alix piorun – brooklyn spaces

chicken hut

oriana on 18 May ’15

[I’m counting down to the release of the Brooklyn Spaces book by doing one mini-post per day, sharing teasers of some of the places you’ll find in it. This is the last one—the book is out tomorrow!]

neighborhood: bed-stuy | space type: living space | active since: 2000 | links: n/a

In a Brooklyn that gets more sanitized every day, there are still a few wild holdouts, and the Chicken Hut is one of the last men standing. “This is our reckless abandon studio,” says Greg H., who started the space with fellow woodworker JPL in the attic of what was then a working feather-processing factory. “It’s our home and the place where we’ve done every crazy fucking thing we’ve ever thought of.”

Chicken Hut bedroom [pic by Alix Piorun]

For fifteen years the Hut has been home to a revolving cast of more than 80 artists, builders, and renegade makers, from puppeteers to sculptors to luthiers. The space serves as an archive of their creations: robotic aliens, giant rubber sea creatures, and papier-mâché animal heads. Over the years the space has hosted art salons and open studios, as well as fundraisers for fellow artists, like Swoon and the Swimming Cities crew. And then there are the bikes. Chicken Hut is the unofficial clubhouse for the New York chapter of the mutant-bike-building group Black Label Bike Club. They’re also responsible for the annual freak-bike bacchanal Bike Kill, one of the craziest street parties of the year since 2002.

Chicken Hut founder Greg H. at Bike Kill 2014 [pic by Alix Piorun]

The Hut is also notorious for its parties—the crew throws a half-dozen jubilantly anarchic bashes each year, and each event contains many worlds: a dance floor helmed by housemate DJ Dirtyfinger here, a thrash metal band playing over there, a dirty marionette show down the hall, and a barbecue on the roof—with some 600 people bouncing back and forth among them.

Filthy Savage plays a wild party [pic by Walter Wlodarczyk]

The Chicken Hut is one of the longest-running underground outposts left in Brooklyn, a boisterous patched-together family that feels increasingly out of place amid the neighborhood’s myriad new condos and buttoned-up populous. The residents are currently in loft-law proceedings, and if they win, the building will be brought up to residential code and they’ll be granted the right to stay. “If I can’t live in this place, there’s no way I would stay in this city,” Greg says. “The grit and character this city is globally renowned for is just gone.”

Want to learn more about the Chicken Hut, and 49 other incredible Brooklyn Spaces? Buy the book!

royal palms shuffleboard club

oriana on 12 May ’15

[I’m counting down to the release of the Brooklyn Spaces book by doing one mini-post per day, sharing teasers of some of the places you’ll find in it.]

neighborhood: gowanus | space type: recreation | active since: 2013 | links: website, facebook, twitter

As soon as Royal Palms owners Ashley and Jonathan walked into a former die-cutting factory on the Gowanus Canal, they knew they had to make the shuffleboard club they’d dreamed about. “We just plunked down our life savings and started figuring out how to make it happen,” Ashley says. They worked on it for two years, spending a long time raising money, including a Kickstarter campaign for the actual courts, which raised more than twice its goal. “That gave us a lot of confidence,” Jonathan says. “It showed us how many people were excited to support this idea, to make our passion project their passion project.”

pix by Alix Piorun

As they’d hoped, the somewhat archaic game, long relegated to retirement homes and cruise ships, is doing swimmingly in Brooklyn. It’s the perfect intersection of nostalgia, novelty, and challenge, plus it’s a very social game that you can play with a drink in your hand. “Shuffleboard takes a minute to learn but a lifetime to master,” says Ashley. “It’s hard to be very, very good, but it’s also hard to be very, very bad.”

Want to learn more about Royal Palms, and 49 other incredible Brooklyn Spaces? Buy the book!

waterfront museum

oriana on 7 May ’15

[I’m counting down to the release of the Brooklyn Spaces book by doing one mini-post per day, sharing teasers of some of the places you’ll find in it.]

neighborhood: coney island | space type: nonprofit museum | active since: 1985 | links: website, facebook, twitter

In 1985, David Sharps—a self-taught and then Paris-trained juggler and clown—bought the Lehigh Valley Railroad Barge No. 79 for $1. At the time, the 1914 cargo ship was sunk eight feet deep in the mudflats of Edgewater, NJ, and it took David two years to remove 300 tons of mud from the hull, restore the barge, and get her floating again.

pix by Alix Piorun

By the mid-1980s, the barge had become a floating nonprofit museum. In addition to displays about maritime history and the story of this ship in particular, the Waterfront Museum is filled with artifacts—signboards, tools, lanterns, fittings, barrels, foghorns, bells—the majority of which has been donated by fans and enthusiasts.

The museum, which has been docked in Red Hook since 1994, also acts as a floating classroom and cultural programming venue. In twenty years it has brought hundreds of thousands of people to the waterfront, from school groups to tourists, for everything from circuses to lectures to weddings. The Red Hook community board has pointed to the Waterfront Museum as possibly the single most significant factor in bringing people to the neighborhood for the first time.

Want to learn more about the Waterfront Museum, and 49 other incredible Brooklyn Spaces? Buy the book!

freecandy

oriana on 5 May ’15

[I’ll be counting down to the release of the Brooklyn Spaces book by doing one mini-post per day, sharing teasers of some of the places you’ll find in it.]

neighborhood: clinton hill | space type: art gallery & coworking | active since: 2009 | links: website, facebook, twitter

A few years into its stride, Freecandy has become a malleable space for independent creative individuals to convene and showcase their work. By day it’s used for coworking, with creative types building apps, miximg music, managing bands, and designing streetwear; by night the space morphs into an art gallery, music venue, black-box theatre, or whatever the situation calls for.

all photos by Alix Piorun

Founder Todd Triplett’s goal is for Freecandy to bring all different kinds of people together in what he calls “directed serendipity” to see what develops. Todd, whose grandfather was a jazz musician, believes that art and music have the power to change the world, and he wants Freecandy to carry on the cultural legacy of Bed-Stuy, Clinton Hill, and Ft. Greene. “The vibe of this place, the bones, it’s just so authentic,” Todd says. “It’s exactly what I envisioned when I was moving to New York.”

Want to learn more about Freecandy, and 49 other incredible Brooklyn Spaces? Buy the book!

brooklyn historical society

oriana on 20 Jan ’14

space type: museum, nonprofit | neighborhood: brooklyn heights | active since: 1863 | links: website, facebook, twitter

The Brooklyn Historical Society is definitely a bit more conventional than the spaces I usually cover here. But this is a site about exploring everything our borough has to offer, and that doesn’t only mean watching aerialists in a Bushwick loft or riding flaming bicycles in a Bed-Stuy alleyway. And it should also go without saying that Brooklyn is absolutely steeped in history, and that the particular initiatives, accidents, and cultural tides of the past are in large part responsible for making the present what it is.

Othmer Library archives; all photos by Alix Piorun

BHS is a beautiful way to connect with all that. As Programs Associate Meredith Duncan told me, “Sharing the past is so important because it informs what’s happening in the present, and also what will happen to the future communities and culture of Brooklyn.”

Founded in 1863 as the Long Island Historical Society, BHS’s mission is to “make the vibrant history of Brooklyn tangible, relevant, and meaningful for today’s diverse communities, and for generations to come.” The gorgeous building, which turns 150 this year, is best known for its stunning two-floor research library. But after finishing a $5.5 million renovation, the space now features a lot more: four art galleries, an event space for public programming, a classroom for student workshops, and a gift shop filled with crafts from a wide variety of Brooklyn makers.

The four galleries cover a lot of different ground: currently on exhibit upstairs is “Documenting Sandy,” a collection of mostly cellphone pix from the harrowing superstorm and its aftermath; whereas the just-opened exhibit on the main level, “In Pursuit of Freedom,” is a public history project exploring the heroes of Brooklyn’s anti-slavery movement.

"Documenting Sandy" exhibit

The public programming offered at BHS is extremely diverse as well. Some of this year’s fascinating events include: Pat Kiernan in conversation with Gothamist publisher Jake Dobkin, an original musical by the Irondale Ensemble called Color Between the Lines, a lecture on the history of the Gowanus Canal by popular Brooklyn Brainery speaker Joseph Alexiou, a walking tour of the Wallabout Historic District, and the Brooklyn Zine Fest—just to name a few.

And then, of course, there’s the nationally recognized Othmer Library. Its various collections include municipal and administrative records from the villages that eventually became Brooklyn, personal and family papers dating back to the 1600s, genealogies, war histories, several thousand prints and drawings from the 17th century on, and more than 300 oral history narratives. There’s also a photography collection that starts in the 1870s, which includes amateur and professional photographs of buildings, people, and major cultural events, from the building of the Brooklyn Bridge to the 1977 Bushwick blackout. And there’s a large collection of cultural ephemera relating to Brooklyn icons, from the Wonderwheel to the Dodgers.

Othmer Library archives

There’s even a whole room dedicated to maps, as well as a person whose entire job is to catalogue and classify them. The amount of history contained in these maps alone is staggering; in addition to extensive street and lot maps, there are centuries-old Fire Department maps, municipal maps, sewage system maps, transit maps, and on and on. It’s exhilarating to look through them and feel the power of history’s force under your fingertips.

The majority of the collections are available for public use, although you need to make an appointment to view some of it. There are also various online-accessible catalogues—but don’t skip a visit to the marvelous building if you can help it.

"Landmarks of New York" exhibit

You should definitely visit to see for yourself the incredible resources available throughout BHS. In the meantime, sign up for the newsletter, where you’ll get to see Photo of the Week and a Map of the Month taken from the archives. BHS also publishes books, curriculum kits, and neighborhood guides, from Greenpoint to Bay Ridge, some with accompanying walking tours and podcasts.

BHS gift shop

According to Meredith, some of BHS’s future goals are “to encourage more interaction with the greater Brooklyn community, and to become a cultural hub, both for Brooklynites and for tourists.” In addition, they’re hoping increase educational initiatives; through donations and grants, schoolchildren can visit for free, so they’re working on expanding outreach to teachers who could take advantage. BHS also works with university professors to help them use original artifacts in their classes. And of course, BHS will continue to be a resource for anyone who, for any reason at all, wants to learn more about amazing Brooklyn.

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Like this? Read about more historic spaces: South Oxford Space, Brooklyn Lyceum, The Schoolhouse, Broken Angel

the cave of archaic remnants

oriana on 20 Nov ’13

space type: art studio & performance venue | neighborhood: crown heights | active since: 2012 | links: facebook

The Cave is a huge basement studio in an artists’ loft building in Crown Heights. It’s a multifaceted space: part performance venue, part rehearsal studio, part gallery, part community gathering space, and it’s inhabited by a collective of musicians, dancers, sculptors, and artists.

all photos by Alix Piorun

Currently the Cave is being used as a set for an immersive dance performance called “The Cave: Archaic Remnants and the Methods of Transfer.” That name encompasses the space (the Cave), the dancers (Archaic Remnants), and the musicians (Methods of Transfer). The set, sculptures, and installation were designed by Laura Cuille, and nearly a dozen artists contributed music, dance, choreography, and more.

There will be one final performance of this unique site-specific piece on November 21st—buy tickets here. But first read my Q&A with Laura and two other contributors, Don and Arielle.

brooklyn spaces: Laura, how did the idea of this performance come about?
Laura: We all came into this space a year ago, and there was already music going on, and visual arts, and movement, but it was really loose and divided. At the time I was making life-size sculptures, and the idea of working with music and dance was in the back of my head. I was actually looking for a different space to install the sculptures, but then I realized I could put them here. So I started building the set and it just clicked that this was something we could all do together and all build off of to make it a whole.

brooklyn spaces: Don, how did the music come together? Were you inspired by the sculptures?
Don: We were collaborating together but separately, if that makes sense. The energy of creation ended up bringing our practices to a solid line instead of two parallel lines. Laura and I are kind of the same, as far as the way we work. I’m the audio version of her.

brooklyn spaces: Arielle, what’s your role?
Arielle: I’m behind the scenes, helping. I’m like the host.

brooklyn spaces: How would you describe the show to someone who hasn’t seen it or will never seen it? What are you trying to evoke with the performance?
Don: I would call it a Pompeii cave sculpture with visual stimulation and movements to cinematic music. It’s not that I wouldn’t call it dance, but I think it’s a little different. It’s almost like live shadow puppets feeding off of the music.
Laura: I think the theme is really universal. I was reading Carl Jung’s The Red Book while I was working on this piece—I’ve always been inspired by music and literature to drive me in my art. And I’ve always worked with the human figure because that’s all we can really perceive of. With the Cave it came to me like a spark, because I was just dealing with raw human emotion and psyche and all the things that are at the root of what drive us and have not changed in the history of human existence. All the other shit in society is basically just decoration and different ways to confuse what’s actually driving us, which is really raw and primal. The symbol of the Cave, and then the dance and the music—it explores all these themes, the primal human condition, confusion and pain and all these things, and accepting it more than trying to find a conclusion to it.

Arielle: Piña Bauche’s dance troupe describes themselves as a “theatrical dance company,” and they use that notion of theatre. There’s something so cinematic about the music in this piece, there’s a sort of theatrical interpretation of movement, symbols that come across with the sound as a sort of shadow and reflection of the dance. And the music, it feels like a movie score. The way it builds and falls is really cinematic. And also, the idea with this piece is that you stay in the Cave, you never leave it. After most performances you leave a space immediately, so whatever experience you’ve had or however it’s affected you, you take it with you, alone. But for this, we’ve brought other artists and musicians to continue performing after the performance, incorporating the vibe or energy from the show. That way, for the audience, whatever feelings you’re having, you don’t have to be isolated with them and you don’t have to just leave. So this isn’t an isolated performance, it’s a performance within a context, within a space, and within what’s to come afterward.

brooklyn spaces: Have any of you ever done a site-specific, multi-faceted performance like this before?
Arielle: No, it was new for everyone involved.
Don: But doing it all this in the space made it really comfortable, almost like playing in my living room. Which is not to say that I didn’t get nervous; I definitely did.
Laura: I agree, the process was so natural. It just moved so easily and so magically.

brooklyn spaces: What are your thoughts on being an artist in Crown Heights these days?
Don: I love it here. I think it’s the perfect blend of people. It’s all ages, and it’s not loud; Bushwick, which I do love, is just a lot louder. People are working really hard all over the place there, but Crown Heights is a little more mysterious, there are all these random things happening. There are a bunch of people doing really cool things right in this building. There’s a dude building boats! Tug boats, like pure wood, cedar and stuff. The people around here are so interesting, and there’s so much passion.
Arielle: This neighborhood is a lot more community based, and a lot less commercial. It just seems so natural.

***

Like this? Read about more unconventional performance spaces: Gowanus Ballroom, Gemini & Scorpio Loft, Brooklyn Lyceum, Dead Herring, Bushwick Starr, Cave, Chez Bushwick

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

wondering around wandering

oriana on 2 Nov ’12

space type: pop-up gallery | neighborhood: crown heights | active: 2012 | links: website

Wondering Around Wandering is a huge, vibrant pop-up art gallery in a former iron-working factory in Crown Heights, run by artist and designer Mike Perry. Inspired by the publication of his monograph (also called Wondering Around Wandering), the gallery was funded through Kickstarter as a way to celebrate the book’s publication while also creating a fun, free space for people to appreciate art and make things together.

All photos by Alix Piorun

The gallery is open during the days—the permanent collection is Mike’s, and there have been several rotating group shows—and there are a slew of free events, like dance performances, drink-and-draws, and zine-making workshops. Coming up is an art salon with Moleskine, a collaging workshop, an animated-film screening, and more. But hurry! The gallery will only be around until November 20.

Braving wind & rain, Jillian Steinhauer of Hyperallergic and I went to hang out with Mike and talk about this crazy project on the afternoon Hurricane Sandy was supposed to hit. (We even made it home in time for last-minute grocery shopping!)

brooklyn spaces: What made you want to do this?
mike: Well when the book came out, it was really exciting and big, and I wanted to do something that was even bigger to celebrate it. I figured I should have a show, but then I started thinking about what expectations I would have for the space: I’d want it to be communal, I’d want it to be open, I’d want it to be free. A friend of a friend works at Kickstarter; her whole job is to find artists who don’t use Kickstarter but should.

brooklyn spaces: What an amazing job.
mike: Right? Just convincing artists that they should make money.
hyperallergic: Artists need that.
mike: Big time. And doing the project that way was brilliant, it really focused my ideas in a way that made this much easier to pull off, because it wasn’t somebody being like, “Here’s some money, figure it out!” I had a plan, there were goals and steps, I knew how to put it all together. When the Kickstarter ended, I walked over here and paid the landlord and started this journey.

hyperallergic: What was the space like when you got here?
mike: It was a total shitshow. I think they’d just been storing and dumping junk in here for like thirty years. So I hired a bunch of people, my brother-in-law came out, friends in the neighborhood, it was very communal. My friend J. is the architect, he makes everything happen. Kevin, who owns a candy store up the street, he’s like the neighborhood electrician, he came and wired everything. My friend Masha, I went to her and said, “I need a producer, someone who can line things up and cross them off the list.” Fiona, who works in the gallery now, first came to interview me for a personal project, and it was one of those days that was just so crazy, I was covered in dirt and I’d had so much coffee, and after the interview she was like, “You need help. Can I come help you?” We have so, so many people, it’s just a massively beautiful, heartwarming experience. We had this huge opening, I think we had 700 people in here. And the next day we came back and regrouped and said, “That was insane. This is just the beginning.”

brooklyn spaces: Does this make you want to find ways to do this all the time, or to never do something like this again?
mike: You know, I’m still not sure. It’s such a major commitment, but it’s so incredibly gratifying. Yesterday we had about a hundred kids in here for pumpkin-painting, and it’s like, this is why you have a space, this is what you should do! But at the same time, it’s really hard for me to go to my studio and do work. Sometimes I wish I wasn’t an artist because I can’t do both, I can’t be the advocate and the creator at the same time.

brooklyn spaces: The only other thing I can think of that’s like this is the Brucennial. Did you take a cue from other big collaborative art shows like that?
mike: Well there really aren’t a lot of galleries or institutions like this. Giant Robot was a great resource but that closed down. Some friends of mine run a terrific space in Greenpoint called Beginnings, but that just opened. There aren’t even that many zine stores anymore, other than Printed Matter. There used to be so many of them and they’ve all gone away because the audience doesn’t invest in them. Making art is really satisfying, and people love art and believe in it, but they don’t do enough to support it. Last year, every present I bought for anybody was art. Because then you serve two people: the person who gets the piece and the person who made it. If creative people don’t support each other, who’s going to support us?

brooklyn spaces: Do you feel that being in Crown Heights has an effect on the space?
mike: That was the exciting part about realizing that this was what I wanted to do: finding something that’s missing in the neighborhood and trying to provide it. I meet new people here every day. The neighborhood becomes more interconnected and more exciting every second. It’s going to be really sad when the project is done.

hyperallergic: Do you know what’s going to happen to the space when you’re gone?
mike: Me and some friends may actually try to keep it, but unfortunately this is not a self-sustaining business model. The space is perfect for right now, but there’s no heat, and we basically ran the electricity from a line off the building next door. In order to turn it into something that’s more than a three-month thing, we’d have to invest some serious cash, get the landlord to agree to different terms, all those things. Which, if it happens, awesome. If not, then you know what? It’s been a great time, and we’ll do something else somewhere else some other time.
hyperallergic: That’s sort of the beauty and the sadness of pop-up spaces.

brooklyn spaces: Anything else you wanted to talk about?
mike: No, I don’t think so. I almost teared up a few times during the interview, so I think it was good.

***

Like this? Read about more art galleries: Invisible Dog, Monster Island, See.Me, Ugly Art Room, #Occupy Art Show, Gowanus Ballroom, Micro Museum, Concrete Utopia, Central Booking, 950 Hart

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

fort useless

oriana on 30 May ’12

neighborhood: bushwick | space type: music & events | active since: 2009 | links: website, facebook, twitter

In a dense (and getting denser!) corner of Bushwick, Fort Useless, a DIY show space housed in what used to be an underground punk venue, is a stone’s throw from the Schoolhouse, Goodbye Blue Monday, the Bobby Redd Project, XPO 929, 6 Charles, and probably a few more I forgot. Although Fort Useless is mostly known for music, they’ve also got a monthly comedy showcase called Spit-Take Fridays, a regular Songwriter Salon, movie nights, dance performances, visual art exhibits, occasional storytelling events, and straight-up parties. It helps that it’s an extremely malleable space, and also that Jeremiah, who runs things, is deeply committed to fostering community, and is happy to turn over the reins to various friends and collaborators who want to put together their own events.

Fort Useless is gearing up for a big weekend during the upcoming Bushwick Open Studios (June 1 through 3), with an art show, a Spit-Take Friday, a live music show, and a Songwriters Salon. Head on over to catch some or all of that, but first read my interview with Jeremiah!

photo by Alix Piorun

brooklyn spaces: What made you decide to do this?
Jeremiah: I’ve been involved with music the whole time I’ve been in New York. I was in a band, Man in Gray, and I got involved with booking shows through that. We didn’t know a lot of other bands, so we tried to coordinate musicians to get to know each other and play shows together, which eventually resulted in us creating StereoactiveNYC. Anyway, we’d played shows at the McKibben Lofts, we’d played shows Todd P produced, and those were some of the funnest shows I’d been involved in. So I wanted to do something like that.

photo by Alix Piorun

brooklyn spaces: What was the first show here?
Jeremiah: We had Sharon Van Etten and a bunch of people I was friends with: Jared Friedman, Gabriel Miller-Phillips, Kristie Redfield, Manny Nomikos, El Jezel. It was just a slapdash sort of thing, but it ended up being one of my favorite shows I’ve ever done in my life. It was an auspicious start.

Sharon Van Etten, photo by Maryanne Ventrice

brooklyn spaces: How would you characterize the music you have here?
Jeremiah: The space sort of dictates that we can’t have a certain type of music, because we’re in a mixed-use building with residences above us, and I try to be as respectful as possible. There’s definitely a loose-knit community of bands that are regulars here, and the great thing about them is that it’s about musicality, the skill of writing songs and performing them. The bands are more about the music than about the scene. But I guess everyone thinks that.

Gunfight!, photo by Alix Piorun

brooklyn spaces: Tell me about some of the other events you have here.
Jeremiah: We have a monthly comedy show called Spit-Take Friday, which is put together by George Flannagan of El Jezel. It’s been really successful. A lot of comics have said they love doing it because there’s always a crowd here that’s here to laugh.

George Flanagan at Spit-Take Friday, photo by Maryanne Ventrice

brooklyn spaces: What else?
Jeremiah: There’s our Songwriters Salon, done by my friend Jared. We have ten or twelve people play three songs each, generally one new song, one old song, and one cover. We encourage performers to talk to the audience in between songs and get feedback. It’s a salon in the old sense of the word, where people are sharing and communicating. One person called it “Songwriters Anonymous.”

Songwriter Salon, photo by Maryanne Ventrice

brooklyn spaces: And visual art, right?
Jeremiah: That’s the newest thing for me. Because comedy, as different as it is from music, there’s sort of a basic similarity. You’ve got to book something, you have to have a schedule, you have to have some sort of organized thing for a night to flow. But art? The way an art exhibit is organized is so backward to me, based on my years spent dealing with musicians.

"120 dB," photo by Alix Piorun

brooklyn spaces: Do you curate the shows yourself?
Jeremiah: I try not to, although I’m about to do my second one. The first one I did was for BOS 2010. It didn’t have a theme, I just wanted to have whatever we could get, get as many people involved, showcase as much work as possible. It was cool and people like it, but it really taught me how not to do a show. The one I’m doing for the upcoming BOS is much simpler. It’s called “XNY,” and it features two artists, Daina Higgins and Bryan Bruchman, who were longtime residents of New York and both moved away to different cities. Daina does photrealistic paintings of urban landscapes, and Bryan is a photographer. I have this idea that once you look at a city like New York, you look at other cities the same way, so I wanted to have their work displayed together and see what that looks like.
brooklyn spaces: That sounds like an awesome idea for a show.
Jeremiah: I hope so. I have a real love for BOS because it’s sort of why I ended up in Bushwick. I’d been to a lot of things out here, but spread out over a long period of time, so I hadn’t really thought of it as a neighborhood. But then I went to a friend’s band playing a showcase during BOS and wandered around the neighborhood, and it made me see Bushwick in a new way.

"120 dB," photo by Alix Piorun

brooklyn spaces: How’d you pick the name?
Jeremiah: My friends’ band, Unsacred Hearts, has an album called “In Defense of Fort Useless.” I love their band, I love that album, and I love that name.
brooklyn spaces: Is it a commentary on how you’re doing something incredibly useful in the neighborhood?
Jeremiah: I mean, I knew that was there, but it’s not why I picked it.

brooklyn spaces: What are some of your favorite shows that have happened here?
Jeremiah: Well, like I said, the very first one was incredible. The Mardi Gras and BOS shows are our biggest. One that I really loved, last spring I had a bunch of friends who had been in amazing bands and were each starting new projects, and we had four of them here—Weird Children, nightfalls, Passenger Peru, and Clouder—all playing their very first show in this new incarnation. It was the most packed this place had ever been, and it really drove home to me that this is such a strong community. And the bands all sounded amazing.

Weird Children, photo by Alix Piorun

brooklyn spaces: What are your goals for the future of the space?
Jeremiah: This may sound cheesy, but Fort Useless is really not about the space we’re in, it’s about who’s doing it. And I’m not sure how much longer we can stay in this space and continue to grow. We’re in no rush to get out of here, but if we find the right thing that we can transition into, that would be amazing. I’d like to be able to vary the kinds of shows we do. Jess Flanagan has curated two dance shows, and they’ve been great, but I would like to have a space where she can put on the show she wants to put on, instead of having to scale it down to fit this space. Also, we were en route to becoming a not-for-profit, but plans kind of stalled. We’re hoping to get that going again.

***

Like this? Read about more music and event spaces: 285 Kent, Vaudeville Park, Gowanus Ballroom, Silent Barn, Monster Island, Shea Stadium, Bushwick Project for the Arts