Category Archives: BARGE

A Neural Net

downloadable here 

Collectively assembled by Rachel Levitsky & Ira Livingston (OoRS), Jen Hofer (ANTENA), Jen Scappettone, Kathy Westwater, & Seung-Jae Lee (PARK), and myself (BARGE)

for the Ecopoetics Conference panel “Ground Scores: Unburying Ecologies Through Embodied Practice”


New publications


“Push” – a performance text by myself & Abby Crain, in the new Itch #15

& “17 Reasons Why” in Mission 17, 2004-2009, ed Clark Buckner & Laura Mott

Upcoming Readings/Events

Sat 2/18 – @ Bowery Poetry Club, w Anne Tardos, 4pm

Mon 2/20 – BARGE lecture on De/Re/occupied Public Space, The Office of Recuperative Poetics Lecture Series, Pratt Institute, Alumni Reading Room, 12-130 pm

Thur 2/23 – @ Moonstone Arts Center, Philly, w Brian Teare & Erin Moure, 7pm

Location Scouting for Octopi Oakland

Click here – see you #N17


Upcoming Readings

Sun, March 20, C/C Reading Series, with Dodie Bellamy & Corina Copp, @ Fergie’s Pub, 1214 Sansom St, Philadelphia, 7pm

Tues, March 22, P.O.D. Reading Series, with Kristen Dombek, @ the Red Horse Cafe, 497 6th Ave, Brooklyn, 630pm

Thurs, March 24, “BARGE: Detouring the Everyday” – a talk/ performance/ workshop @ CUNY Grad Center, 365 Fifth Ave, Manhattan, 5-830pm

Fri, March 25, Multifarious Array, with Lonely Christopher, Astrid Lorange, and Steve Orth, @ Pete’s Candy Store, 709 Lorimer Street, Brooklyn, 6pm

Matta-Clark Parks in Portland

An installation by BARGE, part of the Happy Valley Project, “a poetic investigation of foreclosures, financial speculation, and the uneven distribution of shelter” organized by Kaia Sand. All this week at Field Works in PDX, along with an Econ-Salon on Dec 1…

The Treatment (bunker-huggin)

The assignment was to take “Body Pressure” to the ground. I was to press my body into the ground above the bunker, and imagine I’d fallen from the sky to land there, while the back of my body pressed up against me from the tomb beneath the ground. Body as dead-weight, bunker as grave; body-pressure as remediating intimacy with the burial grounds — two forms of death, projected inward and outward, the bunker a proscenium for war-theatrics, as well as a concrete shelter beneath the ground, a mausoleum in advance of itself. I leaned down, pressed in, and began the treatment…  (video-documentation here)

The Treatment (bunker-tuggin)

The assignment was to try to pull the gun-mount off its moorings. The cannon now ghosted, implied, made redundant by advances in military technology and the altered landscape of geopolitical paranoia. I tied each end of the rope to the metal loops intended to hold fast the guns against their kickback. I pressed against the floating line-drawings and tried to tug the bunker, the resultant rope-burns the transcriptions of the treatment… (video-documentation here)

BARGE’s “Groundbreaking” – reflections

(more photos here)


The terms of analysis determine the terms of intervention. — Ultra-Red

What makes something ‘public art’? Can language use alone adequately alter the frames through which we look at a site, or the ‘art’ there? Is there a way to see the urban environment that’s not mediated by money? What counts as an ‘intervention’? Can conceptualism alone achieve anything ‘real’ in a landscape such as this one? If I’m just watching some people ‘work’ how can I tell if it’s art? Are they doing art or making it, or neither? If the goal is to liberate private space for the commons, shouldn’t they also be taking over the cafe next door and giving away all the food? Are a couple of seemingly self-critical questions an adequate way to engage the various problems that such a project produce? Who is this action or art for? If not towards an artwork or product, then towards what?

On Dec 5, as part of Southern Exposure’s “Passive/Aggressive: Public Art & Intervention Day”, BARGE performed “Groundbreaking,” a one-day ‘action’ on a privately-owned vacant lot near SoEx, in San Francisco’s Mission District. The site had previously been ‘tagged’ by BARGE a “Matta-Clark Park”, wherein off-limits private and public spaces become re-framed as (conceptual) parks, in order to highlight how spaces gets cordoned and fenced off from the public, and to suggest other possible uses for such sites. (They’re named after Gordon Matta-Clark’s “Fake Estates” project, where GMC bought up un-used property slices in the NY area, reframing such ‘odd lots’ as found public art.)

My thanks to Jessica Tully, Dillon Westbrook, Ariel Goldberg, Lara Durback, Cassie Smith, Courtney Fink & Maysoun Wazwaz at SoEx, and the other participants who pitched in labor and ideas and feedback and post-performance reflections. And my apologies for the length of the rest of this… (click here for full report)

BARGE @ SoEx – Dec 5 12-5pm


Southern Exposure’s 2nd Public Art and Urban Intervention Day

JUROR: Jeannene Przyblyski, Dean of Academic Affairs, SFAI

Saturday, December 5, 2009‚ 11am to 5pm

Location: Sites throughout the Mission District

Selected Public Art/Urban Intervention Artists

Steven Barich


Arianna Davalos

Christian Frock presents Invisible Venue

Packard Jennings

SoEx’s Youth Advisory Board (YAB)

Chris Treggiari and Jessica Watson

Linda Trunzo

Heather Van Winckl

Victoria Wagner

Jackson Wang

Situate yourself in the public realm for this day of urban interventions and public art projects. The PASSIVE/AGGRESIVE Public Art/Urban Interventions Day presents work by artists using the city as a platform for creativity and expression. A map locating these projects will be available soon at or pick one up at Southern Exposure and start exploring.


BARGE, Groundbreaking
822 Alabama St. (vacant lot behind Atlas Café) – 11AM to 5PM

BARGE will enter a vacant privately owned fenced-off lot and begin reframing it as a public park. The initial groundbreaking ceremony will be the daylong excavation of a ‘gash’ in the land, symbolically ‘liberating’ the buried potential of privatized space that could be re-purposed for public use. Instead of making earthworks we will be *doing* earth-work, foregrounding the collaborative labor required to reclaim the commons in the midst of gentrification pressures and the affordable housing crisis. Handouts will be available throughout the day, with hopes of producing a temporary and autonomous public artwork by the end of the day.