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From YouTube: Artist Talk: Meeting Bowls in Arlington
Description
mmmm... collective artists Eva Salmerón and Emilio Alarcón traveled from Madrid, Spain to talk with Arlington Cultural Affairs Specialist Cynthia Connolly about their public art project on the plaza at 1310 N. Courthouse Rd. in Arlington VA.
B
A
Thank
you
from
the
collective
Spanish
collect
design
collective.
So
we
wanted
to
thank
for
self
MRP
Realty,
who
gave
us
the
this
plaza
for
us
to
work
from
imposition.
The
meeting
bowls
here
also
accion
coach,
al
español
a--
for
the
funding
to
bring
a
van
emilio
here,
centro
cultural
espanol
from
miami
who
are
coordinating,
bringing
the
meeting
bowls
to
miami
and
then
also
the
miami
design
district,
and
you
guys
all
here
today
for
the
talk.
A
So
I
was,
I
think
we
will
just
launch
into
the
talk
and
how
about?
If
we
just
start
talking
about
I'll,
read
how
about
it's
completely
discombobulated
in
here
this
project.
The
meeting
goals
is
a
courthouse
2.0
project
with
arlington
public
art,
courthouse
2.0,
reimagining
civic
is
a
public
art
initiative
aimed
at
sparking
public
conversation
about
the
future
courthouse
square
project
by
exploring
the
interaction
between
civic
space
and
civic
life
and
arlington
courthouse
is
a
symbolic
heart
of
arlington,
a
public
Town
Square,
where
you
can
engage
to
create,
celebrate
or
to
simply
react
relax.
A
Our
purpose
with
courthouse
2.0
is
to
engage
people
in
new
and
creative
ways.
So
this
was
the
courthouse
2.0
area
that
we're
looking
at.
Is
you
see
the
farmers
market
over
here
and
past?
That
is
a
parking
lot.
The
parking
lot
eventually
will
be
converted
or
redesigned
into
a
big
public
space.
What
we're
doing
here
is
activating
these
place
spaces
in
advance
of
this
newly
designed
space.
That
will
happen
in
the
next
ten
years.
A
So
on
top
of
this
project
here,
which
is
a
marking
the
corner
sort
of
a
corner
point
on
the
other
corner
at
15th
and
courthouse
is
work
by
Linda,
Hesh
called
civic.
So
afterwards
you
please
go
over
and
check
out
that
piece
as
well
and
then
the
other
end
of
courthouse.
The
parking
lot
is
a
mural,
a
ground
mural
by
an
artist
named
Kate
Stewart.
So
these
are
some
of
the
projects
we're
doing
to
activate
the
courthouse
area
so
I'm
gonna
launch.
Yesterday
we
were
talking
about
a
couple
ideas.
C
A
Almost
20
years
so
when
I
was
looking
at
her
web
site,
I'll
early
loved
that
first
piece,
you
did
called
the
Christmas
attack
and
the
reason
why
I
loved
it
is
because
it
was
so
simple
and
it
it
showed
this
action
and
a
response
to
the
public.
That
I
feel
as
though
is
indicative
of
all
of
your
projects.
Thereafter,
that
you
focus
on
try
trying
to
instigate
the
public
in
a
way
to
for
them
to
respond
to
you
for
you
to
see
the
response
and
have
them
have
an
experience
that
they
don't
they're.
A
C
Was
very
simple:
we
wanted
that
specific
Christmas
we
were.
Can
you
hear
me?
Well,
yes,
okay
great.
We
were
kind
of
sad
and
upset
like
for
a
personal
matter
like
a
boyfriend,
just
like
living
do
before
Christmas,
and
so
we
just
wanted
to
be
a
little
Infanta
labels
and
we
in
Spain
we'll
have
Santa
Claus.
We
have
the
three
kings.
C
Those
are
the
ones
that
bring
the
presents
for
the
kids,
so
we
just
wrote
the
three
kings
don't
exist,
the
fifth
of
January
in
this
parade
they
made
for
kids,
but
I
mean
it
was
with
afterwards.
People
were
just
doing
the
light
shopping
for
their
kids,
so
actually
only
one
kid
saw
us
and
they
just
believe
what
they
want
to.
C
If
so,
the
kid
was
not
the
problem,
but
the
parents,
they
got
very
upset
and-
and
we
just
lasted
10
minutes,
it
was
such
a
provocation
and
and
afterwards
we
just
almost
run
from
there
and
we
were
like
well
next
time.
We
do
something.
We
have
to
know
why
we
do
it,
because
people
were
asking
us.
Why
do
you
do
this?
You're
killing
the
illusion
and-
and
we
didn't
know
why
we
did
it,
but
we
did
it,
and
that
was
the
start
of
just
provoking
things
in
the
street.
C
I
wouldn't
do
that
personally,
I'm
a
mother,
now
I
was
a
little
punk.
In
that
time
we
were
very
young,
but
now,
like
last
action
we
have
done
in
Street
is
called
human
rabbits
in
Melbourne
in
Australia,
50
people
were
in
cardboard
heads
with
the
form
of
her
bra
feet.
They
walk
in
the
streets
and
we
wanted
it
was
fun.
It
was
funny
very,
like
Oneiric,
also
like
a
little
dreams
realistic,
and
we
wanted
to
talk
about
immigration
and
group
and
identity,
the
rabbits
in
Australia
it's
a
main
issue.
C
They
have
a
problem
because
they
were
brought
from
Europe,
they
are
not
from
Australia
and
they
kill
all
of
the
ecosystem
of
Australia
and
they
became
they.
There
was
a
huge
invasion
and
they
became
a
real
problem,
so
they
start
like
killing
them,
and
so
we
just
wanted
with
the
touch
of
humor,
to
make
a
thoughtful
action
to
think
about
about
that.
So
that's
the
actions,
the
kind
of
actions
we
are
doing
now
in
this
so.
A
C
And
then,
one
year
later
we
yeah
the
street
was.
This
was,
is
and
will
be
a
very
easy
place
to
start
working
because
it
doesn't
cost
you
any
money.
You
don't.
If
you
don't
do
anything,
I
mean
if
you
do
something
that
doesn't
require
like
something
putting
something
in
the
space.
You
don't
need
a
permission.
I
mean
for
the
human
rabbit's.
You
don't
need
the
permission
is
as
people
walking
in
the
street.
C
A
Obviously,
the
first
problem
is
the
first
actions
you
just
made
and
you
went
out
in
the
street
and
did
them
there
wasn't.
You
didn't,
have
support
from
anybody
doing
this,
so
who
was
the
first
person
who
came
to
you
or
group?
That
said,
we
want
to
hire
you
to
do
a
specific
project,
focusing
on
a
specific
topic.
For
example,
did
anybody
come
to
you
after
seeing
you
know
like
the
rabbits
or
how
did
that
happen?
It.
C
Was
a
private
company,
a
cell
phone
private
company
that
wanted
us
to
investigate
in
different
ways
of
guerrilla?
How
do
you
call
a
guerilla
marketing
that
in
that
time,
didn't
exist?
Just
yet
the
name
I
mean,
but
it
was
like
well,
we
want
to
do
some
new
kind
of
advertisement
in
the
street
and
to
investigate
with
you
and,
and
it
was
half
advertisement-
health
promotion
of
art.
C
It
was
like
in
the
in
the
way
they
were
very
respectful
with
the
ideas
and
we
were
working
with
them
for
a
few
years
was
the
name
of
the
project.
Is
it
on
your
website
yeah?
It's
called
video
man,
okay!
Well,
we
need
several
with
them,
but
it
is
well.
It
was
a
van
that
had
images
projected
from
the
inside
in
the
windows,
so
it
was
and
it
was
parked
in
the
street.
So
it
was
like,
like
an
very
amazing
vehicle
parking
Street.
A
C
A
B
In
fact,
we
made
we
made
them
specifically
for
Times
Square,
because
that's
a
stencil
square,
as
you
know,
is
a
place
where
full
of
people
a
lot
of
people
goes
there.
So
we
wanted
to
make
something
like
a
refugee
for
the
people,
a
place
to
escape
for
from
the
city
and
a
place
to
meet
the
people,
because
our
work
is
always
always
talk.
I
will
recover
the
city
for
the
people
to
make
pieces
that
makes
the
people
connect
each
other
to
to
make
new
connections
and
new
interactions.
A
Can
you
guys
hear
over
there?
Okay,
great,
so,
what's
really
great
about
the
meeting
bowls
which
I
really
love
is
when
you?
Actually,
you
can
see
it
from
the
outside
and
it's
just
it's
a
sculptural
work
and
on
its
own
here
in
the
terrace.
This
plaza
it.
You
know,
you
see
it
from
afar.
It
just
looks
fantastic
and
you
wonder
what
it
is
and
then
you
come
over
here
and
you
could
actually
climb
inside
of
them
and
then
the
whole
world
sort
of
changes.
B
A
C
A
C
Uh-Huh,
that
would
be
nice
and
the
city
I,
think
I
I
think
we
there
is
going
to
be
more
and
more
public
art
in
the
future,
because
cities,
they
are
getting
very
cold
and
very
individualistic
people
don't
talk
to
each
other.
They
don't
they're
like
ultimate
like
robots.
In
a
way
we
can
become
very
easily
robots
in
there
in
the
city,
so
you
need
to
provoke
and
contours
and
to
make
people
interact
and
that's
why
you
live
in
a
city
to
meet
a
lot
of
people.
C
I
mean
if
you
don't
want
to
talk
to
anyone,
you
better
go
to
live
in
a
forest
with
the
squirrels.
You
know,
so
it's
I
think
we
need
public
art
in
in
in
cities
all
kind
all
kind
of
we
were
talking
before
that
they
could
be
MIT.
Emos
could
be
also
like
dating
places,
because
it's
like
a
fun
place
to
meet
with
someone
you
want
to
date
with
no,
let's
meet
in
a
meeting
more
clearly
yeah
yeah.
A
C
C
Me
I,
like
a
lot
a
party
we
made
in
total
of
security,
you
couldn't
see
anything
and
half
of
the
guests,
they
were
blind
people
and
they
had
so
much
fun
because
people
didn't
know
they
were
blind,
so
they
were
like
oh
I,
like
the
touch
of
your
shirt.
It's
like
yeah,
dad.
You
will
see
it
when
we
get
out
of
the
party
and
they
will
I
know
I'm
going
to
say
it.
I'm
blind.
You
know,
and
they
were
saying
like
they
were.
Everybody
was
talking
so
loud
and
and
blind
people.
C
They
were
saying
they
think
screaming.
They
are
going
to
see
something
you
know.
So
it
was
like
a
space
of
freedom.
You
could
be
talking
with
someone
and
if
you
were
getting
bored
just
leave
and
they
weren't
going
to
find
you
I
mean
it
was
complete,
dark,
complete
darkness
or
you
could
be
just
listening
to
a
conversation.
You
were
invited
and
they
didn't
know
you
were
there
just
listening
the
whole
thing.
So
I
love
that
space
of
freedom.
It
was
an
indoors
action.
C
C
B
For
me,
one
of
my
favorite
project
is
bus
buses.
Top
we
made
here
very
close
in
Baltimore
is
fantastic,
because
is
they
are
like
three
big
letters:
B
I,
baby
us
and
the
people
can
wait
the
Bruce
device
inside
the
letters,
so
they
are
big
like
14
feet
tall
the
people
can
interact
each
other's
inside
the
letters
and
the
experience
of
doing
them
was
fantastic
because
we
were
living
in
Baltimore
for
one
month
we
made
the
letters
with
with
Kyle.
That's
here
we
work
with
with
them,
and
the
experience
was
amazing.
B
C
A
part
of
working
with
the
community
that
you
get
to
know
really
how
the
city
is
like
by
its
people,
so
working
with
I.
Think
it's
really
like
here
with
you
that
you
get
first,
you
get
to
know
the
people
you
work
with
and
then
you
build
something
together
and
that's
something
very
nice
about
public
art.
So.
A
C
E
C
C
So
you
can
see
if
it's
like
more,
like
maybe
northern
city
or
South,
and
how
shy
people
is
or
if
they
like
here
they
use
them
a
lot
for
like
two
people
couples,
but
we
have
seen
less
like
just
like
a
crowded
ball
like
today,
so
maybe
it's
because
of
the
area
also
the
neighborhood.
So
that's
very
interesting
matter,
and
and
we
love
United
States,
because
we
think
people
are
very
interactive
in
general
in
this
country
like
people
that
they
don't
know,
they
just
start
talking
to
you
or
telling
you.
Oh
I,
love
your
shoes.
A
C
Is
paint
people
like
like
to
get
together
and
like
be
surrounded
of
a
lot
of
people
that
is
so
close
to
you
physically
also,
you
know
here
you
respect
more
your
physical
space
around
you
and
you
don't
give
two
kisses
when
you
say
just
to
say,
hi
or
to
say
bye,
but
it's
people
in
America.
What
I
feel
is
that
if
they
don't
know
you,
they
don't
have
any
problem.
Starting
talking
to
you
with
any
excuse,
you
know
or
about
the
weather,
about
or
your
accent.
Where
are
you
from
and
they
just
start.
C
C
C
Yeah,
maybe
I,
don't
know,
I
think
you
know
it
can
generate
different
situations
depending
the
age
might
be,
but
also
depending
if
there
are
women
or
men
or
how.
How
big
is
the
mix?
No,
but
it's
yeah
it's
interesting.
It
would
be
nice,
maybe
to
have
a
camera
just
type
in
the
meeting
ball
24
hours
a
day
and
see
what's
going
on
there.
Oh.
F
C
B
C
D
C
It
right,
though,
like
something
you
have
to
overcome-
and
here
here
is
nice-
that
you
can
do
public
art.
Anything
like
very
you,
I
mean
there
is
no
graffiti.
Everything
is
in
order,
it's
clean,
so
that's
nice
also
makes
things
easier
and
you're
very
nice,
of
course,
and
we
want
to
thank
you
for
inviting
us.
We
are
having
a
lot
of
fun.
G
Hi,
thank
you
great
talk,
great
sort
of
meeting
bowl
experience
is
wonderful,
so
I
was
wondering
if
you
have
any
examples
of
your
projects.
I
know
that
perhaps
intentionally
these
are
temporary
installations,
because
you're
addressing
a
certain
issue.
But
can
you
explain
if
there
are
any
projects
that
alert
later
on
turn
into
a
permanent
installation
or
fixture
in
a
city,
or
are
you
intentionally
keeping
it?
You
know
for
a
certain
period
of
time.
B
For
example,
the
project
I
talked
about
bus
stop,
it
was
permanent
project,
we
become
experts
in
temporary
pieces
because
they
were
cheaper.
So
is
like
that
the
budget
is
mandatory,
so
we
began
to
work
in
temporary
installations
and
know
we
will
begin
to
to
be
a
spurts
in
temporary
installations,
but
we
don't
have
nothing
against
permanent
installations.
C
D
B
Yes,
because
is
when
you
see
it
inside
a
circle,
you
can
see
the
faces
of
the
other
people,
so
every
distance
from
one
to
the
others
is
the
same.
I
am
from
the
same
distant
friend
you
that
from
Kyle,
so
his
is
an
especial
geometry.
They
decide.
The
circle
is
the
perfect
geometry,
so
it
was
mandatory
to
be
circular.
A
Does
anybody
else
have
any
questions?
I
I
have
one
last
question.
Actually,
if
nobody
else
has
any
more
but
curious
to
know
if
you
work
with
any
other
design,
collectives
that
work
similar
to
you
and
I
was
wondering
who
they
might
be.
If
you
have
ever
done,
something
like
that
and
or
also
have
you
looked
at
any
historically
like
I
brought
this
book
by
a
group
called
ant
farm,
which
is
here
in
the
United
States,
which
was
sort
of
a
design.
You
could
call
it
a
design
collective
as
well
from
the
70s.
A
So
I
was
wondering
if
you,
when
you
started,
if
you
were
looking
at
other
sort
of
formats,
that
other
people
have
done
in
the
past
or
projects
or
you
just.
It
was
just
sort
of
a
spontaneous
from
hanging
out
with
your
friends
and
you
thought
of
these
ideas,
and
you
want
to
just
go:
do
them
on
the
street
like
a
couple
questions
there
I.