Animal Estates builds new dwellings for displaced species, inviting them to return to the same cities that drove them out.
This pamphlet illustrates how OurGoods, an online network and bartering platform, enables artists to trade labor, space, skills, and objects to accomplish independent projects.
Produced in response to a problem Ghana Think Tank collected during its residency at the Queens Museum of Art, this card is designed to mediate an immigrant-officer encounter.
In Skidbladnir’s Figurehead (2009-2010), a magical ship of thirteenth-century Norse myth is used to navigate the rising waters that surround Gothenburg.
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.
These ephemera portraits represent improvised issues of Landfill Quarterly, constructed by participants at the 2011 Creative Time Summit and exhibition.
For The Cries of San Francisco, artists hawked their goods and services by calling out into the gallery and the city streets.
Mass Ventriloquism filled Gothenburg’s Valsalen—the upholstered belly of a taxidermied blue whale named Carolina—with the voices of fifteen women.