pennies less. i am going to go home and cook. i will text message u.n. is done. >> excellent and really looking forward to it. >> today we're going to make the san francisco classic dish invented by italian and portuguese fishermen. it'll be like a nice spaghetti sauce. then we will put in the fish soup. the last thing is the dungeon as crab, let it all blend together. it will be delicious. when i could, i will try to make healthy meals with fresh ingredients, whatever is in season and local. those juicy, fresh tomatoes will take about an hour to cook down into a nice sauce. this is a good time to make our fish stock. we will take a step that seems like trash and boil it up in water and make a delicious and they speed up my parents were great clerics, and we had wonderful food. family dinners are very important. any chance you can sit down together and have a meal together, it is great communal

atmosphere. one of the things i like the most is the opportunity to be creative. hello. anybody with sets their mind to it can cut. always nice to start chopping some vegetables and x and the delicious. all this double in view is this broth with great flavor. but your heart into it. make something that you, family, and friends will really enjoy. >> i am here with a manager at the heart of the city farmer's market in san francisco. thank you for joining us. tell us a little bit about the organization. >> we're 30 years old now. we started with 14 farmers, and it has grown out to over 80. >> what is the mission of the organization? >> this area has no grocery store spiller it is all mom-and- pop stores. we have this because it is needed. we knew it was needed. and the plaza needed somebody.

it was empty. beautiful with city hall in the background. >> thank you for speaking with us. are you on the web? >> yes, hocfarmersmarket.org. >> check them out. thank you. >> welcome. the dish is ready. >> it looks and smells amazing. >> thank you. it was not easy to meet the $20 budget. i checked everybody out and found some great produce. really lovely seafood. i think that you are going to love it. >> do not be shy. cyou know this can run you $35 to $45 for a bowl, so it is great you did this for $20. >> this will feed four to six people. >> not if you invite me over for dinner. i am ready to dig in. >> i hope you'll love it.

>> mmm. >> what do you think? >> i think i am going to need more. perhaps you can have all you want. >> i am produce the that you have crushed this farmer's market challenge by a landslide. the first, we're going to have to tally of your shopping list and see what you actually spend that the farmer's market. >> and go for it. >> incredible. you have shown us how to make super healthy, refresh chapino from the farmers market on the budget, that for the whole family. that is outstanding. >> thank you peter i am glad that you like it. i think anybody can do it. >> if you like the recipe for this dish, you can e-mail us at sfgtv@sfgov.org or reach out to

sfgtv@sfgov.org or reach out to us on facebook or twitter and we

>> i get really concerned one ip -- hear people say the payroll tax is a job killer. maybe in some industries the payroll tax might be a disincentive on business going forward, but i would not be surprised if we came out of the whole discussion about remaking our tax for next year that it involves a combination of a payroll tax, commercial occupancy tax, and gross receipts tax. all of that could be in a remade form of our business tax structure. >> that is a good question to ask. i will ask this monday. >> i was born in of los angeles. i was in a mexican-american, a chicano town. my dad was a launch your worker. my mother was an office worker

at usc. my parents were divorced when i was 10 years old. i moved to the east coast and lived there for six years and then fled back to california after high school. i went to school at uc santa barbara. i have been in san francisco since 1989, have lived in the excelsior since 1999. the difficulty is, muni often sees it as an industrial area, not a neighborhood. we have to figure out how to make it work as a neighborhood and as a place that can service the light rail vehicles. i have had lots of different jobs. my main job has been doing social work for san francisco state university. i have been a community organizer, a social worker, but i have also been a legislative aide. i worked mostly for community- based organization supporting kids and families, working for labor. i got to see how city hall could

be an effective tool to create change. i looked at running in 2007, 2008, and somehow i made it. i have been in politics for so many ways, doing work around central america, supporting people in central america against u.s. imperialism, their right to live, self determination. i did a lot of work on that on campus when i was in college. a bit of work on apartheid when i was in college as well. >> i never got involved in supporting a candidate. i never thought a candidate was someone that i would support. then when tom ammiano ran against willie brown, i got inspired. i thought, someone with integrity and honesty, if they can run for mayor, maybe i can be somebody who represents what is true about our people.

that is what inspired me to run and be a candidate. one thing this year that i really tackling, and i expect to for a long time, looking at me and how it operates in my district. san francisco, we talk about it being a transit first city, but it does not mean a lot if transit is not very well thought out in places away from downtown. my district is where we need to create better options. all the way down to randall street, there is no accessible boarding areas for the church. there is a woman that lives in a wheelchair on santa rosa. she has to go across to glen park to get out transit. >> those new stations, those are the ones that we are going to have to depend on. >> along balboa park station, near geneva, i have been pushing

hard to get ramps for pedestrians. right now, it is dangerous to cross the street. i want to insure the department of parking and traffic is painting lines on alemany street. beyond that, we need to figure out how to calm the traffic. a lot of cars go speeding through. sidewalks are not convenient for people. >> i am the supervisor for district 11, the debt -- the best district in san francisco. this year, we get to show how great district 11 really is. >> we are in our fifth year of major budget deficits. it is inevitable that we will make painful cuts. so how do we do it in a way that will minimize the impact on every day san franciscans? >> i really appreciate what you're doing here. you are a really patient gentleman, and i appreciate that. >> our parks are often cut

first. how do we maintain our safety net, public health services, security services? all of these are critical decisions that have to be made. >> i have seen many people come forward today who i know whose lives have changed because of the services we are providing. that is something that we can be proud of and have a as a goal at the budget process to make sure that we can turn lives around and create a liveable communities. >> if we do not resolve the pension issue, we will have to cut. we will see fewer options for muni. we will see the parks deteriorate. i think the tide is rising. we have to figure out how to swim very quickly.

>> i tried to think about this room as the dream room, where we dream and bring some of those dreams to life. i feel very blessed that i have been able to spend the last 31 years of my life doing it my way, thinking about things better interesting to me, and then pursuing them. there are a lot of different artists that come here to work, mostly doing aerial work. kindred spirits, so to speak. there is a circus company that i have been fortunate enough to work with the last couple of years. i use elements of dance and choreography and combine that with theater techniques. a lot of the work is content- based, has a strong narrative.

the dancers have more of a theatrical feel. i think we are best known for our specific work. in the last 15 years, spending a lot of time focusing on issues that affect us and are related to the african-american experience, here in the united states. i had heard of marcus shelby and had been in join his work but never had the opportunity to meet him. we were brought together by the equal justice society specifically for this project. we were charged with beginning work. marquez and i spent a lot of time addressing our own position on the death penalty, our experiences with people who had been incarcerated, family

members, friends of friends. pulling our information. beyond that, we did our own research. to create a picture that resonated with humanity. it is the shape of a house. in this context, it is also small and acts like a cell. i thought that was an interesting play on how these people make these adjustments, half to create home. what is home for these people? the home is their cell. people talk a lot about noise -- very noisy in prisons. that is interesting to me. looking at the communication level, the rise of frustration

of being caged, wondering, where does redemption fit into the equation here? [singing] i think both of us really believe the death penalty is wrong, and is flawed for many reasons. the list is as long as my arm -- about several others. we feel this is important for both of us, personally, to participate in the debate of this issue in a way that we can

help people frame it for a conversation. >> a few years ago, i attended a public event at sfaliason, i don't know if you were there but it had a huge impact on me. i went to hear alaferalaison speak and instead a heard a neuro biologist and a snow flake scientist and tj clark who is an arc historian. it was amazing, it was the most amazing night. and we have actually modeled our public programs off of that event ever since.

we like at the arts commission to broad a broader dialogue around the works that we show. not just having the artists themselves present, but to present different ways of thinking about their work, different ways of thinking about contemporary art in general. and leaving you thinking, as you leave. so, tonight we have someone from young and we have a photographer who is not in the show, alongside of our current existing artists. if you like this program, you will like other things that we do in terms of our public programs. tonight, we will hear our featured artists and then from the invited guests who i will introduce. if there is time i will direct a couple of questions in their direction. there will be no q, and a, tonight this program was not designed as a dialogue and we hope that you will attend

before it closes. we are going to start with the artists. brenda, snosa who is in the blue shirt, he works in amsterdam and received his ba and his ma in 2005 from the frank mart institute in holland. he has exhibited in tipai, pa ris, and many others and now san francisco. last mobsinger he opened his first large scale solo expedition at land of tomorrow in kentucky, which i didn't know about. i encourage you to look up that institution. it is an incredible, incredible space. and program. his work resides in the sachi and smithsonian and others. he has written about in art publications his work was recognized by time magazine as

one of the top ten inventions of 2012. it is represented by lonkini gallery in london and now i would like to have him come up and speak. [ applause ] i'm benat and based in amsterdam and i want to show you some works. so, my work and installations, and sculpture and photos and site and working on the architecture or the history of the location. i am interested in a motion of friction between construction and de, construction and the physical state of a building

and a moment of revolution and perishableness and in these transitional situations you are not sure what you are looking at. nor this is as a clear function yet and therefore it is opened for interpretation and it is really interesting. and this work broad art, it is really the space that is important. because it is the location the museum that gets the contexts to just change the interpretation of this painting while it is resting against the wall for a brief moment. and i will... yeah. so often work with the situation to do with duality and the question inside and outside and size. the function of materials and architectural elements. yeah, i find it interesting when a work comes in between reality and representation and it will in the end not really

function and that is also a good example is also the work in the show at the gallery, at the moment. and so, this work is in the street view and then in 2009 i participated in a residency in ireland. and when i looked for information, i was directed to wisconsin. and so it is one of the oldist towns in ireland and around the 1940s a lot of irish people immigrated to the utah and a few set up in newtown, in wisconsin. and in the google maps you will find the street view and the first building that you see is a barn, a typical barn. and i find it interesting that out of everything in town that has not been photographed by google yet and also this idea

of when you are looking something original, you find a certificate. and so, i copied this barn and placed this facade or prop in the most resymboling location in the original town of ireland. and the idea was we thought that the google car would come by, that this image would be picked up and the barn would exist in both. it was up for two weeks but i knew that the car was in the neighborhood. but recently i found out that after two years, it did. so now there is a google street with the same house. and i really like that idea of transition, where you then take an image from the internet and put it in the real world to be captured and placed back on-line so that really

questions reality. so that is also i am interested in. so we go to the nibus works. and the nibus works, well on this distinct moment on a location and you could look at them as a only situation maybe? or just an element from a classical painting. but what i am really interested in, and the temporary aspect of the work so it is just there for a few seconds and then it falls apart and so the work exists, the physical aspect is important but the work exists as a photograph. and this photograph, for instance, as a document of something that happened in a specific location. and also the space. well, for instance, basically as a photo work and with every space i try to keep a connection to an exhibition

space and also to the relation of the artwork. and also because, yeah, you could ask yourself that you could taste of the well exposed air basically. and so much interested in the whole process of making the clouds. but rather in the idea of the emergency of a cloud inside of a space. and, first cloudy made in the small skills space put over, which is an exhibition space. yeah, it is a small, mobile space, the walls are not higher than, think about was it three feet. to control the space i thought that it would be kind of the idea to exhibit the rain cloud. and also yes, you start making,

and you start making the ideal situation actually. and therefore, i think that a model can only not stand for an idea. so the exhibition space into my ideal perception of a museum space which was the natural gallery in dublin. and i presented that to exhibit the rain cloud. and i really liked that, well the fleeting ideas of the work that it builds up and falls apart at the same time. so after that, i started working in the professional sized spaces. and so, yeah, your locations are important for the work and also well making the work in a exhibition space is also putting it in legalsing to art and history of that spacing and also, like the one before in the museum space you could say that it is related to painting in that way. you could think of it maybe as

an escape element from a landscape banding in the physical form. and in this case, this also, emphasizes more of the defined and fleeting context at work. so, well, yeah, but what do you see as a tleltening and a defined situation just by taking the cloud out of the context and presenting it in the space itself. besides the opportunity to take a lot of ideas on it. and all of the space i used is quite important and kind of most of the time we are presented this ideal space. and this was something totally different and this exhibition, i showed the work together with other works which were quite solid. and this exhibition, only the cloud exists in the form of the catalog. and in the exhibition it is

gone. but, i make the clouds with the combination of smoke and (inaudible) and as we space it works different. it is more industrial space. and also, here it is like a better situation than like an art typical cloud, almost. but, boy, to do and on my research on how to make that, i run into this material called aro gel. and it is calls frozen smoke and it consists of 99.8 percent of air and the lightest solid material on earth and i used it for collect interstellar dust and it has a beautiful shine and you could look right through it. and so what i did is i put it

on small models of exhibition sprays and it shows the same idea and you don't basically err on an empty space. and thes artificial material and it is just a little bit more dense than air and so, that space and therefore it redecember pells also and presents also the idea that our human urge to compete with nature and yeah, that is what i think is interesting about it. so, other than that, i work and i like the materials and i work with construction materials and artificial elements. and this work, the continual work p they exist of the galleries and the relationship. and even through the gallery and what it does is confer to

be a gallery referred to the enterceptic air, with the hospitals and sickness and deaths maybe. and then you will notice this air is clean and safe in any materials and therefore you start to question the space as well. is it safe here? are you truly safe? what is this place trying to protect me from? and so this work is really valid. and so this piece is called unflepin and i projected a spectrum on to a landscape and make it even more desirable and so the suggestion is that it can be seen as a promise or perfection, but by turning it upside down you start to question the values again and so, again that is changing and so the ideal landscape can also be interpreted as a optical

image maybe, and then this past image really shows the detail of almost of it off the anchor. and it is not that i am really interested in the nature, it is more like the ungraspable aspect of nature that i find interesting and all of the meanings and the myths that people have created for them through time. and i work with that. that is it. >> hi, so next up, i am going to introduce, doug record who was born in san jose and study history and sociology at ucsan diego in 1994. he is the founder of two web sites, american suburb x,

founded in 2008 is an ever growing ar khief and fiercely edited work at photography's past rapidly shifting present and dramatically unfolding the future and these americans, which is an american historical and cultural archive organized by theme. the recent one is pictures by google's street view. the images capture sites of america where rates of poverty and unemployment are high and educational opportunities are slim. photographs from a new american picture were included in the new photography 2011 exhibition at mona in new york. and also has been seen at exhibitions at la ball in paris and pier 21 here in