MAP is in Santa Fe

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From 16th September to 16th October ‘The Map is not the Territory’, curated by Jennifer Heath and Dagmar Painter will be showing at the Santa Fe University of Art and Design, Santa Fe, New Mexico, USA.


DON’T DO THIS AT HOME series – # 2

Dear all,

The Little House Gallery would like to invite you to the  DON’T TRY THIS AT HOME! series, #2.


Date: Sunday, March 13th, 2016

Time: 3:00 – 6:00 PM
Location: Little House Gallery, 635 Venice Blvd, Venice, CA, 90291.
In a state of constant transition, bodies, people, communities, places, buildings and minds are moving territories changing our interior and exterior landscapes. These movements often reveal friction between opposing forces and act as a catalyst for change, conflict and risk. Often it is within the home that we feel safest to explore these frictions and the potential they expose. Join us at the Little House Gallery for a series of creative presentations and discussions provoked by the tensions of our environment.
The second in our artist series will juxtapose artists and designers Lara Hoad & John Hulsey.
Theme: Public v. Private
Where do the boundaries of public and private merge and divide?
What are the impacts of these relationships in our art, work and lives?
Guest artists:

Image1Lara Hoad is a graduate of London’s Royal College of Art and has broad experience as an architect, designer and educator of noteworthy branded environments, exhibitions and experiences both nationally and globally. Lara oversees Design Direction at March Studio Branded Architecture as well as having her own small architecture and design practice Nuudel, which provides a platform for the exploration, through practice and education, of the role of brands and organizations in social and environmental architecture and design projects. Lara holds positions at OTIS College of Art and Design, and the School of Architecture at Woodbury University, where she teaches branding, architecture and design with a lens on social change and sustainability.

Image6John Hulsey is an artist, writer, cultural organizer, and educator who works in collaboration with grassroots organizations and community groups fighting for racial and economic justice. Since 2008, he has worked closely with City Life/Vida Urbana, an organization of homeowners and tenants in Boston fighting housing displacement through direct action, legal advocacy, and popular education. Together with a core team of artists and activists, John has developed public projects that intervene on sites of power and poetically reimagine our collective relationships to place through site-specific performance, public projection, low-power radio, and publication. His research and writing explores the ways in which cultural practices in North America have intersected with place-based strategies and struggles for neighborhood and community self-determination. He is currently an MFA candidate in Interdisciplinary Studio in the Department of Art at UCLA and a PhD candidate in Film and Visual Studies in the Department of Visual and Environmental Studies at Harvard University.

We are looking forward to spend this Sunday afternoon exploring the subject with you while honouring our guest speakers. Hopefully the relaxed and homely environment will prompt us into creative discussions.

Spread the word to the world,
Claudia, Nicola and Tracee
On the one hand: Public
We are globally witnessing the disappearance of the commons if not just only of nature. Public space being taken over by private enterprises has transformed our landscapes – public space becoming an extension of the market. The phenomenon of privatization, which seeps through all aspects of life, is responsible for the creations of the aesthetics of hyper individualism. How will the lack of commons and of reciprocity change our social and personal rituals, our behaviours, our spirituality and our needs, our thinking, our responsibilities: our lifestyles? Historic religious processes have provided convenient justification for the ongoing acts of appropriation – one being the concept of “improvement” of land and of wilderness – placing laws that protect ownership and private property. With more spaces designated to be private on public soil, spaces need to be designed and are being branded by corporate institutions to be public on public ground: civic space confined to shopping malls. This relentless process of privatization has caused the withdrawal of the state from public life engagement leaving people with no support. While the question of what is “public” remains an open wound at the mercy of the interpretation of the powerful, people are left to their own resourcefulness to mend the best they can issues of “public” injustice.
On the other hand: Private
How to protect the privacy of our diverse interior lives? How to defend the vulnerable space of our intimacies? How to keep our silences safe from rumours? How to prevent the disappearance of sacred places? How to create a domestic space in a home? We all want to shelter what is ours! Which are human’s inherent rights? How not to become homeless?
Retrieving or forced into private spaces mostly by fear, westerners have been trained and got accustomed to a misleading autonomy, an independence that borders alienation. Online communities crowd our lives with virtual commons fulfilling the loneliness of our souls with places of isolation as we become detached and incompetent in mastering our humanity.
The Little House Goal: The discussion
Owner, renter, surveillor, keeper, carer, tenant, occupier, leaser, subletter, freeholder, landlord, homeless, the boundaries might be blurred, but legal terms dictionaries clearly define our spots. Inevitably the binary between private-public becomes a subjective dilemma portraying a human ecology of private /public/ personal issues fenced by the law. Art, places, opinions, memories, land, information, water, air, are all realms of contentions. To determine what is public we might have to figure out: which freedoms are we willing to give up? How much of our privacy are we willing to let go? So the question of what is ownership keeps rising up. Does being in a space grant us ownership? Which living being has the authority to define what is public and what is private? Who is entitled to a home? Who is not? Drawing from Tracce’s experience of her living in a semi-private, semi-public space, the term ‘keeper’ seemed to be the most appropriate term to describe ownership. Temporary keepers of temporary places we care, and by looking after our attachments by default we create inevitable detachments. I look at birds holding the air for a moment before drawing pipe systems of possibilities in the open sky.


Press Release Date: February 3rd, 2016 IMAGINING NEW EURASIA PROJECT

Chapter 1

Here, There, and Everywhere: Eurasian Cities

Project Director, Artist: Kyong Park Director of Visualization: Jaekyung Jung Project Architect: B.A.R.E Curator: Jihoi Lee November 25, 2015 – July 15, 2016 The Asia Culture Center, ACC Creation, Space 3 38, Munhwajeondang-ro, Dong-gu, Gwangju, Republic of Korea Exhibition Area: 798㎡ For centuries, Asia and Europe were thought to be separate and distinct. But where exactly is the physical demarcation between them? Is it the Ural Mountains or Caucasus Mountains? Or do the linked bodies of water from the Sea of Marmara, Black Sea, and Caspian Sea to the Ural River separate Asia from Europe? The exact line of physical demarcation between Asia and Europe is still disputed and remains inconclusive. The division of Eurasia is merely of a cultural construct, and history confirms this. Rather than defined by its supposed division, the horizontality of the Eurasian landmass has allowed various inventions, religions and languages to spread to the far reaches of East and West. Old Silk Roads, New Silk Roads, and the like are proof that the geography of the continent is a unifying force. Eurasia is a single continent, not only by its physical attributes, but also by its shared history. Today, Eurasia is once again becoming one. Besides the Trans-Siberian Railways, now the New Eurasian Land Bridge connects Lianyungang with Rotterdam to allow shipments of materials from China to Europe. There are more proposals for new railroads and highways between China, India and Southeast Asia, while Russia has even proposed tunnels and bridges across the Bering Strait to North America. Furthermore, there are also many newly built and proposed oil and gas pipelines that will remake the Middle East and Central Asia a land of connections and exchanges, as they were during the Old Silk Roads era and beyond. Imagining New Eurasia is a multi-year project to research and visualize the historical precedents and contemporary reconstructions of the continent as a union of Europe and Asia. The project imagines new relations between East and West, and a renewed identity for Eurasia. Through a narrative sequence of three distinctive chapters, each with different subjects, Imagining New Eurasia Project will present the importance of cities, networks and territories. In so doing, the project envisions how the movements of commerce, migrations and cultural exchanges could bring about an age of balance, where greater relations and understandings between different societies could help avoid clashes of civilizations. Central to this project is the New Eurasian Pavilion that will house panoramic projections of visualizations, accompanied by participatory exhibitions, publications and workshops. The inaugural exhibition of the Imagining New Eurasia Project looks at the cultural terrain of Eurasia through the localized lens of different “cities.” The intention is to visualize the structures of cultural transitions, exchanges, and interactions between different places. Primarily consisting of three parts, “Atlas of a New Geography,” “City Mix,” and “Urban Poetry,” the exhibition seeks to animate a new way of understanding the relations between here, there, and everywhere of Eurasia. ATLAS OF A NEW GEOGRAPHY The first part is an exhibition of selected entries from an open competition that presents drawings, sketches, texts, artworks, photographs, maps, memorabilia and other artifacts from different cities in Eurasia. The competition was based on a fictional story that Eurasia was completely destroyed from religious, ethnic and national wars. The participants were then asked to identify a remnant from which his/her city could be reconstructed or renewed. Among hundreds of competition entries, the exhibition introduces the selected works of eighty-five participants, whose ideas and aspirations reflect various kinds of local conditions and future hopes. An online voting system will run on the official website of the Imagining New Eurasia Project (, where worldwide citizens could take part in selecting prizewinners amongst the exhibited works. CITY MIX In the second part, panoramic photos and videos of selected Eurasian cities are mixed and projected to fully encircle the interior of the New Eurasian Pavilion (designed by Kyong Park and B.A.R.E.). The urban landscapes of these cities are joined, merged or compounded to create progressions, mixtures and amalgamations of different cities of the continent. Inspired by panoramas and dioramas that were popular during the second half of 19th century, the New Eurasian Pavilion takes viewers to iconic and particular landscapes of distant cities, illustrating the economic, political and cultural histories of different societies. Rather than presenting a landscape of one particular city, as the traditional panoramas did, the New Eurasian Pavilion mixes them to create comparative and combined landscapes that offer extensive views of Eurasia as a single continent. On the exterior skin of the New Eurasian Pavilion, one hundred selected cities are presented by their territorial profile. These profiles are pushed out against the fabric skin, in different strengths and at different times, to visualize the importance that each city played in relation to the Old Silk Roads, New Silk Roads and other roads that connected Eurasia through its history. URBAN POETRY Collected through a scripted search on the Internet, thousands of Urban Poetry Cards show images and texts about the historic and contemporary urban landscapes, architectures, artifacts, and maps of one hundred and fifty-five selected cities. With an image on one side and its associated text on the other, the cards bear the color of the annual mean temperature of each city, emphasizing the connective history between cities through their climatic relations. Viewers are invited to select these Urban Poetry Cards and place them on a large wall to create collective sentences. Motivated by Dave Kapell’s Magnetic Poetry and the C adavre Exquis of the Surrealists, this participatory game intends to create a mosaic of urban images via accidental encounters of linguistic play, alluding to a constantly changing visual terrain of Eurasia. The result of this participatory work will be continuously documented throughout the exhibition period. Resulting card movements and locations will be analyzed with a focus on the cities and keywords, to study the tendencies and relations between cities as they are perceived and created by the participants.

CONTACT The Asia Culture Center, ACC Creation Curatorial Team Manager: Sung A Kwon (+82 62 601 4540) Director General of The Asia Culture Center, Sunkyu Bang Director of Asia Culture Institute, Byungsuk Kim Art Director of ACC Creation, Jinyo Mok Associate Art Director of ACC Creation, Joonmo Chung IMAGINING NEW EURASIA PROJECT Official Website: Facebook: Instagram: #inep #imaginingneweurasia


I am honoured to be featured in the Women Environmental Directory: WEAD together with artists:

Meghan Moe Beitiks
Claudia Borgna
Jenny Brown
Verona Fonte
Anna Olsson
Faviana Rodriguez
Shayna Weimer

Together we form the artists Portfolio section of this issue.

An image of my work also introduces Magazine’s Issue #8 titled Feminism Now by Susan Leibovitz Steinman

Thank you Susan and Krystle.






The Little House Gallery would like to invite you to: 
Date: Tuesday, December 15, 2015
Time: 7pm
Location: Little House Gallery. 635 Venice Blvd, Venice, CA.
In a state of constant transition, bodies, people, communities, places, buildings and minds are moving territories changing our interior and exterior landscapes. These movements often reveal friction between opposing forces and act as a catalyst for change, conflict and risk. Often it is within the home that we feel safest to explore these frictions and the potential they expose. Join us at the Little House Gallery for a series of creative presentations and discussions provoked by the tensions of our environment.
The first in our series will juxtapose artists Sofia Dona, John Husley and Brad Pruitt. Sara Daleiden will moderate open forum discussion after brief presentations from the artists.
Sofia Dona is an architect and artist from Athens, Greece. She studied Architecture at the National Technical University of Athens, and received her Masters in Fine Arts from the Bauhaus University of Weimar (“Public Art and New Artistic Strategies”). She is currently a Ph.D. student at the Department of Architecture of the University of Thessaly, exploring the symbolic twinning of distant cities, such as Leipzig and Detroit, Los Angeles and Athens, and received a Fulbright Scholarship in 2015 to continue her research in the US.
John Husley is a cultural organizer, and researcher. John has worked closely with City Life/Vida Urbana, a racial and economic justice organization composed of homeowners and tenants facing displacement through foreclosure and gentrification. John’s thesis, “Taking Place: Contemporary Art and the Tactical Occupation of Space,” examines the ways in which artists and cultural practitioners in North America have staked claims to the land through performance and public intervention.
Brad Pruitt is film director, producer and writer based in Milwaukee, WI. His award-winning documentaries focus on the triumphs and challenges of his local community. He collaborates with educators, social workers, activist, artist and more to examine various social structures and forms of creation. He is a passionate advocate for talent in the midwest and is dedicated to promoting multi-media production in Wisconsin. He will be a resident artist at Little House Gallery in December.
Sara Daleiden is founder and director of MKE<->LAX, which investigates cultural exchange between Milwaukee and Los Angeles. She is the 2015 Cultural Facilitator-in-Residence at THE BUNNY HOUSE in Echo Park where she has piloted Market Lab along with Raul Paulino Baltazar. Sara Daleiden focuses on cultural production and exchange through creating social interactions in developing landscapes and enjoys facilitating cultural and political explorations in house forms.

We are looking forward to welcoming you soon and to our discussion.
Nicola,Tracee and Claudia


What does one do at home, if one has one?

Man-fabricated to provide shelter and ideally safety, homes are where we want to feel at ease, where to replenish, heal pain or celebrate, where the daily “ordinary” domestic activities of nourishing happen, where the primary vital human functions of looking after the wellbeing of body and psyche should be possible.

A place of physical closeness, houses are home of silence and discussion, depression and happiness, love and confrontation, affection and opposing points of view, conflicting thoughts and feelings: homes can be pedagogical habitats of learning.

Whether a place of loneliness, isolation, emptiness, confinement, or inhabited by social liveliness the home is both a necessity and a commodity: a refuge where we withdraw to protect us from the outside elements, but could also be a place of violence we want to escape from.

Ultimately, in whichever form or shapes, homes are places of production. Places where we work the invisible labor of care and where human lives grow from. But in a time of home precariousness, of rampant homelessness, of land property and land disputes, of land mapping and of social architectural displacement, homes are a luxury and an economic asset where home dreaming is replacing the dream house.

At the intersection of private and public, personal and political, familial and civic, central and peripheral, local and global, native and foreigner, inside and outside, homes are above all living social environments where real issues of gender, identity, migration, race, belonging and community take place. Either starting point or extensions of the public realm, home politics and streets politics are often interchangeable and affecting each other, making homes a public/private issue as well as public/private assets.

How to resolve issues of class, gender, race and environmental injustice in the home?

“The Little House Gallery resides in a Vintage Venice Beach Bungalow that is neither monumental nor architecturally significant. Built in 1907 at the junction of a commercial and residential district, it remains virtually unchanged and has the distinction of bearing witness to an iconic California neighborhood’s shifting cultural and economic history.” Each of its room is impregnated with memories grafted on a transiting population of residents and by passers. Like its outside bus stop, it’s been functioning as an intersection of diversity. Like a piazza is home to unexpected encounters and discussions, the Little House Gallery wants to host sharing knowledge’s, conflicting debates “conjuncting” various backgrounds of north and south, east and west to compare and contrast local realities that celebrate as well as challenge the function of home as alternative political space.

By embracing our domestic routines the home becomes a place of cultural experiment, in the case of The Little House Gallery a space for art and creativity that wants to highlight the relation between public and home economy, where domestic and civic engagement, theoretical and physical practice can meet.

In a rampant capitalist corporate world that is in desperate need of a renewed gift economy, how do we or don’t become homeless? How to keep making honest artworks? How to questions the ethical survival or art in today’s market place?

In the context of LA dystopic hetero architecture where all contradictions come into reality, we want to invite you to a series of discussions leading to the creation of artworks.

What makes a home? Do know your neighbors? What forms a community? How is a community formed and engaged? When and where? How long dies it take to form? How do we sustain and support community, and one another? How to be a guest, how to be a host? What are the relations between homes in rural and urban spaces? Nomadic or stationary homes? What does security in the home and in the public mean? Home owners’ agency and public agency: what and who are the responsibilities and responsible home-owners? How to deal with gentrification and economic/economical power? How to “degentrify” and claim space back? Streets, bridges, overpasses, highways, architecture, tools that divide or conjunct? What is the role of the body in the home and outside the home?

These are the themes we would like to engage you with.

At The Little House Gallery, we seek the pleasure of company and of being together to create a network of homes.

Tell us about your home. Introduce your self by describing your home or the memories of your home. This will be the starting of a “domestic art process” that will take form through these steps:

– Introduction: Talk about your home as a form of presentation i.e. memories of rooms, smells, etc.

– Parameters:

Discussion to create artwork via gatherings to reverse the roles of critique and art creation. In this way talk evolves into a practical action.

We would like to offer a space for personal/social, theoretical/practical creativity.

Support Kids Ocean Day for #GivingTuesday

Dear Ocean Defender,

This year, on Tuesday, December 1, 2015, KIDS OCEAN DAY is participating in #GivingTuesday, a global day dedicated to giving.

KIDS OCEAN DAY is a non-profit organization that is part of The Malibu Foundation for Environmental Education. Through school assemblies, lesson plans, beach clean-ups, and an aerial art project, KIDS OCEAN DAY specializes in outreach to schools and promoting awareness of coastal quality issues. This program excites and inspires teachers and children alike to care for the world they live in and to increase their appreciation for the beaches and oceans. Your generous contribution will help make these goals even more of a reality and will directly benefit the children of Los Angeles.

Click here to watch our latest video:

Last year, more than 30,000 organizations in 68 countries came together to celebrate #GivingTuesday. Since its founding in 2012, #GivingTuesday has inspired giving around the world, resulting in greater donations, volunteer hours, and activities that bring about real change in communities. We invite you to join the movement and to help get out the give this
December 1.

Here is how you can help:

Make a donation to KIDS OCEAN DAY to sponsor a child for our 2016 Beach Clean Up!

Help spread the word about #GivingTuesday by encouraging friends and family to give!

Use the hashtag #GivingTuesday and #KidsOceanDay to share your support of Kids Ocean Day on social media.

To learn more about KIDS OCEAN DAY and how you can get involved, please visit or email us at Thank you kindly for your time and consideration.

You are making a difference!

Michael Klubock
Founder and Executive Director