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Futurefarmers
499 Alabama Street #114
San Francisco, CA 94110
USA

  • Propositions for a Flatbread Society:
    A theatrical property, commonly referred to as a "prop", is an object used on stage by actors to further the story line of a theatrical production. Smaller props are referred to as "hand props". Larger props may also be set decoration, such as a chair or table. The difference between a set decoration and a prop is use. If the item is not touched by a performer, it is simply a set decoration.
  • Flatbread Society Bakehouse
    A permanent public artwork in Oslo Norway.
  • Extention of Frank Lloyd Wright Bench into a cobbler's bench at the Guggenheim Museum NYC.
  • By sea, by land, by fjord... Bread kneads hands...
  • The force of river Elbe moves a printing press built during a 5-day workshop at Design Campus, Dresden.
  • Futurefarmers archivists. Transcribing sight and sound 1994-2000.
  • Flatbread Society
    Testing ovens at IASPIS in Stockholm, Sweden.
  • Out of Place, In Place
    Exhibition Overview, Yerba Buena Center for the Arts, San Francisco
  • Annual Harvest
    Painting fruit boxes on 50 year old apple farm in Belgium.
  • Annual Harvest
    Painting fruit boxes on 50 year old apple farm in Belgium.
  • Flatbread Society Iaspis, Stockholm
  • Further On...
    Further On...

  • + Image Info
  • X Clear Notes
12. 05. 22
Interview
Koozarch: The Untold River
A very thoughtful exchange with Koozarch's founder Federica Sofia Zambeletti.
12. 30. 22
Writing
Seed Journey: Six Chapters
Six vignettes of Seed Journey on the wonderful, L'Internationale Online.
01.17.23
Writing
Arts of the Working Class
So very honored to contribute to Edition 23 with, "How to not own, but practice a forest".
Project Index
  • List View
  • By Date
  • Show All
The Untold River
Wood, River, Paper, Print
2022
S(tree)twork: Intra-Galactic Forest
Public Art, Architecture
2022
Soil Horizons
Sculpture, Performance, Video, Audio
2022
Wind Theater
Temporary Public Art, Publication, Film
2019
Sirens
Sculpture, Lighting, Scenography
2019
Fog Inquiry
2019
Further On... to Land
Walk, Sculpture
2018
Speculative Machine
Exhibition, Sculpture, Public Programs
2018
Flatbread Society Bakehouse
Wood, Earth, Seeds
2017
Are You Receiving Me?
Wood, Slow-Scan Television, Print
2017
Seed Journey
Sea-faring
2017
Bruegel Awakens
Sculpture, Performance, Sound
2017
Soil Procession
2015
Seed Mast
Wood, Grains, Rope, Print
2015
Annual Harvest
Temporary Public Art
2014
Open Outcry
Sculpture, Performance, Sound, Print
2014
Consortium Instabile
Oak, Metal, Radio
2014
For Want of a Nail
Sculpture, Book, Video
2014
Canoe Oven
Sculpture, Performance
2013
A Variation on Rossum's Universal Robots
Performance, props
2013
Ethnobotanical Station
Sculpture, Workshops, Web
2012
Flatbread Society
2012
A Variation on Powers of Ten
Photography, Website, Book
2012
Flatbread Society Riga, Latvia
Sculpture, Public Program
2012
Flatbread Society, Stockholm
Performance, Flour, Water
2012
Land, Use: Blueprint for a New Pastoralism
Sculpture, public programming
2012
Shoemaker's Dialogues
2011
Soil Kitchen
Architecture, Public Art, Workshops
2011
Beneath the Pavement: A Garden
Garden, Architecture Workshop, Tour
2010
The Reverse Ark II
2010
This is Not a Trojan Horse
2010
Erratum
Sculpture, Performance, Printmaking, Video
2010
The People's Roulette
Wood, electronics, steel
2009
Nearest Nature
Various
2008
Lunchbox Laboratory
Wood, recycled plastic, glass, electronics, algae
2008
Headlands Garden Boat
Wood, dirt, rope, herbs
2008
The Reverse Ark
Wood, plastic, cardboard, paint, people
2008
Urban Garden Registry
2008
Civic Cycle
Bikes and people
2008
Rainwater Harvester/Greywater Feedback Loop
Wood, steel, plastic, mint, rubber
2007
Victory Gardens
2007
Bingo: Field of Thoughts
String, paper, silkscreen
2006
Radio Forest
radio, public art
2006
Shoelace Exchange
String, Weeds, paper, wood, video
2005
F.R.U.I.T.
wood, silkscreen, paper, internet
2005
2003
  • "Who pays the Donkey"
    at Futurefarmers survey exhibition, Yerba Buena Center for the Arts, San Francisco.

  • + Image Info
01.17.23
Writing
Arts of the Working Class

So very honored to contribute to Edition 23 with, "How to not own, but practice a forest".

12. 30. 22
Writing
Seed Journey: Six Chapters

Six vignettes of Seed Journey on the wonderful, L'Internationale Online.

12. 05. 22
Interview
Koozarch: The Untold River

A very thoughtful exchange with Koozarch's founder Federica Sofia Zambeletti.

10. 13. 22
Interview
Nomad Magazine

Futurefarmers: Time-Place-Situation. Interview by Sarah Dorkenwald. Thank you Carlos Chavarria for the beautiful sunrise photos.

08. 14. 22
Workshop
The School of the Untold

The Untold River, a week-long workshop in the context of the Summer School of Utopias in Dresden.

08. 02. 22
Lecture/Performance
Feral at CIFAS

Open Akker will host a compostela from Brussels to Dilbeek on Sept. 23. Please join. See full program on CIFAS website.

06. 30. 22
Exhibition
Fruiting Bodies

Seed Journey returns to New York at Tanya Bonakdar Gallery. Thank you Sam Rauch, curator, for bring this further.

05. 15. 22
Publication
Mold Magazine #5: Seeds

A thoughtful interview by LinYee Yuan on Seed Journey among others; Dr. Vandana Shiva and seed sister, Vivien Sansour.

04. 28. 22
Project
A Meander

First phase research with Lungomare in Bolzano drawing on the forces of the Talfer river.

04. 07. 22
Exhibition
Seed Journey at Het Hem

Seed Journey hosts new crew member, Massimo Ricciardo in a pamphlet on seeds, SIM cards and migration. In the context of Chapter 5IVE Exhibition.

02. 01. 22
Residency
Sounds from the Pleistocene

A month-long residency at San Jose State University culminates in an exhibition and first activation of Orchestration Club; Yasi Perera, Chris Cooper, Guillermo Galindo, Shaun O'dell among others.

11. 20. 21
Publication
BAU / Hotel Amazonas

The culmination of one-year with BAU and Hotel Amazonas, we release a wonder tale: The Chestnut, The Sea Urchin and the Tuning of the Bells.

Public Art Commission
Intra-Galactic Forest

We attend to the dense interrelations of the future forest of Philadelphia with A Summoning in collaboration with Sun Ra Arkestra, Sound Museum Collective and SALLIE.

Show More

  • + Image Info
Futurefarmers zoom in on "assembly" by asking:
"Who is part of our assemblage?
Who is the other that co-determines or co-constitutes what is of importance?
What provokes this pre-subjective process of communization?"

With projects such as Flatbread Society, the Futurefarmers collective focuses on concrete practice. They conduct hands-on exploration of how people and things, neighbors and grains effect each other...

-
Nico Dockx + Pascal Gielen
About
Futurefarmers is a group of diverse practitioners aligned through an interest in making work that is relevant to the time and place surrounding us. Founded in 1995, a design studio serves as a platform to support art projects and an artist in residence program. We are artists, designers, architects, anthropologists, writers, computer programmers and farmers with a common interest in creating frameworks for exchange that catalyze moments of "not knowing".

While we collaborate with scientists and are interested in scientific inquiry, we want to ask questions more openly. Through participatory projects, we create spaces and experiences where the logic of a situation disappears - encounters occur that broaden, rather than narrow perspectives, i.e. reductionist science.

We use various media to create work that has the potential to destabilize logics of "certainty". We deconstruct systems such as food policies, public transportation, campus design and rural farming networks to visualize and understand their intrinsic logics. Through this disassembly new narratives emerge that reconfigure the principles that once dominated these systems. Our work often provides a playful entry point and tools for participants to gain insight into deeper fields of inquiry- not only to imagine, but to participate in and initiate change in the places we live.

Futurefarmers work has been exhibited at the Whitney Museum of American Art, the New York Museum of Modern Art, Solomon R. Guggenheim, MAXXI in Rome, Italy, Sharjah Biennale, Taipei Biennale, Henie Onstad Museum, Oslo, New York Hall of Sciences and the Walker Art Center.
People

Amy Franceschini

San Francisco, USA

Amy Franceschini is an artist and designer whose work facilitates encounter, exchange and tactile forms of inquiry by calling into question the "certainties" of a given time or place where a work is situated. An overarching theme in her work is a perceived conflict between "humans" and "nature". Her projects reveal the history and currents of contradictions related to this divide by challenging systems of exchange and the tools we use to "hunt" and "gather". Using this as a starting point, she creates relational objects that invoke action and inquiry; not only to imagine, but also to participate in and initiate change in the places we live.

In 1995, Amy founded Futurefarmers, an international group of artists, anthropologists, farmers and architects who work together to propose alternatives to the social, political and environmental organization of space. Their design studio serves as a platform to support art projects, an artist in residence program and their research interests. Futurefarmers use various media to deconstruct systems to visualize and understand their intrinsic logics; food systems, public transportation, education. Through this disassembly they find new narratives and reconfigurations that form alternatives to the principles that once dominated these systems. They have created temporary schools, books, bus tours, and large-scale exhibitions internationally.

Amy received her BFA from San Francisco State University in Photography and her MFA from Stanford University. She has taught in the visual arts graduate programs at California College of the Arts in San Francisco and Stanford University and is currently faculty in the Master of Eco-Social Design at the Free University in Bolzano, Italy. Amy is a 2009 Guggenheim fellow, a 2019 Rome Prize Fellow and has received grants from the Cultural Innovation Fund, Herb Alpert Award for Visual Arts, the Creative Work Fund for New Media and the Graham Foundation.

Michael Swaine

Seattle, USA

Michael Swaine was originally trained as a ceramicist. He works in a variety of materials, methods, and media and has had a long-time focus on collaborative work. Michael has collaborated with Futurefarmers since 1997. Michael's Free Mending Library Project involved him pushing an old fashioned ice cream style cart on wheels with a treadle-operated sewing machine on it through the streets of San Francisco. This project became an on-going, monthly happening that took place in the Tenderloin neighborhood of San Francisco from 2002-2015. Michael received his B.F.A. from Alfred University in Ceramics and his M.A. in Design from UC Berkeley. Michael is a full time professor in the 3D4M at the University of Washington, Seattle.

Lode Vranken

Gent, Belgium

Lode Vranken has been the lead architect and philosopher of Futurefarmers since 2008. Lode's fascination with installing situations of renewed socio-spacial dynamics began with a Transpolar Catapult built in Anchorage, Alaska and has manifest in various modalities since then. Lode has been practicing architecture internationally since 1993. He received his masters in a UN Course on Human Settlements + Architectural Philosophy from the KU Leuven, Belgium. He has been teaching since 2005 as a Ned delegate at The Institute for Advanced Architecture of Catalonia, Barcelona, Spain and from 1993-94 at the Asian Institute for Technology in Bangkok, Thailand. Lode co-founded the architectural research coalition, De Bouwerij in Belgium that focuses on social living structures, passive housing, and zero 
energy construction. He is also a partner of Dear Pigs in Belgium and member of the The Ghent School for Metaphysics.

Stijn Schiffeleers

Gent, Belgium

Working in many media Stijn reveals the subtleties of life via film, video and interactive installations. His work embodies a sense of play and sensitivity that reminds us to take a closer look at what surrounds us. He has been seen soaring above the streets of San Francisco in a canoe mounted to the top of the Futurefarmers Volvo and most recently in Gent, Belgium. Stijn collaborated with Futurefarmers between 2003 - 2017.

Anya Kamenskaya

Oakland, USA

Anya Kamenskaya is an ag-centric organizer and green building apprentice. Within Futurefarmers, she manages the Indigenous Farming Project, a tribal food sovereignty initiative in California's Owens Valley and fostered early relations with farmers in Flatbread Society in Oslo, Norway. Since 2009, she has curated educational events, film screenings and social mixers for the advocacy non-profit, the Greenhorns. She is a member of DIG Cooperative, Inc., a design-build firm focused on decentralized urban water infrastructure. She received her B.S. in Agroecology from UC Berkeley.

Dan Allende

Daniel is an artist, builder and inventor. He spent many summers orienteering by canoe in Canada where he went several months at a time without seeing other humans. Dan received his B.F.A. in Interdisciplinary Sculpture at the Maryland Institute College of Art and his M.F.A. (2015) at Carnegie Mellon. Dan collaborated with Futurefarmers between 2009-2015 on the Reverse Ark at the Contemporary Museum, Baltimore, Maryland, 2009, the People's Roulette for the Shenzhen Biennale of Urbanism\Architecture, 2009 and Soil Kitchen, 2011, a temporary public artwork commissioned by the city of Philadelphia.

Futurefarmers Writers Fellowship

Cooley Windsor

Chicago, USA

Cooley Windsor is the Futurefarmers eternal writer in residence and has graced us with his presence and work since 2009. Many of our projects have emerged from the writings of Cooley Windsor; The Reverse Ark I, The Reverse Ark 2 and This is Not a Trojan Horse. Cooley's seminal work, Visit Me in California has left an everlasting impact on us. Cooley teaches in the MFA Program at the California College of the Arts, and is co-director of the annual Meant to Be Seen Festival at the Eureka Theater in San Francisco. He was one of the founding board members of Bayview Hunters Point Community Advocates, an environmental-justice organization focused on the southeast section of San Francisco. He is affiliated with the Headlands Center for the Arts in Sausalito.

Futurefarmers Resident Wordsmith

Elizabeth Thomas

San Francisco, USA

Elizabeth Thomas produces research-based and site-responsive artworks across a range of media. She has collaborated with Futurefarmers for over a decade. As Phyllis Wattis MATRIX Curator at the University of California, Berkeley Art Museum, she curated A Variation on the Powers of Ten and co-edited the companion publication. She authored an introductory text for a project publication connected to Futurefarmers' exhibition, Erratum: Brief Introductions, at the Carpenter Center for Visual Arts, Harvard University, and most recently an essay for the catalog of Futurefarmers' survey exhibition at Yerba Buena Center for the Arts: Out of Place, In Place. Beyond her work with Futurefarmers, she teaches in the Curatorial Practice program at California College of the Arts and the Exhibition and Museum Studies program at the San Francisco Art Institute and writes for a range of publications.

Open Outcry

Eli & Edythe Broad Art Museum, Michigan

2014

Project
Website

A sculptural interpretation of the Chicago Board of Trade Grain Pit – the oldest operating trading floor for commodities' futures – is the center piece of Open Outcry. Radiating from this octagonal stage were a suite of relational objects illuminating ideas about the history of human civilization, from early technological innovations to cultural evolution, to the environmental stresses of industrial cultivation of grain. Traditionally, the grain pit's raised octagonal shape allowed traders to be seen and heard at optimum levels. In the gallery, the pit was a modular sculpture that comes apart to host various events and... more >

A sculptural interpretation of the Chicago Board of Trade Grain Pit – the oldest operating trading floor for commodities' futures – is the center piece of Open Outcry. Radiating from this octagonal stage were a suite of relational objects illuminating ideas about the history of human civilization, from early technological innovations to cultural evolution, to the environmental stresses of industrial cultivation of grain. Traditionally, the grain pit's raised octagonal shape allowed traders to be seen and heard at optimum levels. In the gallery, the pit was a modular sculpture that comes apart to host various events and gatherings; a threshing party, performances, artist talks, and a symposium. Through the physical transformation of the pit, people can re-define and occupy this space that is usually locked up behind the doors of the Chicago Board of Trade.


The term "open outcry" describes a method of communication between professionals on a board of trade. It involves both shouting and the use of specific hand signals to communicate buying and selling on the trading floor, also known as, the pit. Flatbread Society at the Broad MSU appropriated this term as the name for its public programming in an effort to evoke a series of spirited dialogues from different viewpoints on the nature of farming and agriculture, our changing relationship to grains, and the commodity of natural resources.

Flatbread Society's Open Outcry was presented within the larger curatorial project, The Land Grant at the University of Michigan in East Lansing. Open Outcry consisted of an exhibition, an experimental bread oven, a series of public programs, a musical score and a publication. With help from MSU students and Assistant Professor of Ceramics Paul Kotula, a clay tandoor oven was built in the Broad's Sculpture Garden. This oven was used in a bread making workshop and during a discussion titled Material Encounters: What We Make with baker/artist Boris Portnoy. The oven moved from the campus to Food Fields, an urban farm in Detroit, where it lives permanently.

*The term "landrace" represents a classification of crops and farming methods widely present before industrialization, in which farmers did not grow a single variety of wheat in just one field. Instead, they selected entire wheat populations for individual and collective taste with special characteristics for brewing, bread baking, and for survivability.

Constellation

  • Amy Franceschini
  • Stijn Schiffeleers
  • Lode Vranken
  • Tara McDowell
  • Boris Portnoy

Material

  • Sculpture
  • Performance
  • Sound
  • Print

Dimensions

  • variable
  • Threshing Movement with Micah Ling. Thank you to kabinetk.be for choreography input.
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Workshop participants attuned themselves to various aspects of river; Mercury, Currents, Molecules, the Arboreal, Silt, Moss, Avian and Aquatic Life. These roles guided the work flow and the manifestation of graphic motifs, costumes, tales, scripts and new sensitivities.","tn_url":"tn\/1672686406.jpg","tn_url_alt":"tn\/alt\/1672686414.jpg","load_external_url":"0","status":"0","location":"Dresden, Germany","image_upload_id":null,"search_terms":"print, printmaking, dresden, river, wheel","embed_video":null},{"id":"109","main_type":"project","category":"2","title":"S(tree)twork: Intra-Galactic Forest","client":"The Pew Center for Arts & Heritage","media":"Public Art, Architecture","date":"2022-05-01","url":"http:\/\/streetworkproject.net\/","external_url":"","artists":"Amy Franceschini, Lode Vranken","dimensions":"","description":"S(tree)twork is a multi-year, public art project rooted in Philadelphia whose aim is to animate how we live among trees; how we perceive them; and how we imagine our future co-habitation. S(tree)twork aligns with the city of Philadelphia\u00e2\u20ac\u2122s ten-year strategic plan to forest the city; to set forth new ways of working with residents to mitigate climate change and to prioritize equity in delivery, ensuring that the most vulnerable communities benefit from a healthy tree canopy.","tn_url":"tn\/1658428545.jpg","tn_url_alt":"tn\/alt\/1658428552.jpg","load_external_url":"0","status":"0","location":"Philadelphia, USA","image_upload_id":null,"search_terms":"Philadelphia, Public Art, Amy Franceschini, Lode Vranken","embed_video":null},{"id":"111","main_type":"project","category":"12","title":"Soil Horizons","client":"San Jose State University","media":"Sculpture, Performance, Video, Audio","date":"2022-02-14","url":"sjsu","external_url":"","artists":"Amy Franceschini, Michael Swaine, Yasi Perera, Chris Cooper, Lode Vranken","dimensions":"","description":"An action\/interaction between clay and data and sound-not\r\nquite the clay's sound, but the abstracted sound of its properties.\r\n<\/br><\/br>\r\nOn a sunny day, the SJSU marching band played compositions based on data sets of two horizons*: one to approximate clay found on the moon (JSC-1A Lunar Soil Simulant), made and used nearby for NASA research; and one from deep underground in California's central valley, a byproduct of ever deeper drilling in search of water (Corcoran Clay). They make clear the lengths (and depths) humankind will go to escape the messes we've made for ourselves on earth, to conquer new frontiers: the moon, the West, nature itself, the future.\r\n<\/br><\/br>\r\nThe band marched on top of carefully arranged heaps of clay, performing a necessary process of compacting and aligning particles, \"wedging\" it to prepare it to be formed into a series of \"sounding vessels\"--horns for amplification and objects for percussion. \r\n<\/br><\/br>\r\n\r\n*In most soil classification systems, horizons are used to define soil types.\r\n- Text by Elizabeth Thomas","tn_url":"tn\/1658428596.jpg","tn_url_alt":"tn\/alt\/1658428605.jpg","load_external_url":"0","status":"0","location":"San Jose, CA","image_upload_id":null,"search_terms":"San Jose State University","embed_video":null},{"id":"93","main_type":"project","category":"2","title":"Wind Theater","client":"LIAF","media":"Temporary Public Art, Publication, Film","date":"2019-09-09","url":"windtheater","external_url":"","artists":"Lode Vranken, Amy Franceschini, Henrik Lande Andersen (film), Niklas Adam (sound), Gunnar Aarstein (storyteller)","dimensions":"","description":"\"The principles of the work involved an enquiry-based approach to art-making that spanned multiple disciplines and made use of the unique resources available, exploring themes of communication, collective memory, and resilient behavior.\" <\/br>\r\n- Karolin Tampere, Curator, LIAF\r\n <\/br> <\/br> \r\n\r\n<a href=\"https:\/\/2019.liaf.no\/en\/tides\/digermulen\/\">Wind Theater<\/a> evolved as a series of interventions and workshops that led to a permanently installed wind-powered printing press, a hand-made font, an <a href=\"https:\/\/2019.liaf.no\/en\/programme\/exhibitions\/futurefarmers-amy-franceschini-lode-vranken\/\">exhibition<\/a>, a publication and a film created in the context of a durational residency. A Windmill Backpack served as a relational object to connect with people and the wind. <\/br> <\/br> \r\n\r\n\"What color is the wind?\", asked a blind child - a question that led to a theater of relations in the small village of Digermulen in northern Norway. In this theater, the lines are not memorized, rather, they present themselves in the form of directions given by the wind.\r\n\r\n<\/br> <\/br> \r\n\r\nA tale of wonder, A Village that Went to Visit the Wind, collectively written with students and headmaster of Digermulen school served as a road map for the project. The tale is an adaptation of The Tablecloth, the Ass, and the Stick by the Brothers Grim, Peter Christen Asbjornsen and others. Futurefarmers' variation presents the struggles in the village of Digermulen and the use of magical objects and trickery - not as a benevolent acts, but of poetic distraction - as a means to a better end.\r\n","tn_url":null,"tn_url_alt":null,"load_external_url":"0","status":"0","location":"Lofoten, Norway","image_upload_id":"50","search_terms":"lofoten, wind theater, lode vranken, amy franceschini","embed_video":null},{"id":"96","main_type":"project","category":"12","title":"Sirens","client":"Museum of Contemporary Art","media":"Sculpture, Lighting, Scenography","date":"2019-05-15","url":"sirens","external_url":"","artists":"Amy Franceschini, Lode Vranken, Michael Taussig","dimensions":"","description":"Three days between art and anthropology curated by Isabella Mongelli and Jasmine Pisapia with the collective Epidemic.\r\n\r\n\"Our idea is that with the Global Meltdown (this world breakdown also called \"climate change\") nature has become alive and magical. People are once again intrigued by animals and plants, as well as by weather. Once again, we perceive the cosmos, rediscovering the sun and its heat. We become like the pagans, attributing strange powers to stars and insects, horse legs and fireflies, ancient olive trees, summer ice storms, unknown species of whales, new bacteria, viruses and fungi. \r\n\r\nIt was Friedrich Schiller who wrote two centuries ago that nature had become disenchanted. The new scientific laws of physics reduced everything to the weight and speed of inert masses. Everything had to be measured: nature had been dominated, and it was dead.\r\n\r\nToday it seems that precisely what threatens nature has brought out its vitality and its magic, very often malevolent, that is what Georges Bataille called the \"sacred negative\": the world of the sorcerer.\r\n\r\nCollective readings, performance and projections think together with \"nature\" as an idea subject to history. Once she was alive, then she died, and now she is alive again, in a great revival in which we seem to confront ourselves with the spirits of the dead.\" - Collective Epidemic + Michael Taussig\r\n\r\n","tn_url":null,"tn_url_alt":null,"load_external_url":"0","status":"0","location":"Rome, Italy","image_upload_id":"49","search_terms":"performance, taussig, rome, scenography","embed_video":null},{"id":"112","main_type":"project","category":"1","title":"Fog Inquiry","client":"Institute of the Arts and Sciences at the University of California, Santa Cruz","media":"","date":"2019-02-05","url":"","external_url":"http:\/\/www.futurefarmers.com\/wandering\/","artists":"","dimensions":"","description":"","tn_url":"tn\/1662334743.jpg","tn_url_alt":"tn\/alt\/1662334751.png","load_external_url":"1","status":"0","location":"Santa Cruz, CA","image_upload_id":null,"search_terms":"","embed_video":null},{"id":"92","main_type":"project","category":"2","title":"Further On... to Land","client":"","media":"Walk, Sculpture","date":"2018-09-18","url":"furtheron","external_url":"","artists":"Amy Franceschini, Lode Vranken, Marthe Van Dessel, Growlab, Oslo Apiary, Apent Bakeri, Food Studio","dimensions":"","description":"A five-day walk over land, masked bodies moved from the city of Oslo through forests (and de-forested zones), meeting farmers, exercising the commons, sleeping in cabins, barns and open fields. Strange signals, utterings and voicings emerged from within the Flatbread Society Bakehouse. These frequencies entranced the ensemble of migratory bodies to carry seeds, bread and provisions from the city to the the farm of Johan and Kristin Sward.<\/br><\/br>\r\n\r\nThis action marked the culmination of an eight-year project in Oslo - Flatbread Society. With resident baker, beekeeper, chef and activists, Flatbread Society is dispersed further on... Baker Emmanuel Rang continues this walk over two years time to Trondheim \u00e2\u20ac\u201c sharing and collecting his baking knowledge, repairing defunct bake ovens all within reference to the French journeyman tradition. \r\n\r\n\r\n\r\n\r\n","tn_url":"tn\/1543435131.png","tn_url_alt":"tn\/alt\/1543435136.png","load_external_url":"0","status":"0","location":"Oslo, Norway","image_upload_id":null,"search_terms":null,"embed_video":null},{"id":"110","main_type":"project","category":"1","title":"Speculative Machine","client":"Yerba Buena Center for the Arts","media":"Exhibition, Sculpture, Public Programs","date":"2018-08-13","url":"ybca","external_url":"https:\/\/vimeo.com\/381918374","artists":"Amy Franceschini, Michael Swaine, Berg, Yasi Perrera","dimensions":"","description":"In San Francisco, the coastal fog rolls in and takes over, a force that obscures visibility. It is not surprising that Futurefarmers would want to create fog, as after all, it transforms the environment through the process of condensation, and in a poetic sense that is exactly what Futurefarmers work does. And the idea that something boundary-less can find its own shape as its agents come together, that too makes sense. During their <a href=\"https:\/\/ybca.org\/event\/out-of-place-in-place\/\">survey exhibition at Yerba Buena Center for the Arts<\/a>, they assembled 20 fog bodies, who enacted a series of preparatory operations and rehearsals about movement, innovation, improvisation and sensing before they headed from galleries to the highest peaks of San Francisco. Up there, where the clouds touch the ground, the fog bodies condense, and transform the environment. <\/br><\/br>- Elizabeth Thomas, Futurefarmers, Resident Wordsmith\r\n\r\n\r\n\r\n","tn_url":"tn\/1655123776.jpg","tn_url_alt":"tn\/alt\/1655123759.jpg","load_external_url":"0","status":"0","location":"San Francisco, USA","image_upload_id":null,"search_terms":"","embed_video":null},{"id":"98","main_type":"project","category":"17","title":"Flatbread Society Bakehouse","client":"","media":"Wood, Earth, Seeds ","date":"2017-11-12","url":"bakehouse","external_url":"http:\/\/www.flatbreadsociety.net\/actions\/35\/bakehouse","artists":"Amy Franceschini, Stijn Schiffeleers, Lode Vranken","dimensions":"","description":"The Bakehouse emerges as an image of a vessel being built or repaired: scaffolding, clamps and the precarious angles of support beams evoke images of the past when this area was a living port. Sitting inside this wooden scaffolding is the skeleton of a boat. Built with local boat builders, the hull of this \"ship\" hosts three bread ovens for making a variety of bread types and the main form is insulated with locally-sourced rammed earth. \r\n\r\nThe Bakehouse is situated within the larger context of the <a href=\"http:\/\/flatbreadsociety.net\">Flatbread Society<\/a> public art project (Futurefarmers, 2010 - ongoing). Surrounded by an urban farm, Loseter, the Oslo fjord on one side and the new development of Bjorvika on the other, the Bakehouse points to the past and to the future extending metaphors of cultivation and sailing to larger ideas of self-reliance and the foregrounding of organic processes in the development of land use, social relations, and cultural forms.\r\n\r\n<\/br><\/br>","tn_url":"tn\/1553270047.jpg","tn_url_alt":"tn\/alt\/1553270062.jpg","load_external_url":"0","status":"0","location":"Oslo, Norway","image_upload_id":"2","search_terms":"Architecture, Flatbread Society, Bakehouse, Oslo, Norway","embed_video":null},{"id":"99","main_type":"project","category":"1","title":"Are You Receiving Me?","client":"","media":"Wood, Slow-Scan Television, Print","date":"2017-10-13","url":"areyoureceivingme","external_url":"","artists":"Amy Franceschini, Marthe Van Dessel, Michael Taussig, Pieter Hermans, Audrey Snyder, Joe Riley ","dimensions":"Variable","description":"Seed Mast (2017) takes the form of a sailing mast and serves as a literal and metaphorical antenna to Futurefarmers' seafaring project Seed Journey (2017), a voyage in which ancient grains are transported to their geographic origins throughout the Middle East. Occupying the precarious place of contraband, the diverse biological matter is dispersed through currents, hand-to-hand networks and radio spectrums accessed via wires attached to the mast. Through a slow-scan television, Seed Mast will receive transmissions from the journey, mirroring the pace of the sailing vessel. Thought of as 'reverse migration', the collective aims to accent the rights of small farmers. The project also situates grains as emancipatory actors with respect to intellectual property rights pertaining to biological matter. <\/br>\r\n\r\nARE YOU RECEIVING ME? (2017) is a linear display of 24 postcards that evoke a horizon line. The cards were the result of a project in which one message per hour, throughout an entire day, was sent via radio from Seed Journey to anthropologist Michael Taussig at his home in Brooklyn, US. A system of postcards was used to confirm reception of each message sent by artist Amy Franceschini. Adopting QSL Card vernacular used in the early days of radio broadcasting, each card included original water color by the artist and remarks by the anthropologist.","tn_url":"tn\/1554542016.jpg","tn_url_alt":null,"load_external_url":"0","status":"0","location":"Sharjah, United Arab Emirates","image_upload_id":"22","search_terms":"","embed_video":null},{"id":"104","main_type":"project","category":"2","title":"Seed Journey","client":"","media":"Sea-faring ","date":"2017-07-01","url":"","external_url":"http:\/\/futurefarmers.com\/seedjourney\/","artists":"","dimensions":"","description":"","tn_url":null,"tn_url_alt":null,"load_external_url":"0","status":"0","location":"","image_upload_id":"51","search_terms":"","embed_video":null},{"id":"95","main_type":"project","category":"2","title":"Bruegel Awakens","client":"M KHA, Antwerp, Belgium","media":"Sculpture, Performance, Sound","date":"2017-04-01","url":"brueghelawakens","external_url":"https:\/\/vimeo.com\/314169243","artists":"Amy Franceschini, Lode Vranken, Marthe Van Dessel, Hans Beckers","dimensions":"","description":"Starting in September 2016, a feral group of artists, researchers and sailors began moving a selection of ancient grains between Oslo, Norway and Istanbul, Turkey. During a stop in Antwerp, seeds and frequencies were wildly scattered between a water mill in Pajottenland and the Wilhelmsdoc marina in Antwerp, Belgium. A Boat Oven floating along the waterways between Pajottenland and Antwerp carried a 500-year old wheat (found in a church in Pajottenland). This seed was delivered to the Seed Journey mothership to travel further on to Istanbul. \r\n\r\nThe Seed was named Brueghel Grain during a Seed Ceremony held in a watermill. ","tn_url":"tn\/1548969668.jpg","tn_url_alt":"tn\/alt\/1548969678.jpg","load_external_url":"0","status":"0","location":"","image_upload_id":"21","search_terms":"Seed Journey, Bruegel, Pajottenland","embed_video":null},{"id":"107","main_type":"project","category":"2","title":"Soil Procession","client":"","media":"","date":"2015-06-13","url":"","external_url":"http:\/\/flatbreadsociety.net\/stories\/31\/people-seeds-belonging-together","artists":"","dimensions":"","description":"","tn_url":null,"tn_url_alt":null,"load_external_url":"1","status":"0","location":"Oslo, Norway","image_upload_id":"54","search_terms":"","embed_video":null},{"id":"89","main_type":"project","category":"1","title":"Seed Mast","client":"","media":"Wood, Grains, Rope, Print","date":"2015-01-01","url":"seedmast","external_url":"","artists":"Amy Franceschini, Joe Riley, Audrey Snyder, Michael Taussig","dimensions":"16' x 4' x 3'","description":"Seed Mast is a traditionally constructed boat mast and spar, filled with ancient grains collected and grown by Futurefarmers' Flatbread Society in Oslo, Norway. The wooden mast is stepped into a chute covered by a fine patina of flour and water, and a horizontal spar holds a growing collection of seeds as it might a sail. \r\n\r\nAt once a library and a silo, Seed Mast is the first of many steps in provisioning toward the Flatbread Society Seed Journey \u00e2\u20ac\u201c a sea-faring voyage in which the grains will be transported to their geographic origins in the middle east. This reverse migration is imagined as a \"rescue,\" and falls within a larger movement to protect the rights of small farmers. The project also imagines food, and grains in particular, as a symbol of resistance in the wake of intellectual property rights as they relate to biological matter.\r\n\r\nAs a preparation and anchor of the forthcoming journey, Seed Mast is also accompanied by a broadside print which details the mast's storied cargo along with a new text entitled Seeds of Time, written by anthropologist Michael Taussig. \r\n","tn_url":"tn\/1431882380.jpg","tn_url_alt":"tn\/alt\/1431882350.jpg","load_external_url":"0","status":"0","location":"","image_upload_id":"29","search_terms":"","embed_video":null},{"id":"86","main_type":"project","category":"2","title":"Annual Harvest","client":"","media":"Temporary Public Art","date":"2014-11-11","url":"annualharvest","external_url":"http:\/\/www.futurefarmers.com\/annualharvest\/","artists":"Amy Franceschini, Lode Vranken, Marthe Van Dessel","dimensions":"","description":" An itinerant element in the rural landscape, fruit boxes move about annually from farm to distribution centers. Before harvest, they are placed on the fields in stacks that loom like ghosts waiting to be filled. This particular year they were more like orphans along the roadside. With preparations for summer harvest in full swing, a turn of events left farmers to let their fruit fall to the ground. In retaliation for Western sanctions against Russia for its annexation of Ukraine's Crimea, Russian President Putin suddenly banned all imports fruit from the EU for a period of one year. Belgium being highly dependent on the Russian market was left to let their fruits fall to the ground. \r\n<\/br><\/br>\r\n\r\nA large textual phrase, \"Always Changing to Remain the Same\" was placed onto wooden fruit boxes located in Limburg, Belgium on a 50-year-old apple farm. We used these local artifacts to mimic advertising whereby we placed art in relation to agribusiness and the environment providing an unexpected point of view. While painting the letters, passerby stopped to eat pancakes with applesauce and discuss the situation. When the embargo lifts, the boxes will resume their shuffling and reassemble elsewhere...","tn_url":"tn\/1415777887.jpg","tn_url_alt":"tn\/alt\/1415777630.jpg","load_external_url":"0","status":"0","location":"Limburg, Belgium","image_upload_id":"4","search_terms":"Temporary Public Art, Intervention, Belgium, Farming","embed_video":null},{"id":"85","main_type":"project","category":"16","title":"Open Outcry","client":"","media":"Sculpture, Performance, Sound, Print\r\n\r\n","date":"2014-10-01","url":"broad","external_url":"https:\/\/broadmuseum.msu.edu\/exhibition\/the-land-grant-flatbread-society\/","artists":"Amy Franceschini, Stijn Schiffeleers, Lode Vranken, Tara McDowell, Boris Portnoy","dimensions":"variable","description":"A sculptural interpretation of the Chicago Board of Trade Grain Pit \u00e2\u20ac\u201c the oldest operating trading floor for commodities' futures \u00e2\u20ac\u201c is the center piece of Open Outcry. Radiating from this octagonal stage were a suite of relational objects illuminating ideas about the history of human civilization, from early technological innovations to cultural evolution, to the environmental stresses of industrial cultivation of grain. Traditionally, the grain pit's raised octagonal shape allowed traders to be seen and heard at optimum levels. In the gallery, the pit was a modular sculpture that comes apart to host various events and gatherings; a threshing party, performances, artist talks, and a symposium. Through the physical transformation of the pit, people can re-define and occupy this space that is usually locked up behind the doors of the Chicago Board of Trade.\r\n<br\/><br\/\r\n\r\nInside the Flatbread Society Grain Pit bottles of ancient grains are displayed. In light of recent free-trade agreements between the European Union, the United States, Canada, and many South American countries, the practice of cultivating and saving seeds has taken center stage. In many countries this practice has become endangered, and in some areas it is now illegal. A small collection of grains here carry with them stories of brave and curious individuals who maintained and reestablished these landrace* seeds. Some were once thought to be extinct, while others helped families to subsist in extreme environments. Rather than being selectively bred to conform to certain standards and stored away in seed banks, landrace varieties evolve by adapting to a variety of environmental situations and to the agricultural practices used by the people growing them. Flatbread Society continues to collect and share these seeds, from one hand to the next.\r\n\r\n<br\/><br\/>\r\nThe term \"open outcry\" describes a method of communication between professionals on a board of trade. It involves both shouting and the use of specific hand signals to communicate buying and selling on the trading floor, also known as, the pit. Flatbread Society at the Broad MSU appropriated this term as the name for its public programming in an effort to evoke a series of spirited dialogues from different viewpoints on the nature of farming and agriculture, our changing relationship to grains, and the commodity of natural resources.\r\n\r\n<br\/><br\/>\r\nFlatbread Society's Open Outcry was presented within the larger curatorial project, The Land Grant at the University of Michigan in East Lansing. Open Outcry consisted of an exhibition, an experimental bread oven, a series of public programs, a musical score and a publication.\r\nWith help from MSU students and Assistant Professor of Ceramics Paul Kotula, a clay tandoor oven was built in the Broad's Sculpture Garden. This oven was used in a bread making workshop and during a discussion titled Material Encounters: What We Make with baker\/artist Boris Portnoy. The oven moved from the campus to Food Fields, an urban farm in Detroit, where it lives permanently. \r\n<br\/><br\/>\r\n*The term \"landrace\" represents a classification of crops and farming methods widely present before industrialization, in which farmers did not grow a single variety of wheat in just one field. Instead, they selected entire wheat populations for individual and collective taste with special characteristics for brewing, bread baking, and for survivability.","tn_url":"tn\/1414814670.jpg","tn_url_alt":"tn\/alt\/1414814697.jpg","load_external_url":"0","status":"0","location":"Eli & Edythe Broad Art Museum, Michigan","image_upload_id":"5","search_terms":"","embed_video":null},{"id":"88","main_type":"project","category":"1","title":"Consortium Instabile","client":"","media":"Oak, Metal, Radio","date":"2014-09-09","url":"consortium","external_url":"http:\/\/www.futurefarmers.com\/consortiuminstabile","artists":"Amy Franceschini, Stijn Schiffeleers, Lode Vranken","dimensions":"","description":"Consortium Instabile is a rural radio station based in a tree house on a farm in Abruzzo Italy. It is an initiative between artists and rural protagonists that uses the electromagnetic spectrum to connect and intervene into their everyday life. ","tn_url":"tn\/1418797412.jpg","tn_url_alt":"tn\/alt\/1418797283.jpg","load_external_url":"0","status":"0","location":"Abruzzo, Italy","image_upload_id":"15","search_terms":"Treehouse, Abruzzo, Radio, Farm, Sculpture, Architecture","embed_video":null},{"id":"84","main_type":"project","category":"1","title":"For Want of a Nail","client":"","media":"Sculpture, Book, Video","date":"2014-06-01","url":"forwantofanail","external_url":"http:\/\/futurefarmers.com\/forging\/","artists":"Amy Franceschini, Michael Swaine","dimensions":"","description":"For Want of a Nail engages New Mexico's complex nuclear history as it relates to land use, resource extraction and the breadth of decisions that were made within the Manhattan Project. <br\/><br\/>Two inter-office memoranda found at the Los Alamos Historical Museum guide the process and form. Sent from Dr. Robert Oppenheimer's (lead physicist of the Manhattan Project) office in 1943, these memoranda describe a table for his office and a nail to hang his hat. The persistence and specificity of a request for a nail for Mr. Oppenheimer's hat (mentioned in both memorandum) inspired Futurefarmers to hesitate in this peculiar moment - to make, by hand, this nail. <br\/><br\/>By forging, casting and fusing a range of materials a series of three nails emerged. The choice of materials used to make these nails mines the history of tool making from the pre-historic use of meteorites as tools to the material by-products of such events as the testing of the atomic bomb. <br\/><br\/>The process began by procuring a Meteorite found in Canyon Diablo, Arizona. Using fire and force, the first nail was forged - one of a kind. A second nail was made through a process of casting 1943 steel pennies. These pennies also known as \"war pennies\" were made of only steel, as the copper was needed for ammunition. These pennies were melted and poured into a graphite mold alluding to notions of mass production and the multiple. A third nail was made by re-fusing Trinitite, a material that was formed by the heat from the atomic bomb test whereby sand was drawn up inside the fireball itself and then rained down in a liquid form and resulted as a glassy residue left on the desert floor. Everything that grew on the earth's surface from this point forward was inscribed with what scientists call the isotopic fingerprint - a permanent record of this event. ","tn_url":"tn\/1414709702.jpg","tn_url_alt":"tn\/alt\/1414698507.jpg","load_external_url":"0","status":"0","location":"","image_upload_id":"6","search_terms":"","embed_video":""},{"id":"102","main_type":"project","category":"1","title":"Canoe Oven","client":"","media":"Sculpture, Performance ","date":"2013-06-20","url":"canoeoven","external_url":"http:\/\/www.flatbreadsociety.net\/actions\/39\/a-boat-walking-on-land","artists":"Amy Franceschini, Stijn Schiffeleers, Lode Vranken, Marthe Van Dessel","dimensions":"17' x 3' x 6' ","description":"A wood-fired oven in a canoe, able to float on the fjord and wander upon land as a beacon and center for questioning about the context of our permanent, public artwork, Flatbread Society. ","tn_url":null,"tn_url_alt":null,"load_external_url":"0","status":"0","location":"Oslo, Norway ","image_upload_id":"48","search_terms":"canoe, oven, flatbread society, oslo ","embed_video":null},{"id":"71","main_type":"project","category":"12","title":"A Variation on Rossum's Universal Robots","client":"","media":"Performance, props","date":"2013-03-14","url":"rur","external_url":"","artists":"Amy Franceschini, Michael Swaine","dimensions":"","description":"In response to an invitation to speak during CCA's Craft Forwarding Conference: Conversations on Innovation and Entrepreneurship, Amy + Michael identified audience members and invited them to participate in \"Rossum's Universal Robots (R.U.R.)\", a 1920's, Czech, science fiction play by Karel \u00c4\u0152apek. The play begins in a factory that makes artificial people, made of synthetic organic matter, called \"robots.\"* These creatures are more like clones, and can be mistaken for humans that can think for themselves. At first they seem happy to work for humans, although that changes, and a hostile robot rebellion leads to the extinction of the human race. \r\n<br\/><br\/>\r\nIn Czech, \"robota\" means forced labour of the kind that serfs had to perform on their masters' lands, and is derived from rab, meaning \"slave.\"\r\n<br\/><br\/>\r\n*This play introduced the word \"robot\" to the English language. ","tn_url":"tn\/1374176646.png","tn_url_alt":"tn\/alt\/1374176457.png","load_external_url":"0","status":"0","location":"","image_upload_id":"24","search_terms":"","embed_video":null},{"id":"66","main_type":"project","category":"2","title":"Ethnobotanical Station","client":"","media":"Sculpture, Workshops, Web","date":"2012-12-16","url":"ethnobotanical","external_url":"http:\/\/futurefarmers.com\/ebotanical","artists":"Amy Franceschini, Myriel Milicevic","dimensions":"","description":"A mobile module that draws upon a diverse lineage of knowledge to study the complex relations between plants and humans. It brings in the question our faith in modern quantitative science as compared to the long tradition of qualitative indigenous knowledge. An inventory of distinctive tools, hands-on workshops and mappings are the vehicle for research and sharing new configurations of knowledge. Ethnobotanical Station moves to various locations to collect and disperse knowledge.","tn_url":"tn\/1355727698.png","tn_url_alt":"tn\/alt\/1355727705.png","load_external_url":"0","status":"0","location":"","image_upload_id":"17","search_terms":"","embed_video":null},{"id":"57","main_type":"project","category":"2","title":"Flatbread Society","client":"","media":"","date":"2012-09-20","url":"flatbreadsociety","external_url":"http:\/\/flatbreadsociety.net","artists":"Amy Franceschini, Stijn Schiffeleers, Erik Sj\u00f6din","dimensions":"Variable","description":"Flatbread Society appeared in various locations between 2012-2018 in preparation for Bakehouse Bj\u00f8rvika where it resides in perpetuity. Periodic assemblies marked points of research, aligned interests and skills that are put to use in Bakehouse Bj\u00f8rvika. Using prototyping as a practice, this particular instance of FBS (while in residence at IASPIS in Stockholm, Sweden) experimented with fire, mobility and flatbread recipes. ","tn_url":"tn\/1351704823.png","tn_url_alt":"tn\/alt\/1351704834.png","load_external_url":"0","status":"0","location":"","image_upload_id":"16","search_terms":"","embed_video":null},{"id":"64","main_type":"project","category":"2","title":"Land, Use: Blueprint for a New Pastoralism","client":"","media":"Sculpture, public programming","date":"2012-01-01","url":"brower","external_url":"http:\/\/www.fernandogarciadory.info\/index.php?\/projects\/landuse---blueprint\/","artists":"Amy Franceschini, Fernando Garc\u00eda-Dory","dimensions":"","description":"Blueprint for a New Pastoralism was one piece in a larger installation, \"Land, Use\", that looked at the disappearance of the tradition of nomadic pastoralism as it relates to land development, strategies of environmental activism and stark differences in values around land use. <br\/><br\/>\r\nThis multi-part collaborative work commissioned by the David Brower Center, used the frame and organizing principles of the Center to question how ideas of preservation of land and knowledge are addressed within this contemporary hub that houses over 200 activists and non-profit organizations whose work is related to land use, preservation and policymaking. <br\/><br\/>\r\nBlueprint for a New Pastoralism consisted of a modular gathering space, a participatory event and ephemera from a facilitated discussion about land use. A blueprint of a shepherd\u00ef\u00bf\u00bds wagon is drawn onto a large canvas, providing the focal point for this constellation of objects and activities. This flat plane transforms into a makeshift roof, paying homage to nomadic pastoralists who directly manage land and other resources to create productive communities. Below the roof, a wooden sculpture folds out to create a table and benches. When the roof is up and the sitting area is established, this temporary shelter offers a meeting space for discussion and convivial activities- allowing the narrative of the shepherd to unfold and reactivate it in our present day.\r\n","tn_url":"tn\/1353056487.png","tn_url_alt":"tn\/alt\/1353056502.jpg","load_external_url":"0","status":"0","location":null,"image_upload_id":"27","search_terms":null,"embed_video":null},{"id":"65","main_type":"project","category":"2","title":"Flatbread Society Riga, Latvia","client":"","media":"Sculpture, Public Program","date":"2012-01-01","url":"riga","external_url":"http:\/\/www.flatbreadsociety.net\/","artists":"Amy Franceschini\r\nStijn Schiffeleers","dimensions":"","description":"During a discussion on \"Slow Living\" at the Survival Kit Festival in Riga, Latvia, we provided a fire and flatbread. Topics ranged from Thoreau's Walden, Unibomber Manifesto to farming as a form.\r\n\r\n<br\/><br\/>\r\nParticipants: Sassa Jorgensen (NO) & Geir Tore Holm (NO), Futurefarmers (US), Kobe Matthys (BE), Ansis Liepa, Valdis Abols, Jana Strogonova and Agnese Kalninas.","tn_url":"tn\/1353356475.png","tn_url_alt":"tn\/alt\/1353356485.jpg","load_external_url":"0","status":"0","location":null,"image_upload_id":"31","search_terms":null,"embed_video":null},{"id":"61","main_type":"project","category":"2","title":"Flatbread Society, Stockholm","client":"","media":"Performance, Flour, Water","date":"2012-01-01","url":"fbstockholm","external_url":"","artists":"Amy Franceschini, Marthe Van Dessel, Stijn Schiffeleers","dimensions":"","description":"An informal workshop at IASPIS studio in Stockholm. A handful of dough was distributed to each visitor. The group was asked to collectively create the solar system by orienting everyone to the sun (a bicycle wheel, covered with yellow paper hanging in the studio). During the making of the solar system, Stijn and Marthe improvised a scene from Bertold Brecht's, Life of Galileo. ","tn_url":"tn\/1352981824.png","tn_url_alt":"tn\/alt\/1352981834.jpg","load_external_url":"0","status":"0","location":null,"image_upload_id":"25","search_terms":null,"embed_video":null},{"id":"63","main_type":"project","category":"2","title":"A Variation on Powers of Ten","client":"","media":"Photography, Website, Book","date":"2012-01-01","url":"powersoften","external_url":"http:\/\/www.futurefarmers.com\/powersoften\/","artists":"Amy Franceschini, Michael Swaine","dimensions":"","description":"This project is a response to the short film, Powers of Ten by Charles and Ray Eames and commissioned by IBM in 1968. One iconic image from the film depicts a man and woman picnicking on a blanket. This scene is the starting point for a zoom-out to a field of view the size of the observable universe, 10 -24. The camera then zooms back to the picnic, into the man's hand, until it arrives at quarks - the edge of our current understanding- at 10 to the -15. Looking back at the film, we became entranced by the presence of the narrator, Philip Morrison, the production of the film and the very short time spent at the human scale. A Variation on Powers of Ten, uses the opening picnic scene as score to guide 10 discussions. Like the stage of a microscope, the blanket became a stage where the act of inventorying and recording is the content of the work. Books, journals, food and a location were recast and became cues pointing back to the film and forward to each researcher's own work.","tn_url":"tn\/1353016479.png","tn_url_alt":"tn\/alt\/1353016488.jpg","load_external_url":"0","status":"0","location":"","image_upload_id":"28","search_terms":"","embed_video":null},{"id":"56","main_type":"project","category":"1","title":"Shoemaker's Dialogues","client":"","media":"","date":"2011-05-29","url":"shoemaker","external_url":"http:\/\/www.futurefarmers.com\/footnotes\/","artists":"Amy Franceschini\r\nMichael Swaine","dimensions":"","description":"Extending the architecture and function of the existing seating within the Frank \r\nLloyd Wright- designed museum, a Cobbler's Bench and Shoemaker's Atelier \r\nwas created to form the nucleus of a series of events questioning the relation \r\nship between the sole and the soul. The atelier is an open interpretation of \r\nSimon the Shoemaker's Fifth-century Athens Studio in which Socrates alleg- \r\nedly had extensive philosophical discussions with Simon and local youth. \r\nThe Pedestrian Press is a set of shoes that make up an entire character set. Each \r\nshoe has a letter on the toe and a stamp pad embedded in the heel. A roll of \r\npaper is rolled out onto the streets of the city and a parade of 22 people wearing the shoes is choreographed by a series of texts read aloud. A special ink made \r\nfrom particulate matter, \"soot\" is used to print the letters. For the occasion of \r\nthe Intervals exhibition at the Guggenheim Museum in New York, the Pedestrian Press made three outings to the New Museum Festival of Ideas, Soul Kitchen in Harlem and a wander around the perimeter of the Guggenheim Museum.","tn_url":"tn\/1351704324.png","tn_url_alt":"tn\/alt\/1351704362.png","load_external_url":"1","status":"0","location":null,"image_upload_id":"26","search_terms":null,"embed_video":null},{"id":"47","main_type":"project","category":"2","title":"Soil Kitchen","client":"","media":"Architecture, Public Art, Workshops","date":"2011-04-06","url":"soilkitchen","external_url":"http:\/\/www.futurefarmers.com\/soilkitchen","artists":"Amy Franceschini, Dan Allende, Lode Vranken, Ian cox","dimensions":"variable","description":"A temporary public art project that coincided with the Environmental Protection Agency's National Brownfield conference and the city of Philadelphia's 2015 Green initiative. A windmill-powered architectural intervention, Soil Kitchen rehabilitated an abandoned building into a multi-use space where citizens enjoyed free soup in exchange for soil samples from their neighborhood. Placed across the street from the Don Quixote monument in Philadelphia, the windmill payed homage to Cervantes' notable scene of Don Quixote tilting the windmills. Rather than being \"adversarial giants\" as they were in the novel, the windmill at Soil Kitchen was a functioning symbol of self-reliance and literally breathed new life into a formerly abandoned building within a post-industrial landscape. Through a combination of structured workshops and playful formats of debate, Philadelphia residents gathered to imagine a potential green future and participated in the material exchange of soil for soup - literally taking matters into one's own hands.\r\n<br\/><br\/>\r\n\r\nSoil Kitchen tested over 350 soil samples and served 300 bowls of soup per day made from locally sourced vegetables grown on a former\r\nbrownfield. In addition to serving soup and testing soil a Philadelphia Brownfield Map and Soil Archive was produced and the building was a hub for exchange and learning; free workshops including wind turbine construction, urban agriculture, soil remediation, composting, lectures by soil scientists and cooking lessons.","tn_url":"tn\/1352394468.png","tn_url_alt":"tn\/alt\/1352394461.png","load_external_url":"0","status":"0","location":"","image_upload_id":"30","search_terms":"","embed_video":"video_for_work_49_soilkitchen"},{"id":"108","main_type":"project","category":"2","title":"Beneath the Pavement: A Garden","client":"Radar","media":"Garden, Architecture Workshop, Tour","date":"2010-07-08","url":"beneaththepavement","external_url":"http:\/\/www.futurefarmers.com\/beneaththepavement\/","artists":"Amy Franceschini, Myriel Milicevic","dimensions":"","description":"A temporary intervention commissioned by <a href=\"https:\/\/radar.lboro.ac.uk\/artists\/futurefarmers\/\">Radar<\/a> at Loughborough University. The project engaged the potential of a small plot of land on campus to tell social and political stories, challenge dominant systems, plant alternatives and watch them grow.\r\n\r\n<\/br><\/br>\r\n\r\nThe project has grown into a permanent student-run garden program: Loughborough Students Landscaping & Gardening Society\r\n<\/br><\/br>\r\nA <a href=\"http:\/\/www.futurefarmers.com\/beneaththepavement\/beneath_web.pdf\">publication<\/a> documents the development of this plot, and featured essays elaborating on the political ecologies of gardening, food production and land use.\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n","tn_url":"tn\/1639135084.jpg","tn_url_alt":"tn\/alt\/1639135094.jpg","load_external_url":"0","status":"0","location":"UK","image_upload_id":null,"search_terms":"garden, public art, workshops","embed_video":null},{"id":"36","main_type":"project","category":"1","title":"The Reverse Ark II","client":"","media":"","date":"2010-01-01","url":"reverseark2","external_url":"http:\/\/www.futurefarmers.com\/reverseark2\/","artists":"Amy Franceschini, Stijn Schiffeleers, Michael Swaine, Dan Allende, Ian Cox","dimensions":"","description":"A temporary school built with Baltimore-specific, reclaimed materials; floorboards from abandoned row houses, fallen trees, surplus paper rolls from the Baltimore Sun and surplus fabric from the textile industry. Content for the school was informed by the political, social and economic history of the materials. \r\n\r\nGiant oars made from salvaged floorboards of (abandoned) row houses penetrated the walls of the museum- blades inside the museum and handles out onto the street. The museum became a vessel, an ark with a sail that doubled as a massive loom inviting visitors to become weavers. A Pedestrian Press enabled daily printing by foot. An entire tree was turned into an alphabet. Each letter to be worn as a shoe. Collectively, a printing march would roll out daily news. \r\n\r\nThe gallery was handed over to Baltimore; students, community groups and passerby who created weekly public programs for 3 months ranging from a time capsule workshop, clean water walk, mapping workshop, tent-building workshop, reading circles, film screenings and more. ","tn_url":"tn\/1357403712.png","tn_url_alt":"tn\/alt\/1357403718.png","load_external_url":"0","status":"0","location":"","image_upload_id":"33","search_terms":"","embed_video":null},{"id":"45","main_type":"project","category":"2","title":"This is Not a Trojan Horse","client":"","media":"","date":"2010-01-01","url":"thisisnotatrojanhorse","external_url":"http:\/\/www.futurefarmers.com\/thisisnotatrojanhorse","artists":"Amy Franceschini, Stijn Schiffeleers, Lode Vranken","dimensions":"16' x 22' x 4' ","description":"A human-powered wooden horse becomes the nucleus for discussion, programming and video documentation about issues and possibilities related to rural regeneration. The horse moved through the Abruzzo region of Italy for 12 days. It arrived in villages and farms (by spontaneous invitation) where farmers, producers, and vendors gathered to discuss their perspectives on the changing rural landscape.","tn_url":"tn\/1356992158.png","tn_url_alt":"tn\/alt\/1356991946.png","load_external_url":"0","status":"0","location":"","image_upload_id":"32","search_terms":"","embed_video":null},{"id":"55","main_type":"project","category":"1","title":"Erratum","client":"","media":"Sculpture, Performance, Printmaking, Video","date":"2010-01-01","url":"erratum","external_url":"","artists":"Amy Franceschini + Michael Swaine","dimensions":"variable","description":"In six acts, two artists deconstruct a porcelain toilet and reform it into a series of bricks and a book. A joined pair of wooden, brick molds hold a brick and a book; a hand-made brick composed of porcelain toilet shards and a letterpress-printed stack of cards with calls to reverse society's erratum. Indoor plumbing and waste processing systems are targeted as objects of scrutiny and allegory in addressing the effects of waste on our ecology. Configured as a vessel for new ideas, self-reliance, and regeneration, ERRATUM is offered up as a \"reverse ready-made:\".\r\n<br\/><br\/>\r\n\r\nBook is available for sale at the <a href=\"http:\/\/sfcb.org\/imprint\/erratum-brief-interruptions-waste-stream\">San Francisco Center for the Book<\/a>.\r\n","tn_url":"tn\/1352055276.png","tn_url_alt":"tn\/alt\/1352055284.png","load_external_url":"0","status":"0","location":"","image_upload_id":"34","search_terms":"","embed_video":null},{"id":"39","main_type":"project","category":"2","title":"The People's Roulette","client":"","media":"Wood, electronics, steel","date":"2009-01-01","url":"humanroulette","external_url":"","artists":"Amy Franceschini\r\nDan Allende","dimensions":"30' x 30' x 5'","description":"A temporary, public sculpture located in the Nashan District of Shenzhen, China. The inspiration for the piece began with an image of the 1950's Human Roulette at Coney Island, New York. \r\n<br><br>\r\n\r\nIn looking at the economic reforms in China that led to a market-oriented mixed economy after the death of Mao Zedong, one of the outcomes \r\nwas the creation of Special Economic Zones (SEZ's). The SEZ was formed to be an experimental ground for the practice of market capitalism within a community guided by the ideals of \"socialism with Chinese characteristics\". Rising from a small fishing village to a city of 10 million, Shenzhen has become an economic powerhouse and the largest manufacturing base in the world. It is also home to the Shenzhen Stock Exchange as well as home to many mulit-national corporations. \r\n<br><br>\r\nFor the occasion of the Shenzhen, Hong Kong Biennale of Architecture and Urbanism, The People's Roulette was erected. An over-sized roulette structure mirrors the literal aspect of Shenzhen as a sub-provincial or prefecture city as well as the physical layout of the city that is surrounded by the world renowned factory area. Passengers are invited to sit upon the center piece while an operator controls an increasing rate of rotation. ","tn_url":"tn\/1352742868.png","tn_url_alt":"tn\/alt\/1352742874.jpg","load_external_url":"0","status":"0","location":null,"image_upload_id":"35","search_terms":null,"embed_video":null},{"id":"18","main_type":"project","category":"1","title":"Nearest Nature","client":"","media":"Various","date":"2008-11-09","url":"nearestnature","external_url":"","artists":"Amy Franceschini w\/ botanist Stefan Ericsson","dimensions":"Variable","description":"<b>Nearest Nature was a 3-day workshop and exhibition within the context of the Urban Concerns project at the Bildmuseet in Umea, Sweden.<\/b><br> <br>\r\n\r\n<b>Day 1: Botanic Folksonomy<\/b><br> \r\nWith Stefan Ericsson, botanist and curator of the herbarium at Umea University a plot of local flora was studied. The plot was sectioned off and each group identified the diversity of plant life within their section. A log of all flora was kept and each participant chose one plant to name, classify and describe using their own invented taxonomy. Stefan guided participants in identification of the plants according to a weaving of Linnaean taxonomy, local dialect and english names for each plant. <br><br>\r\n\r\n<b>Day 2: On Becoming Flora <\/b><br> \r\nParticipants developed a human character based on the plants characteristics. The group drifted through the city with the aim of identifying their imagined characters. If the described character could not be found, the participants\r\nwent to the thrift store and dressed up and enacted a theater of mimicry - performatively describing their companion species. <br><br>\r\n\r\n<b>Day 3: Building a city <\/b><br> \r\nA small-scale city design guided by the community of plants studied on Day 1. Various relational situations between the plants and their surrounding study plot were revealed and informed how a city might function in terms of distribution of energy, placement and cycles. <br><br>","tn_url":"tn\/1352743493.png","tn_url_alt":"tn\/alt\/1352743509.jpg","load_external_url":"0","status":"0","location":"","image_upload_id":"37","search_terms":"","embed_video":null},{"id":"1","main_type":"project","category":"1","title":"Lunchbox Laboratory","client":"a client","media":"Wood, recycled plastic, glass, electronics, algae\r\n\r\n","date":"2008-02-27","url":"lunchboxlaboratory","external_url":"","artists":"Amy Franceschini <br>\r\nJonathan Meuser <br>\r\nMichael Swaine <br>\r\nNoah Murphy-Reinhertz<br>\r\nStijn Schiffeleers\r\n","dimensions":"variable","description":"Lunchbox Laboratory is a collaboration with the Biological Sciences Team at the National Renewable Energy Lab. Currently scientists are using algae to produce hydrogen and have discovered that it is a viable renewable energy form, in thatalgae is everywhere and it could also be used to produce biodeisel. One of the main hurdles for the research is to find the most productive strains of algae. Since there are potentially millions of strains, this task is monumental.\r\n\r\nLunchbox Laboratory is a prototype for a potentially distributed research tool that would be sent to schools such that young scientists could do primary screening of a collection of algae strains. This would serve as a preliminary screening such that non productive strains would be ruled out and only productive strains would reach labs. This project enables students to participate in big science as well as network with other students nationwide to compare notes.\r\n\r\n\r\n","tn_url":"tn\/1352796014.jpg","tn_url_alt":"tn\/alt\/1352795952.jpg","load_external_url":"0","status":"0","location":"","image_upload_id":"46","search_terms":"","embed_video":""},{"id":"13","main_type":"project","category":"1","title":"The Reverse Ark","client":"","media":"Wood, plastic, cardboard, paint, people","date":"2008-01-01","url":"reverseark","external_url":"http:\/\/futurefarmers.com\/reverseark\/","artists":"Amy Franceschini <br>\r\nMichael Swaine<br>\r\nStijn Schiffeleers<br>","dimensions":"Variable","description":"An inventory of materials reclaimed from the campus, were used during a four-day residency to build \"the Reverse Ark\". The gallery became a living laboratory for learning, inquiry and improvisation including mini-workshops, lectures, video screenings and frameworks for reflection. Invited guests included an environmental scientist, Los Angeles Mayors Office, Department of Water, a priest, and a computer scientist.","tn_url":"tn\/1352796183.png","tn_url_alt":"tn\/alt\/1352796188.jpg","load_external_url":"0","status":"0","location":null,"image_upload_id":"44","search_terms":null,"embed_video":null},{"id":"16","main_type":"project","category":"2","title":"Civic Cycle","client":"","media":"Bikes and people","date":"2008-01-01","url":"civiccycle","external_url":"","artists":"Amy Franceschini <br>\r\nMichael Swaine <br>\r\nSabrina Merlo <br>","dimensions":"Variable","description":"\"On July 15, 2007 the day after Bastille Day, Parisians woke up to discover thousands of low-cost rental bikes at hundreds of high-tech bicycle stations scattered throughout the city, an ambitious program to cut traffic, reduce pollution, improve parking and enhance the city's image as a greener, quieter, more relaxed place.\" What do we want to wake up to? <br> <br>\r\n\r\nFuturefarmers collaborated with Southern Exposure and Sabrina Merlo, Regional Advocacy Director, Bay Area Bicycle Coalition to create Civic Cycle. Civic Cycle includes a temporary bike share program, a public bike pump and a public forum to present existing city bike share programs as well as an open discussion to gather input on what San Francisco's city bike program might look and operate like.\r\n\r\n","tn_url":"tn\/1352796882.png","tn_url_alt":"tn\/alt\/1352796887.jpg","load_external_url":"0","status":"0","location":"San Francisco, California","image_upload_id":"38","search_terms":"","embed_video":null},{"id":"38","main_type":"project","category":"7","title":"Urban Garden Registry","client":"Victory Gardens 2009+","media":"","date":"2008-01-01","url":"gardenregistry2","external_url":"","artists":"Amy Franceschini, David Lu, Myriel Milicevic","dimensions":"","description":"Online map of urban agriculture; gardens, possible food production zones, and surplus food. ","tn_url":"tn\/1352796418.png","tn_url_alt":"tn\/alt\/1352796423.jpg","load_external_url":"0","status":"0","location":"","image_upload_id":"40","search_terms":"","embed_video":null},{"id":"40","main_type":"project","category":"1","title":"Headlands Garden Boat","client":"","media":"Wood, dirt, rope, herbs","date":"2008-01-01","url":"headlandsgarden","external_url":"","artists":"Amy Franceschini, Michael Swaine, Arcangelo Wessels","dimensions":"72' x 10' x 3'","description":"Redwood herb garden commissioned by Headlands Center for the Arts. Since the garden is situated in a National Park it had to be completely deer proof and ready to sail away in case of a flood. ","tn_url":"tn\/1352797045.png","tn_url_alt":"tn\/alt\/1352797051.jpg","load_external_url":"0","status":"0","location":null,"image_upload_id":"39","search_terms":null,"embed_video":null},{"id":"14","main_type":"project","category":"1","title":"Rainwater Harvester\/Greywater Feedback Loop","client":"","media":"Wood, steel, plastic, mint, rubber","date":"2007-01-01","url":"rainwaterharvester","external_url":"","artists":"Amy Franceschini <br>\r\nMichael Swaine","dimensions":"18' x 12' x 3'","description":"A water saving system made from salvaged materials. It stores rainwater and water used while waiting for hot water. The water is stored in the 3 small recycling bins which can also be used as benches to sit upon.\r\n\r\nThe hand crank device on the right is used to pump stored water back to the sink to be used at a later time.\r\n\r\nThe sink is equip with a variable drain allowing you to decide to let your water run back into the storage units, into the greywater system to the garden or out to the city system. \r\n\r\n","tn_url":"tn\/1352742423.png","tn_url_alt":"tn\/alt\/1352742431.jpg","load_external_url":"0","status":"0","location":null,"image_upload_id":"41","search_terms":null,"embed_video":null},{"id":"8","main_type":"project","category":"2","title":"Victory Gardens","client":"","media":"","date":"2007-01-01","url":"victorygardens","external_url":"","artists":"Amy Franceschini","dimensions":"","description":"A multi-part, urban agriculture project developed with the City of San Francisco between 2007-2009. The program began as a utopian proposal in the context of a museum exhibition and has now become a city-supported network of urban farmers that (1) grow, distribute and support home gardens, (2) educate through free workshops, exhibitions and web sites and (3) plant demonstration gardens in highly visible public lands, i.e. garden at city hall.","tn_url":"tn\/1352797191.png","tn_url_alt":"tn\/alt\/1352797196.jpg","load_external_url":"0","status":"0","location":"","image_upload_id":"36","search_terms":"","embed_video":null},{"id":"9","main_type":"project","category":"2","title":"Bingo: Field of Thoughts","client":"","media":"String, paper, silkscreen","date":"2006-01-01","url":"bingo","external_url":"http:\/\/futurefarmers.com\/survey\/bingo2.php","artists":"Amy Franceschini, Corinne Matesich, Michael Swaine","dimensions":"Variable","description":"A set of custom-made bingo cards are the center piece of a collaborative learning, potluck and gambling game that explores the world's 75 lowest GNP countries.<br><br>\r\n\r\nThe project emerged as a way for Futurefarmers to support our non-profit related activities. The idea itself may be blamed directly on the IRS tax booklet entitled: Instructions for Form 1023 for readily identifying both the route to 501(c)3 non-profit incorporation and procedures for legal bingo gaming in the same document. The latter became an increasingly humorous side note while researching the former. The bingo cards were made possible through the Independent School of Art\u00ef\u00bf\u00bds Edition Grant. <br><br>\r\n\r\nThe materials used to make the game boards included: recycled legal files, die-cut, silk screen, offset printing and thread. The legal files were die-cut with 25 penny-sized holes arranged in a circular pattern while maintaining the 5x5 grid of traditional bingo. Seventy-five inserts were printed with random configurations of the 75 lowest GNP countries. These inserts were silk-screened and laser printed to be included in each reusable board. The backs of the boards are composed of heavy tag board with one color offset printing. The fronts and backs are sewn together to hold the inserts in place.<br><br>\r\n\r\nThirty seven players were invited to a March 26, 2006 test game. Each player was asked to represent one of the 75 featured countries by bringing an obscure or interesting bit of information and to bring an item of food or drink from their assigned country. The night was a combination of collaborative geography, potluck and gambling. The range of food included East Timorian wraps, Somalian milk tea, and Gaza Strip Sweet Potato cookies. The evening served as a testing ground to see whether the bingo platform would work to raise money needed to bring artists to speak in San Francisco, offer workshops, and hold discussions.<br><br>\r\n\r\nIn the final round, THE WHOLE WIDE WORLD, the winner won the pot of money and a custom bingo card. The neighbor of the winner was considered a co-winner in this \u00ef\u00bf\u00bdgood-neighbor\u00ef\u00bf\u00bd game, and received a hand-made, cloth ham.\r\n\r\n<br><br>*Die-cutting and printing were done by Logos Printing","tn_url":"tn\/1352797972.png","tn_url_alt":"tn\/alt\/1352797976.jpg","load_external_url":"0","status":"0","location":"","image_upload_id":"42","search_terms":"","embed_video":null},{"id":"77","main_type":"project","category":"2","title":"Radio Forest","client":"","media":"radio, public art","date":"2006-01-01","url":"radioforest","external_url":"http:\/\/www.futurefarmers.com\/radioforest\/","artists":"Amy Franceschini, Stijn Schiffeleers","dimensions":"","description":"Radio Forest is a radio installation which debuted during the <a href=\"https:\/\/www.klankenbos.be\/nl\/over-klankenbos\">Klakenbos Festival<\/a> in September 2005. Located within a forest, Musica asked Futurefarmers to propose a sound project in reaction to this space. Our first impression in the forest was the roaring sound coming from the roads surrounding the forest. It was such a dominant presence, that we proposed to broadcast forest sounds from within the forest to the cars passing by on the freeway.\r\n<a href=\"https:\/\/www.musica.be\/projecten\/radio-forest-sessions\/\">Link to Musica program.<\/a> \r\n\r\n\r\nCommissioned by Musica, Belgium.\r\n<a href=\"https:\/\/www.youtube.com\/watch?v=xxf5zaPiU6I&t=197s\">Video<\/a> (0:27-0:50)\r\n\r\n\r\n\r\n","tn_url":"tn\/1406734110.jpg","tn_url_alt":"tn\/alt\/1406734297.jpg","load_external_url":"0","status":"0","location":"Neerpelt, Belgium","image_upload_id":"47","search_terms":"radio, belgium, amy franceschini, stijn Schiffeleers","embed_video":null},{"id":"60","main_type":"project","category":"2","title":"Shoelace Exchange","client":"","media":"String, Weeds, paper, wood, video","date":"2005-04-09","url":"shoelaceexchange","external_url":"","artists":"Amy Franceschini\r\nMichael Swaine","dimensions":"variable","description":"Prompted by the idiom, \"Getting by on a shoe string budget,\" Shoelace Exchange is the act of working with as little as possible to locate the lost art of shoemaking, comment on the local arts economy, and weave local flora into this narrative. One hundred fifty shoelaces were hand dyed with local \"weeds\". Each lace was wrapped with paper containing an interview with a local shoe repair merchant or maker and a description of the flora used to die the lace.","tn_url":"tn\/1352812505.png","tn_url_alt":"tn\/alt\/1352812510.jpg","load_external_url":"0","status":"0","location":"","image_upload_id":"43","search_terms":"","embed_video":null},{"id":"3","main_type":"project","category":"2","title":"F.R.U.I.T.","client":"","media":"wood, silkscreen, paper, internet","date":"2005-01-01","url":"fruit","external_url":"http:\/\/www.free-soil.org\/fruit","artists":"Amy Franceschini, Myriel Milicevic, Nis Romer","dimensions":"variable","description":"F.R.U.I.T. takes up the challenge of elevating the ecological knowledge of consumers. Through a site-specific installation, we present the entire life cycle of one orange-from production to utilization. F.R.U.I.T. wrappers and a website <a href=\"http:\/\/www.free-soil.org\/fruit\">Join the Protest Now!<\/a>inform people about alternative food systems and local food movements.","tn_url":"tn\/1352820680.png","tn_url_alt":"tn\/alt\/1352820686.jpg","load_external_url":"0","status":"0","location":"","image_upload_id":"45","search_terms":"","embed_video":null},{"id":"101","main_type":"project","category":"7","title":"","client":"","media":"","date":"2003-04-09","url":"","external_url":"http:\/\/www.futurefarmers.com\/survey","artists":"","dimensions":"","description":"","tn_url":null,"tn_url_alt":null,"load_external_url":"0","status":"0","location":"","image_upload_id":"19","search_terms":"","embed_video":null}]
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[{"id":"1","name":"Amy Franceschini","bio":"Amy Franceschini is an artist and designer whose work facilitates encounter, exchange and tactile forms of inquiry by calling into question the \"certainties\" of a given time or place where a work is situated. An overarching theme in her work is a perceived conflict between \"humans\" and \"nature\". Her projects reveal the history and currents of contradictions related to this divide by challenging systems of exchange and the tools we use to \"hunt\" and \"gather\". Using this as a starting point, she creates relational objects that invoke action and inquiry; not only to imagine, but also to participate in and initiate change in the places we live. <br\/><br\/>\nIn 1995, Amy founded Futurefarmers, an international group of artists, anthropologists, farmers and architects who work together to propose alternatives to the social, political and environmental organization of space. Their design studio serves as a platform to support art projects, an artist in residence program and their research interests. Futurefarmers use various media to deconstruct systems to visualize and understand their intrinsic logics; food systems, public transportation, education. Through this disassembly they find new narratives and reconfigurations that form alternatives to the principles that once dominated these systems. They have created temporary schools, books, bus tours, and large-scale exhibitions internationally. <br\/><br\/>\nAmy received her BFA from San Francisco State University in Photography and her MFA from Stanford University. She has taught in the visual arts graduate programs at California College of the Arts in San Francisco and Stanford University and is currently faculty in the Master of Eco-Social Design at the Free University in Bolzano, Italy. Amy is a 2009 Guggenheim fellow, a 2019 Rome Prize Fellow and has received grants from the Cultural Innovation Fund, Herb Alpert Award for Visual Arts, the Creative Work Fund for New Media and the Graham Foundation.","category":"","list_order":"1","active":"1","bio_type":"0","location":"San Francisco, USA"},{"id":"2","name":"Michael Swaine","bio":"Michael Swaine was originally trained as a ceramicist. He works in a variety of materials, methods, and media and has had a long-time focus on collaborative work. Michael has collaborated with Futurefarmers since 1997. Michael's Free Mending Library Project involved him pushing an old fashioned ice cream style cart on wheels with a treadle-operated sewing machine on it through the streets of San Francisco. This project became an on-going, monthly happening that took place in the Tenderloin neighborhood of San Francisco from 2002-2015. Michael received his B.F.A. from Alfred University in Ceramics and his M.A. in Design from UC Berkeley. Michael is a full time professor in the 3D4M at the University of Washington, Seattle.","category":"","list_order":"2","active":"1","bio_type":"0","location":"Seattle, USA"},{"id":"4","name":"Lode Vranken","bio":"Lode Vranken has been the lead architect and philosopher of Futurefarmers since 2008. Lode's fascination with installing situations of renewed socio-spacial dynamics began with a Transpolar Catapult built in Anchorage, Alaska and has manifest in various modalities since then. Lode has been practicing architecture internationally since 1993. He received his masters in a UN Course on Human Settlements + Architectural Philosophy from the KU Leuven, Belgium. He has been teaching since 2005 as a Ned delegate at The Institute for Advanced Architecture of Catalonia, Barcelona, Spain and from 1993-94 at the Asian Institute for Technology in Bangkok, Thailand. Lode co-founded the architectural research coalition, De Bouwerij in Belgium that focuses on social living structures, passive housing, and zero \u00e2\u20ac\u00a8energy construction. He is also a partner of Dear Pigs in Belgium and member of the The Ghent School for Metaphysics.","category":"","list_order":"3","active":"1","bio_type":"0","location":"Gent, Belgium"},{"id":"3","name":"Stijn Schiffeleers","bio":"Working in many media Stijn reveals the subtleties of life via film, video and interactive installations. His work embodies a sense of play and sensitivity that reminds us to take a closer look at what surrounds us. He has been seen soaring above the streets of San Francisco in a canoe mounted to the top of the Futurefarmers Volvo and most recently in Gent, Belgium. Stijn collaborated with Futurefarmers between 2003 - 2017.","category":"","list_order":"4","active":"1","bio_type":"0","location":"Gent, Belgium"},{"id":"11","name":"Anya Kamenskaya","bio":"Anya Kamenskaya is an ag-centric organizer and green building apprentice. Within Futurefarmers, she manages the Indigenous Farming Project, a tribal food sovereignty initiative in California's Owens Valley and fostered early relations with farmers in Flatbread Society in Oslo, Norway. Since 2009, she has curated educational events, film screenings and social mixers for the advocacy non-profit, the Greenhorns. She is a member of DIG Cooperative, Inc., a design-build firm focused on decentralized urban water infrastructure. She received her B.S. in Agroecology from UC Berkeley.","category":"","list_order":"5","active":"1","bio_type":"0","location":"Oakland, USA"},{"id":"5","name":"Dan Allende","bio":"Daniel is an artist, builder and inventor. He spent many summers orienteering by canoe in Canada where he went several months at a time without seeing other humans. Dan received his B.F.A. in Interdisciplinary Sculpture at the Maryland Institute College of Art and his M.F.A. (2015) at Carnegie Mellon. Dan collaborated with Futurefarmers between 2009-2015 on the Reverse Ark at the Contemporary Museum, Baltimore, Maryland, 2009, the People's Roulette for the Shenzhen Biennale of Urbanism\\Architecture, 2009 and Soil Kitchen, 2011, a temporary public artwork commissioned by the city of Philadelphia.","category":"","list_order":"6","active":"1","bio_type":"0","location":null},{"id":"6","name":"Cooley Windsor","bio":"Cooley Windsor is the Futurefarmers eternal writer in residence and has graced us with his presence and work since 2009. Many of our projects have emerged from the writings of Cooley Windsor; The Reverse Ark I, The Reverse Ark 2 and This is Not a Trojan Horse. \r\n\r\nCooley's seminal work, Visit Me in California has left an everlasting impact on us. Cooley teaches in the MFA Program at the California College of the Arts, and is co-director of the annual Meant to Be Seen Festival at the Eureka Theater in San Francisco. He was one of the founding board members of Bayview Hunters Point Community Advocates, an environmental-justice organization focused on the southeast section of San Francisco. He is affiliated with the Headlands Center for the Arts in Sausalito. ","category":"Futurefarmers Writers Fellowship ","list_order":"7","active":"1","bio_type":"0","location":"Chicago, USA"},{"id":"13","name":"Elizabeth Thomas","bio":"Elizabeth Thomas produces research-based and site-responsive artworks across a range of media. She has collaborated with Futurefarmers for over a decade. As Phyllis Wattis MATRIX Curator at the University of California, Berkeley Art Museum, she curated <a href=\"https:\/\/futurefarmers.com\/powersoften\/\">A Variation on the Powers of Ten<\/a> and co-edited the companion <a href=\"https:\/\/www.sternberg-press.com\/product\/a-variation-on-powers-of-ten\/#:~:text=Powers%20of%20Ten%20is%20a,everyday%20picnics%20and%20cosmic%20mystery.\">publication<\/a>. She authored an introductory text for a project publication connected to Futurefarmers' exhibition, <a href=\"https:\/\/carpenter.center\/program\/futurefarmers\">Erratum: Brief Introductions<\/a>, at the Carpenter Center for Visual Arts, Harvard University, and most recently an essay for the catalog of Futurefarmers' survey exhibition at Yerba Buena Center for the Arts: <a href=\"https:\/\/www.colpapress.com\/products\/out-of-place-in-place-futurefarmers#.YpE1rpNBzlw\">Out of Place, In Place<\/a>. Beyond her work with Futurefarmers, she teaches in the Curatorial Practice program at California College of the Arts and the Exhibition and Museum Studies program at the San Francisco Art Institute and writes for a range of publications.","category":"Futurefarmers Resident Wordsmith","list_order":"8","active":"1","bio_type":"0","location":"San Francisco, USA"}]