Saturday, October 31, 2009
mide bulantilari esliginde takip ettik daga kaldirma seks kolesi yapma muhabbetlerini.
hani oyle bir durum ki soylenecek bir sey yok. kufret dur, kudur.
yazmamazlik da olmaz dedim.
cok gorduk bu zeki kadin kendini kurban gormez muhabbetlerini, hani diyor ki rojin "zeki" mizahtan anlamiyor, kendini oyle goruyorsa yapabilecegim bi sey yok.
oyle sutten cikma ak bir kasik; kendi bakis acisi o kadar dogru o kadar hakli
belli ki sayin yazarimizin mizaci misali pek hassas "otekilik" ayarlarina agir gelmis acilim durumlari.
bu parfumu cok iyi taniyalim kokusu daha cok cikacak; kirk tutam macoluk, elli tutam egitimli kibar fasizm, seksen kok kadin dusmanligi, ustune ayarinca birim tahammulsuzluk, esas kokuyu yakalamak icin temel madde suursuzluk.
Saâdane Afif winner of the Prix Marcel Duchamp 2009 for the project Vice de Forme : In Search of Melodies (FIAC 2009 Cour Carrée - galerie Michel Rein 22.10-28.11.09).
Saâdane Afif presents Vice de Forme : In Search of Melodies (2009) , the result of a formal and musical research. To create this sculpture, Vice de Forme, the artist chose to reconstruct the dialogue between a caricature of a nuclear power plant by Reiser (1974) and the suggestive work by Man Ray entitled Presse Papier à Priape (1920) completed with song lyrics by 12 artists, musicians, writers, and art critics written for the work.
With Louis-Philippe Scoufaras, on the piano, the artist sought possible accompaniment for each. These rough snippets of songs form the base of this new work presented at the gallery Michel Rein, played for the first time at the private view and truthfully recorded by a mechanical instrument.
The piano, nth of these sculptural vanities defying time, continues to inhabit the space, rendering in loop these odes, offered to the Vice de Forme; the muse-object. Winded by the live performance, this melancholic sculpture with its elementary forms will spin for the duration of the exhibition.
Friday, October 30, 2009
Performa, a biennial of new visual art performance, returns to New York for its third edition at venues throughout the city for three weeks in November. Eleven new commissions and six New York premieres are featured in the three-week program, while the biennial kicks off with a unique food event that’s billed as an installation-cum-happening. Blurring the boundaries between visual art, music, dance, and other media, more than 150 international artists are participating in more than110 events at an array of public and private sites.
Commission standouts include Mike Kelley’s performances based on high-school yearbook photos of extra-curricular activities; Candice Breitz’s presentation of identical twins improvising the same script on duplicate sets; Arto Lindsay’s multidisciplinary parade down a city street with more than 50 dancers and performers using cell phones as musical instruments; Yeondoo Jung’s mix of a live magic show with a cinematic interpretation of it; and Christian Tomaszewski’s construction of a giant space-suit sculpture that houses a fashion show inspired by the Soviet space program and sci-fi films.
The premiere program brings Keren Cytter’s theatrical production about a man and a woman who are transformed into the opposite sex; Tacita Dean’s feature film of choreographer Merce Cunningham and his company of dancers rehearsing in an abandoned automobile factory; Loris Greaud’s staging of a fireworks display in Abu Dhabi via a video on the MTV screen in Times Square; and recent works by Alica Framis, William Kentridge, and Joan Jonas, which come to the city for the first time.
Among other Performa highlights are Fischerspooner’s pop spectacle, combining music, theatre, and dance that can be viewed in the round at MoMA, and Brody Condon’s performance/installation mixing William Gibson cyberpunk novel Neuromancer with Bauhaus-inspired sculptural props and Gamelan music at the New Museum. Meanwhile, in another merging of art and illusion, artist Glenn Kaino and magician Ryan Majestic transform the Slipper Room into an experimental laboratory for probing our understanding of reality.
Wednesday, October 28, 2009
Tuesday, October 27, 2009
‘Out of Place: Interrogating Silences in Queerness/Raciality’ ( ) came out in July 2008. The book presents an unprecedented compilation of critical articles by scholars and activists, which address the manifold ways in which questions regarding ‘race’ and racism are silenced in queer politics and theory. ‘Out of Place’ was very well received. It found a wide readership and the first edition sold out in a bit over a year. Now for the bad news: The book is no longer available. Raw Nerve Books, a small independent feminist publisher, decided not to produce a second edition.
While the book has received a lot of positive interest, it is also controversial and challenging. Indeed many new ideas that challenge prevailing ways of thinking and enacting power relations are not welcomed by everyone when they are first voiced. One chapter in particular ignited controversy, leading to a public apology by the publisher, who in the same breath declared the volume out of print.
The chapter in question is an essay entitled 'Gay Imperialism: Gender and Sexuality Discourse in the ' '' by Jin Haritaworn, Tamsila Tauqir and Esra Erdem. In this chapter, the authors present an analysis of how ideologies regarding gender oppression and homophobia can be mobilised to feed a self-image of western democracies as the harbingers of gender equality and sexual liberation by deploying anti-Muslim racist discourses identifying Islam as the cradle of sexism and homophobia. The claims that Islam condones the oppression of women and legitimises violence towards homosexuals have played a significant role in justifying the wars in Afghanistan and Iraq and more generally the ‘war on terror’ in all its political, legal and cultural manifestations. In their analysis, the authors criticise (among others) some publications and political actions by Peter Tatchell and the activist group OutRage!
It appears to us that Peter Tatchell demanded a public 'apology and correction'. We can only speculate on why Raw Nerve chose to publish an unusually long and detailed statement to Tatchell on their web page, which labels the article libellous for containing ‘untrue’ and ‘defamatory’ claims. The ‘apology and correction’ voices Tatchell’s concerns and presents a one-sided interpretation of the text, illustrated by short fragments taken out of context and suggesting arguments that, in our view, the article does not make [http://www.rawnervebooks.co.uk/Peter_Tatchell.pdf
We consider the article to be an important contribution to the volume and current debates about gender and sexual politics. We wish critics read the article first before coming to any judgemental conclusions. As authors of a chapter in this collection we are extremely concerned by the way Raw Nerve Books has handled this conflict, solely giving voice to one single interpretation and denying the second edition of this book. We as authors of a chapter in the book have not been consulted by Raw Nerve, nor has opted for an approach in which it represents the wide range of opinions expressed in this book. As authors we feel we have been denied the academic freedom to present our critical analysis to the public and instead silenced.
Raw Nerve presents itself as an ‘independent, not-for-profit feminist press publishing controversial, under-represented and experimental work’. They set out with the important aim ‘to inspire new discussions’ by ‘asking questions that might indeed touch a 'raw nerve' with many readers.’ (http://www.rawnervebooks.co.uk/. The reaction to the article shows that the authors certainly touched on a raw nerve with their critique here. Yet what we as authors of a chapter in the collection envisage in the case of controversy is critical and open debate rather than foreclosing such debate by treating opposed views as libellous. When authors are confronted with the threat of a law suit, this forecloses open debate. If such debate cannot include disagreements and conflicts of opinion, it takes self censorship for granted.
Ironically, this conflict illustrates what the collection "Out of Place: Silencing Voices on Queerness/Raciality" addresses. While postcolonial and transnational interventions into feminist debates have found a wider audience, writing on queer sexualities and politics from an anti-racist perspective is still rare these days. The decision of the publishers not to publish a second edition results in a de-facto act of censorship, which further marginalises already precarious perspectives. Putting pressure on publishers, editors and authors to silence un-wanted opinions endangers critical debate based on . We are worried about an emerging culture in which libel threats may be habitually used to silence critical voices. We are disappointed with Raw Nerve Books’ decision to publish this one-sided statement and to not print a second edition of ‘Out of Place’.
Umut Erel, Christian Klesse
Thursday, October 22, 2009
Massimo L. Salvadori
Tuesday, October 20, 2009
J. G. BALLARD AND I did an onstage interview at the Cannes film festival the day after Crashwas shown there in 1996, and it caused a huge controversy. It was very touching for me to read the transcript of that press conference again recently and to be reminded of the interplay between us, because I was really being attacked by a lot of people, and I had Ballard sitting up there, and we were really shoulder to shoulder. At one point a Finnish journalist jumped up and said I had destroyed the book and what I had done was an atrocity and hadn’t gone far enough and the movie was terrible, and Ballard interrupted and said, “No, actually, I think the movie goes further than the book.” He thought I’d used the book as a platform to push its concepts beyond what he had done a quarter century before. I thought I was just being faithful to the book, but, you know, it’s a different medium. He really got that. The novel is very explicit in its sexuality, but you can’t really call it pornographic—it’s too clinical for that. I had nudity, but no genitalia; perhaps that’s what the journalist was talking about. Obviously, if I had done that I’d have had a triple-X movie and wouldn’t have been able to show it.
But at any rate I think Ballard was talking about the film conceptually, just the way in which his ideas came together in it, presenting a kind of despairing sexuality that tries to manifest itself in new forms that connect with the technological extension of the human body—ideas that were always everywhere in his work, particularly in Crash. At one heated point during the interview, Ballard pointed out—for my sake, I’m sure—that he lived in Shepperton, which is a very quiet suburb of London, and that he wasn’t looking for physical excitement in his life. He turned to me and said, “You know, this is awfully exciting for a writer, David. I think I’m going to have to go back home.” Flaubert once said that the more bourgeois you can be in your life, the more radical you can be in your art—something along those lines—and certainly that was Ballard.
The other thing I have to say about Jim is that personally he was absolutely adorable. He was funny, he was smart, of course, but he was also this incredibly kind, incredibly generous, incredibly sweet person, and that’s really what I think most about when I think about him—and his physical presence, he had a wonderful voice—just a lovely guy. When I miss him, and I do, that’s what I miss. I really felt at Cannes that we were under fire, and he was steadfast, he was a colleague at arms, and that forms a very strong bond. He never wavered.
—As told to Tom Vanderbilt
Monday, October 19, 2009
On the evening of September 15th, 2009 I attended a talk by Galit Eilat and Reem Fadda at New School University's Vera List Center about the Israeli Center for Digital Art’s Mobile Archive. The Mobile Archive is an archive of approximately 1000 DVDs permanently housed in Holon, Israel currently traveling throughout Europe and the United States. With each new destination it travels to, it grows by as many as twenty-five DVDs depending on the choices of the local curators and artists involved in the collaborative project. Currently, the Mobile Archive is being exhibited at Art in General in SOHO, New York, guest curated by the Israeli-Canadian curator, Chen Tamir, as well as curators Regine Basha and Adina Popescu.
During Eilat's and Fadda's presentations at the New School, I was struck by the curators' many insights about the geopolitical situation in the Middle-East, and the specific ways that native artists are addressing the ongoing conflict between Israelis and Palestinians. Fadda's description of Israel/Palestine as a "laboratory for mobility" was especially interesting, and something which I wanted to discuss further with Eilat and Fadda when the panel concluded. I was also very struck by a video Eilat showed from her Liminal Spaces project, which brings Israeli and Palestinian artists, intellectuals, activists, and scholars into dialogue with one another in order to think about and enact interventions into the bureaucracy that governs Israel/Palestine. This video showed Palestinians and Israelis speaking through the wall separating Israel from Palestine with one another via a two-way video conference. During this conference, to the surprise of the artists responsible for setting up the conference, Israeli soldiers policing the wall did not stop the conference and instead looked on with curiosity and amusement.
One of the issues foregrounded in the following interview, which took place on Friday September 18th between myself, Chen Tamir and Galit Eilat at Art in General, is the extent to which The Mobile Archive and Liminal Spaces are both creating genuinely new spaces for artworks to exist in cross-culturally. The Mobile Archive produces spaces for artists to show work that is in between private and public distribution, inclusivity and exclusivity, and which also challenge art's value as commodity insofar as the Archive prioritizes art's "symbolic" values––the ways that artworks can transmit ideas across cultures and create spaces for cultural dialogue. In the case of Liminal Spaces, artists and fellow travelers come together to find the loopholes in a bureaucratic structure. Much like the work of Eastern European artists such as the Slovenian IRWIN group, Liminal Spaces studies the situation in Israel/Palestine in order to intervene and act in ways that affect people's lives in the region on a day-to-day basis. Whereas the IRWIN group issues civilians passports, Liminal Spaces provides information about the Israeli military's use of checkpoints to police Palestinians and Israel's own civilian population.
Sunday, October 18, 2009
Wednesday, October 14, 2009
Tuesday, October 13, 2009
Travel Essays in Art
Poet and post-punk hero Eileen Myles has always operated in the art, writing, and queer performance scenes as a kind of observant flaneur. Myles travels the city—wandering on garbage-strewn New York streets in the heat of summer, drifting though the antiseptic malls of La Jolla, and riding in the van with Sister Spit—seeing it with a poet's eye for detail and with the consciousness that writing about art and culture has always been a social gesture. Culled by the poet from twenty years of art writing, the essays in The Importance of Being Iceland make a lush document of her—and our—lives in these contemporary crowds.
Framed by Myles's account of her travels in Iceland, these essays posit inbetweenness as the most vital position from which to perceive culture as a whole, and a fluidity in national identity as the best model for writing and thinking about art and culture. The essays include fresh takes on Thoreau's Cape Cod walk, working class speech, James Schuyler and Björk, queer Russia and Robert Smithson; how-tos on writing an avant-garde poem and driving a battered Japanese car that resembles a menopausal body; and opinions on such widely ranging subjects as filmmaker Sadie Benning, actor Daniel Day-Lewis, Ted Berrigan's Sonnets, and flossing.
About the Author
Eileen Myles, named by BUST magazine "the rock star of modern poetry," is the author of more than twenty books of poetry and prose, including Chelsea Girls, Cool for You, Sorry, Tree, and Not Me (Semiotext(e), 1991), and is the coeditor of The New Fuck You (Semiotext(e), 1995). Myles was head of the writing program at University of California, San Diego, from 2002 to 2007, and she has written extensively on art and writing and the cultural scene. Most recently, she received a fellowship from the Andy Warhol/Creative Capital Foundation.
"These writings confidently wander and always cohere, held together not just by the author’s singular intelligence but by her ability to exude personality on the page."
"Myles is a brilliant stylist; she writes in a way that we wish we could talk. Which is why it's so exciting to finally have a great big slab of essays, to observe her language when she's not constrained by the rules of poetry or fiction. We get to hear what she says when she's being herself."
"Myles's unique writings on art and culture manage to stay right on target while simultaneously misbehaving. Come to think of it, that's not so far from the spirit of Oscar Wilde summoned by her book's title."
Thursday, October 8, 2009
gönderen: bbm Tuesday, Oct. 06, 2009 at 12:50 AM
IMF/DB toplantýlarýna karþý kitlesel protestolar bu sabah baþladý. Ýstanbul Indymedia da geliþmeleri anlýk biçimde iletmeye çalýþacak.
17:00 Direnistanbul Barbaros Bulvarý'ný kesti. Eyleme coplarla saldýran polise direnen Koordinasyon, polisin attýðý gazdan bir kiþinin öldüðü haberi alýnca "Katil Polis" sloganlarýyla eyleme devam etti. Polis çekilmeden yolu açmayacaklarýný bildiren Dienistanbullular polis çekildikten sonra yolu açarak eylemlerini bugünlük bitirdiler.
15:30 Direnistanbul Koordinasyonu'nun eylemi Beþiktaþ Çarþý'da devam ediyor.
14:45 Direnistanbul Koordinasyonu, Kongre Vadisi önünde gerçekleþtirdiði ve yaklaþýk 45 dakika süren eyleminden sonra Maçka istikametine doðru yürümeye baþladý.
14:35 Direnistanbul grubu kongre binasýnýn giriþine ulaþtý. Koordinasyon "Direniþin Ritimleri" grubunun eþliðinde sloganlarla zirveyi protesto ederken, grup polis tarafýndan çembere alýndý. Çemberin dýþýnda da destekçiler birikiyor.
14:20 Yeniden toplanan Direnistanbul Koordinasyonu, Kongre Vadisi giriþinde samba grubunun eþliðinde protestoya baþladý.
13:20 Fýndýklý ve Cihangir'deki çatýþmalarýn azaldýðý ve gruplarýn baþka yönlere daðýlmakta olduðu bildiriliyor.
12:50 Taksim'in ardýndan daðýlan protestocular Gümüþsuyu, Ýstiklal Caddesi ve Cihangir yönlerine doðru yöneldiler. Yer yer çatýþmalar yaþandý. Medyaya göre Taksim civarýnda 100'den fazla gözaltý var. Fýndýklý ve Cihangir civarýnda çatýþmalar olduðu söyleniyor
11: 35 Polis -ayrým gözetmeksizin- Taksim'de bulunan tüm gruplara yönelik gaz bombalý çok yoðun bir saldýrý baþlattý ve hemen hemen tüm gruplar daðýldý. 200-300 kadar gaz bombasýnýn atýldýðý bildiriliyor. Pangaltý'nda 8 kiþinin gözaltýna alýndýðý bilgisi veriliyor. Beyoðlu'nda çatýþmalar devam ediyor.
11: 20 Direnistanbul 200 kiþiyi aþan bir grupla Ýstiklal Caddesi'nden Taksim'e doðru ilerliyor. Þu an, Direnistanbul'un önünde ise Taksim'e girmeye hazýrlanan Kara Blok bulunuyor.
10: 35 DÝSK, KESK, TMMOB ve TTB tarafýndan saat 11:00'de Taksim'de gerçekleþtirilecek kitlesel protestoda Direnistanbul, IMF ve Dünya Bankasý Karþýtý Birlik vb. gruplar da yer alacaklar.
Bu amaçla biraraya gelen Direnistanbul Koordinasyonu saat 10:00'da Tünel Meydaný'na buluþtu; katýlýmcýlarýn sayýsýnýn 200 civarýnda olduðu bildiriliyor.
Wednesday, October 7, 2009
Cantor Film Center & Hagop Kavorkian Center
Wed, Oct 21–Oct 25
The New York Kurdish Film Festival: A Cinema Across Borders is the first-ever film festival of Kurdish cinema in the United States. Bringing together an impressive array of films and documentaries from across the Kurdish region and the Kurdish diaspora, the festival will feature ten short films, a documentary and eight feature films, including the US premiere of The Storm by Kazım Öz (Ax, Fotograf). Additionally, the festival will include a discussion panel with six prominent Kurdish filmmakers from Iran, Iraq, Turkey and their diasporas, and post-film Q&As with each filmmaker, providing potential new routes for understanding and dialogue.
Situated in the heart of the Middle East, Kurdish cinema intersects with many of the great political conflicts of our age. These diverse films provide powerful and unexpected insights into our common world through stunning cinematography, rich narratives and deeply humane storytelling.