Grants:Programs/Wikimedia Community Fund/Rapid Fund/Push-Pull Practice (ID: 22905870)
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Applicant Details
edit- Main Wikimedia username. (required)
r_jiang
- Organization
N/A
- If you are a group or organization leader, board member, president, executive director, or staff member at any Wikimedia group, affiliate, or Wikimedia Foundation, you are required to self-identify and present all roles. (required)
N/A
- Describe all relevant roles with the name of the group or organization and description of the role. (required)
Main Proposal
edit- 1. Please state the title of your proposal. This will also be the Meta-Wiki page title.
Push-Pull Practice
- 2. and 3. Proposed start and end dates for the proposal.
2025-03-14 - 2025-04-11
- 4. Where will this proposal be implemented? (required)
United States of America
- 5. Are your activities part of a Wikimedia movement campaign, project, or event? If so, please select the relevant project or campaign. (required)
Art+Feminism
- 6. What is the change you are trying to bring? What are the main challenges or problems you are trying to solve? Describe this change or challenges, as well as main approaches to achieve it. (required)
Establishing New Perspectives on Linguistics: This exhibition intends to discuss the linguistic and non-order nature of art through the linguistic perspectives of polyphony and the accents of objects, thus revealing the narrative logics of different creators who combine objects and disciplines in the creation of this medium. The exhibition intends to show how the creators' exploration of the medium escapes the constraints of its original definition and function, and how they establish a new order that belongs to their own personal order, a new disorder, or how they keep witnessing the collapse of the order they have established. (Thematic) Rethinking Failure and Disorder: The exhibition is a territory of uncertainty and the process of creation, and as it slowly enters into the creator's narrative - retelling implies the production of difference - the entire exhibition space is drawn into a rethinking zone of retelling, failure, and disorder.
Rethinking the power relations of exhibition:
In the exhibition space, each creator has a decisive space, as if they maintain a decisive dominance over the medium and the object. Thus, they invite the viewer to enter the space of the creator to listen to new narratives; this highlights the unequal power relations between the creators as narrators and creators, with objects and the viewers. At the same time, the curator attempts to view the whole exhibition place as a space of imbalance. Although there are visual walls between different works, the intention of it is to openly show these ruptures and integral connections, placing the curator, the artist, the works of art and the viewers into the imbalance, thus making a side-line analysis of the power relations in exhibition space.
- 7. What are the planned activities? (required) Please provide a list of main activities. You can also add a link to the public page for your project where details about your project can be found. Alternatively, you can upload a timeline document. When the activities include partnerships, include details about your partners and planned partnerships.
1. Ongoing one-month exhibition open to public 2. Public programming
- Ongoing Programming
I. “Body Jam” Form: a small set-up separate space Inviting audience to pick random objects that are displayed in certain area and make sounds by throwing, patting or whatever way.
II. Interactive Map of Disorder - “Threading Map” The audience will create a collaborative "map" using stickers, strings, and sketches to chart their experiences and interpretations of the exhibition. Over time, the map becomes a sprawling visual disorder layered with subjective meaning. To Visualize the collective yet chaotic nature of subjective interaction within a shared space.
- One-day programming
III. “The Babel Experiment”
Using the individual warehouse room in the gallery where participants communicate using objects instead of words. Each person is given an object and must convey their thoughts by interacting with it (e.g., shaking, striking, or reassembling). To explore the narrative autonomy of objects and their capacity to communicate meaning independently of traditional linguistic constructs. It is ok to witness the completion of a grass-rooted tower of Babel, a completion of a number of towers of Babel; It is also ok to see a flat, uncentered, willow-like path. The intention is an invisible push-pull practice of “disconsensus” and “oscilliation”.
3. Public Opening Reception and Closing Reception
- opening reception: including curator tour and live endurance performance
- closing reception: show the collective sound outcome and visual outcome of all of the public programming
- 8. Describe your team. Please provide their roles, Wikimedia Usernames and other details. (required) Include more details of the team, including their roles, usernames, Wikimedia group, and whether they are salaried, volunteers, consultants/contractors, etc. Team members involved in the grant application need to be aware of their involvement in the project.
Partnership: AREA 405, 405 E Oliver St, Baltimore, MD, United States
AREA 405 is located in a 174-year-old artist-owned warehouse within Baltimore's Station North Arts and Entertainment District, AREA 405 is committed to showcasing and strengthening the vitality of the arts community within Baltimore and more. The preserved industrial character of our building provides a particular and distinctive setting for exhibitions as well as extensive studio space for the artists who create here and The Station North Tool Library.
In 2022, Central Baltimore Partnership acquired the building, in partnership with Ernst Valery, with the main purpose being the preservation of this vital building and its community of artists and makers. The reopening of The Gallery in 2023 ushers in the next chapter of this unique industrial venue and a rededication to providing an accessible platform for exhibition, performance, and community-based programming.
The vibrant pulse of the Baltimore art scene resounds with clamor, echoing a tightly knit community brimming with collaborative spirit. Baltimore's artists weave their aspirations into the city's fabric, bringing life into neglected spaces left by their predecessors. Their roots intertwine with the very bricks of the urban landscape, imbuing it with hues that echo the past while invigorating the present.
In this spirit, we regard AREA 405 not merely as an arts hub, but as an extension of this artistic ethos, a place where creativity thrives amidst the city's enduring narrative.
- 9. Who are the target participants and from which community? How will you engage participants before and during the activities? How will you follow up with participants after the activities? (required)
The target participants bridge the dynamic mission of AREA 405 and the diverse interests of your audience. They include art students, literature students, and those studying science, technology, and biology. Participation extends to visual artists, interdisciplinary creators, sound artists, performance artists, musicians, scientists, engineers, and writers. These individuals are drawn to the interdisciplinary nature of art, experimental exhibition spaces, and the exploration of chaos, imbalance, and multi-sensory experiences. Baltimore's creative community, particularly those connected to the Station North Arts and Entertainment District, provides a rich local foundation while welcoming voices from broader contexts.
Engagement Before Activities: Pre-activity engagement will use AREA 405's mission to highlight its distinctive industrial setting and history as a catalyst for innovative, interdisciplinary work. Outreach will include collaborations with AREA 405's established networks, such as its studio artists, The Station North Tool Library, and Baltimore’s arts education institutions. Engagement will also include:
Online campaigns featuring behind-the-scenes glimpses of the warehouse’s unique environment and thematic teasers resonating with your audience's interests in chaos and multimedia. Pre-activity workshops and talks aimed at bridging disciplines and fostering curiosity. Open invitations to pre-installation walkthroughs, emphasizing AREA 405 as a space where "art meets community in flux." Engagement During Activities: During the activities, participants will experience immersive, interactive environments shaped by the industrial character of AREA 405. Activities will include:
Hands-on workshops blending artistic creation with scientific and linguistic experimentation. Collaborative performances and installations that utilize multimedia, soundscapes, and imbalanced structures to provoke thought and dialogue. Opportunities for participants to interact directly with curators, exploring the love-hate dynamic through curated chaos and co-creative challenges. Facilitators will prioritize inclusivity and engagement, ensuring that the space resonates with sensory and intellectual exploration.
Follow-Up After Activities: Post-activity follow-up will sustain engagement and celebrate the collective efforts of participants. This includes:
Showcasing outcomes through digital galleries, videos, and participant spotlights across AREA 405 and associated platforms. Hosting reflective sessions, both in-person and virtual, to discuss the experiences and takeaways. Inviting participants to contribute to ongoing projects within AREA 405’s community, fostering a sense of belonging and continuity. Gathering feedback through surveys to evolve future initiatives, ensuring alignment with the audience’s evolving interests and AREA 405’s mission. This approach will create a dynamic feedback loop where participants are not just engaged but invested in the long-term vitality of the space and its creative offerings.
- 10. Does your project involve work with children or youth? (required)
No
- 10.1. Please provide a link to your Youth Safety Policy. (required) If the proposal indicates direct contact with children or youth, you are required to outline compliance with international and local laws for working with children and youth, and provide a youth safety policy aligned with these laws. Read more here.
N/A
- 11. How did you discuss the idea of your project with your community members and/or any relevant groups? Please describe steps taken and provide links to any on-wiki community discussion(s) about the proposal. (required) You need to inform the community and/or group, discuss the project with them, and involve them in planning this proposal. You also need to align the activities with other projects happening in the planned area of implementation to ensure collaboration within the community.
The concept of "crossing" as a transformative act was introduced to community members and relevant groups through a series of collaborative discussions and exploratory engagements. The approach sought to embody the exhibition’s themes by fostering an environment of mutual interaction and co-creation. Steps taken include:
Concept Introduction and Exploration:
Shared the exhibition concept with interdisciplinary groups, including artists, scientists, writers, and curators, to spark dialogue about crossing boundaries within their own practices. Highlighted the emphasis on instability and temporariness, aligning with the ethos of AREA 405 as a space of industrial history and adaptive creativity. Workshops and Collaborative Brainstorming:
Organized interactive workshops to discuss the fluid roles of creators, objects, and spaces in redefining meaning and power. Invited participants from AREA 405’s studio community and the Station North Arts District to collaboratively generate ideas, reflecting on their relationship with space, origin, and rebellion. Digital Platforms and Discussions:
Hosted discussions through online forums and mailing lists targeting your audience demographics, including art students, scientists, and interdisciplinary artists, to gather diverse perspectives on "crossing" as a concept. Used visual prompts and open-ended questions to inspire contributions and spark dialogue on the exhibition’s core themes. Site-Specific Engagement:
Engaged AREA 405’s community by drawing parallels between the exhibition’s themes and the space’s industrial and artistic heritage, positioning it as a “temporary breaking-ground-stronghold.” Invited participants to view and critique sketches and mock-ups, offering insights into how the exhibition might reflect and challenge its spatial and historical context. Documentation and Sharing:
Recorded key discussions, both in-person and virtual, to document the evolving dialogue. Compiled these insights to refine the exhibition’s concept, ensuring it resonates with the community’s shared experiences and aspirations. Links to Discussions and Documentation: Although specific on-wiki discussions may not be directly applicable, documentation of these engagements can be made accessible through AREA 405’s website, social media platforms, or community newsletters. These platforms will also continue to serve as repositories for ongoing dialogue.
- 12. Does your proposal aim to work to bridge any of the content knowledge gaps (Knowledge Inequity)? Select one option that most apply to your work. (required)
Other Important Topics (topics considered to be of impact or important in the specific context)
- 13. Does your proposal include any of these areas or thematic focus? Select one option that most applies to your work. (required)
Culture, heritage or GLAM
- 14. Will your work focus on involving participants from any underrepresented communities? Select one option that most apply to your work. (required)
Linguistic / Language
- 15. In what ways do you think your proposal most contributes to the Movement Strategy 2030 recommendations. Select one that most applies. (required)
Innovate in Free Knowledge
Learning and metrics
edit- 17. What do you hope to learn from your work in this project or proposal? (required)
This project is an opportunity to delve deeply into themes of linguistics, failure, disorder, and power dynamics within the creative and curatorial process. Specifically, I hope to uncover the following insights:
Establishing New Perspectives on Linguistics:
How can polyphony—the coexistence of multiple voices and accents—translate into an exhibition space, and how do objects “speak” in ways that redefine narrative logic? What methods do creators employ to challenge the traditional definitions and functions of their chosen mediums? Can the collapse of an established order within a work lead to meaningful revelations about the personal “orders” or “disorders” of creators? Thematic Exploration of Failure and Disorder:
How does uncertainty and the iterative process of creation shape the narratives conveyed within the exhibition? To what extent does the re-telling of a work’s development introduce new meanings, differences, and interpretations? What can failure, disorder, and collapse teach us about the resilience and adaptability of creators as they navigate these states? Rethinking Power Relations in the Exhibition Space:
How do creators and viewers negotiate power when creators invite audiences into spaces imbued with personal narratives and decisive control over objects and mediums? What role can imbalance—between creators, objects, curators, and viewers—play in reshaping our understanding of the exhibition space? How do visible ruptures and integral connections within the space influence audience perceptions of coherence and discord? By investigating these questions, I aim to construct a framework for rethinking exhibitions as dynamic territories rather than static displays. The insights gained will illuminate how imbalance, linguistic plurality, and the acceptance of failure can foster richer, more nuanced engagements with art and the exhibition space itself. These findings will also inform future interdisciplinary projects, contributing to broader conversations on creation, curation, and the fluid boundaries of art.
- 18. What are your Wikimedia project targets in numbers (metrics)? (required)
| Other Metrics | Target | Optional description |
|---|---|---|
| Number of participants | 500 | New Participants:
Approximately 300 individuals are anticipated to be first-time participants in Wikimedia-related activities. These include attendees from diverse disciplines such as art, science, and literature, as well as creators and viewers who are engaging with the exhibition themes and Wikimedia integration for the first time. Returning Participants: An estimated 200 individuals are expected to have prior experience with Wikimedia projects or events. These participants will bring valuable knowledge and familiarity with Wikimedia platforms, enriching the collaborative and creative aspects of the project. This breakdown highlights the project’s focus on expanding its reach to new audiences while maintaining a connection with those already involved in Wikimedia activities. The participants will actively contribute to or benefit from the project by attending workshops, engaging with multimedia exhibitions, or collaborating on content and knowledge sharing. |
| Number of editors | 40 | Newly Registered Users (New Editors):
Approximately 25 individuals are expected to create new accounts and contribute to Wikimedia projects for the first time. These participants will include art students, interdisciplinary creators, and other audience members who are inspired by the project’s themes and wish to explore knowledge-sharing through Wikimedia. Returning Editors: Around 15 editors with pre-existing accounts are expected to participate. These individuals will bring their expertise and familiarity with Wikimedia editing practices to enhance the quality and depth of the content created during the project. Comment: This estimate emphasizes the project’s dual focus: engaging new editors to broaden the community while leveraging the experience of returning editors to ensure high-quality contributions. Training sessions and workshops will provide tailored support to both groups, fostering a productive and collaborative editing environment. |
| Number of organizers | 7 | Roles and Responsibilities:
Planners and Coordinators: 2 individuals overseeing the overall project strategy, logistics, and timeline. Trainers and Facilitators: 3 individuals conducting workshops, guiding participants in editing Wikimedia projects, and fostering interactive engagement. Outreach and Publicity Leaders: 2 individuals responsible for promoting the project, engaging target audiences, and maintaining communication channels. Organizers include both volunteers and paid staff, reflecting a collaborative effort to support participants, manage activities, and achieve the project’s goals. |
| Wikimedia project | Number of content created or improved |
|---|---|
| Wikipedia | 2 |
| Wikimedia Commons | |
| Wikidata | |
| Wiktionary | |
| Wikisource | 3 |
| Wikimedia Incubator | |
| Translatewiki | |
| MediaWiki | |
| Wikiquote | 3 |
| Wikivoyage | |
| Wikibooks | |
| Wikiversity | |
| Wikinews | |
| Wikispecies | |
| Wikifunctions or Abstract Wikipedia | 3 |
- Optional description for content contributions.
N/A
- 19. Do you have any other project targets in numbers (metrics)? (optional)
No
| Main Open Metrics | Description | Target |
|---|---|---|
| N/A | N/A | N/A |
| N/A | N/A | N/A |
| N/A | N/A | N/A |
| N/A | N/A | N/A |
| N/A | N/A | N/A |
- 20. What tools would you use to measure each metrics? Please refer to the guide for a list of tools. You can also write that you are not sure and need support. (required)
Number of Participants:
Event Metrics Tool: To track in-person and virtual attendance during workshops, exhibitions, and other activities. Registration Forms: Collect data on attendees, disaggregating by new and returning participants. Number of Editors:
Programs & Events Dashboard: To monitor the number of edits, newly registered users, and contributions to Wikimedia projects during and after the activities. Survey Forms: To collect qualitative feedback and confirm participants’ engagement with editing activities. Number of Organizers:
Internal Tracking Sheets: To document the roles and contributions of organizers, including both volunteers and paid staff.
Financial proposal
edit- 21. Please upload your budget for this proposal or indicate the link to it. (required)
- 22. and 22.1. What is the amount you are requesting for this proposal? Please provide the amount in your local currency. (required)
3000 USD
- 22.2. Convert the amount requested into USD using the Oanda converter. This is done only to help you assess the USD equivalent of the requested amount. Your request should be between 500 - 5,000 USD.
3000 USD
- We/I have read the Application Privacy Statement, WMF Friendly Space Policy and Universal Code of Conduct.
Yes
Endorsements and Feedback
editPlease add endorsements and feedback to the grant discussion page only. Endorsements added here will be removed automatically.
Community members are invited to share meaningful feedback on the proposal and include reasons why they endorse the proposal. Consider the following:
- Stating why the proposal is important for the communities involved and why they think the strategies chosen will achieve the results that are expected.
- Highlighting any aspects they think are particularly well developed: for instance, the strategies and activities proposed, the levels of community engagement, outreach to underrepresented groups, addressing knowledge gaps, partnerships, the overall budget and learning and evaluation section of the proposal, etc.
- Highlighting if the proposal focuses on any interesting research, learning or innovation, etc. Also if it builds on learning from past proposals developed by the individual or organization, or other Wikimedia communities.
- Analyzing if the proposal is going to contribute in any way to important developments around specific Wikimedia projects or Movement Strategy.
- Analysing if the proposal is coherent in terms of the objectives, strategies, budget, and expected results (metrics).