Mutaurwa Mapondera, Digital scans of selected original rent strike posters. 
8.5 x 11 paper and ink. 

Posters were placed on 66 doors in building using non destructive round magnets. Hoodie used to evade detection from extensive tenant surveillance system in building.

March, 2020

27 Arion Place, Brooklyn, NY

https://share.google/aimode/IaNBW11lvu4Bqkfdt


big proppa 

all together now

tenant researcher resources archive 

signature book

• OPERA • HOUSE • TENANTS • UNION


QUESTION OUR NORMALIZED, ACCEPTED & MAINTAINED UNEQUAL BALANCE OF POWER BETWEEN LANDLORD AND TENANT IN NORTH BROOKLYN AND ALL BEYOND. 

[^1]: Boris Groys, "Curating in the Post-Internet Age," e-flux journal no. 94 (October 2018). The short quoted phrase is Groys's; the surrounding characterization paraphrases his argument regarding the exhibition as montage.
[^2]: Hans Haacke, Shapolsky et al. Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971 (1971). Whitney Museum of American Art, New York, acquired jointly with the Fundació Museu d'Art Contemporani de Barcelona (accession no. 2007.148a-gg).
[^3]: Whitney Museum of American Art and MACBA collection entries for Shapolsky et al. The figure of roughly seventy corporations is MACBA's; counts of the photographic component vary between 142 and 146 across institutional records.
[^4]: On the cancellation, the firing of curator Edward F. Fry, and the artists' boycott pledge, see MACBA's collection entry and the National Coalition Against Censorship's Censorpedia entry, "Hans Haacke at the Guggenheim Museum." Messer's characterization of the works is paraphrased here, not quoted.
[^5]: Lev Manovich, "Database as a Symbolic Form," Convergence 5, no. 2 (1999); expanded in The Language of New Media (MIT Press, 2001).
[^6]: Harun Farocki, Eye/Machine I–III (2001–03); "Phantom Images," Public 29 (2004). See also Volker Pantenburg, "Working Images: Harun Farocki and the Operational Image," in Image Operations, ed. Jens Eder and Charlotte Klonk (Manchester University Press, 2016).
[^7]: Trevor Paglen, "Invisible Images (Your Pictures Are Looking at You)," The New Inquiry (December 2016).
[^8]: 2005 Final Survey, Big Apple Land Surveyors, P.C., April 4, 2005, NYSCEF Doc. No. 125, Index No. 507079/2020; Certificate of Occupancy No. 301247327F (Feb. 22, 2005); Fray Affidavit, NYSCEF Doc. No. 121, ¶¶ 8–9.
[^9]: Transcript of Proceedings, July 29, 2021, NYSCEF Doc. No. 69, at 16:4–11, Index No. 507079/2020. At 17:22–23 of the same transcript, Justice Silber remarked from the bench: "I can't wait to see them explain how they screwed this up."
[^10]: Hito Steyerl, "In Defense of the Poor Image," e-flux journal no. 10 (November 2009); "Documentary Uncertainty," A Prior 15 (2007); "Documentarism as Politics of Truth," transversal (May 2003).
[^11]: Natalie Bookchin, Mass Ornament (2009), single-channel HD video installation. See Carolyn Kane, "Dancing Machines: An Interview with Natalie Bookchin," Rhizome (May 27, 2009); Siegfried Kracauer, "The Mass Ornament" (1927), in The Mass Ornament: Weimar Essays, trans. Thomas Y. Levin (Harvard University Press, 1995).
[^12]: Wendy Hui Kyong Chun, Updating to Remain the Same: Habitual New Media (MIT Press, 2016), discussing Mass Ornament and drawing on Jaimie Baron's concept of found collectivity; see Baron, The Archive Effect (Routledge, 2014).
[^13]: Sharon Daniel, Public Secrets (2007), design and programming by Erik Loyer, published in Vectors: Journal of Culture and Technology in a Dynamic Vernacular; Blood Sugar (2010). On the role of the "context provider," see Daniel's author's statement circulated on the -empyre- list (January 2007) and "The Database: An Aesthetics of Dignity," in Database Aesthetics, ed. Victoria Vesna (University of Minnesota Press, 2007).
[^14]: Public Secrets was built in Flash, which Adobe discontinued; the project is now presented principally through video documentation. See Erik Loyer's project page for Public Secrets.
[^15]: Rhizome, "Introducing Conifer" (June 11, 2020) and "ArtBase in 2020" (June 24, 2020); "Announcing Rhizome's Net Art Anthology" (October 12, 2016); "Rhizome Awarded $600,000 by The Andrew W. Mellon Foundation to build Webrecorder" (January 4, 2016). The description of Conifer as a means to create archival copies of and re-perform complex websites is Rhizome's own.
[^16]: Wendy Hui Kyong Chun, Programmed Visions: Software and Memory (MIT Press, 2011); "The Enduring Ephemeral, or the Future Is a Memory," Critical Inquiry 35, no. 1 (2008).
[^17]: Fray Affidavit, NYSCEF Doc. No. 121, ¶ 7; Certificate of Occupancy No. 322033624F (eff. Sept. 21, 2020).
[^18]: DeLaney Dissent, NYSCEF Doc. No. 19, Index No. 150902/2024 (paraphrased).
[^19]: Eyal Weizman, "Open Verification," e-flux Architecture, "Becoming Digital" (June 2019); Forensic Architecture: Violence at the Threshold of Detectability (Zone Books, 2017).
[^20]: Thomas Keenan, "Counter-forensics and Photography," Grey Room 55 (Spring 2014): 58–77, noting that the term first appeared in Allan Sekula, "Photography and the Limits of National Identity," Culturefront 2, no. 3 (Fall 1993): 54–55. See also Susan Schuppli, Material Witness: Media, Forensics, Evidence (MIT Press, 2020).
[^21]: On the Chinatown Art Brigade's founding in December 2015 by Tomie Arai, ManSee Kong and Betty Yu, and on Here to Stay and #ChinatownNot4Sale with CAAAV's Chinatown Tenants Union, see A Blade of Grass, "Fieldworks: Chinatown Art Brigade, Here to Stay," and the collective's project documentation.
Further reading
Martha Rosler, "In, Around, and Afterthoughts (On Documentary Photography)" (1981), in Decoys and Disruptions (MIT Press, 2004) · Trinh T. Minh-ha, "Documentary Is/Not a Name," October 52 (Spring 1990) · Ariella Azoulay, The Civil Contract of Photography (Zone Books, 2008) · Sandra Gaudenzi, The Living Documentary (PhD diss., Goldsmiths, 2013) and the i-Docs project, Bristol · Alisa Lebow, Filming Revolution (Stanford University Press, 2018) · Alexandra Juhasz and Alisa Lebow, eds., A Companion to Contemporary Documentary Film (Wiley-Blackwell, 2015) · Jacques Rancière, The Emancipated Spectator, trans. Gregory Elliott (Verso, 2009) · Hal Foster, "An Archival Impulse," October 110 (Fall 2004) · Okwui Enwezor, Archive Fever: Uses of the Document in Contemporary Art (ICP/Steidl, 2008) · Steve Dixon, Digital Performance (MIT Press, 2007) · Adrian Heathfield and Tehching Hsieh, Out of Now: The Lifeworks of Tehching Hsieh (MIT Press, 2009) · Geert Lovink and David Garcia, "The ABC of Tactical Media" (1997) · Pamela M. Lee, Object to Be Destroyed: The Work of Gordon Matta-Clark (MIT Press, 2000).
Legal authorities cited
N.Y. Exec. Law § 63(12) · N.Y. Mult. Dwell. Law § 302(1)(b) · Chazon, LLC v. Maugenest, 19 N.Y.3d 410 (2012) · NYC Admin. Code §§ 28-118.3.2, 28-118.14, 28-211.1 · 28 C.F.R. pt. 36, app. A §§ 302.1, 405 · 42 U.S.C. § 3604(f) · Opera House Lofts LLC v. Carnahan, Index No. 507079/2020 (Sup. Ct. Kings Cnty.) · Opera House Lofts LLC v. N.Y.C. Loft Board, Index No. 150902/2024 (Sup. Ct. N.Y. Cnty.)

future-core-tape-edit, signs.wav, anonymous, post-wave, Future Bass, future, Post-Future, vaporwave, ambient electronic, nature-rave, drone, synthesizer, analog synthesizer, dada, techno, post-core, beat tape, no future, chillbient, field recording, breaks, experiemental, longform, electrance, looptape, synthadelic, synthemental, queercore, databending, post-core, minimal, nez, post-art, existential synthesizer, norm-core, New York House, art for art, john cage, fluxus, post-all, class -(warfare) +(carfare), mathematic, opera house, gender samples, generative, ytp, computergaze, pauline oliveros, poli-fi, bushwick, Brooklyn NY, say she she, grungewave, brazil, reverb, haze, found, no museums, theatre, platinumb, antithesis, new mexico, culture clash, latinx, lowercase, slow, low rider, corrupt data, robotica, soft error, tonal, lossy, de-escalate rave haze, coretrast, suzanne snider is all the good kind of way & maybe wants to experience-watching wav

In Honor Of The www.OceanHillBrownsvilleAlliance.com

















