Zero dB

"On the 60th anniversary of the Universal Declaration of Human Rights musicians are uniting against the use of music to torture by joining www.ZerodB.org The Zero dB project (zero decibels = silence) was launched today by legal charity Reprieve which represents over 30 prisoners in Guantanamo Bay. Many of Reprieve’s clients - and hundreds more held in US secret prisons across the world - have been subjected to deafening music played for hours, days and often months on end in order to ‘break’ them.

Zero dB aims to stop torture music by encouraging widespread condemnation of the practice and by calling on governments and the UN to uphold and enforce the Convention Against Torture and other relevant treaties.

Reprieve’s client Binyam Mohamed from North London - still held in Guantanamo Bay - suffered 18 months of torture in a Moroccan secret prison. During this time his penis was routinely slashed with razor blades, yet he describes the sensation of feeling his sanity slip during psychological torture as even more horrific. He spoke to Reprieve Director Clive Stafford Smith, his lawyer, in Guantánamo Bay:

“They hung me up. I was allowed a few hours of sleep on the second day, then hung up again, this time for two days. My legs had swollen. My wrists and hands had gone numb.... There was loud music, [Eminem’s] ‘Slim Shady’ and Dr. Dre for 20 days.... The CIA worked on people, including me, day and night.... Plenty lost their minds. I could hear people knocking their heads against the walls and the doors, screaming their heads off.”

There is a long and growing list of supporters who are outraged by the use of music to torture: James Lavelle of UNKLE, Matthew Herbert, Tom Morello of Rage Against The Machine, Massive Attack, The Magic Numbers, Elbow and Bill Bailey have so far pledged their support of the initiative and made statements against the use of music to torture.

Musicians and the wider public are making their own silent protests against music torture which are being shown on zerodb.org. A series of silent protests and actions are planned through 2009."

TransDance: 3, Cairo

"TransDance: 3 aims at bringing the audience to more intimate settings with the body in movement, presenting dance in different non-dance spaces, creating conversations with choreographers, offering a chance to have a first hand dance experience, and more..."

Opening Date:
27 November 2008, 7pm
(A special video and film program will be screened exclusively on the opening night, presenting several dance videos and films from Egyptian, French and Belgian artists working with different approaches to the body and movement)

Opening Venue:
Passage 35, Mr. & Mrs. Mahmoud Khalil Museum, 1 Kafour Street, Giza (Opposite the Cairo Sheraton Hotel)

Detailed Program to be announced soon: transdance.blogspot.com.

BoltArt

BoltArt is a new monthly magazine (in Turkish) that serves as an online platform to discuss visual arts, performing arts, design, architecture and art philosophy. You can access the first issue from the following link: http://boltart.net

BoltArt, görsel sanatlar, performans sanatları, tasarım, mimari ve sanat felsefesi üzerine yayın yapan online bir dergi. Aylık olarak güncellenen BoltArt, bünyesinde sergi yazıları, proje tanıtımları, denemeler, röportajlar ve fotoğraf projelerine yer vermeyi amaçlıyor. İlk sayıya buradan ulaşabilirsiniz: http://boltart.net

City Sense at GarajIstanbul

City Sense: Surveillance, Secrecy, Security, Control
curated by Nat Muller in collaboration with NOMAD

A playful evening pondering media, control, surveillance, secrecy and art in urban environments.
Date evening event: 20 September 2008, 8 pm
Place: GarajIstanbul, Tomtom Mah. Yeni Çarşı Cad. Kaymakam Reşat Bey Sk. No:11a 34433 Galatasaray-Beyoğlu / İstanbul

It is no big secret that urban centers have become sites of surveillance and control. Gone are the days that the urban city dweller could carelessly drift – as the 19th century flaneur, strolling from one area to the other, and then disappear anonymously into the crowds. As our urban experience might have become more anonymous in regard to social interaction, our behavior – how we move, what we see, hear, taste and smell - is becoming more regulated, watched and controlled. Anonymity, it seems, is no longer an option. Our urban sensibilities are often directed, mediated and pre-programmed, either by security measures or by other overt or hidden codes of conduct. It is no coincidence then that how we consciously sense our cities – our “City Sense” – ultimately defines how we position ourselves as citizens.

CitySense offers a playful interpretation on how to actively engage your urban senses and reveals the hidden, and questions the exposed in an evening choc-a-bloc with video screenings, live food and smell installations, live audio-visual performances, and a party to close off the night.

Performance Installations by: Maki Ueda, Wietske Maas. Live Performances: Sasker Scheerder & Radboud Mens, Edwin van der Heide, Koray Tahiroğlu, Not at Home. Video Screenings and installations: MediaShed, Nicolas Provost, Benny Nemerofsky Ramsay & Pascal Lievre, Daniël Melse, Matteo Venet, Mattias Geurts, Dimitri van Loenen, Başak Kaptan, Efe Hızır, Dilara Kurtoğlu, Denizcan Yüzgül, and Burak Arıkan.

More info:
http://www.garajistanbul.org/
http://www.kosmopolis.nl/

CUP in La Biennale di Venezia 11th International Architecture Exhibition

Center for Urban Pedagogy (CUP) is a nonprofit organization based in Brooklyn, NY, that works with communities about places and how they change. The organization produces exhibitions, public programs and design educational tools through which art/design professionals, community-based advocates/researches and policy-makers get together.

"This fall, CUP projects will be exhibited in two pavilions at the 11th International Architecture Exhibition at the Venice Biennale. In the US Pavilion, organized by Bill Menking, CUP is one of 16 organizations and firms representing the country. Projects like the Subsidized Landscape and Dinely Taveras's short video "Representing Public Housing" question popular beliefs about housing and subsidy. For the Padiglione Italia, Damon Rich and Althea Wasow have installed a series of giant photocopies about abandoned buildings, the urban environment, and bad neighborhoods called "Sneakers --> Fashion --> Money --> Respect."

11th International Architecture Exhibition, La Biennale di Venezia
September 14 – November 23, 2008
Venice, Italy

Related links:
"Out There: Architecture Beyond Building" at the Padiglione Italia
"In the Open: Positioning Practice" at the U.S. Pavilion

Los Surcos de la Ciudad

Los Surcos de la Ciudad (grooves of the city) is JR's new large-scale photography installation in Spain where he captures Carthagena's residents and transfers the portraits onto the city's walls. An impressive grand narrative project.

The Rabbit Master

A fairy tale for the family.
Cheers Mofa.

TransDance:2

If you happen to be in Cairo this Friday...

"TransDance, initiated by HaRaKa in 2008, is a series of mini-festivals of a transdisciplinary nature, focusing on dance and movement. It comes as a product of the long research project CONNECTIONS which aimed at raising critical questions around mobility, trans-cultural dramaturgies and transdisciplinarity in the production of contemporary dance.

HaRaKa and 100Copies would like to invite to TransDance:2--an evening of improvised dance and music, exploring relations between Sound and Movement, live and unpremeditated, with four musicians/composers and three choreographers/dancers invited to the stage: Adham, Hassan Khan, Reem Hegab, Shaimaa Shokry, Mahmoud Refaat and Nina, Karim Lotfy."

Venue: Rawabet Theatre, Hussein Mimar Street, Off Mahmoud Bassiouny St., Downtown, Cairo (Next to the Townhouse Gallery)
Date and Time: Friday, July 18th, 2008, 7pm

"Weasels ripped my flesh!"

"On the graphic arts front, TASCHEN has released the wonderfully over-the-top Men's Adventure Magazines, the definitive look at the male equivalent of the graphic romance novel. Sure to be a guilty pleasure, this exhaustively colorful tome depicts an idealized vision of the 1950s manhood, when fearless macho guys could dispatch Nazis, communists, gang members, pedophiles, nymphomaniacs and man-eating caterpillars with equal measure."
-Daily Variety, Los Angeles, United States

Art? Design? Science?

Museum Kills Live Exhibit
By JOHN SCHWARTZ
New York Times, May 13, 2008

"Art is deathless, the poets say. Unless it isn’t.

One of the strangest exhibits at the opening of “Design and the Elastic Mind,” the very strange show at the Museum of Modern Art in New York that explores the territory where design meets science, was a teeny coat made out of living mouse stem cells. The “victimless leather” was kept alive in an incubator with nutrients, unsettlingly alive. Until recently, that is.

Paola Antonelli, a senior curator at the museum, had to kill the coat. “It was growing too much,” she said in an interview from a conference in Belgrade. The cells were multiplying so fast that the incubator was beginning to clog. Also, a sleeve was falling off. So after checking with the coat’s creators, a group known as SymbioticA, at the School of Anatomy & Human Biology at the University of Western Australia in Perth, she had the nutrients to the cells stopped.

Though she has said “I felt cruel when I turned it off,” Ms. Antonelli said in the more recent interview that it was, essentially, a simple decision tinged with a bit of regret. “It was the only piece in the show that was alive,” she said. “It really was an amazing piece.”

Oron Catts, director of SymbioticA, said in an e-mail interview that he “particularly liked what happened at the MoMA,” with its slightly Frankensteinian sensibility of “life growing out of control.” The need to shut the exhibit fit in with the group’s overarching goal “to present the end of our projects in ways that remind people that these works are/were alive and that we have a responsibility towards the living systems that we engage in manipulating,” he wrote. Besides, he added, “the piece was able to regain some of its irony that was lost” when it was put in the context of what he characterized as an “optimistic design show.”"

(G)HOST IN THE (S)HELL

DIDIER FIUZA FAUSTINO/BUREAU DES MÉSARCHITECTURES
May 14 - June 28, 2008

"This May, Storefront will inaugurate a solo exhibition of French artist and architect Didier Fiuza Faustino and his Paris-based practice Bureau des Mésarchitectures (Mathieu Herbelin, Cláudia Martinho, Tony Matias, Guillaume Viaud). Faustino's largescale onsite installation (G)HOST IN THE (S)HELL, designed specifically for Storefront for Art and Architecture, will occupy the entire body of the gallery and engage its iconic façade by temporarily interrupting its role as movable, morphable barrier. Using chain-link fence as a medium to entirely encase and isolate the facade's panels, (G)HOST IN THE (S)HELL will explore the complex role that barriers and thresholds play in defining and creating public and private space, ideas central to Faustino/Mésarchitectures' work."

The Back-of-the-Envelope Design Contest

Designed by Robert A.M. Stern, Dean of the Architecture School at Yale University, The George W. Bush Presidential Library will be located in Southern Methodist University, Dallas, Texas. The construction of the building is likely to cost $500 million.

Holding its own design contest on the Presidential Library, The Chronicle of Higher Education invited its readers to submit their works on the backs of envelopes. Here is the link to some beautiful one-liners.

From the Critique of Institutions...

"Representations of the 'art world' as wholly distinct from the 'real world,' like representations of the 'institution' as discrete and separate from 'us,' serve specific functions in art discourse. They maintain an imaginary distance between the social and economic interests we invest in through our activities and the euphemized artistic, intellectual, and even political 'interests' (or disinterests) that provide those activities with content and justify their existence. And with these representations, we also reproduce the mythologies of volunteerist freedom and creative omnipotence that have made art and artists such attractive emblems for neoliberalism's entrepreneurial, 'ownership-society' optimism. That such optimism has found perfect artistic expression in neo-Fluxus practices like relational aesthetics, which are now in perpetual vogue, demonstrates the degree to which what [Peter] Burger called the avant-garde's aim to integrate 'art into life praxis' has evolved into a highly ideological form of escapism. but this is not just about ideology. We are not only symbols of the rewards of the current regime: In this art market, we are its direct beneficiaries."

Andrea Fraser, "From the Critique of Institutions to an Institution of Critique," Artforum, vol. 44, no. 1, September 2005

Where We Are Now

"Where We Are Now is a network of cultural, educational, and activist organizations and individuals dedicated to developing coordinated strategies to raise people’s awareness of the multitude of art political activities in New York City. Our goal is to demonstrate how powerful critical voices still exist, ones that cry out for global justice, agency and participation. Using the pivotal moment of the 2008 presidential election, we share a sense that the times have changed and are ours to claim. Through activities as diverse as art exhibitions, days of decentralized action, street performances and pedagogical conferences, we seek to gauge the status of the political in contemporary art, and consider how we may act as resources to one another and to other communities within and beyond New York City.

Where We Are Now hosts monthly network-wide meetings, as well as working group meetings for each of the three working groups--Conference and Pedagogy, Communications, and Arts in Action. The larger network-wide meetings are held on the first Wednesday of every month, from 6:30-8:30pm at the assembly hall of Judon Church by Washington Square Park. The first hour is a network-wide meeting with updates about endorsed projects, report-backs from the three working groups, and discussion. In the second hour working groups will break-out for smaller working meetings. In between monthly meetings, working groups hold meetings in various locations in the city, to plan for the Where We Are Now conference, day of arts in action, and other network projects."

Vortex of Silence

Reading 'Vortex of Silence', by German art historian and critic Doris von Drathen, is definitely refreshing. Criticizing the inadequacy of art history and aesthetic categories to approach and understand the artistic production, the book suggests that the works of art should be embraced as "entities of otherness". The reader is easily drawn into von Drathen's analysis of 24 artists, including Marina Abramovic, Jean-Pierre Boltanski, Louise Bourgeois, Pedro Cabrita Reis, Ann Hamilton, Rebecca Horn, Anish Kapoor, Agnes Martin, Giulio Paolini, Giuseppe Penone, and David Tremlett, with an emphasis on Aby Warburg's theory that rejects aestheticising art theories as "barren word-mongering." In short, the author argues that works of art should be read through lenses pertaining to larger existential and ethical questions.

Last Thursday, when I was wandering among Jasper Johns's flags, targets and Catenary series at “Jasper Johns: Gray” exhibition at the Met, the comments of the museum-goers that I overheard were only about the "background that looked like Rauschenberg" and "figures that recalled Willem de Kooning." Thinking of my own "gaze" and listening to aesthetic commentaries about the works, I stood mutely and smiled.

Although reading the book is not easy at all, the after taste is quite satisfying.


(Thanks, Melis.)

Paola Antonelli talk on TED

Talk: Paola Antonelli: Treating design as art

"Paola Antonelli, design curator at New York's MOMA, wants to spread an appreciation of design, in all shapes and forms -- and to remove any stigma of it being considered mere decoration. She takes the TED2007 audience on a whistlestop tour of some design exhibitions she has organized, including 'Mutant Materials,' 'Workspheres' and 'Safe.'"

Arundhati Roy at Bogazici University

Bogaziçi University, Istanbul, Department of History and Department of Political Science and International Relations present 2008 Hrant Dink Memorial Lecture on Freedom of Expression and Human Rights.

Arundhati Roy
"Listening to Grasshoppers"

January 18, 2008, 15:00, Albert Long Hall (BTS),
South Campus
The talk will be presented in English.

Old / New Routes

过去/现在 -- 通道
中亚录像展
OLD / NEW ROUTES
A selection of Video Art from Central Asia
BizArt Art Center, Shanghai
Exhibition Dates: January 12th – 20th, 2008.
Curated by Stefan Rusu. Under the auspices of Defne Ayas.

The Old/New Routes project is an exhibition and publication that explores the nomad specificity of the Islamic states after the collapse of Soviet Union. An overview of the present situation of the Central Asian context by an external viewer becomes imperative; this compiled visual material by guest curator creates a retrospective look at the internal processes of the social-political evolution and cultural background.The idea behind the project is overlapping networks and the relationship between these two traditions—the archaic-nomad one and the present-day post-industrial culture—that provides a synthetic equation and cumulates an extraordinary cultural load. In such way the practices oriented toward the re-use of tradition become the necessary tool for articulation of contemporary art discourse that establishes the nodes of resistance to inertia, apathy and historical amnesia. The project consists of an exhibition Old/New Routes to take place in Shanghai, China at BizArt Center and a publication under the same title. With these actions we intend to deepen and open the process of cultural exchange between China and Central Asia, with a special focus on video production from Uzbekistan, Kazakhstan and Kyrgyzstan.

Participating Artists: Abilsait Atabekov, Erbolsin Meldibekov and Alexandr Ugay from Kazakhstan, Veaceslav Ahunov, Serghei Ticina from Uzbekistan, Ulan Djaparov, Gulnara Kasmalieva & Muratbek Djumaliev from Kyrgyzstan

About the Curator:
Stefan Rusu is artist and freelance curator based in Chisinau, Moldova currently he is working as project coordinator at the Center for Contemporary Art/Chisinau. In 2005/2006 he attended the Curatorial Training Program at Shtichting De Appel from Amsterdam where he co-curated Mercury in Retrograde (www.mercuryinretrograde.com).

Exhibitions: educational?

"[...] I abhor the supposition that exhibitions should be informative or, god forbid, educational. Is the work of Godard or Hitchcock or Beckett or Lecompte or Adams or Ashbery or Kiley or Gubaidulina or Serra or Koolhaas or Starck or Westwood or Cragg or Reed or Koons educational? These works, and all of their cousins, are full of ideas--bold, provocative, shuddering ideas-but do they teach us something?

We should never confuse the fact that cultural practices affect us, change us, stimulate us to think and see and hear and feel differently with the supposition that they teach us anything. Once something teaches you something, it thinks for you. This is a point that eludes even the promising young mess specialists and punk whippersnappers à la Obrist, who, for all of their bravado, continue obediently to inscribe their work in the service of the Big Idea. Rotton once said, 'I may not know much about music, but I know it ain't got nuffin' to do with chords?' Worth remembering."*


*Jeffrey Kipnis, "Who's afraid of gift-wrapped kazoos? Dedicated to David Whitney," in What Makes a Great Exhibition, ed. Paula Marincola (Philadelphia: Philadelphia Center for Arts and Heritage, 2006), pp. 97-98.