Tuesday, June 30, 2009
Friday, June 26, 2009
Thursday, June 25, 2009
Ppps: Do you lick souls?
"The League Of Extraordinary Bastards" proudly presents:HEY BASTARD, TURN ME ON!‘CAUSE SOME THINGS MUST BREAK NOW!
A spectacular best of show, looking for golden loopholes, and working on becoming a wider wilder line.
Featuring Bastard League classics like Istan Kurd and Dora Diamanti, the Queen Of Eggs, the great Mapinguary, the Hairy Leg, and brand new sticky stuff from the Wild Diamond Gang.“The League Of Extraordinary Bastards” was assembled by Elke Auer and Esther Straganz in Sao Paulo, Brasil in 2008. A handful of monsters were recruited to deal with questions of normativity and desire, radically extended, stretched, knotted and fragmented bodies, subject constructions, and drag. Peng Bang
Duration: July 2 – July 31, at the perfectly wonderful VBKÖ Vereinigung bildender Künstlerinnen Österreichs Maysedergasse 2 (4th floor)in 1010 VIENNATel: 01 - 513 64 73www.vbkoe.org
In the meantime please
go crazy
be lazy
and forward wildly
Full of extra excited anticipation Elke Auer and Esther Straganz for “The League Of Extraordinary Bastards”
Ps: Secret Seitenblicke sources told us that it is quite likely that some monster celebrities like the Hairy Leg itself will grace the opening with their presence.
Pps: We are all mad here.
Ppps: Do you lick souls?
Wednesday, June 24, 2009
cherry grove'da haftasonu, beklenen pride, no soul for sale vs
bir suredir hava yol is kosullarindan yazamadik.
bu hafta sonunu fire island'da cherry grove'da gecirdim.
limandan gondere gokkusagi bayragi cekilen guzel bir queer community.
yagmur yaza giris partileri modunu sarssa da
piyano esliginde tam gaz
broadway sarkilari soylendi hafta sonu.
herkes enerjisini bu haftasonuna sakliyor malum.
stonewall'un 40. yilinda buyuk pride'dan ve christopher street'ten
canli yayin baglantilarimiz gerceklesecek.
bu arada dun dia'nin eski mekanini bir yilligina kiralayan X initiative'de "No Soul For Sale" bagimsizlar festivalinin acilisi vardi. acilis ozlemiyle yanip tutusan new yorkerlarin doldurup tasirdigi festivalin, festivalden ziyade bir nevi bagimsizlar sanat fuari oldugunu dehsetle gozlemledik arkadaslarimla birlikte. zaten super eklektik olan listede Swiss Institute'u da gorunce bu bagimsiz meselesinin ne hal aldigini dusunmeye basladik.
ki kosullari da biliyoruz. Sifir butceyle yapilan organizasyon icin katilimcilardan bir nevi masa sandalye parasi bile istenmis. mekanin kuratorlugunu yapan cecilia benden turkiye'den kontak rica ettiginde, acikcasi kosullarin boyle oldugunu bilmeden birkac isim onermistim. mehmet blogunda yazismalarin bir kismini koymustu. biz hicbir sey odemeyiz, sadece davet ederiz, herkes kendi parasini kendi bulsun mantigiyla yapilan bu etkinligin hangi bagimsizligi nasil destekledigi tartisilir. zaten WAGE butun kosullar altinda masasiz sandalyesiz katilip ortaya buyuk bir seffaf sikayet kutusu yaparak durum hakkinda en iyi yorumu yapti...
bu hafta sonunu fire island'da cherry grove'da gecirdim.
limandan gondere gokkusagi bayragi cekilen guzel bir queer community.
yagmur yaza giris partileri modunu sarssa da
piyano esliginde tam gaz
broadway sarkilari soylendi hafta sonu.
herkes enerjisini bu haftasonuna sakliyor malum.
stonewall'un 40. yilinda buyuk pride'dan ve christopher street'ten
canli yayin baglantilarimiz gerceklesecek.
bu arada dun dia'nin eski mekanini bir yilligina kiralayan X initiative'de "No Soul For Sale" bagimsizlar festivalinin acilisi vardi. acilis ozlemiyle yanip tutusan new yorkerlarin doldurup tasirdigi festivalin, festivalden ziyade bir nevi bagimsizlar sanat fuari oldugunu dehsetle gozlemledik arkadaslarimla birlikte. zaten super eklektik olan listede Swiss Institute'u da gorunce bu bagimsiz meselesinin ne hal aldigini dusunmeye basladik.
ki kosullari da biliyoruz. Sifir butceyle yapilan organizasyon icin katilimcilardan bir nevi masa sandalye parasi bile istenmis. mekanin kuratorlugunu yapan cecilia benden turkiye'den kontak rica ettiginde, acikcasi kosullarin boyle oldugunu bilmeden birkac isim onermistim. mehmet blogunda yazismalarin bir kismini koymustu. biz hicbir sey odemeyiz, sadece davet ederiz, herkes kendi parasini kendi bulsun mantigiyla yapilan bu etkinligin hangi bagimsizligi nasil destekledigi tartisilir. zaten WAGE butun kosullar altinda masasiz sandalyesiz katilip ortaya buyuk bir seffaf sikayet kutusu yaparak durum hakkinda en iyi yorumu yapti...
Thursday, June 18, 2009
photoshopun silemedigi el
bogazi kesilen kadinlar, bogulan kadinlar, uzerinde gelinlikle tecavuz edilip oldurulen kadinlar, evlerinde bicaklanan transeksueller, gay oldugu icin ailesi tarafindan sokak ortasinda kursunlananlar...
bilmedigimiz daha ne kadar cogu var kimbilir.
bu kizi da on yedi yasinda evlendirmisler, yuzunden belli ne kadar mutsuz oldugu, istemedigi.
kocasi evli olmayi kaldiramadigi icin bogmus esarbiyla.
herkes toreden dem vuruyor haber yorumlarinda da, durum cok mu farkli mesela istanbul'un gobeginde gerceklesen munevver karabulut cinayetinde?
bu nasil dinmeyen bir ofke, nasil bir basedememezlik...
radikal keske "tore kurbani" kadinlarin haberleri kadar ardarda oldurulen transeksuellerin haberlerini de acip koysa boyle. ben birbirlerinden cok da farkli olduklarini dusunmuyorum acikcasi.
bugunku tore cinayeti haberinde koydugu fotograf ayri bir konuskan.
oku oku bitmez.
ama esas o omuzdaki hayalet el var ya.
her kizdigi, basedemedigi "kahpe"ye, "ibne"ye saldirmaya hazir...
destek!!! 19 Haziran'da Iran Konsoloslugu'nun onu! Saat 18:00!
Protestolar sırasında, 8 Kardeşimiz şehit oldu.
ONLARIN TEK SUÇU, HAKLARINI ARAMAKTI!
VURANLARA GÖRE BU AFEDİLMEZ Bİ GÜNAH VE ONUN BEDELI KAN.
GENÇLERİMİZ ÖDEDİLER ÇÜNKÜ ÖZGÜRLÜĞE İNANİYORLARDI.
Şehit kardeşlerimizin anısına, yarın 19 Haziran'da, aksam saat altida, İran konsoloslugunun önünde toplanacağız.
Bir araya gelecegiz, paylaşacağiz derdimizi ve dökülen kanların hesabini BİZ soracağız.
Yarın sizi aramizda görmekten onur duyarız.
SAYGILAR
(Istanbul'da yasayan arkadasim Azadeh Ramazani'nin Facebook sayfasindan alindi.)
ONLARIN TEK SUÇU, HAKLARINI ARAMAKTI!
VURANLARA GÖRE BU AFEDİLMEZ Bİ GÜNAH VE ONUN BEDELI KAN.
GENÇLERİMİZ ÖDEDİLER ÇÜNKÜ ÖZGÜRLÜĞE İNANİYORLARDI.
Şehit kardeşlerimizin anısına, yarın 19 Haziran'da, aksam saat altida, İran konsoloslugunun önünde toplanacağız.
Bir araya gelecegiz, paylaşacağiz derdimizi ve dökülen kanların hesabini BİZ soracağız.
Yarın sizi aramizda görmekten onur duyarız.
SAYGILAR
(Istanbul'da yasayan arkadasim Azadeh Ramazani'nin Facebook sayfasindan alindi.)
Tuesday, June 16, 2009
WORKSHOP IN JUNE 2009
SO WHAT KIND OF ARTIST ARE YOU?
A Workshop with Hassan Khan
28 June – 2 July 2009
Hassan Khan’s response to “A.K.A. Education? – Art Known as Education?” takes the form of intense workshop sessions that attempt to answer the question “SO WHAT KIND OF ARTIST ARE YOU?” with four selected participants. Over the course of five separate one-on-one sessions, participants in this workshop will have the chance to think about their practice, what they might be interested in doing, and what possible methods they can use to achieve that. As preparation for the workshop participants should pre-select a favorite work of theirs produced over the period of the last year. This work will be the starting point from which ideas will be launched.
Hassan Khan will work individually with each participant on what they are interested in as the foundation of developing different possibilities for re-articulating work processes.T
o apply please send the following to acafspace@gmail.com : 1- Your CV or Bio 2- One jpeg image of the work you intend to use in the workshop 3- A short description of this work.
Deadline is 23rd of June 2009, please write “workshop with Hassan Khan” clearly in the e-mail’s subject box.
Alexandria Contemporary Arts Forum (ACAF) 10 Hussein Hassab Street, Flat 6, Azarita, Alexandria, Egypt, T: +20 (0)3 480 41 45E: office@acafspace.org
www.acafspace.org
Opening times: Open during events/exhibitions from 1 – 9 pm, otherwise by appointment only.The ‘A.K.A. Education?’ program is supported by The Embassy of the Kingdom of the Netherlands, Cairo and Pro Helvetia, Cairo
SO WHAT KIND OF ARTIST ARE YOU?
A Workshop with Hassan Khan
28 June – 2 July 2009
Hassan Khan’s response to “A.K.A. Education? – Art Known as Education?” takes the form of intense workshop sessions that attempt to answer the question “SO WHAT KIND OF ARTIST ARE YOU?” with four selected participants. Over the course of five separate one-on-one sessions, participants in this workshop will have the chance to think about their practice, what they might be interested in doing, and what possible methods they can use to achieve that. As preparation for the workshop participants should pre-select a favorite work of theirs produced over the period of the last year. This work will be the starting point from which ideas will be launched.
Hassan Khan will work individually with each participant on what they are interested in as the foundation of developing different possibilities for re-articulating work processes.T
o apply please send the following to acafspace@gmail.com : 1- Your CV or Bio 2- One jpeg image of the work you intend to use in the workshop 3- A short description of this work.
Deadline is 23rd of June 2009, please write “workshop with Hassan Khan” clearly in the e-mail’s subject box.
Alexandria Contemporary Arts Forum (ACAF) 10 Hussein Hassab Street, Flat 6, Azarita, Alexandria, Egypt, T: +20 (0)3 480 41 45E: office@acafspace.org
www.acafspace.org
Opening times: Open during events/exhibitions from 1 – 9 pm, otherwise by appointment only.The ‘A.K.A. Education?’ program is supported by The Embassy of the Kingdom of the Netherlands, Cairo and Pro Helvetia, Cairo
Monday, June 15, 2009
butun kizlar toplandik!
brooklyn pride'in after party'si yollarina dustuk.
koca istanbul'un bi nacizane pride'i ne emeklerle ozenlerle yapiliyor.
burada her mahalleye ayri servis
brooklyn pride, manhattan pride, harlem pride, queens pride.
ipucu soranlar sol tarafima diil sag tarafima baksin...
bitmeyen sarki/beklenen sarki
WHW'nin bienal'e tanas'ta acacagi prolog sergisi ne tarafindan bakilirsa bakilsin can sikici.
bu noktada flamingoboy commentlerine katiliyorum ve ben de eklemek istiyorum.
kimse darilmasin gucenmesin.
bunlari konusmadikca daha da tikaniyoruz.
sanki oldugu gibi aldik, kabul ettik diye okunuyor.
bu prolog sergisinden gorunen su
koc vakfi bienal'i markaliyor.
WHW bu sergiyi berlin'de serbest bir alanda yapip altina koc destegini koymak yerine koc insiyatifiyle kurulmus bir mekanda yaptigi icin oluyor bu.
kuratorlerin bu tercihiyle isim bienalin uzerine cikiyor.
ben de hicbir sekilde guncel sanata gelen sermaye destegini kiniyor degilim.
umumi fonlarin ne zaman ortaya cikacagi belli degil ve bu sistem tasima suyla donmuyor.
yine de bienal gibi aile vakfindan cikmasina ragmen kendi adiyla jeneriklesmis bir etkinligin basina bu gelmemeli. sponsorlar destegini cekmemeli, artirmali ama isimleriyle bienalin ustune de cikmamali.
WHW'nin "Neden?" sorusunu cevaplamasi gerekiyor bu noktada. yoksa bu bienal icin sorduklari temel sorunun samimiyetine inanmakta gucluk cekecegiz.
bu noktada flamingoboy commentlerine katiliyorum ve ben de eklemek istiyorum.
kimse darilmasin gucenmesin.
bunlari konusmadikca daha da tikaniyoruz.
sanki oldugu gibi aldik, kabul ettik diye okunuyor.
bu prolog sergisinden gorunen su
koc vakfi bienal'i markaliyor.
WHW bu sergiyi berlin'de serbest bir alanda yapip altina koc destegini koymak yerine koc insiyatifiyle kurulmus bir mekanda yaptigi icin oluyor bu.
kuratorlerin bu tercihiyle isim bienalin uzerine cikiyor.
ben de hicbir sekilde guncel sanata gelen sermaye destegini kiniyor degilim.
umumi fonlarin ne zaman ortaya cikacagi belli degil ve bu sistem tasima suyla donmuyor.
yine de bienal gibi aile vakfindan cikmasina ragmen kendi adiyla jeneriklesmis bir etkinligin basina bu gelmemeli. sponsorlar destegini cekmemeli, artirmali ama isimleriyle bienalin ustune de cikmamali.
WHW'nin "Neden?" sorusunu cevaplamasi gerekiyor bu noktada. yoksa bu bienal icin sorduklari temel sorunun samimiyetine inanmakta gucluk cekecegiz.
tehelka in tehran
As the most animated (and violent) protests in Tehran in a decade and in the thirtieth year after the Revolution unfold, my mailbox is inundated with emails from friends, many also reporting with anger and fear on gmail chat. Text messages were abandoned a few days ago when the blackout happened and since then a few friends have been primarily talking through email chat.
"Tehelka" is the Hindustani word for chaos and/or mayhem and sensation, and the mayhem on the streets of Tehran as the Islamic Republic's controlled democracy stands exposed with all of its fissures- is a state of chaos, not seen in a long time. Even though Mousavi has come up for air (seen very recently speaking atop a car) after the Ayatollah's promise of an "investigation", the outcome of these protests and this "election" will impact the region and the world for a long time to come.
I will update this space with more reports as millions (and amongst them some dear friends) rally on the streets of Tehran.
Facebook and Twitter remain on fire with live updates. One that sticks out to me is this:"I just got word from a reliable source that Baseej teams are now active on the Internet. They will try to infiltrate amongst Iranians abroad and take note on who is against them. For those of us who go back and forth to Iran, don't add friends you don't, be careful what you post and don't join groups that look suspicious!"
I have also just gotten off the phone with another friend in Tehran who says this-"This has to be bigger than the revolution! There are more than three million people on the streets. And I have just heard that there are mass arrests in Shiraz and Tabriz. My friends in Tehran university are surrounded".
James Longley, the filmmaker of Iraq in Fragments and Gaza Strip has sent the following report to another Iranian filmmaker friend who has requested I reproduce it here. What follows below is his (Longley's) account from 3:51 pm on June 14th. Longley has been living in Tehran for a while and now equipped with his camera finds himself in the middle of the election-Iranian style.
The photograph that Longley includes- is one taken a few seconds before Longley and his translator were detained, making it obvious that it was not a riot situation as claimed by the security guards. (I am trying to include the photograph in the post).
"About three hours ago I was interviewing people on the street in downtown Tehran with my translator, not far from the Ministry of Interior building.
There were some riot police about 100 meters away at the other end of the street.
A couple people spoke to the camera -- one young woman was saying that "The riot police are beating people like animals. The situation here is very bad; we need the UN to come and help with a recount of the votes!"
At about that time a plain-clothes security guy started grabbing my arm, and together with several uniformed police they dragged me and my translator off to the Ministry of Interior building.
I fared much better than my translator, whom they punched and kicked in the groin. They ripped off his ID and snatched away both our cameras. A passing police officer sprayed my translator in the face with pepper spray, although he was already being marched along the pavement by three policemen.
Unfortunately my camera was still recording and the battery was dislodged in the hubbub, destroying the video file of the interview.
As we reached the Ministry of Interior building they separated us and dragged my translator by his arms across the floor and down a flight of stairs; he eventually regained his footing on the second two flights of stairs leading downward to the holding cell, where about twenty people who had already been grabbed off the streets were kneeling on the floor in the darkened room with their hands tied behind their backs.
All during this process my translator was being kicked and sworn at. The police told him how they "would put their dicks in his ass" and how "your mother/sister is a whore" and so on. At one point he was beaten with a belt buckle. At another moment, they beat him with a police truncheon across his back, leaving a nasty welt.
My translator kept on insisting that he was an officially authorized translator working with an American journalist -- which is perfectly true.
At this time I was above ground, in the entrance to the ministry, yelling over and over at the police to "Bring me my translator!" It was clear that they didn't intend to beat me -- although they may have wanted to -- because I was a foreigner.
After a few minutes they relented and sent someone off to retrieve my translator from their holding cell, three floors down in the Ministry of Interior building.
They came into the holding cell and shouted "Where is the translator?!" and then, when he identified himself, they beat him again for "not telling them he was a translator."
An English-speaking riot policeman tried to sweet-talk me, saying that in a riot situation anything can happen. I might have taken him more seriously had a riot actually been taking place when we were arrested. He also asked my translator to convince me not to report what had happened.
Eyewitnesses are reporting that fully-credentialed foreign journalists are similarly being detained all over Tehran today. The deputy head of the Ministry of Guidance just told me on the phone that other journalists have also been beaten, and that the official permissions no longer work. Also, foreign journalist visas are not being extended, so all of those people who were allowed in to cover the elections are now being forced out in the messy aftermath.
All in all, it made me really question what I am doing in this country. It has become impossible to work as a journalist without the risk of physical violence from the government."
Iran
As the most animated (and violent) protests in Tehran in a decade and in the thirtieth year after the Revolution unfold, my mailbox is inundated with emails from friends, many also reporting with ange...
Follow more on www.huffingtonpost.com
"Tehelka" is the Hindustani word for chaos and/or mayhem and sensation, and the mayhem on the streets of Tehran as the Islamic Republic's controlled democracy stands exposed with all of its fissures- is a state of chaos, not seen in a long time. Even though Mousavi has come up for air (seen very recently speaking atop a car) after the Ayatollah's promise of an "investigation", the outcome of these protests and this "election" will impact the region and the world for a long time to come.
I will update this space with more reports as millions (and amongst them some dear friends) rally on the streets of Tehran.
Facebook and Twitter remain on fire with live updates. One that sticks out to me is this:"I just got word from a reliable source that Baseej teams are now active on the Internet. They will try to infiltrate amongst Iranians abroad and take note on who is against them. For those of us who go back and forth to Iran, don't add friends you don't, be careful what you post and don't join groups that look suspicious!"
I have also just gotten off the phone with another friend in Tehran who says this-"This has to be bigger than the revolution! There are more than three million people on the streets. And I have just heard that there are mass arrests in Shiraz and Tabriz. My friends in Tehran university are surrounded".
James Longley, the filmmaker of Iraq in Fragments and Gaza Strip has sent the following report to another Iranian filmmaker friend who has requested I reproduce it here. What follows below is his (Longley's) account from 3:51 pm on June 14th. Longley has been living in Tehran for a while and now equipped with his camera finds himself in the middle of the election-Iranian style.
The photograph that Longley includes- is one taken a few seconds before Longley and his translator were detained, making it obvious that it was not a riot situation as claimed by the security guards. (I am trying to include the photograph in the post).
"About three hours ago I was interviewing people on the street in downtown Tehran with my translator, not far from the Ministry of Interior building.
There were some riot police about 100 meters away at the other end of the street.
A couple people spoke to the camera -- one young woman was saying that "The riot police are beating people like animals. The situation here is very bad; we need the UN to come and help with a recount of the votes!"
At about that time a plain-clothes security guy started grabbing my arm, and together with several uniformed police they dragged me and my translator off to the Ministry of Interior building.
I fared much better than my translator, whom they punched and kicked in the groin. They ripped off his ID and snatched away both our cameras. A passing police officer sprayed my translator in the face with pepper spray, although he was already being marched along the pavement by three policemen.
Unfortunately my camera was still recording and the battery was dislodged in the hubbub, destroying the video file of the interview.
As we reached the Ministry of Interior building they separated us and dragged my translator by his arms across the floor and down a flight of stairs; he eventually regained his footing on the second two flights of stairs leading downward to the holding cell, where about twenty people who had already been grabbed off the streets were kneeling on the floor in the darkened room with their hands tied behind their backs.
All during this process my translator was being kicked and sworn at. The police told him how they "would put their dicks in his ass" and how "your mother/sister is a whore" and so on. At one point he was beaten with a belt buckle. At another moment, they beat him with a police truncheon across his back, leaving a nasty welt.
My translator kept on insisting that he was an officially authorized translator working with an American journalist -- which is perfectly true.
At this time I was above ground, in the entrance to the ministry, yelling over and over at the police to "Bring me my translator!" It was clear that they didn't intend to beat me -- although they may have wanted to -- because I was a foreigner.
After a few minutes they relented and sent someone off to retrieve my translator from their holding cell, three floors down in the Ministry of Interior building.
They came into the holding cell and shouted "Where is the translator?!" and then, when he identified himself, they beat him again for "not telling them he was a translator."
An English-speaking riot policeman tried to sweet-talk me, saying that in a riot situation anything can happen. I might have taken him more seriously had a riot actually been taking place when we were arrested. He also asked my translator to convince me not to report what had happened.
Eyewitnesses are reporting that fully-credentialed foreign journalists are similarly being detained all over Tehran today. The deputy head of the Ministry of Guidance just told me on the phone that other journalists have also been beaten, and that the official permissions no longer work. Also, foreign journalist visas are not being extended, so all of those people who were allowed in to cover the elections are now being forced out in the messy aftermath.
All in all, it made me really question what I am doing in this country. It has become impossible to work as a journalist without the risk of physical violence from the government."
Iran
As the most animated (and violent) protests in Tehran in a decade and in the thirtieth year after the Revolution unfold, my mailbox is inundated with emails from friends, many also reporting with ange...
Follow more on www.huffingtonpost.com
Sunday, June 14, 2009
Wednesday, June 10, 2009
Tuesday, June 9, 2009
Free Artem Loskutov! An Appeal from Chto Delat Platform
http://free.kissmybabushka.com/
On May 15, 2009, the contemporary artist and university student Artem Loskutov (pronounced ahr-TYOHM LOHS-koo-tuhf) was arrested in Novisibirsk and charged with possession of a narcotic substance (marijuana) by the local branch of the Interior Ministry’s notorious Center for Extremism Prevention (Center “E”). Loskutov and his supporters claim that the police planted the marijuana in his bag in order to incriminate him. As one of the inspirations behind the annual “Monstration”—a flash-mob street party in which young people march with absurdist, Situationist slogans—Loskutov had long been an object of the Center’s attentions. At a pre-trial custody hearing on May 20, it was revealed that the Center had been tapping the phones of Loskutov and his friends for the past six months. In the weeks before this year’s Monstration and on May Day itself, Loskutov was summoned to the Center for “discussions”; his parents were also called and told that their son was a member of a dangerous sect. The circumstances of the case and the manner in which he was arrested thus point to a campaign of intimidation directed both at Loskutov and his fellow free-thinking “monstrators” in Novosibirsk.
The Loskutov case has sparked a massive outcry in Russia’s activist and art communities. In the past three weeks, artists, activists, and ordinary concerned citizens all over Russia have carried out a series of pickets, protests, and art actions in Loskutov’s defense. The most inspiring of these actions is a “plein air” hunger strike organized by several young artists in Petersburg, now in its second week. The artists have encamped themselves in a park next to city hall, where they are producing paintings and drawings whose central motif is the increasingly brutal police repression of social activists and dissenting artists in Russia. The hunger strikers have issued three demands. First, they want a criminal investigation of the mass arrests by riot police of marchers in a “Pirate Street Party” on May Day in Petersburg; these arrests took place despite the fact that the action’s organizers had obtained official written permission to march with the other columns of demonstrators. Second, they call for the convening of a public commission to monitor the work of Center “E.” Finally, they demand that the charges against Artem Loskutov be dropped and that he be released from police custody.
Although the Loskutov case and the Petersburg hunger strike have become two of the hottest topics in the Russian blogosphere, there has been a near-total blackout in the mainstream Russian press, especially television. That is why we ask you to join our campaign of solidarity with Artem and his hunger-striking artist comrades in Petersburg. We have called an international day of actions for June 9, a day before Artem’s appeal to be released on recognizance will be heard in the Novosibirsk Regional Court. If we put enough pressure on local and federal authorities now and make enough noise outside of Russia, it is possible that Center “E” will even drop their case altogether.
What Can You Do to Help Artem and the Petersburg Hunger Strikers?
1. You can contribute to Artem’s legal defense fund.
Contributions in US Dollars
Correspondent bank of beneficiary’s bank: Bank of New York, New York, One Wall Street, New York, NY 10286, USA
SWIFT code: IRVTUS3N
Account number with correspondent bank: 890-0570-822
Beneficiary’s bank: Alfa-Bank Moscow
SWIFT code: ALFARUMM
Beneficiary’s bank account number: 40817840708110001957
Beneficiary: Chesnokov Ulyan Mihaylovich
Contributions in Euros
As above, except for the beneficiary’s account number: 40817978808110002061
2. You can mail, call in, fax or e-mail your protest to the Novosibirsk Regional Court, which will next hear Artem’s case on June 10.
Novosibirsk Regional Court (Novosibirskii oblastnoi sud)
ul. Pisareva, 35
Russian Federation 630091 Novosibirsk
Telephone: +7 (383) 221-17-72
Fax: +7 (383) 221-95-30
E-mail:mailto:oblsudnso@nsk.raid.ru
Send copies of your protest letters to:
Russian Federation Ministry of Foreign Affairs (Ministerstvo inostrannykh del RF)
Smolenskaya-Sennaya pl., 32/34
Russian Federation 119200 Moscow
Fax: +7 (499) 244-34-48
E-mail: ministry@mid.ru
Let’s bombard their fax machines and e-mail in-boxes on June 9!
On May 15, 2009, the contemporary artist and university student Artem Loskutov (pronounced ahr-TYOHM LOHS-koo-tuhf) was arrested in Novisibirsk and charged with possession of a narcotic substance (marijuana) by the local branch of the Interior Ministry’s notorious Center for Extremism Prevention (Center “E”). Loskutov and his supporters claim that the police planted the marijuana in his bag in order to incriminate him. As one of the inspirations behind the annual “Monstration”—a flash-mob street party in which young people march with absurdist, Situationist slogans—Loskutov had long been an object of the Center’s attentions. At a pre-trial custody hearing on May 20, it was revealed that the Center had been tapping the phones of Loskutov and his friends for the past six months. In the weeks before this year’s Monstration and on May Day itself, Loskutov was summoned to the Center for “discussions”; his parents were also called and told that their son was a member of a dangerous sect. The circumstances of the case and the manner in which he was arrested thus point to a campaign of intimidation directed both at Loskutov and his fellow free-thinking “monstrators” in Novosibirsk.
The Loskutov case has sparked a massive outcry in Russia’s activist and art communities. In the past three weeks, artists, activists, and ordinary concerned citizens all over Russia have carried out a series of pickets, protests, and art actions in Loskutov’s defense. The most inspiring of these actions is a “plein air” hunger strike organized by several young artists in Petersburg, now in its second week. The artists have encamped themselves in a park next to city hall, where they are producing paintings and drawings whose central motif is the increasingly brutal police repression of social activists and dissenting artists in Russia. The hunger strikers have issued three demands. First, they want a criminal investigation of the mass arrests by riot police of marchers in a “Pirate Street Party” on May Day in Petersburg; these arrests took place despite the fact that the action’s organizers had obtained official written permission to march with the other columns of demonstrators. Second, they call for the convening of a public commission to monitor the work of Center “E.” Finally, they demand that the charges against Artem Loskutov be dropped and that he be released from police custody.
Although the Loskutov case and the Petersburg hunger strike have become two of the hottest topics in the Russian blogosphere, there has been a near-total blackout in the mainstream Russian press, especially television. That is why we ask you to join our campaign of solidarity with Artem and his hunger-striking artist comrades in Petersburg. We have called an international day of actions for June 9, a day before Artem’s appeal to be released on recognizance will be heard in the Novosibirsk Regional Court. If we put enough pressure on local and federal authorities now and make enough noise outside of Russia, it is possible that Center “E” will even drop their case altogether.
What Can You Do to Help Artem and the Petersburg Hunger Strikers?
1. You can contribute to Artem’s legal defense fund.
Contributions in US Dollars
Correspondent bank of beneficiary’s bank: Bank of New York, New York, One Wall Street, New York, NY 10286, USA
SWIFT code: IRVTUS3N
Account number with correspondent bank: 890-0570-822
Beneficiary’s bank: Alfa-Bank Moscow
SWIFT code: ALFARUMM
Beneficiary’s bank account number: 40817840708110001957
Beneficiary: Chesnokov Ulyan Mihaylovich
Contributions in Euros
As above, except for the beneficiary’s account number: 40817978808110002061
2. You can mail, call in, fax or e-mail your protest to the Novosibirsk Regional Court, which will next hear Artem’s case on June 10.
Novosibirsk Regional Court (Novosibirskii oblastnoi sud)
ul. Pisareva, 35
Russian Federation 630091 Novosibirsk
Telephone: +7 (383) 221-17-72
Fax: +7 (383) 221-95-30
E-mail:mailto:oblsudnso@nsk.raid.ru
Send copies of your protest letters to:
Russian Federation Ministry of Foreign Affairs (Ministerstvo inostrannykh del RF)
Smolenskaya-Sennaya pl., 32/34
Russian Federation 119200 Moscow
Fax: +7 (499) 244-34-48
E-mail: ministry@mid.ru
Let’s bombard their fax machines and e-mail in-boxes on June 9!
Painter Hangs Own Paintings
On Tuesday I hung my painting(s) at the Heiner Friedrich gallery in SoHo. Really it's one painting with 83 parts. Each part is 52 inches by 76 inches and they are all sort of the same except for the colors. I called them 'Shadows' because they are based on a photo of a shadow in my office. It's a silk screen that I mop over with paint.
I started working on them a few years ago. I work seven days a week. But I get the most done on weekends because during the week people keep coming by to talk.
The painting(s) can't be bought. The Lone Star Foundation is presenting them and they own them.
Someone asked me if they were art and I said no. You see, the opening party had disco. I guess that makes them disco decor.
This show will be all like others. The review will be bad- my reviews always are. But the reviews of the party will be terrific.
I had the painting(s) hung at eye level. Any lower and people would kick them, especially at the party. The only problem hanging the show was the gallery floor. One end of the gallery is a foot higher than the other.
But the kids helped me, and when we finished we all had lunch. I ate a pickle and drank some Evian and then some Perrier Jouet.
The gallery looked great. It's a simple, clean space. My Mao show was bigger but this is the biggest show I've had in New York City in a long time.
After we were finished, I took a walk with some friends. We stopped at Ivan Karp's gallery, O.K. Harris. He told me there are a lot of people now doing shadows in art. I didn't know that.
Then we crossed the street and went into Holly Solomon's gallery. I always like to see if the art across the street is better than mine.
Andy Warhol, 1979
I started working on them a few years ago. I work seven days a week. But I get the most done on weekends because during the week people keep coming by to talk.
The painting(s) can't be bought. The Lone Star Foundation is presenting them and they own them.
Someone asked me if they were art and I said no. You see, the opening party had disco. I guess that makes them disco decor.
This show will be all like others. The review will be bad- my reviews always are. But the reviews of the party will be terrific.
I had the painting(s) hung at eye level. Any lower and people would kick them, especially at the party. The only problem hanging the show was the gallery floor. One end of the gallery is a foot higher than the other.
But the kids helped me, and when we finished we all had lunch. I ate a pickle and drank some Evian and then some Perrier Jouet.
The gallery looked great. It's a simple, clean space. My Mao show was bigger but this is the biggest show I've had in New York City in a long time.
After we were finished, I took a walk with some friends. We stopped at Ivan Karp's gallery, O.K. Harris. He told me there are a lot of people now doing shadows in art. I didn't know that.
Then we crossed the street and went into Holly Solomon's gallery. I always like to see if the art across the street is better than mine.
Andy Warhol, 1979
open call from meir tati
meir'in isini gecegezenler programinda gostermistim. simdi digital art center holon'da ilginc bir proje yapiyormus. acik cagrisi asagida. ilgilenenlere...
Artists from Israel and around the world are invited to respond to the subject of propaganda with visual images (in A4 format) and texts from various genres such as narrative fiction, poetry, philosophy and others. The selected works will first be exhibited in the Digital Art Center in a dynamic exhibition space that will also provide the venue for a model airplane building workshop for children and teens. Later on the works will be dropped from a UAV over public areas (such as a busy park). In this way the art project reacts to the typical characteristics of the modern-day world, a world steeped in paranoia, psychological warfare, and deliberate disinformation of government, army and other factors.
The project title – “Art Force 1” – is an ironic paraphrase of “Air Force 1”- the plane used by the
President of the United States. This title was chosen because it questions the power of the international contemporary art world in comparison with that of countries and global superpowers. Can an object of art constitute an act of propaganda? Can it serve as a tool for propaganda? What does it advocate and on whose behalf does it do so? Can/may contemporary art still create a meaningful statement in the skeptical culture of the modern world? Is art an inner, self-contained dialogue or can it offer a chance for collaboration, for cultural activism and for an open, alternative, international debate using the internet culture?
Deadline July 15, 2009
Images can be sent to The Israeli Center for Digital Art
c/o Meir Tati, 16 Yirmiyahu Street, 58835 Holon, Israel
By fax ++972 3 558 0003
Or e-mail: tatimeir@gmail.com
Artists from Israel and around the world are invited to respond to the subject of propaganda with visual images (in A4 format) and texts from various genres such as narrative fiction, poetry, philosophy and others. The selected works will first be exhibited in the Digital Art Center in a dynamic exhibition space that will also provide the venue for a model airplane building workshop for children and teens. Later on the works will be dropped from a UAV over public areas (such as a busy park). In this way the art project reacts to the typical characteristics of the modern-day world, a world steeped in paranoia, psychological warfare, and deliberate disinformation of government, army and other factors.
The project title – “Art Force 1” – is an ironic paraphrase of “Air Force 1”- the plane used by the
President of the United States. This title was chosen because it questions the power of the international contemporary art world in comparison with that of countries and global superpowers. Can an object of art constitute an act of propaganda? Can it serve as a tool for propaganda? What does it advocate and on whose behalf does it do so? Can/may contemporary art still create a meaningful statement in the skeptical culture of the modern world? Is art an inner, self-contained dialogue or can it offer a chance for collaboration, for cultural activism and for an open, alternative, international debate using the internet culture?
Deadline July 15, 2009
Images can be sent to The Israeli Center for Digital Art
c/o Meir Tati, 16 Yirmiyahu Street, 58835 Holon, Israel
By fax ++972 3 558 0003
Or e-mail: tatimeir@gmail.com
Monday, June 8, 2009
venedik postasi
venedik'ten chelsea ofisimize donduk.
anlatacak cok sey var tabii.
uzun zaman sonra venedik'te karsilastigim flamingoboy da yazmis haberler geliyor diye. haberlerde bolluk bereket olsun benim posta da bugun yarin yolda.
karsilastirmali yazar okuruz.
kisaca highlights hafizasi simdi olan sketch out turkiye pavyonu, liam gillick ahmet ogut konusmasi, filistin pavyonundaki ramallah underground'lu dagitici ses yerlestirmesi, giardini'deki palermo wolfgang tillmans odasi, keren cytter'in casavettes uzerine cektigi yeni sahane videosu, liam gillick'in kedili mutfagi, katalanlarin dokturdugu post-capital pavyon, havali UAE pavyonu (dillerdeki tirdad ve haremi) ve catherine david'in abu dhabi platformu karsilastirmasi, alina serban'in romanya pavyonunda kurdugu yeralti, the last not the least loud and proud of giardini "the collectors"......
anlatacak cok sey var tabii.
uzun zaman sonra venedik'te karsilastigim flamingoboy da yazmis haberler geliyor diye. haberlerde bolluk bereket olsun benim posta da bugun yarin yolda.
karsilastirmali yazar okuruz.
kisaca highlights hafizasi simdi olan sketch out turkiye pavyonu, liam gillick ahmet ogut konusmasi, filistin pavyonundaki ramallah underground'lu dagitici ses yerlestirmesi, giardini'deki palermo wolfgang tillmans odasi, keren cytter'in casavettes uzerine cektigi yeni sahane videosu, liam gillick'in kedili mutfagi, katalanlarin dokturdugu post-capital pavyon, havali UAE pavyonu (dillerdeki tirdad ve haremi) ve catherine david'in abu dhabi platformu karsilastirmasi, alina serban'in romanya pavyonunda kurdugu yeralti, the last not the least loud and proud of giardini "the collectors"......
perpetual gypsy pavillion
PAVILION LAUNCH AT THE VENICE BIENNALE 2009
The
PERPETUAL GYPSY PAVILION
will be officially launched at theVENICE BIENNALE 2009Sunday 7 June, 12 am.Hungarian Pavilion, Giardini, Venice.
http://www.perpetualpavilion.org/
Side 1 of the Postcard from Venice
The launch of the Perpetual Gypsy Pavilion is a response to a twofold crisis. While 2007 saw the acclaimed first Roma Pavilion in Venice (www.romapavilion.org), the planned Roma Pavilion in 2009 was canceled at very short notice. This highly unfortunate situation is made all the more acute by the fact that in 2009, the Venice Biennale is taking place amid extreme violations of the human rights of Romani People (Gypsies) in Italy and in other European countries.
The Perpetual Gypsy Pavilion is an immediate, yet long-term response to this situation. It is a mobile, that is, a traveling pavilion, inaugurated at the Venice Biennale 2009. The first Residence of the post-launch Gypsy Pavilion - with its own spaces, buildings, artists, curators and concepts - is already planned for HELSINKI Suomenlinna-Sveaborg (The Nordic Institute for Contemporary Art - NIFCA’s former base). It will take place in the context of a new artistic format: an Arts Assembly. The second Residence will take place in BELGRADE. More Gypsy Pavilions are to follow in the lead-up to the Venice Biennale 2011.
The artists of the Perpetual Gypsy Pavilion will include the leading representatives of Roma, Romanichal, Sinti, Kale, Traveller, Manush, Romanisael (some of the related Gypsy-Romani cultures and subgroups) and other Gypsy artists.
Several renowned artists, thinkers, curators, public figures and national pavilions have already declared their solidarity and offered their support to the Pavilion. See the growing lists by going to our website, where there are lists of Supporters as well as Petitions and links to our newly launched Facebook page: http://www.facebook.com/group.php?gid=94173866547. Please join to express your solidarity and receive news about the Gypsy Pavilions 2009-2011.
The name of the pavilion carries within it the hope and demand that no matter what the organisational, financial, artistic or political situation, a Gypsy-Romani pavilion or representation will have an official presence at Venice Biennale and within the established art context. Further - it leads to the demand that Romani artists to be represented in the National Pavilions of their countries of residence.
For the first time in 2009, the absence of Gypsy artists in national pavilions is being addressed in the mediated form of the Postcard from Venice (see attached image and website). The
PERPETUAL GYPSY PAVILION
will be officially launched at theVENICE BIENNALE 2009Sunday 7 June, 12 am.Hungarian Pavilion, Giardini, Venice.
http://www.perpetualpavilion.org/
Side 1 of the Postcard from Venice
The launch of the Perpetual Gypsy Pavilion is a response to a twofold crisis. While 2007 saw the acclaimed first Roma Pavilion in Venice (www.romapavilion.org), the planned Roma Pavilion in 2009 was canceled at very short notice. This highly unfortunate situation is made all the more acute by the fact that in 2009, the Venice Biennale is taking place amid extreme violations of the human rights of Romani People (Gypsies) in Italy and in other European countries.
The Perpetual Gypsy Pavilion is an immediate, yet long-term response to this situation. It is a mobile, that is, a traveling pavilion, inaugurated at the Venice Biennale 2009. The first Residence of the post-launch Gypsy Pavilion - with its own spaces, buildings, artists, curators and concepts - is already planned for HELSINKI Suomenlinna-Sveaborg (The Nordic Institute for Contemporary Art - NIFCA’s former base). It will take place in the context of a new artistic format: an Arts Assembly. The second Residence will take place in BELGRADE. More Gypsy Pavilions are to follow in the lead-up to the Venice Biennale 2011.
The artists of the Perpetual Gypsy Pavilion will include the leading representatives of Roma, Romanichal, Sinti, Kale, Traveller, Manush, Romanisael (some of the related Gypsy-Romani cultures and subgroups) and other Gypsy artists.
Several renowned artists, thinkers, curators, public figures and national pavilions have already declared their solidarity and offered their support to the Pavilion. See the growing lists by going to our website, where there are lists of Supporters as well as Petitions and links to our newly launched Facebook page: http://www.facebook.com/group.php?gid=94173866547. Please join to express your solidarity and receive news about the Gypsy Pavilions 2009-2011.
The name of the pavilion carries within it the hope and demand that no matter what the organisational, financial, artistic or political situation, a Gypsy-Romani pavilion or representation will have an official presence at Venice Biennale and within the established art context. Further - it leads to the demand that Romani artists to be represented in the National Pavilions of their countries of residence.
For the first time in 2009, the absence of Gypsy artists in national pavilions is being addressed in the mediated form of the Postcard from Venice (see attached image and website). The
Postcard from Venice is being distributed in the context of several National Pavilions - including, so far:
The Pavilion of Greece
The Pavilion of Greece
The Pavilion of Hungary
The Pavilion of Israel (needs re-confirmation from non-curatorial officials)
The Pavilion of Italy (Arsenale)
The Pavilion of Poland
The Pavilion of Estonia
The PavIlion of Serbia
The Pavilion of Turkey
The Pavilion of Uruguay
More national pavilions are, we hope, to follow.Since our e-flux announcement, new pavilions have joined are:
The Danish & Nordic Pavilion
The Pavilion of the Comoros Islands
The launch of the Perpetual Gypsy Pavilion will take place at the Hungarian Pavilion in the Venice Giardini at 12 am on Sunday, 7th of June, 2009. This Perpetual Gypsy Pavilion launch is not part of - but is officially supported by the Hungarian Pavilion.
For more information see more of our freshly launched website:
http://www.perpetualpavilion.org/
The launch of the Perpetual Gypsy Pavilion will take place at the Hungarian Pavilion in the Venice Giardini at 12 am on Sunday, 7th of June, 2009. This Perpetual Gypsy Pavilion launch is not part of - but is officially supported by the Hungarian Pavilion.
For more information see more of our freshly launched website:
http://www.perpetualpavilion.org/
Monday, June 1, 2009
x-tra
In this issue:FEATURES: “Art Versus Sport”: Managing Desire and the Queer Sport Spectacle by Jennifer Doyle
REVIEWS: The Institute for Figuring: Hyperbolic Crochet Coral Reefs by Leslie Dick, 28th São Paulo Bienal: In Living Contact by Royce W. Smith, Mark Tribe: The Liberation of Our People, Angela Davis 1969/2008 by Joseph Del Pesco, Tango with Cows: Book Art of the Russian Avant-Garde, 1910-1917 by John E. Bowlt, Notation: Calculation and Form in the Arts by Marc Glöde, Photo Cairo4: The Long Shortcut and The 11th International Cairo Biennale by Nizan Shaked, Asian/American/Modern Art: Shifting Currents, 1900-1970 by Sharon Mizota, Carl Burmeister: GODANDNOTHING. by Natalie Haddad and John Welchman
COLUMNS: Liat Yossifor: Below the Eye by Karen Lang, The Restored Symmetry by THE UNREADY (Alex Cecchetti & Alexandre Singh), End Notes: Bruce Conner, 1933-2008 by John McKinnon
ARTIST'S PROJECT: Fax Drawings #5, 6, 7, 8 by Kim Schoenstadt
taksim meydanı ebru'suz
taksim'i bildim bileli ebru oradaydı. marmara oteli'nin önünde. sanki oradaki herkesi beklerdi. birileri cuma gecesi fena halde tekmelemiş ebru'yu. yaşından dolayı aldığı tekmelere dayanamamış, bugün ölmüş. içim acıdı.
öte yandan da hep konuştuğumuz şey; ebru'nun bu şekilde ölümü taksim'in kitlesinin nasıl bir dönüşüm geçirdiğini söylüyor...
Subscribe to:
Posts (Atom)