Tuli Kupferberg: I Am an Artist for Arts Sake

R.I.P

Protest Songbook A project by Big Hope: Miklós Erhardt & Dominic Hislop | Radio Broadcast

CLICK HERE

My Father is a Certain Kind of Man, December 2010 (Israel)

My father is a certain kind of man.

A few years ago we were in Greece together. He sat on a bench with another man. And they understood each other.

Their Language was their cigarettes,

Their ears grown large with age,

Their noses red from good times and bad times,

What a life we’ve had

Their hands ingrained with dirt from long ago

My father’s a certain kind of man.

And I sometimes wish I was too

(accompanying music: Mrs McGrath: The Sergeant Said)

ICA Boston: exhibition

http://www.icaboston.org/exhibitions/exhibit/acting-out/

marxism today: Phil Collins

marxism today

Phil Collins

Phil Collins’ work in film, video and photography often provides a platform for the overlooked or the disenfranchised. Shining a light on what is generally perceived as the losing side in the political and social upheavals of the past two decades, ‘marxism today’ is an ongoing project that began by following the fortunes of former teachers of Marxism-Leninism in Communist East Germany. Collins’ short film ‘marxism today (prologue)’ (2010) mixes contemporary interviews with the ex-teachers alongside archive material, to form the centrepiece of this exhibition, which also includes a new video in which a number of concepts central to Marxist economic analysis are introduced to a new generation of students. Relocating from the start of this school year to Manchester, where Engels wrote ‘The Condition of the Working Class in England’, Collins’ project prompts a wider reflection on the city’s formative place in the history of radical thinking. Initiating a series of interactions with nearby schools and the local public, it also enquires into the continuing relevance of Marxist ideas in the present day.

‘marxism today’ is co-commissioned by Film and Video Umbrella, Cornerhouse, Abandon Normal Devices, Berliner Künstlerprogramm/DAAD, Berlin Biennale and Shady Lane Productions.

SEEKING FORMER
TEACHERS OF
MARXISM

Did you teach Marxist-Leninist philosophy at school or university before 1989?

How did your life and career change as a result of perestroika?

Did you have to give up your profession forever?

Find a new subject to teach?

Or find a new career?

Documentary filmmaker Phil Collins is looking for people willing to share their story.

Get in touch with us by email
info@shadylaneproductions.co.uk

Or leave your name and contact information HERE.

Confidentiality guaranteed.

Muslala: Chiara's Stairs, Matan Israeli

link

IDF recruitment

Lately a new campaign was launched in Israel against people who shirk of their military service.

A video commercial was diffused in the main TV channels to declare that "a real Israeli doesn't evade from the military service.

oyacov | 10 February 2008 | 40 likes, 19 dislikes
לגירסה בעברית: http://uk.youtube.com/watch?v=woXH80E...
"A true Israeli goes to the army", they've been telling us in an aggressive campaign against draft evasion, which expects us to accept the notion that those who don't go to the army, are not as worthy. this massive campaign was endorsed on billboards, buses and ads in TV.
http://uk.youtube.com/watch?v=jDHW1H6...
several of us have decided to come up with an alternative ad using less models and more sane criticism. please pass on this alternative version to show that the militaristic approach is not the only way to go. you can post this on your website, or anywhere else.
for download: http://corky.net/~eran/yossi/TrueIsra

So Mrs Cohen, Tracy-Ann Oberman & Harvey B Brown

www.ukjewishfilmfestival.org.uk

A classic Jewish joke is told simultaneously by Graham Norton, Boy George, Brian Ferry, Davina McCall, Vanessa Feltz and thirty other Jewish and non-Jewish stars in a short film by actress Tracy-Ann Oberman and filmmaker Harvey B Brown to launch this year's UK Jewish Film Festival (UKJFF).

Now in its fourteenth year, the UKJFF is the foremost Jewish film event in Europe and is one of the leading specialist festivals in the country. It has a reputation for giving first showings to both major new movies, as well as independent documentaries and shorts.

This year's festival - held at cinemas across central and north London, from 4-21st November 2010 - comprises 66 films from countries including the Czech Republic, France, Germany, Israel, China, the UK and the US. It includes 35 UK Premieres and two special previews of films to be released in 2011, as well as workshops for emerging film makers, panel discussions and first showings for the winners of the Pears Foundation Short Film Fund at the UKJFF.

To be screened in cinemas countrywide, the short film with contributions from over thirty Jewish and non-Jewish celebrities, sees Mrs Cohen trying to save money on the personal ad announcing her husband's death in the Jewish Chronicle, (the Festival's media sponsor).

The short film also launches the UKJFF's first ever comedy strand, Comedy Clash, which asks whether comedy can or should be expected to make a difference in tackling racism and prejudice. It will include special live comedy events and discussions with contributions from Josh Howie, Sky Movies's own "Movie Geek", David Baddiel and leading Muslim comedian, Shazia Mirza.

KIDAM

KIDAM is a film production company based in Paris.
It was founded in 2006 by producer Alexandre Perrier and director Jeremiah, and was originally focused on pop/rock musical films and experimental works

Our work includes music videos & live performances, but also feature & short films both for cinema and television, with a special focus on south America co-production.

We are also developping new narrative forms with documentaries and web projects such as the Take-away shows and the City Series.

TAKE AWAY SHOWS

The 'Take away shows' video podcasts (in French : Concerts à emporter) have been created in 2006 for La Blogotheque by Chryde, who wanted to shake things up and find another way to share music, and Vincent Moon, who wanted to film music differently. Since then, other directors across the world joined this project, among others Jeremiah for Kidam.
Every week, La Blogotheque invites an artist or a band to play in the streets, in a bar, a park, or even in a flat or in an elevator. What makes the beauty of it is all the little incidents, hesitations, and crazy stuff happening unexpectingly. Our goal is to try and capture the music just like it happens, without preparation, without tricks. Spontaneity is the keyword.

Camille

In 2005 she released the album Le Fil, which was produced in collaboration with English producer MaJiKer. This album incorporated an avant-garde concept — a string, or thread ("le fil"), which was a drone that persisted throughout the entire course of the album. All of the songs in this album are based on the exploration of the voice, with only a double bass or double bass and keyboard as accompanying instruments.

OFFICAL SITE

Camille w/ Barbatuques

Camille-God is Sound

new piece ‘God is Sound’ comprising chants from different religious traditions: Christian, Sufi, Buddhist, Jewish, Shinto, Hindu, and including Bach’s Infinite Canon

NB. benjamin britten

Palestine Film Festival 2011

SUBMISSIONS FOR THE 2011 FESTIVAL NOW OPEN

The 13th London Palestine Film Festival will open in late April 2011. Programming has already begun and submissions are now open

Deadline: 20th December

al quds fairuz

Al-quds - Jerusalem par Fairouz
Uploaded by LubnanResistance2006. - See the latest featured music videos.

Susan Philipsz

Commissioned by GI, Susan Philipsz presented a site-specific outdoor sound work combining three versions of the same song, ‘Lowlands’, as sung by the artist, and offering an extra-ordinary connection with this hidden and little used space.

Art with Blogging

BLOG ART

DOUBLE HAPPINESS

Requiem for Detroit

Uriel Barthelemi

S.E.U. - Infra Kitchen @ Fest. Orbis Pictus
Uploaded by asadjinnia. - Independent web videos.

AT THE JERUSALEM SHOW

'Jack asked me and explained the Jerusalem Show and I said OK because making a performance like this sounded like something I would really like to do. I changed the proposition a little because six hours is a lot and I didn’t want to just make something that focused only on the physical aspects of exhaustion. I chose the form of a triptych. I took this form because it is something that is used in religious art so I wanted to hijack the form because of the association with religious aspects of Jerusalem.

I use a language that exists in normal music but it’s more extreme or more radical. However there is always a continuum. Technically I use basic Max/MSP software which allows me to programme my own applications so I can develop special effects for the drums. The sequence works as if you are flicking a remote control. However, the first part of the triptych was more like a concert because it was not completely random. I had pre-programmed Part I. In the second performance I wanted to gradually discard the tools so that I had less and less tools to express myself with. The third and final part of the triptych will really be complete improvisation. I will have no other forms to help. It will be free drumming for as long as I can play.'

http://www.asa-djinnia.com/

Claire Bishop

Socially Engaged Art, Critics and Discontents: An Interview with Claire Bishop

'aesthetic is being sacrificed on the altar of social change.'

http://clairebishopresearch.blogspot.com/

Nira Pereg, Profile

NB. its very difficult to film in israel, israeli landscape is owned by cnn

Yael Bartana

NB.- reading the news/media in an active way, suggesting different narratives

NB 2. - editing according to the music of other film (editing according to [?])

Clydebank Male Voice Choir, May 2010

Israeli Video Art

Israeli centre for Digital Art- Video Archive

www.artisrael.org

J G Ballard 'What I Believe'

“I believe in the power of the imagination to remake the world, to release the truth within us, to hold back the night, to transcend death, to charm motorways, to ingratiate ourselves with birds, to enlist the confidences of madmen.

I believe in my own obsessions, in the beauty of the car crash, in the peace of the submerged forest, in the excitements of the deserted holiday beach, in the elegance of automobile graveyards, in the mystery of multi-storey car parks, in the poetry of abandoned hotels.

I believe in the forgotten runways of Wake Island, pointing towards the Pacifics of our imaginations.

I believe in the mysterious beauty of Margaret Thatcher, in the arch of her nostrils and the sheen on her lower lip; in the melancholy of wounded Argentine conscripts; in the haunted smiles of filling station personnel; in my dream of Margaret Thatcher caressed by that young Argentine soldier in a forgotten motel watched by a tubercular filling station attendant.

I believe in the beauty of all women, in the treachery of their imaginations, so close to my heart; in the junction of their disenchanted bodies with the enchanted chromium rails of supermarket counters; in their warm tolerance of my perversions.

I believe in the death of tomorrow, in the exhaustion of time, in our search for a new time within the smiles of auto-route waitresses and the tired eyes of air-traffic controllers at out-of-season airports.

I believe in the genital organs of great men and women, in the body postures of Ronald Reagan, Margaret Thatcher and Princess Di, in the sweet odors emanating from their lips as they regard the cameras of the entire world.

I believe in madness, in the truth of the inexplicable, in the common sense of stones, in the lunacy of flowers, in the disease stored up for the human race by the Apollo astronauts.

I believe in nothing.

I believe in Max Ernst, Delvaux, Dali, Titian, Goya, Leonardo, Vermeer, Chirico, Magritte, Redon, Duerer, Tanguy, the Facteur Cheval, the Watts Towers, Boecklin, Francis Bacon, and all the invisible artists within the psychiatric institutions of the planet.

I believe in the impossibility of existence, in the humor of mountains, in the absurdity of electromagnetism, in the farce of geometry, in the cruelty of arithmetic, in the murderous intent of logic.

I believe in adolescent women, in their corruption by their own leg stances, in the purity of their disheveled bodies, in the traces of their pudenda left in the bathrooms of shabby motels.

I believe in flight, in the beauty of the wing, and in the beauty of everything that has ever flown, in the stone thrown by a small child that carries with it the wisdom of statesmen and midwives.

I believe in the gentleness of the surgeon’s knife, in the limitless geometry of the cinema screen, in the hidden universe within supermarkets, in the loneliness of the sun, in the garrulousness of planets, in the repetitiveness or ourselves, in the inexistence of the universe and the boredom of the atom.

I believe in the light cast by video-recorders in department store windows, in the messianic insights of the radiator grilles of showroom automobiles, in the elegance of the oil stains on the engine nacelles of 747s parked on airport tarmacs.

I believe in the non-existence of the past, in the death of the future, and the infinite possibilities of the present.

I believe in the derangement of the senses: in Rimbaud, William Burroughs, Huysmans, Genet, Celine, Swift, Defoe, Carroll, Coleridge, Kafka.

I believe in the designers of the Pyramids, the Empire State Building, the Berlin Fuehrerbunker, the Wake Island runways.

I believe in the body odors of Princess Di.

I believe in the next five minutes.

I believe in the history of my feet.

I believe in migraines, the boredom of afternoons, the fear of calendars, the treachery of clocks.

I believe in anxiety, psychosis and despair.

I believe in the perversions, in the infatuations with trees, princesses, prime ministers, derelict filling stations (more beautiful than the Taj Mahal), clouds and birds.

I believe in the death of the emotions and the triumph of the imagination.

I believe in Tokyo, Benidorm, La Grande Motte, Wake Island, Eniwetok, Dealey Plaza.

I believe in alcoholism, venereal disease, fever and exhaustion. I believe in pain. I believe in despair. I believe in all children.

I believe in maps, diagrams, codes, chess-games, puzzles, airline timetables, airport indicator signs. I believe all excuses.

I believe all reasons.

I believe all hallucinations.

I believe all anger.

I believe all mythologies, memories, lies, fantasies, evasions.

I believe in the mystery and melancholy of a hand, in the kindness of trees, in the wisdom of light.”

Hito Steyerl

Life in Film: Hito Steyerl

eflux: Is a Museum a factory?

Rogue Radio

Research and Resources on
Micro Radio/Low Power FM

see also: Testuo Kogawa

Hamish Imlach

Mick Broderick

Donald was a piper
Dick Barton, Special Agent

5 factories: Dario Azzellini & Oliver Ressler

Maysles Salesman

Adrian Piper

'safe'
(1990; mixed-media installation: 4 enlarged magazine photographs with silkscreened texts mounted in four corners of room plus endless loop audio soundtrack)

What It’s Like, What It Is #3

1991; constructed environment video installation for the Museum of Modern Art, N.Y.: lights, mirrors, four video disks with music soundtrack

Little Chance: Water Walk (after John Cage), Dominic Hislop

A transcendental approach to water privatisation - reworking John Cage’s ‘Water Walk’
(a musical composition first performed in 1959) in a domestic setting.

video

work term 1 year 2

Everything You Always Wanted to Know, But Were Afraid to Ask

'dreaming of systems so perfect'

(music: 'Looking Like Rain' by The Just Joans)

Darren Cullen: Braveheart vs Trainspotting

Down at the Bamboo Club

Down at the Bamboo Club
2008 - 2009

Down at the Bamboo Club project explores legacy through participation, historic sites and events with 3 commissions, an exhibition and a publication.

Down at The Bamboo Club: Film, participation and re-enactment was developed by Picture This as a response to national and city wide projects marking the 200th anniversary of the abolition of slavery act.

Picture This was keen to develop participatory projects involving re-enactment through workshops and community events. Re-enactments offer sensitive ways to link to diverse communities and gain newly produced material. Re-enactment is a means of expression that has sympathies with oral traditions of storytelling. It has the potential to reconcile the dynamics of contemporary and historical perspectives of slavery and to respond to the specific site, place and context of Bristol.

Through a period of research and development Picture This invited artist Harold Offeh to start conversations with three organisations in the city with links to sites and moments in the city's history of slavery, abolitionism and community relationships - The Georgian House, Wesley's New Room and the Bristol Black Archives Partnership.

These conversations developed into a brief to three commissioned artists (Barby Asante, Mandy McIntosh and Mark Wilsher) to produce new film and video works with communities and partner sites.

Following the commissions Picture This curated an exhibition bringing together the three new works with existing film and video pieces which share ideas of legacy, re-enactment and community.

blog

The Use of Money
by Mark Wilsher

Bamboo Memories
by Barby Asante