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OFFICE FORCOLLABSUSTAI

COLLASUS

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COLLASUSOFFICE FORCOLLABORATIVESUSTAINAIBLITY

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INTERVIEW W/ AN EMPIRE

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TERRITORIAL REGIMES

LIFEFORCE

The Offi ce for Collaborative Sustainability, COLLASUS, is an interdisciplinary network interested in advancing the radical in everyday life. The offi ce began as an Internet based platform to maintain collaboration amongst the founding members when overseas and across the country. The offi ce is held together by the ubiquitous infrastructure of the Internet: skype calls, google docs, dropbox, blogging, wikipedia, and faithfully uncredited research. But it cannot deny the real muck that we exist in: compost, dirt, suburban developments, gentrifi ed urban ghettos and dayjobs. COLLASUS seeks to develop the interactivity of these two worlds. The virtual allows for consistently new territories of exploration, while the muddy substrate allows for cultivation.

COLLASUS is a problem solving network. We recognize architecture, installation, curation and research as the fruits of our labor, but only insofar as they provide the hyperlink to the next project. In this way, COLLASUS is websurfi ng, it is simultaneously structure and content. It is the way we fi nd information and it informs what we look for.

PLATFORM EDEN

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TERRITORIAL REGIMES

As part of an ongoing project that seeks to re-engage the abandoned Iraqi Embassy (Pankow-Berlin, Germany), the Collasus group has asked artists both international and local to produce a site specifi c work for the abandoned building.

There were no guidelines, and no limit to participation. The group of participants are that of varied backgrounds, ages, and practices within the umbrella of art.

This opportunity is seen less as a lament to the building's past, a claim for its future or the complex history between Iraq and the rest of the world; rather, it seeks to fi nd an alternative use through collectivity, art, and criticism.or altered) by the public. The work will remain anonymous in the former embassy.

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1. David Knowles, Neutral Political Space. 2. Emily Kocken, Letters for a Dying Building 3. Matthew Austin, The Plant that Ate Berlin. 4. Wildendorf, Score written for embassy. 5. Luca Antonuci, Untitled. tiles.

RESEARCH DOCUMENT

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44Removing overgrowth in the garden

1. David Knowles, Neutral Political Space. 2. Emily Kocken, Let-ters for a Dying Building 3. Matthew Austin, The Plant that Ate Berlin. 4. Wildendorf, Score written for embassy. 5. Luca Anto-nuci, Untitled. tiles.

SELECTED WORKS:

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Stills from Seminar: Territiorial Regimes, 2010.

Site of Territorial Regimes Symposium. Former Iraqi Embassy Pankow, Berlin. Embassy Conference Room.

A seminar hosted by COLLASUS and the Public School Berlin onsite at the former Embassy, PROGRAM Initiative for Art and Architecture. BERLIN 2010.

SEMINAR:

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LIFEFORCE2007Performance500 M3 - 20minJewish Ghetto, Rome #

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EENERRGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGYYYYYYHeeata aandd mmmmmmmmmmmmmmetettttttttttthhahahhhhhhhhh ne ggasasas aaarrere gggenere ated poposisiingngngg oooooooooooooooooooooooorgrgrgrrrgrgrr ananana iciiiiiiiciii wastes

WWAAATTTEERRRWWateer issss ccololllecteded tthrhrooug thhe fufunnnelel aandndd diists illeleeddddd

FOODGrowing vegegeeeegeeeeeegeeeeeeeeeeegeeeeeeeeeegeetaatttttttttttttttt blb es, thhhhhhhhhhhhhhhheeee eeeeeeeeeeeee soiilil is ss rrrereeeerer medddddiatttttaated withother decocommmmmmpmmmmmmmmmmmmmmmmmmmm osoosoosoooosoooooosoosssosssssiniiinngggggggggggggggg orrrrroroorrorooroorooooo ggganic maaaaaaaaatttttttttttttttttttttteree

LLLIIBBIIDDOOAAAA shshhhoroortt t hohoh mmememe vvidididddeoeeeeeoeeee oof ffff f mmmmamam chchhininineseses

1. Compost for soil remediation 2. Storage bags to perserve raw materials 3.Planting bladders for hydroponic gardening 4. Rainwater collector 5. Solar still, rainwater purifi er 6. Biodigestor producing methane gas for cooking

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1. Compost for soil remediation 2. Storage bags to perserve raw materials 3.Planting bladders for hydroponic gardening 4. Rainwater collector 5. Solar still, rainwater purifi er 6. Biodigestor producing methane gas for cooking

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MACHINES:

LIFEFORCE #

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Matt’s Rocket Launcher, what is this?

LIFEFORCE

Building methane collectors with chicken waste from local live poultry market.

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Collasus agriculture and permaculture projects engender models of new media, interaction and production. Focusing on urban contexts as sites for work and exchange forces creative solutions for how to work with the land. From here issues in urbanity, sustainability, and collectivity are allowed to interact through site specifi c projects or longer gardening works. These projects often act as seeds, leaving behind vibrant legacies and traces. Asking questions of

PLATFORM EDEN new media; video, web based tools can introduce innovative feedback to these systems.

It is in the cultural distinction of the natural world within rural vs suburban vs urban life that fosters amnesia of our collective responsibility to the sustainable use of land. Rather than a singular inent based on agriculture, we are trying to rediscover natural systems and ways they can interacted with? How can art’s mythmaking transformative tools aid in this transition?

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Rainwater Cistern

Compost Station

Theatre

Rainwater Collection Hood

Raised Planting Beds

Children’s Zone

Farmer’s Market Awning

The garden is a platform for a number of outreach and remediation eff orts. That invite, engage, and suggest platforms for lifestyle and production.

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RRaiRaiRaiaiiRRRaRaiRRainwanwanwawanwn tertererter CoCCoCCColleecticct on Hoodd

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ChiChChiiCChChChildrldrdrldl rdrren’en’n’nen’’ens Zs Zs ZZZsss ZZs ZZs Zoneoneonnneoneeoo

FFaararFFaarFaraarrmermermemeemeem rmmme ’ss’ss MarMarrM rarrkkkeeetttkkeetettkeeet AAwAwwwAAwwwwwAwninninnnninninnniinnnninnnggggggggggg

The garden is a platform for a number of outreach and remediation eff orts. That invite, engage, and suggest platforms for lifestyle and production.

143 Stockholm St. a vacant lot owned by NYPD was the catalyst to petition the neighborhood to create an interactive green space. The project aims were to provide youth with a connection to the earth and exposure to sustainable small scale food production. The lot lay vacant for over 15 years accumulating garbage, neverthless its landowner (NYPD) claims future plans. Collasus will begin planting a fi eld of sunfl owers (lead) in the spring of 2011 to begin creative use of the land.

1. Compost for soil remediation 2. Storage bags to perserve raw materials 3.Planting bladders for hydroponic gardening 4. Rainwater collector 5. Solar still, rainwater purifi er 6. Biodigestor producing methane gas for cooking

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Compost Painting at the Invisible Dog Art Center is a soil remediation earthwork that strives for a net environmental benefi t through its educational renewable painting process. Inspired by community scale composting projects in Brooklyn, Compost Painting project scavenges an abundant urban art and garden materials, carefully sourced waste organics.

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1. Compost for soil remediation 2. Storage bags to perserve raw materials 3.Planting bladders for hydroponic gardening 4. Rainwater collector 5. Solar still, rainwater purifi er 6. Biodigestor producing methane gas for cooking@

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Mariette Auvray’s video projects help us consider territoriality anew. Des chapitres du confl it and Territorial Regimes both address issues of territoriality on multiple registers. In this context, the notion of tactile geography that Mariette explores in the ‘Vegetable Map’ sequence provides a new means of conceptualizing one’s relationship to territory. These are two excerpts from a documentary Mariette made last year “Le lac des brumes”, about the relationships within the members of a vietnamese family in France. She got to work with the father in several sequences. Manh H. was a philosophy teacher in Berlin during the 80s, he is now working as a cook in France. Within the fi lm, her attempt was to show him as the character who is distant from the other family members. He was really concerned with his past, as opposed to his daily life, constantly in the restaurant

Performance: spraying something

Mariette Auvray’s video projects help us consider territoriality anew.Des chapitres du confl it and Territorial Regimes both address issues of territoriality on multiple registers. In this context, the notion of tactile geography that Mariette explores in the ‘Vegetable Map’ sequence provides a new means of conceptualizing one’s relationship to territory. These are two excerpts from a documentary Mariette made last year

Performance: spraying something

1. Compost for soil remediation 2. Storage bags to perserve raw materials 3.Planting bladders for hydroponic gardening 4. Rainwater collector 5. Solar still, rainwater purifi er 6. Biodigestor producing methane gas for cooking

These are two excerpts from a documentary Mariette made last year “Le lac des brumes” about the relationships within the members of aLe lac des brumes , about the relationships within the members of a vietnamese family in France. She got to work with the father in several sequences. Manh H. was a philosophy teacher in Berlin during the 80s, he is now working as a cook in France. Within in thethe fifi lmlm, hher attemptmpt was to show him as the charharactacterer whowho iis distant frofrom tm thehe othother er famfamilyily members.s. HeHe wawas really concncernerneded witwithh hhisis paspastt, asas opopposed tto ho hisis daidailly y liflife,e, conconstasta tlntly iy in tn thehe resestatauranantt

184 Wilson Ave. is growing soil, food, and polinators while catching rainwater and connecting neighbors in three previously neglected adjoining backyards. The gardens convert 1500 lbs of waste from the surrounding neighborhood each season into compost for its raised beds. Thus, transforming an industrial area of Brooklyn into a fertile ecotone. While the past two seasons have produced abundant food donations to the community 2011 will mark the fi rst year of selling its produce to cover seed and infrastructure costs.

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an Empire2007

Performance500 M3 - 20min

Jewish Ghetto, Rome

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Seeking to engage public space in Rome to critique Italy’s mediatic culture. The performance took the form of a mythical drama in order to explore and re-appropriate the classical paradigms of Italy’s aesthetic history that continue to infl uence the discourse of the media. In this sense, the project was an eff ort to develop, through a historico-aesthetic critique, a minor art capapble of resiting the hegemony of the spectacle.

We constucted a shallow basin in the courtyard of Pallazetto Cenci that served as the site for a performance that investigated Italy’s military history. This creative analysis hoped to provide a space for the foundation of new socio-political models outside of dominant statist discourse.

Seeking to engage public space in Rome to critique Italy’s mediatic culture. The performance took the form of a mythical drama in order to explore and re-appropriate the classical paradigms of Italy’s aesthetic history that continue to infl uence the discourse of the media. In this sense, the project was an eff ort to develop, through a historico-aesthetic critique, a minorart capapble of resiting the hegemony of the spectacle.

allow basin in the courtyardWe constucted a shthat served as the site for a of Pallazetto Cenci tnvestigated Italy’s military history. performance that inis hoped to provide a space for the This creative analyssocio-political models outside of foundation of new sscourse.dominant statist dis

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COLLABORATIVE SUSTAINAIBLITY