“Public Park” / “Park District”
This mini-documentary will be part of a series. Our first installment, entitled “Public Park” will focus on Humboldt Park, a site where we have been engaged in various projects including the Jensen Formal Garden project. We see Humboldt Park as a specific site and context but also part of a larger network––the enormous system of public parks that makes Chicago unusual in the world.
After Puerto Rico's hurricane, many families arrived in Chicago as evacuees. One of the first places they went to is the Field House in Humboldt Park. There they received medical assistance, coats and winter gear, CPS information, translation services, and safe housing assistance. During the month of November 2017, the Field House assisted a large number of evacuees. Fieldwork received generous support from the Chicago Architecture Biennale for the production of this work.
The larger series, entitled “Park District,” is a research tool for collecting and understanding the simultaneous scales, dimensions, and phenomenae in the Chicago Park District’s network of cultural real estate.
It is a free, accessible, web-based video archive that can be mixed and remixed to generate stories from many points of view and points of entry: cultural, economic, natural/ecological, psychological, historical, educational, political...
It is an interactive online documentary and communication tool designed to not only support Fieldwork’s public exhibitions but also nourish offline collaborations and partnerships with artists, researchers, collectives, communities, institutions and civic authorities.
After Puerto Rico's hurricane, many families arrived in Chicago as evacuees. One of the first places they went to is the Field House in Humboldt Park. There they received medical assistance, coats and winter gear, CPS information, translation services, and safe housing assistance. During the month of November 2017, the Field House assisted a large number of evacuees. Fieldwork received generous support from the Chicago Architecture Biennale for the production of this work.
The larger series, entitled “Park District,” is a research tool for collecting and understanding the simultaneous scales, dimensions, and phenomenae in the Chicago Park District’s network of cultural real estate.
It is a free, accessible, web-based video archive that can be mixed and remixed to generate stories from many points of view and points of entry: cultural, economic, natural/ecological, psychological, historical, educational, political...
It is an interactive online documentary and communication tool designed to not only support Fieldwork’s public exhibitions but also nourish offline collaborations and partnerships with artists, researchers, collectives, communities, institutions and civic authorities.
Rhizomatic Documentary (In Progress)
Collaborators:
Jon Satrom, Studio Thread
Chicago Architectural Biennial
Humboldt Park Garden Club
Collaborators:
Jon Satrom, Studio ThreadPartner Organizations:
City of Chicago Park DistrictChicago Architectural Biennial
Humboldt Park Garden Club
Supporting Organizations:
Graham Foundation for Advanced Studies in the Fine ArtsOut of Order (OOO)
Out of Order is an exhibition that explores the tension that exists between private and public realms, particularly looking at sites such as bathrooms (in this category we include bathhouses, changing rooms, bathing rooms, comfort stations, swimming pools, locker rooms, and metropolitan plumbing networks). In several of Chicago’s public parks, the spatial logic of bathrooms collaborates with the architecture and the landscape to encode and bifurcate whole systems of territory: washrooms for women/washrooms for men, locker rooms for women/locker rooms for men, gymnasium for women/gymnasium for men, outdoor area for women/outdoor exercise area for men, and playgrounds for children (regardless of gender) conceived as an extension of women’s space. The way these structures were designed in the early 20th century do not necessarily reflect how we think today. In sites like bathrooms, we think about the broad questions: what is public and what is private?
Exhibition / 2018 Fall
Jens Jensen Formal Garden
As part of an effort to revitalize the Jensen Formal Garden in Humboldt Park, the Chicago Park District, Fieldwork Collaborative Projects, and the Jensen Formal Garden Working Group selected four individual artists to engage with one of the four quadrants of the historic Jens Jensen Formal Garden. The public garden is situated in the heart of Humboldt Park, within proximity to the Humboldt Park Boathouse, Field House and National Museum of Puerto Rican Arts and Culture.
Public Art / 2017-2018
Artists:
Jorge Felix
Humboldt Park
Chicago Architecture Biennial
Karpowicz Studios
Curator:
Gibran VillalobosArtists:
Jorge FelixPartner Organizations:
Chicago Park DistrictHumboldt Park
Chicago Architecture Biennial
Karpowicz Studios
More Strange than True
“The reminder and the reassurance that it is still there is good for our spiritual health even if we never once in ten years set foot in it… It is important to us when we are old simply because it is there––important that is, simply as idea.” 1
In this passage, the American novelist Wallace Stegner references our need for wilderness. However, his observation can also be applied to the relationship one has with public spaces such as Pulaski Park. Today, a place like Pulaski Park exists more “as an idea” rather than an actual place of public service. Created in 1914 as part of an effort to expand neighborhood parks throughout the west side of Chicago, the three-story brick field house at Pulaski Park was based on the vision of landscape architect Jens Jensen, a building intended to hold social services such as public bathing, a library, a children’s playground, athletics, and inexpensive hot meals. The beauty and elegance of the field house seems displaced with its tile roofs, open porches, murals, a tower, among other architectural elements. Built in what was a predominantly Polish neighborhood of factories and workers’ housing, the large building was designed to imitate the Eastern European architecture familiar to the immigrant community.
The exhibition’s title, More Strange Than True, refers to the estrangement or the separation that exists between the Chicago public parks––in this case Pulaski Park––and the city in general. Chicago’s public park system is both essential and imperceptible––it is a real network of territories and also an idea––it is a city within the city that often passes unnoticed, overlooked and unseen. A public space such as Pulaski Park is formed by the dynamics of the situation. This is to say that much of the specificity of this place depends on the precise moment of its existence. Nowadays Pulaski Park is not necessarily a provider of basic services for the neighborhood, then what could its function be?
Due to the unknown existence of some of these parks, the 12 artists and teams in this exhibition were asked to relate to Pulaski Park in a distanced, mental and imaginative way rather than in a physical way. Although the artworks are site-specific, artists were asked to avoid visiting the space and to instead re-imagine the space with the assistance of a detailed floor plan made specifically for this show, the description of the space by the curators, archival materials, and research. Fundamental to the artists’ project is the evolution of the dynamic between public and private spaces. This group exhibition takes place in the upper lever corridor of the field house. This space is called a “gallery” in architectural terms, a narrow balcony or platform running the length of a wall. It is a second-story opening onto a large interior area that used to be an auditorium, intended to provide additional seating. This “gallery” has been completely unused, in a way abandoned, and will be activated with contemporary artworks.
Today, iconic meeting places in the City abound. There are streets and bars, for example, that exist as actual places that are also idealized; they exist in another dimension that transforms them. It is in these places, in these situations, that the events of everyday life take place, not only where people experience the banality of their routine but also where they confront the emptiness of a society that imposes rules upon them even though it also offers them a possibility to transgress them. Often ignored and taken for granted, public parks not only make up our everyday world––they also give meaning and texture to our lives. When one looks to the core of their structures to see what contributes to their richness, their importance lies most and foremost in them existing as an idea.
1 Wallace Stegner, “Wilderness Letter,” Marking the Sparrow’s Fall: The Making of the American West, ed. Page Stegner (New York, 1998), 112.
In this passage, the American novelist Wallace Stegner references our need for wilderness. However, his observation can also be applied to the relationship one has with public spaces such as Pulaski Park. Today, a place like Pulaski Park exists more “as an idea” rather than an actual place of public service. Created in 1914 as part of an effort to expand neighborhood parks throughout the west side of Chicago, the three-story brick field house at Pulaski Park was based on the vision of landscape architect Jens Jensen, a building intended to hold social services such as public bathing, a library, a children’s playground, athletics, and inexpensive hot meals. The beauty and elegance of the field house seems displaced with its tile roofs, open porches, murals, a tower, among other architectural elements. Built in what was a predominantly Polish neighborhood of factories and workers’ housing, the large building was designed to imitate the Eastern European architecture familiar to the immigrant community.
The exhibition’s title, More Strange Than True, refers to the estrangement or the separation that exists between the Chicago public parks––in this case Pulaski Park––and the city in general. Chicago’s public park system is both essential and imperceptible––it is a real network of territories and also an idea––it is a city within the city that often passes unnoticed, overlooked and unseen. A public space such as Pulaski Park is formed by the dynamics of the situation. This is to say that much of the specificity of this place depends on the precise moment of its existence. Nowadays Pulaski Park is not necessarily a provider of basic services for the neighborhood, then what could its function be?
Due to the unknown existence of some of these parks, the 12 artists and teams in this exhibition were asked to relate to Pulaski Park in a distanced, mental and imaginative way rather than in a physical way. Although the artworks are site-specific, artists were asked to avoid visiting the space and to instead re-imagine the space with the assistance of a detailed floor plan made specifically for this show, the description of the space by the curators, archival materials, and research. Fundamental to the artists’ project is the evolution of the dynamic between public and private spaces. This group exhibition takes place in the upper lever corridor of the field house. This space is called a “gallery” in architectural terms, a narrow balcony or platform running the length of a wall. It is a second-story opening onto a large interior area that used to be an auditorium, intended to provide additional seating. This “gallery” has been completely unused, in a way abandoned, and will be activated with contemporary artworks.
Today, iconic meeting places in the City abound. There are streets and bars, for example, that exist as actual places that are also idealized; they exist in another dimension that transforms them. It is in these places, in these situations, that the events of everyday life take place, not only where people experience the banality of their routine but also where they confront the emptiness of a society that imposes rules upon them even though it also offers them a possibility to transgress them. Often ignored and taken for granted, public parks not only make up our everyday world––they also give meaning and texture to our lives. When one looks to the core of their structures to see what contributes to their richness, their importance lies most and foremost in them existing as an idea.
1 Wallace Stegner, “Wilderness Letter,” Marking the Sparrow’s Fall: The Making of the American West, ed. Page Stegner (New York, 1998), 112.
Exhibition / 2016
Artists:
Elizabeth Atterbury, Dana Carter, Ramón Miranda Beltrán, Dana Levy, Michael Rado and Fran Lightbound Bailey Romaine and Aaron Walker, Michal Samama, Adam Schreiber, and Ann Toebbe. Closing performance by Allyson Packer.
Benefactors:
Chicago Parks Foundationm Duane Morris LLP, Gallery 400, Perrier, Lakeshore Beverage, Koval Distillery, Spinning J Bakery & Soda Fountain, and Café Marie Jeanne.
Artists:
Elizabeth Atterbury, Dana Carter, Ramón Miranda Beltrán, Dana Levy, Michael Rado and Fran Lightbound Bailey Romaine and Aaron Walker, Michal Samama, Adam Schreiber, and Ann Toebbe. Closing performance by Allyson Packer.Partner Organizations:
Chicago Park District Pulaski ParkBenefactors:
Chicago Parks Foundationm Duane Morris LLP, Gallery 400, Perrier, Lakeshore Beverage, Koval Distillery, Spinning J Bakery & Soda Fountain, and Café Marie Jeanne.I am here
Five-thousand t-shirts were distributed to transform The 606 into a space of public appearance.
Public Performance / 2015 Summer
Partner Organizations:
Trust for Public Land
Chicago Park District
The 606
Partner Organizations:
Trust for Public LandChicago Park District
The 606