https://danielpeltz.cargo.site Daniel Peltz Portfolio Sun, 10 Apr 2022 12:33:05 +0000 https://danielpeltz.cargo.site en https://danielpeltz.cargo.site/refuging Mon, 06 Dec 2021 10:51:07 +0000 Daniel Peltz Portfolio https://danielpeltz.cargo.site/refuging <img width="3568" height="1998" width_o="3568" height_o="1998" data-src="https://freight.cargo.site/t/original/i/93d8da8342f023f94aab093eb2885f18a7dd82a9d9ea8b64227bfd415e7057d1/Screen-Shot-2022-04-10-at-2.38.46-PM.png" data-mid="139228864" border="0" src="https://freight.cargo.site/w/1000/i/93d8da8342f023f94aab093eb2885f18a7dd82a9d9ea8b64227bfd415e7057d1/Screen-Shot-2022-04-10-at-2.38.46-PM.png" /> refuging in Rejmyre2017 - presentrefuging in Rejmyre is part of a long-term, artistic investigation of the glass factory town of Rejmyre, Sweden that Peltz began in 2007. Refuging in Rejmyre attempts to reconsider the value of the town of Rejmyre and those who inhabit it, according to logics other than the extractive economic ones that dominate factory towns. Rejmyre can be seen as a ruin, made by capitalism’s exploitation and abandonment of asset fields. The assets to be extracted have changed over the years (trees, quartz, glass, the idea of craft as a tourist spectacle) but the cycle of extraction, depletion and abandonment have not. And it is this cycle that connects Rejmyre to many other places and people. What to do when a place has been abandoned by the logics of extraction? How to be in a place that has been abandoned by these logics? How to be a place that has been abandoned by these logics? Peltz’ work engages these questions of valuation and revaluation through a proposal to construct a refuge in Rejmyre for a small group of unemployed elephants previously employed in the teak harvesting. industry in Myanmar. The architectural proposal for this refuge was developed with the Danish architect Kristoffer Tejlgaard. Peltz first encountered Kristoffer’s architecture while working as a visiting professor at Stockholm University of the Arts. He was invited to make an event inside of a pavilion he had built there, outside the KTH campus, called the Dome of Visions. The dome project connected two urban centers of global capital, Stockholm and Copenhagen, in an effort to create a platform for envisioning sustainable futures. As he approached the spectacular geodesic building, he was drawn to the logics that made this elaborate structure, built to stand on the site for just two years, thoroughly acceptable, reasonable even, in this thriving urban/academic context. He wondered how the meaning of this structure would change if we were to move it to Rejmyre, to transpose these futurist logics onto our site, with its much more questionable relationship to the future. Peltz began a long dialog with Tejlgaard, that took place over the course of several visits to Rejmyre, and resulted in a proposal for a 5000-square-meter tensile structure, to be built by the community in Rejmyre. The structure was designed in consultation with an expert on elephant habitats to meet some of the needs of this small group of unemployed logging elephants from Myanmar. It is built on top of the factory’s historic waste site and positions itself as a complete solution to the problem of the waste, incorporating a dam that filters the water before it gets downstream into the refuge and eventually into the source of our drinking water. Instead of 1% for art, you could say this proposal makes a claim for 99% for art. The suggestion is that the municipality allocate the entirety of the clean up budget to building this refuge, or rather to enabling the community to build this refuge together. Building together is an important component of the work, it is experimenting with refuge from the perspective of buddhist philosophy, not as a place but as a set of actions. I am attempting to develop a practice of refuging. The refuge in Rejmyre is thus not a physical structure, it is an inversion of the principles of architecture (in which normally a building’s existence is justified by its program, i.e. what it will be used for). Inside this project, the program or the purpose of this building is for it to be built, by the community, as an act of refuging. It is inside this act of building anew, an intentionally unnecessary and financially out of scale structure, that we might experience an undoing of this systematic devaluation caused by the cycle of extraction, depletion and abandonment. Building a refuge in Rejmyre requires a large expenditure of resources but the scale of this expenditure pales in comparison to the accumulated expenditures of extraction. It strikes me as, oddly, a thoroughly appropriate use of public funds (far more so than paving the site over) to invest in the possibility of revaluing life and lives in this place. If we are going to use public money to perform this act of cleaning up this contaminated site, it should be the damage done to the publics that inhabit this asset field that we attempt to clean up. We should be left with something more than a void, a hole in the ground, or a parking lot. The refuging work began during my previous project in Rejmyre, as an attempt to embed these elephants from Myanmar into the history of our site in Rejmyre. It occurred to me that one way to practice this thing called refuging, would be to create a pre-history for the one who is seeking refuge, such that when they arrived at the site, offering itself as a refuge, they would discover that they had already been there. It is a kind of temporal twisting that is important to me in thinking the act of refuging and its received temporal logics. While working on creating this pre-history for the elephants as a way of practicing refuging, I was grappling with a major transformation to the community in Rejmyre. During one of the waves of refugees arriving in Sweden, the government turned to our town, rich with cheap housing, and deemed us temporarily valuable again; valuable for the purpose of refuging. Housing was adapted to accommodate a group of unaccompanied young people, who came to live in Rejmyre, while more desirable housing was built for them in nearby cities. My work takes this re-valuation of those who inhabit our site on its word. I operate on the assumption that those who made the choice, to consider Rejmyre a suitable site for refuging, had thought it through, and that it was not based on the extraction and abandonment logics that preceded the thinking of this place. We were deemed valuable as a place to practice refuging. I am carrying on that work, in good faith. It seems entirely possible that we are a valuable site, to further develop this practice. Perhaps, precisely because we are ourselves in need of refuge from this history of extraction, depletion and abandonment.Why the elephants? First, it is important to understand that these are unemployed elephants. They were broken into service in an industry of extraction that used them up, so they are a kind of ruin left to navigate the vagaries of their own value. They are also facing a difficult situation, as one of the primary employment options for them is in the tourist industry, similar in this way to the options available to glass workers in wealthy countries where industrial labor has mostly been outsourced to cheaper bodies. Unfortunately, studies have shown that elephants employed in the logging industry live approximately the same life span as those in the wild, 52 years, whereas elephants in the tourism industry live only 26 years; half a life lost in shifting labor conditions. Elephants in zoos in comparison live approximately 12 years. I was drawn to the challenging, if not impossible, situation of these unemployed animals, as a vehicle, not to carry tourists, but to allow us to think, imagine and practice the challenging if not impossible act of refuging in Rejmyre. https://danielpeltz.cargo.site/in-the-ruins Sun, 10 Apr 2022 12:33:05 +0000 Daniel Peltz Portfolio https://danielpeltz.cargo.site/in-the-ruins <img width="1948" height="1128" width_o="1948" height_o="1128" data-src="https://freight.cargo.site/t/original/i/d32877c0797497fb2488fe3f5795c268dd22c85f046b779a537ebf32974ee013/PerfLabour1.png" data-mid="139228605" border="0" src="https://freight.cargo.site/w/1000/i/d32877c0797497fb2488fe3f5795c268dd22c85f046b779a537ebf32974ee013/PerfLabour1.png" />in the ruins of Rejmyre’s future performance lecture Färgfabriken 2017 &amp; Norrköping Konstmuseum 2018 This hour-long performance lecture was first presented in October 2017 at Färgfabriken in Stockholm, Sweden and subsequently at the Norrköping Konstmuseum in April 2018, as part of the opening of Peltz' exhibition coming out of his multi-year, artistic research project Performing Labour. The work is developed and performed with the Romanian performance philosopher and theatre scholar Ioana Jucan, who has written extensively on Peltz' work. Together they experiment at the intersection of live-feed video performance, exhibition, lecture and participatory theatre. The content of the performance lecture mines and extends the objects and videos Peltz is exhibiting in both spaces, including a 100:1 scale model, for a refuge in the glass factory-town of Rejmyre, Sweden for unemployed logging elephants from Myanmar [pictured in the images above] and artifacts from a re-enactment of an historic ice dive to recover an object called Any Thing from the Hunn Lake nearby the glass factory. A refuge in Rejmyre and Seeking an Any Thing from an uncertain time in the ruins of Rejmyre's future, explore a set of overlapping interests in factory towns and the construction of rural publics, the act of giving and taking refuge and experimenting with alternative states of consciousness within which we conduct, analyze and think the act of artistic research that have been central preoccupations in Peltz' recent work. -&gt; interview with Helena Scragg, curator of exhibitions at the Norrköpings konstmuseum, discussing the exhbition that in the ruins of Rejmyre's future explored video documentation of the performance at Norrköpings konstmuseum https://danielpeltz.cargo.site/anything Mon, 06 Dec 2021 10:57:54 +0000 Daniel Peltz Portfolio https://danielpeltz.cargo.site/anything <img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/1d219555716595af176d67f26336538a6f3bfe60e464bdc2c90b9592fd880acf/anythingplayingonice.JPG" data-mid="126598099" border="0" src="https://freight.cargo.site/w/1000/i/1d219555716595af176d67f26336538a6f3bfe60e464bdc2c90b9592fd880acf/anythingplayingonice.JPG" /> Seeking an Any Thing from an uncertain time in the ruins of Rejmyre’s future conceptual product, performance During a residency period in the Rejmyre Glass Factory in Östergotland, Sweden, Peltz created an object called Any Thing and inserted it into the historical record of the factory and the region. He began the process by dropping the Any Thing into the Hunn lake, at the site of an ice diving excavation conducted by the Rejmyre Historical Society in 2000 that uncovered elements of an historic cable car system that ran through the forest from the glass factory to the nearest railway station. Peltz then waited for the lake to freeze and staged a re-enactment of this earlier ice dive, along with local divers and the members of the historical society, in which they found the Any Thing at this historic site. The project involved an orchestration of divers, members of the historical society, local audiences and media. It cast members of the historical society (who were involved in the first dive) in performing as themselves, within an altered context. The performance was embedded in local news coverage as a story of an archaeological winter expedition.The Any Thing, full title: Any Thing, made to be lost, and perhaps later found, perhaps in early spring, perhaps when the ice is still thick and clear is a glass and metal object produced in the Rejmyre Glass factory as part of a guest worker program, of Peltz' design, aimed at experimenting with a model of artistic research through the making of a conceptual product line of and about labour. The Any Thing was his contribution to this product line and contains a clear vinyl recording extracted from a youtube video. The performance engages with two videos: one produced by a couple, on their honeymoon in Myanmar, visiting a group of soon to be unemployed teak logging elephants, and the other produced by the historical society in Rejmyre and exhibited in the Rejmyre Historical Museum, that documents the 2000 ice dive. The Any Thing constitutes an attempt to bring these two complex sites, engaged with moments of labor transformation, into dialogue across temporal and geographic divides. Press Release text:On a mild day, in early spring, in the year 2000, a group of people gather on the still frozen Lake Hunn, just a few kilometers east of the Reijmyre Glasbruk in Östergötland, Sweden. The Reijmyre Glasbruk first opened its doors in 1810 and is one of the few remaining sites of refuge for Swedish glass production. The assembled group cuts a hole in the ice, slips into the water and pulls out a series of artifacts buried in the silty bottom of the lake. These included glass products, produced at some uncertain period in the factory’s history, and pieces of a linbanevagn [cable car cart]. The linbana was an early transport system that connected the glass factory town of Rejmyre, located deep in the forest that fueled its furnaces, to the railway station in Simonstorp. At some point in time, this cart went astray and jumped off its rail, falling to the bottom of the lake with its cargo. Recognizing the historic importance of this event, the members of the Rejmyre Historical Society make a short video documenting the proceedings and display the objects they find, and the video they make, in a glass case in the Rejmyre Historical Museum. On an unusually cold summer day, the American artist Daniel Peltz goes to work at the Reijmyre Glasbruk. he is there as part of a guest-worker program, of his own design, aimed at enlisting a group of artists in ‘thinking labor’ inside the Reijmyre Glass factory, under a particular set of conditions, by making ‘products of and about labor’. In the afternoon, with the assistance of two of the glass workers in the factory, he makes a new product: Any Thing. The Any Thing, made of glass plates, a steel frame and a clear vinyl recording, finds its way into a display case in the Rejmyre Historical Museum that houses the glass and metal objects discovered during the earlier excavation of the Hunn. After a few months in this state, Peltz takes the Any Thing back to the site on the Hunn, where the other objects in the case had been found, and slips it back into history. On a mild day in early spring in the year 2017, a group of people gather on the still frozen Lake Hunn outside of Rejmyre, Sweden. They cut a hole in the ice, enter the water and pull out a series of artifacts buried in the silty bottom. One of them is the Any Thing, ready to be opened and played. Over the surface of Lake Hunn, to the forest beyond, the Any Thing releases its sounds [extracted from an eco-tourism video posted to Youtube] of a small herd of now unemployed logging elephants laboring in the teak forests of Burma. This acoustic call launches the next stage in Peltz' research, a plan to bring a small herd of these unemployed logging elephants from Myanmar to Rejmyre, to think, to imagine and to build a refuge for them in this site of historic refuge. Peltz offers this performance as a presentation of over a decade of research in Rejmyre, as a way to think the space between a struggling Swedish glass factory/craft tourism site, the small factory town surrounding it that is coming to terms with its new status as a refuge for newly arrived immigrants, his own immigration to the site and the forest and lakes that surround them all. https://danielpeltz.cargo.site/performing-labor Mon, 06 Dec 2021 14:24:26 +0000 Daniel Peltz Portfolio https://danielpeltz.cargo.site/performing-labor <img width="2200" height="1458" width_o="2200" height_o="1458" data-src="https://freight.cargo.site/t/original/i/4678ce3833f82aecb834f07afe8a0164aea6ef87a1593b683794fc5a820f8f2f/PerfLabour_Cuttingglasstops.jpg" data-mid="126618761" border="0" src="https://freight.cargo.site/w/1000/i/4678ce3833f82aecb834f07afe8a0164aea6ef87a1593b683794fc5a820f8f2f/PerfLabour_Cuttingglasstops.jpg" />Performing Labour 2016-18, Rejmyre, Sweden This project emanates from a decade-long engagement with the glass factory-town of Rejmyre, Sweden. It involves the implementation and inhabitation of an artist-guest-worker program within the factory. From within this artist guest-worker role, we work on the factory floor, maintaining the same hours and being paid the same wages as the other workers. The task I have given us is to develop and produce a product line in response to the situation of our own labour and the labour of others around us [tourists, tour guides, glass workers, administrators, shoppers, sales people, museum staff, etc.]. Ten artist colleagues join me in performing this role, resulting in a ‘product catalogue’ that is added to the other product catalogues on the factory break table. Like many contemporary industries, the Rejmyre Glass Factory has turned to auto-exhibitionist tourism to supplement a struggling economic position. Within this context, the workers’ labour becomes both process and product, embodied and disembodied. They enact functional craft gestures and produce industrial products, while simultaneously producing a tourist spectacle that renders their labouring bodies, and gestures, as aesthetic products. This project considers how a conceptual performance of labour, about labour, in the context of this hybrid industrial/tourist factory, might be used as a strategy to invoke a parallel state of consciousness in a group of artist-researchers. From inside this state, we attempt to explore the complexity of the evolving roles of the contemporary labourer. -&gt; interview discussing the project published in Watching Making edited by Stephen Knott https://danielpeltz.cargo.site/when-we-dig Mon, 06 Dec 2021 14:27:38 +0000 Daniel Peltz Portfolio https://danielpeltz.cargo.site/when-we-dig <img width="800" height="450" width_o="800" height_o="450" data-src="https://freight.cargo.site/t/original/i/8e0ea6e821575fae9801847a82283b3ae7ffd0a981d4d507555c1451b0692b89/WAM_4_800.jpg" data-mid="126619254" border="0" src="https://freight.cargo.site/w/800/i/8e0ea6e821575fae9801847a82283b3ae7ffd0a981d4d507555c1451b0692b89/WAM_4_800.jpg" />when we dig, things come up 2013-15 Tom Price, Western Australia Commissioned by Spaced for their 2015 biennial, Future Recall, this project emanates from a two-year investigation of the iron-ore mining, company-town of Tom Price in Western Australia. The project began from a sense that my role, as an American artist-in-residence, in a Western Australian town founded on American ambition and greed, was something of a re-enactment. In response to this situation, I developed a writing/mining practice to parallel the other resource extraction activities conducted in the region. This involved mining a series of narrative fragments, from and about “Tom Price”: the U.S. businessman, the former mountain and the present day purpose-built mining town and open-pit, iron-ore mine. I extracted material everywhere I went, in conversations, workshops, solitary walks, meditations and dreams. I then graded the fragments, applying the same minimum quality standards used in the mining industry [65% purity] to the narrative fragments I extracted. The selected, graded fragments of text were then shipped to a Chinese opera company and a landscape painter, following the same trade routes as the iron-ore. These skilled artists refined the narrative fragments and sent back a Peking Opera, for public exhibition in the town of Tom Price, and a series of Chinese landscape paintings, for display in the Western Australia Museum. <img width="800" height="450" width_o="800" height_o="450" data-src="https://freight.cargo.site/t/original/i/a352d234bec49a4dd47eab5e45dc4497289ec26943628b3914580d2cd9896a58/WAM_3_800.jpg" data-mid="126619251" border="0" src="https://freight.cargo.site/w/800/i/a352d234bec49a4dd47eab5e45dc4497289ec26943628b3914580d2cd9896a58/WAM_3_800.jpg" /> <img width="800" height="450" width_o="800" height_o="450" data-src="https://freight.cargo.site/t/original/i/3760a80692dda0ae1add41c8674dca0506338b5237375b2321958acb3b387537/WAM7fe1bd8d.jpg" data-mid="126619257" border="0" src="https://freight.cargo.site/w/800/i/3760a80692dda0ae1add41c8674dca0506338b5237375b2321958acb3b387537/WAM7fe1bd8d.jpg" /> <img width="800" height="450" width_o="800" height_o="450" data-src="https://freight.cargo.site/t/original/i/69f69b3a287a648f014c070c3c5e08362df8b6ee3bf678177c269d8538e47b5e/WAM_1_800.jpg" data-mid="126619246" border="0" src="https://freight.cargo.site/w/800/i/69f69b3a287a648f014c070c3c5e08362df8b6ee3bf678177c269d8538e47b5e/WAM_1_800.jpg" /> <img width="800" height="536" width_o="800" height_o="536" data-src="https://freight.cargo.site/t/original/i/7d0a4cf27d798ea6dd95a2ebbb48e46d782725d69972bc3b72a09270944a8b54/WAMinstall2.png" data-mid="126619263" border="0" src="https://freight.cargo.site/w/800/i/7d0a4cf27d798ea6dd95a2ebbb48e46d782725d69972bc3b72a09270944a8b54/WAMinstall2.png" /> video sample from the opera: The Journey of Mount Nameless -&gt; Artlink article discussing the project https://danielpeltz.cargo.site/Unrealized-GainLoss Mon, 06 Dec 2021 10:15:35 +0000 Daniel Peltz Portfolio https://danielpeltz.cargo.site/Unrealized-GainLoss &nbsp; <img width="5760" height="3809" width_o="5760" height_o="3809" data-src="https://freight.cargo.site/t/original/i/a11ee0710cb6d425beeb83175a28126659f3dfd8c0613a9029de664b96d2ee93/0-a-Unrealized-GainLoss.jpg" data-mid="126619966" border="0" src="https://freight.cargo.site/w/1000/i/a11ee0710cb6d425beeb83175a28126659f3dfd8c0613a9029de664b96d2ee93/0-a-Unrealized-GainLoss.jpg" /> Unrealized Gain/Loss ritual objects, performance, workshop Unrealized Gain/Loss emerged in the wake of the 2008 global market collapse. I was interested in this moment of narrative rupture, in the ideology of global markets, and specifically in market-driven pension schemes, which suture one's financial future to a set of investments in the unseen world equity markets. The title of the work comes from a term in the financial services industry, it is a way of understanding the value of financial assets, which we have not yet sold, if one were to sell them "now". It is an imagined value as the "now" it refers to is always already in the past. I was interested in what kinds of narrative openings were created by this moment of narrative rupture. From the residency hosting me in Indonesia, I set about to explore my own faith in relation to the market. I found myself studying Balinese Hindu offering practices in a culture that was largely dedicated to insuring well being in the afterlife. What would it take to insure my well being in the after-work life? The batik sarongs, in the image above, were produced through a series of intensive engagements with my employer-sponsored pension plan. Composed of a symbolic system derived from charts documenting the performance of my assets and allocations, each motif that makes up these cloths is a modification of an existing one in Indonesian batik design. The sarong pair was accompanied by a set of unrealized gain/loss vessels for use in the making of after-work life offerings. <img width="2043" height="3662" width_o="2043" height_o="3662" data-src="https://freight.cargo.site/t/original/i/bae58629396cd3dccffd6ce17c5f1608bfa3c704d692f1b69c70506500c6149a/sarong-2-WAM.jpg" data-mid="126846233" border="0" src="https://freight.cargo.site/w/1000/i/bae58629396cd3dccffd6ce17c5f1608bfa3c704d692f1b69c70506500c6149a/sarong-2-WAM.jpg" /> <img width="2016" height="3669" width_o="2016" height_o="3669" data-src="https://freight.cargo.site/t/original/i/47ce03f7ba901fb5976944ba116f07bda6dd7077a8c1246fe790e2b81d133502/sarong-1-WAM.jpg" data-mid="126846232" border="0" src="https://freight.cargo.site/w/1000/i/47ce03f7ba901fb5976944ba116f07bda6dd7077a8c1246fe790e2b81d133502/sarong-1-WAM.jpg" /> <img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/17382bd9b46dbb6d9956ecfb085346217ab4c74ce02d40db436fbc5f609b5416/copper-stamp1web.jpeg" data-mid="126845548" border="0" src="https://freight.cargo.site/w/800/i/17382bd9b46dbb6d9956ecfb085346217ab4c74ce02d40db436fbc5f609b5416/copper-stamp1web.jpeg" /> <img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/888ecc345049632ac9074852f978934f71c919ff39a0ec437c5559015e811c69/copper-stamp2web.jpeg" data-mid="126845549" border="0" src="https://freight.cargo.site/w/800/i/888ecc345049632ac9074852f978934f71c919ff39a0ec437c5559015e811c69/copper-stamp2web.jpeg" /> <img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/4af345199931c5907be39fdeff8e14ee1ae523002fb2d17f8a83ed641f0e312c/copper-stamp3web.jpeg" data-mid="126845551" border="0" src="https://freight.cargo.site/w/800/i/4af345199931c5907be39fdeff8e14ee1ae523002fb2d17f8a83ed641f0e312c/copper-stamp3web.jpeg" /> <img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/85ed73925b76bfc7b9e0fdc55e1bdb1aa0c893ef4ae7794ff34026c78f0d1888/copper-stamp4web.jpeg" data-mid="126845554" border="0" src="https://freight.cargo.site/w/800/i/85ed73925b76bfc7b9e0fdc55e1bdb1aa0c893ef4ae7794ff34026c78f0d1888/copper-stamp4web.jpeg" /> <img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/003d8139456aad6cbe1e068eee5afa6696bde8e11da64a8ef5c7a2fcc36bb921/beeswax-sampler1web.jpeg" data-mid="126844828" border="0" src="https://freight.cargo.site/w/800/i/003d8139456aad6cbe1e068eee5afa6696bde8e11da64a8ef5c7a2fcc36bb921/beeswax-sampler1web.jpeg" /> <img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/5346f22480dda573fee84098891d34e85dad25d2e06c1fa984975bd4479f1aab/beeswax-sampler2web.jpeg" data-mid="126844829" border="0" src="https://freight.cargo.site/w/800/i/5346f22480dda573fee84098891d34e85dad25d2e06c1fa984975bd4479f1aab/beeswax-sampler2web.jpeg" /> <img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/66506db8043b3fc147d850c3acb4fc3843037abb198e0203b70eaaa4cba46bfa/beeswaxsample3web.jpeg" data-mid="126844832" border="0" src="https://freight.cargo.site/w/800/i/66506db8043b3fc147d850c3acb4fc3843037abb198e0203b70eaaa4cba46bfa/beeswaxsample3web.jpeg" /> <img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/e78303fd96b86323312693d8ea702d9ee2283b9fa8c6206648869f588f55fca8/vessel1web.jpeg" data-mid="126845131" border="0" src="https://freight.cargo.site/w/800/i/e78303fd96b86323312693d8ea702d9ee2283b9fa8c6206648869f588f55fca8/vessel1web.jpeg" /> Upon my return to the U.S., the methods of connecting with my retirement portfolio I'd worked with in Indonesia led to the development of a series of human resources workshops for investment professionals. I visited a well known U.S. financial services provider and brought "my wealth". I came to our follow-up meeting, in which they presented their wealth management plan, with a counter proposal in the form of a human resources workshop for their wealth management advisors. The staff agreed to my counter proposal and I started to work with the ethnomusicologist Asha Tamarisa to develop a workshop using percussive techniques and a customized stock ticker to facilitate a process whereby financial advisors connect to their own bodily experiences of gain and loss. The workshops were offered at four financial service providers throughout New England. Each workshop session was documented by the in-house video recording systems, used to insure the company is training their employees to comply with all necessary financial regulatory changes, installed in the conference rooms. <img width="792" height="528" width_o="792" height_o="528" data-src="https://freight.cargo.site/t/original/i/b82b22a623745106e632fc2441155de9a4dacb5361480af3699366e879c5ef62/0-a_client_of_the_firm_web.jpg" data-mid="126619496" border="0" src="https://freight.cargo.site/w/792/i/b82b22a623745106e632fc2441155de9a4dacb5361480af3699366e879c5ef62/0-a_client_of_the_firm_web.jpg" /> https://danielpeltz.cargo.site/crossing Mon, 06 Dec 2021 14:42:56 +0000 Daniel Peltz Portfolio https://danielpeltz.cargo.site/crossing <img width="800" height="533" width_o="800" height_o="533" data-src="https://freight.cargo.site/t/original/i/3bf8086f885950d822f13616c60a5e6110df97a1683a2c00a4f8e69bb1b72a36/CNSLifyoucan.jpg" data-mid="126620512" border="0" src="https://freight.cargo.site/w/800/i/3bf8086f885950d822f13616c60a5e6110df97a1683a2c00a4f8e69bb1b72a36/CNSLifyoucan.jpg" />Crossing Non-signalized Locations public intervention Commissioned by the Cambridge Arts Council, this project explores what Peltz refers to as the latent poetics of the Cambridge Parking and Transportation Code. It began from an engagement with the co-habitation of the offices of the Arts Council and the Parking and Transportation Division, who share a building in central Cambridge. Peltz proposed the creation of an official artist-in-residence position within the Parking and Transportation Department and stipulated that all the works he produced would take the form of parking regulations and be passed officially through the local government prior to implementation. The support of the commissioner of the Department of Traffic and Transportation and her staff allowed this to happen. He began work on a series of parking regulations, that appropriated the language and forms of parking control, signage and enforcement, reflecting on the structure and contents of encounters between the public and those charged with enforcing this particular form of state authority/public choreography. The new regulations were officially implemented by the city, at the approval of the City Manager, from September-November 2010.&nbsp; https://danielpeltz.cargo.site/karaoke Tue, 07 Dec 2021 19:42:38 +0000 Daniel Peltz Portfolio https://danielpeltz.cargo.site/karaoke <img width="864" height="648" width_o="864" height_o="648" data-src="https://freight.cargo.site/t/original/i/76c9d16ca11268916b5a3778f470bd09adb3df010c4562f38ddf5752f997b114/bendersrevised.jpg" data-mid="126761787" border="0" src="https://freight.cargo.site/w/864/i/76c9d16ca11268916b5a3778f470bd09adb3df010c4562f38ddf5752f997b114/bendersrevised.jpg" /> Participatory Democracy and the Future of Karaoke public intervention Commissioned on the occasion of the 2008 Democratic National Convention [DNC], as part of the curatorial project Dialog:City, this large-scale public project examined the situation of Denver residents at the time of the DNC. The people of Denver played host to an international media event but had the same access to it that anyone in the world would, through television broadcasts coming from the restricted-access convention center. Through the development of a series of custom-designed karaoke speech tracks and the establishment of a network of Karaoke Convention Centers [repurposed karaoke bars where residents could re-speak the words of their would be leaders], the project aimed to create a vehicle through which the residents of Denver could interrupt the transnational flow of media, by passing it through their own bodies. -&gt; NPR interview video artifact: Mayor John Hickenlooper in Denver as Barack Obama in South Carolina https://danielpeltz.cargo.site/setsuko Tue, 07 Dec 2021 19:48:20 +0000 Daniel Peltz Portfolio https://danielpeltz.cargo.site/setsuko <img width="1992" height="1442" width_o="1992" height_o="1442" data-src="https://freight.cargo.site/t/original/i/ebb2bab26fb13303b0133e8a2b8622abec937e910a6eeb3aa1e55dd58cb0d4ce/Screen-Shot-2021-12-08-at-5.50.26-PM.png" data-mid="126848271" border="0" src="https://freight.cargo.site/w/1000/i/ebb2bab26fb13303b0133e8a2b8622abec937e910a6eeb3aa1e55dd58cb0d4ce/Screen-Shot-2021-12-08-at-5.50.26-PM.png" /> Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana a companion video installation to the Karaoke Convention Campaign As a companion to the public project in Denver (Karaoke Convention), I traveled to the Japanese town of Obama and met with a business association called the Obama for Obama Support Group. I offered them a custom-made karaoke version of Obama's Primary Speech in Indiana, translated into Japanese. Several of the members delivered this speech/performed the track on the top floor of a karaoke parlor in a hotel in the center of town. https://danielpeltz.cargo.site/tourist-information Tue, 07 Dec 2021 19:52:21 +0000 Daniel Peltz Portfolio https://danielpeltz.cargo.site/tourist-information <img width="506" height="335" width_o="506" height_o="335" data-src="https://freight.cargo.site/t/original/i/77655692936769a41e14b0063ef06642ae2a088f0198c5efdbc3cec377339678/touristinformatoin_rejmyre.png" data-mid="126762871" border="0" data-scale="100" src="https://freight.cargo.site/w/506/i/77655692936769a41e14b0063ef06642ae2a088f0198c5efdbc3cec377339678/touristinformatoin_rejmyre.png" /> Tourist Information performance/video series This multi-year project grew out of a residency in Rejmyre, Sweden in 2007, as part of the curatorial platform Rejmyre Matters. I've returned every year since and become co-director of a long-term, place-based research project in the town. Each year, I’ve created a new performance document or video work to be displayed in the Rejmyre Tourist Bureau. The videos are presented, like all the materials around them, as tourist information. I’m interested in exploring this genre: the works are the information of a tourist, information for tourists, touristed information, tourist information. <img width="1424" height="748" width_o="1424" height_o="748" data-src="https://freight.cargo.site/t/original/i/24f3ebaf137b58b8d4c63f97a79f3f7249528f36d748af68ef66cb06670188d9/pilgrim_large.png" data-mid="126762701" border="0" src="https://freight.cargo.site/w/1000/i/24f3ebaf137b58b8d4c63f97a79f3f7249528f36d748af68ef66cb06670188d9/pilgrim_large.png" />A pilgrim in Rejmyre tourist information In my fourth summer in Rejmyre, I find myself spending a lot of time on the computer. I retreat into tourist videos from India, shot by trekkers and uploaded to Youtube. I'm particularly drawn to the image, in the background of some of the videos, of an occasional prostrating pilgrim making his way, one body length at a time, along the same path as the tourist. I study their costume and practice their movements. Borrowing a leather apron from the blacksmith, I set out on my own prostration walk from our group studio to the only food and convenience store in Rejmyre. I'm interested in the embodied experience of mediating this ritualized, Buddhist practice of traveling to a sacred site, by transporting it to a cultural context in which its meaning is far less transparent. It is a mediation of a mediatized ritual, a remake of a genuine gesture, a genuine gesture. video designed for the tourist information office -&gt;&nbsp;more on the Rejmyre residency