Tuesday, March 31, 2009
PJ Harvey and John Parish have roped in acclaimed British artists The Chapman Brothers for their new video.
The duo are returning with new album 'A Woman A Man Walked By', and Jake and Dinos Chapman have made the video for the first single 'Black Hearted Love'.
chapman brothers'ın 'black hearted love' videosu ve jake chapman'ın klip yorumları için copy+paste:
polly jean'i sevmeyen ölsün!
NOTES ON CONCEPTUALISMS
Book launch with performances by Jen Bervin, Lytle Shaw, Steve Zultanski, Nada Gordon, and Kim Rosenfield.Hosted by Notes authors Vanessa Place and Robert Fitterman.@ The Kitchen, NYC512 W 19th St, NYC
Monday, March 30, 2009
The Mexican Drawings
03/04 – 21/06/2009
Opening: Donderdag/Thursday 02/04 19.00
In samenwerking met / in collaboration withMuHKA
Curators: Oksana Bulgakowa & Anselm Franke
Tentoonstellingsarchitectuur / Exhibition architecture: Guy Châtel (ssa/xx-architecten)
Sergei M. Eisenstein,drawing No. 4 from seriesDuncan's Death,1931 (RGALI)
Oksana Bulgakowa lezingen
3 april 15 mei om 19.00Locatie: MuHKA_media
Oksana Bulgakowa lectures
3 April 15 May at 19.00 Location: MuHKA_media
Extra City is proud to present the exhibition Sergei Eisenstein. The Mexican Drawings.
Sergei Eisenstein (1898–1948), the director offilms like Battleship Potemkin (1927) and Ivan the Terrible (1941), is widely acknowledged as being one of most influential artists of the modern period. Eisenstein's radical concept of montage has become seminal within the theory and practice of the Avant-garde of the 20th century. Other aspects of his work, especially his unfinished scripts, theoretical projects, and drawings, have remained less known.
Sergei Eisenstein: The Mexican Drawings, organized in collaboration with MuHKA Antwerp, brings together an extensive selection of works culled from the Russian State Archives of Literature and Art in Moscow (RGALI), drawings that Eisentein made during his visit to Mexico in 1931/32, including some that have never before presented in public. In Mexico, Eisenstein developed his drawings in a parallel manner to the Surrealists' écriture automatique, producing a large number of variations on recurring motifs based on Mexico's hybrid imagery. In a single dynamic line, Eisenstein explores the transformation of forms, obscenity, death and violence.
The drawings are an integral part of his larger intellectual project, a study of the historical relationship between rationality, sensual thought and image. Eisenstein had intended to publish the results of his research in a book entitled Method, on which he worked until the end of his life, but which remained uncompleted. In an attempt to approximate Eisenstein's non-linear conception of Method, extracts from that material and partial translations will be presented in a web platform established on the occasion of the exhibition.
The exhibition will further include short excerpts from the unfinished ¡Que viva México!, the film Eisenstein was in the process of producing in Mexico, and which he would tragically be excluded from editing.
The exhibition Sergei Eisenstein: The Mexican Drawings is conceived as an introduction to the collaborative project Animism, planned to take place in 2010 at MuHKA and Extra City, which addresses the dialectics of subjectification and objectification, conservation and animation, in modern and contemporary art.
With the support of the Russian State Archives of Literature and Art and the Ford Foundation, Moscow.
Thursday, March 26, 2009
Wednesday, March 25, 2009
W.A.G.E. MEETING Working Artists and the Greater Economy, invites you to an open meeting. Come One Come All Come Two Come Two By Two
Judson Church Assembly Hall239 Thompson Street, NYC
March 27, Be(com)ing Dutch Closing Party
Be(com)ing Dutch Closing Lecture and Reception with the Project Curators Annie Fletcher and Charles Esche
Be(com)ing Dutch is a large project developed over two years both inside and outside the Van Abbemuseum in Eindhoven, the Netherlands. Consisting of debates, reading groups, artist's projects, exhibitions, and residencies, it interrogated various forms of collective participation and production.
Museum as Hub: Be(com)ing Dutch at a Distance, the final phase of the project, features an installation by Michael Blum in the fifth-floor Museum as Hub space and additional presentations of works by Lidwien van de Ven and Johan van der Keuken in the theater.
Tonight’s address and reception celebrate the official close of the two-year Be(com)ing Dutch project, with a lecture by the project’s curators addressing the trajectory of Be(com)ing Dutch. A keynote address by the project’s curators Charles Esche, Director, and Annie Fletcher, Curator, of the Van Abbemuseum, will be followed by a reception.
A keynote address by the project’s curators Charles Esche, Director, and Annie Fletcher, Curator, of the Van Abbemuseum, will be followed by a reception.
March 28, CURATING AND ACTIVISM:AN INTERNATIONAL PANEL AND CONVERSATION
Philadelphia Exhibitions Initiative at The Pew Center for Arts & Heritage and Moore College of Art & Design
Moore College of Art and Design
20th Street and The Parkway, Philadelphia, PA 19103-1179 http://www.thegalleriesatmoore.org/
The Galleries at Moore in conjunction with Moore College of Art and Design's BFA in Curatorial Studies present "Curating and Activism," the fourth in an ongoing series of public conversations about issues and ideas in contemporary curatorial practice. Through a series of grouped conversations with an international roster of distinguished panelists, we will examine multiple ways in which curatorial activities can be directed toward social and political activism. Questions to be considered include: How effectively is social/political activism addressed through curatorial practice? What are the power dynamics involved in curating for social change? What is a curator's responsibility in articulating his/her political stance? Are forums for public interaction inherently political? How is participation related to activism? What are the stakes in activist curating and what are the criteria for success? Can curatorial practice truly inspire productive political change?
9:30 am - 10 am
Welcoming Video by Andrea Bowers Nonviolent Civil Disobedience Training, 2004
10 am - 11:15 am Curating and Self-Organization-Facilitating Interactions
Katherine Carl + Srdjan Jovanovic Weiss + Michael Rakowitz + Carin Kuoni
11:15 pm - 12:30 pm The Project of Performance-The Body and the Public
Sharon Hayes + Adam Pendleton + Martha Wilson
12:30 pm - 2 pm Lunch on your own
2 pm - 2:30 pm Welcome Back Video by Josephine Meckseper March for Peace, Justice, and Democracy, 04/29/06, New York City, 2007
2:30 pm - 3:45 pm Models of Participation and Modes of Activism
Stamatina Gregory + Steve Kurtz + Anton Vidokle
3:45 pm - 4:30 pm Plenary and Audience Q & A
4:30 pm Reception
6:30 - 8 pm
Don't miss: IT IS WHAT IT IS: CONVERSATIONS ABOUT IRAQ Jeremy Deller, Nato Thompson, Esam Pasha and Jonathan Harvey in conversation. A New Commission by Jeremy Deller presented by the New Museum and Creative Time Hosted in Philadelphia by the Slought Foundation on the occasion of Moore's International Panel and Conversation on Curating and Activism.Slought Foundation, 4017 Walnut Street, Philadelphia, http://slought.org/
Saturday, March 28, 8:30-9:30pm
Tuesday, March 24, 2009
Resistance against the increase in surveillance and control, against repression and anti-riot is still stuck too much often on a national level. Therefore we call to push the development of a transnational struggle against the “security architecture”, in 2009 at several cross-border mobilizations, whether they are timbered by the NATO, G8 or EU.
We see the action day at the NATO summit as the kick off of the campaign for a “Summer of Resistance 2009” against the global “security regime”:
¡No Pasarán! France Gipfelsoli Dissent! France NoLager Bremen Resistance des deux rives / Widerstand der zwei Ufer transact six hills Berlin kein mensch ist illegal Hanau
Collapse the security architectures!
Monday, March 23, 2009
Sunday, March 22, 2009
feudalism: you have two cows. your lord takes some of the milk.
fascism: you have two cows. the government takes both, hires you to take care of them, and sells you the milk.
pure communism: you have two cows. your neighbours help you take care of them, and you all share the milk.
applied communism: you have two cows. you have to take care of them but the government takes all the milk.
dictatorship: you have two cows. the government takes both and shoots you.
nigerian democracy: you have two cows. the government takes both, shoots you and sends the cows to zurich.
pure democracy: you have two cows. your neighbourhood decides who takes the milk.
singaporean democracy: you have two cows. the government fines you for keeping two unlicensed farm animals in an apartment.
european democracy: you have two cows. at first, the government regulates what you can feed them and when you can milk them. then it pays you not to milk them. after that, it takes both, shoots one, milks the other and pours the milk down the drain. then it requires you to fill out forms accounting for the missing cows.
capitalism: you have two cows. you sell one and buy a bull.
hong kong capitalism: you have two cows. you sell three of them to your publicly listed company, using letters of credit opened by your brother-in-law at the bank, then execute a debt swap with associated general offer so that you get all four cows back, with a tax deduction for keeping five cows. the milk rights of the six cows are transferred via a Panamanian intermediary to a Cayman Islands company secretly owned by the majority shareholder, who sells the right to all seven cows' milk back to the listed company. The annual report says that the company owns eight cows, with an option on one more. meanwhile you kill the cows because of bad fengshui.
political correctness: you are associated with (the concept of 'ownership' is a symbol of the phallocentric, warmongering, intolerant past) two differently aged ( but no less valuable to society) bovines of non-specified gender.
sakin bir pazar akşamı tüm email adreslerimdeki postaları gözden geçiriyordum. yazıldığı zaman bana ulaşmamış olan bir notla karşılaştım. bazı arkadaşlarım zamanında görüp cevaplarını vermişler. geç olsun güç olmasın ben de söyleyeceğimi söyleyeyim.
bu tıkanıklık hali hep kolay olanı seçmekten. tercih varsa bir eleştiri onun gitmesi gereken mercilere yapıcı ve sürekli biçimde gitmesinden ziyade gidebilecek en rahat yere gidip daralma yaratmasından yana.
bir şey söylenmiş de olsun ama derdi söylem değiştirme, kırılma yaratma, kısacası eylem yapma olmasın. diskurun meselelere bakışını değişen koşullara göre yenilemesine, kendine öz eleştiri getirmesine de ne gerek var canım. chp modeli kanımıza mı işlemiş ne? kollektif belleğin gerçek öcü. sol taraftan ilerleyelim abiler ablalar arabada boş yer var...
A project by Electric Palm Tree
With: Heman Chong, Hafiz, Beom Kim, Sung Hwan Kim, Tibor Hajas, Wendelien van Oldenborgh, Tadasu Takamine, and with special contributions by Philippe Rekacewicz and Grace Samboh
Curated by: Binna Choi in collaboration with Kyongfa Che and ; exhibition design in collaboration with Susanne Pietsch
Opening: ., accompanied by the lecture-performance Finders Keepers by Jeuno Kim.
'The Demon of Comparisons' is an association of subjective positions relating in various ways to larger social and political frameworks, to power and cultural constructions. Placing emphasis on the issue of individual agency in a landscape defined by questions of national and cultural identities, The Demon of Comparisons questions the kind of collectivity these subjects can form.
The title is a translation of a phrase from Jose Rizal's novel, "el demonio de las comparaciones", also used by as the title of his book, where it is rendered as The Specter of Comparisons. An original and insightful thinker, Anderson questioned the patterns and the meeting points that are to be found throughout geographies, times and power structures that lead to formations of identities and various senses of belonging. Our translation remains anchored in this area of interest, but is intended to add the potential of the polisemy, indeed the spectres, of the original Spanish word, 'demonio', in dealing with the subjectivity of one's experience of culture and power.
The Demon of Comparisons grew out of exchanges and discussions during 'Open Circuit #1: Yogyakarta', organized by Electric Palm Tree in September 2008 in Indonesia. During the week-long workshop, participants shared and negotiated their experiences and vocabularies of social transformation from their respective backgrounds.
The exhibition is in dialogue with 'The Antagonistic Link' running at Casco, Utrecht, through the same period. The opening takes place ., accompanied by the first staging of Ongoing propositions under different conditions by Sönke Hallmann & Achim Lengerer.
The seminar of The Demon of Comparisons will be held . to 6 p.m. with contributions by Michele Faguet, Patrick D. Flores, Vit Havranek, Hiroshi Yoshioka, Ahmad bin Mashadi, David Riff. More information to be followed in the next e-mail newsletter and the website of SMBA.
Saturday, March 21, 2009
Thursday, March 19, 2009
yine bir universite, yer barcelona, sebep bologna anlasmasi, avrupa fikrinin bittigi yer esas burasi
in itali, greece and spain the new rules are not so much good for us.
since 4 months we are sleeping inside of the universities of Barcelona.the students are against the new project of Bologna we make open classes, debates, assemblages, dinners, and pacific proposes.we make a referendum for all the students to know the opinion about the plan
the 90% were against Bologna (with a big participation) on the videos you can see what happened yesterday in my city. the police went inside to the petition of the rector...they have books, not bombs because they are students, not delinquents, but for the system maybe is the same ...this is our reality.
Wednesday, March 18, 2009
Şu an 18 mart saat 21.28 itibari ile A4 kapısında 2 panzer ve 100 kadar robokop odtu ogrencileri ile karsı karsıya gelmiş durumda...arkadaslarımıza tazyikli su ve biber gazi atıyorlar ve durum cok acil ve ciddi...
In December 2008, Verhagen claimed that the 2001 summit was an "anti-Semitic witch-hunt."Perhaps in September 2001, the world was not yet ready to accept the notion that Israel is in fact practicing apartheid. But ever more observers are coming to precisely that conclusion. The New York Times columnist Thomas Friedman warned four years ago that "if Israel does not relinquish the West Bank and Gaza, the Palestinians will soon outnumber the Jews and Israel will become either an apartheid state or a non-Jewish state."
Four years later, Friedman wrote, "Well, having taken a little drive through part of the West Bank, as I always do when I visit, it strikes me more than ever that it's not only five after midnight, it's five after midnight and a whole week later."
The Israeli organization Peace Now stated early in March that Israel's housing ministry has plans that would nearly double the number of settlers in the West Bank, rendering a two-state solution impossible. Israel has planned 73,000 new housing units in the occupied West Bank, the Israeli group stated, of which 15,000 have already received approval. Moreover, Israel's prime minister designate Benjamin Netanyahu announced that a government he leads will expand settlements.
geri kalani icin:
Tuesday, March 17, 2009
CHRIS & DON: A LOVE STORY is the true-life story of the passionate three-decade relationship between British writer Christopher Isherwood (whose Berlin Stories was the basis for all incarnations of the much-beloved Cabaret) and American portrait painter Don Bachardy, thirty years his junior. From Isherwood’s Kit-Kat-Club years in Weimar-era Germany (the inspiration for his most famous work) to the couple’s first meeting on the sun-kissed beaches of 1950s Malibu, their against-all-odds saga is brought to dazzling life by a treasure trove of multimedia. Bachardy’s contemporary reminiscences (in the Santa Monica home he shared with Isherwood until his death in 1986) artfully interact with archival footage, rare home movies (with glimpses of glitterati pals W.H. Auden, Igor Stravinsky and Tennessee Williams), reenactments, and, most sweetly, whimsical animations based on the cat-and-horse cartoons the pair used in their personal correspondence. With Isherwood’s status as an out-and-proud gay maverick, and Bachardy’s eventual artistic triumph away from the considerable shadow of his life partner, CHRIS & DON: A LOVE STORY is above all a joyful celebration of a most extraordinary couple.
michael rakowitz'i gecen bienalin antreposundan hatırlayanlar vardır
The Invisible Enemy Should Not Exist (Recovered, Missing, Stolen Series), 2007
Üstteki görsel geçen hafta açılan son solo sergisinden:
Always surprising and profoundly timely, in this exhibition Rakowitz explores the influence of science fiction genre imagery on the design of Iraqi monuments, military uniforms and weaponry under Saddam Hussein, while illuminating aspects of the US-Iraq conflict over the past few decades. Monumental sculptures that speak through their materials and an accompanying series of narrative drawings come together to tell this most unexpected- yet true- story of the Iraqi leader’s fascination with science fiction. The intertwining forces of adolescent imagination and science fiction, as present in the installation, suggest that the binaries of good and evil found in the mythology developed by innovators such as American director George Lucas are far from categorical when applied to current geopolitical scenarios.
Daha fazla görsel için:
Monday, March 16, 2009
Why yes indeedy. Morefield’s concept for Architecture 5¢ — edificially inspired by Charles Schulz’s psychiatrist booth for Lucy — is bringing architecture to the people, and people to the architecture. For a nickel, passerby can ask questions that range from simple (”What’s the best insulation to use next to concrete in a basement?”) to complex (”We have a 700-square foot Seattle bungalow and want to add a second story because we’re expecting our first child… Help!”).
The idea is to spur conversation about building matters and make contacts that might someday develop into working relationships. And the message is spreading, at least in its first incarnation, as he’s received 5¢ queries via email from across the globe — Brazil, Portugal, Shanghai — and coverage on a CNN news broadcast.
At 1/20th of a dollar per question, this is no get-rich scheme (especially since all proceeds are donated to a Seattle food bank). So what’s the point? Morefield says he wants to create a “ripple effect” on a local level, for one nickel leads to one project, which employs one contractor, who hires two carpenters, and so on. And though his ultimate goal is to expand Architecture 5¢ nationwide, with booths in neighborhoods across the country from the Bronx to Oakland, he admits the idea “can’t grow large enough that I don’t have time for the booth.” That explains his regular appearance in Ballard, even at 7:30 am in rainy, 32-degree weather.
We caught up with the architect in New York this week to pester him with questions about the future of housing, from construction trends to suburban development. Some bon mots below:
On prefab: “Prefab has already seen success - in the mobile home industry. I admire what firms like Michelle Kaufmann are doing, but prefab construction [as a movement] can’t really take off.”
On the future of domestic architecture: “Green design has finally hit in all categories. Whether building new or retrofitting an older home, eco-friendly construction is the absolute future. We’ve been hearing even more about it with Obama in office.”
On suburban sprawl and McMansions: “My parents live in Phoenix, Arizona, and no one’s buying into the 300, 400 home subdivisions that are already built - they’re sitting empty, half built, or just the foundations down. It’s like a post-apocalyptic ghost town.”
On living in smaller spaces: “It comes down to this: you’ve got heat it, and you’ve got to pay for all the materials. The days of urban sprawl are slowing.”
The Museum of Modern Art in Warsaw presents "Wydomowienie - Unhoming", the first solo show in Poland by the Palestinian artist Ahlam Shibli, which consists of three photo series: "Dom Dziecka. The House Starves When You are Away", "Trackers" and "Dependence".
Her recent photo series deal mostly with the everyday life of the Palestinians under Israeli occupation. Finding her inspiration in the tradition of photographers who had documented the life of Palestinian people since the late 19th century, Shibli reduces human presence in her images. Usually her photos present unfinished houses, deserted plains, cemeteries and investigate the traces of the history left on Palestinian villages - as was the case of the series presented at the last Documenta in Kassel - "Arab-al-Sbain" and "Goter".
In the three series of photographs presented in Warsaw, the artist goes beyond the familiar landscape of her own experience, detecting signs of social injustice, misery and instability in a broader historical and sociopolitical context.
"Dom Dziecka. The House Starves When You are Away" is a series of 35 colour and black and white photographs, taken by Ahlam Shibli last year in 11 Polish orphanages - they are displayed for the first time at the Museum of Modern Art in Warsaw. "Trackers" (2005) focuses on a group of Palestinians of Bedouin descent, who serve in the Israeli army as volunteer soldiers, while "Dependence" (2007) deals with immigrants in Barcelona who are employed to take care of the elderly.
All those photo series focus on displaced individuals or groups. As the neologism used in the title - "Wydomowienie - Unhoming" - implies, the issue of home, or the lack of it, is central in those works.
Ahlam Shibli's camera provides an insight into the life of the orphanages, into the functioning of a military camp as well as the houses where immigrants work. The artist observes the interiors, inquires the relationships among the members of the groups, follows the moments of intimacy and records all those apparently futile events in the daily routine.
The three series are a result of artist's intensive research and preparatory work in the locations. They are a product of her personal engagement with the subject she deals with, and her mission to cast light onto the otherwise "invisible" members of the society.
Ahlam Shibli was born in 1970 in Palestine. She lives there, recording, as she claims, the realities created by ongoing violations of Palestinian land rights. From 1999 to 2009, Ahlam Shibli has realized several major series of photographs - Interrupted River, Horse Race in Jericho, Wadi Saleib in Nine Volumes, Voyage in Mt. Tabor, Unrecognised, Self Portrait, Five Senses, Positioning, Goter, Catastrophe: Mt. Tabor, Berlin, Refuge in Frost, and Halisa, Trackers, Market, Eastern LGBT, Arab al-Sbaih, The Valley, Dependence which have been shown at museums, galleries and biennials in Asia, Europe and Latin America.
Official opening: Friday, March 20, 2009, 18h00
Friday, March 13, 2009
The New Museum is proud to host the series launch party of Representing NYC, a new series of youth hip-hop records that pair Brooklyn public school students with Brooklyn-based independent musicians. Curated by Sam Hillmer (of avant-garde chamber ensemble Zs), the first CD in the series brings together members of Brooklyn-based electronic/noise group Excepter with The Fly Girlz, a group of twelve- to fourteen-year-old rappers from Brownsville. To celebrate this much-needed opportunity for young artists to represent their New York and connect to a larger spectrum of creative musicians, this launch party presents a nonstop bash bringing together students from the program with established musicians.
The Fly Girlz, six MCs aged twelve to fourteen, use their songs to explore everyday struggles in Brownsville, from boys to drive-bys.
Nine 11 Thesaurus are the newest group formed through the Representing NYC program, presenting Brooklyn’s most fearsome and irreverent rap.
Mr. Lif (Def Jux Records) stands among today’s most explosive and political rappers, his deft wordplay illuminating birth to death, and everything in between.
Zebrablood, a.k.a. Nathan Corbin, is a founding member of avant/sacred noise ensemble Excepter, and producer of The Fly Girlz debut.
Wednesday, March 11, 2009
altmışlardan beri almanya'daki kavramsal üretimin en önemli sanatçıları arasında yer alan hanne darboven birkaç yıldır verdiği kanser mücadelesini kaybetmiş. sanat aleminin başı sağolsun.
Hanne Darboven was born in Munich in 1941. Following a brief episode as a pianist, she studied painting at the Staatliche Hochschule für Bildende Künste, Hamburg. Between 1966 and 1969 she lived intermittently in New York City, then returned to her family home in Hamburg, where she continues to live and work. Her first one-person show was at the Galerie Konrad Fischer, Düsseldorf, in 1967. Darboven has participated in many international exhibitions, including Documentas 5 (1972), 6 (1977), 7 (1982), and 11 (2002), in Kassel; the 1973 São Paulo Bienal; and the 1982 Venice Biennale. She has also had numerous one-person shows in Europe and North America, including major presentations at the Ydessa Hendeles Foundation, Toronto, in 1991, the Staatsgalerie Stuttgart, in 1997, and the Museum für Moderne Kunst, Frankfurt, in 1999. Dia exhibited Kulturgeschichte 1880-1983 in 1996-97.
Monday, March 9, 2009
foto: annie leibovitz
buraya gelince kendime güzel bir tiyatro ısmarlamadan edemedim. Brooklyn Academy of Music'de sam mendes'in (american beauty diyelim) yönettiği vişne bahçesi ve kış masalı oyunlarının son haftasıydı. kış masalı'nı seçtim. hayatımda izlediğim en iyi oynanmış shakespeare'di, oyuncular tam anlamıyla döktürdü. güldük, eğlendik. mendes'in oyuncuların oynamasına alan açan sade yönetimini de sevdim.
oyuna geç girebildim, yanımda oturan adam az bi cıkcıkladı. ışıklar bir açıldı. cıkcıklayan adamın sam mendes yanındakinin de kate winslet olduğu ortaya çıktı. ön sıradan bir adam hemen imza istedi, mendes'i iltifatlara boğdu, bir dahaki gelişiniz arasına altı yıl koymayın dedi, yaladı yuttu kısacası. denizcim nazire yapmak istemem ama kate winslet hakkaten şahane bi kadınmış, hem 'down to earth' hem zarif.
yani bu da bir new york deneyimi olarak haneye yazıldı.
Wednesday, March 4, 2009
The Research Institute for Cosmopolitan Cultures and The Salford Restoration Office present If You Read This, I’ll Give It To You, a public realm project by Danish artist Katya Sander.
Sander has produced five thousand pin badges bearing the phrase ‘If you read this, I’ll give it to you (but then you must wear it)’, which will become increasingly visible throughout the city during March. Each badge represents a social contract between those who wear it, and those who act upon its statement in order to acquire it. The badges will be introduced to the city by a number of participants working within higher and further educational institutions and art spaces over the coming weeks, with each badge making its own individual journey through Manchester, generating its own unique chain of relationships along the way. As well as acquiring a badge through a chance encounter, it is possible to obtain one from a number of public galleries across the city.
This project is part of Whose Cosmopolitanism? - a series of public events to launch the Research Institute for Cosmopolitan Cultures (RICC), University of Manchester.
This project has been supported by Arts Council England (Grants for the Arts) and The Danish Arts Council. Thanks also to The Manchester Beacon
Monday, March 2, 2009
Sunday, March 1, 2009
onu muhtemelen "i'm to sad to tell you" işinden hatırlarsınız, kamera karşısında dakikalarca ağladığı. son işi "in search for the miraculous"ta pasifik'i olabilecek en küçük tekneyle geçme iddiasında bulunur, yola çıkar, geri gelmez sadece teknesi bulunur.
öyle bir adam rietveld'de okurken bir yıl boyunca çizim dersinde kağıt bile değiştirmemiş, her seferinde yeniden silinen kağıt en sonunda erimiş gitmiş. hollanda'da hiç kimse işlerinin yüzüne bakmamış, ona sadece kanala bisikletiyle düşen adam olarak bakmışlar. kimse o karar, bırakma, vazgeçiş halini okuyamamış.
ader'in okyanusta kayboluşuyla ilgili ilginç bir film yapılmış, yarattığı mit üzerine. imkan varsa getirebilenlere getirttirin, kütüphanelere aldırtın ve mutlaka izleyin. üretim meselesiyle, gerçek meselesiyle ilgili düşündüklerimizi derinden etkileyebilecek bir şeyler anlatıyor bu film. ayrıca merak edenlere, jan verwoert afterall'un tek iş anlatan kitaplar serisinde "in search of the miraculous"u yazmış. new museum'daki son night school serisinde dinledim "why conceptual artists do paint" konuşmasını en sonunda. duchamp'ın satranç oyuncusu stratejik düşünme adım atma modeli diye tanımladığı durumu nasıl yerle bir ettiğini görünce bas jan ader üzerine okumasını da çok merak ettim.
ps: turkcem kaymis hemen. gerekli duzeltmeler yapilmistir:)