This Saturday at 826 Michigan...

Flying Saucers, Flying Sounds: Intergalactic Radio
Taught by Nick Tobier & Ben English
Ages: 6-10, 10 students
Saturday, May 7: 1-3pm (one session)

Climb aboard the Michigan Voyager, a small vehicle designed for imaginative travel through near and distant galaxies. We'll chronicle our travels through original radio plays, complete with instruments and sound effects we make ourselves. Then we’ll record and remix our drama for broadcast on the radio!

Nick Tobier is a designer of small scale environments and objects--some that fly, some that float, some that roll. He teaches at the University of Michigan School of Art & Design. More at www.everydayplaces.com

Ben English leads two lives: one as graphic designer, the other as radio deejay. He knows that humans like to communicate visually as well as verbally. (How do aliens like to do it?) www.benjaminenglish.com

This workshop is full. (You can put your name on the waiting list, though.)

Ideas for Detroit

Ideas for Detroit exhibit at Whitdel Arts, 125o Hubbard Street, Detroit
April 30-May 28, 2011

food trucks

a proposal for Detroit
Each neighborhood launches a food truck that features a local dish.

The truck is a community kitchen and roving cafe.
Once a week, each truck goes to a different neighborhood

coming for hot summer days: Custom shower/watering bicycle.
visit everyday places for more info.

We cannot not change the world

find everyday places on
We Cannot Not Change the World, fostering a discourse on social design

work trikes

Signs on the Road

Signs on the Road, curated by Workroom G at Winkleman Curatorial Research Lab, NYC, 3/25-4/30/2011

the premise:

Artists often fixate on particular found material (imagery, objects, quotes, fragments of text, etc.) that reveals no direct connection to their practice but that possesses for them an enigmatic, resonant meaning. This material may serve as a beacon for their practice, suggesting an unrealized and indeterminate potential for future work. Perhaps this material is the uncanny of artistic practice.

For this exhibition we collect such material from over a hundred and fifty artists, each invited to submit a single-page digital file to be printed on an 8×10-inch sheet. This small archive will be handed over to three curatorial collectives, each of whom will mount a treatment and exhibition in the diminutive (10-foot by 10-foot) Curatorial Research Lab at Winkleman Gallery. Despite the collection's necessarily small scale, we hope for a different order of insight than can be derived from primary artistic production. What if, for a moment, we treat such secondary material as primary? We are curious to see what tentative and comparative understandings can be drawn regarding a collective sensibility of the moment. Could organizations of this archive serve as signs on the road toward something beyond its constituent parts?