Archive for September, 2007
"If we do not respect ourselves … we are peculiarly in thrall to everyone we see, curiously determined to live out — since our self-image is untenable — their false notions of us. We flatter ourselves by thinking this compulsion to please others an attractive trait: a gist for imaginative empathy, evidence of our willingness to give. Of course I will play Francesca to your Paolo, Hellen Keller to anyone’s Annie Sullivan: no expectation is too misplaced, no role too ludicrous…
It is the phenomenon sometimes called “alienation from self.” In its advanced stages, we no longer answer the telephone, because someone might want something; that we could say no without drowning in self-reproach is an idea alien to this game. Every encounter demands too much, tears the nerves, drains the will, and the specter of something so small as an unanswered letter arouses such disproportionate guilt that answering it becomes out of the question. To assign unanswered letters their proper weight, to free us from the expectations of others, to give us back to ourselves — their lies the great, the singular power of self-respect. Without it, one eventually discovers the final turn of the screw: one runs away to find oneself, and finds no one at home."
–Joan Didion, Slouching Towards Bethlehem
via the excellent Maud Newton
"In recent years, Ballard has become a destination Seattle neighborhood for those in the know, thanks to Scandinavian industrial charm, a few new bars, restaurants, a gallery, music stores and boutiques—including the standout men’s clothing boutique, Blackbird.
With a good selection of the labels we know and love, some of the more obscure and lesser-known brands, like the Italian shoemaker Marsèll, put the two-year old store a cut above the rest. They even have a great men’s jewelry collection that introduced me to the hard-to-find brand Alksndlia, a company that creates vintage rings and necklaces with old-world appeal. New in this fall are items from Raf Simons, Wings + Horns, Partik Ervell and Robert Geller. Next spring will include pieces from Tim Hamilton, Henrik Vibskov, Harmon and Wrath Arcane…"
via Cool Hunting
Found this in my Inbox. Fox’s own Bill O’Rielley’s phone sex transcript set to classical oratorio, I think. Libretto uses verbatim transcript of sexual harassment complaint brought against Bill O’Reilly in 2004. Hilarious regardless. Have a listen. Warning!: NSFW. http://www.youtube.com/watch?v=Wxc8ZY0plM4
Unabomber Ted Kazinski has been a regular interest of ours here at (incli)NATION and Alec Soth has a great post on Richard Barns and his role in documenting Kazinski over on his blog. It’s a wonderful introduction to his work just as Barns’ show is opening in NYC.. Be sure to check it out if you are in the city this month:
As regular readers know, I have a fascination with ‘the sentence’ – the shorthand summation everyone uses to describe a particular person. Some are easy (“He’s the guy that photographs Weimaraners). But Barnes is a tricky case. I doubt people would remember ‘He’s an architectural photographer who’s done fine art projects on birds, museums and the Unabomber.’ Whatever the phrase is, Barnes was able to sum up his achievements with a remarkably elegant sentence: “My work is all about containment.” He went on to say that he’d only made this connection in the last few years.
For me this was the ultimate lesson that Barnes brought to the class. While it may not always be great marketing, artists should be free to explore whatever quickens their pulse. Over the long haul they will inevitable find a thread that unifies their vision. Finding this revelatory thread (and not the stupid ‘sentence’) seems to be one of the most meaningful experiences to come from a life making art.
- An exhibition of Richard Barnes’ work will open on this Saturday, September 15th, at the Hosfelt Gallery in New York. "
read the rest here
If I were to live my life
in catfish forms
in scaffolds of skin and whiskers
at the bottom of a pond
and you were to come by
. . . one evening
when the moon was shining
down into my dark home
and stand there at the edge
. . . of my affection
and think, "It’s beautiful
here by this pond. I wish
. . . somebody loved me,"
I’d love you and be your catfish
friend and drive such lonely
thoughts from your mind
and suddenly you would be
. . . at peace,
and ask yourself, "I wonder
if there are any catfish
in this pond? It seems like
a perfect place for them."
– Richard Brautigan
The Pill Versus the Springhill Mine Disaster
via whiskey river
…For those of you who don’t already know, the Bridge Motel has been a Seattle icon of sorts for the last 50 years; needles in the sheets and no questions asked. A year ago DK Pan took over as manager with an eye to holding this event just before the motel was to be razed [I thought that was Pan in the picture on the left, holding the red umbrella on the roof of the motel, but it was probably either Sheri Brown or Diana Garcia-Snyder performing "Praying Walk", I think…]. The only stipulation for artists was to avoid the subject of drugs, prostitution, or other obvious cheap motel clichés.
The event drew around 1200 people (according to the people who should know), though the small footprint of the motel and parking lot made it seem like twice that number. We found a place in the line and settled in.
Standing in the phenomenally long line, I thought I heard the sound of howling, and as the crowd parted, there it was, a perfectly preserved, young coyote–stuffed, mind you–sitting in a Red Flyer wagon, flanked by the curious and the confused…
read the rest HERE
"On Sept. 14 Belgian artist/designer Arne Quinze’s latest work "Cityscape" will open on the suburban streets of Brussels, Belgium. The enormous wooden sculpture is 131-feet long, 82-feet wide and 39-feet high and will stand for year in Brussels’ luxury district. Quinze, the artistic director of design company Quinze and Milan,says of his piece, "’Cityscape’ resembles a frozen movement, speed caught in time." The piece encourages interaction, people are able to walk through and experience the changes in light as the sun comes through the wood. The aritst built a similar structure last year at the Burning Man Festival in Nevada. At the end of the festival the structure was set on fire. A self-taught artist, Quinze first found his creative outlet with graffitti as a homeless 15-year-old. Later this month Quinze has several pieces in Mutagenesis, a solo exhibition at the Abitare Il Tempo design exhibition in Verona, Italy. To listen to a discussion with the artist on WPS1 Art Radio click here."
Do not miss this video: a REAL look at the politics of humanitarian aid to Africa. It will open your eyes. I remember presenting a similar–if more simplistic–paper in high school in the early eighties on the crisis in El Salvador. History has borne out the argument I think, but have a listen and judge for yourself:
Having lived in Freemont in my bohemian days [before the condos and health-food], I can’t wait for this event on Saturday night; the Motel Project kicks off the fall with an evening of performance art and ‘one-pot’ cuisine at the Bridge Motel on the eve of its destruction.
If you are in the Seattle area this Saturday, you have to go. It will feature the Vis-a-vis society in the reception office, and that is reason enough to go.
The Seattle Weekly says:
More than 18 installation and performance artists, many of whom are all-stars on Seattle’s art scene (including Jack Daws, Paul Rucker, and PDL), have been given a week to transform their own dilapidated corners of the building. Their only guideline was to avoid the subject of drugs or prostitution, as pan wanted the artists to push past the motel cliché.
Within these loose parameters, artists have brought some compelling ideas. Min’s endurance piece, called Hurting Cats, consists of him being locked in a motel room with six cats for three days and three nights. It’s supposed to mimic the ridiculous nature of off-site summit meetings in which powerful people come together to make decisions. It’s also a heavy-handed homage to a political piece by Josef Beuys, who spent three days in a room with a coyote, ironically challenging the Vietnam War and the hegemony of American art.
Daws—whose newest show of punchy political sculpture at Greg Kucera Gallery, "Nothing to Lose," is also worth a visit—similarly plays with political and historical undertones. Daws will be taking the roof off his room and building a sort of campfire inside. He’s drawing irreverent parallels between the campfire as a place for frontiersmen to rest their heads for the evening and the motel as our modern-day campfire.
Also known for purposeful cheekiness, the trio PDL will be showing an installation called Deep Space. Greg Lundgren, the L part of the group and the unofficial media contact, was uncharacteristically tight-lipped about the project, saying he didn’t want to reveal the surprise. He did say Deep Space will be "much lighter" than the confessional piece the group has recently been touring to venues such as Bumbershoot, wherein people enter a booth and confess to the artists.
There will be cooking, too. Davida Ingram, who works in the community affairs department at the Seattle Art Museum, will publicly perform a project she’s been doing in private. Putting classified ads in papers that read something along the lines of "Black woman willing to make your favorite meal," Ingram has been cooking for strangers so long as they purchase the goods. For the Bridge, she will transform her space into a dining room where the most recent respondents to her ad will get fed. If Ingram’s piece makes you hungry, no worries: Michael Hebberoy’s also going to be on-site hosting the ever-creative, ever-enjoyable One Pot event, which is always an epic dining experience wherein perfect strangers mingle together at the same table around the same delicious plate. Though he hasn’t exactly decided what this particular dining experience will consist of, according to his Web site, it will include a long table, some big pots, plenty of food, and maybe even a little participation.
Hey, what’s not to love?
check it out HERE
I have absolutely no idea why this intrigued me so much. I guess I’m a sucker for ‘imagined spaces’ and as such, a fool for Chuck Palihniuk…’what if’ always knocks me out;
If you had a choice, would you stay in a society built around transactions, which commands: "Flash. Give me adoration. Flash. Give me a break" (Chuck Palahniuk)? Imagine that – through a collapsing of personal and metaphysical circumstances – you become suddenly invisible to the world. What if this isn’t personally catastrophic, but more symptomatic of finding yourself in the perpetual twilight of a predictably fast-but-not-furious society, where you are stuck between e-fluxing (basis for a common $ space) and the proto-dread of the forthcoming (the one-man cult) – would you look for a way to reinvent yourself? And knowing what you know, would it be possible to live this life unpredictably, randomly? Could you opt for chance operations, a free-floating existence, a complete derangement of the contemporary control that inhabits bodies, imaginations, ideas and futures? Or, would you prefer to be activated by Flash?
If "the best way to predict the future is to invent it" – as asserted by Bureau of Inverse Technology a few years ago – what might emanate from a show curated around "unpredictability"?
Perhaps a big pile of ‘The Financial Times’ subdued by a genuine crystal ball (Karl Holmqvist); a naked guy, spinning like a top on a table belonging to a Korean secret society, who hides his ID behind an eye-punched sack (Donghee Koo); a mini-skeleton’s macabre dance to be discovered behind a penthouse sized Harlequin curtain (Ulla von Brandenburg); a Chemical Scratch Film made by chemically altering celluloid, as if it was driven by Black Noise (Amy Granat); an invisible plinth to be honoured by who-knows-what subsequent artwork (Mario Garcia Torres); Silvia’s italian phone number to be dialed in case you want to talk to someone you don’t and won’t know (Paul Elliman); two written exposures (Ina Blom, Aaron Schuster); a board game inspired by the 16th century Royal Game of the Goose for which rules have been formulated by chance with a dictionary and closed eyes (Olivia Plender). All are exposed and could be suddenly recovered by a group of zombie pre-electronic voices (Luc io Battisti) that could make Le Truc a creepyminimalistic show which takes chances galore to make you aware of what you know but don’t know that you know.
– Alexis Vaillant
Project Arts Centre
14 September – 20 October 2007
Opening 13 September at 6pm
Artists: Ulla von Brandenburg, Paul Elliman, Mario Garcia Torres, Amy Granat, Karl Holmqvist, Donghee Koo, Olivia Plender
Special Dead Guest: Lucio Battisti
Texts by: Ina Blom, Aaron Schuster
Curated by: Alexis Vaillant