October 22, 2009

05_larissa voltz

 Larissa Voltz

 

 

IO.

 

DOOJIN AHN

VALERIO RICCI

LARISSA VOLTZ

 

 

Please join us at HSF for the opening of io.,
the tenth group exhibition of artists-in-res-
idence since the program’s foundation in 2007.
io. presents works by: Doojin Ahn (Korea),
Valerio Ricci (Italy), and Larissa Voltz (Ger-
many-Israel). Co-curated by HSF Chief Curator,
Raffaele Bedarida with Junior Curator, Teresa
Meucci, the show presents works achieved by
the three artists during their stay in New York
(August-November-2009).
Opening reception:
November 2nd  6.00-9.00 pm

By appointment:
November 3rd -30th , 2009
HSF by Montrasioarte
128W 121st street
Subway 2, 3 to 116th street

www.harlemstudiony.org
Harlem Studio Fellowship is a privately funded,
non-profit Residency Program for international
artists founded in 2007 by Ruggero Montrasio
and curated by Raffaele Bedarida. The Studio
Harlem Fellowship is designed to encourage
the creative, intellectual and personal growth
of emerging visual artists. We invite two or
three young artists every three months, provid-
ing them with housing and studio in a town-
house in the district of Harlem. Every residency
ends with a group exhibition, displaying works
and projects accomplished by each artist during
his/her stay in New York In addition to this,
a complete show of the artists in residence
will be held at the end of the first 3 years,
displaying a selection from the artists in res-
idence invited.

October 18, 2009

Predator Drone

 

 

War is peace. Ignorance is strength 

 

By John Pilger
 

Barack Obama, winner of the 2009 Nobel Peace Prize, is planning another war to add to his
impressive record. In Afghanistan, his agents routinely extinguish wedding parties, farmers
and construction workers with weapons such as the innovative Hellfire missile, which sucks
the air out of your lungs. According to the UN, 338,000 Afghan infants are dying under the
Obama-led alliance, which permits only $29 per head annually to be spent on medical care.

Within weeks of his inauguration, Obama started a new war in Pakistan, causing more than
a million people to flee their homes. In threatening Iran, which his secretary of state, Hillary
Clinton, said she was prepared to obliterate, Obama lied that the Iranians were covering up 
a secret nuclear facility, knowing that it had already been reported to the International Atomic
Energy Authority. In colluding with the only nuclear-armed power in the Middle East, he bribed
the Palestinian Authority to suppress a UN judgment that Israel had committed crimes against
humanity in its assault on Gaza ?crimes made possible with US weapons whose shipment
Obama secretly approved before his inauguration.

At home, the man of peace has approved a military budget exceeding that of any year since
the end of the Second World War while presiding over a new kind of domestic repression.
During the recent G20 meeting in Pittsburgh, hosted by Obama, militarised police attacked
peaceful protesters with something called the Long-Range Acoustic Device, not seen before
on US streets. Mounted in the turret of a small tank, it blasted a piercing noise as tear gas
and pepper gas were fired indiscriminately. It is part of a new arsenal of crowd-control
munitions supplied by military contractors such as Ray­theon. In Obama’s Pentagon-con-
trolled National security state the concentration camp at Guantanamo Bay, which he prom-
ised to close, remains open, and rendition, secret assassinations and torture continue.

The Nobel Peace Prize-winner’s latest war is largely secret. On 15 July, Washington finalised
a deal with Colombia that gives the US seven giant military bases. The idea, reported the
Associated Press, is to make Colombia a regional hub for Pentagon operations… nearly
half the continent can be covered by a C-17 [military transport] without refuelling, which 
helps achieve the regional engagement strategy.

Translated, this means Obama is planning a rollback of the independence and democracy
that the people of Bolivia, Venezuela, Ecuador and Paraguay have achieved against the odds,
along with a historic regional co-operation that rejects the notion of a US sphere of influence.
The Colombian regime, which backs death squads and has the continent’s worst human rights
record, has received US military support second in scale only to Israel. Britain provides military
training. Guided by US military satellites, Colombian paramilitaries now infiltrate Venezuela
with the goal of overthrowing the democratic government of Hugo Chaez, which George
W Bush failed to do in 2002.

Read the rest at:  http://www.johnpilger.com/page.asp?partid=551

 

 

 

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October 11, 2009

091010_hauswald_01
091010_hauswald_02

 

 

pool gallery presents:

 

Harald Hauswald: “Auferstanden aus Ruinen”

 

 

Opening Reception: Friday, October 16th, 19:00 – 23:00
Exhibition: October 17th, 2009 – November 14th, 2009

Harald Hauswald did what no other photographer in his time succeeded in doing:
he documented everyday life. While that may sound like the simplest thing to do,
in East Berlin under the GDR, it was quite the opposite. The documentation of
that particular everyday life was sternly forbidden, any glimpse of it lost amidst
propoganda – rendering the very existence of Hauswald’s work a feat.

Intense yet distanced, the dynamic works of Hauswald serve as a detailed account
of Berlin in the 70s and 80s. He didn’t stop there, however, continuing with his
camera through the transformation into a reunified Germany, up to this very day.

There’s just something about Hauswald’s photographs. For one thing, the
characteristic distance between camera and subject gives the distinct impression
that he is watching, not participating – and hints at a subtle skepticism. Coupled
with this skepticism, however, is a certain sense of change – that which evolves,
next to that which remains the same. This binary lies within so many of his
photographs – a movement within a frozen moment, a truth hidden amongst
many lies, a hope buried deep under many disappointments.

Hauswald, a founding member of the well-known photo agency Ostkreuz, was
born in 1954 in Radebeul, a small town near Dresden. He became an apprentice
to a photographer and later, in 1976, graduated from photography school. Around
that time, already under state surveillance, he made his way through the GDR, to
Berlin, exploring, documenting. His works from the late seventies through the
early eighties depict the binary that was present even within Hauswald’s
relationship, as a German, with the GDR; as the writer Lutz Rathenow put it,
“We hated the government, but loved the people.”

But even after 1990, Hauswald, has found that even with major changes in Ger-
many, the struggle, his subject, remains – albeit under a different name. Thus he
continues to document, as he always has, turning his lens on the contradictions
and pitfalls of capitalism.

Uninterested in spectacle, mesmirized by the seemingly mundane, Hauswald
continues his dissection of everyday life, the little things – the things that can
only be seen when one takes a moment to stop, really look, and recognize them.

 

 

pool gallery
tucholskystr.38
10117 berlin germany
fon.49.30.24342462
info@pool-gallery.com
www.pool-gallery.com

 

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October 8, 2009

nirvana_nevermind_front1

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Secret Plan to Ditch the U.S. Dollar’s Dominance Uncovered

By Robert Fisk, Independent UK.

 

 

In the most profound financial change in recent Middle East history, Gulf Arabs are planning –
along with China, Russia, Japan and France – to end dollar dealings for oil, moving instead to
a basket of currencies including the Japanese yen and Chinese yuan, the euro, gold and a new,
unified currency planned for nations in the Gulf Co-operation Council, including Saudi Arabia,
Abu Dhabi, Kuwait and Qatar.

Secret meetings have already been held by finance ministers and central bank governors in Russia,
China, Japan and Brazil to work on the scheme, which will mean that oil will no longer be priced
in dollars.

The plans, confirmed to The Independent by both Gulf Arab and Chinese banking sources in Hong
Kong, may help to explain the sudden rise in gold prices, but it also augurs an extraordinary transition
from dollar markets within nine years.

The Americans, who are aware the meetings have taken place – although they have not discovered
the details – are sure to fight this international cabal which will include hitherto loyal allies Japan
and the Gulf Arabs. Against the background to these currency meetings, Sun Bigan, China’s former
special envoy to the Middle East, has warned there is a risk of deepening divisions between China
and the US over influence and oil in the Middle East. “Bilateral quarrels and clashes are unavoidable,”
he told the Asia and Africa Review. “We cannot lower vigilance against hostility in the Middle East
over energy interests and security.”

This sounds like a dangerous prediction of a future economic war between the US and China over
Middle East oil – yet again turning the region’s conflicts into a battle for great power supremacy.
China uses more oil incrementally than the US because its growth is less energy efficient. The
transitional currency in the move away from dollars, according to Chinese banking sources, may
well be gold. An indication of the huge amounts involved can be gained from the wealth of Abu
Dhabi, Saudi Arabia, Kuwait and Qatar who together hold an estimated $2.1 trillion in dollar
reserves.

The decline of American economic power linked to the current global recession was implicitly
acknowledged by the World Bank president Robert Zoellick. “One of the legacies of this crisis
may be a recognition of changed economic power relations,” he said in Istanbul ahead of meetings
this week of the IMF and World Bank. But it is China’s extraordinary new financial power –
along with past anger among oil-producing and oil-consuming nations at America’s power to
interfere in the international financial system – which has prompted the latest discussions
involving the Gulf states.

Brazil has shown interest in collaborating in non-dollar oil payments, along with India. Indeed,
China appears to be the most enthusiastic of all the financial powers involved, not least because
of its enormous trade with the Middle East.

 

read the rest on Alternet

September 28, 2009

QuietBrightB[1].Rood

 

 

Quiet Bright

 

 

P.P.O.W Gallery is hosting a special one night installation and film event
with New Zealand artists
Brydee Rood and Florian Habicht.

Brydee Rood will present “Quite Bright” A Temporary Installation using
solar lights. Brydee Rood is in New York having just exhibited a site
specific ephemeral piece at The Last Supper Festival in Brooklyn.

Florian Habicht, an innovative independent film maker is in NYC for a year
on the Harriet Friedlander Artist Residency. He will show his short film
“Liebestraume”.
The event begins at 6pm on Thursday October 1st 2009

 

http://www.thehostessproject.com/

 

 

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September 2, 2009

poster-leekit

August 27, 2009

 

IT park

A Solo Exhibition by Huang Wen-Hao

MUTE

22 August ~ 19 September, 2009Opening Reception: 7:00pm, Sat., 22 August 2009http://www.itpark.com.tw/exhibition/data/265

 

 

Artist Statement

It has been 13 years since my last solo exhibition at IT Park. During this period, my life journey experienced numerous transitions. Two major illnesses profoundly affected my life. The threat of death has inspired my creative concept to become more vigorous and powerful. During my recuperation, I was inundated with boredom and kept busy reading or surfing the Internet. The vast array of visual stimuli altered the way I perceived the world. The majority of my recent creations are centered on the philosophy brought about by my new lifestyle and this is what I have chosen for this exhibition.

I made use of large quantities of low resolution or poor quality images as my creative elements. In one of my creations, I assembled an image by stacking 100 photos obtained from the Internet; with each photo processed to 1% transparency. In addition, I also tried stacking 100 Internet pornographic videos to form intriguing sounds and imagery. For the other creations I chose the antiquated image format, GIF as my main visual representation. I deliberately chose the antiquated GIF format for my image presentation. Although GIF format has only 8-bit color, the image quality is mediocre and limited in size. Nevertheless, I enjoyed using GIF instead of high resolution formats because of its ability to insert multiple pictures and cycle them repeatedly for an animated effect. The image is no longer instantaneous and frozen; it is eternally bifurcated and continually repetitive. The senses are thus strengthened through accumulation, numbed through exhaustion, twisted or precipitated…

The virtual world’s misplacement of time and space, silently alters life; and shines like the perpetual days of the tropics where everything becomes silent and still.

Ps. “The perpetual days”: Collaboration work by Dennis Liu and Huang Wen-Hao
 

 

 

 

August 24, 2009

dc62dz2b_47cxcc5dgs_b
 

The Fragmentized Illusionan Exhibition of Taiwan Contemporary Photography> invite you to touch the illusion created by established Taiwanese photographers/artists.  


 

Since the Martial Law in Taiwan was lifted in the 1987, the conservative atmosphere in the society was soon dispelled by the energy to embrace the “new ideas.”  In this island country which used to be called “Formosa” – a beautiful place – there was no way for contemporary art to be apart from such a sudden change. Artists started to employ various types of materials in their artistic creation. Photography thus became one of the most frequently adopted genres for Taiwanese artists to practice their experimental ideas.  Liberated from a society once dominated by political ideology, artists were gradually fascinated by the complicated historical background and the multi-cultural influence in their own self-identity and the national identity.  The personal memory entwined with the mass collected experience thus became an inerasable mark branded on the development of the contemporary art in Taiwan.  The critical insight and the nostalgic touch interacted with each other, veiling the insecurity of all Taiwanese behind the rapid development in economy and politics. 


 

As an art gallery promoting multi-media artists in Taiwan, this summer Galerie Grand Siecle turns its eyes toward a more mature generation of artists — Mei Dean-E, Wu Tien-Chang, Chen Shun-Chu, Yao Jui-Chung.  In the exhibition <The Fragmentized Illusion: An Exhibition of Taiwan Contemporary Art>, these four artists will introduce you to have a closer look at how they picture the society in Taiwan – an illusion seemed surrealistic but also inseparable from our reality. 

from 8/22 to 8/20 and the opening recession will be held at the night of 8/29 (7:00 pm).

 


 

Duration2009/8/22~9/20

 

Exhibiting ArtistsMei Dean-E(梅丁衍)Wu Tien-Chang(吳天章)

                              Chen Shun-Chu (陳順築)Yao Jui-Chung (姚瑞中)

VenueGalerie Grand Siecle│www.changsgallery.com.tw

                             10559 1F, No.17, Alley 51, Lane 12, Sec 3, BA-DE Rd, Taipei, 10559 Taiwan

Tel02-2578-5630  |   Fax02-2578-8659

Opening Hours13:00 -18:00closed on Monday

Open Recession8/29 19:00 pm

August 12, 2009

none 

 

 

Is the U.S. on the Brink of Fascism?

By Sara Robinson, Campaign for America’s Future. Posted August 7, 2009.

There are dangerous currents running through America’s politics and the way we confront them is crucial.

All through the dark years of the Bush Administration, progressives watched in horror as Constitutional protections vanished, nativist rhetoric ratcheted up, hate speech turned into intimidation and violence, and the president of the United States seized for himself powers only demanded by history’s worst dictators. With each new outrage, the small handful of us who’d made ourselves experts on right-wing culture and politics would hear once again from worried readers: Is this it? Have we finally become a fascist state? Are we there yet?

And every time this question got asked, people like Chip Berlet and Dave Neiwert and Fred Clarkson and yours truly would look up from our maps like a parent on a long drive, and smile a wan smile of reassurance. “Wellll…we’re on a bad road, and if we don’t change course, we could end up there soon enough. But there’s also still plenty of time and opportunity to turn back. Watch, but don’t worry. As bad as this looks: no — we are not there yet.”

In tracking the mileage on this trip to perdition, many of us relied on the work of historian Robert Paxton, who is probably the world’s pre-eminent scholar on the subject of how countries turn fascist. In a 1998 paper published in The Journal of Modern History, Paxton argued that the best way to recognize emerging fascist movements isn’t by their rhetoric, their politics, or their aesthetics. Rather, he said, mature democracies turn fascist by a recognizable process, a set of five stages that may be the most important family resemblance that links all the whole motley collection of 20th Century fascisms together. According to our reading of Paxton’s stages, we weren’t there yet. There were certain signs — one in particular — we were keeping an eye out for, and we just weren’t seeing it.

And now we are. In fact, if you know what you’re looking for, it’s suddenly everywhere. It’s odd that I haven’t been asked for quite a while; but if you asked me today, I’d tell you that if we’re not there right now, we’ve certainly taken that last turn into the parking lot and are now looking for a space. Either way, our fascist American future now looms very large in the front windshield — and those of us who value American democracy need to understand how we got here, what’s changing now, and what’s at stake in the very near future if these people are allowed to win — or even hold their ground.

What is fascism?
The word has been bandied about by so many people so wrongly for so long that, as Paxton points out, “Everybody is somebody else’s fascist.” Given that, I always like to start these conversations by revisiting Paxton’s essential definition of the term:

“Fascism is a system of political authority and social order intended to reinforce the unity, energy, and purity of communities in which liberal democracy stands accused of producing division and decline.”

Elsewhere, he refines this further as

“a form of political behavior marked by obsessive preoccupation with community decline, humiliation or victimhood and by compensatory cults of unity, energy and purity, in which a mass-based party of committed nationalist militants, working in uneasy but effective collaboration with traditional elites, abandons democratic liberties and pursues with redemptive violence and without ethical or legal restraints goals of internal cleansing and external expansion.”

.
Jonah Goldberg aside, that’s a basic definition most legitimate scholars in the field can agree on, and the one I’ll be referring to here.

From proto-fascism to the tipping point
According to Paxton, fascism unfolds in five stages. The first two are pretty solidly behind us — and the third should be of particular interest to progressives right now.

In the first stage, a rural movement emerges to effect some kind of nationalist renewal (what Roger Griffin calls “palingenesis” — a phoenix-like rebirth from the ashes). They come together to restore a broken social order, always drawing on themes of unity, order, and purity. Reason is rejected in favor of passionate emotion. The way the organizing story is told varies from country to country; but it’s always rooted in the promise of restoring lost national pride by resurrecting the culture’s traditional myths and values, and purging society of the toxic influence of the outsiders and intellectuals who are blamed for their current misery.

 

Read the rest at:

http://www.alternet.org/story/141819/is_the_u.s._on_the_brink_of_fascism/

 

July 14, 2009

Piano26 - kidder

Photo: Tyler Kidder, courtesy of Bucknell University, Lewisburg, Pennsylvania. 

 

White Fungus and Annea Lockwood in the Utne Reader

 

The current July / August issue of the Utne Reader includes excerpts from an interiview with

Annea Lockwood published in the 9th issue of White Fungus, conducted by Daniel Beban. The

excerpts are Lcckwood’s vivid descriptions of ‘piano burning’, part of her Piano Transplant series,

which also includes Piano Drowning, Piano Garden, and Southern Exposure. The excerpts can be

read on the Utne website: http://www.utne.com/GreatWriting/Bonfire-of-the-Ivories-Visualize-Your-Piano-Burning.aspx

 

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