PLEASE VISIT 4thwallapp.org for more info, and download the UPDATED VERSION of the 4th Wall app NOW AVAILABLE for iPhone 6s and above or Android devices equipped with ARCore, but in the meantime…
How to use:
Each artwork is literally locked to its GPS coordinates.
We have placed and scaled each for maximum impact. When you tap Coordinates, the app will search for the nearest artwork based on your location and will literally point you to the nearest artwork. It will also direct you to the nearest piece (“Go to …”) If you go to that location, and are in range of the piece, the artwork will appear onscreen– to scale –based on your proximity to it. Each artwork has its own visibility range so if you are too far away, it will not appear.
In the “news” section on the app, you will see which artist has placed a new artwork and where it is located in the world. I’ve noted the “best vantage point” in most cases. Based on your own location, you can determine if you want to travel to experience the work, or if you are close enough to wander out and see. A running list of new works and sites will be available on the app and at 4thwallapp.org.
THE FIRST SIX COORDINATES ARTISTS:
Tanya Aguiñiga “Impotence Incarnate” (2017): Go to: Border Wall, Playas de Tijuana, MEXICO, best view from the Tijuana beach, at the border wall
About her piece and site, Aguiñiga states, “This piece refers to my impotent and shaky grip in my attempt to reconcile the work we are doing along the border and take ownership of this physical and emotional space. The border fence, especially this particular stretch of fence, has haunted my memories, as it was absent most of my childhood and left a marked scar on my small town of Playas de Tijuana when it was installed. The fence is a permanent reminder that we are not wanted, that we are less than, that we are what gets filtered out. It is a stigma we invisibly carry the rest of our lives, as we find out place in the world navigating the liminal.”
More on Tanya’s work: http://www.tanyaaguiniga.com
Beatriz Cortez “Tzolk’in” (2018): Go to: Bowtie Project Los Angeles, CA. Best view roughly halfway into Bowtie Project, across the LA river from Spoke Cafe.
Tzolk’in is a site specific sculpture by LA-based artist Beatriz Cortez at the Bowtie Project, produced by Clockshop. Inspired by a Maya ancient 260-day agricultural calendar, that follows Tzolk’in a hypocycloid motion to mark time through a movement that is both linear and cyclical. This motion, which throughout history has been linked to the cosmos, biology, industrialization, and spirituality. Conceptually, the piece explores ideas about simultaneity, nomadism, ancient and contemporary modernities and technologies, and posthuman imaginaries.
Tzolk’in was created as a two-part project. Cortez created a second sculpture for the Made in L.A. 2018 biennial at the Hammer Museum in Los Angeles. Together, the sculptures’ contrasting locations — a museum setting in Westwood and a former railyard in Glassell Park — invite audiences to reflect on the different realities that exist in these disparate parts of the city, as well as the ways these locations may be connected, and the broken bonds of communication that reach through time and space.
Tzolk’in Memorial for Claudia Gómez González was originally conceived by LA-based artist Beatriz Cortez as a site specific sculpture that was originally installed at the Bowtie Project facing the in Los Angeles River on the same week of Claudia’s murder. Inspired by the Maya ancient 260-day agricultural calendar, Tzolk’in is placed here above the Rio Grande in Nuevo Laredo, Mexico, in the vicinity of her murder, to honor her life, the knowledge that her ancestors left us, and her cosmic travels. This motion, which throughout history has been linked to the cosmos, biology, industrialization, and spirituality. Conceptually, the piece explores ideas about simultaneity, nomadism, ancient and contemporary modernities and technologies, and posthuman imaginaries.
Beatriz Cortez “Tzolk’in Memorial to Claudia Gómez González” (2018): Go to: Parque Viveros, Nuevo Laredo, MEXICO Note: on May 23, 2018,Claudia Gómez González was killed by a Customs and Border Protection Agent while crossing the Rio Grande in an area nearby.
More on Beatriz’s work: https://beatrizcortez.com
Kenturah Davis: “Both” (2016): Go to the Great Pyramid of Giza, EGYPT
Of “Both” above the Pyramid, Kenturah writes: “This drawing brackets a liminal space with the quasi-mirrored image. The space in between points to a space of mystery, while the portraits are rendered with writing. I chose a pyramid because it is a site that functioned as a transitional/liminal space. While there is so much we’ve learned about them there’s there also seems to be obscured information and, furthermore, knowledge that is completely a mystery to us. I think the way I made the drawing runs parallel to that: layered text to the point of illegibility, a binary opposition that could refer to life and death, with the space in between that connects the two.”
More on Kenturah’s work: http://www.kenturah.com
Micol Hebron“Eminent Domain” (2018): Go to: Dodger Stadium, Los Angeles, CA
Micol writes,”Eminent Domain” was created specifically for Coordinates, to be placed above Dodger Stadium. Juxtaposing the patriotic American Bald eagle, with the snake-eating eagle from the coat of arms on the Mexican flag, “Eminent Domain” calls attention to the history of the land where Dodger Stadium now sits. Between 1951 and 1961 the area known as Chavez Ravine was a battleground for urban development, resulting in the eviction of over 1800 families. These predominantly Mexican American families resided in neighborhoods known as La Loma, Palo Verde, and Bishop. Initially, the City of LA had planned to build a public housing development in this area, to be designed by the modernist, Austrian architect Richard Neutra. After the evictions occurred, newly elected LA mayor Norris Poulson opposed public housing projects as being ‘socialist’, and the land sat empty, with the exception of a few resistant families (notably, Manuel and Abrana Arechiga and their daughter Aurora Vargas), for years. At the end of the 1950s it was decided that the area would be the site of Dodger Stadium. Sixty years later, in contemporary Los Angeles, and especially in central, southern, and eastern Los Angeles neighborhoods (such as Boyle Heights, for example), debates about gentrification are active. For whom is this “the land of the free”?”
Inspiration for the work:
Debra Scacco “The President Wilson, 1928” (2018): Go to: The waters by the Statue of Liberty, includes sound. Best views from free Staten Island Ferry, and Battery Park, NYC NOTE: This work includes sound, a segment of an interview from the Ellis Island Oral History Project. Please tap the sound icon for the full experience!
Scacco’s work uses historical material from the Ellis Island archives to examine the liminal space of the immigrant journey: in which the future of the individual confronts the reality of politics and power. The key vantage point of The President Wilson, 1928 is the Staten Island Ferry (waters immigrants would have traveled), with additional viewing points at former immigration stations (Ellis Island, Battery Park). The piece places viewer at the heart of the experience, inspiring empathy for individuals willing to risk it all to cross a border for a better life.
More on Debra Scacco’s work: http://www.debrascacco.com
Nancy Baker Cahill “Hurt Colors” (2018): Go to: Las Vegas Village, best view from open lot next to “Las Vegas Village” across from Mandalay Bay, Las Vegas, NV
I placed my own painting through #Coordinates, “Hurt Colors,” in Las Vegas, NV to honor the 58 people killed and 851 injured (422 with gunshot wounds) on October 1, 2017 at the Rt. 91 Harvest Music Festival. In a news cycle that prompts forgetting, I wanted to remember. Despite any public information on the shooter’s motives, the largest mass shooting in the US has been deemed a “closed case.” I hope to further dialogue around epidemic gun violence, vulnerability, resilience, and the small, unseen acts of heroism that occur through and after tragedies as well.