♪ >> welcome to hamilton recreation and aquatics center. it is the only facility that has an integrated swimming pool and recreation center combined. we have to pools, the city's water slide, for little kids and those of you that are more daring and want to try the rockslide, we have a drop slide. >> exercises for everybody. hi have a great time. the ladies and guys that come, it is for the community and we really make it fun. people think it is only for those that play basketball or swim. >> i have been coming to the

pool for a long time now. it is nice, they are sweet. >> in the aquatics center, they are very committed to combining for people in san francisco. and also ensuring that they have public safety. >> there are a lot of different personalities that come through here and it makes it very exciting all the time. they, their family or teach their kids have a swim. >> of the gem is fantastic, there is an incredible program going on there, both of my girls have learned to swim there. it is a fantastic place, check it out. it is an incredible indication

of what bonn dollars can do with our hearts and facilities. it is as good as anything you will find out why mca. parents come from all over. >> there are not too many pools that are still around, and this is one-stop shopping for kids. you can bring your kid here and have a cool summer. >> if you want to see some of the youth and young men throughout san francisco play some great pickup games, come wednesday night for midnight basketball. on saturdays, we have a senior lyons dance that has a great time getting exercise and a movement. we have all the music going, the generally have a good time.

whether it is awkward camp or junior guard. >> from more information, visit ♪ >> i am so looking forward to the street fair tomorrow. >> it is in the mission, how are we going to get there? we are not driving. >> well what do you suggest? >> there are a lot of great transportation choices in the city and there is one place to find them all, sfnta.com. >> sfmta.com. >> it is the walking parking, and riding muni and it is all here in one place.

>> sitting in front of my computer waiting transportation options that is not exactly how i want to spend my saturday night. >> the new sfmta.com is mobile friendly, it works great on a tablet, smart phone or a lap top, it is built to go wherever we go. >> cool. >> but, let's just take the same route tomorrow that we always take, okay? >> it might be much more fun to ride our bikes. >> i am going to be way too tired to ride all the way home. >> okay, how about this, we can ride our bikes there and then we can take muni home and it even shows us how to take the bikes on the bus, so simple right here on my phone. >> neat. we can finish making travel plans over dinner, now let's go eat. >> how about about that organic vegan gluten free rest rft. >> can't we go to the food truck. >> do you want to walk or take

a taxi. >> there is an alert right here telling us there is heavy traffic in soma. >> let's walk there and then take a taxi or muni back. >> that new website gives us a lot of options. >> it sure does and we can use it again next weekend when we go to see the giants. there is a new destination section on the website that shows us how to get to at&t park. >> there is a section, and account alerts and information on parking and all kinds of stuff, it is so easy to use that even you can use it. >> that is smart. >> are you giving me a compliment. >> i think that i am. >> wow, thanks. >> now you can buy dinner. sfmta.com. access useful information, any >> 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 d 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 san francisco. a monograph was published in 2011. and it is represented by local galleries and sf galleries would like to thank steven orts and the staff for the support of this event. we asked doug to speak today in order to draw threads from his work until asketon has street view which is currently on view in the gallery. doug i will turn it over to you.

>> thanks for coming. i appreciate it. i am looking forward to giving you some details on this. i have 15 minutes, so i am not going to talk about all of them. there are so many layers of consideration to this and each of these areas could sort of veer off into its own talk and so i am going to talk to some of the things that may overlap with aaron's work. and i want to go through the pictures and let you look at the pictures and absorb sort of what they mean and how they impact you. the pictures speak volumes and i think that you will get a lot just by absorbing that and so wait that these were made, they were made through street view. i took a three-year period, started in 09, and basically explored our american cities in depth. and granular fashion,

neighborhood by neighborhood, not every city, but places that i was interested in looking at. and i started making pictures and amasked the large archive, probably 10,000 images that i made throughout this period and i widled it down to around 80 to make this work. i will describe some of the dynamics of street view and sort of the implications. so we sort of now at this point firmly that photography only is partial truth. it really is affected by so many variables that you get half truths and half varying context that some of which you bring in yourself. but what happens is the photographer takes a moment of time, in this case one second in a place and we are left to look at it and make assessments and judgment and make, you

know, our own back story to the images and so there is an element of this that we don't really know the struting. we sort of see what we, what is in front of us. and we start to take that in and decide, you know, what we think that truth is. google has taken these pictures of every cinch of our country for the most part and doing it in other countries as well. some of the other countries are resisting, germany, places where there is a history of big brotheresque type of regime. but for most of america we have welcomed it for the most part with open arms. we don't see the out pouring and out cry that we see in other countries. but the cars are going around and covering a 360 degree view, every 30 feet or so. and it is really a machine making the images, i have sort of come in and hijack that machine afterwards and pieced together a narrative from

within this ocean of imagery. but they are going along and taking the pictures, and building up really a virtual space from within, which i traversed. and it was wild. it is sort of like a frozen world, really and there is movement of the camera, 360 degrees. but it is frozen. there are moments in time and in 2007. when this car goes by just like that and was gone, most of the time people don't know that there are pictures being taken and it really bakes into this work something different than the work that would be taken on the street. there is sort of visual connections to street photography and there is philosophical connections. you know there is some movement by me, that yet, the camera was a machine and it was taken from a height of about 7 feet of a fixed position. no