Artist-in-Residence Program

Bayou City Waterkeeper’s Artist-In-Residence program provides artists with an opportunity to creatively explore solutions around pressing water challenges in greater Houston. Residency topics can explore water injustices, water histories, water infrastructure, or more BCWK-specific projects including wetlands, clean water, and flooding. While each residency will be unique according to the interest and skills of the artist, over time this program will help BCWK develop new knowledge, ideas, and approaches to problem-solving and engagement around water justice.

Next Deadline: February 28

2023-24 Artist-in-Residence | Fred Schmidt-Arenales

IT IS A GOOD PROJECT AND SHOULD BE BUILT is a three-channel video installation created by Fred Schmidt-Arenales during his residency at Bayou City Waterkeeper, which was exhibited at Galveston Artist Residency, Storefront for Art & Architecture in New York, and the University of Texas at Austin’s Visual Arts Center.  Photo credit: Galveston Artist Residency

ABOUT IT IS A GOOD PROJECT AND SHOULD BE BUILT

For over a century, scientists, engineers, and government officials have been working to protect the Texas Gulf Coast from superstorm events that have damaged local ecosystems, displaced and killed coastal residents, and immobilized the region’s energy, shipping, and military operations. In the wake of catastrophic storms and hurricanes, including Katrina, Ike, and Harvey, the US Army Corps of Engineers has proposed the construction of a $57 billion floodgate and dike system in Galveston Bay called the Texas Coastal Barrier Project, or “Ike Dike” for short. One of the largest proposed projects in the corps’ history, the Ike Dike has been vaunted not only as essential to protecting the Houston Ship Channel but also under the banner of environmental and community protection. IT IS A GOOD PROJECT AND SHOULD BE BUILT examines the corps’ efforts to advocate for the Ike Dike using community- and environment-focused rhetoric in public forums while developing a plan that prioritizes industrial, political, and military concerns above all else.

Juxtaposing real-world interviews with corps officers, footage of bureaucratic procedures, and historical narratives of local environmental infrastructure projects with staged civic action and musical performances, Schmidt–Arenales’s film untangles the irony at the heart of the Ike Dike project: the industries it is designed to protect are the very industries driving the escalation of superstorms in Texas and around the globe. And the communities and ecosystems that are most threatened by rising sea levels and storms will continue to bear the brunt of the Ike Dike’s costly shortcomings. IT IS A GOOD PROJECT AND SHOULD BE BUILT offers perspectives on intervening in purposefully opaque bureaucratic procedures and demonstrates the importance of questioning seemingly innocuous administrative performances through imaginative and collaborative methods.