#Manhatta by #WaltWhitman read by #PattiSmith stirs up the soul. One week left to #GoSee #Rockaway1 at #FortTilden | conceived by @momaps1 + @klausbiesenbach (at Fort Tilden Breezy Point)
Studio Swine created ‘Can City’- a project based in São Paulo where a mobile foundry operates around the city’s streets. The foundry smelts aluminum cans using waste vegetable oil collected from local cafes as fuel. The moulds and the finished pieces are all made on location, turning the street into an improvised manufacturing line.
In a city with some 20 million residence the waste is on a massive scale, however over 80% of the recycling is collected by an informal system of independent waste collectors known as Catadores who pull their handmade carts around the streets. ‘Can City’ creates a system where their livelihoods can extend beyond rubbish collection.
The Catadores mine the streets for materials for the furnace, cheap and adaptable sand moulds are made using readily available construction sand from local building sites.
Where the majority of carbon cost is in the transportation of goods rather than their production – ‘Can City’ explores the possibility of industry returning to our cities, using free metal and free fuel to produce an endless range of individually crafted aluminum items adaptable to customisations and able to ‘cast on demand’.
The stools are the first line items to be produced, inspired by vernacular design the seating is made for the food market that provided the waste materials.
'Can City' was made for Coletivo Amor de Madre Gallery, São Paulo.
The project was made possible with the generous support of Heineken.
Behind-the-Scenes | OUT OF THE BOX BIENNIAL: NYC MAKERS at MAD
The box is a large yellow crate made by the Brooklyn packing and art transport company Boxart, built for a bulbous sculpture by Wendell Castle. The crate is part of “NYC Makers: The MAD Biennial,” opening on Tuesday. While Mr. Castle’s sculpture is tucked inside, it is not officially part of the show. (Although his work will have it’s own solo platform at the Museum next year.)
“I like this idea that a fine artist and a crate maker can all be seen on a level playing field,” Mr. Adamson said. “It’s a powerful idea, and a radical idea, for a museum.” Though biennials are not exactly news, MAD’s exhibition features a fleet of objects and installations that may be getting through the door of a major cultural institution for the first time: bottles of whiskey, a jar of handmade candy and scratch-and-sniff wallpaper, for starters.
Mr. Adamson is attempting what he calls an ambitious “relaunch” of the museum’s mission, which has been focused on “making sure craft is an equal part of the art world,” he said. “Now we’re looking at what the skilled maker brings to the larger world around us.
The new biennial format spotlights work by 100 citywide “makers” — the trendy term for creators of any kind — and it includes a cross-disciplinary group of people within New York City. Some are famous, like Laurie Anderson, Meredith Monk and Yoko Ono, while others have yet to gain renown, like the wallpaper company Flavor Paper. One of the sweaty-smelling papers in the show is supposed to evoke “the scent of creativity of 100 makers,” said Jake Yuzna, the biennial’s curator.