12PM Sea to Sutro begins inside YBCA’s galleries
**Please note that this program is an experience, and the Futurefarmers request your full attendance. Once the Fog Bodies depart YBCA at 12pm they will be elusive to track while en route to their final destination. Please arrive by 11:45am at the latest for guaranteed participation in this program*
AT HIGH NOON
A Compass, A Hot plate, A Cigarette
A Crystal Radio, Fog horns, A
Whistle, A Library of Tennis filters, Sail Cloth, An
Extension chord, A Tea Kettle, Sea Water, Fog Water and A rock
prepare to move from
FROM SEA TO SUTRO
Given a set of Directions
A fog of bodies enact these objects, in a wild
scattering of actions.
Most of us see fog as a threat to action, blinding us from danger, or objects of our interests. I have stood many a watch, shrouded in fog. In my experience it quiets the visual cortex, making us more aware of non-visual cues: the heaving of the vessel, the direction of the swell, the sounds of the sea and wind. It can exert a calming and meditative force upon us if one were to listen.
…if only there were as many names for fog as there are words to express snow in Eskimo culture. Fog comes in as many forms, from the dynamic dry wind-borne plumes that whisp and dissipate over the coastal range, the valley fog responsible for massive crashes along our highways, to the loving blanket that strokes our shores. We have chased fog on our research vessels. We have downloaded satellite images of fog in our study area, but when we get to station where observed from space, the fog is mocking us from 200 feet above our mast….we can see all the way to San Francisco, but the fog is out of our reach. I live in the redwoods and I know fog from the way it sounds. before getting out of bed I can tell that the town noises are dampened, there is dripping from the trees, the birds wake up later in the day, and there are wet drip rings around the redwoods. I gave a talk to a gathering of the American Geophysical Union about mercury in fog and a scientist in attendance kept asking me what I was talking about.. Fog, I said, She said she didn’t understand that word in the context of mercury transport. I said “Fog”, she still didn’t get it and asked specifically what I was referring to, as if I was speaking a foreign language. I said “Fog, it is a cloud on the ground”. And she said “oh, fog!”. Yet fog is so much more…think of all the kinds of clouds. With differences in dew point and wind speed, humidity temperature and temperature gradients, fog exists as many different characters. In the thick and luscious fog, one can, with illumination, see every droplet by eye as we have observed on the bow of a ship under illumination by search light. In the thickest of this the droplets become large and fall gently from the sky. My kind of fog, marine advective fog, is formed over the ocean and carries with it the signature of it’s making: fingerprints from the sea, particles and gasses from the atmosphere, salts and sea spray that carry a story of it’s travels and all that it has encountered. In spite of the richness of it’s story, it is created and it disappears every day. The lives of its chemicals and its signature are ephemeral, the the impact of its burden are felt for centuries on our coasts and those that live here.
– Courtesy of Kenneth Coale, Professor, Marine Biogeochemistry, Moss Landing Marine Laboratories
Conceived as the last part of the creation of the Speculative Machine (2018), this performance is completed by participants who carry props made during the sixteen-week exhibition, including fog-harvesting implements. Small groups will take different routes from the waterfront to Mount Sutro, passing locations of various YBCA projects and partnerships, as well as sites that embody the rich cultural memory of San Francisco. The procession is a way of mapping movement through the city; groups can walk or take various forms of transit (MUNI, cabs, Lyft, hitchhike). The march will end in a celebration atop Mount Sutro, where participants present their props ritualistically to the fog. Open to all.
Futurefarmers will work with Elaine Buckholtz, artist and associate professor at Massachusetts College of Art and Design, to choreograph the procession, and filmmaker Jeff Warrin and artist Jin Zhu will film it. This program is created in collaboration with Blair Randall, Arts and Education Manager at the San Francisco Public Utilities Commission, which supports the program.
Interested in joining? RSVP on Facebook to save the date.
Elaine Bucholtz is an artist and associate professor at Massachusetts College of Art and Design. Her most recent work utilizes video and light in relation to sculptural forms, digital prints, and pre-existing sites in architecture and nature under the cover of darkness. Her work has been exhibited internationally, and she has been the recipient of numerous grants, fellowships, and artist residencies. She holds a BFA from Ohio State University, an MFA in media arts from the California College of the Arts, and an MFA in new genres from Stanford University.
Jeff Warrin is a Bolinas, California–based filmmaker, photographer, and installation artist. He has presented work at the Whitney Biennial, the New York Museum of Modern Art, the San Francisco Museum of Modern Art, the Los Angeles Museum of Contemporary Art, and the Sundance Film Festival. As a member of the collaborative art trio Silt (1990–2005), he co-created a body of work that explored the intimate and expansive potentialities of the projected image. Silt’s early Super 8 films Kuch Nai (1992) and Shadows of the Son (1996) were award winners at the San Francisco International Film Festival. Warrin has had artist residencies at the Exploratorium, Headlands Center for the Arts, and the University of Michigan. In 2015 he founded the production company Metabolic Films, and began producing and directing narrative films that explore the reciprocity between human perception and the landscapes we inhabit. Their short film The Far, Near Shore is in post-production.
Jin Zhu is a Bay Area artist who works primarily with video and photography to engage the dynamics of settlement and dispossession in the history of the Americas. In her work, home is a site of rootedness as well as the epicenter of potential displacement. In 2016, she received her MFA from the University of California, Berkeley. Jin has presented work at the Contemporary Jewish Museum, Southern Exposure, the Berkeley Art Museum and Pacific Film Archive, the San Francisco Arts Commission Galleries, Artist Television Access and the Cantor Center for the Arts. She currently works with the Anti-Eviction Mapping Project on multimedia projects focusing on environmental justice in vulnerable communities in San Francisco.
Futurefarmers: Out of Place, in Place is organized by Yerba Buena Center for the Arts and curated by Lucía Sanromán, director of visual arts.
Futurefarmers: Out of Place, in Place is made possible, in part, by the National Endowment for the Arts.
Support is provided by the Changing the Ratio Circle of Advisors: Abundance Foundation, Berit Ashla, Diana Cohn, EMIKA Fund, Jennifer C. Haas Fund, Rekha Patel, Catalina Ruiz-Healy and Jonathan Kevles, Vicki Shipkowitz, and Meg Spriggs. Additional thanks to the Selvage Fund of the East Bay Community Foundation and the Facebook Artist in Residence Program.
Yerba Buena Center for the Arts is grateful to the City of San Francisco for its ongoing support.
YBCA Programs are made possible in part by: The James Irvine Foundation, with additional funding by National Endowment for the Arts, Grosvenor, and Members of Yerba Buena Center for the Arts.
YBCA Exhibitions are made possible in part by: The Andy Warhol Foundation for the Visual Arts, Panta Rhea Foundation, American Council of Learned Societies Public Fellows Program, and Meridee Moore and Kevin King.
Lead Image: North Sea Fog, Seed Journey, 2016 Photo: Futurefarmers