How to snatch a chicken. The tale of how one Cunt fed the whole of the group Voina.
The VOINA Art-Group («War»). Actions 2006-2012
From line to hyperreality
Blurring the line between fantasy and reality through architectural models!
“The need for representation techniques that create a context for the viewer and transmit and communicate dreams and projects has a long history. It has guided architects and artists to researching the best ways to communicate their innermost thoughts,”
THE DOUBTING CITY: ARTISTS AND THEIR SEARCH FOR FORGOTTEN PLACES IN BERLIN
Since German reunification, the capital Berlin has been in a permanent state of reconstruction that has not proceeded in nearly as linear a development as the continuously present cranes might imply. The city has become a place where many temporary occupations and empty spaces make the potential for new art-making practices in the urban realm possible. While comparing contemporary artists in New York and Berlin for my PhD research, I discovered the role that many artists play in re-imagining cities today. Inspired by urban anthropology and art history, my research has focused on the way in which artists conceptualize and represent “their” cities. Local conditions, myths and discourse as well as the global art world plot the coordinates that, I argue, define urban art practice: the idea of artists as activists as examined through artists’ strategies and processes related to urbanity.
a guilty pleasure made listenable by the berlin duo
http://www.aids-3d.com/
At ICI in London!
Remote Control
Free
Remote Control surveys the enormous impact that television has had upon contemporary culture through a range of artistic engagement with the medium and offers a look at how the next generation are responding to digital convergence. The exhibition includes many important works that reveal the power and influence of television broadcasting on politics and society.Remote Control coincides with the digital switchover in the UK and marks the end of analogue broadcasting, representing a milestone in the evolution of the medium.
“ By ‘we’, I mean everyone whose professions intersect with the phantasmal abstraction commonly referred to as ‘the art world’. Whatever our nationality, native tongue and education, we must speak English. Art-related applications, statements, press releases, catalogues and CVs come in English or in bilingual versions (like this magazine). By ‘English’, I mean not just the Queen’s English or American English but also a language which is used by non-native speakers, like myself, and which goes by many names: lingua franca, International English, Globish, ESL (English as a Second Language) and even Denglish. According to the keyboard selection on my laptop, what I’m writing right here is ‘English – Int’l’, which is a bit like saying colourless red. Twain might be surprised to discover that most people speaking English in the German art world are not American but German. ”
http://frieze-magazin.de/archiv/features/auf-der-zunge/?lang=en
Awww man they did it so much better.
However, the animals are a little cheesy. I think crystals are still the way to go.
Canadian Perspective in Berlin
Between 1874 and 1996, the Canadian authorities, in concert with various churches, operated so-called Residential Schools—boarding schools designed to reeducate Canada’s aboriginals. During this time, around 250,000 children were forcibly separated from their families, isolated from the indigenous cultures, and remade into “good Christians.” They were forbidden to speak their native languages; sexual abuse and forced sterilizations were widespread; more than 50,000 children died. Recent discoveries of children’s mass graves have been ignored, or investigations were halting. Although the Canadian government apologized for the reeducation program in 2008—the Vatican followed suit in 2009—they deny that a systematic genocide of the indigenous population, through lethal vaccination programs and other means, took place.
The teenagers whose pictures Tobias Zielony has taken in the province of Manitoba and its capital, Winnipeg, since 2008 are the children and grandchildren of those who survived the government’s system of assimilation. Many of them are just as cut off from any path toward integration into Canadian society as from the histories of their forebears, which was usually transmitted in the form of oral traditions and died out together with the banned dialects. So they now seek out old and new myths about tribal culture, heroism, and indigenous resistance, finding stylistic templates in recovered family lore, but also in Hollywood movies and the modern gang cultures of America’s global cities. On reservations, on the peripheries of major cities, or in prison, they grasp at building blocks for new narratives about themselves.
Nice Video. I want to capture those light beams on the ceiling too.
Limit To Your Love, James Blake
“ A large majority (93%) of fatalities from paraquat poisoning are cases of intentional self-administration, i.e., suicides. In third world countries, paraquat is a “major suicide agent”.[20] For instance, in Samoa from 1979–2001, 70% of suicides were by paraquat poisoning. In southern Trinidad from 1996–1997, 76% of suicides were by paraquat.[21]
The reason paraquat is such a widely used suicide agent in third-world countries is due to its widespread availability, low toxic dose (10 ml or 2 teaspoons is enough to kill) and relative low cost. There are campaigns to control or even ban paraquat outright, and there are moves to restrict its availability by requiring user education and the locking up of paraquat stores. ”
Chamber of Public Secrets-Aesthetic Journalism
Time Crystal
text/video collage text taken from works by Hannah Arendt (Origins of Totalitarianism, Eichmann in Jerusalem, essays)
read by Eva Hausteiner
