At A Distance #3
At A Distance #3 was on view at Wedge Projects in April and May 2019.
The opening was on Sunday, April 28th at 2:00 pm. A performance and panel discussion followed.
An international call for artists was sent out inviting artists to propose works which would be made in the artists’ absence; participants were asked to provide instructions only. The term “instructions” was open to broad interpretation – artists could provide any elements that do not require shipping, e.g. digital images, software, audiovisual files, drawing algorithms, performance scores, 3D models, etc.
At A Distance #3 is the third annual iteration of this project, and the first to take place in Chicago. This exhibition explores the boundaries and grey areas which might exist between artist/curator and technician/collaborator. By asking the artists and the curatorial team to each cede some degree of control, this project seeks to stimulate new avenues for process-oriented art.
Submissions were chosen by a selection committee based primarily on how closely each proposal examined the complexity of working at a distance, with the concept of “distance” subject to interpretation. The jurors were specifically looking for projects that engaged with the concepts of collaboration, communication, and process in compelling ways. The resulting exhibition presents work that questions or comments on the role of author, de-emphasized egos and suggests that collective authorship may exemplify connectedness as inherently conditional to the processes of making.
The 18 artists on display at Wedge Projects each challenged the selection committee and installation team in their own unique ways, with some projects opening myriad questions regarding materials and the communication of content. The final form of each of the works in this exhibition was fabricated without the artists present, and represents one possible completed state for each idea.
Curatorial committee members included:
Peter Fleps – Artist, Director of Wedge Projects
Angela Lopez – Artist, Co-creator of Extended Practice
Matt Martin – Artist
Dieter Roelstraete – Curator
Alisa Swindell – PhD. Candidate in Art History at University of Illinois at Chicago, Writer for New City
Udita Upadhyaya – Interdisciplinary Artist, Educator
A. P. Vague – Artist, Educator, Co-creator of Alastria Press
The Wind of the World
by La Mutua Artística (The Mutual Society of Arts)
José Vicente Martín / Iván Albalate
Altea, Spain & global participants
Collaborative art project that aims to show a holistic vision of the world through the aesthetic interpretation of a meteorological phenomenon: the wind.
The wind of the world is a collaborative project proposed by the art collective The Mutual Society of Arts that has involved people around the world who have taken part in the project as co-authors.
We asked each of the participants to record videos of 59 second video from different parts of the planet having the wind as the protagonist. The camera had to be still so that the effect of the wind could be watched. One minute of contemplation in our agitated world.
The project started at the end of February 2015 and grew up to about two hundred videos from all five continents, from places as diverse as Japan, China, Panama, South Africa, the Cook Islands or Antarctic among videos from more than thirty countries.
Additional video can be viewed here.
Winds included at At A Distance #3 include:
Leeds, United Kingdom. 53,796473, -1,535346. 10/08/2012
Annandale On Hudson, USA. 42,029261, -73,907851. 01/20/2015
València, Spain. 39,46419, -0,374224. 02/10/2015
Altea, Spain. 38,599746, -0,056853. 02/17/2015
Grand Rapids, USA. 42,877691, -85,595517. 03/03/2015
Hannover, Germany. 52,375892, 9,73201. 03/05/2015
Ciudad de México DF, Mexico. 19,303018, -99,139839. 03/02/2015
Brisbane, Australia. -27,468192, 152,97038. 03/07/2015
South Point, Big Island, Hawaii, USA. 18,9209781, -155,675103. 03/08/2015
Columbia River, Astoria, USA. 46,11513, -123,887056. 03/09/2015
Bilbao, Spain. 43,267624, -2,930255. 03/09/2015
Fort Stevens South Jetty, Warrenton, Oregon, USA. 46,179686, -123,949658. 03/10/2015
Panamá City, Panama. 8,999951, -79,566902. 03/12/2015
Seoul, South Korea. 37,498093, 127,026085. 03/14/2015
Moissy Cramayel, France. 48,6204024, 2,5887046. 03/17/2015
Southampton, United Kingdom. 50,919203, -1,389421. 03/18/2015
Santa Pola, Spain. 38,208345, -0,513457. 03/19/2015
Sarov, Rusia. 54,93333, 43,316667. 03/22/2015
Ottawa, Canada. 45,425533, -75,692482. 03/26/2015
Portsmouth, United Kingdom. 50,778121, -1,087533. 03/29/2015
Petra, Jordan. 30,325125, 35,442758. 03/30/2015
Torralba del Pinar, Spain. 39,981418, -0,450757. 04/04/2015
Alcalá de los Gazules, Spain. 36,463263, -5,721342, 04/05/2015
Altea, Spain. 38.62881, 0.000. 04/07/2015
Tredòs, Spain. 42.699722, 0,927133. 04/10/2015
Jeréz, Spain. 36,6890553, -6,1504836. 04/12/2015
Totnes, United Kingdom. 50,440696, -3,742282. 04/20/2015
Plymouth, United Kingdom. 50,363974, -4,142669. 04/21/2015
Bristol, United Kingdom. 51,443413, -2,625751. 04/22/2015
Stuttgart, Germany. 48,7739, 9,165245. 04/23/2015
Polop, Spain. 38,596305, -0,14408. 04/27/2015
Vinaroz, Spain. 40,45553, 0,462977. 04/27/2015
Braga, Portugal. 41,555629, -8,375072. 04/27/2015
Pollença, Spain. 39,87787, 3,01626. 05/13/2015
Premeno, Italy. 45,975723, 8,584288. 08/08/2015
Vienna, Austria. 48,20495, 16,19718. 08/12/2015
Amsterdam, Netherlands. 52,373057, 4,893127. 08/18//2015
Delft, Netherlands. 52,004672, 4,360649. 08/20/2015
The Hague, Netherlands. 52,080371, 4,314145. 08/21/2015
Belfast, United Kingdom. 54,870077,-5,814274. 10/08/2015
Denia, Spain. 38,86223, 0,028607. 10/13/2015
Melbourne, Australia. -37,821502, 144,964546. 10/14/2015
Teruel, Spain. 40,345568, -1,101169. 10/14/2015
San Francisco, USA. 37,793092, -122,483402. 10/19/2015
Dundee, United Kingdom. 56,456116, -2,980733. 10/23/2015
Pamukkale, Turkey. 37,923659, 29,124645. 10/23/2015
Ann Arbor, USA. 42,2815, -83,7483. 11/03/2015
Nyksund, Norway. 68,995265, 15,010913. 11/07/2015
Boulder, USA. 40,01464, -105,180565. 11/08/2015
Los Tres Arroyos, Argentina. -38.360814, -60,275152. 11/09/2015
La Fortuna, Costa Rica. 10,491107, -84,721953. 11/10/2015
Batam, Indonesia. 1,184712, 104,07383. 11/10/2015
Cardiff, United Kingdom. 51,48189, -3,131917. 11/11/2015
London, United Kingdom. 51,487919, -0,189472. 11/14/2015
Warluis, France. 49,386074, 2,143205. 11/15/2015
Claromecó, Argentina. -38,85967, -60,073751. 11/16/2015
Bratislava, Slovakia. 48,1419561, 17,1053143. 11/17/2015
Budapest, Hungary. 47,5266921, 19,0481994. 11/19/2015
Houston, USA. 29,761821, -95,396387. 11/19/2015
Tōjinbō, Japan. 36,237743, 136,126246. 11/20/2015
Vienna, Austria. 48,195137, 16,4337124. 11/20/2015
Cape Town, South Africa. -33,849318, 18,420639. 12/01/2015
Muri Lagoon, Cook Islands. -21,2440305, -159,7268638. 12/02/2015
A Coruña, Spain. 43,33825, -8,387583. 12/09/2015
Gansbaai, South Africa. -34,614722, 19,355043. 12/12/2015
Sevilla, Spain. 37.323576, -6,034332. 12/15/2015
Córdoba, Argentina. -31,3564361, -64,2126361. 12/16/2015
Mianyang, China. 31,493761, 104,775842. 12/23/2015
Arousse, Morocco. 31,508572, -6,44331. 12/27/2015
Mérida, Mexico. 20,969277, -89,62925. 01/05/2016
Wiesbaden, Germany. 50,078003, 8,239845. 01/11/2016
Copenhagen, Denmark. 55,676796, 12,574336. 01/11/2016
Doetinchem, Netherlands. 51,951297, 6,282546. 01/11/2016
Livingston Island, Antarctida. -62,649545, -60,592257. 01/14/2016
Beijing, China. 39,940803, 116,397581. 01/19/2016
Al-Khobar, Saudi Arabia. 26,336289, 50,185142. 02/02/2016
Siem Riep, Cambodia. 13,411339, 103,859569. 02/04/2016
Bilbao, Spain. 43,267667, -2,961143. 02/05/2016
València, Spain. 39,457163, -0,346398. 02/07/2016
Khao Sok, Thailand. 8,911512, 98,524934. 02/08/2016
Railay, Thailand. 8,010243, 98,84128. 02/11/2016
Cobá, Mexico. 20,489291, -87,73544. 02/16/2016
Tulum, Mexico. 20,200015, -87,433557. 02/16/2016
Yucatán, Mexico. 21,288573, -89,658109. 02/22/2016
Bangkok, Thailand. 13,778681, 100,460451. 02/27/2016
Mantua, Cuba. 21,797109, -85,390952. 02/27/2016
Machalilla, Ecuador. -1,54108, -80,697678. 02/27/2016
Portoviejo, Ecuador. -1,026182, -80,468811. 02/27/2016
Lyon, France. 45,732717, 4,820349. 02/27/2016
Meurveille, France. 48,20334, 4,625161. 02/27/2016
Kendall, USA. 25,656943, -80,383617. 02/27/2016
Maiquetía, Venezuela. 10,598064, -66,962665. 02/27/2016
El Nido, Philippines. 11,165344, 119,397054. 03/01/2016
Mamer, Luxembourg. 49,626583, 6,035719. 03/02/2016
Berlin, Germany. 52,521169, 13,410968. 03/30/2016
Santa Maria, Cape Verde. 16,597513, -22,908707. 03/31/2016
Shanghai, China. 31,201473, 121,416628. 04/06/2016
Quingdao, China. 35,955889, 120,237053. 02/06/2016
Chengdu, China. 30,572167, 104,069175. 02/06/2016
Tianjin, China. 39,131207, 117,203203. 02/06/2016
Wuhan, China. 30,582005, 114,290531. 02/06/2016
ZhanQiao, China. 36,058504, 120,320401. 02/06/2016
Salento, Colombia. 4,637783, -75,487325. 08/02/2016
Sidi Harazem, Morocco. 34,028644, -4,884477. 08/04/2016
Arjoune, Morocco. 33,84307, -6,04622. 08/08/2016
Tallin, Estonia. 59,440583, 24,747907. 08/28/2016
Sapzurro, Colombia. 8,651683, -77,348538. 08/17/2016
La Miel, Panamá. 8,665882, -77,369438. 08/17/2016
Kamikochi, Japan. 36,251926, 137,664795. 08/20/2016
Manila, Phillipines. 14,600498, 120,984503. 08/20/2016
Algeciras, Spain. 36,13358, -5,434834. 08/21/2016
Strait of Gibraltar, Spain. 36,000371, -5,427968. 08/16/2016
Tavizna, Spain. 36,724438, -5,484641. 08/24/2016
Helisnki, Finland. 60,171976, 24,934762. 08/25/2016
Suomenlinna, Finland. 60,140959, 24,98518. 08/27/2016
Kibuye, Rwanda. -2,059359, 29,337197. 08/27/2016
Frankfurt, Germany. 50,043935, 8,563307. 08/30/2016
Koh Tao, Thailand. 9.667515, 100.072016. 09/15/2016
New York, USA. 40,758584, -73,979205. 09/16/2016
Barcelona, Spain. 41.379326, 2.179918. 09/16/2016
Al-‘Al, Jordan. 31,794445, 35,76392. 09/26/2016
Vila Real, Portugal. 41,377694, -7,863794. 10/13/2016
Greenland. 73,666761, -36,603169. 10/20/2016
Baffin Bay, Greenland. 76,118951, -60,860383. 10/20/2016
Umingmaktok, Canada. 68,017347, -107,103982. 10/20/2016
Peace River, Canada. 57,902364, -118,213662. 10/20/2016
Vancouver, Canada. 49,308758, -123,154705. 10/22/2016
Golstream, Canada. 48,479514, -123,547373. 10/28/2016
Point Wilson, USA. 48,142055, -122,74465. 10/29/2016
Victoria, Canada. 48,4141889, -123,3219777. 10/30/2016
Seattle, USA. 47,60752, -122,339574. 10/31/2016
Buenos Aires, Argentina. -34,594036, -58,393598. 11/11/2016
Montevideo, Uruguay. -34,906602, -56,199474. 11/07/2016
Oxford, United Kingdom. 51,728402, -1,239818. 03/29/2017
Copenhaguen, Denmark. 55,681336, 12,575834. 04/17/2017
Prague, Czech Republic. 50,086549, 14,411108. 08/12/2017
Mississauga, Canada. 43,548948, -79.663.482. 09/22/2017
Toronto, Canada. 43,648857, -79,368156. 09/23/2017
Regina, Canada. 50,447112, -104,608016. 09/26/2017
Cracow, Poland. 50,053028, 19,933995. 04/09/2018
Umea, Sweden. 63,820239, 20,276152. 04/26/2018
Edinburgh, United Kingdom. 55,952703, -3,212997. 08/17/2018
Montreal, Canada. 45,50319, -73,576886. 09/25/2018
Halifax, Canada. 44,643689, -63,572577. 09/29/2018
Vexations by Mail I
Selection from 840 Variations on Vexations
By Lauren Sudbrink
The composer Erik Satie (1866-1925) may be considered an odd muse for our contemporary era. One of his lesser known, but influential compositions, “Vexations,” is a short piano work preceded with an instructional inscription: “Vexations should be played 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest of silence, by serious immobilities.” This “direction” lead to the interpretation that Vexations should be played 840 times in order to complete the performance of the piece as Satie intended. It is not known whether Satie’s instruction was meant to be taken literally, but has nonetheless come to characterize performances of the piece, leading to marathon public interpretations by challenge-hungry and endurance seeking pianists. Looking to Vexations and its rule of 840 repetitions, I am developing a new body of work that directly engages with Satie’s score and its metaphoric subtext of arduous and stoic labor.
“Vexations by Mail I” is a selection from this larger project titled “840 Variations on Vexations.” This annotated list of 840 potential projects ranges from objects to events, happenings, performances to sounds, new music and recordings. Some of these projects have been executed, while others require community engagement to fulfill their potential. Through these projects I present conceptual and poetic responses to duration, endurance, labor, and artistic interpretation. The aim of this (eventual) publication is to provide possibilities and inspirations for artists and musicians considering their own roles in labor and the re-inscription of the creative process.
Vexations by Mail I Instructions:
• Remove each note from the score to Satie’s Vexations
• Put each note into a balloon and inflate with breath
• Mail each balloon to someone you know or know of
• Include instructions on how to remove the note from the balloon and when and where to meet to reassemble the score
• Save the newly reassembled score; play if desired
PIECE FOR THE NON-BOUNDARY BETWEEN EARTH AND SACE
By N. Adriana Knouf
Wellesley, MA, USA
By Caitlin Cocco
Philadelphia, PA, USA
Using the clay face mask stick, the drawer will aim to create a direct route of communication between their two hands for the drawings. With their eyes closed, the drawer will feel, touch, and explore their body with one hand as the other simultaneously responds with marks. Through this process, tactile information is being converted into visual information.
The location and spacing of the drawings are entirely up to the drawer(s). The number of drawings will be dependent on the scale of the figure, degree of pressure placed on the clay stick, etc. while drawing. The drawing installation will be complete once the clay stick is used up.
By Bruce Barber
Whittlers’ Soliloquies .pdf file
The Pistachio Project
By Hannah Hirsekorn
Chicago, IL, USA
1. Each member of the crew (gallery assistants, curators, directors, janitors, volunteers etc) involved in setting up the show will receive an individually marked package of pistachio nuts with the shells, a brown bag and a letter/gift in the mail from the artist (in exchange for labor (see below)).
2. Upon receiving the package, each member of the gallery crew will choose a specific time and place to eat the entire packet of pistachios (unless the crew member is allergic to nuts, in which case they will choose a time/place for a group of others to consume the nuts and handle the shells as to not cause any sort of undesired reaction for the crew member involved, they will then oversee and direct the project from this instruction forward). The artist suggests taking the pistachios to a party or small gathering, people generally love pistachios at parties (as per the artist’s experience).
3. Once the nuts have been consumed, the crew member will gather the shells into the brown paper bag provided by the artist.
4. The crew member will then proceed to drill two tiny holes in each pistachio shell using a 1/16” drill bit and driver. (Broken pistachio shells may occur, the artist accepts this fact of life but implores you to please be careful next time). The artist suggests putting a block of wood underneath the pistachio shell and using one hand to hold the pistachio and one hand using the drill while wearing safety glasses (but the artist is not trying to micromanage anyone here).
5. The crew member will string up these pistachio shells in a long line weaving in and out of each pistachio shell. The crew member must use a found string or ribbon or fishing line, etc. (Perhaps you might want to check that miscellaneous junk drawer you keep meaning to clean out). Nothing must be bought for the display of the pistachio shells. The string should be able to easily fit into the 1/16” hole in the pistachio shell and allow the pistachio shells to slide easily along the string for the sake of not frustrating the crew member. The string should also be relatively strong as not to break under the crushing weight of the pistachio shells (just kidding but it needs to be stronger than a thread). (The string should also not draw attention to itself, the pistachio shells are the real stars here).
6. The crew member is allowed to tie strings together to continue the chain (preferably the same kind of string) because it is very hard to tell how long the strung pistachio garland is going to be at the beginning. (The artist understands this from working extensively with pistachios herself).
7. Once the pistachio chain is finished, the crew member will tie a large knot at either end of the found string in order to secure the pistachios in place (although maybe you already knew to do that at the beginning so the pistachio shells didn’t slide off the string in the first place. Well done, you).
8. The crew member will then take 10 minutes (or more) to reflect on the eating of the pistachios and the people they decided to share the eating of the pistachios with and their feelings around these two things.
9. At the end of this time, the crew member will then write a haiku about the pistachios and the time they spent eating (and watching others eat) them.
Haiku Recipe: Three lines of text, the first and third line of text have 5 syllables and the second has 7. (Pistachio has 4 syllables). If you feel unsure, please look up the definition of syllable (in a dictionary not Google unless you must Google, then I suppose, Google).
10. Each crew member will write down their final haiku on a 2” x 4” piece of white paper (you may hand cut this paper because it is not a standard size in any country) with the neatest handwriting available to them. (You may outsource but must exchange a batch of cookies (or another baked good) for handwriting labor (If you cannot bake you may also outsource but are required to exchange for baking labor with something handmade, this chain will continue until you’ve exchanged your labor for others’ labor as you see fit)).
11. After the pistachios have been strung and the poem has been written, the crew member will bring both to the gallery and hang the pistachio garland from the ceiling allowing the excess to gather on the floor or flow freely off the ground dependent on how tall the ceilings are and how many pistachios were broken drilling holes in them.
12. The Haiku poems will also be displayed next to the string of pistachio shells hung up together on the wall alongside.
13. The artist fully appreciates the labor and thought of each crew member for collaborating on the art piece (Hence the gift and letter of appreciation, these things may or may not be included in the piece if the curator believes them to be relevant as long as the gifts and letters get sent home with the crew members at the end of the show).
(The curator may also include this list of instructions if they are not too bothered by the amount of parenthesis the artist has used (a lot)).
By Robert Jackson Harrington
Austin, TX, USA
The original instructions for this piece called for the use of a vinyl cutter; the piece was to be cut from vinyl in the same manner as any signage used for the exhibition. When I was cutting the vinyl, I learned that the design was far too complex for the capabilities of the machine – the blade often jammed with tiny bits of excess vinyl and it became clear that there would be no way to achieve the intended material presentation for this piece. With the opening approaching I made the decision to display the piece as a series of laser prints. A .jpg of the original vector file is below.
Untitled (ephemeral sculpture series)
By Santina Amato
Chicago, IL, USA
Focusing on the ephemeral qualities of certain materials, Amato investigates how the relationship between the ephemeral in labour and the ephemeral in organic matter can create work that reflects on the tangible nature of both. With this series, Amato is interested in the labour that is required to create the works while using materials such as the unfired clay and fresh fruit/vegetables that will eventually return to the earth, leave no physical trace of the work itself.
This piece was intended to have living bread dough rise from inside the clay vessel throughout the course of the opening. I made the dough component of the piece the night before the opening and froze it, thinking I could simply let it warm up and rise on its own the day of the exhibition. The dough ultimately didn’t rise…
by Yasen Vasilev
Choreography interpreted and performed by Izah Ransohoff.
By Christalena Hughmanick
Printable .pdf file of the interactive booklet: Christalena Hughmanick booklet
By Raymond Yeager
Charleston, WV, USA
Mark-making, whether a scratch on a surface, pixels on a screen, or a material we transform, is our most intimate method of rendering our existence. This purposeful act of leaving our mark produces indelible, tangible forms that record our presence, emotions, experiences, and ideas.
As I travel, I am frequently inspired by the markings made in our contemporary society. These marks could be stencils and graffiti, bills, random marks, street markings, or symbols left on the sidewalks to designate where to dig or expose what is underneath the ground. By photographing these marks, and detaching them from their natural context, I hope to highlight and isolate ignored or overlooked marks and elevate them from simple marks to contemporary pictograms that describe our modern world.
1. Take 100 steps in any direction from Wedge Gallery.
2. Look for “marks” on buildings, sidewalks, streets, walls, etc. (Reference the included examples.)
3. Photograph what you find. These photographs are to be made exclusively with a mobile camera and the apps and filters available to it. The availability and immediacy of the device should add to the aesthetic of the final work.
4. When you run out of things to photograph there, take another 100 steps.
5. Curate a series of photographs that map the environment as well as reflect the uniqueness of place.
By Jacob Lunderby
Philadelphia, PA, USA
By Ellen Mueller
Minneapolis, MN, USA
By Xiaohan Li
New York City, NY, USA
In photography, the color guide is a reference and standard use as a comparison to the real object. However, in the supermarket, a banana color chart is a guide to show the banana ripeness scale and suggested time to eat it. About Time examines time as a material not only in photography but also in sculpture and video format. Time and timing. What is the best moment to capture an image? Bananas changing their color constantly and inevitably, from the color green to yellow, and turn to black, finally.
By Sunita S. Mukhi
Please read these verses on these slips of paper.
Put these verses together in a way that makes sense to you. Have fun, be whimsical, explore, delve deep. Or not.
When satisfied, take a photo of the finished poem/piece and post it publicly on the Facebook page set up by the curator of this exhibition so that I, too can delight in the new meanings you have derived/conjured from these verses, forging our new connection.
You and I, strangers at first, will have created a new piece as such.
We will have made sense of these shards of a person.
The Facebook page name is
Place for Hands
By Kioto Aoki
Chicago, IL, USA
The Sorry Project
By Gary Duehr
Boston, MA, USA
How does it feel to carry the weight of the last couple of years in contemporary America? In my studio, I asked friends, family and strangers to sit down and show how sorry they are for the current state of affairs. The expressions and gestures are theirs, reflecting a gamut from shock to sadness to resignation, and everything in between.
Full project images can be viewed here.
Chicago Park Auras
By Tracie Hayes
Chicago, IL, USA
To let our surroundings speak for themselves / to give the gift of awareness / to arrange for scientific comparison / for aesthetic acknowledgment / to give the inanimate its due power
Part 1: Collection
Visit the following parks in Chicago, the 10 largest parks in Chicago by size:
1. Lincoln Park – 1,200 acres (490 ha)
2. Burnham Park – 598 acres (242 ha)
3. Jackson Park – 500 acres (200 ha)
4. Washington Park – 372 acres (151 ha)
5. Grant Park – 319 acres (129 ha)
6. Marquette Park – 300 acres (120 ha)
7. Humboldt Park – 207 acres (84 ha)
8. Calumet Park – 200 acres (81 ha)
9. Garfield Park – 185 acres (75 ha)
10. Douglas Park – 173 acres (70 ha)
THE FOUR HUMORS
Collect the following from each park:
1. Melancholic (Black Bile, Earth): organic or inorganic soil-like material (sand, dirt, gravel)
2. Phlegmatic (Phlegm, Water): organic, water-dependent life material (plant or animal matter)
3. Choleric (Yellow Bile, Fire): inorganic, human-made material (plastic, metal, paper, human-constructed)
4. Sanguine (Blood, Air): a bottled fluid (air or liquid)
ALSO: From each park, collect a rock approximately 2 inches in diameter. If you cannot find a rock, find a similar material with the same substance.
IMPORTANT: Make sure all is labeled as to which park the four humor objects and the rocks are from.
Part 2: Visual Arrangement
1. Build a clear glass or acrylic case for the four humor objects collected from each park. The case should be a grid, with shelving arranged so that each object has a 2 x 2 x 2 in space. This case should lie on a table or pedestal, at a height suitable for any viewer to look down into each opening to see individual objects. If the viewer sinks lower to get at an angle from the side, they should be able to see through the glass case to see multiple objects at once, seeming to intermingle with each other.
2. With a piece of cloth or thick white paper, create a map of Chicago, but only mark the 10 visited parks. Each park should be marked with a black circle that has a 3 in diameter. The locations of the marks for each park should be scaled to how far away they are from each other geographically. Then, for each of the ten circle, draws lines between all other circle. Use a ruler and thick black marker. When finished, place the rocks collected from each park in their appropriate circle. This arrangement should be placed near the case for viewing.
Part 3: Reflection
Invite people to view and spend time with these objects as they are arranged. Labels identifying the locations the objects are collected from may be a part of the immediate visual arrangement, or provided as a handout additionally. Using the context of the four humors, viewers may ask themselves how they relate to these objects, how they might be unfamiliar with them, how they are directly and indirectly connected. Where is the line between landscape and cityscape? Human-altered and pristine? How do the objects compare to each other? How do we divide up the matter that is defined as human vs. non-human? We can consider the influence of what we surround ourselves with, how we organize the space around us, and how these spaces differ and relate to each other.