Wednesday, April 7, 2010

Controversial “African Renaissance” Statue Rises in Senegal

On April 3, the West African nation of Senegal officially inaugurated one of the strangest statues in the history of Africa. Costing $28 million and built by North Korean labourers, the 160-foot “African Renaissance” statue is made of copper and has been embroiled in controversy since it was announced in 2006.
Designed by Senegalese architect Pierre Goudiaby and promoted as a money-generating tourist attraction, the monument continues to be a sore point in a country struggling with high unemployment and chronic economic problems.


The “African Renaissance” statue during its construction in August 2009

New Tang Dynasty Television reported that the inauguration ceremony was attended by about 30 African and other heads of state, though The Scotsman reported only a dozen heads of state attended the event, including Zimbabwe’s Robert Mugabe and Ivory Coast’s Laurent Gbagbo. According to NewsOne and allAfrica.com, the event was also going to be attended by Senegalese-American rapper Akon, US civil rights activist Jesse Jackson, and Dr. Julius W. Garvey, son of African American nationalist leader Marcus Garvey.
During the ceremony, Senegalese President Aboulaye Wade said he hoped the statue would be a symbol of African unity and declared:
Five centuries of ordeals and human tragedy, and yet Africa has arrived in the 21st century standing tall and more ready than ever to take its destiny into its hands.
But the controversy continues … one imam in the mainly Muslim nation issued a fatwa on Friday condemning the statue as idolatrous for showing a woman’s bare leg and last year many in Senegal’s Christian community were offended when the president likening the statue to Christ. President Wade has since apologized to the country’s Christian minority for the comparison.
According to BBC, what has shocked most people in Senegal is President Wade’s plan to charge visitors to the monument and pocket 35% of the income for himself. “The president says he helped design the statue, so he should share some of the revenue,” explains BBC’s Caspar Leighton.

by Hrag Vartanian on April 6, 2010
Source: hyperallergic.com

Tuesday, April 6, 2010

Dialectica



Vti hominem ratione docet dialectica quare
merito artium apicem magnus hanc plato vocat

engraved by Cornelis Cort (after Frans Floris) and published in Antwerp in 1565 by Hieronymous Cock

Thursday, April 1, 2010

Working Class Discourse



Working Class Discourse
2010
20 x 30 x 34 cm
Wood, Brick, Acrylic

A life in politics: New Left Review at 50

New Left Review at 50: no balloons, of course, and definitely no party games. The very idea of "celebration" smacks of consumerist pseudo-optimism. Mere chronology is, after all, an untheorised concept. We should see it as not so much an ¬anniversary, more an over-determined conjuncture.
It is hard not to be intimidated by New Left Review. At times, the journal can seem like an elaborate contrivance for making us feel inadequate. One's relation to it conjugates as an irregular verb: I wish I knew more about industrialisation in China; you ought to have a better grasp of Brenner's analysis of global turbulence; he, she, or it needs to understand the significance of community-based activism in Latin America. For many Guardian readers (and others), the journal functions like a kind of older brother whom we look up to – more serious, better informed, better travelled, stronger, irreplaceable. Well, maybe a tiny bit solemn at times (we could draw lots for who gets the job of telling Perry Anderson to lighten up), and perhaps when we were out of touch for longish stretches, life seemed a bit easier. But then we meet up and it's a case of respect at first sight, all over again.
It hasn't always been like this: even older brothers had rocky periods in their youth – misguided enthusiasms, failed relationships, moody withdrawals. Some readers may remember times when NLR seemed hell-bent on sectarian purism, theoretical slavishness and a wilful opacity. It has been through several changes of identity in the past 50 years, and memories of some of these earlier phases may hamper the efforts that it has made recently to reach out to a more diverse readership. But there is a lot in that history to be proud of. The journal has, in its own unbending fashion, registered and responded to huge changes in the world during this half-century, and in doing so has made a stock of ideas available well beyond the ranks of those who may at any point have shared its particular form, or forms, of Marxism (an allegiance that has itself modulated, perhaps even attenuated somewhat, over the decades). Some things about the journal, however, don't change. What other publication would take out a full-page advertisement in a national newspaper announcing its "quinquagenary issue"? NLR has been accused of many things, but never of populist dumbing-down.
The biography of the review cannot be reduced to a formula: its experience so far has been too rich and too contradictory. But it would be fair to say that a journal that began life hoping to animate and express organised popular movements on the left soon became a more emphatically theoretical enterprise, albeit with certain Leninist or Trotskyist longings held in reserve. Then, in the 1980s, it began to interpret its intellectual task in more expansive terms, and since 2000 it has been self-consciously a "journal of ideas" – on the left, to be sure, but distant from radical movements in the present or any worked-out political blueprint for the future.
As a severely intellectual journal committed, in principle, to the radical transformation of society, NLR had few models to draw on in British history – and the journal grew out of and was for a long time rooted in British culture, however internationalist it has since become. There had been a lot of small, usually transient, journals of the left, such as William Morris's Commonweal (1885-90) or the original Left Review (1934-38); there were political periodicals closer to the parliamentary fray, such as the New Statesman (1913- ) or Tribune (1937- ); and there had been more eclectic, radical-leaning reviews of art, culture and politics, such as the New Age (1907-22). But to find another successful journal of ideas conducted at the highest intellectual level by a self-consciously radical group we may have to go back to the Westminster Review, the journal of the Philosophic Radicals of the early 19th century. In the present, the publication closest in spirit, despite all the obvious differences of form, may be the London ¬Review of Books (there is some overlap in contributors), but NLR is less literary, even more political, and committed to more systematic economic analysis and theoretical construction. It also concerns itself very little with British politics and culture these days.
In so far as there was a conscious model in the early years, it was Sartre's Les Temps Modernes, and an idealised version of Parisian intellectual life in the 1950s seems to have retained something of a hold over several of the review's leading spirits. It takes quintessential black-polo-neck subjects such as philosophy and film very seriously indeed; other art forms, and more or less all of popular culture, come a long, long way behind. Although there have been periodic shake-ups of the editorial board, complete with affirmations of the need to bring in new blood, the core group are now all around 70 and so date their formation to those heady days of bringing the news from Paris in the decade from 1958 to 1968.
The 50th-anniversary issue includes articles by several of the NLR's long-serving stalwarts – Tariq Ali, Perry Anderson, Robin Blackburn, Mike Davis – as well as interviews or reprinted pieces by noted figures of the intellectual left such as Eric Hobsbawm and Stuart Hall. These names signify a quite striking element of continuity. Anderson and Blackburn were at the head of the younger group who took over direction of the journal in 1962, after two years of Hall's editorship, and they, together with Ali, Davis and a handful of others, have been constant or recurrent members of the editorial board since the 1960s. Anderson was nominally the editor from 1962-83 (the journal has always emphasised its collective ethos, and from the outside it has not been clear how responsibility has been divided between editor and editorial board); Blackburn then took over until the end of 1999, at which point a new series of the journal was relaunched, initially under Anderson's editorship once more; Susan Watkins has been the editor since 2003. Exact circulation figures have always been hard to come by, as has any reliable information about its inner workings, but its bi-monthly issues are said currently to sell around 10,000 each. Its finances remain mysterious: rumour has repeatedly suggested that it has been subsidised by the inherited wealth of the Anderson family.
But these continuities of personnel mask some dramatic shifts of direction and changes in character. The review was founded in 1960 out of a merger of two existing journals, Universities and Left Review and the New Reasoner, the former representing an upsurge of political and cultural radicalism in the late 1950s, especially strong in universities, that repudiated the reformism of the Labour party, while the latter provided a rallying ground for those communists and ex-communists who, post-1956, disowned orthodox Stalinism. New Left clubs were formed around the country, and the Campaign for Nuclear Disarmament provided a mobilising and unifying focus. For a brief period, the review was part of a wider movement. But after the 1962 changeover, it focused more exclusively on preparing the theoretical ground for "revolution" (it can be hard now to remember what an everyday term "revolution" was in the 1960s and 1970s). One of the NLR's most notable services was in importing and disseminating European ideas, especially the rich tradition of Hegelianised Marxisms, but also other styles of work in, for example, sociology and psychoanalysis. In 1970 a publishing house was set up – New Left Books, which mutated into Verso – and this helped to make many classic works of European social thought available in English at a time when the expanding system of higher education was hungry for such texts. Established socialist thinkers such as Isaac Deutscher and Raymond Williams were important to the review in its early years; for a while the example of the Belgian Trotskyist economist Ernest Mandel was influential; at various points there was particularly sustained engagement with the ideas of Antonio Gramsci and Louis Althusser.
In the course of the 1980s, the political imagination of the left had to be re-fashioned to acknowledge the dramatic transformations of that decade, including the end of "actually existing socialism". This and the following decade saw ructions and resignations at the review itself, as well as attempts to remedy its comparative neglect of now prominent issues such as feminism and the environment. Its denunciation of "the American empire", especially through the so-called humanitarian wars of the 1990s, was one constant; its attempts to uncover the global operation of the new forms of capitalism were another. But questions about what it now meant to be committed to "a socialist future" became more insistent and invited a more fundamental rethinking of the function of the journal itself. NLR 238, published at the end of 1999, was to be the last of the original series.
The first issue of the new series appeared at the beginning of 2000, with a dramatically improved layout and appearance (high-minded left asceticism had tended to favour journals that looked like cyclostyled parish magazines), a regular book review section and signed editorials. The first of these consisted of a stern, unsparing assessment by Anderson of the challenges facing the left at the start of the new century. Some readers were shocked by its Olympian bleakness. "The only starting point for a realistic left today is a lucid registration of historical defeat." (I can't help admiring the sentence as well as the sentiment here, especially that last phrase with its indomitable commitment to lucidity about the wreck of one's dreams.) Anderson found "neoliberalism" triumphant across the globe: no effective countervailing radical force existed. But that, it was implied, is all the more reason to seek a properly explanatory understanding of the forces at work in the world today. Only on that basis – a systematic, deeply informed, international analysis – could even the most tentative steps be taken towards formulating a viable alternative. The message may have been bleak, but the tone was resolute: the guiding principle for the review should be "the refusal of any accommodation with the ruling system, as of any understatement of its power".
Over the years, NLR had shown a proper regard for Gramsci's celebrated motto "pessimism of the intellect, optimism of the will", but many readers thought Anderson's 2000 editorial overdid the pessimism and gave precious little nourishment to the optimism. A French critic, in a reproach that must have stung the famously nonparochial and francophile Anderson, accused him of viewing things too narrowly from one side of la Manche: various forms of resistance, it was suggested, were much more visible in France, while others felt that forms of protest elsewhere in the world were similarly being undervalued. But, a decade on, Anderson's pessimism on this score scarcely seems exaggerated: in so far as the imperium of neoliberalism is being curbed, which is not far, it does not appear to be primarily the outcome of organised and politically effective opposition.
Anderson also announced another kind of change in the character of the journal, which was henceforth to be open to a greater variety of voices. Again, there were murmurs about betrayal and elitism – NLR as a virtual club for global intellectuals rather than a getting-its-hands-dirty helper in local struggles – but perhaps such objections mistake what a progressive journal of ideas can and should do. Personally, as a relative outsider to this milieu, I much prefer the hospitable pessimism of the current NLR to the excluding optimism of its more sectarian days. But there's no doubt that its present character raises again the question of what a journal of "the left" should be aiming at when it is not in constructive relations with any organised radical or progressive movements beyond its pages.
Now, in this anniversary issue, the editorial by Susan Watkins takes stock once more. Attention focuses on the financial crash of 2008 and on the banks' subsequent recovery. The former might have seemed to offer the left some hope: the "system" was imploding, as in Marxist or post-Marxist theory it was meant to do. Those famous "contradictions of capitalism" were coming home to roost. Except, as Watkins coolly insists, they haven't; so far there has been adjustment rather than apocalypse. Moreover, this convulsion of the world's financial system seems to have generated precious little political turmoil or popular insurgency. In one of those steely sentences that the modern NLR is so good at, she writes: "That neoliberalism's crisis should be so eerily non-agonistic, in contrast to the bitter battles over its installation, is a sobering measure of its triumph."
So what is there left to do – and what is there to do that is left? Plenty, it turns out. There may be no "immediate practical project", so the concern has to be with the longue durée. "To attend to the development of actually existing capitalism remains a first duty for a journal like NLR." Or again: "A priority for the Review in the coming years should be a new typology of development outcomes in the age of global finance. Another is a map of the global proletariat – locations, sectors, differentials – alive to contemporary makings and unmakings of class."
To some, this may seem like little more than keeping that "registration of defeat" up to date, but the commitment to information and understanding seems admirable to me. In the final paragraph of her editorial, Watkins appears momentarily tempted by a form of optimism: "But perhaps the very rarity of a serious left forum in these times makes a journal like NLR more valued." I think that's true, but a forum is, precisely, a space in which to meet and talk, an agreed place in which to disagree. The metaphor signifies a distance from political action, as well as the distance the journal has travelled from the hopes of the 60s. "Can a left intellectual project hope to thrive in the absence of a political movement?", she asks. "That remains to be seen." Even "thriving" may be a lot to ask for. "Fail better" may be as high as the mark should be set for now, with an unblinking awareness of the piquancy that attends the conjunction of political allegiance and Beckettian motto.
Perhaps a sense of having been chastened by world history is becoming to a journal in middle age. Just occasionally, I still feel queasy when confronted by the familiar abstractions, confidently used in the singular. When I'm told, for example, that "the thought-world of the west" is increasingly determined by "Atlantic-centred structures of wealth and power", dragging academic disciplines in tow, I find myself feeling that the search for pattern and causation is starting to lose sight of something no less important – the uneven, awkward diversity that is apparent when viewed from a little closer. All intellectual inquiry is a see-sawing between abstraction and particularity, and NLR's inheritance can still make it seem more indulgent of the former than the latter. Interestingly, the language of "determinants" and "system" falls away when it comes to self-description. "NLR stands outside this world," Watkins writes, "defines its own agenda." Excellent, but might not some other elements in "the thought-world of the west" be doing the same, in their own way? Still, the audacity is admirable: I like the thought that a specially unillusioned, independent, global perspective on what's happening is to be had from a side street in Soho.
When so much of even the so-called "serious" media is given over to celebrity-fuelled ephemera and the recycling of press releases and in-house gossip; and when the academic world is struggling to mitigate the worst effects of funding-driven overproduction and careerist modishness; and when national and international politics seem to consist of bowing to the imperatives of "the market" while avoiding public relations gaffes; then we need more than ever a "forum" like NLR. It is up to date without being merely journalistic; it is scholarly but unscarred by citation-compulsion; and it is analytical about the long-term forces at work in politics rather than obsessed by the spume of the latest wavelet of manoeuvring and posturing. Despite its self-description in its guidelines for contributors, the journal is not in any obvious sense "lively". It is downright difficult (but none the worse for that), because what it tries to analyse is complex and its preferred intellectual tools are often conceptually sophisticated. It is difficult where being easy would be no virtue, difficult where aiming to be "accessible" would mean patronising its readers, difficult where ideas need to be chewed rather than simply swallowed. That's what I admire above all about NLR: its intellectual seriousness – its magnificently strenuous attempt to understand, to analyse, to theorise.
So, no balloons, and definitely no party lines. No cheap consolation, ¬either. But hey, respect: no question.

Text by Stefan Collini
Source: Guardian, 13 Feb 2010.

Rogue urinals



Critics tend to declare that Marcel Duchamp's urinal, entitled “Fountain”, is the most important artwork of the 20th century. Yet its standing as a collectable object has always lagged behind its value as an idea. The work questioned notions of authenticity when Duchamp first purchased the mass-produced plumbing fixture and signed it “R. Mutt” in 1917. Now, over 40 years after the artist's death, the problem of legitimacy remains relevant as unauthorised urinals have been discovered circulating in Italy. The art world loves paradoxical conceptual gestures, but it seems that someone might be taking the piss.
“Fountain” was the first ready-made that Duchamp engineered for scandal. The artist was a member of the board of the Society of Independent Artists, whose exhibition had no jury and was set to be the largest in America. He knew that most people would perceive the work as a prank, particularly if submitted by an unknown Richard Mutt from Philadelphia. When the board duly voted against it, Duchamp and his chief patron, Walter Arensberg, resigned in protest—a story that was swiftly leaked to the New York papers.
The ready-made had its public debut a few weeks later in an art magazine called the Blind Man. A photo of the urinal by Alfred Stieglitz was published alongside the founding manifesto of conceptual art, which included the words: “Whether Mr Mutt with his own hands made the fountain or not has no importance. He CHOSE it.” The urinal then went the way of many of Duchamp's early ready-mades; it was smashed or trashed. So insignificant was the porcelain pissoir at the time that no one can remember exactly what happened to it.
“Fountain” was not a coveted art object until well after the second world war, when Duchamp became a cult figure among Pop artists. In response to the art world's desire to see his legendary lavatory, Duchamp authorised curators to purchase urinals in his name in 1950, 1953 and 1963. (The first is in the Philadelphia Museum of Art, the second is lost and the third sits in the Moderna Museet in Stockholm.) Then in 1964, in association with Arturo Schwarz, a Milan art dealer, historian and collector, the artist made the momentous decision to issue 12 replicas (an edition of eight with four proofs) of his most important ready-mades, including the urinal. Mr Schwarz, now 86, went on to write the artist’s catalogue raisonné—a scholarly book meant to document the complete works of Duchamp.
As one who had painted moustaches on postcards of the Mona Lisa, Duchamp understood the power of reproductions to render a work iconic and consolidate an artist’s international reputation. Indeed, nine of the 12 official Schwarz “Fountains” have been included in museum collections around the world. Of the three in private hands, one is in Bel Air, California, another is in Manhattan with the Mugrabi family, and the last, owned by Dimitris Daskalopoulos in Athens, will be exhibited at the Whitechapel Gallery in London this summer.
One of the many ironies of the Schwarz urinals is that they are carefully crafted earthenware sculptures modelled on the Stieglitz photo of the “original”. Every edition has a story, but there is no beating the provenance of the 13th one. Dubbed “the prototype” and bearing Duchamp's signature, it slipped quietly onto the market in 1973 at the then fledgling gallery of Ronald Feldman in New York. Andy Warhol, who visited the gallery repeatedly, pressed Mr Feldman to trade the urinal for some of his own portraits. “Duchamp didn't sell well in those days,” says Mr Feldman, “but Andy knew what multiples meant because he made them.”
When Warhol died in 1987, his urinal was consigned to Sotheby's as part of his giant five-volume estate sale. “Fountain” was buried in a volume devoted to prints and given a lowly estimate of $2,000-2,500. It sold for $65,750 to Dakis Joannou, a Greek-Cypriot construction tycoon, and is now enshrined in the front hall of his main home in Athens. “I couldn't believe that we could actually own it,” says Mr Joannou. “People didn't appreciate its historical importance, so we got a bargain.” In the following decade, Duchamp's renown increased yet again, as did the marketing of his work. In 1999 Sotheby's put an official Schwarz urinal on the cover of its Contemporary Art evening sale catalogue; it commanded $1.8m.
Collectors of contemporary art are comfortable acquiring individual works in series, but they don't relish unlimited editions or dodgy authorship. Some may be dismayed to learn that there are at least three more “Duchamp urinals”. Gio di Maggio, a collector whose Fondazione Mudima is in Milan, and Luisella Zignone, a Duchamp collector based in Biella, both have “Fountains” that Mr Schwarz says he gave as gifts. Sergio Casoli, a Milan dealer, is also thought to own one. (He declined to comment.)
Mr Schwarz claims that these works were made in 1964 under Duchamp's direction, but were not included in the original edition due to “imperfections”. (It is unlikely that more than 17 urinals could have survived from this edition, but only Mr Schwarz knows for sure.) None of the newly discovered pieces have the “Marcel Duchamp” signature of official ready-mades. Nevertheless, the “Fountains” owned by Mr Di Maggio and Mrs Zignone have been shown in public institutions in Basel and Buenos Aires. In interview, Mr Schwarz reluctantly confirmed that he is trying to sell a fourth “Fountain” for an undisclosed sum, which one source says is $2.5m. (When pressed, Mr Schwarz says the asking price depends on whether the purchaser is a museum, a well-reputed collector or a speculator.)
The artist’s estate is not pleased. Jacqueline Matisse Monnier, the head of the Association for the Protection and Conservation of works by Marcel Duchamp, says that “neither my mother nor I ever sanctioned the sale of unauthorised ready-mades.” Mrs Monnier’s mother, “Teeny”, was married to Pierre Matisse, the dealer son of the Henri, before she married Duchamp, making her an heir to both the Henri Matisse and Duchamp estates. She sees Mr Schwarz's activities as curious given that “Arturo was a great friend of Marcel.”
Some Duchamp connoisseurs are outraged. Francis M. Naumann, a scholar and dealer who has published widely on Duchamp, argues that these urinals cannot be considered Duchamps at all. “For Duchamp, the signature was everything,” he argues. “It is the single most important element in the process of transforming an ordinary everyday object into a work of art.”
Others appear more ambivalent. Daniella Luxembourg, co-owner of Luxembourg & Dayan, a New York gallery that recently held a Duchamp mini-retrospective, says the artist's market has “the atmosphere of relics in a religion,” adding that “with globalisation, the differences between what was signed by Duchamp and what was in his vicinity will become smaller and smaller.”
Duchamp's relationship to commerce was not naive. Although he preferred to give away his work rather than sell it, he made a living as an art dealer for many years. Duchamp was also an able chess player who could think a good few moves ahead. One wonders whether the Dada master, who challenged the notion of the authentic artwork, might not be amused by the way these questionable “Fountains” muddy the waters of his current market. “My production,” he once said, “has no right to be speculated upon.”

Source : From The Economist /Mar 24th 2010.

The Crypt Keeper Søren Psirpsigaard




Søren Psirpsirgaard, 2010

World of Suzie Wong Tien Huong Singer




World of Suzie Wong Tien Huong Singer, 1961
Photographer: Boris Lipnitzki

Wednesday, March 24, 2010

House of Integration





Architects: FORM/Kouichi Kimura Architects
Location: Shiga, Japan, 2010
Site Area: 166,21 sqm
Photograph by Takumi Ota
www.archdaily.com

Saturday, March 20, 2010

Fair on the Vorobyev Mountains



Nikolai Petrov
Fair on the Vorobyev Mountains (later Lenin Mountains).1930s

The Dover Bitch

So there stood Matthew Arnold and this girl
With the cliffs of England crumbling away behind them,
And he said to her, 'Try to be true to me,
And I'll do the same for you, for things are bad
All over, etc., etc.'
Well now, I knew this girl. It's true she had read
Sophocles in a fairly good translation
And caught that bitter allusion to the sea,
But all the time he was talking she had in mind
The notion of what his whiskers would feel like
On the back of her neck. She told me later on
That after a while she got to looking out
At the lights across the channel, and really felt sad,
Thinking of all the wine and enormous beds
And blandishments in French and the perfumes.
And then she got really angry. To have been brought
All the way down from London , and then be addressed
As a sort of mournful cosmic last resort
Is really tough on a girl, and she was pretty.
Anyway, she watched him pace the room
And finger his watch-chain and seem to sweat a bit,
And then she said one or two unprintable things.
But you mustn't judge her by that. What I mean to say is,
She's really all right. I still see her once in a while
And she always treats me right. We have a drink
And I give her a good time, and perhaps it's a year
Before I see her again, but there she is,
Running to fat, but dependable as they come.
And sometimes I bring her a bottle of Nuit d' Amour.

Anthony Hecht

The William Penn Dining Room



The William Penn Diner, U.S. Routes 13 and 40,
six miles south of Wilmington, Delaware, ca 1939.

Institutional Attitudes

The Comité van Roosendaal is proud to announce its first public activity, the two-day conference Institutional Attitudes to take place on 24 and 25 April in de Beursschouwburg in Brussels, coinciding with Art Brussels.

Institutional Attitudes looks at a founding premise of the Comité van Roosendaal: the shared conviction that contemporary art institutions may be an important voice in society. Within this premise, key questions include: What kind of contemporary society must be envisioned, given the recent economic crisis and the ecological state of emergency? How can existing art institutions adjust to the current paradigm shifts? In full confidence that institutions are not only products of their society, but also constitute active agents capable of shaping society in return, what novel public potential exists for the art institution? These research questions are stimulated by recent proposals engaging with notions of commons and of the commonwealth, such as Italian philosopher Paolo Virno's call to consider a non-representative democracy that might be expressed through "a galaxy of foundations, a network of institutes."

The Comité van Roosendaal has invited a range of esteemed art professionals and academics, as well as public figures from outside the art world, to critically evaluate recent events and sketch scenarios for the near future and beyond, in a program of three chapters.

Chapter 1: Institutional Domains

Bart De Baere, Miroslaw Balka, Alex Farquharson, Ann Goldstein, Sofia Hernandez Chong Cuy, Marc Jacobs, Simon Sheikh, Frans Timmermans

Chapter 2: Beyond Criticality

Bassam El Baroni, Ann Demeester, Nataša Ilić, Marta Kuzma, Julia Moritz, Vanessa Joan Müller, Irit Rogoff, Michael Turner

Chapter 3: Dismeasurement and Public Responsibility

Zdenka Badovinac, Manu Claeys, Charles Esche, Pascal Gielen, Anselm Franke, Maurizio Lazzarato, Dieter Lesage, Dieter Roelstraete, Nicolaus Schafhausen

Location: de Beursschouwburg, Auguste Ortsstraat 20 – 28, Brussel.
http://www.beursschouwburg.be

Source : http://www.comitevanroosendaal.eu

Chapel



Architect: Paul Rudolph (drawing) 1960.

Tuskegee Institute. Interdenominational Chapel. Longitudinal section. Rendering

Friday, March 12, 2010

Swimming club



Photography by Martin Parr, Brighton: David Sawyers, member of the Brighton sea swimming club, some of whose members swim in the sea all year round. David is disabled and loves his swimming, where he can experience total freedom both physically and mentally.

The Velvet Philosophical Revolution

On the evening of November 9, 1989, the wall of shame was breached. The next morning, I took off for Berlin; shortly afterward, I experienced the Velvet Revolution in Prague, and finally the fall of Ceauşescu in Bucharest. The year 1990 opened joyfully for the human race. But I was struck by the difference in the emotions felt in the East and in the West. Representative of the West was Francis Fukuyama and his idea, which caused a sensation, that history had just come to an end. But those in the East realized that this was far from the case. Less than a month before the Berlin Wall fell, I had given a speech in front of Chancellor Helmut Kohl and the cream of the Federal Republic of Germany in honor of Czech dissident Václav Havel, who was receiving the Frankfurt Book Fair’s prestigious Peace Prize while still a prisoner in his own country. I entitled the speech “To Leave Communism Is to Enter History”—the view of those emerging from behind the Iron Curtain.
The West’s confusion arose because it wasn’t prepared for such a fundamental unsettling of postwar geopolitics. During four decades of ideological confrontation, theoreticians and journalists had argued about how a society should move from capitalism to socialism. There was no research on the opposite question—that is, on the transition from socialism to capitalism—apart from a few inconclusive studies, most notably in Poland, concerning the possibility of introducing some elements of the free market into a Communist society. As the philosopher Josep Ramoneda has observed, the whole world—Communists, anti-Communists, and those in between—took it as given that the Soviet Union and its satellites could not “return” to capitalism. So when, during the Velvet Revolution, demonstrators posed exactly this question—How can we go from socialism to capitalism?—there was no ready answer.
As Western intellectuals watched Berlin in November 1989, they reconsidered their long belief that the world was fated to be Communist—but retained their belief in fate. Providence had at last spoken, chance was abolished, the terrible parenthesis of the twentieth century had closed. Forgotten, erased, transcended, surpassed were 1914–1989, the bloodiest and cruelest 75 years of the human adventure to date. Tocquevilleans rediscovered the ineluctable movement of universal democracy; Saint-Simonians passed on to ecologists the promise that the administration of things would replace the government of men; Hegelians like Fukuyama celebrated the End of History and of history’s wars; Social Democrats promised that understanding among peoples would grow. We were entering the peaceful, postmodern Promised Land, where great heroes, great dangers, great peoples, and great goals would all disappear, as Jean-François Lyotard, author of The Postmodern Condition, notoriously argued. The end of the Cold War plunged the “free world,” as it had been called, into a boundless euphoria. Western Europe immediately eliminated its military budgets, while Washington announced a “new world order.”
The other Europe, just emancipated from Moscow’s domination, did not share this optimism. The peoples extricating themselves from totalitarian despotism were at the same time rejoining history as freely choosing agents.
And they found before them two possible futures. One is symbolized today by Havel and Lech Walesa, Charter 77 and Poland’s Solidarity; the other by Slobodan Milošević and Vladimir Putin.
Czechs and Serbs faced the same post-1989 challenges as they confronted the dismantling of Czechoslovakia and Yugoslavia. In Prague, widespread poverty and corruption tempted the antitotalitarian dissidents whom the Velvet Revolution brought to power to choose repression rather than democracy. Their ultimate decision, though, was decisive: freedom would be the highest priority. Slovakia and the Czech Republic separated without conflict, and in the end, both entered the European Union. In Belgrade, by contrast, a sly and corrupt Communist bureaucrat seized power. Milošević forged an alliance of various forces of repression against the contagion of liberty. While he set aside Marxist ideology, he preserved its coercive methods. Wars and waves of ethnic cleansing ravaged Yugoslavia from 1991 to 1999. Milošević proved ready to spill blood in order to regain lost territories, and he ended up in The Hague, facing charges of crimes against humanity.
Ecstatic Westerners dreamed that the period of totalitarian cruelty was over, as if former Soviet bureaucrats could somehow emerge as new men, despite 70 years of brainwashing, or as if the chaos of radically nationalist dictatorships would easily resolve itself. But no great political savior awaited, Havel argued; Czechs were left to their own responsibilities, to “the power of the powerless,” to what the Czech philosopher Jan Patočka, who inspired Havel, called the “solidarity of the shaken”—of those, that is, shaken by totalitarian regimes and devoted to opposing them.
More recently, we have seen this solidarity in the democratic uprisings in Georgia in 2003 and in Ukraine in 2004, which should have drawn the attention of those who remained deaf through 12 years and 200,000 deaths in the martyrdom of Chechnya. In Ukraine, President Putin intervened shamelessly in the affairs of a state whose independence he refused to recognize. In Georgia, he sent in the tanks. Responding to the international press, Putin denounced the peaceful uprisings that swept away post-Soviet puppets in Tbilisi and Kiev as “permanent revolution” and “its dangerous disorders.” Thus he defamed a liberating uprising of long duration, one that started in the blood of East Berlin in 1953; continued in Poznań and Budapest in 1956, in Russia with the dissidence of the sixties, in Prague in 1968, and in the struggle of Solidarity in the 1980s; and was crowned by the fall of the Berlin Wall.
It is an uprising that in Poland brought together Catholics and freethinkers, at odds for more than a century, who together founded Solidarity. In Russia, moderns like Andrey Sakharov and traditional believers like Aleksandr Solzhenitsyn worked side by side. In Prague and Bratislava, university professors, instead of teaching the official lies, chose to be window washers or furnace repairmen, and Charter 77 brought together the Left and the Right, skeptics and the religious. Antitotalitarianism cultivates its own convictions, without sectarianism; dissidence does not attempt to replace the official dogma with another one but instead introduces an intellectual revolution that precedes—and that alone makes possible—the social and political changes that will remake the map of Europe.
This revolution has not ended, which is why the Kremlin does not appreciate insurrections in Georgia and Ukraine. Europe’s new frontier is at stake on the uncertain terrain of history, and the alternatives are still these: Havel and Milošević.

Text by André Glucksmann, Translation by Alexis Cornel.
Source: City Journal, Winter 2010, vol.20, no.1

Sunday, March 7, 2010

Shelter/ Haiti



In just a short period of time since the earthquake hit Haiti, designers have been proposing possible housing solutions for the country. We will share a variety of these housing schemes with you throughout the week, with the hope that they will encourage more people to get involved to help not only Haiti, but also Chile. The first proposal is designed by Andres Duany, a Miami architect. Duany, with the help of sociologists and anthropologists, has designed four different versions of a temporary structure to relieve the urgent need for housing in Haiti. The differences in the homes respond to the varying ways Haitians live, so that each home is tailored to their specific needs.

Architect: Andres Duany
www.archdaily.com

Tuesday, March 2, 2010

Cell floor decorated with torn strips of cloth



Marie Lieb, cell floor decorated with torn strips of cloth, 1894

We have no detailed information about Marie Lieb’s life. We only know that she was hospitalized in the Heidelberg clinic in 1894 diagnosed with “periodic mania”. Only two photographs survive as evidence of her distinctive style. Wilhelm Weygandt, the former assistant of Emil Kraepelin, published them in his book Atlas und Grundriss der Psychiatrie. The caption said: “...Patterns ripped out from bed sheets by a manic woman, spread on the floor of her room.” Marie Lieb grouped cyclic motifs of flowers, stars and circles (as well as writing) into orderly ornaments that resemble the magical patterns of medicine men. It is likely that she created these installations in order to delineate her personal space.

Source : www.artbrut.cz

Red and yellow shoes



Valerie
Submitted by Christy at My parents were awesome blog

Alice in Wonderland (1903)



At 800ft, Alice in Wonderland was the longest film yet produced in Britain, running about 12 minutes. Its unusual length meant that it was not suitable for all film showings, where a variety of short subjects was considered ideal, so all the scenes were sold individually. A showman need only buy and show a single sequence, such as the Mad Hatter's Tea Party, not the whole film, which was less a self-contained story than an illustration of key moments from the book.

In 1903, there were two directors working at the Hepworth studio in Walton-on-Thames, Cecil Hepworth himself and Percy Stow. Hepworth was responsible for the studio's non-fiction films, while Stow made all the fiction films. This was such a large production that the two men worked together.

The film required an unusual amount of planning for its day. Hepworth was insistent that the images stay faithful to the drawings of Sir John Tenniel, the original illustrator of Lewis Carroll's story, and so before filming could begin, a large number of costumes had to be made, including several dozen playing card costumes, and flats painted to Tenniel's original designs. The film was made on the small wooden stage in the garden of the villa housing Hepworth's company, with exteriors shot in the lavish gardens of Mount Felix, a local estate which until recently had been owned by the son of Thomas Cook the travel agent.

Alice was played by Mabel Clark, who as well as acting also ran errands and acted as a kind of studio secretary. There were no professional actors at the studio, so all of the staff pitched in and played parts. Hepworth played the frog footman and his wife played the White Rabbit and the Queen. The film also featured an early appearance by the family dog, Blair, who would become famous as the star of Rescued by Rover (1905).

35mm, black and white, silent, 800 feet
Directors Percy Stow
Cecil M.Hepworth
Production Company Hepworth & Co.

Source: www.screenonline.org.uk

Monday, March 1, 2010

The Ways of White Folks and others







The Ways of White Folks by Langston Hughes, 1934

Fine Clothes to the Jew by Langston Hughes, 1927

Don't You Want to Be Free? (1938) by Langston Hughes
was performed for his Harlem Suitcase Theatre in Harlem, New York City.

Revolutionary Time

In his most recent book, First as Tragedy, Then as Farce, Slavoj Zizek blames the failure of contemporary activism on our assumption that time is a one-way line from past to future. He argues that activism is failing to avert the coming catastrophe because it subscribes to the same notions of linear time as industrial society. According to Zizek, a regeneration of activism must begin with a change in our understanding of temporality. Paraphrasing Jean-Pierre Dupuy, Zizek explains that “if we are to confront adequately the threat of (social or environmental) catastrophe, we need to break out of this ‘historical’ notion of temporality: We have to introduce a new notion of time.” This new notion of time is a shift of perspective from historical progress to the timelessness of a revolutionary moment.

The new role of the activist should not be to push history in the right direction but instead to disrupt it altogether. “This is what a proper political act would be today: not so much to unleash a new movement, as to interrupt the present predominant movement. An act of ‘divine violence’ would then mean pulling the emergency cord on the train of Historical Progress,” writes Zizek. Accomplishing this act of revolutionary violence involves a switch of perspective from the present looking forward to the future looking backward. Instead of trying to influence the future by acting in the present, Zizek argues that we should start from the assumption that the dreaded catastrophic event – sudden climate catastrophe, a “gray goo” nano-crisis, the widespread adoption of cyborg technologies – has already happened and then work backwards to figure out what we should have done. “We have to accept that, at the level of possibilities, our future is doomed, that the catastrophe will take place, that it is our destiny – and then, against the background of this acceptance, mobilize ourselves to perform the act that will change destiny itself and thereby insert a new possibility into the past.” Only by assuming the feared event has already happened, can we imagine what actions would be necessary to prevent its occurrence. We could then take these steps. “Paradoxically,” Zizek concludes, “the only way to prevent the disaster is to accept it as inevitable.”

Zizek is right to suggest that activism is at a crossroads. Any honest culture jammer will admit that our signature moves have lately failed to arouse more than a few tepid responses. The fact is that our present is being swallowed by the future we dreaded: a dystopian sci-fi nightmare of enforced consumerism and planet-wide degradation. Activism now faces the dilemma of how to walk the line between false hope and pessimistic resignation. It is no longer tenable to hold the nostalgic belief that educating the population, recycling and composting and advocating for “green capitalism” will save us from the brink. Likewise, it is difficult to muster the courage to act when the collapse of civilization seems unavoidable, imminent and, in our most misanthropic moments, potentially desirable. Zizek’s shift in temporality offers us a way to balance the paralyzing realization that our demise is inevitable with the motivating belief that we can change our destiny. By accepting that we are doomed, we free ourselves to break from normalcy and act with the revolutionary fervor needed to achieve the impossible.

Text by Micah White
Source : adbusters.org

Liberty



Photograph of products for home and modern furniture for advertisement, Liberty and Co. Ltd, c.1952.

Saturday, February 20, 2010

In the next decade, I hope to become more radical

How different things looked in 1900 and 2000. The end of the 19th century was drowned in fin de siècle gloom. The end of the 20th century was, on the contrary, exuberant. President Bush Sr triumphantly announced in 1991 that a "new world order" was coming into view in which "the principles of justice and fair play will protect the weak against the strong [and] freedom and humanity will find a home among nations … Enduring peace must be our mission." As the world was entering a new century of supposed peace and prosperity, I was hitting my half-century, a point of some pride and much foreboding. Melancholic retrospection and hopeful planning was the order of the day – for the world and me.
Globalisation, neoliberal economics and humanitarian cosmopolitanism were the contours of the new age. Economic interdependence, global communications, free trade, population and capital flows were bringing the world together, undermining the omnipotence of sovereignty and nation-state. A global civil society of multinational corporations, as well as international and non-governmental organisations, were to create the transnational solidarities necessary to protect against global risks.
Globalisation went hand in hand with the rise of neoliberal capitalism. The WTO and IMF imposed globally a model euphemistically known as the Washington consensus: pressure was put on developing states to deregulate and open their financial sector, privatise utilities and reduce welfare spending. These policies would, it was argued, unleash the economic potential of the developing world, hitherto blocked by inefficiency, corruption and socialism.
In the absence of a blueprint for this new arrangement, cosmopolitanism, a Greek philosophical idea revived by Kant in the 18th century and Kelsen and Habermas in the 20th, was presented as the world's destiny. Cosmopolitanism is globalisation with a human face. It promises a morally guided legal and institutional framework, the weakening if not abolition of the state form, and the strengthening of international institutions and civil society.
Iraq and Afghanistan were the last wars before this pending union of humankind. The end of history was therefore the triumph of historicism: nothing outside or beyond the dominant order could be used to criticise or resist it. Cosmopolitanism – bound by international law and human rights – was apparently here to stay; its principles could no longer be challenged. The only task left to politics was redistributions of power and wealth at the margins.
This was the great utopia at the end of the 20th century, a liberal fantasy as comprehensive as anything Christianity or Marxism had ever imagined. Embarrassingly, despite routine denunciations, it was accepted by people on the liberal left, like me. If the world cannot be changed, the argument went, the left should concentrate on small-scale projects, moral concerns and the protection of vulnerable identities. Multiculturalism could replace radical change, membership of Amnesty that of political organisations.
At the end of the first decade of the millennium, every aspect of this fantasy has been reversed. If this was a new world order, it was the shortest in history. "New deadly challenges have emerged from rogue states and terrorists," wrote Bush Jr in 2002, 10 years after his father's announcement. "We will not hesitate to act alone, if necessary, to exercise our right of self-defence by acting pre-emptively." Enduring peace became perpetual war. History returned with a vengeance.
Let me mention the recent signs of this "bonfire of falsities": 1. The Iraq and Afghanistan wars have left a bitter taste of political and moral decadence. The continuous shifting of the ground for war (from self-defence against terrorists to the threat of WMD to humanitarianism, regime change and, with Obama, just war) has revealed a hegemonic power intent on war at all costs but uninterested in its legality or legitimacy despite the cosmopolitan rhetoric. Military might and technological brilliance, the signs of brutal sovereignty, have fully returned but are proving impotent against low technology and strong ideology.
2. The promise that market-led growth based on unregulated foreign investment and fiscal austerity would inexorably lead the global South to western economic standards has come to be seen as the greatest deception of our times. The gap between the North and the South, and between rich and poor, has never been greater. More than a billion people live on less than $1 a day. According to a 2006 UN report, average life in sub-Saharan Africa is less than half that in Northern Europe. Instead of equalising, globalised capitalism has led to the "bottom billion". The beginning of the end of neoliberal idolatry can be timed accurately: 15 September 2008 and the demise of Lehman Brothers. Greedy banks, conniving governments and economic "science", the witch medicine of our age, are still in mourning but reality has caught up with their convenient fantasies.
3. The former socialist countries moved fast from command economies to klepto-capitalism and from state oppression to market decadence without passing through a humane social and political order. The western panacea has been found inappropriate for many people at the heart of Europe.
4. Until recently, the western consensus was that torture takes place in exotic and evil places. This consensus has now dissolved. Torture returned to western camps and prisons, to Guatánamo Bay and Abu Ghraib, and has been extensively outsourced. It has become a respectable topic for "practical ethics" and jurisprudence conferences, where the "ticking bomb" hypothetical offers legitimacy and reveals the ugly underbelly of this new world order.
5. Old Europe, the willing minor partner in the cosmopolitan plans, has become seriously ill. Liberalism and social democracy, the proud social models it created, have atrophied as they converged towards the economics and politics of neoliberalism. The European Union has been emptied of political imagination and institutional will, as the sad shenanigans over the referendums and the Lisbon treaty attest. The current travails of Greece, Spain and Ireland are further evidence. The downgrading of Greece's credit rating by three unaccountable private companies which follow neoliberal orthodoxy is leading to externally imposed austerity, serious deterioration of living conditions and social unrest. These were the companies giving Lehman Brothers a top rating just before its collapse.
The response of governments to the end of neoliberal hegemony is still timid and uncertain. But people around the world have started reacting, as strikes in France, Greece and India, the Latin American popular movements and the reaction of youth to ecological catastrophe indicate. The great monotheistic religions have taught us that the messiah and the angel of history do not send a party invitation before arriving. Their lesson is invaluable. The return of history means that we can believe again in radical change even if we do not know when or how it will happen. The 21st century brings the age of western empires and cosmopolitanisms to closure.
The left is the main hope against an endgame of xenophobic, securitised, apocalyptic barbarism. But this is not the New Labour or German SPD nominal "left" nor that of departed "communism". New forms of socialism, new types of political subjectivity and solidarity are emerging in Latin America, in the ecological movement and in the ghettoes of our great cities. What the decade taught me was to expect radical change and to try to imagine a renewed socialism in which freedom cannot flourish without equality and equality does not exist without freedom. The new decade's resolution: one should become more radical as one grows older alongside the 21st century.

Text by Costas Douzinas
Friday 1 January 2010
Source : guardian.co.uk

Saturday, February 13, 2010

Meeting ASIMO


Meeting ASIMO: this is not an approved Honda gesture

Source : mayonaka.tumblr.com

Apathy



Source: www.animalliberationfront.com

Wednesday, February 10, 2010

Untitled Blank



Shannon Ebner
Untitled Blank No. 1, 2008
Chromogenic print
32 x 40 1/2 in.

The Dream Keeper

Bring me all of your dreams,
You dreamer,
Bring me all your
Heart melodies
That I may wrap them
In a blue cloud-cloth
Away from the too-rough fingers
Of the world.

Langston Hughes

Victorian Nonsense


circa 1920.

This spectacular photograph shows what looks to be a rural farm home quietly
roaming across the prairie. The scene is incredibly tense as a single, lonely
tree stands in the background on the left, flanked by two additional (mobile?)
homes on the right. A smoky fog adds to the mystique of the photo. In another
lifetime, historians may come across this image and proclaim suburban sprawl
occurred in this manner: entire homes drifting quietly and blindly through a dusty,
undeveloped, (perhaps even war torn) landscape...

Source : mockitecture.blogspot.com

Modernologies

Contemporary Artists Researching
Modernity and Modernism

The newly established Museum of Modern Art in Warsaw strives to conduct profound research into the tradition of modernity. It acknowledges the burden of twentieth- century utopias imposed on Poland in its recent history, and finds critical readings of the project of modernity of particular relevance to its institutional mission.

Over the past three decades, critical work on the project of modernity and its related content has not only generated a broad range of activity in the academic field, but has also led to numerous works by artists researching modernity from their own perspective and with their own means. A younger generation of artists is again increasingly addressing the legacy of modernity and modernism and the failure of the utopia associated with these terms. What has prompted contemporary artists to investigate modernity and modernism, and its aesthetic manifestation? What are these artists' relationships to the promises and formal languages of modernity? How can this historical era even be critically reflected in and subjected to re-evaluation?

Modernologies sets out to explore artistic responses to modernity from its original reformist intention as a socio-political movement aspiring to cultivate a universal language. Diverging conceptions of modernity and the knowledge gained through postcolonial studies in recent years have led to the notion of 'multiple modernities'. Against this backdrop, this exhibition advocates neither a 'new formalism' nor a 'return to abstraction'. Nor is its aim to discover hitherto unknown or largely forgotten currents of modernism. On the contrary, the works on display fundamentally challenge the conditions, constraints and consequences of modernity. They expose ambivalences and attempt to develop new readings of the rhetoric of modernity and the concomitant grammar of modernism.

Modernologies unfolds a cartography of alternative viewpoints and narratives, lines of conflicts and unresolved contradictions. About 130 works and projects by more than thirty artists and collectives establish a new 'mapping of the critique of modernity'. The works featured in the exhibition are organised around three leitmotifs: 'the production of space', illustrated by a series of projects that explore the conflicts and correspondences between the architectural space of modernity and social and political space; 'the concept of a universal language', taking into account modernism's ideology and its attempt to create a universal language in the form of abstract aesthetic symbols and forms; and 'the politics of display', illustrating how artists use the exhibition itself as a medium, thus challenging the notion of display and playing the role of quasi-curators. The three sections of the exhibition not only intertwine, establishing countless dialogues, but also find a continuation in several works located outside these areas, or in transitional zones.

With works by Anna Artaker, Alice Creischer/Andreas Siekmann, Domènec, Katja Eydel, Ângela Ferreira, Andrea Fraser, Isa Genzken, Dan Graham and Robin Hurst, Tom Holert with Claudia Honecker, Marine Hugonnier, IRWIN, Runa Islam, Klub Zwei (Simone Bader and Jo Schmeiser), John Knight, Labor k3000 (Peter Spillmann / Michael Vögeli / Marion von Osten), Louise Lawler, David Maljkovic, Dorit Margreiter, Gordon Matta-Clark, Gustav Metzger, Christian Philipp Müller, Henrik Olesen, Paulina Olowska, Falke Pisano, Mathias Poledna, Florian Pumhösl, Martha Rosler, Armando Andrade Tudela, Marion von Osten, Stephen Willats, Christopher Williams, with many other artists in the film programme.

Curated by Sabine Breitwieser
Assistant curator: Magdalena Lipska

Museum of Modern Art in Warsaw
ul. Pańska 3
00-124 Warsaw, Poland
12 February – 5 April, 2010
The exhibition was organized in collaboration with the Museu d'Art Contemporani de Barcelona (MACBA).

Tuesday, February 2, 2010

Le Petit Journal des Refusees



In 1896, a rather short and obscure journal entitled Le Petit Journal des Refusees was published in San Francisco, California by a man named Gelett Burgess. Burgess, whose name was generally associated with humorous, satirical writing, teamed up with Porter Garnett, to produce this one-issued journal. Garnett, like Burgess, was classified as one of the Bohemian writers of San Francisco, was also the assistant curator of the Bankcroft Library from 1907-1912. Both men, well established, came together to produce this journal, of which little is known for sure, but much is supposed.
Burgess began his literary career in 1894 in San Francisco as associate editor of The Wave. While the cover of Les Petit Journal credits James Marrion 2nd as editor of the journal, Mr. Marrion did not in fact exist. Burgess did not sign his name to the journal, although hints to his identity are woven through the articles. Burgess, working by himself and not with Garnett, was also the editor of The Lark, whose publication overlapped with that of Le Petit Journal. The Lark was printed between1895-1897 and Burgess’s name can be clearly found on some covers and often within texts as well. He took open credit for The Lark while with Les Petit, he did not, using a pseudonym on the cover while alluding to himself and his work in other sections of the text. The Lark also contained an illustrated version of his famous poem “Purple Cow” in its first edition and while all three periodicals were considered radical departures from conventional magazines, it was The Lark that gained him considerable notoriety. Often associated with his non-sensical writing, his pattern of rhyme and his manuals for writing rhyme, including his Goop series, are considered children’s literary classics.



It is unclear why Burgess did not sign the one issue of Les Petit Journal that was produced. The journal seems to be dedicated to publishing the voices of ignored and ‘refused’ women, although the names of the women to whom the articles are accredited are barely known or again, unknown because they did not exist. Research shows that there was a real Nellie Hethington, although her married name was not Ford – it was Halbmaier – and her connection to Burgess could not be determined. There are no easily discernable traces of Alisse Rainbird or of Florence Lundberg either, for example. The Modern Journals Project (MJP) claims that all of the work in this journal seems to be that of one person, which would therefore substantiate the inability to identify these women as authors or writers of their time and further lead one to assume that Burgess (or Marrion, as the case may be) penned all of the articles in the journal.

At first glance, even before actually reading an entry, Le Petit Journal de Refusees provides many opportunities to intrigue and peak the interest of any reader. The many facets of the journal that pop out begin with the illustrations and the general shape of the journal itself. The use of whimsical art throughout and bordering every page, the variety in size and application of the font, even the use of outmoded wallpaper that has been cut trapezoidally, all diverge from the common printing practices of the time. Also quite remarkable is the nonsensical writing, both as actual pieces of literature and within the illustrations, deviate from the highly academic and often lofty writing that was being published in small journals of the time.



In comparing the art and illustrations of both Les Petit Journal and The Lark, there are definite stylistic similarities that would also lead one to believe that Burgess was also Marrion. The font styles are similar and so are the curviness of the lines and the feeling of each illustration. Without being an art historian or a curator, a simple study of both illustrations could allow one to deduce that they were both drawn and written by the same hand.



Dada was a cultural movement of artists and writers that looked to ridicule contemporary culture and traditional art forms. It was a reaction toward a morally corrupt society that was capable of creating WWI. It was a nihilistic movement that primarily involved the visual arts, literature, theater, and graphic design. The movement produced art objects in unconventional forms that were produced by unconventional methods.
Likewise, Surrealism sought to create the element of surprise through unexpected juxtapositions and the use of non-sequitor. This was accomplished through the use of conversational and literary devices that were absurd to the point of being humorous and confusing. The goal of Surrealism was to transform human experience by freeing people from the restrictive customs and structures of society.

The poem “Spring” is one of the many examples of how Burgess’s work plays with the ideas of Dada and Surrealism. While the subject of the poem is traditional, the execution of the subject matter is not. The lines do not follow a conventional pattern or form. In fact, the poem looks as if it is being edited in print. In this, Burgess implements typographical freedom. He chooses not to prescribe to traditional formatting. The irony in the illustrations perhaps lies in that while the poem speaks lyrically of green fields, buttercups, and cows, the illustration of alley cats climbing around crowded buildings in an urban setting is hinted at in the background.


Another example in the publication is “Our Clubbing List – refused by The Complete Alphabet of Freaks.” In this section, Burgess takes a very traditional practice used to help children learn the alphabet, and creates a very humorous, and at times scathing, list. He makes reference to fellow writers, artists, and publishers, sometimes in a complementary way, “B is for [Aubrey] Beardsley, this idol supreme. Whose drawings are not half so bad as they, seem”. Others are more scathing, “I am an Idiot, awful result of reading the rot of the Yellow Book cult” and “O is for Oblivion – ultimate fate Of most magazines, published of late”.


The illustrations on these four pages vary from page to page but all have a theme of interconnectedness. The first page of “The Clubbing List” features Burgess’s ‘Goops’ which were to become his trademark illustration.
As can be seen from these two examples, Burgess’s ventures into nonsense verse and cartoonesque illustrations were an attempt to refute literary realism through the affirmation of imaginative absurdity. In another twenty years, this would become the goal of Dadaism and then Surrealism as modernist movement.

Publisher and Editor: James Marrion, psuedonym for Gelett Burgess. Published: Ran for only one issue, Summer 1896. Published in San Fransisco, CA

Text by Cecilia G. Robles and Miriam L.Wallach
Modernist Magazines and Digital Humanities.
Source : www.macaulay.cuny.edu

Flamingos






Rowena Hughes
Unique screen prints on wenge wood veneer & screen print on found photograph

Some Notes On the Experimental Marxist Exhibition

In the emerging canon of modern exhibition history, the Soviet contribution is usually represented by a sequence of elegant and innovative installations designed by El Lissitsky. In the Proun Room (Berlin, 1923) all six walls of the museum’s cube are activated to create “a way station between painting and architecture.” In the "Abstract Cabinet" (Hanover and Dresden1927-8) the viewer’s experience of the paintings on display is expanded three-fold by a wall of louvers that flicker from black to gray to white as the viewer walks past. And in the Pressa installation (the Soviet pavilion at the International Exhibition of Newspaper and Book Publishing in Cologne, 1928), a mural sized photomontage creates visual dynamism through the juxtaposition of the various camera angles and positions.1
But early Soviet museum policy was more diverse than Lissitsky’s transformative modernism, which in any case was more effective as an export commodity than a model for domestic consumption in the world’s first socialist society. During the 1920s, when cultural pluralism was still possible in the Soviet Union, one of the most successful alternatives to the avant-garde’s expanded white cube was the “museum of daily life” (bytovoi muzei), which placed works of art “in the setting that is most natural to them and most suited to their display”2 —religious art would be kept in the monastery-museum, the culture of the aristocracy in the palace-museum, and so on. (If this ideal of art preserved in its natural habitat smacks of Colonial Williamsburg, it also encompasses such terrains as Sir John Soane’s Museum and the Sigmund Freud Museum in London, both uniquely preserved archaeological sites.)
The brief extract from A. Fedorov-Davydov’s The Soviet Art Museum (1933) published here describes yet another alternative, the “experimental Marxist exhibition” that briefly dominated Soviet museum policy between 1929 and 1932. A largely forced response to the demand for a more politically literate population that accompanied the massive industrialization of the First Five Year Plan, the Marxist museum was designed to be in every respect the dialectical opposite of the bourgeois West’s “temple of art.” If capitalism maintained the status quo by preserving a strict hierarchy of the arts, proclaiming the cult of universal beauty, fetishizing the object, and equating aesthetic worth with market value, the Marxist museum must do the opposite. To reveal the social, economic, and political realities hidden beneath the myth of art’s universality, confrontations must be engineered, tensions unmasked, and artificial barriers removed. The history of art as a series of great individuals (“dead white men”) must give way to the history of art as a reflection of class struggle. The science of Marxist display must reveal, not self-sufficient and static objects, but the dynamic social processes of which they were part.


Fig. 1 - "French Art from the Era of the Decline of Feudalism and the Bourgeois Revolution." Installation at the Hermitage Museum, Leningrad, 1931

What makes the Marxist exhibition of particular interest to museum history—and to contemporary art practice—is not its “vulgar socialism” (it was very soon rejected in favor of less strident and more conventional models) but its recognition of context and relationships as the principle source of meaning in the museum. Lissitsky’s attempts to activate the viewer by expanding and transforming the space of the gallery worked on the level of individual sensory experience. The Marxist installation was designed to fill that space with a pervasive awareness of the sociological conflicts underlying all art history, combining diverse artifacts—from “high” to “low” culture—to reveal relationships otherwise hidden. To function effectively, it had to take the form of an ensemble (kompleks), a carefully engineered environment in which painting, decorative art, mass media, text, photography, and architecture came together in a synthetic portrait of a particular class.
A strong resemblance can easily be seen between these early experiments and the work of a number of late 20th-century installation artists. Two examples come to mind. The first relates to the Hermitage Museum’s 1931 exhibition “French Art from the Era of the Decline of Feudalism and the Bourgeois Revolution.” [fig. 1] At the entrance to the exhibition the curator situates the viewer between the social extremes of the late Middle Ages. A mural-sized peasant tilling the soil (enlarged from a manuscript in the Department of Rare Books) is pitted against a mounted knight in full armor (from the Department of Weapons and Armor). Didactic wall texts—a major innovation of the new departments of political education—push home the broad ideological message implicit in the images.
Hans Haacke’s "Oelgemaelde. Hommage à Marcel Broodthaers," first shown at Documenta 7 in 1982, mobilizes space to very similar ends. Confronting each other across the gallery are a small oil portrait of Ronald Reagan and a gigantic photo mural of a peace demonstration in Germany, protesting the President’s lobbying for deployment of American missiles on German soil. The simple dialectic of might against right, of war and peace, is twice invoked: through the battleground layout of the images and through the choice of medium—for Reagan the oil painting, symbol of privilege, for the nameless crowd photography, which early Soviet culture had earmarked as the medium of the common man.


Fig. 2 - "Art of the Court Aristocracy in the Mid-Eighteenth Century." Installation at the State Tretiakov Gallery, Moscow, 1930.

A second example turns on the way in which the materials of art provide a vehicle for unmasking the ideological position of a repressive ruling elite. The experimental exhibition “Art of the Court Aristocracy in the Mid-Eighteenth Century," shown at Moscow’s State Tretiakov Gallery in 1930, was a meager sampling of those artifacts that exemplified the class profile of the nobility. The shabby and makeshift result, the lack of dignity with which the assorted paintings, porcelain figurines, clocks, and cabriolet tables are treated, as if they are lots at an auction or the flotsam and jetsam of a second-hand store, is extraordinarily effective in destroying any latent glamour they might possess for the viewer.
The same strategy is used in reverse in the too-literal obedience to the conventional museum’s classification systems that Fred Wilson practiced in his “Mining the Museum” re-installation at the Maryland Historical Society in 1992. The jarring presence of a slave’s shackle in a display case of silver vessels, under the pretext that all are classified by the museum as metalwork, is a device that the new generation of Marxist museum educator would have understood and approved. In Fedorov-Davydov’s words, “Peasant painting does not cease to be painting just because it decorates the base of distaffs rather than pictures.”
With its combative, dialectic, revisionist, and leveling strategies for unmasking the true nature of reality and art’s sociologically determined meanings, the experimental Marxist exhibition can be seen as the prototype for one of the dominant forms of post-modernist art—the ideologically engaged installation in which individual objects are always subservient to the ensemble they create. Whether the truth to be revealed involves issues of class, race, gender, or sexuality, the position of the artist-curator-designer is that of social reformer and educator. It is not coincidental that the profession of the museum educator, interpreting and explaining the social history of art for the public, should have been pioneered in the Soviet Union as an integral part of the Marxist museum. Young museum professionals of Fedorov-Davydov’s generation drew a clear line between the curators of the permanent collection—almost all “bourgeois intellectuals” trained under the Old Regime—and the new, ideologically savvy educators, with their wall labels, gallery tours, mixing of high and low culture, and general disrespect for the aesthetic values of the traditional museum.


Fig. 3 - "Art of the Industrial Bougeoisie." Installation at the State Tretiakov Gallery, Moscow, 1931.

Still, such comparisons with contemporary artists in the West are facile and misleading in one crucial respect. The Marxist method of museum display—and its intrinsic message of ideological struggle—must have a very different meaning for the viewer, depending on whether he lives in a capitalist or a socialist society. In “Avant Garde and Kitsch,” written in 1937 before the mystique of the Soviet Union had been entirely compromised by Stalinism, Clement Greenberg evoked the grass-is-greener yearning of the radicalized American intellectual trapped in the nightmare of capitalism and alienated from a proletariat that confused art with kitsch. The discontents of the avant-garde artist living under the Dictatorship of the Proletariat were more fundamental and less academic. In “Art of the Industrial Bourgeoisie,” an exhibition curated by Fedorov-Davydov for the Tretiakov Gallery in 1932, the museum functioned as a wall of shame or pillory where contemporary artists were held up to public ridicule and censure. On one wall examples of Suprematism and Abstraction are corralled by strips of quasi-Constructivist text that read “Bourgeois art in a blind alley of formalism and self-negation” (fig. 3) The similarity of this display to those of the Nazi regime’s “Degenerate Art” exhibition of 1937 shows better than anything else the perils of the experimental Marxist exhibition.
Problematic in a different way is the application of the Marxist exhibition’s gimmicks without any of its convictions or sense of purpose. The need to reveal a higher truth or unmask a bankrupt one has been the motivating factor behind sociology’s domination of aesthetics in much twentieth-century art. With no “greater good” to serve, the exhibition that reduces works of art to mere social manifestations exposes itself to the sort of scathing criticism that greeted the Los Angeles County Museum of Art’s "Made in California" exhibition in 2000. “Think of the giant flea market at the Rose Bowl, albeit sifted and sorted and endowed with pretensions,” Christopher Knight wrote of the LACMA show. “It classifies diverse and unrelated materials according to common subject matter, regardless of artistic content. Instead of dogs or food, the subject matter here is ‘California’s image’ as seen in art.” 3
This is precisely the extremism that Fedorov-Davydov cautioned his colleagues against as they dismantled the old bourgeois temples of art. “An ensemble for its own sake, the simple mechanical combination in one place of all the branches of art without dividing them into primary and secondary, turns the museum’s galleries into an antique shop,” he writes in The Soviet Art Museum. Intended or not, the zeal with which shows like "Made in California" expand art’s cultural context at the expense of the art itself recalls those early experimental displays at the Tretiakov Gallery when exposing the universal class struggle was the only game in town. Such an irony would not have been lost on the political education departments of the Tretiakov or the Hermitage. The inability to distinguish avant garde art from kitsch could legitimately be seen as the ultimate fate of bourgeois society under late capitalism.


Text by Wendy Salmond

1. This sequence is paraphrased from Benjamin H. D. Buchloh, “From Faktura to Factography,” October, 30 (1984), pp. 82-119.
2. Boris Shaposhnikov, “The Museum as a Work of Art,” Experiment, 3(1997), p. 233.
3. Christopher Knight, “Thematically Overwrought ‘Made in California’,” Los Angeles Times, 23 October 2000.
Wendy Salmond is Associate Professor of Art History at Chapman University in Orange, California. She is currently writing on the transformation of the Russian icon from cult object to work of art in the 1920s.

Source: X-Tra, Volume 5, Issue 1