March 1997 / Planet of the Arts 27 in Urban Public Space by Harald Gravelsins viduation, the collaborative dimension of the course was augmented: the dispersal of pro- jects throughout the city entailed more intense collaboration in providing mutual assistance to each other; and rather than a single large opening, a festival of openings suggested itself as each participant had his or her turn at hosting the rest of the group at the variety of sites adopted by members of the class. The sites included: a store window on Granville Street Mangosing); the park grounds next to False Creek School (Grace Salez); the Delmar Inn on Hamilton Street (Graham, Bourgeois); the computer terminals in Vancouver Public Library’s Central Branch (Brian Foote); the grounds next to UBC's Main Library (Zoran Dragelj); the display window of the Emily Carr Institute library (Kathleen Symons); a utility pole across from 84 West Pender Street (Alan Hoffman); beneath the Burrard Street Bridge Vennifer Marshall); Andy Livingstone Park (Constanza Silva); the second floor display area of the Emily Carr Library (Michael Lee); the kitchen of a Pedagogy is the building of the (Carolyn community and the nation. photo mural by Jennifer Marshall, 125cm x 400cm private home (Joan Liddicoat - see page 19); and Room 284 at Emily Carr Institute con- verted into a living museum (Lincoln Heller). The multiplicity of interventions into public space allowed for a level of compari- son, dialogue and collective reflection that would not occur in the case of a single overall site. For this reason, Photographic Installations surpassed itself pedagogically in the 1996 fall term. And the con- sequence of this fuller realization of the pedagogy of the Photographic Installations course was the shared building of culture beyond the realm of the classroom. A dozen apprenticing art practitioners journeyed a considerable distance — individu- ally and together - towards establishing themselves as participants in the reconstruc- tion of culture. “Pedagogy is the building of the commu- nity and the nation,” is the way Semchuk puts it. <@s Visit to Carolyn Mangosing’s installation the site on her journey between Emily Carr Institute and home. In her prior art practice, Silva has examined and explored the rela- tionship between architecture and internal structures of subjectivity. Andy Livingstone Park is an urban planning consequence arising from the condominium tower developments in the area between the Expo ‘86 lands and the Downtown Eastside. The park seems to be designed to encourage movement and transience rather than enduring enjoyment. Silva found this troubling, and this discomfort entered into her motivation to develop an installation for the site. Preparatory work involved spending time at the site and taking careful notice of how various people interacted with it. Skateboarders enjoyed the structural concrete features of the site until municipal workers installed barriers as obstacles against this activi- ty - revelry in free subjectivity was curtailed. People consuming drugs also made use of the site - anguish and suffering sought refuge and escape there. Silva’s installation involved photographs illustrating the use of plants local to the site that have medicinal and healing qualities. The artist also inscribed text on the concrete features of the site using oil of win- tergreen. The text gave recognition and validation to the feelings (anger, sorrow, etc.) of the people drawn to the park. These were efforts in the direction of transforming the park into a more human space. Silva installed her work anonymously and without permission. The work was removed within two or three days by municipal workers charged with maintaining the park. Subsequent discussions between them and the artist have resulted in an invitation to reinstall the work. Ts choice of Andy Livingstone Park sprang from the artist visiting Living Presence Photographs and fixtures installed at Andy Livingstone Park, Carroll Street, Vancouver (November 24 - 25, 1996) Constanza Silva in Urban Publi by Harald Gravelsins viduation, the collaborative dimension of the course was augmented: the dispersal of pro- Jets throughout the city entailed more Intense collaboration in providing mutual ‘assistance to each others and rather than 2 Single large opening, a festival of openings suggested itself as each participant had his. ‘orher turn at hosting the ces ofthe group atthe variety of sites adopted by members photo mua by Jenner Maral 125m x dem private home (Joan Liddicoat - see page 19); ‘and Room 284 at Emily Carr Institute con verted into a living museum (Lincoln Hele) ‘The multiplicity of interventions into public space allowed fora level of compari- Son, dialogue and collective reflection that Would not occur in the case ofa single ‘overall ste Fr this reason, Photographic Installations surpassed itself pedagogically in of the cass. ‘the 1996 fall Thestes term. Included: a store ‘And the con: window on, Pedagogy is the building of the sequence ofthis Granwille Street (Coral community and the nation. ‘Mangosing); the park grounds het f Fale Creek School (Grace Saez); the Delmar Inn (on Hamilton Street (Graham, Bourgeois); the Computer terminals in Vancouver Public Lrary’s Central Branch (Brian Foote); the ‘grounds next to UBC Main Library Zoran Drage: the display window of the Emily Carr institute library (Kathleen Symons); @ utility pole across from 84 West Pender Street (Alan Hoffman); beneath the Burrard Steet Bridge Uennifer Marshal) Andy Livingstone Park (Constanza siNa): the second floor display area of the Emily Carr Library (Michael Lee); the kitchen of fuller realization ‘of the pedagogy of the Photographic Installations ‘course was the shared building of culture beyond the realm of the classroom. 'A dozen apprenticing art practitioners journeyed a considerable distance - individu: ally and together ~ towards establishing ‘themselves as participants in the reconstruc tion of culture “Pedagogy isthe building ofthe commu nity and the nation,” is the way Semchuke putsit March 1997 / Planet of the Arts 27 the site on her journey between Emily Carr institute and home, In her prior art practice, Siva has examined and explored the rela tionship Between architecture and internal structures of subjectivity. ‘Andy Livingstone Park isan urban planning consequence arising from the condominium tower developments in the area between the Expo '85 ands and the Downtown Eastside, The park seems to be designed to encourage movement and transience rather than enduring enjoyment, Siva found this troubling, and this discomfort entered into her motivation to develop an installation forthe ste. Preparatory work involved spending time atthe site and taking ‘careful notice of how various people interacted with it Skateboorders enjoyed the structural concrete features ofthe site until municipal workers installed barriers as obstacles against this activ: ty. revelry in fre subjectivity was curtailed, People consuming drugs ‘also made use ofthe site - anguish and suffering sought refuge and ‘escape there. Silva's installation involved photographs illustrating the use of plants local to the site that have medicinal and healing qualities, The artist also inscribed text on the concrete features of the site using ol of win tergreen. The text gave recognition and validation to the feelings (anger, sorrow, etc) ofthe people drawn to the park. These were efforts inthe direction of transforming the park into a more human space Silva installed her work anonymously and without permission. The work was removed within two oF three days by municipal workers charged with maintaining the park. Subsequent discussions between them and the artist have resulted in an invitation to reinstall the work Tz choice of Andy Livingstone Park sprang from the arts visiting Living Presence Photographs and fistures installed at Andy Livingstone Park, Carroll Street, Vancouver November 24 25, 1996) Constanza silva