[{"data":1,"prerenderedAt":200},["ShallowReactive",2],{"article:grassroots-and-spiderwebs-an-interview-with-heidi-nagtegaal":3,"page:48":127,"page:321":163},{"id":4,"slug":5,"title":6,"excerpt":7,"date":8,"year":9,"formattedDate":10,"typeIds":11,"typeNames":13,"wordCount":15,"isBlack":16,"image":17,"contributors":24,"contentHtml":33,"finalContentHtml":34,"creditsHtml":22,"pdfUrl":35,"vimeo":35,"contributorBios":36,"seo":45},1069,"grassroots-and-spiderwebs-an-interview-with-heidi-nagtegaal","Grassroots and Spiderwebs: An Interview with Heidi Nagtegaal","\u003Cp>Ashley Culver interviews Heidi Nagtegaal about Hammock Residency, Centre Center, and the importance of grassroots arts spaces.\u003C\u002Fp>\n","2022-02-21T12:33:34",2022,"Feb 2022",[12],5,[14],"Interview",3353,false,{"src":18,"srcset":19,"width":20,"height":21,"alt":22,"lqip":23},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F02\u002FFeature-image_Heidi-Nagtegaal-scaled.jpg","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F02\u002FFeature-image_Heidi-Nagtegaal-768x512.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F02\u002FFeature-image_Heidi-Nagtegaal-1536x1024.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F02\u002FFeature-image_Heidi-Nagtegaal-2048x1365.jpg 2048w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F02\u002FFeature-image_Heidi-Nagtegaal-scaled.jpg 2560w",2560,1707,"","data:image\u002Fwebp;base64,UklGRqYAAABXRUJQVlA4IJoAAACwBACdASogABUAPu1gq1AppSOisBgIATAdiWUAxnw0XV4a0LDx4luht0rXHxwQAP7zWwRouQ58iduP9XzqsioCHXW1+umFOc6WajL0hyNY6mI60doG7RJfd42XSbp7+vg5PJzTUg8jQ6tJ5\u002FYnCl+HbXTBMnUJf9manrP1oF2wAmH5pUzMOzuSlnxKyKHdIOmGhfxPgTZiAAAA",[25,29],{"id":26,"name":27,"slug":28},1071,"Ashley Culver","ashley-culver",{"id":30,"name":31,"slug":32},1072,"Heidi Nagtegaal","heidi-nagtegaal","\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRvQAAABXRUJQVlA4IOgAAAAQBgCdASogABIAPu1qq08ppiOiMBgIATAdiWMAsQ075dgKmOPFUyICcaTA1KWL5UUKDKjSY9HsqQAA\u002FsKVf+nIMByPcrRLwPZHIOQqF\u002Fqkb3JO9KzGHZFP7\u002F36QwDaoUhNVe6JVCRu3Aj6oGw\u002FZp7ihEWSEveWSZy0gWyqMdsvfTIcAd6zANbaLZ\u002Fulr0Xqmatawjaki2pF4P56fOBtkz4KIkzzfEfg6T9yVB4uWHQUMv4p6GRPy\u002F6+ziQMi\u002FF0BYAZ4BnHdIkAC8tl8e1BmM9Eszu\u002F7iTHbaFn3uKlWF4ggTPI0FpEDQA'\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F02\u002Fheidi-replace.jpg\" alt=\"\" class=\"lqip wp-image-1081\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F02\u002Fheidi-replace.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F02\u002Fheidi-replace-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F02\u002Fheidi-replace-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F02\u002Fheidi-replace-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption>Heidi Nagtegaal\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cem>Neon sticky notes with questions and prodding statements about issues common to  grassroots arts projects, such as time poverty, exclusion, and systemic change, have been catching my eye as my thumb scrolls through the feed.\u003C\u002Fem>\u003Cspan id='easy-footnote-1-1069'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-1-1069' content='“Institutionalized spaces are exclusionary. Money, education, nepotism = access. The excluded end up in Third spaces.”\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\"> “Can we do this work without actively de-colonize, de-capitalizing the systems we as centres\u002Ffunders\u002Fartists are part of?” \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">“Time poverty + Chaos are often themes of artist-run centres and third spaces” \u003Cbr>Centre Center, Instagram. Accessed 16 Feb 2022. \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fcentrecenter\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fwww.instagram.com\u002Fcentrecenter\u002F\u003C\u002Fa>' v-tippy='{ allowHTML: true }'>1\u003C\u002Fsup>\u003C\u002Fspan> \u003Cem>Centre Center, a collaboration encompassing curation, research, performance, and facilitation between Heidi Nagtegaal (HN) and Jenny Lee Craig, has been posting these sticky note updates from their research on third spaces\u003C\u002Fem>\u003Cspan id='easy-footnote-2-1069'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-2-1069' content='In this interview, we will be working from Centre Center’s definition: “Third Spaces is an umbrella term to talk about anything that is not a public or a private space. It includes grassroots art spaces, coffee shops, community centres, cafes – anywhere artistic practices take place, are shown and\u002For are celebrated. They are often emergent and operate outside of professional guidelines.” (Centre Center, Google form, Accessed 17 Feb 2022. \u003Ca href=\"https:\u002F\u002Fforms.gle\u002FTGFj9GKk3Sq2tJMAA\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fforms.gle\u002FTGFj9GKk3Sq2tJMAA\u003C\u002Fa> ) This definition draws on the work of Ray Oldenburg, an American urban sociologist, who coined the term ‘third place.’ Oldenburg identified one’s home as our primary space, one’s workplace as secondary, and the places we spend time in between as third places. (Ray Oldenburg, \u003Cem>Celebrating the Third Place: Inspiring Stories About the “Great Good Places” at the Heart of Our Communities\u003C\u002Fem>, Boston: Da Capo Press, 2002.) The term ‘third space’ is attributed to Homi K. Bhabha, a cultural and postcolonial theorist currently professor at Harvard University, and points to in-between space in which cultures collide and new identities are formed. (Bhabah, Homi K. \u003Cem>The Location of Culture\u003C\u002Fem>. London: Routledge, 1994). Edward Soja, an urban geographer, used the term ‘thirdspace’ to mean the real and imagined space or rather the lived space. (Soja, Edward W. \u003Cem>Thirdspace\u003C\u002Fem>. Maldon (Mass.): Blackwell, 1996.)' v-tippy='{ allowHTML: true }'>2\u003C\u002Fsup>\u003C\u002Fspan> \u003Cem>within the Canadian art scene. Third spaces are places in between one’s home and work, which are characterized by being sites of gathering and emergent strategy. Centre Center aims to advocate for third spaces by “working w[ith] an advisory board to create a best practices guide for artist run centres + foundations, for working with third spaces + grassroots artists.”\u003C\u002Fem>\u003Cspan id='easy-footnote-3-1069'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-3-1069' content='Center Center, Instagram bio. Accessed 16 Feb 2022. \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fcentrecenter\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fwww.instagram.com\u002Fcentrecenter\u002F\u003C\u002Fa>' v-tippy='{ allowHTML: true }'>3\u003C\u002Fsup>\u003C\u002Fspan>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cem>This work draws on Nagtegaal and Craig’s particular experiences with artist-driven DIY community-oriented art organizations. This is where Nagtegaal and I overlap: we have both run domestic art project spaces.\u003C\u002Fem>\u003Cspan id='easy-footnote-4-1069'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-4-1069' content='I direct and curate Sea Foam, an apartment gallery that encourages a porousness between life and art. Sea Foam is located in my rental apartment in the second floor unit of a brick house in the Parkdale neighbourhood in Toronto. Between 2015-2020, twenty exhibitions were held. Currently, Sea Foam is dormant due to the ongoing covid pandemic health risks. \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fseafoamhome\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fwww.instagram.com\u002Fseafoamhome\u002F\u003C\u002Fa>' v-tippy='{ allowHTML: true }'>4\u003C\u002Fsup>\u003C\u002Fspan> \u003Cem>Between 2009-2016 Nagtegaal held Hammock Residency within their home in the Commercial Drive neighbourhood of East Vancouver. Nagtegaal hosted artists from around the world, offering them use of their kitchen table, backyard, or whatever worked as studio space; they adapted the residency and their method of facilitation to best suit each artist’s needs. After a four-year hiatus, Hammock Residency was reactivated in an online form\u003C\u002Fem>\u003Cspan id='easy-footnote-5-1069'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-5-1069' content='In the current format of Hammock Residency, artists take over @hammockresidency instagram account for one month as a way to present their art practice and have a set number of one-on-one hours of mentorship with Nagtegaal (and other collective members if desired) in which they meet virtually. In 2021, artists received 20 one-on-one hours over two months. In 2022, artists will receive 30 one-on-one hours over three months.' v-tippy='{ allowHTML: true }'>5\u003C\u002Fsup>\u003C\u002Fspan> \u003Cem>in August 2020 when awarded funding from Canada Council for the Arts and BC Arts Council. It is now run by an artist collective consisting of Carmen Papalia, sophia bartholomew, Jenny Lee Craig, and Nagtegaal. In its latest form, Hammock Residency describes itself as: “a mad- and disability-led artist residency program committed to creating meaningful inclusion and accessibility in art by listening to artists and meeting them on their own terms” with a “focus on centering the accessibility and cultural needs of the artists-in-residence” and “creating an environment that is more nurturing than taxing.”\u003C\u002Fem>\u003Cspan id='easy-footnote-6-1069'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-6-1069' content='Hammock Residency, “To be held and holding,” \u003Cem>Akimbo\u003C\u002Fem>. Accessed 16 Feb 2022. \u003Cem> \u003C\u002Fem>​​\u003Ca href=\"https:\u002F\u002Fakimbo.ca\u002Flistings\u002Fhammock-residency-being-held-and-holding\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fakimbo.ca\u002Flistings\u002Fhammock-residency-being-held-and-holding\u002F\u003C\u002Fa>' v-tippy='{ allowHTML: true }'>6\u003C\u002Fsup>\u003C\u002Fspan> \u003Cem>In this interview I speak to Nagtegaal about the origins of Hammock Residency, the evolution of grassroots organizations, and the importance of third spaces.\u003C\u002Fem>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Ashley Culver (AC\u003C\u002Fstrong>)\u003Cstrong>: \u003C\u002Fstrong>What was the larger context or what was happening at the time when Hammock Residency began?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Heidi Nagtegaal (HN):\u003C\u002Fstrong> After finishing art school in 2005, I was getting shows. I was very thankful for those opportunities, but it was also very clear that other people were not getting opportunities, and it made me ask why. I saw that the art world was quite nepotistic. It wasn’t based on a deeper reasoning, it wasn’t the best artists, it wasn’t a meritocracy. A lot of the people I thought were doing interesting work were people that maybe were shy, maybe had mental health issues, maybe were trans or queer, or maybe had a different fundamental experience. Maybe they moved to Vancouver from another part of the world and it just didn’t translate, the scenes didn’t translate. I thought — \u003Cem>all you need is a line on your CV.\u003C\u002Fem> Before you can get a show, you need to show that you’ve been active since school — like, perhaps do a residency somewhere. I thought, \u003Cem>I’m an artist, I spend all my time in my studio making things anyway, it’s kind of lonely, wouldn’t it be nice to have another artist in the studio.\u003C\u002Fem>\u003Cspan id='easy-footnote-7-1069'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-7-1069' content='Nagtegaal’s studio is located within the house they live in in Vancouver.' v-tippy='{ allowHTML: true }'>7\u003C\u002Fsup>\u003C\u002Fspan>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Also, I have ADHD. But I didn’t know that body doubling was a thing among folks with ADHD until recently. It means that you sit with each other and keep each other on task. It seemed like it would benefit everyone. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">So Hammock Residency started out as an art world hack. If you can get that first line on your CV, then the next line isn’t as hard. And then they can’t stop you, and then you’re in!\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>AC:\u003C\u002Fstrong> What was the inspiration or reference that was key for you?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HN: \u003C\u002Fstrong>I was inspired by spiders and sugar ants. I’m always de-cobwebbing, and spiders don’t care, they put another web up the next day. They eat their food, and they live well, and they don’t give a fuck, they’re fine. When sugar ants die, they release a smell that tells their decentralized hive — one that has no queen — to reproduce, so it’s very difficult to get rid of them. The only thing you can do is Borax your house to destroy their scent trails, but they’ll eventually create new ones. They are so resilient. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">When I began the residency, I thought about how these insects adapted because it was their natural instinct to survive. It doesn’t have to be forever, like the spiders, it just has to work. Art is a force that can’t be stopped.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">I was also obsessed with mushrooms, and envisioned Hammock as a mycelium. When space is needed, the mushroom flushes to produce fruit, and the fruit can look different from each other, but it’s still connected to the same source. For example, Volume One of Hammock was in my house, and Volume Two is online; it’s still the same inoculate, in mushroom speak. It doesn’t wreck the brand, or the idea, or the concept because it needs to change. I’m old now. I need money, you know, to pay the bills, and I want to pay the artists. So we’re just gonna flush in this way.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>AC:\u003C\u002Fstrong> What is the philosophy or manifesto expressed by Hammock Residency?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HN:\u003C\u002Fstrong> Version One was very much: \u003Cem>I made a space because we needed the space\u003C\u002Fem>. It was very punk, very emergent. The idea of things trickling up, being grassroots, you know; things don’t usually come from the top down — they come from the bottom and grow up, then eventually get validated and become the new standard. Grassroots initiatives and policymakers actually have a lot more in common than they think; they’re just working on different sides of a coin. I feel we as citizens have offloaded a lot of responsibility onto larger structures. Being a citizen means that you are participating, but many of us don’t, and offload that participation over to our governments. Similarly, it’s really nice to blame the art world for being the way it is. But if I am a citizen of the art world, part of my duty is to participate in a way that fosters the community I want to exist in. Most people don’t think punk ethics and the idea of care or citizenship can co-exist, but they are the foundational principles of a participatory system.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>AC:\u003C\u002Fstrong> How has Hammock Residency changed your relationship to your home?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HN:\u003C\u002Fstrong> It feels very much like an amulet where you use something and it charges the energy. An amulet is an object that has been imbued with energy to supercharge it, and they are used to protect the holder from ill intent. It feels different now, because it’s been six years since Volume One, but you could really feel the house coming alive as it was functioning in all these different ways beyond just being a home for eating and sleeping. Everything became a tool for something. It changed my relationship to place in such an intimate way by connecting it to my art practice, and the practices of others.\u003C\u002Fp>\n\n\n\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRtQAAABXRUJQVlA4IMgAAADQBQCdASogABIAPu1mrE+ppaQiMBgIATAdiUAVIqRH\u002F7bA3QBlAoTo1\u002FZerdf1vRa12u+xgWwAAP0qPs7NwcE1j2Jq+4Y7GvX2yZXRfiBdzrNB2p0cjmUNQexuOJFP3Ea2k3QmiXiAnjyfFYkf9Xz3BSFXGtYU4K3df2uSauMpn0uEdNhEa67CyW8JBjHp3yze28fTmlijOvIpd6JEEupztNyaFPr5T+85YULp4D3RKzMsN+x9SuH7K76f3\u002FE93IhbrvIdqy\u002FCAA=='\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F02\u002Fheidi2replace.jpg\" alt=\"\" class=\"lqip wp-image-1080\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F02\u002Fheidi2replace.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F02\u002Fheidi2replace-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F02\u002Fheidi2replace-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F02\u002Fheidi2replace-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption>Hammock Residency sign\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>AC:\u003C\u002Fstrong> What title do you give yourself in relation to Hammock Residency?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HN:\u003C\u002Fstrong> I’m a tender of the space, which is another term for facilitator, and which includes space holder. It’s one of the things that has remained, both when I was at the helm, and also now in the collective. Now, as part of a collective, I can share the responsibilities of running a residency with my collaborators; we each have our strengths that we bring to the project, which has allowed it to evolve. The difference is we see ourselves as part of the rhizome.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Before [in Volume One] I probably had a bit of an enmeshment codependency martyr complex, you know —\u003Cem> I’m here, I’m a victim, just here to serve the community, the rescuer, \u003C\u002Fem>kind of like the saviour\u003Cem>. \u003C\u002Fem>When I saw the needs of the Hammock residents reflecting my own, I felt like if I gave up the Hammock, or made changes to it, I would be giving up on my needs as well. It got really messy. Classic enmeshment, entanglement, codependency.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">I thought I had set up good boundaries, but there was always so much that was happening with Hammock. It happened so fast and the volume was so much that I really didn’t have time to process all of my needs. I never clued in that maybe what I needed was to slow down, or to share in the labour — which wasn’t a sustainable or responsible way to tend to anything. When I came out of it, that was a big takeaway. I thought it was spiritually facilitating something, when really, I was just helping it come to ruin faster. But, you know, you realize these things as you go through life.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>AC:\u003C\u002Fstrong> Recently Hammock Residency has undergone some big shifts: from solo to collectively run, from self-funded to receiving grants, and from operating in your home to virtual. What has helped you navigate these shifts?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HN:\u003C\u002Fstrong> I think the biggest thing was the four-year gap [between Hammock Volume One and Two]. I experienced a lot of grief because I had my identity all wrapped into this role. I took that time to figure out who I was outside Hammock, who my friends were beyond the framework of the community. We use the words friendship and community so loosely, but just because they’re showing up for the events and you hosted them for potlucks does not mean that they’re going to bring you soup when you’re sick, or call you up for brunch. They’re waiting for you to call them up, because you’re in the role of a social organizer. So those years allowed that part of me to decay a bit. I was performing such deep intimacy in providing and tending, but how did that actually transfer into lived intimacy for myself? And honestly, don’t get it twisted, facilitating is beautiful. But actual friendships are different. There’s a different social contract that’s made up, and so really getting clear on that for myself has been an important lesson. Piney Wood Atlas\u003Cspan id='easy-footnote-8-1069'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-8-1069' content='Piney Wood Atlas is a collaborative project by artists Carolina Porras and Alicia Toldi, in which they visit artist residencies across North America and catalogue them in guidebooks to provide as a resource to fellow artists. Hammock Residency was featured in \u003Cem>Piney Wood Atlas Volume:1 The Northwest\u003C\u002Fem>, Blurb Inc, 2017. \u003Ca href=\"https:\u002F\u002Fwww.pineywoodatlas.com\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fwww.pineywoodatlas.com\u002F\u003C\u002Fa>' v-tippy='{ allowHTML: true }'>8\u003C\u002Fsup>\u003C\u002Fspan> did an interview with me in the middle of that process, and they were like, ‘\u003Cem>This is so brutal, but also so important, because no one talks about the inevitable life cycle or rebirth of these small artists projects.\u003C\u002Fem>’ When it came to the rebirth of Hammock, there was ease because the mourning — of myself five years ago, and of what Hammock had been — was complete.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">After doing that personal work, I was really clear on what I could give, and what I needed help with. It led me to my collaborators and to Volume Two. [In 2020] sophia joined to take care of the administrative process in grant writing.\u003Cspan id='easy-footnote-9-1069'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-9-1069' content='Since then, Craig has taken on the administrative work, so that sophia bartholomew can focus on their final year of graduate school.' v-tippy='{ allowHTML: true }'>9\u003C\u002Fsup>\u003C\u002Fspan> Carmen is a very gifted artist and accessibility activist, and through our conversations on disability justice we have found language around the inclusion and accessibility work I was already doing. They are awesome, because they don’t rush me. The whole idea of crip time, and things taking the time they need to take, made so much sense to us, and the three of us together organically grew into a collective. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>AC: \u003C\u002Fstrong>In your work with Jenny Lee Craig as part of Centre Center, you are researching third spaces and their importance in the arts. What interests you about third spaces?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HN: \u003C\u002Fstrong>They’re so flexible, and so intimate. Intimacy in this context refers to any type of exchange that is deep and meaningful, not a primarily romantic or sexual context. Discussions around art, eating food together, whether in a passing moment or a month of in-depth sharing — what makes it intimate is that it mattered, there was an impact, there was a mutual mark made of care, compassion, and goodwill on one another. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Third spaces tend to be sort of like the doulas of the art world. Hammock Residency has exhibited in galleries, but that was the artifact or the ephemera of Hammock.\u003Cspan id='easy-footnote-10-1069'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-10-1069' content='While most art objects are made to last, the exchanges of Hammock Residency, which can be understood within the context of social practice, have not been made to last. They were relational, transitory, and situational. The ephemera, or objects left behind, point to what occurred.' v-tippy='{ allowHTML: true }'>10\u003C\u002Fsup>\u003C\u002Fspan> Jenny writes and produces these amazing plays that take place on location, like in nature, or in a warehouse, with handmade props and costumes. In the gallery space, she may show video documentation of the play, and maybe the costumes, script, and other ephemera surrounding the play, but the play itself wouldn’t actually work in the gallery. Third spaces are radicalized, because they are the places of emergence that galleries actually can’t hold. While I love art galleries, their white walls and quiet open spaces to reflect in, third spaces exist in contrast to that, and take a different kind of labour to maintain. The labour is more intimate, more emotional, and honestly, quite often it’s labour society genders as ‘feminine.’ There’s a hierarchy to the art world, and there’s definitely a piece to deconstruct around that, why we value one kind of labour and not the other. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>AC:\u003C\u002Fstrong> Can you tell me more about Centre Center?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>HN:\u003C\u002Fstrong> Centre Center is a collaboration between myself and Jenny. We met when we  were both Christian punk teens doing DIY stuff in the suburbs. We had mutual friends, but were a suburb apart, and without social media, so you know, we were worlds apart, but peripherally connected through the punk scene. We reconnected fifteen years later at the Open Engagement conference in Portland, when we ended up driving back together through mutual friends, and hit it off right away, then realized halfway home that we knew each other already. We’ve been collaborating ever since.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Centre Center is the overarching project that encapsulates all of our collaborations over the years. We’ve curated shows like the Winter Beach Tour,\u003Cspan id='easy-footnote-11-1069'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-11-1069' content='Winter Beach Tour consisted of three exhibitions presented as off-site projects through the Ministry of Casual Living: ‘Garden Beach Hardbodies’ Marlaina Buch and Rohanna Gibson at Cattle Point Beach in Victoria, BC on February 4, 2012; ‘The Fog,’ Zain Burgess at Trafalgar Beach in Vancouver, BC on February 9, 2012; ‘prophecy sun animals,’ at Snug Cove on Bowen Island, BC on March 30, 2012 \u003Ca href=\"https:\u002F\u002Fblessingstick.wordpress.com\u002Fprojects\u002Fwinter-beach-tour\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fblessingstick.wordpress.com\u002Fprojects\u002Fwinter-beach-tour\u002F\u003C\u002Fa> and \u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002FCENTRECENTER\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fwww.facebook.com\u002FCENTRECENTER\u003C\u002Fa>' v-tippy='{ allowHTML: true }'>11\u003C\u002Fsup>\u003C\u002Fspan> where we curated exhibitions taking place on beaches, and the Hot Spring Spring Tour, where we read theory about land art in various hot springs. There’s a long list, and they’re all based on an ongoing trust and connection.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">The project we are working on currently is a Best Practice Guide for institutions to work better with third spaces. Now with all the social justice and equity awareness trending, woke curating is a thing, and art institutions are going to third spaces to find these artists that have been historically marginalized by the traditional art systems. The Best Practice Guide exists first as a survey for third space artists and organizers to fill out. The results will be sent to every arts institution across Canada in March 2022. We have hopes to write grants and receive funding to keep the survey open and create an interactive web platform so that the feedback can be continuously updated. What we are starting is really just a snapshot, but it could become so much more over time with stable funding. But you gotta start somewhere, and this is where we are starting.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">It’s a unique survey in the sense that people can write if they’re writers, they can also make a song or draw. There will also be someone available to fill the form out with them if they need access support. In terms of the data questions, folks can — but they don’t have to — fill out all of the stats. The Canada Council for the Arts wants that, because they see value in their data. In some ways it feels tokenistic, but at the same time, it’s a step towards addressing systemic biases and making change. If there’s anything I’ve learned about working with galleries it’s that most of them really want to do it well. And this is how we’re taking up space, in a way that’s kind of arms wide open, you know?\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">If you are an artist who uses third spaces, an artist who runs a third space, or a grassroots space, Centre Center would love for you to \u003Ca href=\"https:\u002F\u002Fforms.gle\u002FTGFj9GKk3Sq2tJMAA\" target=\"_blank\" rel=\"noreferrer noopener\">fill out their survey!\u003C\u002Fa> If you would like to get in touch please email them at \u003Ca href=\"mailto:hellocentrecenter@gmail.com\" target=\"_blank\" rel=\"noreferrer noopener\">hellocentrecenter@gmail.com\u003C\u002Fa>. Feel free to share amongst your networks. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Keep up with Hammock Residency and Centre Center on instagram at \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fhammockresidency\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">@hammockresidency\u003C\u002Fa> and \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fcentrecenter\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">@centrecenter\u003C\u002Fa>\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003C\u002Fp>\n\u003Cdiv class=\"easy-footnote-title\">\u003Cp>\u003Cstrong>Notes:\u003C\u002Fstrong>\u003C\u002Fp>\u003C\u002Fdiv>\u003Col class=\"easy-footnotes-wrapper\">\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-1-1069\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>“Institutionalized spaces are exclusionary. Money, education, nepotism = access. The excluded end up in Third spaces.”\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\"> “Can we do this work without actively de-colonize, de-capitalizing the systems we as centres\u002Ffunders\u002Fartists are part of?” \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">“Time poverty + Chaos are often themes of artist-run centres and third spaces” \u003Cbr>Centre Center, Instagram. Accessed 16 Feb 2022. \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fcentrecenter\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fwww.instagram.com\u002Fcentrecenter\u002F\u003C\u002Fa>\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-1-1069\" aria-label=\"Back to note 1 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-2-1069\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>In this interview, we will be working from Centre Center’s definition: “Third Spaces is an umbrella term to talk about anything that is not a public or a private space. It includes grassroots art spaces, coffee shops, community centres, cafes – anywhere artistic practices take place, are shown and\u002For are celebrated. They are often emergent and operate outside of professional guidelines.” (Centre Center, Google form, Accessed 17 Feb 2022. \u003Ca href=\"https:\u002F\u002Fforms.gle\u002FTGFj9GKk3Sq2tJMAA\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fforms.gle\u002FTGFj9GKk3Sq2tJMAA\u003C\u002Fa> ) This definition draws on the work of Ray Oldenburg, an American urban sociologist, who coined the term ‘third place.’ Oldenburg identified one’s home as our primary space, one’s workplace as secondary, and the places we spend time in between as third places. (Ray Oldenburg, \u003Cem>Celebrating the Third Place: Inspiring Stories About the “Great Good Places” at the Heart of Our Communities\u003C\u002Fem>, Boston: Da Capo Press, 2002.) The term ‘third space’ is attributed to Homi K. Bhabha, a cultural and postcolonial theorist currently professor at Harvard University, and points to in-between space in which cultures collide and new identities are formed. (Bhabah, Homi K. \u003Cem>The Location of Culture\u003C\u002Fem>. London: Routledge, 1994). Edward Soja, an urban geographer, used the term ‘thirdspace’ to mean the real and imagined space or rather the lived space. (Soja, Edward W. \u003Cem>Thirdspace\u003C\u002Fem>. Maldon (Mass.): Blackwell, 1996.)\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-2-1069\" aria-label=\"Back to note 2 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-3-1069\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Center Center, Instagram bio. Accessed 16 Feb 2022. \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fcentrecenter\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fwww.instagram.com\u002Fcentrecenter\u002F\u003C\u002Fa>\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-3-1069\" aria-label=\"Back to note 3 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-4-1069\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>I direct and curate Sea Foam, an apartment gallery that encourages a porousness between life and art. Sea Foam is located in my rental apartment in the second floor unit of a brick house in the Parkdale neighbourhood in Toronto. Between 2015-2020, twenty exhibitions were held. Currently, Sea Foam is dormant due to the ongoing covid pandemic health risks. \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fseafoamhome\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fwww.instagram.com\u002Fseafoamhome\u002F\u003C\u002Fa>\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-4-1069\" aria-label=\"Back to note 4 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-5-1069\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>In the current format of Hammock Residency, artists take over @hammockresidency instagram account for one month as a way to present their art practice and have a set number of one-on-one hours of mentorship with Nagtegaal (and other collective members if desired) in which they meet virtually. In 2021, artists received 20 one-on-one hours over two months. In 2022, artists will receive 30 one-on-one hours over three months.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-5-1069\" aria-label=\"Back to note 5 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-6-1069\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Hammock Residency, “To be held and holding,” \u003Cem>Akimbo\u003C\u002Fem>. Accessed 16 Feb 2022. \u003Cem> \u003C\u002Fem>​​\u003Ca href=\"https:\u002F\u002Fakimbo.ca\u002Flistings\u002Fhammock-residency-being-held-and-holding\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fakimbo.ca\u002Flistings\u002Fhammock-residency-being-held-and-holding\u002F\u003C\u002Fa>\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-6-1069\" aria-label=\"Back to note 6 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-7-1069\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Nagtegaal’s studio is located within the house they live in in Vancouver.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-7-1069\" aria-label=\"Back to note 7 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-8-1069\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Piney Wood Atlas is a collaborative project by artists Carolina Porras and Alicia Toldi, in which they visit artist residencies across North America and catalogue them in guidebooks to provide as a resource to fellow artists. Hammock Residency was featured in \u003Cem>Piney Wood Atlas Volume:1 The Northwest\u003C\u002Fem>, Blurb Inc, 2017. \u003Ca href=\"https:\u002F\u002Fwww.pineywoodatlas.com\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fwww.pineywoodatlas.com\u002F\u003C\u002Fa>\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-8-1069\" aria-label=\"Back to note 8 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-9-1069\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Since then, Craig has taken on the administrative work, so that sophia bartholomew can focus on their final year of graduate school.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-9-1069\" aria-label=\"Back to note 9 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-10-1069\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>While most art objects are made to last, the exchanges of Hammock Residency, which can be understood within the context of social practice, have not been made to last. They were relational, transitory, and situational. The ephemera, or objects left behind, point to what occurred.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-10-1069\" aria-label=\"Back to note 10 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-11-1069\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Winter Beach Tour consisted of three exhibitions presented as off-site projects through the Ministry of Casual Living: ‘Garden Beach Hardbodies’ Marlaina Buch and Rohanna Gibson at Cattle Point Beach in Victoria, BC on February 4, 2012; ‘The Fog,’ Zain Burgess at Trafalgar Beach in Vancouver, BC on February 9, 2012; ‘prophecy sun animals,’ at Snug Cove on Bowen Island, BC on March 30, 2012 \u003Ca href=\"https:\u002F\u002Fblessingstick.wordpress.com\u002Fprojects\u002Fwinter-beach-tour\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fblessingstick.wordpress.com\u002Fprojects\u002Fwinter-beach-tour\u002F\u003C\u002Fa> and \u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002FCENTRECENTER\" target=\"_blank\" rel=\"noreferrer noopener\">https:\u002F\u002Fwww.facebook.com\u002FCENTRECENTER\u003C\u002Fa>\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-11-1069\" aria-label=\"Back to note 11 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003C\u002Fol>","\u003Cp>\u003Cstrong>Images:\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Col>\n\u003Cli>Heidi Nagtegaal. Photo: Rebecca Poulin. Courtesy the artist.\u003C\u002Fli>\n\u003Cli>Hammock Residency sign. Photo: Heidi Nagtegaal. Courtesy the artist.\u003C\u002Fli>\n\u003C\u002Fol>\n",null,[37,41],{"id":26,"slug":28,"name":27,"firstName":38,"lastName":39,"bioHtml":40},"Ashley","Culver","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Ashley Culver \u003C\u002Fstrong>is an artist and writer based in Tkaronto\u002FToronto. The thread of attention with care runs through her practice. Her work is in conversation with domestic space — particularly the kitchen — and desire for connection.\u003C\u002Fp>\n",{"id":30,"slug":32,"name":31,"firstName":42,"lastName":43,"bioHtml":44},"Heidi","Nagtegaal","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Heidi Nagtegaal \u003C\u002Fstrong>(BFA, ECUAD, 2005) is an artist, writer, facilitator, and business owner residing on stolen territories of the Sḵwx̱wú7mesh, Stó:lō and Səl̓ílwətaʔ\u002FSelilwitulh and xʷməθkʷəy̓əm Nations. They founded Hammock Residency and Headbands & Bracelets, motivated by exchanges built on currencies that nourish instead of deplete. Nagtegaal studied trauma and embodiment with Dr. Beth Hedva (2016). They graduated from The School of the Free Hammock (2018), a self-made MFA program based in mutual aid.\u003C\u002Fp>\n",{"title":46,"robots":47,"og_locale":53,"og_type":54,"og_title":46,"og_description":55,"og_url":56,"og_site_name":57,"article_publisher":58,"article_modified_time":59,"og_image":60,"twitter_card":63,"twitter_site":64,"twitter_misc":65,"schema":67},"Grassroots and Spiderwebs: An Interview with Heidi Nagtegaal - ReIssue",{"index":48,"follow":49,"max-snippet":50,"max-image-preview":51,"max-video-preview":52},"noindex","follow","max-snippet:-1","max-image-preview:large","max-video-preview:-1","en_US","article","Ashley Culver interviews Heidi Nagtegaal about Hammock Residency, Centre Center, and the importance of grassroots arts spaces.","https:\u002F\u002Freissue.pub\u002Farticles\u002Fgrassroots-and-spiderwebs-an-interview-with-heidi-nagtegaal\u002F","ReIssue","https:\u002F\u002Fwww.facebook.com\u002Freissue.pub\u002F","2022-02-21T22:46:48+00:00",[61],{"width":20,"height":21,"url":18,"type":62},"image\u002Fjpeg","summary_large_image","@reissuepub",{"Est. reading time":66},"17 minutes",{"@context":68,"@graph":69},"https:\u002F\u002Fschema.org",[70,85,87,101,116],{"@type":71,"@id":56,"url":56,"name":46,"isPartOf":72,"primaryImageOfPage":74,"image":76,"thumbnailUrl":18,"datePublished":77,"dateModified":59,"breadcrumb":78,"inLanguage":80,"potentialAction":81},"WebPage",{"@id":73},"https:\u002F\u002Freissue.pub\u002F#website",{"@id":75},"https:\u002F\u002Freissue.pub\u002Farticles\u002Fgrassroots-and-spiderwebs-an-interview-with-heidi-nagtegaal\u002F#primaryimage",{"@id":75},"2022-02-21T20:33:34+00:00",{"@id":79},"https:\u002F\u002Freissue.pub\u002Farticles\u002Fgrassroots-and-spiderwebs-an-interview-with-heidi-nagtegaal\u002F#breadcrumb","en-US",[82],{"@type":83,"target":84},"ReadAction",[56],{"@type":86,"inLanguage":80,"@id":75,"url":18,"contentUrl":18,"width":20,"height":21},"ImageObject",{"@type":88,"@id":79,"itemListElement":89},"BreadcrumbList",[90,95,99],{"@type":91,"position":92,"name":93,"item":94},"ListItem",1,"Home","https:\u002F\u002Freissue.pub\u002F",{"@type":91,"position":96,"name":97,"item":98},2,"Articles","https:\u002F\u002Freissue.pub\u002Farticles\u002F",{"@type":91,"position":100,"name":6},3,{"@type":102,"@id":73,"url":94,"name":57,"description":103,"publisher":104,"potentialAction":106,"inLanguage":80},"WebSite","critical discourse for experimental art practices",{"@id":105},"https:\u002F\u002Freissue.pub\u002F#organization",[107],{"@type":108,"target":109,"query-input":112},"SearchAction",{"@type":110,"urlTemplate":111},"EntryPoint","https:\u002F\u002Freissue.pub\u002F?s={search_term_string}",{"@type":113,"valueRequired":114,"valueName":115},"PropertyValueSpecification",true,"search_term_string",{"@type":117,"@id":105,"name":57,"url":94,"logo":118,"image":123,"sameAs":124},"Organization",{"@type":86,"inLanguage":80,"@id":119,"url":120,"contentUrl":120,"width":121,"height":122,"caption":57},"https:\u002F\u002Freissue.pub\u002F#\u002Fschema\u002Flogo\u002Fimage\u002F","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F06\u002Freissue_logo.jpg",1920,1118,{"@id":119},[58,125,126],"https:\u002F\u002Fx.com\u002Freissuepub","https:\u002F\u002Fwww.instagram.com\u002Freissue.pub\u002F",{"id":128,"slug":129,"title":93,"contentHtml":22,"acf":130,"backgroundBlur":133,"seo":134},48,"home",{"background_image":131,"isBlack":16,"header_text":132},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2026\u002F11\u002Fdaisy_reissue_2.jpg","ReIssue: art and criticism in \u003Cbr>\r\nthe cosmos of cultural production","url(\"data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 213'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRoIAAABXRUJQVlA4IHYAAADwBACdASogABUAPu1qqlEppaOiqAqpMB2JZwAAKf0c+TYjyG8vhTeRaShCpli8uAAA\u002FnFf8QBzP1T7FqMQfN+5P0sEZp4TM\u002FtvUeu\u002F6PKH+GHrebLLz8IW4Q6wQ5kHZO6aqggnKrdkv+u62izeOgqi4jMyAAAA'\u002F%3E%3C\u002Fsvg%3E\")",{"title":135,"robots":136,"og_locale":53,"og_type":54,"og_title":135,"og_url":137,"og_site_name":57,"article_publisher":58,"article_modified_time":138,"twitter_card":63,"twitter_site":64,"schema":139},"Home - ReIssue",{"index":48,"follow":49,"max-snippet":50,"max-image-preview":51,"max-video-preview":52},"https:\u002F\u002Freissue.pub\u002Fhome\u002F","2026-11-14T21:58:11+00:00",{"@context":68,"@graph":140},[141,149,153,159],{"@type":71,"@id":137,"url":137,"name":135,"isPartOf":142,"datePublished":143,"dateModified":138,"breadcrumb":144,"inLanguage":80,"potentialAction":146},{"@id":73},"2018-04-21T23:04:08+00:00",{"@id":145},"https:\u002F\u002Freissue.pub\u002Fhome\u002F#breadcrumb",[147],{"@type":83,"target":148},[137],{"@type":88,"@id":145,"itemListElement":150},[151,152],{"@type":91,"position":92,"name":93,"item":94},{"@type":91,"position":96,"name":93},{"@type":102,"@id":73,"url":94,"name":57,"description":103,"publisher":154,"potentialAction":155,"inLanguage":80},{"@id":105},[156],{"@type":108,"target":157,"query-input":158},{"@type":110,"urlTemplate":111},{"@type":113,"valueRequired":114,"valueName":115},{"@type":117,"@id":105,"name":57,"url":94,"logo":160,"image":161,"sameAs":162},{"@type":86,"inLanguage":80,"@id":119,"url":120,"contentUrl":120,"width":121,"height":122,"caption":57},{"@id":119},[58,125,126],{"id":164,"slug":165,"title":166,"contentHtml":167,"acf":16,"backgroundBlur":35,"seo":168},321,"subscription-banner","Subscription Banner","\n\u003Cp class=\"wp-block-paragraph\">ReIssue is unfunded, wild and free. Any donation will go towards: 1) paying our contributors; 2) maintaining the site; 3) physical publications and events—in that order of importance.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">To donate, contact: \u003Ca href=\"mailto:editor@reissue.pub\" rel=\"nofollow\">editor@reissue.pub\u003C\u002Fa>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Sign up for our email newsletter\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003C\u002Fp>\n",{"title":169,"robots":170,"og_locale":53,"og_type":54,"og_title":169,"og_description":171,"og_url":172,"og_site_name":57,"article_publisher":58,"article_modified_time":173,"twitter_card":63,"twitter_site":64,"twitter_misc":174,"schema":176},"Subscription Banner - ReIssue",{"index":48,"follow":49,"max-snippet":50,"max-image-preview":51,"max-video-preview":52},"ReIssue is unfunded, wild and free. Any donation will go towards: 1) paying our contributors; 2) maintaining the site; 3) physical publications and events—in that order of importance. To donate, contact: editor@reissue.pub Sign up for our email newsletter","https:\u002F\u002Freissue.pub\u002Fsubscription-banner\u002F","2026-11-13T20:28:08+00:00",{"Est. reading time":175},"1 minute",{"@context":68,"@graph":177},[178,186,190,196],{"@type":71,"@id":172,"url":172,"name":169,"isPartOf":179,"datePublished":180,"dateModified":173,"breadcrumb":181,"inLanguage":80,"potentialAction":183},{"@id":73},"2020-12-15T23:44:21+00:00",{"@id":182},"https:\u002F\u002Freissue.pub\u002Fsubscription-banner\u002F#breadcrumb",[184],{"@type":83,"target":185},[172],{"@type":88,"@id":182,"itemListElement":187},[188,189],{"@type":91,"position":92,"name":93,"item":94},{"@type":91,"position":96,"name":166},{"@type":102,"@id":73,"url":94,"name":57,"description":103,"publisher":191,"potentialAction":192,"inLanguage":80},{"@id":105},[193],{"@type":108,"target":194,"query-input":195},{"@type":110,"urlTemplate":111},{"@type":113,"valueRequired":114,"valueName":115},{"@type":117,"@id":105,"name":57,"url":94,"logo":197,"image":198,"sameAs":199},{"@type":86,"inLanguage":80,"@id":119,"url":120,"contentUrl":120,"width":121,"height":122,"caption":57},{"@id":119},[58,125,126],1794704115713]