Happy Jazz Playlist for November 2006 Show 1
Part A - Mark Taylor
Yusef Lateef : Oscarlypso
Eddie Roberts Quintet : 24000 Baci
Indigo Jam Unit : Palette
Coconuts Crew : Samboler
Egberto Gismonte : O Gato
Guida De Palma & Jazzinho : Da Tenpo Ao Tempo
D.J.Day : Lovebug
Cristina Camargo : Corda Bamba
Leroy Hutson : Getting It On
Leroy Hutson : Cool Out
Art Farmer : Soulsides
Ian Preece : Intime
Jimi Tenor : Harmatic Man
Idea 6 : Minor Mood (N. Conte remix )
Part B - Adrian Leach
Paris Jazz All Stars : Freedom
A.K. Salim : R.U.1.2
Frank Foster : May We?
Louis Hayes feat Leon Thomas : Little Sunflower
Paris Smith Quintet : Thought Seeds
Mansany : Steve
Christy Essien : Rumors
Anthony Piere : Yesterdays Dreams
Cossa Nostra : Matrix Do Funk
Salinas : Temha Fe, Pois Amanha Um Lindo Dia Vai Nascer
Silvio Cesar : A Festa
click here to download on mondomedeusah l'ectronique {engine 4.4}
click here to listen on-demand
happyjazz.ipodyourmondo.com
myspace.com/happyjazzshow
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Tuesday, October 31, 2006
DJ DUCATS - Peaceful Journey HIP HOP Radio Show 10th Year Anniversary featuring DJ Trevor Walker and more...
Peaceful Journey HIP HOP Radio Show 10th Year Anniversary
Featuring:
DJ Trevor Walker: (LifeBoogie, Mercury Lounge)
Rude Boy
MACE
Ben Jamin
and many more...
A party that you do not want to miss.
Ottawa, Ontario CANADA
Straight Hip Hop...no fluff...
mondomedeusah / www.myspace/mondomedeusah
mondomedeusah l'ectronique
Thursday, November 16th, 2006 - Producer, composer, DJ - Titonton Duvante - NYC @ Beyond
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New Party Alert: LIBATION (EXCURSION INTO SOUL) moves to Sapphire Lounge (every 2nd Thursday - opening night 11/9).
Tea Party Music and Manchildblack bring their well-loved Libation gathering to Sapphire, welcoming all lovers of underground music to join in. Libation's host, West End recording artist and host about town, Manchildblack, keeps time while resident DJ Ian Friday (Tea Party Music) wows the crowd with his seamless set of Nu Global Soul, Deep House, Garage Classics, Brazilian grooves, Afro-beat and other surprises unleashed from the secret vaults of his coveted collection. General info: 10pm-4am $5 before midnight/$7 after, drink specials (including Manchildblack's scrumptious "Libation" creation).
An-My Le: Small Wars
2006-10-28 until 2007-01-06
Museum of Contemporary Photography
Chicago, IL, USA
Famously the first televised war, Vietnam was projected into American living rooms on a nightly basis, and magazines and newspapers devoted page after page to graphic, bloody pictures of battles, massacres, and life at the front. These images played a key role in the discourse of opposition to the war; some by now so iconic that they will be forever implanted in our minds. In contrast, the war in Iraq today is an unseen war in many ways. There are relatively few photographers embedded in Iraq (Lê tried to be embedded but was denied permission), and much of the imagery that is released by the media is censored and sanitized by government controls and editors’ concerns over appearing to have an anti-war bias. There have been almost no pictures of dead or wounded American service people printed in U.S. publications since the start of the war, even though more than 2,800 American lives have been lost as of August 2006. Lê, who was born in Saigon, Vietnam in 1960 and came to the United States as a refugee in 1975, created the Small Wars series to explore, as she describes it, “the Vietnam of the mind;” a conception of war that emerged from the vast collection of documentation, personal histories, and fictional interpretations confronting veterans, survivors, and subsequent generations. The war games she photographs are elaborate. Her pictures present men—some of them veterans, others history buffs—simulating combat and war routines using detailed props such as grounded airplanes, tents, and uniforms. Lê is often asked to participate in the reenactments; over the course of the project she acted various roles from translator to, disconcertingly, a member of the Viet Cong. Sensitive to the fact that what motivates her subjects is often a complex web of psychological need, fantasy, and a passion for history, Lê avoids parody and constructs her images to emphasize clarity and craftsmanship over chaos and spectacle.
Lê’s pictures from 29 Palms present an epic American West in lush detail, and in many ways mirror the sanitized view of the Iraq war provided to us by the media today. Like in the Vietnam reenactments in Virginia, and Hollywood just 150 miles away, 29 Palms is a place where fictions are performed. Marines both rehearse their own roles and play the parts of their adversaries: they are occasionally asked to dress up and act as Iraqi police and civilians, and linguists wearing traditional Iraqi clothing are sometimes brought in to create a ruckus in Arabic. The military housing is tagged with mock anti-American graffiti and fake villages are built of particle board—the houses without backs like the facades used in old western movies.
Lê’s work raises questions about the reliability of seemingly objective historical accounts—such as news reports and photographs—that greatly influence how war is communicated and remembered. They have the hallmarks of a documentary project, but importantly, they do not show us what war does. By bringing a new resonance to the phrase “the theater of war,” Lê asks us to reconsider the fictions that cloud the ways in which war is remembered, reported upon, and experienced.
Unburden: Mauro Giaconi
2006-10-27 until 2006-11-27
DOT Fiftyone Gallery
Miami, FL, USA United States of America
Eva Grinstein, independent curator and art critic (Member of the International Association of Art Critics) who has done curatorial works: Malba Museum (Buenos Aires Museum of Contemporary Latin American Art / Constantini Collection), ARTE BA (Buenos Aires Art Fair), Rojas Cultural Center Buenos Aires and Bienal Do Merco Sul Porto Alegre Brazil, wrote about Giaconi's "Unburden" exhibition.
Mauro Giaconi, illusionist and constructor Objects as structures of matter; buildings as scenography for reality; shadows as possibilities to see drawings, and drawings, which render it possible to fairly value shadows. In Mauro Giaconi's works, the repertory is austere, though heavy at the same time, loaded with sense layers that the artist is particularly interested not to show in a single shot. Much of his images and ideas are revealed in second delayed interpretations on details.
Giaconi works in the world of construction. That certainty arises out of the borders of the things that the artist chooses to represent bricks, scaffolds, tubes, wires, and stairs. Nevertheless, Giaconi's way of thinking goes far beyond shapes, materials, or tools. Behind images there are underlying questions, fear clouds floating on the fragility of supports; the underlying fear that what does not seem solid, may break into pieces at any moment. There are analogies, parallelisms. There are bricks aligned on the floor simulating buildings, which resemble beings. The risk is that the slightest touch may bring them down, that one of them may fall down starting the general catastrophe. At that point, as an option, there is also the hypothetic methodology of that long reddish line of bended bodies, each lying on one another, folded.
At his site-specific facilities, Mauro surrenders himself to the dialogue with the little contingencies, which distinguish one place from the others. Accidents and columns are integrated in the similarities system: a carpet which becomes a stain may well be considered a comment on the mutation of matter, of concepts, and of words; and at the same time, a touch of slight humor which sounds discretely within the framework of an imaginary which is strange to stridencies.
The sculptoric objects contribute to strengthen that line of conceptual investigation nourished by certain homage to impossibility and absurdness. The tools and the pottery helmet, the multicolor disk made of insulating tape rolls or the fluorescent tube with black strapping legs highlight this game consisting of ideas, which as simple as materialized. The cement backpack even allows a hidden interpretation oriented to politics. In any case, and in accordance with the rest of Giaconi's work, its potential politic nature only arises out of the fine spinning, it is never evident.
In the glass parts, which according to the artist himself constitute the link between the search for the picture and the objects, there is a retrospective look to what is not visible. The strokes create, but the image remains submerged in a delicate game, which is almost secret; it is only visible upon the incidence of a little light. The drawings made in pencil, on cloth or paper, complete the Works selection that Giaconi presents in his first individual exhibition in Miami. They are Works to be read on a counterpoint, back and forth, which range from the solitude of a light bomb hanging on nothing to a crowded weft supporting something that we cannot see. Volumes figured by representation are mere wise fictions of lights and shadows. At this point, stating that Mauro Giaconi is an excellent drawer would not seem to add too much; however, it does. How easier is to surrender to enchantment when the illusionist is really skillful!
"Unburden"." will be on through November 27th in DOT Fiftyone Gallery, 51 N.W. 36th Street, in the Wynwood Art and Miami Design District. Following the October 27 opening reception, gallery hours will be Monday-Friday, 12 P.M. to 7 P.M., Saturday and private viewing available by appointment.
Meeting Modernity - Traditional Indian Art Form Explores HIV, 9/11
2006-10-28 until 2007-04-29
Santa Fe Museum of International Folk Art
Santa Fe, NM, USA United States of America
Traditionally made from handmade paper backed with cloth, scrolls are typically eight to fifteen feet long and contain vibrantly painted scenes of a story. Indigenous plants and minerals are still used to create the paint, including tumeric, vermillion, and burnt rice. Sap of the bel (wood-apple) fruit is used as mordant. As the scroll is unrolled frame by frame, the artist narrates the story through song, which typically lasts five to fifteen minutes.
Originally low caste Hindus, the Patuas converted to Islam. However, they were never fully accepted into the Muslim community because they continued to incorporate Hindu stories and religious figures into their art made for Hindu patrons. They were only marginally accepted by other Hindus due to their low status and disregard for dietary restrictions against eating beef.
Occupying a position between Hindu and Muslim communities has long been reflected in Patua scrolls and song. In the 19 th century, before British colonization, these itinerant artists not only focused on secular concerns, but also depicted religious themes of both faiths. Always moralistic in nature, they sang and painted about kings and sages, local folktales and beliefs, and Hindu gods and Muslim saints. With the coming of the British, their repertoire expanded to encompass revolutionary political themes.
Now in the era of globalization, Patuas are once again responding to the changing world through their art. Besides religion and local events, scrolls and songs frequently feature issues of worldwide concern, but with a local twist. For example, in artist Manu Chitrakars version of the events of 9/11, the son of an affluent Bengali gentleman goes to New York, secures a job in the Oil Trade House (i.e., World Trade Center), and tragically dies in the conflagration along with thousands of Americans. This artist also created a sequel to this scroll about the war against the Taliban in Afghanistan.
Modernization in India has meant that Patuas are losing their traditional audiences. With competition from television and movies, they have been forced to find new patrons - Western tourists. Instead of walking from village to village, they now travel to large hotels where tourists eagerly buy scrolls as folk art, minus, of course, the songs.
Village of Painters: Narrative Scrolls from West Bengal at the Museum of International Folk Art will display many examples of Patua scrolls and an audio component will allow visitors to listen to accompanying songs.
The Museum of International Folk Art is pleased to present Village of Painters, commented Director Joyce Ice. This exhibition offers our visitors a wonderful opportunity to explore a living artistic tradition that is both contemporary and historic. The artists of this village show us how current events and issues are addressed through a vibrant art form that draws upon the past for symbols and techniques and yet continues to adapt to the present-day realities of the market.>
The Patuas and their art have had a profound effect on me as both a scholar and human being, said Korom. I met my first Bengali scroll painter when I was still a student, and I have been enthralled by the scroll painting community and the art form ever since. I have felt extremely privileged to have been able to work with Patuas over the past five years, and am extremely excited that their work will be displayed for the first time in the American Southwest.
Traditionally made from handmade paper backed with cloth, scrolls are typically eight to fifteen feet long and contain vibrantly painted scenes of a story. Indigenous plants and minerals are still used to create the paint, including tumeric, vermillion, and burnt rice. Sap of the bel (wood-apple) fruit is used as mordant. As the scroll is unrolled frame by frame, the artist narrates the story through song, which typically lasts five to fifteen minutes.
Originally low caste Hindus, the Patuas converted to Islam. However, they were never fully accepted into the Muslim community because they continued to incorporate Hindu stories and religious figures into their art made for Hindu patrons. They were only marginally accepted by other Hindus due to their low status and disregard for dietary restrictions against eating beef.
Occupying a position between Hindu and Muslim communities has long been reflected in Patua scrolls and song. In the 19 th century, before British colonization, these itinerant artists not only focused on secular concerns, but also depicted religious themes of both faiths. Always moralistic in nature, they sang and painted about kings and sages, local folktales and beliefs, and Hindu gods and Muslim saints. With the coming of the British, their repertoire expanded to encompass revolutionary political themes.
Now in the era of globalization, Patuas are once again responding to the changing world through their art. Besides religion and local events, scrolls and songs frequently feature issues of worldwide concern, but with a local twist. For example, in artist Manu Chitrakars version of the events of 9/11, the son of an affluent Bengali gentleman goes to New York, secures a job in the Oil Trade House (i.e., World Trade Center), and tragically dies in the conflagration along with thousands of Americans. This artist also created a sequel to this scroll about the war against the Taliban in Afghanistan.
Modernization in India has meant that Patuas are losing their traditional audiences. With competition from television and movies, they have been forced to find new patrons - Western tourists. Instead of walking from village to village, they now travel to large hotels where tourists eagerly buy scrolls as folk art, minus, of course, the songs.
Village of Painters: Narrative Scrolls from West Bengal at the Museum of International Folk Art will display many examples of Patua scrolls and an audio component will allow visitors to listen to accompanying songs.
The Museum of International Folk Art is pleased to present Village of Painters, commented Director Joyce Ice. This exhibition offers our visitors a wonderful opportunity to explore a living artistic tradition that is both contemporary and historic. The artists of this village show us how current events and issues are addressed through a vibrant art form that draws upon the past for symbols and techniques and yet continues to adapt to the present-day realities of the market.
Call for Proposals: 38th Annual Conference - Forming Frontiers
2006-10-30 until 2006-12-01
Glass Art Society
Seattle, WA, USA United States of America
Two hundred years ago, explorers set out to define the boundaries of this land to gain a greater understanding of where their futures might find them. Inspired by the pioneering past of the Pacific Northwest, "Forming Frontiers" not only addresses the distance the glass art world has come, but also the necessary and continuing expansion into new directions and unknown areas. The Glass Art Society Board of Directors is requesting proposals for lectures, demonstrations and panels for the Portland, Oregon conference that incorporate the theme, "Forming Frontiers". Proposals are due December 1, 2006.
TO SUBMIT A PROPOSAL
1. Fill out the presentation proposal form found on our website at: http://www.glassart.org/portland.html
2. Send the completed form and support materials no later than December 1, 2006 to the Glass Art Society, 3131 Western Ave., Ste. 414, Seattle, WA 98121, USA.
If you wish to use the form for simply suggesting ideas for topics or presenters you'd like to hear, or subjects you think should be addressed, please feel free to do so.
If you have any questions please contact:
Glass Art Society
Tel: 206-382-1305
Fax: 206-382-2630
info@glassart.org
www.glassart.org
3131 Western Avenue, Suite 414
Seattle, WA 98121
The Glass Art Society is a professional organization whose purpose is to encourage excellence, to advance education, to promote the appreciation and development of the glass arts, and to support the worldwide community of artists who work with glass.
Peter Lamb and The Art of Dickies and Pollocks
2006-10-28 until 2006-11-25
Kontainer Gallery
Los Angeles, CA, USA United States of America
Lamb talks about his method as a trawl through personal history and memory, seeing what the day's catch might yield. It also throws up bits of art history. You couldn't call these quotations, more found‚ images: the odds and ends, the broken bits, art‚s refuse; artist as rag and bone man, art as eschatology. It's a form of pastiche in which Lamb cobbles together borrowed finery, which every so often resolves into something. A Tal R hotchpotch of imagery there, an ugly Albert Oehlen smear here, Rene Daniels bow tie, a Rauschenberg wash, Kippenberger, the Ab-Ex's. Besides his hommages to the late-, and not so late-greats, Lamb's work also dresses up in second-hand rags from his peer-group in London‚s East End: Phillip Allen, Danny Rolph, a bit of Boo.
Yet, despite its physicality and abundant art allusions, its barrow-boy aesthetic, Lamb‚s work is also about language: language as preverbal and chaotic which reflects the fragmented and dismembered state of being, the broken sense of identity and authority that his work explores; language that is not wholly differentiated from the body, but exists in a realm where identity, language, authority and sexual potency are interlinked. Verbal language is attacked: words as naming devices are struck through. In their place, mouths, eyes, ears and nostrils spit and spout seemingly caustic sprays of marks and pours of colour which pool and pattern in deceptive charm. Heads, a common signifier for speech are consistently de-faced by shrouding, erasure and deforming, further obstructing identity. Given that the head is the location of four of our senses, it makes sense that the experience of articulation that Lamb offers us is disabled, leaving us groping towards meaning. Whilst Lamb creates works as individual pieces, they too, exist as fragments of a dismembered totality. His acts of translation from one medium to another requires understanding to be chased across a multiplicity of objects and surfaces, retrieved from the flotsam and jetsam that his memory and experience cast across them, to engage us in a dialogue about art and aspiration and a bitter romance of ruination.
Thursday, October 26, 2006
Culture :: Infantjoy Music Video :: Ghosts
:: Culture ::
ZOOZOOM 'The Original Online Glossy' presents :: Infantjoy Music Video :: Ghosts
Infantjoy was formed and is maintained by James Banbury and Paul Morley. James Banbury is an award winning arranger, acclaimed session musician, composer and producer, ex Auteur and one half of Infantjoy. Paul Morley is a 'legendary pop writer' described by Russell Brand as 'the voice of reason', ex Art of Noise and one half of Infantjoy.
Ghosts is one of the most beautiful pop songs of all time, written by David Sylvian, originally performed by Japan, recorded by Infantjoy as a part of their celebration of Erik Satie, Where The Night Goes, remixed by Populous for the second Infantjoy album With, sung in both cases by England's greatest European vocalist, Sarah Nixey.
Populous is an Italian producer/remixer with a way with beats, thoughts and signals. Sarah Nixey is ex Black Box Recorder, dramatic torch singer with a mesmerizing twist, Infantjoy's special ghost star on stage and record. Andreas Horvath is an award winning Austrian photographer and documentary film director with a particular eye for a particular mood. View this story in full
Naeem Khan and DDC Lab Fashion Show and Interview Videos
:: Video ::
Our latest videos from New York Fashion Week Spring 2007.
View the Naeem Khan Video in full.
View the DDC Lab Video in full.
View 'Infantjoy Music Video :: Ghosts'
View 'Naeem Khan' Fashion Show and Interview Video
View 'DDC Lab' Fashion Show and Interview Video
open ZOOZOOM Fashion Magazine
ZOOZOOM 'The Original Online Glossy' presents :: Infantjoy Music Video :: Ghosts
Infantjoy was formed and is maintained by James Banbury and Paul Morley. James Banbury is an award winning arranger, acclaimed session musician, composer and producer, ex Auteur and one half of Infantjoy. Paul Morley is a 'legendary pop writer' described by Russell Brand as 'the voice of reason', ex Art of Noise and one half of Infantjoy.
Ghosts is one of the most beautiful pop songs of all time, written by David Sylvian, originally performed by Japan, recorded by Infantjoy as a part of their celebration of Erik Satie, Where The Night Goes, remixed by Populous for the second Infantjoy album With, sung in both cases by England's greatest European vocalist, Sarah Nixey.
Populous is an Italian producer/remixer with a way with beats, thoughts and signals. Sarah Nixey is ex Black Box Recorder, dramatic torch singer with a mesmerizing twist, Infantjoy's special ghost star on stage and record. Andreas Horvath is an award winning Austrian photographer and documentary film director with a particular eye for a particular mood. View this story in full
Naeem Khan and DDC Lab Fashion Show and Interview Videos
:: Video ::
Our latest videos from New York Fashion Week Spring 2007.
View the Naeem Khan Video in full.
View the DDC Lab Video in full.
View 'Infantjoy Music Video :: Ghosts'
View 'Naeem Khan' Fashion Show and Interview Video
View 'DDC Lab' Fashion Show and Interview Video
open ZOOZOOM Fashion Magazine
The Square Root of Drawing
2006-10-25 until 2006-12-02
Dublin, , IE Ireland
The winter exhibition at Temple Bar Gallery and Studios gives focus to new directions in contemporary drawing. The Square Root of Drawing, opening on 25th October and featuring new work by over ninety Irish and International artists, provides an ambitious and timely survey of contemporary drawing and its infinite variations. Each of the participating artists have been invited to respond to a specific brief and produce a new drawing to measure 12” x 12” square with no limit to content or to materials used. The resulting exhibition exemplifies an extraordinary range of artists all currently engaged in making wry, playful, thought- provoking and inventive works on paper, other media and in animated format.
Traditionally, drawing was regarded as an integral part of training for any painter or sculptor. Its close association with preparation however, meant that for a long time drawing was regarded as secondary to the ‘established’ arts of painting and sculpture. Yet, in contemporary practice as throughout history, before an artist picks up a paintbrush, begins to model in clay, to plan an installation or a performance there’s always an idea, frequently articulated by initial marks and gestures. Often this is what makes drawing so compelling, its capacity to spontaneously express, to convey ideas distilled to their essence. Conversely, at the other end of the spectrum there is also drawing as something detailed, elaborate and expansive. The Square Root of Drawing encompasses both extremes and everything in between. What is clearly evident and what distinguishes contemporary practice from its historic roots is that there is now both an emergent and established generation of artists for whom drawing represents a core part of their practice and, for many, their primary activity.
The current resurgence of interest in drawing among artists, collectors and the public alike is significant. In the face of a hyper real society, its low-tech appeal resonates and the simplicity of drawing becomes something fresh and direct with an appeal that crosses the generational divide. The Square Root of Drawing demonstrates that an ancient art form is currently being revitalised and that artists now are redefining and pushing the boundaries of drawing in every conceivable direction so that practices today range from the epic to the minute, from black and white to full psychedelic colour, from marks on paper to complex animated forms and ‘inclinations’ towards the three dimensional.
The Square Root of Drawing at Temple Bar Gallery and Studios offers a critical survey of International contemporary drawing from three curatorial perspectives: firstly, observing drawing as a primary practice, secondly investigating its elemental place within artists’ wider practice and lastly exploring drawing as a method of achieving final works in other media such as painting or sculpture. The exhibition presents Irish audiences with the opportunity to discover what is current internationally, as well as the occasion to view and potentially purchase works by both Irish and International figures. The curator’s selection criteria placed considerable emphasis on those artists who in their use of the medium have a developed a distinct visual language. Notably, with participating artists from Cuba, Mainland Europe, Uruguay, United States and Japan, The Square Root of Drawing brings together artists who have not previously exhibited in Ireland.
Edwina Ashton, Joe Biel, Heather Boaz, Jesse Bransford, Jemima Brown, Bettina Carl, Mark Clare, Liadin Cooke, Gary Coyle, Russell Crotty, Shane Cullen, Colin Darke, Katja Davar, Kate Davis, Alexandra do Carmo, Katy Dove, Blaise Drummond, Brendan Earley, Clodagh Emoe, Amanda Faulkner, Brian Fay, Paul Flannery, Anna Friedel, Laura Gannon, Mark Garry, Joy Gerrard, Franiska + Tim Gilmans, Ilana Halperin, Mike Haskett, Bjorn Hegardt, Diango Hernandez, Susanna Heron, Katie Holten, Yuko Ichimura, Jaki Irvine, Wendy Judge, Atsushi Kaga, Susan Kemenyffy, Sol Kjøk, Tim Knowles, Ansel Krut, Katharine Lamb, Ricardo Lanzarini, Roisin Lewis, Cedar Lewisohn, Caroline MacCarthy, David Mackintosh, Bea MacMahon, Alice Maher, Niamh McCann, Andrew McDonald, Eoin McHugh, Paul McKinley, Michael McLoughlin, Zoe Mendelson, Florian Merkel, Nick Miller, Rosalind Nasashibi, Áine NicGiollaCoda, Isabel Nolan, Glexis Novoa, Beth O'Halloran, Eamon O'Kane, Vanessa O'Reilly, Sally Osborn, Michael Paré, Graham Parker, Alan Phelan, Garrett Phelan, Steven Pippin, Daphne Plessner, Adam Putnam, Linda Quinlan, Damien Roach, Risa Sato, David Sherry, Sigga Bjorg Sigurdardottir, Lucy Skaer, Terry Smith, Susan Tiger, Jane Topping, Rob Voerman, Ulrich Vogl, Martin Walde, Pat Walker, Joe Walker, Corban Walker, Grace Weir, Mikkel Wettre, Miranda Whall, Simon Wood
Between Past and Future: New Photography and Video from China
2006-10-26 until 2007-02-18
Durham, NC, USA United States of America
"Between Past and Future: New Photography and Video from China," which examines photo and video art from China produced since the mid-1990s, will be on view at the Nasher Museum of Art at Duke University from Oct. 26 through Feb. 18, 2007.The upcoming exhibition will conclude an international tour that has included showings in New York, Chicago, Seattle, London and Berlin. The Nasher Museum of Art is a major new arts center on Duke's campus that serves the university, Research Triangle area and surrounding region with exhibitions and educational programs.
The exhibition includes more than 100 works by 60 young artists and focuses on artists' responses to unprecedented economic, social and cultural changes that have swept through China. The show provides insight into the forces shaping modern Chinese culture. "Between Past and Future" is ambitious in scale and experimental in nature; it contributes to a new understanding of the different ways that younger Chinese artists have come to perceive themselves and their communities.
"After two years on tour, this groundbreaking exhibition is still the benchmark for contemporary Chinese art," said Kimerly Rorschach, the Mary D.B.T. and James H. Semans Director of the Nasher Museum. "This show was the catalyst that achieved wider acceptance for Chinese photography and video in the international art world, and I am tremendously excited about sharing it with our local audiences."
"Between Past and Future" won second place in the International Association of Art Critics/USA's 2003-2004 AICA Awards, in the category of "best thematic museum show in New York City." The New York Times called the exhibition an "impressive survey" and "perspective-altering," noting Zhang Dali and Liu Wei among the show's "bright artists."
"Between Past and Future" was organized by the International Center for Photography, New York, and the David and Alfred Smart Museum of Art, University of Chicago, in collaboration with the Asia Society, New York, and the Museum of Contemporary Art, Chicago. The exhibition is co-curated by Wu Hung, professor of art history at the University of Chicago and consulting curator at the Smart Museum, and Christopher Phillips, curator at the International Center of Photography. Rorschach helped organize the show while she was director of the Smart Museum; she joined the Nasher Museum as director in August 2004.
"Between Past and Future" will be accompanied by programs at the Nasher Museum that include a conversation with curators Wu and Phillips on Oct. 25, an artists panel discussion on Oct. 26, and a film series in the spring featuring contemporary film from mainland China, Taiwan and Hong Kong.
The exhibition will be accompanied by a fully illustrated 232-page catalogue published by the Smart Museum of Art/ICP/Steidl. It includes essays by curators Wu and Phillips and artist biographies and interviews.
"Between Past and Future" and related programs are supported in part by The Smart Family Foundation, National Endowment for the Arts, The Andy Warhol Foundation for the Visual Arts, E. Rhodes and Leona B. Carpenter Foundation, The Henry Luce Foundation, W.L.S. Spencer Foundation, Jeffrey A. and Marjorie G. Rosen, Marilynn Alsdorf, American Center Foundation, The Elizabeth F. Cheney Foundation, Fred and Stephanie Shuman, Artur Walther, The Blakemore Foundation, Helen and Sam Zell, Salvatore Ferragamo Italia S.P.A., Richard and Mary L. Gray, Rosenkranz Charitable Foundation, Illinois Humanities Council, Virginia W. Kettering Fund of The Dayton Foundation, The Shelley & Donald Rubin Foundation, Inc., Dorie Sternberg, Sarina Tang, Mrs. Catherine G. Curran, Joy of Giving Something, Inc., Jennifer McSweeney and Peter Reuss and Jeanne Greenberg Rohatyn. The cultural media sponsor is Museums Magazines.
Elisabeth Weissensteiner: Intro-Spectatio
2006-10-25 until 2006-11-22
Uber Gallery
St Kilda, VC, AU Australia
Uber Gallery
St Kilda, VC, AU Australia
Using symbols from nature such as animals, insects and surreal combinations of both together with figures and photographs works, Weissensteiner creates a unique world that explores the spaces in between interior and exterior, pleasure and pain and comfort and distress. ‘Inside’ and ‘outside’ are not the simple concepts we may initially conceive them to be. For Weissensteiner, there is often a “tension between the two… Not always will the outside protect, not always will the inside be vulnerable.”
With this in mind, she concentrates her finely detailed crafting technique on bringing out the ‘skin’ of her objects, using this metaphor to explore the ambiguities between borders and boundaries. Her sculptural and photographic works create a world of feeling that seem to emerge from within objects themselves, exploring eroticism, anguish and tenderness. It is a blend of moods and subtleties that reverberates throughout her intense, complex artwork.
Her practice continues a rich tradition of women artists whose work often explores the complicated middle-ground between emotional pain and sensuality. It is an area of work major artists such as Louise Bourgeois, Eva Hesse and Rosemarie Trockel have explored with great success; their emotionally-charged work becoming enormously influential on several generations of artists. Weissensteiner’s connection to this history is one of a common artistic heritage. She says “I don't see these women as my teachers but rather as confirmation that I am not alone in my endeavours and that there is a tradition of female independent artists.”
Her connection to this tradition also touches on the pragmatic use of various materials and their connection with the textile culture. Weissensteiner’s own knowledge of the craft tradition she has gained from her professional life as graphic designer and as a felt-maker adds another level of detail to this highly engaging work.
mondomedeusah recommended music collection: Heros in the city of dope
| At a time when the norm is one good track on any given album, Bay Area act Zion I and Living Legend’s front-man The Grouch have created something different: a record comprised of 15 varied, soul-drenched, equally impressive tracks. The latest effort from these two formidable hip-hop acts, 'Heroes in the City of Dope,' will have heads hyphy, uplifted, and pondering social ills-all within one album. Tracks like "Current Affairs" calls for heads to reject sensationalistic news and mind control by the mass media. "Trigger" tackles the issues of the Homeland Security Act and the diminishing rights of everyday citizens. But Zion I and The Grouch never stick a formula. Take "Hit Em," featuring Bay Area Hyphy emcee Mistah F.A.B. Simple and bangin,’ the track demonstrates both these west coasts acts are too raw and versatile to be relegated to underground hip-hop. |
"Our past collaborations—Silly Puddy and Flow—were always fan favorites,” explains emcee Zion of Zion I of why the two acts decided to collaborate, “and the creativity just flows when we get together in the studio.”
“We all share a strong connection with Oakland,” adds The Grouch of the title that he says is also a spin on the Too $hort track on the 1989 Life Is…LP ”A lot of beauty and hope has come out of the struggle here.”
Guests on the record includes emcee Chali 2na of Jurassic 5, soul and funk rocker Martin Luther, the multi-talented singer Esthero. Production on Heroes in the City is handled by Amp Live. Guest producers include Headnodic (Crown City Rockers), Eligh (Living Legends), and The Grouch.
With Heroes.., The Grouch and Zion I give fans an entire album of inspired tracks, proving again that they’re consummate artists and here to stay for the long hall.
Watch the "Hit Em" video here
- Giant Step
Tuesday, October 24, 2006
mondomedeuah art: Hintmag - Hint gets to the art of it all - Oct 2006 By Aric Chen
When the Cuban artist Carlos Garaicoa looks around him, he sees ghosts—of failed utopias, broken dreams and false promises. In photographs, installations, texts and videos, Garaicoa makes the city his subject, reading its architecture as a fragmented narrative of hope, disappointment and, ultimately, decay. In many ways, his work is a critique of modernism and its complicity with ideology; “I’ve wanted to write a parallel history, to say something different than what we’ve been hearing for years,” he says of Havana, where he lives.
For his current show at New York’s Lombard-Freid Projects, Garaicoa has once again turned to his home city, with nostalgic black and white photographs of shops and other locations, their old signage transformed by new texts that he has overlaid in thread. In one image, the brand name “RCA Victor” becomes the phrase “Puerca Victoria” (Filthy Victory). In another, “Camisería La Gran Vía” (The Gran Via Shirt Shop) morphs into “Carnicería La Gran Vía” (The Gran Via Butcher Shop).
Garaicoa, who will also be the subject of a show that opens January 20 at the Institute of Contemporary Art in Philadelphia, hasn’t set foot on American soil since being denied a visa to attend the opening of his 2005 exhibition at Los Angeles’s Museum of Contemporary Art. Recently, we reached him in Rio de Janeiro, where he’s on an artist residency, and learned why—for now, at least—he’s given up on America, why those living in glass houses shouldn’t throw stones and why hope is not a pipe dream after all.
Aric Chen: The idea of place and memory resonates in your work. Given your problems entering the U.S., is America becoming just a memory for you?
Carlos Garaicoa: It’s been quite complicated for me psychologically. I’ve been visiting the U.S. for over ten years, and it’s only recently that I started to feel this idea of seeing it, and mostly New York, as a shadow. It’s strange; you start to erase your memories and your relations. But to tell the truth, for this exhibition [at Lombard-Freid], I didn’t make any effort to get a visa.
Why’s that?
The U.S. government has created a lot of bureaucracy. Sometimes, I think they don’t deserve the work that I have to do to get a visa. It’s become clear to me that it’s a big game and a very stupid policy, not only for me but for the relationship between the people of America and the rest of the world. Before, my generation was traveling a lot to the U.S. It was a really good moment during Clinton. And now, the pressure is not just from the American government, but also the Cuban government, because the war has become so crazy between the two of them. At some point, you just say, “I’m not a fucking politician. I don’t care. I’m just going to do my work.”
Tell me about your current show.
It’s a theory of photography that I’ve been developing for a few years. My work deals a lot with writing, urbanism and architecture—in this case, new photographs of places in Havana from the 1940s and ‘50s, like shops and so on, that still have fragments of their original names and titles. And what I do is complete the writing to create a tension. Recently, I have also been making drawings on photographs, creating new buildings on top using threads and pins. So I started to create this kind of overlapping memory of the city by adding to these old titles [in thread].
It seems that, for you, architecture is inseparable from its utopian aspirations. Is the thread a way of healing—or stitching back together—what are in fact its false or broken promises?
I’ve never thought about the stitching idea but, of course, it’s there. But my work is a lot about the reportage of the city. If you see the photographs, the writing is very ghostly, it’s almost not there. It’s like a thought that somebody might have when walking by these places—a very fragile memory, or poetry. At the same time, they’re very strong, very aggressive. It’s like you’re living, but crossing cities today that are bringing this feeling of impossibility, fragility, death and decay. Right now I’m in Rio, one of the most fantastic places I’ve been. But you still get this feeling that you have to say something. At this time of war, you want to scream, “Fuck, what happened? What’s going on?” In Havana, I want to say things I’m not able to say, with my art.
Would you call it political?
My work is not a political statement, even if it deals with a lot of critical issues.
But there’s a political element.
It’s the same everywhere. OK, I’m not living in a democracy [in Cuba] but, in recent years, you don’t have the opportunity to look at America as a paradise of democracy, either. In my country, you have to deal with a very clear political structure, but I’ve been doing my work very easily. I never get censored, I never get controlled. How to explain that, I don’t know. There are limits, of course, and there’s something interesting in Cuba about how artists exist within these limits.
There’s a sense of being let down that you convey in your work.
Living is a lot of disappointment, you feel disappointed all the time. Sometimes, as an artist, you have to build this very critical position, this kind of cynical position, and say, “No, what you’re offering is not good.” Probably, for me, it’s the idea of the future we’ve been building in socialist countries that is the beginning of all this. But more and more, it hasn’t just been about living in this position [in Cuba], because I’ve been traveling a lot to different places. And I have the same feeling. After 9/11, when I started to feel that even the dream of America was not real—when I saw the American government clearly betray the whole world—then I felt the whole circle was closed for me. It’s the same in Europe, with the whole right-wing situation there. You find there’s no way to escape, not only as a person, but as an artist. I’ve been expressing this, in some part, through the idea of architecture and this idea of utopia.
Is there still a place for utopia?
Actually, these days, utopia is not a word I want to talk about anymore. My work is discussing a certain reality; when you’re proposing something to create a dialogue with this reality, to criticize this reality, it’s not about utopia anymore. What I feel at this moment is that you can touch the earth. Like now, I’m making a proposal for a new library in Castleford, one of those cities in England that was suffering; it was a coal-mining city through the ‘50s and ‘60s and now they are trying to recuperate. And in this case, it’s not a utopia; it’s a reality you’re giving to people. Sometimes, even though you have this bad feeling about the situation around you, you see that it’s also beautiful and possible and that there’s hope.Hintmag
mondomedeusah
Google offers personal searches
A bespoke search engine that can be included on people's websites or blogs is the latest offering from Google. 
Users can generate cash from
their custom search engines
Google Custom Search Engine, as the tool is known, allows users to choose which webpages to search.
Users can also customise the look of results, how web content is prioritised or add paying adverts to the results.
Groups using the program include climate science site RealClimate.org that searches a subset of the web it believes is scientifically credible.
Focused search
"RealClimate.org is a site that tries to give credible expert opinion on the science of climate change," said Dr Gavin Schmidt, a climate modeller at the Nasa Goddard Institute for Space Studies in New York and a member of the organisation.
"Unfortunately, since this topical subject has become rather politicised, the quality of information available on the web is very variable."
The custom engine on the organisation's website only searches pages that have been scrutinised by climate scientists and are deemed to provide "solid and reliable information".
"Hopefully, it will allow users to get to the good stuff faster, without some of the confusion that currently occurs," said Dr Schmidt.
Users wanting to make use of the tool log on to a Google "Co-op" page where they can specify a list of websites to search.
The search engine can be set up to search the entire web but emphasise the chosen sites, or search only the specified pages.
The custom application can also be used to create a search engine that just focuses on a person's own site.
Cashing in
Users can also specify whether or not the tool uses the Google AdSense program to generate advertisements from search terms.
Advertisers pay Google every time someone clicks on these adverts.
In turn, users who choose to use Adsense on their custom search engines will also receive a "portion" of the amount paid to Google.
Organisations like RealClimate.org for example do not use Adsense.
The search engine does not disclose the exact amount users will receive. However if an "earned balance" is less than $10 (£5) Google will not pay up.
Early adopters of the application include dedicated Apple magazine Macworld and JumpUp.com that provides resources for small businesses.
"We want to make it easy for anyone to create a search engine about all of their favourite topics," said Marissa Mayer, vice president of search products and user experience at Google.
mondomedeusah
mondomedeusah fashion: North by North Shore - ZooZoom Magazine
North by North Shore
:: Culture ::
ZOOZOOM 'The Original Online Glossy' presents :: North by North Shore
What's so great about 'the great outdoors'? Well how about the tweed knickerbockers by Yves Saint Laurent or the glen plaid trousers by Catherine Malandrino, to name but two of the great designers in our Fall fashion feature 'North by North Shore'. View this story in full
Heatherette and Custo Barcelona Fashion Show and Interview Videos
 |  |
:: Video ::
Our latest videos from New York Fashion Week Spring 2007. View the Heatherette Video in full. View the Custo Barcelona Video in full.
View 'North by North Shore'
View 'Heatherette' Fashion Show and Interview Video
View 'Custo Barcelona' Fashion Show and Interview Video
open ZOOZOOM Fashion Magazine
ZOOZOOM Fashion Magazine
mondomedeusah music - iPodyourmondo.com: Caninesounds - Oct 21 2006 show online now - download to your iPod
Caninesounds
Once again Saturdays show was packed to the rafters with phat traxx & a top guest mix from Spinout Records Digital Filth, well worth downloading….
listen again to the show
Hour 1
Hour 2
digital filth (spinout records)
COMPETITION PRIZES: 1 HOUR GUEST MIXES
WE WOULD LOVE TO SHOW CASE TALENT FROM BOTH PROMINENT AND UP AND COMING DJS, IF YOU HAVE A MIX AND WOULD LIKE IT AIRED PLEASE EMAIL: broken@passionradio.co.uk OR kennel@caninesounds.co.uk FOR INFORMATION
Looking for drops from DJ’s or artists – for inclusion on a new schedule to a TSA of 850,000 +
If you (or any of your artists) can spare 5 mins in the studio to get something down –it would be much appreciated.
Email: broken@passionradio.co.uk for suggested drop lines.
download and listen now:
mondomedeusah music: OUT NOW ON COMPOST RECORDS: KARMA "LATENIGHT DAYDREAMING" (CPT 228-2)
Karma began exploring Jazz aesthetics with club music on their 1993 track ‘High Priestess’ (written by Robert Nacken), which quickly gained cult status amongst the more discerning DJ’s and was played and charted by Francois K, Dimitri from Paris and David Mancuso. They were bootlegged on the Loft Classics series, sampled by acts like Detroit’s Three Chairs (Moodyman and Theo Parrish), toured Japan and, after three longplayers, kept themselves busy in the last few years with soundtrack work and providing the theme music for acclaimed German ZDF TV show ‘37°’.
San Francisco
,
Hamburg
andManchester
respectively) and displays a new facet to their sonic explorations: Pop music with a certain deepness. After challenging the club music of the early to mid 90’s combining club music with Jazz influences, making the transition via Drum’n Bass and downtempo soundscapes, you hold a perfect Pop record in your hands that you can listen to with your mom under the Christmas tree. Taking the cue from cuts by Antonio Carlos Jobim, Carole King, Hall & Oates, Brian Wilson, Lovin’ Spoonful, Creed Taylor, Marcos Valle, the Zombies, Jay Dilla, Terry Callier, Linda Lewis and Soundtrack/Library music, amongst a host of others. Smooth orchestral elements, a nod to Neo Soul and Jazz instrumentation, earthy Folk elements and a curtsy to the waltz, recalling the virtuosity of classic Pop albums of the late 60’s and early70’s. These soaring tones will smooth out the edges of a rough day and add an extra crescendo to a sweet one. So enjoy...
Tracklisting: 02. “Are We?” feat. Michelle Amador 03. “Carte Blanche” 04. “Fly” feat. Oezlem Çetin 05. “Home” 06. “Beach Towel” 07. “Father, Father” feat. Oezlem Çetin 08. “ Shoreline Drive
09. “Sleeping Beauty”
10. “The Way You Are” feat. Oezlem Çetin
11. “Requiem / All & Everything In Between”
synth-pop quartet the Killers...
We'd kill for cred: the Killers. From left, Brandon Flowers, Mark Stoermer, Ronnie Vannucci Jr. and Dave Keuning. (Universal Music)Brandon Flowers is, by most standards, a pretty man. The lead singer for synth-pop quartet the Killers has a sculptured coif, expressive eyes (that he often swathes in eyeliner) and pouty lips. Until recently, he also had lustrous skin that looked like it had never known the frosty touch of a razor blade. Flowers’ impish mug has landed him on many magazine covers, a perk that helped the Killers move more than five million copies of their debut album, Hot Fuss.
But in the press photos for Sam’s Town, the Las Vegas band’s new album, Flowers and his usually dapper confreres have gone shaggy. Shot in dusky black and white by famed rock photographer Anton Corbijn, the back cover of Sam’s Town captures Flowers et al. with beards — grubby ones at that. The portrait looks like a casting call for the HBO western series Deadwood.
It appears at first to be a case of lax grooming, but I’m not fooled; there’s something more calculated afoot. For me, the tip-off is the fact that the Killers grew moss en masse, as though it was a committee decision. If you think rock stars stop shaving because they’re lazy, because they want to look fashionable or because they want to avoid chafing sensitive skin, you are wrong. Only one explanation exists for growing the Rock Beard: artistic credibility.
The Killers emerged in ’04 with the song Somebody Told Me, a grandiose rocker that betrayed a deep love of drama and Duran Duran; buoyed by Flowers’ mock-operatic voice, the band’s next single, Mr. Brightside, was even more majestic. While they’ve enjoyed numerous hits, adoring fans and a few Grammy awards, the Killers have yet to slay music critics. Their new scruffiness can only be seen as a bid for legitimacy.
Big hairy deal: Bruce Springsteen, circa 1975. (Monty Fresco/Evening Standard/Getty Images)
Brandon Flowers natters on about how the band’s sophomore record was influenced by the elegiac, blue-collar rock of Bruce Springsteen. Flowers is a notorious blowhard, but he’s no liar. Filled with small-town vignettes, breathless emotion and glockenspiels, Sam’s Town evokes every Springsteen moment from Born to Run to Born in the U.S.A. When You Were Young, the album’s current chart-busting single, demonstrates the band’s uncanny ability to quicken your pulse while sounding utterly derivative. Given the Boss’s flirtations with facial hair, it’s clear the Killers have copped more than his riffs.
The history of pop music is as much about image as song, and growing a beard has long been a statement of intent: We’d like to be taken seriously now. A beard suggests maturity, wisdom, permanence. Just look at the cred enjoyed by guys like Dr. John, Jerry Garcia and Frank Zappa, or more recent beardos like Sam Beam (a.k.a. Iron & Wine), freak-folkie Devendra Banhart or TV on the Radio guitarist Kyp Malone. Looking more like professors than rock stars, these men ooze credibility.
Like the Killers, Maroon 5 would love some of that action. Best known for fey pseudo-soul hits like This Love and She Will Be Loved, the mega-selling L.A. quintet is largely disdained by critics. Wouldn’t you know it, in photos for their upcoming album (tentatively titled It Won’t Be Soon Before Long), most of the members of Maroon 5 are sporting facial fuzz. Don’t talk to me about coincidences.
In the video for Coldplay’s first single, 2000’s Yellow, Chris Martin’s face is as pink and barren as the day he started kindergarten; now, the singer is as hostile to shaving as he is to eating meat. Montreal retro-rocker Sam Roberts emerged in 2002 with the EP The Inhuman Condition, but it wasn’t until he grew a thatch of facial hair that he became a mega-selling critical fave. (In an attempt to fortify himself against negative press, Roberts is now a member of the bushiest band in Canada.) Look at Black Crowes singer Chris Robinson, who has kept irrelevance at bay by paying homage to the woolly mammoth.
The long and winding beard: John Lennon in 1969. (Photo by George Stroud/
Express/Getty Images)As with most things pop-related, the practice can be traced to the Beatles. Hair was a key strand in the Beatles’ 10-year narrative. In the buzz-cut era of the early ’60s, their moptops were a sign of British insouciance. By the middle of the decade, however, John, Paul, George and Ringo had tired of the superficialities of celebrity — and, evidently, their foppish haircuts. They stopped touring in 1966 to focus on creating more adventurous music in the studio; cultivating facial hair helped the Beatles convince fans and critics of their newfound seriousness.
Why did Sgt. Pepper’s Lonely Hearts Club Band blow so many minds? Because the overpopulated cover featured the Fab Four with moustaches. Moustaches! (The music’s not shabby, either.) The more deeply entrenched the Beatles became in the studio, the longer their beards got. Looking at the Beatles’ catalogue, we automatically slot their output into one of two eras: the clean-shaven period of lighthearted jangle-pop and the disheveled period that produced dark masterpieces like Abbey Road and The White Album.
Judging by the poor critical returns on Sam’s Town, the Killers’ foray into facial hair has been less than triumphant. Ah, well. In the cutthroat music biz, pop stars are free — nay, expected — to try any number of strategies to improve their standing: hooking up with a hot producer, exploiting a political cause, making a self-satirizing cameo on The Simpsons. Like those tactics, sprouting a few whiskers is no guarantee of anything — except maybe an itchy face.
Andre Mayer
Pavel B�chler Absentmindedwindowgazing
2006-10-21 until 2006-12-03
Kunsthalle Bern
Bern, , CH Switzerland
Kunsthalle Bern
Bern, , CH Switzerland
B�chler�s work evolves around two fundamental concerns: time and the manipulation of found materials. Concerned with the distortions of language, he gives a critical attention to the gaps in communication, fascinated as he is with the limits of the communicative properties of visual language. He often addresses the question of the legitimacy of communication in addition to its ephemeral and long-lasting nature.
Diary 2001, (2003), is a single diary page on which the artist made entries for each day for a whole year, resulting in a surface that has become textured and bruised, full of unintelligible information. 484 framed letters called The List / Previous Correspondence (2001/2006), are personalised replies to the senders of direct-mail promotional letters received between October 2001 and August 2003. Every reply thus contained all the signatures of the previous senders/addressees (plus the artist�s own). A second set of letters in which the build up of the signatures was reversed, informs each of 242 addressees that their name has been removed from the list. The exhibition at Kunsthalle Bern will also feature the b/w photograph My Country (1980) depicting a beautifully poetic gesture which turned out to be the last work the artist made in Prague. When B�chler found a small lime tree with a broken branch near his house on the embankment of the river Vltava he picked the dry leaves from the living branches and left those on the damaged part of the tree.
Hard Love (2002) lines up nineteen books on Lenin and art, donated and dedicated in the past to the Library of the Lenin Museum in Tampere. Now sold in the Museum shop as souvenirs, the artist purchased them to provide the source material. The written dedications in the books were crossed out with used pencils donated by local artists during a performance at the city Art Museum.
Particularly interested in art�s old links to language and literature, Pavel B�chler�s show at the Kunsthalle Bern will mainly focus on a group of works he conceived over the years with Marconi Sound projectors from the 1920�s and text-to speech software to read a text. In The Castle (2005) B�chler uses a quotation from Franz Kafka�s quintessential text about labyrinthine bureaucracy and its control systems. The short section chosen by B�chler recounts the resentment with which Josef K�s presence in the village is suffered by the locals. It includes the words of a village landlady: You are not from the Castle, you are not from the village, you aren�t anything. Or rather, unfortunately, you are something, a stranger, a man who isn�t wanted and is in everybody�s way... The passage is used both in its original version and edited in the style of a language text book. It is narrated by speach synthesis software from a large number of antique loudspeakers designed by Marconi in 1926, the year of the first publication of Kafka�s novel. The Castle is about the struggle to fit in and its failure. As a book it has, of course, many possible metaphorical readings, but here we can be specific. Booming out through the antique speakers, the text recalls old factory or street propaganda announcements, this one declaring that assimilation is impossible and the stranger will always remain on the outside. B�chler is particularly interested in the different resonances it can have in the different cities where the work is presented: in a city of migrants and Byzantine codes of behaviour like Istanbul, or in a more provincial old European capital like Bern.
Through the manipulation of found materials Pavel B�chler looks at how the convergence between the presence of the past and simultaneity make our world a strange place. Sich �berkugelnd und Weg, (2006), a text installation at the windows of Adriano�s bar in Bern is a collaboration with Bernese artist Pamela Rosenkranz and presents all the citations of Franz Kafka extracted from the German translation of Deleuze and Guattari, Kafka: Towards a Minor Literature, as a continuous narrative. A new film in collaboration with Mark Neville and different video works will also be on view. Andy: The Abbreviated Life, (2006) is a 3-minute �reconstruction� of Andy Warhol�s 8-hour film Empire made from all the film stills found on the internet through a google image search (a total of 47 images). The film is accompanied by a sound track collaged from an audio guide for the Warhol Museum in Pittsburg, using all the phrases in which the artist is mentioned by name.
This first institutional solo-exhibition of Pavel B�chler worldwide is realized in collaboration with the Van Abbemuseum in Eindhoven, the Netherlands and is supported by the City and the Kanton of Bern, SRG SSR Suisse, Club 15, the Czech Embassy in Switzerland, the Fondation Nestl� Pour L�Art, The British Council and The Henry Moore Foundation.
Kunsthalle Bern and the Van Abbemuseum prepare a book on the work of Pavel B�chler with texts by Fran�ois Boucher, Nick Crowe, Charles Esche, Andrew Hunt, Vasif Kortun, and Philippe Pirotte. This publication is supported by the Manchester Metropolitan University
Call for Artists: International Artists In Residence Program Spring 2007
2006-10-23 until 2006-12-10
Shanghai Duolun Museum of Modern Art
Shanghai, , CN China
Shanghai Duolun Museum of Modern Art
Shanghai, , CN China
The Shanghai Duolun Museum of Modern Art is the first publicly funded contemporary art museum in mainland China. In keeping with its mission to support contemporary art and artists, the Duolun MoMA offers an international artist-in-residence program to bring artists from around the world to the museum to work on individual or collaborative projects proposed by the artists themselves. It is intended to foster personal vision by offering a unique opportunity for working professional artists to expand their art and experience by making contact with Chinese and other international artists while working in the dynamic environment that the city of Shanghai and the Duolun MoMA provide.
The residence program operates on an open studio policy, thereby promoting interaction between the resident artist and the Chinese public. During the residency, artists will be asked to run a workshop for the public concerning their project at the Duolun MoMA. Resident artists are given the opportunity to exhibit the successful completion of their project in the Duolun MoMA galleries as the culmination of their residency.
The Duolun MoMA provides resident artists with a studio (including computer with internet connection), a guest apartment (utilities not included), and a stipend of 3000RMB/month for the period of residency. The artist pays for travel expenses and any other costs. The Duolun MoMA will provide a letter of invitation to accepted resident artists in order to apply for a travel grant. The museum will also provide a separate letter of invitation to facilitate the visa application process.
Resident artists are chosen by a board on the basis of their applications. Artists may apply individually or in collaboration with other artists. However, if artists apply for the residency as a group/collaboration, the Duolun MoMA can still only provide one studio, one apartment, and one stipend for the whole group.
In order to apply, please submit:
- application form (download below)**please thoroughly
- describe your proposed project for the residency in this application form
- CV
- documentation of artistic activities (publications, catalogues, reviews, etc)**not required, but recommended if available
- slides, photos, CD rom (PC compatible), DVD, and/or CD of works**no minimum requirement, please submit whatever is necessary to best convey your work
- references: names, addresses, email addresses, and telephone numbers of three people who know your work**letters of recommendation not necessary
Note: Students and amateurs please do not apply. We cannot return application materials.
Please send all application materials to the following address:
Artist-in-Residence Program
Shanghai Duolun Museum of Modern Art
No.27 Duolun Road
HongKou District
Shanghai 200081
China
The deadline for applications is December 10, 2006. This is the date by which all applications must be received in our office, so please allow plenty of time for shipping. Emailed applications cannot be accepted. All applications become the property of the museum and cannot be returned. Results will be announced by early January, and the residency will start on March 1, 2007 and last until May 1, 2007.
E-mail: workshops@duolunart.com
More information can be found at: www.duolunart.com/residence/residence_e.html
YouTube cuts 30,000 illegal clips
Video-sharing service YouTube has wiped nearly 30,000 files from its website after Japanese media companies said their copyright was being infringed.
The Japan Society for Rights of Authors, Composers and Publishers found 29,549 music video, movie and TV clips had been posted without permission.
YouTube was recently bought by search giant Google for $1.65bn (£883m).
Critics of the deal have warned that Google could face a barrage of lawsuits over copyrighted material on YouTube.
Distribution
Launched in February 2005, YouTube shows about 100 million clips per day.
YouTube mostly hosts homemade videos, but it also contains clips of copyrighted material.
A spokesman for the Japanese group said it was considering asking YouTube to introduce a preliminary screening process to stop illegal video files being placed on the site.
YouTube has recently signed distribution deals with media groups including Universal Music Group, Warner Music and CBS to offer short-form programming including news, music videos, sport and entertainment.