PROFILE: Helen Marshall has a track record in collaborative and socially engaged public art projects

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• PROFILE Helen Marshall has a track record in
  collaborative and socially engaged public art
  projects. She has worked in partnership with a
  number of organisations including The
  Photographers Gallery, BBC2, MUF Art
  Architecture, The National Trust, LIFT, Rosetta
  Life and Space Studios. Her interventions
  challenge and provoke the inadequacies of
  conventional social documentary approaches, often
  empowering the subject in the construction of
  meaning. Her work explores photography and film,
  still life, texts and objects and addresses
  social and individual identities.
• THE DIMENSIONS
• The opportunity for an artist writing an art
  strategy in an evolving masterplan for the built
  environment is certainly an unprecedented one.
  Without a code of practice or an established
  approach that has involved artists in this type
  of exercise before and the necessary consultation
  and diagnosis needed it is indeed a unique
  challenge and it has many implications that need
  to be unpicked. After all, perhaps moreso in this
  circumstance as opposed to other commissions, any
  permanently sited or designated artworks would be
  many years away from manifestation. Even given
  the extensive consultation with the existing
  community, is it not presumptious to announce an
  artwork or project that is packaged well in
  advance of tangible regeneration ? And given the
  fact that artworks made in the public realm can
  take a long time to be realised due to endless
  consultations and planning procedures, once it is
  realised and publicised the artist has moved on
  So therefore to find really innovative approaches
  in the public realm we have to look at what is
  current, in process and in essence has not yet
  been made.
• It could be argued that a site
  specific pieces every possible success relies on
  the unexpected and ironic praxis that occurs as
  an outcome of its gestation. Is the existing
  community even going to care when it
  materialises, are they still going to be there
  even? This is not to say that the epheremality of
  a responsive, temporal ( seemingly more
  democratic approach ) to public art should
  denounce the monumental as a conservative and
  dead beat concept. It is more to say that the
  careful attention given to the potential of the
  epheremal informing the physical can form a
  continual dialogue tackling the problem that so
  much art in the public realm suffers from that
  is durability and resonance. Public monuments and
  memorials should in fact be proposed as a key
  part of the regeneration of Queensborough
  Rushenden given the remarkarbly modest visible
  presence in respect of its rich heritage of
  regal and state history. The castle site is a
  clear metaphor of this. Monuments can have a
  timeless quality that exceed temporal or
  conceptual artworks in that they represent events
  and ideals, often people in shape and form. In
  addition it strikes me that there is a place for
  further experimentation here with the figurative
  and the literal The Wheelans concrete factory,
  The Sunday Painters group, The Pirate
  Re-enactors, William Hogarth all offer
  extraordinary array of possibilities for
  collaboration with an artist and the community to
  create works that could become permanent features
  of the landscape and built environment, as well
  as being catalysts for a series of events and
  documents.
• THE RESPONSE
• An artists response to the qualities and
  conditions of a particular place is central to
  the development of a project, and it is the
  confident risk taking during the making and doing
  that informs the manifestation. As a result of
  this process context and content are often
  indistinguishable. Therefore it is exceedingly
  difficult to construct a an outcome, but more
  interesting to deconstruct and find a set of
  principles represented here through the sensory
  quality of ideas and case studies. This document
  is a presentation of a suggested desire to bring
  the ephemeral and documentary works that could
  take place from the very beginning, during and
  following the regeneration, into a series of
  sustainable outcomes. That they are permanent in
  the sense of being physical landmarks, but also
  in that they can be supported by an exhibition
  and residency programme that is open to change
  and makes the work of the artist continuously
  visible and engaged with its audience. The
  permanent could be taken to mean therefore a
  series of conceptual strategies enabling new
  works to be made and the adaptation and
  reinterpretation of previous works.This document
  is a selection of brief ideas that could develop
  into proposals/ illustrations and approaches that
  could inform suggestive manifestations. They do
  reflect my particular concerns as an artist and
  are really just give a flavour of the way I work
  and how I would like to develop my practice
  within the context of this project. This is an
  inevitable outcome of the process. Attached is an
  illustrated reference list of case studies of
  public art projects and initiatives, some of
  which have taken place not so far from the Isle
  itself. I feel these demonstrate a way of
  collaborating with artists and engaging audiences
  where the relationship between artist and place
  is of primary importance. They also provide
  useful references for the ideas and provide a
  sense of scoping for their potential
  accomplishment.

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• I choose to focus mostly on one key theme in the
  context of the regeneration area.This seems to be
  an important area within which to focus the
  enquiry as it becomes an adjective of the
  discourse between the ephemeral and the physical.
  This in turn is supported by suggested media and
  concepts that reflect my particular strengths as
  an Artist
• Transportation An area of key development, with
  the connections reaching beyond the Island by
  land, air and sea. Queenborough and Sheerness are
  at the crux of multiple networks at the same time
  as being at the end of them.  This is a conundrum
  common to all ports that is perhaps more poignant
  on the Isle of Sheppey, which can often feel like
  the end of the world.  The birthplace to
  aviation, a major car importer and a significant
  maritime heritage it boasts an extraordinary
  history of transportation through the centuries
  to this day. Major new A roads and a substantial
  bridge is being built to connect the island to
  the mainland, changing the journey, extending the
  view. In its industrial era it was enabled by
  transport and at the beginning of a
  post-industrial service a tourist economy it is
  enabled, naturally by transport. Transportation
  by sea, air, road or rail are and always will be
  the Islands main assets constituting so much of
  its identity. If every journey has its
  destination, and if the journey is the
  destination how could this inform permanent
  artworks in the landscape, and would these places
  be planted by the experience of the journey
  itself. Whatever form they arrive at, whether it
  be a publication, a monument or an edition of
  original artworks Is there something about value
  and commodity here to be seen as a necessary
  product of art for the public realm? And could
  any unremarkable place be made otherwise simply
  by the exercise of creatively renaming it.

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• Photography Text Photography in the realm of
  public art is often a document, a temporary
  installation and ephemeral in its aims. The
  challenge here is to resulting in permanent
  pieces in the built environment.
• Temporary public art practices deal in the
  mobile guerrilla warfare of topical political
  issues, and often characterize permanent public
  art as 'bureaucratic exhibitionism'1 upholding
  the status quo. But are permanent pieces
  necessarily doomed to be dull monuments to (or
  by) white manhood? What about more permanent
  relationships between photography and public art,
  and why have there been so few?. There are
  nevertheless numerous commercial and technical
  processes by which photography-based images can
  be sprayed onto vinyl, digitized, drilled into
  metal, baked onto ceramics, or indeed etched into
  stone.
• 1993 Beryl Graham.http//www.sunderland.ac.uk/as0
  bgr/asunder/pubart.html.
• Day Tripper A photographic and textual/narrative
  publication/series of monographs, whether social
  document, landscape or visual to provide a true
  and formal document of the development
  regeneration process from start to finish. This
  could be published and distributed, as well as be
  editioned and collectable printworks. In process
  that could become large and small format works
  sited in and along the landscape as billboards,
  small interchangeable plaques, souvenirs, signs
  and frontage for buildings and hoardings. Images
  can be sited virtually anywhere, through
  postcards and throughout the transportation
  system. On trains, car graphics, on the backs of
  the trucks travelling to and from the Isle, in
  the back of a cab, on bus tickets and shelters.
  On the road and pavements themselves as temporary
  interventions and as outdoor floor graphics.
  Photography projects with the community, for
  example the new school Many prospects will be
  held by the young about the regeneration and
  photography is a way for them to shape and inform
  the development process. If their work became
  part of the changing and moving landscape the
  implication of ownership is powerful. Places
  could be named, even those places that do not
  need names. Local archives could be explored and
  old photographs researched in terms of their
  unique personal, socio- political, geographical
  and architectural histories. An intergenerational
  project could potentially become about
  collaborating with local experts and historians
  like Brian Slade who has published books like
  Minster Miracles The Facts Minster-in-Sheppey in
  Old Picture Postcards Gatehouse Gallows
  Mysterious Minster. A photographic archival
  project could stem from local archives such as
  http//www.pbase.com/luckytrev/isle_of_sheppey
  ( see illustration ) These could be processed
  into the large format images and signage, and
  become installations in places undergoing change
  and development. They could be enlarged and
  reproduced, sited within their original places of
  capture or disassociated from their original
  context and traverse the transportation system.
  The possibilties for engaged work here are patent
  as well as large travelling audiences
  .Photographs as signs. The absence or dislocation
  of the printed word not only draws attention to
  the role text plays in the modern landscape but
  also simultaneously emphasises alternative forms
  of communication such as symbols in the
  architecture. In doing this, it serves to point
  out the growing number of ways in which public
  voices communicate without using traditional
  forms of written language.These signs could be
  sited along walking routes such as the sea wall
  and flood boundaries as well as on the roads and
  major routes.

Anonomous.Baker Lady. Taken by a local
photographer. Sheppey Light Railway. Last
Day. Queenborough. 1950
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• Ghost Train Works could include Performances,
  Interventions and Installations on the train to
  Queenborough that engage with passengers. A train
  carriage could become a vehicle for a series of
  installations with interactive opportunities for
  passengers. The steelworks trainline still in
  operation that connects as well divides
  Queenborough from Rushenden, it also extends to
  Dead Mans Island, a place of unforgettable and
  unforgiveable grisly history where corpses were
  dumped from the historic prisons. These parts of
  history surely must be preserved within the
  ephemeral landscape.How many other Hogarthian
  narratives could come from the account of the
  contemporary traveller? Fiction and Fact in
  storytelling can have a strong purpose as the
  prospects of the young can also offset the harsh
  and mutinous history of the area and truly
  uncover the contemporary heritage of their
  community. http//www.a2a.org.uk/ A good starting
  point could be the parish records written /oral
  history QUEENBOROUGH PARISH Harry Highstead,
  overcome by the flames at Queenborough Pier he
  jumped or fell into the Swale and was drowned,
  1882 George Banks drowned by the overturning of
  his punt while out shooting, 1883 Frank Herbert
  Collins after an accident at the chemical works,
  1908 Henry Percy Rothwell killed at Rushenden by
  coming into contact with electric wires, 1908
  body of an infant female child unknown found in a
  ditch in Rushenden, 1913 newborn infant male
  unknown found on sea wall, 1922 and photographic
  archives see examples at http//www.pbase.com/l
  uckytrev/isle_of_sheppey ( an example featured
  below right )

Drive in A drive in cinema intervention with
synchronised car radio broadcasts etc. The
residential site, currently empty space could be
a key site for an event of this nature. The film
work/moving image work could be as a result of an
artist/s commission and be made in collaboration
with the residents. This idea could also extend
to small DVD players on trains and could become
distributed as a DVD amongst residents. Curated
film clubs ( Come to my place/home cinema ) could
be set up that promote mixing and interaction in
the community.
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• Audio/Visual
• Local radio Sheppey people have been campaigning
  for a local radio presence in the area for some
  time.87.9 SFMSFM broadcasts from Sheerness town
  centre on 87.9 FM - its next broadcast will take
  place in August 2006. The group are seeking the
  advertisement of a commercial radio licence for
  the Swale/Sheppey area, and have been campaigning
  since August 2002. 87.9 SFM http//www.sfmforswal
  e.com/ . There also suggests from the community
  for real consultation a strong desire for a
  cinema.
• Project 87.9 A living sound archive, a sonic
  composition of the inanimate and animate sounds
  on the island. The birds, the voices, oral
  history, the shore, the steelworks, the industry
  broadcastedradio wavelengths used to trigger
  and orchestrate broadcast sounds at key sites
  along a navigation trail. Many common portable
  devices such as mobile phones have radio devices
  capturing an audience as they move/walk/drive.The
  se could become records and documents that could
  inform a permanently sited sound artwork
  invisible to the eye,embedded into the built and
  natural landscape.also see www.resonancefm.com
  Terrestrial Networks Live and scheduled
  broadcasting through radio, telephony, internet,
  wireless GPS technology along transportation
  networks including automobile, trains, aviation
  and maritime. Interactive digital and sonic
  installations that are live and fed into devices
  situated by or within the route that is traversed
  everyday. The Physical Monuments that could
  become their testament could be the imagery,
  document and text that have come about as a
  result of the ephemeral projects for example Day
  Tripper The signage, billboards and place names
  could seamlessly navigate place with content,
  audio with the visual. A Permanent Monument could
  be a Sound Mirror An early warning structure
  built during and after WWI along the south and
  east coasts of England. Sound detecting acoustic
  dishes and walls could detect the sound of
  approaching enemy aircraft at a distance of 8 to
  15 miles. Could the recreation of a set of these
  form a permanent audio amplifier for real
  spontaneous natural sound occurences and sonic
  compositions/recordings/radio broadcasts as well
  as buildings housing an archive?

J. Griffiths Daisy Spurge wedding 1899 John
James Griffiths, (Shipwright, then Photographer
and Stationer) b.1871, d.1949.
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• CASE STUDIES
• www.ghostship.org.uk A crewless
  self-navigating vessel has begun its maiden
  voyage from Fair Isle in Scotland to Newcastle
  upon Tyne to coincide with the Tall Ships Race
  2005. Engineers from the University of
  Southampton have played a key role in developing
  Ghost Ship, which was conceived by artist Chris
  Burden as a public art project. Ghost Ship is
  described as a culmination of past maritime
  traditions and new experimental applications of
  technology that makes a direct reference to the
  regional heritage of boat building and more
  recent cultural shifts towards new technologies.
  From a technological aspect Ghost Ship brings
  together a variety of creative expertise and
  existing technologies in a unique synthesis.
• http//biomapping.net/index.htm Bio Mapping is a
  research project which explores new ways that we
  as individuals can make use of the information we
  can gather about our own bodies. Instead of
  security technologies that are designed to
  control our behaviour, this project envisages new
  tools that allows people to selectively share and
  interpret their own bio data. The current version
  of the Bio Mapping system allows people to
  measure their Galvanic Skin Response (GSR), which
  is a simple indicator of emotional arousal in
  conjunction with their geographical location. By
  sharing this information we can construct maps
  that visualise where we as a community feel
  stressed and excited.
• http//www.fromramsgatetothechathamislands.co.uk/
  On 25th May 2004, fifty bottles containing
  messages were released into the sea off the
  south-east coast of England near Ramsgate
  Maritime Museum, Kent. The intended destination
  of the bottles is The Chatham Islands in the
  South Pacific Ocean. The islands, which are 800km
  east of mainland New Zealand, are the nearest
  inhabited land to the precise location on the
  opposite side of the world to Ramsgate Maritime
  Museum. It is anticipated that the bottles may be
  found several times before reaching the Chatham
  Islands. Each non-GPS bottle contains a message
  from residents of Ramsgate to the residents of
  The Chatham Islands, a pencil and an instruction
  leaflet which requests anyone finding a bottle to
  report to this website and record where and when
  the bottle was found. In addition they are
  requested to document their find on a form inside
  the bottle before returning the bottle to the sea
  to continue its journey.
• http//www.designboom.com/snapshots/venezia/avl.ht
  ml Atelier Van Lieshout 'a-portable' is a
  refurbished shipping container that functions as
  a mobile gynaecological clinic.'a-portable' is a
  concrete solution to a world health problem and
  will provoke legislative change through media
  attention and activist pressure.What is art?What
  can art do? Atelier van Lieshout's architectural
  structures and mechanisms for living suggest
  alternative ways of thinking, working and
  playing. AVL is fronted by Joep van Lieshout and
  consists of a group of artists and specialists
  who make work collectively. They are based in
  Rotterdam where they have established AVL-Ville,
  a free-state situated over two sites in the
  harbour area where art, community and sanctuary
  mix imperceptibly.

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• http//www.somewhere.org.uk/bata-ville Bata-ville
  is a bittersweet record of a coach trip to the
  origins of the Bata shoe empire in Zlin in the
  Czech Republic. Against the backdrop of
  regeneration in their local communities, former
  employees of the now-closed UK shoe factories in
  East Tilbury (Essex) and Maryport (Cumbria) are
  led on a journey that begins as a free holiday
  but soon becomes an opportunity for a collective
  imagining of what entrepreneur Tomas Bata's maxim
  "We are not afraid of the future" means for them
  in 21st century Britain. Inspired by the contrast
  between the idealism of Bata and the more recent
  industrial decline of East Tilbury and Maryport,
  host / directors Pope Guthrie lead this
  unorthodox coach party on a journey through
  Bata's legacy.
• http//www.bbc.co.uk/essex/going_out/visual_arts/s
  igns_in_landscape/index.shtml The seventeen-mile
  route, View Finder Signs in the Landscape,
  features specially designed permanent signs,
  which have been installed around the route to
  encourage people to look at the views of the
  Colchester sky line.Designed to look like road
  traffic signs and created by Colchester artist
  Michael Goodey, the permanent signs all show the
  Colchesters Victorian Town Hall and the Jumbo
  water tower. They will remain in place around the
  town for years to come. To launch the cycle route
  and the signs Michael will lead three parties of
  cyclists around both the full route and a shorter
  four-mile version. Inspired by Colchesters
  distinctive skyline - the Town Hall spire and
  Jumbo water tower - we are invited to travel
  around the circumference enjoying views of them.
  At ten locations we come across signs depicting
  the view.
• http//www.superchannel.org/Home/Profile/Channels/
  SPIN Tenantspin is a live interactive channel
  produced by High Rise tenants in Liverpool, UK,
  aiming to promote resident participation in
  regeneration and social housing issues through
  constructive debate and shared experience. It is
  a collaboration between FACT, Arena Housing and
  high-rise residents, primarily from the Sefton
  Park area of south Liverpool.  tenantspin is
  currently receiving funding from Mersey Broadband
  through North West Development Agency.
• http//www.showhome.org.uk/ Land use, building
  style and lifestyle.Show Home is a temporary
  public art project by Nathan Coley,?curated by
  Locus and comissioned by North Tyneside Council
  as part of?he Art on the Riverside
  programme.  Expecting the unexpected. Show Home
  is a vehicle for looking at the rapidly evolving
  urban environment in this case North Shields on
  Tyneside through a disquietingly unexpected
  intervention. This comes in the form of the white
  walled, slate tile roofed Show Home, a
  three-sided structure which will appear in three
  separate locations for one day each. Show Home,
  fabricated by professional stage set builders,
  will materialise at Royal Quays Marina (an
  economic regeneration project), a school playing
  field and a residential care housing
  development.The point is to think not only about
  Show Home but to consider the evolution of the
  buildings, structures and landscape that surround
  it, says the artist. It is also a telling window
  into our aspirations and desires and our
  vulnerabilities and vanities. All these foibles
  are played upon in the selling (and buying) of
  property.

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• http//www.mediamatic.net/article-5799-en.html?q_p
  erson Portrait Collector Rebecca Gomperts and
  Willem Velthoven 2003 - detail of installation in
  Thessaloniki. Portrait Collector is a network of
  Internet kiosks in which people who have had an
  abortion can photograph themselves. The portraits
  are compiled on a central web-server in Amsterdam
  on which, over the years, a very large collection
  will come into being. The purpose of this network
  is to make it clear, in an expressive manner,
  that abortion occurs much more often than is
  imagined.
• http//www.somewhere.org.uk/knockoutinfo "One
  Never Knows" - Pearly Kings Queens motto It's A
  Knockout is a site-specific live event which
  responds to the society in which the commission
  takes place. In its first incarnation in London's
  East End, we set up a live performance in the
  form of a public competition which would make
  explicit some of the influences at work in that
  area historically and now. With its influx of
  artists and tradition of Pearlies and markets, we
  made those three groups our teams and invited
  applications for the event. We then asked the
  teams to pick a charity that the money raised
  from the crowd on the day could go to. During our
  research we found out that the original TV 'It's
  a Knockout' props were doing the rounds of
  management training / team-building events, so we
  hired them in and compered the games in our Tudor
  costumes - a homage to the disasterous Royal
  Family It's a Knockout (a ill-thought out charity
  event often cited as the beginning of the English
  monarchy's end). These gave the event a great
  live presence - a kind of music hall vaudeville
  charater that was very East End - and we got a
  huge crowd.
• http//www.publicartonline.org.uk/archive/reports/
  a13artscape.html  A strategy for the margins and
  edges of the A13 trunk road corridor through the
  London Borough of Barking and Dagenham to
  choreograph serial and individual objects in
  space and produce a unified temporal experience
  a perpetual rhythmic form whose movements are all
  of a piece the vehicle windscreen to perform as
  a moving proscenium within which the changing
  composition is constantly framed. Arterial is a
  journey through interlinking, imaginative
  landscape on a grand scale, with ideas, themes
  and connections set up to fire your curiosity and
  make a whole new road experience. Tom de Paor
  lead artist/architect
• http//www.wandletrail.org/gallery/view_album.php?
  set_albumNamealbum04 http//cityark.medway.gov.uk
  /. Canterbury City Council's motivation for
  redeveloping Horsebridge and Brownings Yard in
  Whitstable, Kent, was to achieve economic
  regeneration of the area. The development
  includes a community centre, a restaurant and
  shops and residential units. An extensive public
  art programme was an essential element of the
  redevelopment with the support of a major award
  from Arts and Business. History Wall by Andrew
  Sabin, Richard Bradbury, Stefan Shankland and
  Doug Brown. The History Wall was a steel mesh
  housing filled with carefully layered and tightly
  packed materials which had been rescued for a
  short while from the demolition crew. For three
  months from July to September 2002, it formed
  part of the perimeter wall of the construction
  site.T his temporary onsite construction was an
  intervention in the hoardings around the site and
  continued until the end of the construction
  phase. It aimed to encourage interest in the
  building process by opening up a set of strategic
  views of the development site. Hard-wearing
  Perspex windows in green, red and blue, protected
  by steel mesh, turn the day to day view of the
  site into a spectacle, and were lit behind so
  that at night they appeared as coloured windows
  hanging in space through which the site could be
  seen.

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• http//www.artangel.org.uk/pages/past/past_frame_0
  4.htm FRANCIS ALYS?Seven Walks??A journey
  implies a destination, so many miles to be
  consumed, while a walk is its own measure,
  complete at every point along the way.?Francis
  Alÿs??rancis Alÿs walks a lot. He walks the
  streets of the world's largest metropolis, Mexico
  City, where he has made his home for the past 15
  years. He has also walked the streets of
  Copenhagen, Sao Paulo, Jerusalem and London.
  Observing and intervening in this huge open-air
  studio, Alÿs maps the city, staging elusive
  scenarios and making poetic films and animations.
  His work can be as monumental as moving an
  immense sand dune (a project he undertook with a
  thousand people in Lima), as ephemeral as sending
  a postcard or as subtly humorous as having a
  peacock take his place at an important gathering
  of his peers. Francis Alÿs trained as an
  architect. Following a period of study in Venice
  he decided both to leave Europe and to
  discontinue his work as an architect.
• http//www.artangel.org.uk/pages/future.htm WENDY
  EWALD?Towards a Promised Land- Wendy Ewald?Sea
  Wall, Margate from 9 July 2005 ??the white cliffs
  of Margate are the setting for the beginning of
  Towards a Promised Land, Artangels new
  commission by renowned photographer, Wendy Ewald,
  in collaboration with Creative Partnerships,
  Kent.??Towards a Promised Land has involved
  twenty-two children and young people who arrived
  on the Isle of Thanet from both near and far.
  Some of them come from places affected by war,
  poverty or political strife others have been
  affected by domestic upheaval. Working with Wendy
  Ewald, the children have learned, through
  photography, to explore their imaginations and
  express different experiences of relocation and
  the search for a better life.??wald has taken
  portraits of the children in locations of their
  choosing around Margate and photographed the
  belongings they brought with them on their
  journeys. These portraits, capturing the children
  at turning points in their lives, will be
  displayed as huge photographic banners in
  locations around Margate. Margates Sea Wall is
  the first of these locations, where, from 9 July
  the portraits of Uryi, Zaakiyah. Ashlea, Rabbie
  and Ali Reza can be seen between Margate Harbour
  and Palm Bay. Over the past year Wendy Ewald has
  developed Towards a Promised Land photographing
  and interviewing the children as well as teaching
  them how to take their own photographs.
• http//www.wessextrains.co.uk/thesidings/index.php
  ?sub_subnavID289 Wessex Trains will host the
  three artists 'in residence' on train journeys
  across Somerset during September and October
  2005.Wessex Trains and Somerset Art Weeks (SAW)
  are working together on this exciting new project
  called 'Moving On'. The 'Moving On' project is
  being funded by Wessex Trains, Arts Business
  and Ace Grants for the Arts.The artists will be
  travelling on the Bristol-Taunton and
  Bristol-Weymouth lines. The project is based in
  Bridgwater, with the co-operation of Bridgwater
  Arts Centre.
• "TOKYO ART JUNGLE" . Tokyo International Forum
  5th Anniversary TOKYO ART JUNGLE TRAIN As a
  pre-event for the exhibition, from August 115th
  I curated and produced the TOKYO ART JUNGLE
  TRAIN an 11-car train from the world's busiest
  train line--the East Japan Rail Yamanote
  line--running in normal service daily from 0500
  until 2500 (schedule varying from day to day).
  Eight artists and artist groups from the Tokyo
  Art Jungle used the train as an installation
  space, utilizing areas normally used for
  advertising as well as those without precedent in
  Japan (e.g., floors and ceilings). This work was
  easily one of the most public "public art"
  projects ever staged in Tokyo, bringing
  contemporary art to well over a million people
  during its run.

10
http//www.klein-dytham.com/architecture/billboard
_building.php Billboard Building Moto Azabu,
Tokyo 07.2005Tokyo is filled with tiny buildings
on awkward sites what fellow Tokyo-based
architect Yoshiharu Tsukamoto has called pet
architecture. These are wedged onto tiny slivers
of land left over from the slicing and dicing of
land by urban planning and property development
processes. This building is our very own example
of pet architecture.The building is tiny. Its a
11m long, two-storey high wedge, 2.5m wide at one
end and tapering to just 600mm at the other.
Although small, it has a prominent position
facing a well-trafficked road. Being nearly all
front, we let it be what it so obviously wanted
to be an inhabitable billboard.Façade becomes
image image becomes façade. Suddenly the
possibilities multiplied. We might have been
hired to build a building, but now we could
pretend to plant trees! We used a strong, simple
image of a bamboo grove stenciled in white onto
the glass façade, and painted the back wall
bright green. By day, the graphic becomes a
striking and simple form of sun-shading by night
green light dapples over the intersection a
luminous bamboo plantation in the heart of the
metropolis.
http//www.cafegalleryprojects.com/html/Pastoff-si
teprojects.html Trace is the culmination of a
two-year initiative conceived and managed by
artist Alison Marchant. The work reveals the
otherwise hidden and displaced identities of
industrial female workers.The research phase of
this project began at Southwark Local History
Library in Borough High Street, where Marchant
discovered that the current Neckinger Mills
building, formerly Bevingtons Sons Ltd,
produced light leathers for shoes and fancy
goods. Women have always worked in finishing the
skins and lime painting, and it was said that the
fish oil used in the glazing process enhanced a
beauty in the Bermondsey womens hair and skin.
Bevingtons Neckinger mills opened in 1801 and
continued production until 1981.Viewed from the
street by day or night, changing in the differing
quality of light, Trace is a 24 hour project. Its
visibility relies on the meeting of the viewer's
gaze prompted by publicity or simply a chance
encounter. Editing the material at Resonance FM's
studios, the artist developed the audio piece
into a radio programme in collaboration with Life
Living Producer Mick Hobbs. Within the recorded
voices lie the complex descriptions of the
laborious, the sensuous and the notion of the
labourer as artist. This process also signifies
an echo or delay, filtering across London on
air and back into Neckinger Mills as radio
transmissions.The quality of the changing light
renders the photograph ghostly but ever present
and watchful. This fluctuation between visible
and invisible, fading and emergence, like the
action of pressing a camera shutter, signifies
the passing of time and the filmic photographic
process - the archive and the process of research
where one retrieves information and shelves it
again.