio station, continually traveling between Lower Manhattan and Staten Island, and transmitting out to the NYC region.
Through the media of radio and live broadcast performance we are interested in spatially and sonically activating the space in and around the Staten Island Ferry, considering it's architecture, mode of transport, use of public space, and the geographical contours of the ferry's immediate environment as it moves through Upper New York Bay.
Live sound performances, experimental sound works, interviews, and lectures will take place on the ferry and will be transmitted (along with pre-recorded programming) to New York City listeners via WSIA-FM. Each program will run approximately 25 minutes - the time it takes the ferry to complete the commute from shore to shore.
Field Notes on the Life of a Cocoon is the genealogy of a cocoon and its use as a tool to occupy trees and protect community gardens, study canopies and create portable public accomodations. Driving Field Notes is an interest in exploring the potential of open source architecture and expanding hte possibilities of hacked materials. By mapping the multiple relations, contexts and uses fo the form of the cocoon, Forays' installation comprises the field notes of an ongoing project, with the goal of inspiring new uses and articulations of an open-ended tool.