“QUILOMBO COUNTRY”

New Documentary about Black Rebel Villages of Brazil, In Debut Run at the Pioneer Theater in NYC, September 19-25, 2008– Narrated by Public Enemy’s Chuck D

"Quilombo Country," the award-winning documentary about Brazilian villages founded by escaped and rebel slaves,will have its premiere theatrical run at the Two Boots Pioneer Theater from Friday, September 19th to Thursday,September 25th every evening at 7 pm. The film is narrated by Chuck D, the legendary poet, media commentatorand leader of the iconic hip hop band Public Enemy. The Pioneer Theater is located in the heart of New York City'sast Village at 155 East 3rd Street near Avenue A. The film's creator, writer-director Leonard Abrams, will takequestions after the Friday and Saturday screenings. Seating is limited -- online purchase, especially for the Fridayand Saturday shows, is highly recommended. Go to http://www.twoboots.com/pioneer. Student discounts apply.

Brazil, once the world's largest slave colony, was brutal and deadly for millions of Africans. But many thousandsescaped and rebelled, creating settlements they called quilombos in Brazil's untamed hinterland. Largely unknownto the outside world, these communities struggle today to preserve a rich heritage born of resistance to oppression.



"Quilombo Country" explores Afrobrazilian village life among the forests and rivers of northern Brazil, with rarefootage of festivals and ceremonies that blend Catholic, African and native Amazonian rituals and customs, includingthe use of dance, drumming, tobacco and other sacred plants to facilitate the communication between the spiritualand material worlds. "Quilombo Country" is alive with first-person accounts of racial conflict, cultural ferment,political identity, and the struggle for land and human rights.


http://www.quilombocountry.com/

Audio Foundation at the Film Archive

The Auckland Film Archive is pleased to present a new exhibition curated by The Audio Foundation.

OPENING: 3 Sep, 6 pm
3rd Sep – 30th Sep
1st Floor, 300 Karangahape Road, Newton, Auckland
Hours: Mon-Fri 11am - 5pm, Sat 11am - 4pm

Seeking to underline the acoustic perspective in a predominately visual culture, the Audio Foundation asked five artists to explore the notion of transforming light or optical information into sound. Included with the exhibition will be a limited edition CD showcasing the artists.

Featuring:

Adam Willetts

Solarbotic Guitar Solo 3 was performed on the back porch by a simple, solar powered robot rolling around on a saucer balanced on the strings of an electric guitar plugged into a small, battery powered amp. A human did not touch this guitar at all during the performance. Adam Willetts is a musician and artist whose practice shifts casually between hi-tech and handcrafted as he explores relationships and interfaces between people, technology and popular culture. His use of DIY electronics, radio, computers and game controllers creates dynamic and surprising live performances that carefully balance elements of fragile beauty with violent eruptions of static, electromagnetic interference and feedback. He also creates sculptures in a variety of mediums including ceramics and electronics. Adam has been performing and exhibiting throughout New Zealand and internationally since the late 1990s featuring at numerous festivals and exhibitions including, Lines of Flight 2006 (Dunedin), TASIE 2006 (Beijing), S3D 2007 (Auckland), and Cloudland at ISEA 2008 (Singapore).

Joyoti Wylie

Joyoti Wylie was born in Rawene, New Zealand in 1975. She graduated from Auckland School of Art and Auckland University of Technology with a Bachelor of Visual Art in 1997. Director of artist initiative and gallery 'rm 3' with 5 others from 1997-2002. Works with photography, video, sound and performance. Has exhibited throughout New Zealand and internationally. Currently Head of Art Department at Michael Park Rudolf Steiner School. Most recent performances were at Auckland City Art Gallery, St Paul Street Gallery and the Blue Oyster Gallery performance series.

Kim Pieters in collaboration with Peter Stapleton

Kim Pieters is an abstract painter with a long history of commitment to photography, improvisational film and music. Her work in all of these art forms predominantly finds its point of departure in her interest in the deictic experience the encounter of human perception and technology with the 'real'. She engages particularly with those realms of the real that allude to chance, the trace and notions of the sublime. What is of especial importance to her is that moment of space where the proximity with something in its first instance cannot be named, coded or rationalized.

Peter Stapleton is a musician and sound artist with an extensive involvement in New Zealand experimental music, playing and recording with bands such as rain, flies inside the sun, sleep, a handful of dust and currently with eye and PSN electronic. He runs the Metonymic label which specializes in improvised music and has provided the sound component to a number of visual installations and soundtracks to short experimental films. Peter also curates Lines of Flight, a festival of experimental music and film.

Stella Corkery

Stella Corkery is an artist and multi instrumentalist whose practice extends from the mid 80's with the groups Angel Head, Queen Meanie Puss, Fake Purr and White Saucer. She has had releases on labels such as Xpressway, Flying Nun , Siltbreeze and CLaudia. She created two record labels, Girl Alliance to primarily document the nascent Riot Girl scene of the mid 90’s and a more experimental label Pink Air. While also self releasing her own solo projects under the name Sweetcakes she now composes and records as ARROWS with a Pink Air 12” lathe to be released shortly.

This work titled 'holiday 93' is based around super 8 footage shot in Purakanui, Otago in 1993. The material was edited with the intention to make sound directly from the images. Several home made light sensitive theremins were attached to the monitor and the sound produced from them while the film played was recorded and then manipulated, creating the soundtrack. As a visual artist she has exhibited in New Zealand with Cuckoo, Testrip, Fiatlux, Artspace and http://www.academy.co.nz/

Andrew Clifford

Andrew Clifford is an artist, freelance writer, and works as a curator at The University of Auckland's Centre for New Zealand Art, Research and Discovery. His own art practice is primarily concerned with making tangible the seemingly invisible materiality of sound, often through the invisible presence of radio and the subliminal effects of light. He has performed and exhibited in venues throughout New Zealand and Australia. He is currently a board member for the Audio Foundation and between 2003-2007 co-curated New Zealand's longest-running international sound-art festival, Altmusic.

As a writer, he has mostly focused on art and music and has made contributions to a long list of publications locally and abroad, including The New Zealand Herald, NZ Listener, Pavement, White Fungus, Real Groove, Rip It Up, Vogue Living, Art & Australia, Art World, Eyeline, and many more. He has also provided essays for books, gallery and academic publications, most recently contributing to the John Reynolds monograph Certain Words Drawn and the Aotearoa Digital Arts Reader.Clifford's involvement with radio is not just an experimental one. Between 2002-2007 he produced more than 100 programmes for Radio New Zealand, preceded by 10 years producing and presenting a variety of programmes for 95bFM, including Art on Air. As a curator, he has coordinated music programmes and sound-art exhibitions for a number of galleries, including the Auckland Art Gallery, Govett-Brewster Art Gallery and Artspace.

http://www.filmarchive.org.nz/
http://www.audiofoundation.org.nz/

Naomi Klein on uncritical cheerleading for Obama

Compressed Space at Enjoy

The walls of urban space both reveal and conceal the detritus of the city as excess matter is stuffed into cracks and merged into the architecture. Bus tickets are forced to lie between seats. Receipts and miscellany are trodden into cracks in the pavement. This matter is framed by its environment and remains part of a larger composition.

Compressed Space will explore these ideas on framing, image and form alongside tactile qualities within constructed urban-centred environments. Wellington-based painter Emma Fitts has developed a system of compressing and representing painting materials in relation to the gallery’s architecture. The artist notes: “The idea is not to have a show about process, but to experiment with different processes in order to create new experiences.”

At Enjoy, Fitts has worked with the space to create objects in frames the size of chosen gaps in the gallery. These objects are then taken out of these frames and then arranged. The whole of Enjoy will be activated into the dialogue of image and form as the gallery gives form to the paintings that become objects in themselves.

Compressed Space
August 28 - September 13 2008
Opening Party Wednesday 27 August, 6pm
Artist Talk Friday 5 September, 6pm

http://http://www.enjoy.org.nz/

Image: Artur Zmijewski Repetition 2005
Two new shows at the IMA

23 August — 11 October

Artur Zmijewski

Artur Zmijewski’s unabashedly political artworks are among the most cogent and courageous meditations on the psychical complexities of fascism and state violence currently being produced. Combining performance and video, the Warsaw-based artist utilises bodily dysfunction and abjection as allegories for despotism. His protagonists are the sick, the mentally ill, the handicapped and the imprisoned.

– Derek Conrad Murray.

Polish artist Artur Zmijewski is renowned for his confronting documentary videos. He observes people, often in scenarios he has himself set up.

Zmijewski deals with themes of power and powerlessness in relation to the body. People play tag in the nude in a former concentration camp gas-chamber. An Auschwitz survivor recounts his experience of imprisonment, while having his tattooed camp serial-number ‘refreshed’. A Zionist extremist delivers a righteous video-epistle: ‘For every Jew dead we will kill not 3000 but 300,000’. Polish soldiers perform their drill, chanting songs about war and women, first outside in their uniforms and then, laughably, naked, in a ballet rehearsal room.

Many of Zmijewski’s works focus on marginals, particularly the ill and disabled. He observes the everyday struggles of people suffering from Huntington’s Disease. He organises singing lessons for the deaf. There is often ambiguity. In An Eye For An Eye (1998), the able-bodied co-operate with amputees, filling in for their missing limbs, momentarily completing them. It is hard to tell if they are kindly caregivers or if they have been appropriated and elided by those with greater needs.

The centrepieces of the show are two major works Repetition (made as Poland’s contribution to the 2005 Venice Biennale) and Them (made for last year’s Documenta). In Repetition Zmijewski repeats the famous 1971 American psychology experiment where participants were paid to play prisoners and guards. In the original experiment, the jailers rapidly became sadistic and the experiment had to be curtailed. However, the result of Zmijewski’s experiment was somewhat different. While his jailers descended into barbarism, they had a change of heart, experiencing solidarity with their captives, and together all walked out on the experiment.

Them reads like a parody of an art school crit-session. It documents a series of art workshops Zmijewski held with members of four Polish extremist groups. First he met with them separately, and had them paint their insignia, the symbols of their beliefs. Then he brought them together to correct one another’s paintings. Conflict erupted as Catholics and neo-nationalists united against the left-wingers and Jewish youths. They started painting over, cutting and burning the others’ symbols, clashing over the body politics of the Polish nation. Despite their radical differences, those on the far right and those on the far left behaved similarly, speaking on behalf of the social whole while ignoring the other.

Zmijewski’s videos are at once uncannily like – and unlike – reality television. They catch people at their most naked and vulnerable. Sometimes hysterical, sometimes excruciating to watch, they are a profound exploration of our situation and the double binds it entails. A joint project with Te Tuhi Centre for the Arts, Pakuranga, Auckland. Artur Zmijewski is represented by Peter Kilchmann Gallery, Zurich.

WARNING: This exhibition is not suitable for children. Some people may find some films disturbing or offensive. Some films involve nudity.

Ai Weiwei - Fairytale

For his contribution to last year’s Documenta, the big survey of world art that occurs every five years in the small German town of Kassel, prominent Chinese artist Ai Weiwei flew 1001 of his countrymen over to see the show. The volunteers, selected by Ai Weiwei, mostly from an open call on his blog, came for a week 200 at a time, with airfares and lodging covered. The artist chose 'those who are not able to travel overseas under normal conditions, or those to whom traveling overseas has a very important meaning'. While international travel is typically available only to upper-class Chinese, Ai Weiwei's group included farmers, laid-off workers, street vendors, teachers, students, rock singers, artists and engineers. Identifiable through
their 'tourist uniform', designed by the artist, participants lived communally in an abandoned factory and were free to roam around Kassel but could not leave the city. Dubbed Fairytale – Kassel was home to the Brothers Grimm from 1798 to 1830 – the work offered a doubling. The exotic Chinese visitors were at once art objects and viewers; but through an awareness of their gaze, the German locals could also imagine themselves as exotic, as objects for their visitors' touristic regard. The artist documented the project in a three-hour film.

The Institute of Modern Art acknowledges Sherman Contemporary Art Foundation, through whose initiative Ai Weiwei’s film Fairytale was first exhibited in Australia.

http://www.ima.org.au



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CBS News Reveals 'Secret' Detention Facilities for Democratic Convention Protesters






Dear World, Please Confront America
by Naomi Wolf

Is it possible to fall out of love with your own country? For two years, I, like many Americans, have been focused intently on documenting, exposing, and alerting the nation to the Bush administration’s criminality and its assault on the Constitution and the rule of law – a story often marginalized at home. I was certain that when Americans knew what was being done in their name, they would react with horror and outrage.

Three months ago, the Bush administration still clung to its devil’s sound bite, “We don’t torture.” Now, Physicians for Human Rights has issued its report documenting American-held detainees’ traumas, and even lie detector tests confirm they have been tortured. The Red Cross report has leaked: torture and war crimes. Jane Mayer’s impeccably researched exposé The Dark Side just hit the stores: torture, crafted and directed from the top. The Washington Post gave readers actual video footage of the abusive interrogation of a Canadian minor, Omar Khadr, who was seen showing his still-bleeding abdominal wounds, weeping and pleading with his captors.

So the truth is out and freely available. And America is still napping, worrying about its weight, and hanging out at the mall.

I had thought that after so much exposure, thousands of Americans would be holding vigils on Capitol Hill, that religious leaders would be asking God’s forgiveness, and that a popular groundswell of revulsion, similar to the nineteenth-century anti-slavery movement, would emerge. To paraphrase Abraham Lincoln, if torture is not wrong, nothing is wrong.

And yet no such thing has occurred. There is no crisis in America’s churches and synagogues, no Christian and Jewish leaders crying out for justice in the name of Jesus, a tortured political prisoner, or of Yahweh, who demands righteousness. I asked a contact in the interfaith world why. He replied, “The mainstream churches don’t care, because they are Republican. And the synagogues don’t care, because the prisoners are Arabs.”

It was then that I realized that I could not be in love with my country right now. How can I care about the fate of people like that? If this is what Americans are feeling, if that is who we are, we don’t deserve our Constitution and Bill of Rights.

Even America’s vaunted judicial system has failed to constrain obvious abuses. A Federal court has ruled that the military tribunals system – Star Chambers where evidence derived from torture is used against the accused – can proceed. Another recently ruled that the president may call anyone anywhere an “enemy combatant” and detain him or her indefinitely.

So Americans are colluding with a criminal regime. We have become an outlaw nation – a clear and present danger to international law and global stability – among civilized countries that have been our allies. We are – rightly – on Canada’s list of rogue nations that torture.

Europe is still high from Barack Obama’s recent visit. Many Americans, too, hope that an Obama victory in November will roll back this nightmare. But this is no time to yield to delusions. Even if Obama wins, he may well be a radically weakened president. The Bush administration has created a transnational apparatus of lawlessness that he alone, without global intervention, can neither roll back nor control.

Private security firms – for example, Blackwater – will still be operating, accountable neither to him nor to Congress, and not bound, they have argued, by international treaties. Weapons manufacturers and the telecommunications industry, with billions at stake in maintaining a hyped “war on terror” and their new global surveillance market, will deploy a lavishly financed army of lobbyists to defend their interests.

Moreover, if elected, Obama will be constrained by his own Democratic Party. America’s political parties bear little resemblance to the disciplined organizations familiar in parliamentary democracies in Europe and elsewhere. And Democrats in Congress will be even more divided after November if, as many expect, conservative members defeat Republican incumbents damaged by their association with Bush.

To be sure, some Democrats have recently launched Congressional hearings into the Bush administration’s abuses of power. Unfortunately, with virtually no media coverage, there is little pressure to broaden official investigations and ensure genuine accountability.

But, while grassroots pressure has not worked, money still talks. We need targeted government-led sanctions against the US by civilized countries, including international divestment of capital. Many studies have shown that tying investment to democracy and human rights reform is effective in the developing world. There is no reason why it can’t be effective against the world’s superpower.

We also need an internationally coordinated strategy for prosecuting war criminals at the top and further down the chain of command – individual countries pressing charges, as Italy and France have done. Although the United States is not a signatory to the statute that established the International Criminal Court, violations of Common Article 3 of the Geneva Conventions are war crimes for which anyone – potentially even the US president – may be tried in any of the other 193 countries that are parties to the conventions. The whole world can hunt these criminals down.

An outlaw America is a global problem that threatens the rest of the international community. If this regime gets away with flouting international law, what is to prevent the next administration – or this administration, continuing under its secret succession plan in the event of an emergency – from going further and targeting its political opponents at home and abroad?
We Americans are either too incapable, or too dysfunctional, to help ourselves right now. Like drug addicts or the mentally ill who refuse treatment, we need our friends to intervene. So remember us as we were in our better moments, and take action to save us – and the world – from ourselves.

Maybe then I can fall in love with my country again.

http://www.project-syndicate.org/



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the BORDERLINE BALLROOM presents:

an evening of deconstructed electro pop, spliced song-structures,voices fluttering like uncaged birds in digital ether &multi-instrumental melodic sublimity.The Borderline Ballroom's 16th event promises a dolly mixture of localand international artists, and a cornucopia of treats in store fordiscerning listeners: Japan's finest avant pop, Ray Off's sublimeelectro-acoustic outsider-virtuosity, Greg Malcom coaxing the guitaras multiple, expanded instrument into formerly unknown territories, aswell as the debut solo performance from one of Christchurch's moremysterious aural polymaths.

TUJIKO NORIKO (Japan)Japanese avant-songstress Tujiko Noriko has been widely heralded asthe queen of Japanese electro-pop. Her songs, as dreamy as they aremelodic, have drawn comparisons to Bjork, Mum and a number of otherleft of centre icons. Touring Australasia (with an appearance atSydney Opera house along the way) to promote her new album, U; for herdebut Christchurch performance, Noriko rides in on the back of aplethora of new works, all delicately assembled with her unique vocalsadorning them. This show promises to be a night of evocative eclecticsongs, delivered by one of Japan's most original visionaries.

RAY OFF (Dunedin)Ray Off is a glistening, trapezoidal cellular structure where some ofDunedin's most free-thinking musicians sometimes gather to deposittheir wild honey. Formed by Jim Currin in 2004, the band has movedthrough line-ups, form and format with restless zeal, as strikinglydocumented on the recent 'Split The Lark' triple cd which captured oneyear (2006) in the life of a group headed all over the place. Ray Offin Christchurch will be a quartet with Currin (guitar, cello andvoice), Afke Riemersma (voice, marimba and drums), Toki Wilson (drums,guitar, toys) and Motoko Kikkawa (violin, voice). Expect delicacy,sweetness and gob-smacking strangeness.

GREG MALCOM (Chch)"Greg Malcolm is a longtime stalwart of exciting NZ guitar-work whohas been criminally under-appreciated for too long. Through all ofthis he has single-mindedly developed a highly individual musicalvocabulary, often employing multiple guitars simultaneously togenerate drones and rhythms. This has culminated in the design of hisown, multi-output 'adapted guitar'."- Forced Exposure"Malcolm has introduced a poetic new vocabulary into the lexiconof acoustic guitar playing"- Edwin Pouncey/The Wire

NG Gallery Basement

212 Madras St (next to Galaxy Records)

Thurs 28th August

7:30pm

$10

Artist Tao Wells announces his pending national tour of Three Ideas for the State.

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Kiwi Garden at the Engine Room

Solo Exhibition by Artist Ding Jie to Open August 22

Massey University and the Engine Room present "Kiwi Garden", a Multi- Media installation by Chinese artist Ding Jie. The exhibition will run August 22 to September 19 in the Engine Room Gallery, eastern end of Block 1, Massey University, Entrance C, Wallace St, Wellington.

Ding Jie's evocative meditation on New Zealand identity has come to fruition as result of her two month Wellington City Council/Asia /New Zealand foundation residency. "Kiwi Garden" is a work that simply must be experienced, bringing a distinctly Chinese perspective on an exercise in 'artist as manager of signs'. Ding Jie overtakes the full scale of the gallery, transforming it into a hypnotic space that challenges the senses.


Ding Jie's Practice consistently deals with history, cultural and artistic identity, and the transformation of public space. Kiwi Garden invites you to consider your own National Identity through the filter of Eastern thought and contemporary art. Gallery opening hours: Wed-Sat 12am- 4pm.


The residency is supported by Wellington City Council, Asia New Zealand Foundation, the Bolton St Residency and Massey University School of Fine Arts.


http://www.engineroom.org.nz/


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Recent Photos by Kay Hassan

"Our lives have always been torn and put together and torn - people have always been pushed around. You see it in the streets, in the kids begging, those eyes, the way they look at you. Imagine being a parent, and having kids that have to be fed, but you have no money, - so what do you do - you have to commit a crime. But I don't only reflect what is happening in South Africa, it's a reflection of what is happening in this world." - Kay Hassan

Jack Shainman Gallery is pleased to announce, Recent Photographs, Kay Hassan's inaugural exhibition at the gallery. Although best known for his large scale 'constructions' made of torn, reconfigured, and pasted pieces of printed billboard posters, Hassan works in numerous mediums including painting, collage, installation, video, sculpture, and photography. Hassan's work is powerful no matter the medium or scale and the themes he explores-- time, accumulation, rituals, trade, and waste-provide its unifying force.



Here Hassan presents a new series of photographs depicting shreds of clothing washed up on Mozambiques' beaches. Colorful abstract compositions resemble Jackson Pollock drip paintings, landscapes, and rubbish heaps, that raise issues of overproduction, urban life, poverty, distribution and globalization, while documenting a Mozambican ritual in which individuals throw clothes of a deceased person into the ocean. This ability to mine a particular custom or fact of life and weave it into a larger narrative with universal


Recent Photographs September 4 - October 4, 2008 Opening reception: Friday, September 5, 6 - 8 pm

http://www.jackshainman.com/

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Le Gun 4 and 'The Family'

The net has been cast far and wide; LE GUN #4 promises a rich and slippery harvest of pictures and words, a catch that includes Polish artist-crustacean Andrzej Klimowski, Will Sweeney, creator of 'Tales of Green Fuzz', visionary draughtsman Paul Noble, and writing from beat generation expert Barry Miles and dandy of the underworld Sebastian Horsley, as well as fresh fruit from young novelist Richard Milward, grubby texts from Iain Sinclair and the 'Hunter S Thompson of Hartlepool', Michael Smith.

Added to these afore-mentioned are the less well known but equally delectable new voices that have been chosen for fullness of flavour and keenness of eye...

The result is a vivid story of stories and stands as an independent work in its own right; somewhere between pulp fiction and an artist's edition. Undigestible in one sitting, this confection asks to be treasured and revisited...

The exhibition will feature the collective's large scale drawings, forming a physical embodiment of the work found on the pages of LE GUN. These drawings, some up to 10m in length, are collaborative, narrative panoramas that link together to tell a curious tale...

LE GUN 'THE FAMILY' will also feature a 'salon wall' of works by artists working with LE GUN, and our cardboard-constructed 'arts club' installation that will host a bar plus performance and screening area.

The exhibition will run for one week and in that time a number of events such as music nights and short film screenings will be programmed, creating a temporary arts club. Highlights include screening the 'Essentials' programme of seminal short film curated by the Independent Cinema Office. This will coincide with Soup Session, hosted by Jessica Antwi-Boasiako.

http://www.legun.co.uk/

The US takes it to the edge with Russia

From General Assembly 2008 by Fiona Jack
General Assembly at Mary Newton

Fiona Jack's exhibition, General Assembly, opened at Mary Newton Gallery on Monday 11 August. Jack presents the UN Declaration of Indigenous Rights to highlight it’s signing in 2007 and the lack of publicity it received here.

New Zealand, Australia, Canada, and the USA all voted against this Declaration of Rights in 2007 – the only four countries that did. Jack presents the aspirational perambular paragraphs to the Declaration as a series of paintings – each a small and detailed facsimile of sections that were written out by members of the public. She invites visitors to the show to write out the articles to the Declaration. “Writing out an article of the Declaration is a curious experience” said co-director Mary-Jane Duffy. “You read the Declaration to choose one, and then you write it out. What seems like a potentially banal experience is usefully engaging. And your text – your handwriting etc – contributes to the visual experience of the exhibition.”

General Assembly runs from 11 August – 6 September 2008.

www.marynewtongallery.com

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Who's to blame for the Russian Georgian conflict?

image: john dory report, edited by Harold Grieves

Reading South – Melbourne Art Fair 2008




reading south proposes an open and quaint environment for the Melbourne Art Fair public to access a rare collection of critical contemporary art publications that do not normally reach Australian shores from across the south. It also presents a rare selection of local journals that are interested in alternative perspectives. In the lead-up to the Art Fair, the South Project made contact with a range of publications/ journals/editors from around the world and organize the dispatch of their publications to Melbourne. Fouad Asfour, part of the editorial team of Documenta 12 magazines, became the Editorial Mastermind for South’s Reading Room. During the Art Fair, the public are invited to submit an expression of interest to own any particular journal on display. After the Art Fair, the South Project will select the best entries.

Check out the website here
http://www.southproject.org/MAF2008ReadingSouth.html




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White Fungus Reviewed on Print Fetish
Check out the new review of White Fungus on the fabulous Print Fetish here.

About Print Fetish:

Print Fetish is a weblog featuring news, information, reviews and history on the subjects of beautiful magazines, self-published 'zines, handmade books, small press, comix, art books, and miscellaneous printed ephemera. The site features daily reviews of new titles, trends, updates on events, and interviews with fascinating people in the field of print media.

Our Mission :

We love the internet—but we don't think it means the end of printed media. However, we do hope it will lead to the end of ugly consumerist magazines and newspapers. We can read free junk and news 'til our hearts' content on the web. We feel there is only one reason to waste money and paper on a magazine—it has to be beautiful. And when we talk about beauty, we are not simply talking about what it it looks like, but its point of view and editorial whole. We hope we can spread the word on these beautiful objects, and get you to spend your money on them, rather than the average condy nasty.

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Bob Siebert's RRRing Tones



Among the interesting music we've been sent recently is a series of short tracks called Rrrring Tones by composer Bob Siebert who is part of Vox Novus. The CD contains 15 short pieces written for and played on an extremely warped circuit bent Casio SK1 keyboard, an instrument built by Patrick Gill. These startling pieces are lively and unexpected, brief and chaotic, each would be a ring tone to send a shiver up your spine. Influenced by John Cage and his prepared pianos, Siebert says the pieces are also inspired by bird sounds in his local neigborhood and the continuing philosophy and science of dada. This music is uncannily good.



Check out Bob Siebert's profile on Vox Novus here

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New Poetry from Anne Cammon

- Message from Anne

Hello!



I have some exciting news. My new prose piece, "L'Elevator" was just published on Anderbo, a magazine which I am so proud to be featured on.



http://www.anderbo.com/anderbo1/afact-012.html



And, tune in Friday to hear a live performance of evening ragas and spoken word with Roger Lipson on sitar, Sameer Gupta on tabla and poetry from Anne Cammon. Also included are recorded works by Fareed Bitar, Brant Lyon, Miriam Stanley and Diana Gitesha-Hernandez.
Art Waves: Friday, August 1st from 9:00-10:00 PM (www.wkcr.org , 89.9 FM)



Thanks for reading



Anne

Princeton University Study on Corruptability of Diebold Voting Machines

Nebojsa Milikic's American Dream, and a good-bye event,

Monday, August 4, from 7-9 pm at Outpost.

During his residency in Los Angeles, Nebojsa Milikic decided to lend his mind and thoughts to a supposed average immigrant's personality. His intention was to reflect upon the notion of the 'American Dream.' The results of this experiment are being presented through the public display of dreams that the artist has had since his arrival in America and through a series of self-portraits that represent him realizing his ideas and fantasies about possible lives or situations he could have lived or experienced in America.

As a supplement to Nebojsa Milikic's cultural exchange in Los Angeles, he and local artist, Nicole Capps, translated one episode of an "Alan Ford" comic - a mythical underground must in former Yugoslavia, Italy (where the comic originates from), Turkey and Poland. This comic book is interesting for casting a specific critical yet affirmative approach to American society. There is a local legend in Belgrade that they were forbidden in the U.S. The first episode that presents the genesis of Superhiccup - a villain that protects the rich from the exploitation of the poor - is available in pdf format. Download the only known English translation of the first episode of the Alan Ford comic book here. Another episode is currently being prepared and will be up-loaded on our web site soon.

http://www.outpost-art.org/now.php


There will a good-bye event at Outpost on Monday, August 4 from 7-9 pm that you are welcome to attend. Nebojsa Milikic will present some advantages of South-East-European cooking along with a curiosity-cabinet show of the goods he purchased in L.A., most of them for much cheaper than in Europe, and the rest under the cultural pressure of being in the dream-capital of the world.



Nebojsa Milikic lives and works in Belgrade, Serbia. As an artist and cultural worker, his artistic practice merges with social and political activism. His work often requires the participation of others, taking the form of radio shows, workshops, and social research at home and abroad. Areas of interest include societies in transition, euro-east/euro-west problems, finding new communicative skills and standards, and bringing contemporary art to places where it is not expected.



http://cts.vresp.com/c/?OutpostforContempora/3c57a4f2d4/c198243fb6/1b3bf8eb6e

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