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To cultivate introspection and connection in a space known for engendering anxiety and detachment, MyNerva variously took the form of an office party, corporate retreat, and collaborative brainstorming session.

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For eight hours, Shannon Finnegan printed two phrases in ballpoint pen: “I should be working more” and “I should be working less.” The result is a surplus of paperwork and a pointed observation about art and labor.

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Animal Estates builds new dwellings for displaced species, inviting them to return to the same cities that drove them out.

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These capsules contain biological elements that speed tissue decay. Part of the Infinity Burial Project, the substance inside presents an ecologically responsible way to deal with death.

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In 2011, the Vancouver–based Lower Mainland Painting Co. established a temporary Artworkers Hall open to anyone who wanted to attend. Sandpaper membership cards signified their bearers’ self-identification as artists.

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In Letters Sent Sometime After the Continents Divorced, Alicia Escott addresses extinct species as long lost loves.

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In 1999, Hans Waanders (1951-2001) set up a series of bird perches along European waterways, hoping to woo a kingfisher. “Fishing Perches,” a small accordion-style book, documents the project.

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This pamphlet illustrates how OurGoods, an online network and bartering platform, enables artists to trade  labor, space, skills, and objects to accomplish independent projects.

 

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