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We are what we see.
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Feb 15 | BUREAU’s newest writer, Hannah North, reflects on pain of others in her essay “Somebody to lean on”

Posted by BUREAU of CHANGE in COLORSOFLOVE, EDU, SECURITY

Somebody to lean on

by Hannah North

Sometimes, memories have a way of coming out through your sub-conscious. As I started writing this blog on distressing content we all seem to experience through social media, I began with the line “every human on this planet has experienced pain and sorrow.” A colleague pointed out to me that these words echo the opening lyrics to a song that was important to me in a time that seemed simple yet was so impactful to my childhood.

I grew up in a family of addicts, which could seem like a tragedy to those who know my story. However, it opened me up to a supportive community that I would have never had otherwise.

I spent the majority of my childhood in Alateen, a program for children affected by addiction. It felt like everyone in the program was always there when I needed advice, a friend or just someone to talk to. At the end of my favorite convention we would sing a farewell song. We grabbed hands, the music started, and we sang together,

Sometimes in our lives we all have pain
We all have sorrow
But if we are wise
We know that there’s always tomorrow
—Bill Withers, opening lyrics to “Lean On Me,” 1972

In those moments, I knew it was true. I would always have somebody to lean on.

Through addiction, war, death, rejection, oppression and many other hardships, we have a place to come together and to lean on one another. We have an opportunity to share, to listen, to ask and to answer. An opportunity to help heal one another. This place is social media. Social media, as I have described it here, may sound unfamiliar as it seems to me that it is rarely used for these purposes.

Through the internet, we have nearly everything and everyone at our fingertips. With just a few clicks, we have the potential to reach billions of people. Social media has changed our relationships with others, images of others’ pain and has made all sorts of interpersonal exchanges with family, friends and strangers around the world instantly possible. But, instead of using this tool for good, some of us use it to hurt, dismiss, and attack each other. Why? Is it easier to hurt instead of help? Does it make us feel better to make others feel worse?

An essay by BUREAU’s founder, Margot Herster, “Regarding the Pain of Others in the Age of Social Media” seeks to reverse the flow of vitriol so common in contemporary social media exchange. Authored in the wake of the police shooting of Alton Sterling and the retaliatory targeting of police in Baton Rouge, Herster’s piece, first jotted on Facebook as a personal reflection to her online friends, contemplates the spread of online hate and misinformation is not destiny.

Herster, a media artist and educator, suggests that we are all individually thus collectively empowered to reimagine our online relationships toward building community, challenging indifference and avoiding amplification of caustic commentary. Her message of consciousness and conscience is borderless. First conceived as a response to a Baton Rouge local then national story of grief and protest, it was published in the Dhaka Tribune for international distribution following a mass shooting in Dhaka, Bangladesh termed by the media as 7/16.

We can choose if we want to expose ourselves to a public forum or become a poster child or hashtag. We can respect others’ privacy and ways of grieving. We can learn more about what another feels is at least semi-acceptable to say or do. We can read the comments and be the one to add a thoughtful, factual, caring comment because someone who needs to hear it might read it. We may reach a friend of a victim, a judge, a police officer, a politician, a power broker. Or an isolated could-be copycat or would-be abuser. Or another might-be abused or lost life. —Margot Herster, “Regarding the Pain of Others in the Age of Social Media,” 2016

In 2003, in part spurred by her reaction to 9/11 and its aftermath, Susan Sontag published Regarding The Pain of Others, a book on how we use photographs to portray violence and react to images of war and torture. In Regarding the Pain of Others, Sontag discusses society’s absorption and rationalization of images of others’ suffering and how viewing this imagery can ultimately make the viewer complicit in that suffering. Digitalization of such imagery, she says, fosters a ‘globalization of suffering,’ in which society seems to increasingly distance itself from, glorify, or react with impotent empathy or paralyzation.

Compassion is an unstable emotion. It needs to be translated into action, or it withers. The question of what to do with the feelings that have been aroused, the knowledge that has been communicated. If one feels that there is nothing ‘we’ can do — but who is that ‘we’? — and nothing ‘they’ can do either — and who are ‘they’ — then one starts to get bored, cynical, apathetic.
—Susan Sontag, Regarding the Pain of Others, 2003

Although we may not know someone’s background or feel another person’s pain, we can accept and respect our differences. We can try to make other people feel heard and valued. Instead of impulsively responding with hateful comments or pictures, we can come together and help to heal each other of our pains. We can have compassion.

Who or what we choose to ignore because we don’t agree, don’t want to be seen liking or commenting on, or are unsure how to react to, can ignite and propel anxieties. We don’t know every person in our network or the experiences that color their views. We can start conversations with “what do you think, “what do you want, ‘why?’ We can invite people we assume are on the wrong side of history, or who support Trump or whoever we’re against. We can take the time to explain what we think we know and why. We can stop shaming, slamming, and unfriending people because we don’t agree with them.” —Margot Herster, “Regarding the Pain of Others in the Age of Social Media,” 2016

The next time you find yourself scrolling through the world of social media, remind yourself that the other people there are real. They have real lives, emotions, problems, and pains. A few keystrokes can carry weight. What you say or don’t say can impact someone else’s life.

Hannah North is a freshman at Delgado Community College and participant in BUREAU’s interdisciplinary apprenticeship program in partnership with New Orleans colleges. More information on how we work here.

15 Feb 2017 no comments / READ MORE

Oct 18–19 | BUREAU hosts Liberate Tate: “Insides/Outsides” and “A How-to-Guide” at Pelican Bomb and LSU Law Center

Posted by BUREAU of CHANGE in Lectures & Talks, SECURITY, SUSTAINABILITY

Liberate Tate: “Insides/Outsides” and “A How-to-Guide”

Liberate Tate: “Insides/Outsides”

WHEN: Tuesday, October 18, 2016, 6pm – 8pm

WHERE: Pelican Bomb Gallery X, 1612 O.C. Haley Blvd, New Orleans, LA 70113

Free and open to the public; drinks and snacks will be served

Presented by BUREAU of CHANGE and hosted by Pelican Bomb

 

BUREAU of CHANGE presents Liberate Tate:Insides/Outsides a performance lecture on creative disobedience by the U.K. artist collective Liberate Tate on Tuesday, October 19 from 6pm to 8pm at Pelican Bomb Gallery X.

Come to hear Liberate Tate share the strategies, tactics and experiences of making unsanctioned live art in the Tate galleries—one of the largest and most influential art institutions in the U.K.—for the past six years. Liberate Tate performances have included spilling oil like substances in museum galleries, installing a 16.5m wind turbine blade in the Tate Modern Turbine Hall, occupying the gallery overnight in a durational performance transcribing texts in charcoal onto the floor, and giving permanent climate tattoos.

Liberate Tate’s Time Piece, 2015. Photo by Martin Lesanto Smith.

Liberate Tate’s practice has been at the forefront of a new wave of non-binary art-activism, blending creative collaborative practice with strategic campaigning goals and their performances have registered a global presence in the news and online. Their work is part of a movement of artists and activists who have moved beyond institutional critique into making unsanctioned artworks that reshape the institution.

Following the artists’ talk, BUREAU of CHANGE and Liberate Tate facilitate a conversation with Cristina DuQue (Fossil Free Southeast Organizer, 350.org); Jayeesha Dutta (Co-Founder, Radical Arts & Healing Collective, Coordinator, Gulf Future Coalition and Organizer, Another Gulf is Possible) and Chris Sullivan (Assistant Professor of Political Science, Louisiana State University) to discuss cultural divestment and creative protest both in Louisiana and the United Kingdom.

“A huge impetus for Liberate Tate’s early performances was BP’s Deepwater Horizon in the Gulf of Mexico. Six years after we started as a collective, we’re journeying in the USA to deepen conversation with artists, activists and frontline folks about the devastating impacts of fossil fuel companies and the role that culture plays in creating the ‘social licence to operate’ that enable these companies to trash communities, ecosystems and the climate.” —Kevin Smith of Liberate Tate 

 “The art museum is global. The oil industry is global. The Fossil Free Culture movement must be global in our collaboration to end oil sponsorship of the arts and deny the oil industry the social licence it gains from the cultural sector in Europe, the Americas and Australia.” —Mel Evans of Liberate Tate 

Liberate Tate’s visit to New Orleans is part of a broader U.S. tour sharing the experience of successfully removing the oil sponsor BP from the Tate galleries with artists, activists, cultural allies, friends and publics in New York, Washington DC, New Orleans, Baton Rouge and Houston. Following the public performance-lecture at Pelican Bomb Gallery X, Liberate Tate leads an educational workshop “Liberate Tate: A How-To Guide” at Louisiana State University in Baton Rouge on October 19, 2 – 5 pm. Workshop participation is limited; for more information on the workshop, contact rsvp@bureauofchange.org.

 

MEDIA CONTACT

Margot Herster, BUREAU of CHANGE

504.358.0012

office@bureauofchange.org

ABOUT LIBERATE TATE

Liberate Tate is an art collective that has been exploring the role of creative intervention in social change by making unsanctioned Live Art in Tate gallery spaces since 2010. Their aim, to free art from oil, initially focussed on the art museum Tate ending its corporate sponsorship with BP. The creative strategy used was successful, and in March 2016, Tate announced that from 2017 it would no longer receive funding from oil giant BP. Liberate Tate seeks to free the arts from oil because the oil industry uses its association with institutions to create a guise of social acceptability. The group believes that there should be no cultural sponsorship by oil companies in a time of climate change, and fits within a wider set of politics around decolonizing and democratizing the museum. www.liberatetate.org.uk

 

ABOUT BUREAU of CHANGE

BUREAU of CHANGE is an education-centric lab for real art practice in New Orleans. We create, curate and exhibit socially and politically engaged work. Our process commissions artists and non-artists to collaborate on creative works aimed at inciting institutional change while studying social technology, digital media theory, interdisciplinary research and artistic production. We present our work at art institutions and community-accessible physical and digital spaces, as well as US/IS, our public art space at Gravier & Magazine Streets in downtown New Orleans. www.bureauofchange.org

 

ABOUT PELICAN BOMB

Pelican Bomb is a contemporary arts organization dedicated to connecting you to ideas, events, and opportunities in New Orleans and beyond. Since 2011, Pelican Bomb has presented dynamic programming including critical reviews and digital artist projects on our online Art Review; thought-provoking exhibitions at Pelican Bomb Gallery X; a Community Supported Art initiative that commissions limited-edition works by local artists; and a critic-in-residence program that connects national thinkers with New Orleans’ arts communities. www.pelicanbomb.com

 

 

05 Oct 2016 no comments / READ MORE

Curator Bill Arning talks to critic John D’Addario about BUREAU’s “Amazing Grace” and his other top picks in Louisiana Contemporary

Posted by BUREAU of CHANGE in Exhibitions, LIVELIHOODS, MAINSTREET, SECURITY

Image credit: Installation view, BUREAU of CHANGE, Amazing Grace (ft. Barack Obama), in Louisiana Contemporary at the Ogden Museum of Southern Art, 2016 (left); Old Glory Holes and Pussy Riot by Dan Tague (right)

John D’Addario talks to curator Bill Arning, Director of the Contemporary Arts Museum Houston about top picks, including BUREAU’s Amazing Grace, for Louisiana Contemporary, which A’ddario defines as “the Southern-inflected version of New York City’s Whitney Biennial: an opportunity to examine the currents of the regional art scene through the lens of a particular curatorial eye.”

 
Arning says what he calls the “unlikely relevance of abstraction” and “obsessiveness and the power of accumulation” are two more common themes which links several of the works on display.

 
With dozens of works by nearly 50 artists, there’s a lot to take in. But Arning has some advice for visitors wanting to make the most of their visit to the show.

 
“Take the time to watch the two longish videos,” said Arning. “Both Xavier Juarez and Adrione Domino are gifted filmmakers and use their performers for great emotional effect.” 

“BUREAU of CHANGE’s short video comments on the hope and frustrations of the Obama years, in which the president’s inspiring voice is countered by the horror of so many young black men either killed or incarcerated. On a more positive note, Paul Rizzo, Max Sizeler, Peter Horjus, Brian Barbieri, Chris Berntsen and Arthur Severio depict the joy of queer lives today and exploring so many new possibilities.”

 

Download Article: CONTEMPORARY VISION: Social issues at the forefront of annual Ogden show by John D’Addario, The Advocate, August 24, 2016

 

26 Aug 2016 no comments / READ MORE

Aug 6–Sept 18 | BUREAU’s hip hop gospel Amazing Grace ft. Barack Obama at the Ogden Museum

Posted by BUREAU of CHANGE in COLORSOFLOVE, Exhibitions, MAINSTREET, SECURITY

August 6–September 18, 2016
Ogden Museum of Southern Art

925 Camp St, New Orleans, Louisiana 70130
Opening White Linen Night, Julia Street Block Party, August 6, 6-9PM
Hours: 10AM-5PM every day but Tuesday
Free to Louisiana residents on Thursdays from 10AM-5PM

 

BUREAU of CHANGE invites you to the New Orleans debut of our latest work, Amazing Grace featuring Barack Obama, at the Ogden Museum of Southern Art in the exhibition Louisiana Contemporary.

 

Amazing Grace featuring Barack Obama is a rap gospel media installation that memorializes Black lives lost to racially influenced violence and voices reactions among the living.

 

Soundtrack | Drawing from White House archives, the beat and chorus samples the President’s voice as he sings “Amazing Grace” for the eulogy of Pastor Clementa Pinckney, one of nine Black women and men murdered in 2015 at Emanuel African Methodist Episcopal Church, Charleston, South Carolina.  Rap lyrics and jazzy gospel vocals by a New Orleans musician and his mother bring home emotions from Cleveland to Charleston to Baton Rouge, as well as the impact of viral witness video of police shootings in Black Lives Matter activism.

 

Visuals |  A Black man costumed as the Statue of Liberty walks New Orleans’ streets, passing Confederate monuments, several of which City Council deemed a “public nuisance” after the Charleston Church shooting and slated for removal to a museum. Images sourced from news and social media online recall the lives and deaths of Tamir Rice, Walter Scott, Alton Sterling, Pastor Clementa Pickney, Reverend Sharonda Singleton, Myra Thompson, Reverend DePayne Middleton-Doctor, Cynthia Hurd, Susie Jackson, Ethel Lee Lance, Tywanza Sanders and Reverend Daniel Simmons, Sr.

ABOUT BUREAU of CHANGE

Based in New Orleans, BUREAU of CHANGE is a collaborative digital media studio that creates, curates and exhibits socially and politically engaged projects. We bring together artists and non-artists to collaborate while expanding skills in technology, creative communication and civic entrepreneurship.

 

ABOUT LOUISIANA CONTEMPORARY

Louisiana Contemporary is an annual event that promotes contemporary art practices in the state of Louisiana, provides exhibition space for the exposition of living artists’ work, and engages a contemporary audience that recognizes the vibrant visual culture of Louisiana and the role of New Orleans as a rising, international art center. Bill Arning, Director of the Contemporary Arts Museum Houston, selected works for the 2016 exhibition.

 

ABOUT THE OGDEN MUSEUM

Located in the vibrant Warehouse Arts District of downtown New Orleans, Louisiana, the Ogden Museum of Southern Art holds the largest and most comprehensive collection of Southern art in the world and is recognized for its original exhibitions, public events, and educational programs which examine the development of visual art alongside Southern traditions of music, literature, and culinary heritage to provide a comprehensive story of the South. Established in 1999 and in Stephen Goldring Hall since 2003, the Museum welcomes over 77,000 visitors annually, and attracts diverse audiences through its broad range of programming including exhibitions, lectures, film screenings, and concerts which are all part of its mission to broaden the knowledge, understanding, interpretation, and appreciation of the visual arts and culture of the American South.

 

JULIA STREET BLOCK PARTY
300–700 blocks of Julia Street and throughout the Arts District New Orleans
Free Admission | 5:30–9:30pm

Exhibition Openings at more than 20 Galleries & Museums

Cocktails; Cuisine from 25 Local Restaurants

Cox Cool Down Lounge

24 Jul 2016 no comments / READ MORE

The Advocate reviews BUREAU of CHANGE: Social Services as “best street art on P.3+ menu”

Posted by BUREAU of CHANGE in MAINSTREET, SECURITY

The Advocate

The 24/7 Part of Prospect.3
SEEN on the STREET

BY JOHN D’ADDARIO | SPECIAL TO THE ADVOCATE

“But it’s a piece by the New Orleans-based Bureau of Change that likely will find its way into the most Instagram feeds.

Against a selfie-ready expanse of mirrors, the words “We Are What We See” invite viewers to consider a list of provocative statements regarding the role of images in social media — and by extension, our own roles in creating them.

It’s the kind of self-reflective art that depends on the active participation of a viewer for its meaning. And like the best street art on the P.3+ menu this season, it’s definitely worth making the time to seek out.”

Read the full story at The Advocate

03 Jan 2015 no comments / READ MORE

BUREAU founder curates Social(dis)Order at LSU Glassell Gallery in Downtown Baton Rouge

Posted by BUREAU of CHANGE in EDU, Exhibitions, SECURITY

BUREAU of CHANGE is pleased to announce Social(dis)Order at the Glassell Gallery at the Shaw Center of the Arts, Louisiana State University. The exhibition is on view August 30-October 7 with a public reception on Friday, September 21, 6-8pm.

Social(dis)order brings together creative works that explore the power technology enabled social networks have over traditional social constructs. Curated by BUREAU founder and LSU Digital Art and AVATAR faculty Margot Herster with Derick Ostrenko and assistant curator Lydia Dorsey, Social(dis)Order opens the LSU School of Art’s 2012-2013 programming, Tipping the Edge.

The current state of digital media provides rapidly diversifying public platforms where social expression is used as a device for authority and influence. Social(dis)Order presents artists and artworks that engage the balances and imbalances, freedoms and controls, and comforts and discomforts that accompany social change.

social disorder projectionSocial(dis)Order transforms the gallery into a media-rich exploratory social space and invites visitors to participate. The exhibition features seven interactive and participatory works by international artists whose creative practice explores the underlying motivations of the ubiquitous networks that keep people connected. Natalie Bookchin‘s video projection, My Meds from the series Testament, assembles a chorus of medicated video bloggers and contemplates the intimacy and anonymity of mass communication enabled by websites like Youtube. Take This Lollipop by Jason Zada flirts with the danger of online exploitation in this facebook app-generated horror movie.

Two works in the exhibition activate discussion about the political implications of video games and their power for social impact. Games by the Italian team Molleindustria test visitors’ abilities against corrupt politicians, conspiracies, and drone pilots and, according to the artists, are free from the “dictatorship of entertainment.” Another serious game with practical intentions, Virtual Peace, enables visitors to try their hands at a video game created by a collaboration of Duke-UNC Rotary Center for International Studies in Peace and Conflict Resolution and the learning environment company Virtual Heroes for the purpose of humanitarian aid training.

Created in 1999 and the earliest work in the exhibition, Joseph DeLappe’s Self-Portrait/A Dialogue is built from two computer mice that spew knock-knock humor when engaged by visitors and offers comic relief to the darker undertones of many of the other works. Another interactive sculpture by Jonah Brucker-Cohen is more foreboding. Brucker-Cohen’s Alerting Infrastructure! is a drill that will translate hits to the Glassell Gallery website into physical damage by burrowing into one of the gallery’s cement walls, amplifying the concern that physical spaces are losing ground to their virtual counterparts.

Alongside the computer-based works, London artists Ant Hampton and Britt Hatzius present a participatory installation that sets up an analog relationship between recorded media and live human bodies. In this This is Not My Voice Speaking the artists provide devices and instructions for visitors to enact a playful multimedia performance using analog materials including 16mm film, a record player and a slide projector.

CURATORIAL STATEMENT

Social(dis)Order Main Text

23 Sep 2012 no comments / READ MORE