TEMPORARY SERVICES

We have outgrown what LiveJournal can offer us and are consolidating our efforts of Temporary Services and Half Letter Press on the HLP site.

Click here to visit the new blog.

THERE GOES THE NEIGHBOURHOOD

Temporary Services is in participating in There Goes The Neighbourhood, an
exhibition, residency, and book organized by the artist duo You Are Here (Keg
de Souza and Zanny Begg).

You Are Here writes: “There Goes the Neighbourhood is an exhibition,
residency, discussion and publishing project for May 2009. The central element
of this project will be an exploration of the politics of urban space. It will
explore the complex life of cities and how the phenomenon of gentrification is
altering the relationship between democracy and demography around the world.”


Participating in this exhibition has taken us to Sydney, Australia, where we
are conducting a Public Sculpture Opinion Poll to gain insight and input about
Bower, a sculpture installed in a public square in the contested Sydney
neighborhood of Redfern.

We have put up clipboards in several public spots in the blocks surrounding
the sculpture. Flyers are attached to the clipboards that ask “What is your
opinion of this sculpture? Why do you think it was placed in this
neighbourhood?”

Passers-by are encouraged to either write their response directly onto the
flyers or e-mail Temporary Services at publicpoll@temporaryservices.org with
their answers. All of the replies we receive will be posted for people to see
in the exhibition space.

We are also maintaining a special series of web pages for this project at
http://www.temporaryservices.org/publicpoll/.
Replies will be displayed there as well as background information about Redfern
and the sculpture that we are investigating.

There Goes The Neighbourhood will be on view at Performance Space
at the Carriage Works at 245 Wilson St, Redfern, Sydney, from Friday, May 22
through June 27, 2009.

There is also a book that accompanies this exhibition! The There Goes The
Neighbourhood book, with contributions from Temporary Services is here.
The book will soon be available through the Half Letter Press store.

Temporary Services would like interested parties to come meet them and share
opinions about Bower during their Artist Talk on Saturday, May 30, 2009
at 4:00 p.m. at Performance Space.

More information about the sculpture, Redfern, and our project can be found here.

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HALF LETTER PRESS ITEMS

Here’s some items now available at Half Letter Press. Visit
http://www.halfletterpress.com/store/ and support radical creative practice.

With Love From Haha: Essays And Notes On A Collective Practice
Edited by Wendy Jacob, Laurie Palmer, and John Ploof



This book is the last collaboration for the twenty-year-old group Haha (Wendy
Jacob, Laurie Palmer, and John Ploof). Haha developed an art practice that
pushed at many boundaries of what could be considered art, how it is made, and
who has access to it.

The Contemporary Picturesque
By Nils Norman



In helpfully captioned photos from London, New York, and other cities, this
book presents barricades, guard-rails, outdoor seating designed for minimal
comfort, anti-sitting and climbing devices, and myriad other official models
for controlling public behavior. From the other side of the fence, it also
documents protest encampments in trees, community gardens and several actions
that illegally modified street surfaces.


Temporary Conversations Collection



This is a special offer of all four of Temporary Services’ Temporary
Conversations interview series. Read our interviews with and writing about
Jean Toche and the Guerrilla Art Action Group, Tim Kerr (Big Boys), The Dicks, and
Kawabata Makato (Acid Mothers Temple).

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edit -- these events will be rescheduled for future dates. Sorry for the inconvenience.

Happy Spring!

Temporary Services is pleased to announce some upcoming events in the Chicago area, as well as some new items at our Half Letter Press store.
This year we were honored to be chosen as the “group-in-residence” in the Art Theory and Practice department at Northwestern University. We have been working on an ongoing project involving mobile structures, and we’d like to invite you to see our progress and our studio.


For a campus map, check out:
http://www.northwestern.edu/visiting/index.html



Join us for a casual presentation on the work we have been doing during our residency. We will discuss mobile exhibition strategies that we have used in the past and our new work in progress titled "Social Mobility".

Why might artists want to work outside of galleries? What are some of the benefits of having a practice that you can take on the road, set up outdoors, or situate outside of the usual art exhibition channels?

A library that we have been assembling on imaginative approaches to creative and everyday problem solving, building structures, visionary approaches to small architecture, and exhibitions on wheels, will also be on view.


Chicagoland residents, hope to see you there!

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New at Half Letter Press: http://www.halfletterpress.com/store

Queer Zines, edited by Philip Aarons & AA Bronson
$25



Queer Zines, the catalogue, collects the variegated practices of zine makers past and present, from North America and Europe, and lists them alphabetically, starting with Toronto's 88 Chins and ending with the Dean Sameshima zine Young Men at Play. In a riotous assemblage of more than 200 pages, we find comprehensive bibliographies and sinful synopses for more than 120 zines by Alex Gartenfeld, excerpted illustrations and writings by zine makers, reprints of important articles in and about queer zines, a directory of important zine archives, and a list of zine outlets around the world. It also includes a 1980 interview with Boyd McDonald by Vince Aletti, Bimbox's pop-up genitalia (alas, not popping up here), Adam Block's early writings on zines from the Advocate, a "Where are They Now?" section that charts the careers of various queer zine pioneers, and excerpted interviews with GB Jones, Vaginal Davis, and Bruce LaBruce.

http://www.halfletterpress.com/store/index.php?main_page=product_info&cPath=4&products_id=76



Strip-Ts by Let’s Re-Make (available in Unisex M and L)
$15



Strip-Ts are made by Let's Re-Make (Bonnie Fortune & Brett Bloom). The duo is interested in finding ways to repurpose the piles of unworn and unloved clothing out there. Strip-Ts starts with a concern for the tremendous over production and consumption of clothing in the world. There is enough clothing in circulation now to clothe everyone without ever having to make anything new for many years. Right now thrift stores are clogged with t-shirts no one wants emblazoned with logos that state: “The Jones Family Fiesta ’93”, “Marc’s Bar Mitzvah ’84”, “Hooter’s Corporate Retreat and Tan-Off”, “It Stays in Cabo - Spring Break!!! “I’m with Stupid” (Did we really need a shirt to commemorate that?!). Let's Re-Make has stripped these old tees and made them new with scribbles. Buy one and do your part to purge from the collective memory “Crystal’s Bachelorette Party in ’03.” Or don’t buy one, but remember you CAN compost cotton, so bury that tee in your garden and get it out of our sight.

http://www.halfletterpress.com/store/index.php?main_page=index&cPath=16


Half Letter Press will be publishing work by Melinda Fries and Mary Patten in the future. Your purchases at our store help to make this happen!

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Thank you for your continued support!

Temporary Services / Half Letter Press
(Brett Bloom, Salem Collo-Julin, Marc Fischer)

Temporary Services
www.temporaryservices.org
servers@temporaryservices.org
P.O. Box 121012
Chicago, IL 60612

--AND--

Half Letter Press
www.halfletterpress.com
publishers@halfletterpress.com
P.O. Box 12588
Chicago, IL 60612

If you're in Nova Scotia, please check out Marc's talk!


Reminder: Artist lecture this Saturday April 4th
Where have all the Radicals Gone?

Tomorrow, Eyelevel Gallery and the Student Union at NSCAD University, present Marc Fischer from Temporary Services, an art collective based out of Chicago, Illinois. See attached poster or website for more details. The talk starts at 7pm and will take place at the Bell Auditorium at NSCAD (5163 Duke St.)

Upcoming speakers as part of this lecture series include:
Friday May 8 Jasper Joffe, artist and founder of the Free Art Fair in London UK
Friday May 22 Tanya Mars, artist and writer (Toronto)


_______________________

Eryn Foster
Director, Eyelevel Gallery
2063 Gottingen St.
Halifax, NS B3K 3B3

www.eyelevelgallery.ca

News of this worthwhile event comes to us from our friend Aaron Hughes who was involved with organizing the important Winter Soldier hearings that happened in March of last year.

WARS REAL IMPACT: OUR VOICES
Testimony from veterans, workers, military families, and students

When: 1:00 p.m. Saturday Jan 31
Where: Teamster City Auditorium, 300 S. Ashland (at Van Buren)

Help Send a Vital Message to the New Administration: End the War!

Plan to attend the hearing, bring family, friends, coworkers
Call your Congressman and Sen. Durbin (202-224-2152) today and urge them to attend!

The Workers' Rights Board of community leaders, clergy & educators will hear first-hand testimony about the devastating results of the Iraq War on the front lines and at home. We will be giving our elected representatives specific demands.

For more info, 312-738-6161 or www.warsrealimpact.org

Organized by: Iraq Veterans Against the War, Military Families Speak Out, Chicago Jobs With Justice,
American Friends Service Committee, Chicago Labor for Peace, Prosperity & Justice, Committee for New Priorities, US Labor Against the War

Here's the myspace bulletin that I read from "little gary floyd" (!):

Dear Dick Friends,
The Dicks are up for the AUSTIN MUSIC HALL OF FAME!!
I know most of you do not live in Austin ,or even Texas. It doesn't matter. It will take a few seconds for you to vote....its done on line with the big music mag in Austin..THE AUSTIN CHRONICAL---
its a ballot
you can scroll to the bottom of the page
check the Dicks over

you do have to fill out a name and address thing...its not a spam--its just o people don't cheat
it would mean a lot to the dicks---
pleasedo this for us.....
go to:

http://www. austinchronicle. com/

love
little gary floyd

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Go here to vote: http://www.austinchronicle.com/feedback/musicpoll/08/

Need a primer on the Dicks? Get our booklet! Go here: http://www.halfletterpress.com/store/index.php?main_page=product_info&cPath=2&products_id=49

Thanks!!

We couldn't let the year end without releasing one more booklet - our 84th! This is an exciting one for us, as we've been working on (or to be more honest, delaying it) for the better part of the year but it's finally finished and we're plenty excited about it. Jean Toche doesn't do a lot of interviews and information on Guerrilla Art Action Group (GAAG) is hard to come by these days. In collaboration with Stephen Perkins, we went back and forth with Jean, sending him questions, sending him more questions and receiving addendum after addendum as Jean added and corrected more and more details.

As with many of our booklets, you can pick up a copy of this for cheap from our Half Letter Press webstore:
http://www.halfletterpress.com/store/index.php?main_page=product_info&cPath=2&products_id=55

To see the article in context:

http://www.timeout.com/chicago/articles/art-design/69961/works-on-paper

In addition to the fine folks at Quimby's, you can always buy copies directly from us at Half Letter Press (and we always throw in a freebie or two with each order):

http://www.halfletterpress.com/store/index.php?main_page=product_info&cPath=3&products_id=11

The bright start and untimely death of innovative young arts administrator Ben Schaafsma

By Laura Pearson

December 11, 2008

When Ben Schaafsma applied for a job in New York last year, his thesis adviser at the School of the Art Institute’s arts administration department was reluctant to write him a reference letter. It wasn’t that Schaafsma, then a 25-year-old grad student, wasn’t qualified for the position, overseeing the studio program at the Elizabeth Foundation for the Arts. In fact, he was an ideal candidate. But the adviser, Brett Bloom, felt his departure would be a huge loss for the Chicago arts community. This is where “the best independent thinking and practice is quietly being done,” Bloom says, and Schaafsma had already—quietly, collaboratively—made an impact with ideas like InCUBATE (Institute for Community Understanding Between Art and the Everyday), a project space and research center in Logan Square. He’d established an innovative grant-giving program with money raised from the sale of homemade soup, served as public art curator for the 2007 Around the Coyote Fall Festival, and published articles about arts funding for small journals—all while still earning his MA.

But Bloom ultimately wrote him a glowing reference, and late last summer Schaafsma moved to Brooklyn. On October 23 he was struck by a cab while walking to his apartment. After two days in a coma, he died.

THE ARTICLE ABOUT BEN CONTINUES HERE: http://www.chicagoreader.com/features/stories/ben_schaafsma/

10 Years of Temporary Services – Co-Prosperity Sphere, Chicago, December 5, 2008, 7:30 PM - 12 AM.

A party for Temporary Services' 10th anniversary and the release of our book Public Phenomena

All Ages! Free Food! TS Ephemera & Slideshow! Surprises! Items for sale from Half Letter Press!

$5.00 admission ($15.00 gets you a copy of Public Phenomena)

Performances by:
The Velcro Lewis Group
Dead Druglords
AZ & Snebtor

Co-Prosperity Sphere
3219 S. Morgan St, Chicago

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TS's good friend Matt Bua sent us this call for folks to submit drawings to be a part of an exhibition he is in at Mass Moca in the near future. Matt has a piece of land in the Catskill mountains and is populating it with really interesting, small structures made of scrap. The image above is of a sauna.

Here is the call:

Call For Submissions: Visionary Drawings
We would like you to submit a drawing that reflects one of a number of categories to be collected under the theme, Visionary Drawings. The collection will be compiled into a book format that will be presented in an upcoming museum exhibition. Drawings can be made in any medium, and should convey a dwelling/structure/architectural concept. The attached document includes details about the required submission information.

Deadline
January 15, 2009.

Exhibition
Visionary Architecture will concentrate on un-built (impossible or speculative) structures that exist on paper. This project begins with an invitation to a wide range of participants, including artist, designers and architects of renown, as well as those presenting ideas for the first time. The book will reveal an array of works that convey alternatives, byproducts, expansions or critiques of one's environment. The book will be presented in conjunction with the exhibition, Cribs to Cribbage, which will begin at Mass MOCA in March 2009 and expand throughout the year. The book, together with the exhibition, will highlight many visions that exist outside of established channels of production, and conventions of design.

Contact
Email m49@earthlink.net with inquiries and submissions. Subject: Visionary Drawing

http://bhomepark.blogspot.com/

Bill Ayers and Bernadine Dohrn - former Weather Underground members - are heroes to many for their militant resistance to US imperialism in the 1960s! During the recent presidential campaign, Ayers was used by the far right wing to try and reignite the culture wars that brought the shittiest, stupidest, most ideologically blind president to power for 8 abysmal years. It didn't work! Ayers and Dohrn, to their credit, refused to speak to the press during the campaign because their activities had been so grossly mischaracterized, distorted, and turned into out right lies, and a battle cry for hateful right wing lunatics. They broke their silence and appeared on Democracy Now on Friday, November 14th. The interview is fantastic as they confront the lies, distortions, and show that they are still brave, and fiercely passionate about confronting American imperialism in all its forms. Check this one out!

Bill Ayers and Bernadine Dohrn on Democracy Now

Temporary Services is working in Austin this week, and here is a pretty nice article about what we're doing.
Come visit us if you're in Austin, and bring your friends!

From the Austin Chronicle:

testsite 08.5 ~ Temporary Services

Barbara Jordan, punk rocker?

By Robert Faires

 

To my knowledge, Barbara Jordan never opened for the Dicks. In fact, I'd be mightily surprised if she ever attended a gig by the Austin punk legends. But in the coming month, the revered Texas congresswoman will be sharing the spotlight, so to speak, with the Eighties punk band, thanks to a Chicago-based art collective.

Temporary Services, as the group is called, was engaged by local contemporary art instigators Fluent~Collaborative to create a project for its exhibition space, testsite. For its first work in Texas, Temporary Services chose to "investigate two aspects of the state's cultural and political history that embody its radical independence: the development of Punk music in Austin during the early 1980s, and the speeches of Barbara Jordan." The unorthodox pairing reflects the varied interests and passions of the group's three members, says Marc Fischer, one-third of Temporary Services, along with Brett Bloom and Salem Collo-Julin. "We are always digging around the cultural and political margins – which is usually where we find ourselves situated – and if we respect someone's work, we sometimes try to get to know them so we can learn from each other." Research on the Dicks led the trio to Big Boys/Poison 13 guitarist Tim Kerr, who became a major focus of the project. And while the differences between some white male hardcore punkers and an African-American female member of the U.S. House of Representatives are pretty obvious, Fischer says, "The more time we've spent with the Dicks, Tim Kerr, and Barbara Jordan, the more parallels we find." Calling them "a great group of tenacious underdogs," he says: "These people took enormous personal risks to put their ideas out into the world. And they didn't stay comfortably put in local situations that could tolerate them. They took their ideas and work to a national level, where they would be met by far greater resistance and confrontation.

"Barbara Jordan also said: 'Let each person do his or her part. If one citizen is unwilling to participate, all of us are going to suffer. For the American idea, though it is shared by all of us, is realized in each one of us.' Likewise, Tim Kerr would constantly ask audiences, 'What are you doing to participate?' These are, or were, not passive people! Their messages feel very current to us. We were not at all surprised to learn that Tim Kerr had been planning to make some drawings and paintings of Jordan. He gave us one portrait of her to use in his interview booklet."

The form the Temporary Services project will take might not be what you first think of as art. But the group's interest in public spaces, especially as they're shaped by government and commerce, leads it to document efforts by others to do that as well as doing it itself. One arm of Temporary Services publishes booklets featuring extended interviews with artists (Temporary Conversations), and the Austin project will result in two new booklets: an extended interview with Tim Kerr and a history of the Dicks, to be released at Domy Books on Saturday, Nov. 15.

The group has also made banners out of discarded plastic bags that feature quotes from punk song lyrics and Jordan's speeches, and these will be shown in the testsite space.

Barbara Jordan onstage with the Dicks? She might not have joined them in singing, "It's not for the hell of it/It's to tear this fuckin' nation down," but as Marc Fischer notes, "I think Gary Floyd and company could probably agree with Jordan when she said, 'I never intended to become a run-of-the-mill person.'"

Temporary Services will hold a public art talk Thursday, Nov. 13, 5-6:30pm, in the Art Building auditorium, Rm. 1.120, on the UT campus. For more information on Temporary Services, visit www.temporaryservices.org.

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A release party for Temporary Services' booklets on the Dicks and Tim Kerr, as well as its new book, Public Phenomena, will be held Saturday, Nov. 15, 7-9pm, at Domy Books, 913 E. Cesar Chavez. For more information, visit www.domystore.com.

 

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Copyright © 2008 Austin Chronicle Corporation. All rights reserved.

Several exciting things to announce. First, all three members of Temporary Services will be in Austin, Texas for our first presentation in that state. We hope some of you can join us, or will tell your Texan friends. Here is our schedule and what we are doing:

* Thursday, November 13, 5 - 6:30 PM. Free lecture in room ART 1.120 at the University of Texas, Austin.
* Saturday, November 15, 7 - 9 PM. Book release at DOMY Books, 913 E Cesar Chavez. Austin
* Sunday, November 16, 4 - 6 PM, Opening at testsite, 502 W. 33rd St. Austin

For testsite 08.5, Temporary Services will investigate two aspects of the state's cultural and political history that embody its radical independence: the development of punk music in Austin during the early 1980s, and the speeches of Barbara Jordan, the great, late United States representative from Texas.



Temporary Services will apply these dual interests to a new series of banners. Fabricated from discarded plastic bags, these recycled textiles are part of our ongoing investigation into new uses for plastic bags: Personal Plastic. Quotes drawn from politician Barbara Jordan and Texas punk lyrics are featured on a series of banners that will hang inside testsite's exhibition space. A big selection of our publications will also be on view, along with photos from Personal Plastic showing how those horrible plastic shopping bags accumulate in our homes and cities.


Download: test_site_bklt.pdf

We also produced a new poster with a text by testsite's invited curator Harper Montgomery, and two new Temporary Conversations interview booklets. One booklet interviews members of the Texas band The Dicks (Gary Floyd and Buxf Parrot) with additional contributions from Austin Chronicle writer Margaret Moser, photographer Bill Daniel, Tim Kerr and more. The second booklet features a massive interview with Austin-based musician and artist Tim Kerr from such great bands at the Big Boys, Poison 13, Lord High Fixers and MonkeyWrench.

Each of these 32-page booklets are available for sale in our new online store:


The Dicks


Tim Kerr

If you haven't visited our store, or if you visited when our server was down, please have a look! We offer our new book Public Phenomena, from our new press, plus lots of other items by Temporary Services and our network of friends. When you purchase directly from us, your support helps us print new things. One of those new things will be a massive interview booklet with Jean Toche from Guerrilla Art Action Group. We expect to release that in December but need to generate some funds to do it. Please consider supporting publications like this. If you would like to distribute copies of these books or purchase them for your students, please let us know so that we can offer you wholesale or discounted prices. All purchases come with some kind of freebie, so if you buy the new interview booklets, you'll also get the new Texas poster and probably some other stuff.

Thank you for reading,

Temporary Services
(Brett Bloom, Salem Collo-Julin, Marc Fischer)
servers@temporaryservices.org
http://www.temporaryservices.org/
http://www.halfletterpress.com/

A couple quotes from these great cultural heroes:

"We want to be in control of our lives. Whether we are jungle fighters, craftsmen, company men, gamesmen, we want to be in control. And when the government erodes that control, we are not comfortable."
- Barbara Jordan

"When you come back with no arms or legs, then you can say war is fun"
- The Dicks ("I Hope You Get Drafted")

"We Got Soul. Let's Take Control!"
- The Big Boys

testsite

http://www.letsremake.info/publications.html


http://www.justseeds.org/nicolas_lampert/03ifvoting.html

I have received various versions of the text below, via email, from Ken Knabb - Bureau of Pubic Secrets and publisher of the Situationist Anthology - several times over the past years and it still resonates deeply for me on each reading. Real change is not going to come in this country from voting - a token of participation in a system that excludes you on every other day for four years. When you vote, you not only dis-empower yourself - giving your freedom to someone else to administrate on your behalf and to violently control you if you don't behave properly - you also dis-empower me and others around you. It is incredible that so many people are rounded up, and hand over their freedom in a single act, abdicating responsibility for themselves and the world around them.

Voting is not a right or privilege; it is a way to control.

Representation is a form of abstraction and violence.

Change will only come when we make politics a daily affair and something everyone is empowered to do, de-professionalize the decision making that effects us most, and dismantle the massive, abusive power structure that is the rancid melting pot of lobbyists, corporate interest, think tanks, PACs, politicians, an upper class with access to power, and the entire rotting governmental structure we call democracy.

Yes, this won't happen because of my post, but I guarantee it is even further away when you go and vote.

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THE LIMITS OF ELECTORAL POLITICS
Roughly speaking we can distinguish five degrees of "government":

(1) Unrestricted freedom
(2) Direct democracy
(3) Delegate democracy
(4) Representative democracy
(5) Overt minority dictatorship

The present society oscillates between (4) and (5), i.e. between overt minority rule and covert minority rule camouflaged by a facade of token democracy. A liberated society would eliminate (4) and (5) and would progressively reduce the need for (2) and (3). . .

In representative democracy people abdicate their power to elected officials. The candidates' stated policies are limited to a few vague generalities, and once they are elected there is little control over their actual decisions on hundreds of issues – apart from the feeble threat of changing one's vote, a few years later, to some equally uncontrollable rival politician. Representatives are dependent on the wealthy for bribes and campaign contributions; they are subordinate to the owners of the mass media, who decide which issues get the publicity; and they are almost as ignorant and powerless as the general public regarding many important matters that are determined by unelected bureaucrats and independent secret agencies. Overt dictators may sometimes be overthrown, but the real rulers in "democratic" regimes, the tiny minority who own or control virtually everything, are never voted in and never voted out. Most people don't even know who they are. . .

In itself, voting is of no great significance one way or the other (those who make a big deal about refusing to vote are only revealing their own fetishism). The problem is that it tends to lull people into relying on others to act for them, distracting them from more significant possibilities. A few people who take some creative initiative (think of the first civil rights sit-ins) may ultimately have a far greater effect than if they had put their energy into campaigning for lesser-evil politicians. At best, legislators rarely do more than what they have been forced to do by popular movements. A conservative regime under pressure from independent radical movements often concedes more than a liberal regime that knows it can count on radical support. (The Vietnam war, for example, was not ended by electing antiwar politicians, but because there was so much pressure from so many different directions that the prowar president Nixon was forced to withdraw.) If people invariably rally to lesser evils, all the rulers have to do in any situation that threatens their power is to conjure up a threat of some greater evil.

Even in the rare case when a "radical" politician has a realistic chance of winning an election, all the tedious campaign efforts of thousands of people may go down the drain in one day because of some trivial scandal discovered in his (or her) personal life, or because he inadvertently says something intelligent. If he manages to avoid these pitfalls and it looks like he might win, he tends to evade controversial issues for fear of antagonizing swing voters. If he actually gets elected he is almost never in a position to implement the reforms he has promised, except perhaps after years of wheeling and dealing with his new colleagues; which gives him a good excuse to see his first priority as making whatever compromises are necessary to keep himself in office indefinitely. Hobnobbing with the rich and powerful, he develops new interests and new tastes, which he justifies by telling himself that he deserves a few perks after all his years of working for good causes. Worst of all, if he does eventually manage to get a few "progressive" measures passed, this exceptional and usually trivial success is held up as evidence of the value of relying on electoral politics, luring many more people into wasting their energy on similar campaigns to come.

As one of the May 1968 graffiti put it, "It's painful to submit to our bosses; it's even more stupid to choose them!"

[Excerpts from Ken Knabb's The Joy of Revolution]

SOME CLARIFICATIONS
My intention in circulating these observations is not to discourage you from voting or campaigning, but to encourage you to go further.

Like many other people, I am delighted to see the Republicans collapsing into well-deserved ignominy, with the likelihood of the Democrats recapturing the presidency and increasing their majorities in Congress. Hopefully the latter will discontinue or at least mitigate some of the more insane policies of the current administration (some of which, such as climate change and ecological devastation, threaten to become irreversible).

Beyond that, I do not expect the Democratic politicians to accomplish anything very significant. Most of them are just as corrupt and compromised as the Republicans. Even if a few of them are honest and well-intentioned, they are all loyal servants of the ruling economic system, and they all ultimately function as cogwheels in the murderous political machine that serves to defend that system.

I have considerable respect and sympathy for the people who are campaigning for the Democratic Party while simultaneously trying to reinvigorate it and democratize it. There are elements of a real grassroots movement there, developing in tandem with the remarkable growth of the liberal-radical blogosphere over the last few years.

But imagine if that same immense amount of energy on the part of millions of people was put into more directly radical agitation, rather than (or in addition to) campaigning for rival millionaires. As a side effect, such agitation would put the reactionaries on the defensive and actually result in more "progressives" being elected. But more importantly, it would shift both the momentum and the terrain of the struggle.

If you put all your energy into trying to reassure swing voters that your candidate is "fully committed to fighting the War on Terror" but that he has regretfully concluded that we should withdraw from Iraq because "our efforts to promote democracy" there haven't been working, you may win a few votes but you have accomplished nothing in the way of political awareness.

In contrast, if you convince people that the war in Iraq is both evil and stupid, they will not only tend to vote for antiwar candidates, they are likely to start questioning other aspects of the social system. Which may lead to them to challenge that system in more concrete and participatory ways.

(If you want some examples, look at the rich variety of tactics used in France two years ago.)

The side that takes the initiative usually wins because it defines the terms of the struggle. If we accept the system's own terms and confine ourselves to defensively reacting to each new mess produced by it, we will never overcome it. We have to keep resisting particular evils, but we also have to recognize that the system will keep generating new evils until we put an end to it.

By all means vote if you feel like it. But don't stop there. Real social change requires participation, not representation.

BUREAU OF PUBLIC SECRETS
October 2008

The first part of this text was widely emailed and posted during the American elections of 2000, 2002, 2004, 2006 and 2008. The “Clarifications” were added in the 2006 mailing and slightly updated for the 2008 mailing.

No copyright.

Dear Friends,

It has been a while since we last wrote you and we have some exciting things to report.

Temporary Services has started our own publishing house and online store: Half Letter Press.

With that, we have just released our first self-published book. It is titled Public Phenomena and let us tell ya, it looks beautiful! 152 glossy full color pages. We can't wait for you to see it.

This book is the result of over ten years of photographic documentation and research on the variety of modifications and inventions people make in public. From roadside memorials to makeshift barriers, people consistently alter shared common spaces to suit their needs, or let both man-made and natural aberrations run wild. The result is a new kind of public space – with creative and inspiring moments that push past the original planned design of cities.

Images and text by: Temporary Services, Polonca Lovšin, Joseph Heathcott & Damon Rich, Boštjan Bugaric, Ana Celigoj, Maša Cvetko, Marko Horvat, Meta Kos, Darjan Mihajlović, Danijel Modrej, Maja Modrijan, and Sonja Zlobko

You can purchase the book directly from us for $15.00 using Paypal. Go here to do so.

Half Letter Press takes its name from the half of a "Letter"-size sheet of paper printing format that we have used for nearly ten years and 80
publications. In addition to publishing books, which will include books by other authors in the future, Half Letter Press was created to better distribute our own work and the work of other creative people whose work we admire. We have created a online store toward this end.

This endeavor is just getting started. We hope you'll check back regularly. The store is the first step in building long-term independent infrastructure for supporting the work of others. You can read more of our ideas about this here.

Half Letter Press offers volume discounts for multiple copies of Public Phenomena. We also offer a variety of alternative payment methods including trading. Please consider telling your book and booklet-loving friends about us!

If you make something you feel we should sell, or if you would like to help us distribute our new book Public Phenomena, please get in touch.

Thank you and all the best,

Temporary Services / Half Letter Press
(Brett Bloom, Salem Collo-Julin, Marc Fischer)

Temporary Services
P.O. Box 121012
Chicago, IL 60612 USA
http://www.temporaryservices.org
servers@temporaryservices.org

http://www.halfletterpress.com


P.S. Coming soon!

New Temporary Conversations interview booklets with The Dicks, Tim Kerr, and Jean Toche of Guerrilla Art Action Group (GAAG).

Temporary Services goes to Austin, Texas.

Temporary Services celebrates their 10th anniversary in December with a book release and party in Chicago!

More information to follow.

Karl Rove is an enemy of democracy, equality, and the truth. Karl Rove deserves to rot in jail for the amount of damage he has done to our country, the war he helped start in Iraq, the presidency of the stupidest and most destructive man ever to take up residence in the White House, the miserable hateful campaigns he masterminded, and in general for being the worst piece of shit human one can imagine. Karl Rove should be harassed mercilessly every time he tries to open his mouth in public, on tv, and in print. He should not receive opportunities to speak publicly nor reinvent himself as a "political commentator." He lies at every opportunity he gets.

Brave activists from Codepink tried to arrest the scumball in San Francisco.



Reposted from Alternet:

Karl Rove slapped away a woman who tried to place him under citizen's arrest during an event in San Francisco, CA. The following is a press release from CODEPINK, who organized the bold act of civil obedience.

When Karl Rove took the stage at the Mortgage Bankers Association annual convention at the Moscone Center in San Francisco today, CODEPINK women in the audience staged a citizen's arrest of the former Bush Administration chief of staff, under California Code 837. This action follows on the heels of yesterday's appearance on stage of Medea Benjamin, co-founder of CODEPINK, who disrupted the convention to ask for a moratorium on foreclosures.

Janine Boneparth, 58, of Ross, CA, walked on the stage with handcuffs and placed a cuff on Rove's wrist before he yanked it away, while stating, "I have to make a citizens arrest. You are under arrest for treason."

At the same moment, Nancy Mancias, 38, of San Francisco, CA, held a banner in front of the stage that read, "Rove (hearts) torture, treason and fraud!" "Ladies and gentlemen, Karl Rove is not fit to address you today," Mancias said. "Karl Rove was involved in lying to the American people about the Iraq war."

The moderator responded by asking Sen. Mitchell and Rove, with a chuckle, who will win the World Series. After Rove talked about who in Congress is responsible for the economic crisis and who people should believe, Rae Abileah, 25, of Half Moon Bay, stood up. "Karl Rove, how can we believe you when you lied to get us into the war in Iraq?" Abileah said. "You are under arrest for contempt of Congress." Abileah held up a banner that read: "ARREST ROVE/ Lying about War/ Outing C.I.A. Agent/ Contempt of Congress/ Supporting Torture." Three security men tackled her and clasped their hands over her face. She broke free and repeated, "Rove is under arrest for treason."

A few minutes later, when Rove was talking about the war, Keiko Schnelle, 21, of Albany, and Blaine Clarke, 28, of San Francisco, stood up with a banner that said "Rove = War Criminal." "Karl Rove is the one misleading the American people," Clarke shouted. "Karl Rove is a war criminal. Arrest Karl Rove!"

Security then pushed Clarke to the ground and dragged her out along with Schnelle. All five CODEPINK women were escorted out of the building by police without charges. They asked police to assist with the future citizens arrest of Karl Rove.

Remember Framing The Artists project?

We tried to figure out how artists are thought about in the world, based on their collective image on TV and in the movies. You know, the really important places. (written with not much of a sneer)

We made a short video along with it that got shown in several museums in Europe.

Art and artists as portrayed by mass media and humanity's collective consciousness. Analysis: kooks! Whores! Druggies! Dorks with bad breath! Drunks! Selfish pricks! Hide your daughters! Slap your sons!

I'll post some of the examples we found here, as well as new ones. Feel free to contact us and make suggestions. We've talked about a screening series at some point.

Oh -- as with every other blog in the world, we don't own any of this stuff. Tengo NADA.



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"Bob Ross, the Frugal Gourmet of Painting" That's why he (sort of) was our cover star!

If the point is to get people to watch the show, this is the worst promo in the world. If the point is to plot the slow and painful deaths of overfed, mismanaged, seemingly jobless people ...



Here's the Family Guy cameo. You'll have to navigate it yourself, as we're out with a healthy date from Chicago at the moment.

Finally, a random and fairly disgusting Mr Bean episode that came up when searching for Bob:

COPENHAGEN





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TAIPEI



A WORLD WHERE MANY WORLDS FIT

A section on the counter-globalisation movement for the Taipei Biennial 2008

Curated by Oliver Ressler

The trope “A World Where Many Worlds Fit” goes back to the Subcomandante Marcos, when talking about the Zapatistas’ struggles in the Lacandonian Rainforest in Mexico. Since their uprising in 1994 the Zapatistas have been fighting for a less-hierarchical, autonomous world with more options to offer in democratic decision-making processes. They fight against an existing world, which calls itself “democratic”, but should rather be seen as a form of sophisticated oligarchy that functions especially in favour of the interests of the political and economic elites. In other parts of the world the stick that punishes people who envision another world is usually not so visible. But, this can change suddenly when those in power assemble in the framework of the summits of the World Bank, International Monetary Fund (IMF), World Trade Organization (WTO), World Economic Forum (WEF), or the G8. Though the decisions made by politicians and business leaders at such meetings affect the lives of all people in the world, the negotiations take place hidden from the public gaze, behind fences and under massive security with the protection of thousands of riot-police. These gatherings have become a symbol for the undemocratic and illegitimate formation of global capitalism.

At each of these summits individual and collective singularities from all over the world come together in order to express their opposition to the way global decisions are taken and realised. These mobilisations of attendance at summit meetings are the movements’ most visible public appearances. According to most narratives, the action taken against the WTO in Seattle in 1999 launched the birthplace of the new movement. The events at Seattle articulated a form of resistance and protest of the centres of capitalism that proved strong enough to shut down the WTO summit there. Since 1999 this global movement has shown up at each meeting of World Bank, IMF, WTO and WEF – unless the scared politicians decide to meet in the mountains, in deserts, or in dictatorships in order to avoid publicly shown dissent at their summits, which were originally introduced for publicity purposes. Even though this movement is the first that is truly globalised, it is usually described as a counter-globalisation movement. It can actually be called the “movement of the movements”.

At the demonstrations, counter-summits and mass blockades many individuals and collectives come together: media activists, clown army, pink block, naked block, black block, anarchists, socialists, Trotskyists, members of ATTAC, human rights activists, feminists, migrants, indigenous people, artists, etc. Many activists switch between these identities. All these singularities have their own images, banners, different public appearance and slogans, that do not only represent something, but contribute to the creation of effective blockades and to the creation of a space. This space is both one of representation, as well as a space for action that in the best cases also spreads to other areas such as the local neighbourhoods of the activists. This new social subject, sometimes referred to as the “multitude”, builds horizontally organised networks and has a radial transformation of society in mind.

“A World Where Many Worlds Fit” attempts to present a global movement as an example of collective intelligence through a variety of artistic practices, and wants to function as “a space for thinking”. The 12 artists involved in the project demonstrate a strong commitment to social movements and do not position themselves as “neutral” in relation to them. Many of the included works focus on the cities that have now become known for past demonstrations, counter-summits and/or blockades and are used as shorthand descriptions for these events: Seattle, Prague, Salzburg, Genoa, Buenos Aires, Gleneagles, St. Petersburg or Heiligendamm. The exhibition can be seen as a kind of course, which addresses important steps of the movement of the movements.

Whether or not this globalisation of resistance will be successful in the future will depend on whether upcoming summits can be mobilised to show our dissent to the world and our desire to create other worlds. As Tadzio Mueller eloquently outlines*, it will be essential for the global movement to develop a critical and convincing anti-capitalist strategy to fight climate change, as this is a central issue of world-wide importance that the G8 exploit to legitimise their meetings in the public, and that “asks the question of property and class struggle” and “talks about collective social transformation”. If we manage to bring such an agenda into public debate, the movement of the movements will probably also play an important role in the political landscape in the ten years after the upcoming G8 summit in Maddalena in Italy.


*In: “What Would It Mean to Win?”, A film by Zanny Begg and Oliver Ressler, 40 min., 2008

Artist’s works in the exhibition:

CHRISTOPHER DELAURENTI (USA)
Four Protest Symphonies

An audio track by Seattle-based composer, improvisor, and phonographer Christopher DeLaurenti permeates the exhibition. “Four Protest Symphonies” is a series of front-line recordings made at various actions, including the World Trade Organization protest in Seattle in 1999. Spattered by pepper spray, enshrouded in tear gas and pelted with rubber bullets, Delaurenti was engulfed in a maelstrom of drums, slogans, chants, screaming and violence. These are cemented with combative field recordings of the various protests, art actions, police transmissions, National Oceanic And Atmospheric (NOAA) weather alerts, radio broadcast anomalies (splashes and sprays of tape hiss, enigmatic numbers glossolalia, crude phase encoding), and wild card audio snatched from the airwaves to compose a vivid sound-scape of dissent.


NOEL DOUGLAS (GB)
Whose World? Our World, 2008

The artist, designer and activist Noel Douglas presents an installation based on graphic material that he has produced over the last seven years as part of his involvement with different social movements. The banners, posters, t-shirts, books and magazines included in the installation have been used and disseminated during many recent anti-capitalist and anti-war protests. In “A World Where Many Worlds Fit”, Douglas arranges these objects in a nine-metre long vitrine. Displayed on a panel in the vitrine are numerous spreads from books and magazines promoting and popularising the ideas of the movement. Alongside these are laid out the popular “Regime Change Begins at Home” playing cards, which satirise the playing cards handed out to troops by the US military in Iraq. On the floor of the vitrine thousands of “Capitalism Means War” dollar bills are spread out, these were handed out during the major demonstrations against the impending War in Iraq held on February 15th, 2003. On the glass window, a vinyl tape with the text “Ceci N’est Pas Le Capitalisme” (This is not Capitalism) frames the work. This tape was used at demonstrations across Europe and the US as a temporary street “line” to hang posters from. Shown here hung on the walls, these posters called for demonstrations against the G8 and instead for participation in the European Social Forum. There are also those that simply visualise the problems of capitalism using a more direct agit-prop approach with many proclaiming one of the central slogans of the movement, “Another World Is Possible”.


ETCÉTERA (ARG)
To eat, to create, 2008

The Argentinean artist/activist collective Etcétera presents documentation of their Buenos Aires based street actions in an installation that includes information about the original local context and situation. Since late 1997 Etcétera has implemented a poetic, absurd and surreal artistic practice into street actions that take a crack at important issues such as social injustice and human rights agendas. Their work became even more pertinent in the midst of the enormous economic crisis that peaked in 2001 and that sent Argentina spiralling down to levels of emergency and starvation. Etcétera's actions, like many enacted in the public space, are ephemeral and circumstantial. They re-imagine the activity of the street as a performance in a specific space and a specific time. As a result of the dissemination their amazingly humorous and bitter sparks of activism into cultural institutions, artistic circuits and the web through videos, cartoons, pamphlets and manifestos, Etcétera have inspired numerous kindred spirits and related projects.


PETRA GERSCHNER (GER)
History is a work in process, 2007/2008

Petra Gerschner produced a photo-documentation of the activities made against the G8 summit held in Heiligendamm. She celebrates the work of activists, who aim to become the subjects of their own history, by literally illuminating them in the form of a light-box with a precise selection of four photos. “Join the Winning side – Smash Capitalism”, reads a light-installation on a truck in one of the images. This slogan represents the approach of the global movement to not only comment on social conditions, but to also actively change them. The work attempts to transpose the energy and enthusiasm of the activists and hints at the possibility that with collective experience and action, resistance is feasible and can be successful. At the same time Gerschner raises questions about the visual representation of the movement of the movements in the collective global consciousness.

In a second work, a digital print from the series “What does memory mean to you?” (2001/2006), Petra Gerschner lays bare the demonstrative power of state forces by confronting political advertising and slogans with pin-ups, which all came together in the public space during the protests against the World Economic Forum in Salzburg.


JOHN JORDAN (GB)
The Clandestine Insurgent Rebel Clown Army: Operation “HA HA HA”

One of the works in the exhibition that ventures beyond a documentation of the activities of the “movement of the movements” is by the British artist/activist John Jordan whose practice merges art and social engagement, and favours transformative actions over representation. He is one of a number of artists who consider themselves part of the “movement of the movements” and intervenes wherever and whenever possible. Jordan's installation consists of documentation from the Clandestine Insurgent Rebel Clown Army’s operation “HA HA HA”, which took place during the G8 summit in Gleneagles, Scotland in July 2005. The central element of the installation is a large canvas map that shows the area around the G8 summit, which was used by activists for organising protests. Two video monitors are placed on opposite corners of the map, with pink ribbon connecting them to locations on the map where the activist's events occurred. One short film shows a performance of police and clowns competing in a strange game together, and the second documents clowns magically breaking through a line of riot policemen and occupying a road.


ZANNY BEGG (AU) & OLIVER RESSLER (A)
Timeline Piece, 2008
This is what democracy looks like!, 2002

A timeline of the global movement, spanning from the momentous actions against the World Trade Organization Conference in Seattle in 1999, up until today, is layed out by Zanny Begg in a 12 metre long wall drawing. It is a kind of framework for “A World Where Many Worlds Fit”, that not only sets up a relationship between the various works, but also tells its own stories. Embedded in Zanny Begg’s huge timeline is Oliver Ressler's video “This is what democracy looks like!”. The video presents the events of July 1, 2001, which took place surrounding a demonstration against the World Economic Forum in Salzburg in Austria, where 919 demonstrators were encircled by the police and detained for more than seven hours. In the video the demonstrators take the role of active spokespersons and describe what was happening from their own individual perspectives.

What Would It Mean To Win?, 2008
This film, a collaboration by Zanny Begg & Oliver Ressler, was made on the blockades of the G8 summit in Heiligendamm, Germany in June 2007 and focuses on the current state of the movement of the movements. Combining documentary footage, interviews, and animation sequences, the work is structured around three questions pertinent to the movement: “Who are we?” “What is our power?” and “What would it mean to win?” The protests in Heiligendamm seemed to re-assert the confidence, inventiveness and creativity of the movement of the movements. In particular the five finger tactic – where protesters spread out across the fields of Rostock in order to slip around police lines – proved successful in establishing blockades on all roads leading into Heiligendamm. Staff working for the G8 summit were forced to enter and leave the meeting by helicopter or boat thus providing a symbolic victory to the movement.


RTMARK (USA)
The Archimedes Project, 2001

The objects and photographs of the “anti-corporate corporation” RTMark chronicle the corporation's commitment to direct intervention. For the protests during the G8 summit in Genoa, RTMark produced pink, blue, black and purple mirrors that were distributed to a thousand activists. The mirrors focused and reflected sunlight at police helicopters and other aggressive assault vehicles, as well as into the eyes of attacking police. The work is titled “The Archimedes Project”, after the ancient Greek mathematician who reputedly used several large mirrors to focus the glare of the sun at invading Roman ships, burning them to a crisp and thus saving the city of Syracuse in what is now Sicily, Italy. The Italian press hilariously characterised these mirrors as weapons and included them amongst the police's other official weapon classifications, which included cell phones and Swiss army knives.


ALLAN SEKULA (USA)
Waiting for Teargas, 1999

Allan Sekula's slide installation “Waiting for Teargas” was produced from the photographs he had taken during the protests against the World Trade Organization Ministerial Conference that took place in Seattle in 1999. Sekula’s concept was, in his words, “to move with the flow of protest, from dawn to 3 a.m. If need be, taking in the lulls, the waiting and the margins of events. The rule of thumb for this sort of anti-photojournalism: no flash, no telephoto zoom lens, no gas mask, no auto-focus, no press pass and no pressure, to grab at all costs, the one defining image of dramatic violence... The alliance on the streets was indeed stranger... varied and inspired... There were moments of civic solemnity, of urban anxiety, and of carnival. Something very simple is missed by descriptions of this as a movement founded in cyberspace: the human body asserts itself in the city streets, against the abstraction of global capital. There was a strong feminist dimension to this testimony, and there was also a dimension grounded in the experience of work...”


GREGORY SHOLETTE (USA)
WTO Action Collectible, 1999

Gregory Sholette’s “WTO Action Collectible” comprises a “commemorative” action figure and an accompanying poster that refer to the police tactics that labelled unarmed protesters as violence-prone during the now legendary Seattle World Trade Organization Ministerial Conference in 1999. Sholette's plastic figure – which comes equipped with interchangeable “action arms” that are useful for deflecting tear gas grenades and an authentic “radical” mascot carrying a Molotov Cocktail – also makes reference to the long, if little known history of militant political resistance in the United States: from the great rail strikes of the late 19th century to the National Student Strike and mass demonstrations of May 1970 that followed the shooting deaths of anti-Vietnam war
protesters by National Guardsmen at both Kent and Jackson State Universities.


NURIA VILA & MARCELO EXPÓSITO (ESP)
Tactical Frivolity + Rhythms of Resistance, 2007

This video focuses on various forms of protest that occur across the European continent. It brings into play femininity, and blurs gender-expectations. As a work about a particular moment of joy and expectation at the global movement's early days, “Tactical Frivolity + Rhythms of Resistance” questions the social order through unanticipated role reversals and confuses the response of the media and the police to label such forms of protest as violent. As the artists write, “Tactical frivolity sought to undo classical anarchists vs. police, one-to-one confrontational tactics, by multiplying front-lines and making an extremely ironic use of femininity and kitschy representations of the body in direct action. Music and dance provided this radical redefinition of street protest not only with a powerful tool to practically dissolve or détour police violence, but also with the strongest possible image (and soundtrack) to realise how street demonstrations can become the unleashing of the body’s desires in the moment of protest itself”. The work demonstrates that resistance can result in a lot of creativity and fun, which is important to draw in larger crowds who are not necessarily active and who normally see activism as a sour and professional exercise of a singular political inclination.


DMITRY VILENSKY (RUS)
Protest Match – Kirov Stadium, 2006

In his video “Protest Match – Kirov Stadium” Dmitry Vilensky focuses on the heavy security tactics enforced upon the Russian Social Forum that ran parallel to the G8 Summit in Saint Petersburg in 2006. These tactics included the detainment of former delegates long before their arrival in the city; coercion of print-shop owners to not print pamphlets, blackmailing and arrests. The video reviews the situation at the Russian Social Forum in the Kirov Stadium, the space that was offered by the authorities. A series of interviews with Russian political activists discuss this particular event, where it was impossible to demonstrate and where even participation in the forum became a perilous pursuit.

On September 12, 2008, between 2 and 4 pm a round-table discussion with participating artists will take place in the framework of the Taipei Biennial: With Zanny Begg, Noel Douglas, Petra Gerschner, Oliver Ressler, Dmitry Vilensky and Federico Zukerfeld & Loreto Garin Guzman from Etcétera.

The 6th Taipei Biennial is curated by Manray Hsu and Vasif Kortun.
Organizing institution is the Taipei Museum of Fine Arts.
Dates: 13 September 2008 - 4 January 2009
Press preview: 11/12 September 2008
http://www.taipeibiennial.org

Temporary Services & IC-98: It Is Always Like This
Sumu Residency Programme
Gallery Titanik, Itäinen Rantakatu 8, 20700 Turku, Finland
www.arte.fi
1.9.-31.10.2008

Everything in Turku, Finland, as in most cities, is in its predictable and expected place. Bikes lean against walls, signs hang on stores, advertisements are pasted on poles, and every fixture has an obvious function. The public art is predictable too. It's made from durable materials; it looks like it has been around forever and will stay around forever.

As a small but visible challenge to this tedious routine, the groups IC-98 (Turku) and Temporary Services (Chicago) have teamed up to build and circulate a series of 25 wooden sandwich board signs which carry phrases that advertise nothing and aren't always terribly positive. Many of the texts, written collaboratively by the two groups, point to our frustration with the monotony of city spaces and the high degree of political control that is exerted over them.

Not wanting to make something as fixed or permanent as the situations we are critical of, we have made the signs lightweight and given them handles. Passersby are free to move the signs as they wish. Our placements of them can be viewed as suggestions. We've created a situation that we can't control, just as we dont wish to be controlled by others.


About IC-98 and Temporary Services:
Both groups formed in 1998. IC-98 is Patrik Söderlund and Visa Suonpää. Temporary Services is Brett Bloom, Salem Collo-Julin and Marc Fischer. Members of the two groups first met in Puerto Rico in 2004. Among their common features is a shared concern with self-publishing and designing free publications. This is their first collaboration. A small booklet on this project will follow. Examples of Temporary Services' and IC-98's past booklets and books will remain on view at Titanik during their project.

Temporary Services: www.temporaryservices.org
IC-98: www.socialtoolbox.com

Image: preparing the sandwich boards before they go out in the public