
The Center for Land Use Interpretation (CLUI) opened the six-month environmental art project LAND/ART on Saturday with a guided bus tour through New Mexico’s built landscapes. Appropriately set in the American Southwest, where pioneering land-based artists created the first generation of works, LAND/ART brings together arts organizations from across the state, and
explores relationships of land, art and community through dozens of new exhibitions, community-based projects, site-specific art works, speakers series, performances, tours, excursions and a culminating book.

CLUI Visits Desert Christ Park, 2007. Photo courtesy of CLUI.
The first exhibition, Experimental Geography, opened Sunday with a symposium and reception at the Albuquerque Museum. The group showing is a survey of this burgeoning field, curated by Nato Thompson and organized and circulated by Independent Curators International. Experimental Geography is on through September 20, 2009, and includes work by the following artists:
Francis Alÿs
AREA Chicago
The Center for Land Use Interpretation (CLUI)
The Center for Urban Pedagogy (CUP)
kanarinka (Catherine D’Ignazio)
e-Xplo
Ilana Halperin
Julia Meltzer and David Thorne
Lize Mogel
Multiplicity
Trevor Paglen
Raqs Media Collective
Ellen Rothenberg
Spurse
Deborah Stratman
Daniel Tucker, The We Are Here Map Archive
Alex Villar
Yin Ziuzhen
LAND/ART continues through November 2009, with a calendar full of events.
(Milwaukee-based street artist and object maker Jesse Graves is a guest blogger for Groundswell.)

Rebecca Lerner, a reporter and urban forager living in Portland Oregon, recently attempted to survive only on wild edibles she gathered in her city. Lerner wrote about her experiences each day and included descriptions on what she ate and how to eat it. Below Lerner responds to questions about wild foods place in contemporary United States.
Jesse Graves: Is foraging for you a subversive act undermining the way we have been trained to eat?
Rebecca Lerner: Foraging for wild food is a positive direct action, an affirmation that we are still wild animals fed by the Earth, that we are still in touch with our ancient roots despite the constructs of modern civilization, and that the wilderness has practical value for us. We don’t need to tame it or control it in order to flourish. When the human population is in balance with the Earth, it is possible to live without farming or gardening. Foraging is a radical act because it shows that we can eat for free and survive without supermarkets or biotechnology or money. And it is way of eating local, an alternative to the excess of agri-business. But it is irrational to seek to undermine agriculture in all its incarnations. Small-scale organic farming, for instance, can be a wonderful thing. We are far too overpopulated right now to be able to exist on foraging alone so I do not see value in seeking to destroy that which sustains us.
JG: A common concern of those unfamiliar with foraging is the perceived danger eating some poisonous plant. Where does this concern come from, and how do the dangers of foraging compare to the dangers of the typical American diet?
RL: It can be tempting to romanticize nature and believe that all apprehension about foraging stems from the flawed teachings of civilization, but the truth is that there really are poisonous plants that can kill you or severely incapacitate you, so it is valid and legitimate to feel some fear about eating plants that you are totally unfamiliar with. It is important to know what you are eating when you go out foraging in the wild. If you mistake poison hemlock for wild carrot, you will die a violent and painful death. On the other hand, wiIld plants tend to offer more rewards than farmed foods. They have more vitamins and minerals because they have to struggle to survive and draw in more nutrients in order to do so. They also have medicinal properties absent in most farmed foods.
JG: Why do you think the knowledge of how to hunt and gather wild food is absent from our society?
RL: Hunting and gathering has become irrelevant in modern society because all of our food comes from agribusiness and supermarkets. It just magically appears on demand, so our knowledge of hunting and gathering has ceased to seem useful and has thus faded. Our instincts are still there. Shopping is a lot like foraging, and that may be why people seem so hooked on it.
JG: After experiencing how difficult it is to survive only on gathered food do you have a newfound appreciation for what you eat?
RL: I am grateful for the incredible abundance we have due to farming. I also realize that I can eat a lot less than I usually do and survive just fine.
JG: How do we teach children to appreciate their food and understand where it comes from in a country of abundant and convenient food?
RL: By learning about local wild plants via plant walks and books, people can recognize our ancient plant friends and realize that food grows all around us, that it exists free of charge everywhere.
Lerner’s week of wild food was about learning how to forage, connect with the natural world, and understand what types of food need to be eaten to sustain oneself. Read about the whole experience at news/essays on Culture Change. Learn more about foraging from Learner and First Ways, and view her portfolio at Rebecca Lerner.

No Soul for Sale: A Festival of Independents began June 24 in NYC. Billed as “a celebration of the independent forces that animate contemporary art,” more than 30 art spaces from around the world will be represented. Everyone’s talking about it, and there’s no charge at the door.
Katie Holten’s Tree Museum opened along The Bronx’s Grand Concourse. Her piece celebrates the 100-year anniversary of the Concourse through local stories and details about the intimate lives of trees.
Commemorations of the 40th anniversary of the Stonewall Riots take place this weekend, and our friends in the Tranny Roadshow have a call out for booking their fall 2009 tour.
Jason Laning (ex-friendly/agitate) launched a new webcomic called “For Fuck’s Sake“. My personal favorite: The Great Debate.
Radical illustrator Rockwell Kent turned 127 on June 21st. Meanwhile, contemporary illustrators voiced their dissatisfaction with Google, who asked them to design skins for their browser without pay.
Détournement goes to the zoo: the Steinbrener/Dempf project “Trouble in Paradise” visualizes the worst of human impact on nature for visitors to Vienna’s Schönbrunn Zoo.
New York City’s umbrella arts and activism outfit Where We Are Now launches their online journal today, adding to their already impressive efforts a public, participatory forum for analysis. The inaugural issue focuses on the aesthetics and politics of intimacy through essays, projects, legal cases, and interdisciplinary research by a select group of artists and cultural practitioners.

Andrea Geyer, from a series entitled “Out of Sorts” (2008), 9 banners for public display
The central question posed by this edition is about the relationship between intimacy and our understandings of the body and social relations, particularly when intimacy is understood geo- and micro-politically. In their working definition, intimacy is frequently considered as
a feeling of rawness, confluence, and proximity. The space of intimacy often feels atemporal, privileging the safety of disclosure and heightened physiological, sexual, or affective response.
Editors Marisa Jahn and Sofía Hernández Chong Cuy have compiled submissions on the subject from Claire Barliant, Svetlana Boym, Rene Gabri, Andrea Geyer, Joseph Grima, Ed Halter, Jill Magid, Dave Rankin & Marisa Jahn, and Mary Anne Staniszewski.
The journal’s website is scheduled to go live this evening, at 6:00PM, and submissions are being accepted for their next issue, Speculating on Change, due out in fall, 2009.
Belgium, London, and Barcelona host offices of the nonprofit City Mine(d), an organization that creates interventions in public spaces and supports similarly-minded people and initiatives. With more than 70 interventions to their name, City Mine(d) is accredited, living up to their self-description as a “production house.”
Several influential initiatives have come out of City Mine(d), whose action-research arm, Generalized Empowerment, revisits and scrutinizes each action, feeding back a constant commentary on the influence of their interventions on urban development.

Precare, for example, is responsible for 14 building reappropriations, serving since 1999 as an intermediary between property-owners of temporary vacant premises and artistic or social initiatives in need of workspace.
After a first phase of informal support, (1999 – 2003 ), and a second more systematic laboratory phase in which instruments were designed, tested and disseminated ( 2003 – 2005 ), PRECARE has been working in a structural way on the actual use of a series of creative workspaces in empty buildings for almost two years.
City Mine(d) is currently in the stages of pre-planning Precare‘s extension into London and Barcelona.

Another, Towards A Subjective Collective Cartography, is an attempt to represent the territory of Brussels in a subjective way, done in collaboration with Recyclart, Constant, and the graphic designers from Speculoos.

Towards has divided into two parts, one resulting in the creation of a subjective atlas of Brussels, the other (Trésor) a concatenation of existing cartographic softwares, aimed at extending their functionality.
An ongoing list of City Mine(d) projects, including those in which the organization played a support role, is available on their website.