eileendaily

macdermott's war song (project)

2012-01-28T11:45:00.000-08:00

Jingo Karaoke
Multimedia Performance
We don't want to fight but by Jingo if we do ...
We've got the ships, we've got the men, we've got the money too!

It was 1878 when in the United States Edison patented the phonograph that later was developed into gramophone and was the most common device for playing recorded sound until the 1980s.
In the same year across the ocean the music-hall singer G. H. Macdermott (aka "the Great Macdermott") introduced in London Pavilion his song By Jingo (means By God in Old English).
This is one of the very first examples of modern propaganda since Macdermott was commissioned to change the public opinion in Britain with a popular song in the middle of the political crisis between the British Empire and Russia, after the war with Turkey in the Balkans and Caucasus.
The crisis ended with a diplomatic triumph of Britain's Prime Minister Benjamin Disraeli and after the song a politician from the opposition Laborist Party invented the term jingoism that now is used for describing "extreme chauvinism or nationalism marked especially by a belligerent foreign policy".
It is amazing how political life changed forever since audiovisual mass media and propaganda charged pop culture were invented and eventually became an intrinsic part of the public life. In 2008 exactly one hundred and thirty years after, we can celebrate an anniversary of audiovisual industry and jingoism, with Russia becoming again the world's Evil, with the US presidential campaign in which a remote war that can be seen as a perfect example of jingoism was described as "God's Plan" and the Blue Ray (probably the last hard copy media) becoming world standard.
To remind for all these events media artist Petko Dourmana invited in his Chain Reaction Pavilion everybody who wanted to sing Macdermott's war song By Jingo with a karaoke set that uses a New Edison-Style Cup Phonograph.
In the plastic cups used as recording media visitors got free beer after singing.
By Jingo Karaoke performance was presented from September 11-14th, 2008 at Macedonia Square in Skopje, Macedonia as part of Upgrade International

jayce salloum at canadian cultural centre, paris

2012-01-16T11:42:00.000-08:00

Glasgow International Let's Get Lyrical Event

2012-01-04T04:04:00.000-08:00

Glasgow International Let's Get Lyrical Event from GI Festival on Vimeo.

Tom Leonard on Language and social status

2011-10-27T06:18:00.000-07:00

Hito Steyerl on Minorities

2011-10-27T04:01:00.000-07:00

'Minorities are not primarily defined by their small number, but by their incompatibility with pre-existing categories of identity' from the Empty Center translated by John Southard

'The City' Constantine P. Cavafy (1910), translations

2011-08-26T11:23:00.000-07:00

You said: “I’ll go to another country, go to another shore,

find another city better than this one.

Whatever I try to do is fated to turn out wrong

and my heart lies buried as though it were something dead.

How long can I let my mind moulder in this place?

Wherever I turn, wherever I happen to look,

I see the black ruins of my life, here,

where I’ve spent so many years, wasted them, destroyed them totally.”

You won’t find a new country, won’t find another shore.

This city will always pursue you. You will walk

the same streets, grow old in the same neighborhoods,

will turn gray in these same houses.

You will always end up in this city. Don’t hope for things elsewhere:

there is no ship for you, there is no road.

As you’ve wasted your life here, in this small corner,

you’ve destroyed it everywhere else in the world.

Translated by Edmund Keeley/Philip Sherrard

You tell yourself: I'll be gone
To some other land, some other sea,
To a city lovelier far than this
Could ever have been or hoped to be -
Where every step now tightens the noose:
A heart in a body buried and out of use:
How long, how long must I be here
Confined among these dreary purlieus
Of the common mind? Wherever now I look
Black ruins of my life rise into view.
So many years have I been here
Spending and squandering, and nothing gained.
There's no new land, my friend, no
New sea; for the city will follow you,
In the same streets you'll wander endlessly,
The same mental suburbs slip from youth to age,
In the same house go white at last -
The city is a cage.
No other places, always this
Your earthly landfall, and no ship exists
To take you from yourself.
Ah! don't you see
Just as you've ruined your life in this
One plot of ground you've ruined its worth
Everywhere now - over the whole earth?

Translated by Lawrence Durrell (in the novel Justine)

TEDxRamallah: Munir Fasheh-Occupation of Knowledge

2011-08-17T12:51:00.000-07:00

The worst conquest is that of knowledge. It led to conquering diversity and pluralism in living by a modern superstition: the belief in a single universal path for knowing, learning, and progressing. Transforming ahaali (no synonym in English; the closest is 'people-in-community') into citizens has been instrumental in the conquest and disastrous to human communities. Whereas the basic relationship in the case of citizens is to a state and institutions, it is in the case of ahaali to one another, to a place, culture, and collective memory. Knowledge, learning, and religion of ahaali have been gradually replaced by institutional ones. Examples from Palestine and what happened in Cairo...

50/50: Hip Hop in Israel and Palestine (Alexandra Boulat)

2011-08-16T10:18:00.000-07:00

On both sides of the Israeli-Palestinian conflict, rappers are the voice of a new generation whose weapons are lyrics and music.

In Gaza, Mohamed, or DR (short for Dynamic Rapper), leads PR, the "Palestinian Rapperz". Despite Islamic laws, Israeli incursions and internal conflicts, PR persists in performing hip-hop concerts and producing new songs. "Our reality in Gaza is about suffering," says Mohamed. "Gaza is like a big prison, and we get our message across with rap music." Since last June, PR's Web site has had thousands of visitors from all over the world.

Jew Da lives in El'Ad, an Orthodox Jewish settlement near Tel Aviv. He recently moved from America to preach in Israel, putting his religion into his rap. Jew Da found rap before religion and he tries to follow a piece of advice given to him by his Rabbi: "Take what you did before, and flip it to holiness." Not easy. During a recent video shoot with other rappers, the former hard-partier acted shy about appearing with shimmying women dancers and tattooed colleagues.

The Film

Wenn Ich Ens Nit Mih Existiere (cultural identity)

2011-08-12T04:55:00.000-07:00

Wenn ich ens nit mih existiere,
wenn ich die Auge zojedonn.
Wenn ich mich bovve präsentiere,
janz hoch am Himmelspöötzje stonn.
Dann soll d'r Petrus dat schon maache,
hä sök d'r schönste Platz mir us.
Hä weiß et jitt dann jet ze laache:
ich bin en Kölle am Ring zehus

When I am gone

When I close my eyes.

When I present myself at heaven's gates

St Peter will find for me the holiest place.

Don't laugh at me, it's true

Because I was from Cologne.

la memoire dure (memory resists)- Rossella Ragazzi

2011-07-30T06:08:00.000-07:00

Ibrahim lived with his uncle in the woods in Mali, for a few days he attended Koran school. Alpha comes from Liberia, and during the war his family was dispersed. Nawel lived in Algeria where his large family was forced to have him adopted and taken to France. All these children attended the same preparation class for learning French in a compulsory school in Paris that is aimed at inserting them as soon as possible in normal primary school classes. For 9 months, the film director filmed these children, showing how they were received in France and the relationship established between teachers and pupils. The children learn not only the language but also the values of their host society.

Research Project- يما مويل الهوا

2011-05-06T04:07:00.000-07:00

يما مويل الهوا يما مويليا

Oh Mother the sad song …oh mother is my song

(It is a preface usually said to express how much pain the speaker has)

ضرب الخناجر ولا حكم النذل فيا

Hitting by daggers but not being ruled by rascal

ومشيت تحت الشتا والشتا رواني

And I walked under the rain ,and the rain wets me

والصيف لما أتى ولع من نيراني

And when the summer had come , he was burned by my fires

بيضل عمري انفدى ندر للحرية

My life will stay ransom and vow for the freedom

يما مويل الهوا يما مويليا

Oh Mother the sad song …oh mother is my song

يا ليل صاح الندى يشهد على جراحي

Oh night.. the dew hollers and witness on my wounds

وانسل جيش العدا من كل النواحي

And the enemy army attacked from all directions

والليل شاف الردى عم يتعلم بيا

And the night was witness on what the death had done to me

يما مويل الهوا يما مويليا

Oh Mother the sad song …oh mother is my song

بارودة الجبل أعلى من العالي

The mountain rifle is best of the best

مفتح درب الأمل والأمل برجالي

Key of the hope path and the hope depends on the men

يا شعبنا يا بطل أفديك بعينيا

Oh our people oh heroes … my eyes are ransom for you

يما مويل الهوا يما مويليا

Oh Mother the sad song …oh mother is my song

(special thanks to the person who translated this for me)

http://www.youtube.com/watch?v=gmq-AO1306A&feature=related

There is a Happy Land

2011-04-06T17:42:00.001-07:00

There is a happy land down in duke street jail,

Where all the prisoners stand hangin fae a nail,

Ham and eggs you never see,

Dirty water for your tea.

There you live and there you dee,

God save the Queen.

Then the corporation came wae a great new plan,

build multi-storey flats on the happy land,

Now there's rows a hooses there,

Mind you step gon up the stair,

Ghosts'll come and pull your hair,

God save the Queen.

Why Orthodox Jews May Have the Hottest Sex Lives, 2011

2011-03-28T10:58:00.000-07:00

Secular Israeli man in his late 20s, reciting from a text by an American Orthodox Jewish woman.
Made in Jerusalem.

Alan Currall: Encyclopaedia

2011-03-18T07:12:00.000-07:00

Two years before Wikipedia re-defined the nature of the encyclopaedic work of reference, transforming it from a compendium of expert views into a repository of collective wisdom, Alan Currall produced this endearingly quixotic People’s Almanac, assembled from ordinary people’s individual contributions. The people in question are recruited from Currall’s immediate circle of family and friends, and the answers they give offer a disarmingly local, if palpably limited and partial, perspective on the attempted elucidation of a diverse range of subjects (aspidistra, air, Abyssinia etc). Persistently confronted by their doubts and failings, displaying a tendency to falter or digress, the participants’ definitions highlight the inherent absurdity of universalising schemes of classification, and undercut the overweening will-to-order that sustains the pursuit of systematic knowledge.

Released as a CD-Rom (a format as passé as a morocco-bound multi-volume edition of the Encyclopaedia Britannica), the piece’s homemade graphic style exhibits a deliberately earnest retro quality (that felt oddly antiquated even at the time). Commissioned in conjunction with Potteries Museum and Art Gallery in Stoke-on-Trent (Currall’s home town), ‘Encyclopaedia’ draws on his roots in this now relatively unsung, and increasingly marginalised part of Middle England to project an engaging, inclusive sense of commonality, in which the so-called ‘common people’ demonstrate the virtues, and the limits, of what passes for common knowledge.

A Film and Video Umbrella Touring Exhibition. Curated and produced by Film and Video Umbrella, Stills and Potteries Museum and Art Gallery.

Supported by the National Touring Programme of the Arts Council of England.

'Did You Kiss the Foot that Kicked You?' Ruth Ewan w/ Artangel (over 100 buskers in London who played 'The Ballad of Accounting' for a week)

2011-03-10T13:51:00.000-08:00

Did you kiss the foot that kicked you?
"Give me the making of the songs of the nation, and I care not who makes its laws".
Andrew Fletcher, 1703
"Music is doing something to everyone who hears it all the time".
Arnold Perris, Music as Propaganda, 1984

Ewan MacColl wrote Ballad of Accounting in 1964.The lyrics follow a simple structure, considered to be unique among his three hundred compositions. The song offers criticism as self-reflection, repeatedly posing provocative and direct questions:
Did you stand aside and let them choose while you took second best?
Did you let them skim the cream off and then give to you the rest?
Government records released in 2006 through The National Archive show that from 1932, security service MI5 held a file on MacColl. One report claims that he was ‘a communist with very extreme views’ who needed ‘special attention’. The file also states, as a cause for concern, that MacColl had ‘exceptional ability as a singer and musical organiser’.
Ruth Ewan's Did you kiss the foot that kicked you? involves the co-ordination of over one hundred buskers around London. Performing both under and above ground, the buskers incorporate Ballad of Accounting into their usual repertoire. Their individual acts share a collective purpose. The week-long series of performances slips quietly into the rush-hour routine, as the scattered recitals filter into the subconscious of those passing by.
Busking is about something other than just being an able musician or a street entertainer; it is a raw performance, an autonomous act.
Legislation has almost eradicated busking; by-laws and policing keep all but the hardiest musicians from the streets, while others pursue bureaucratic routes into designated areas. The recent introduction of music licensing has restrained the natural spontaneity of performances across a range of live venues.
The entirety of Did you kiss the foot that kicked you? cannot be experienced by any one person. We may or may not be aware of the song’s fleeting presence in the city: a bold brass section as we cross the Thames or a quiet voice accompanied by a guitar as we turn off the main street.

Rives- Kite

2011-02-14T04:09:00.000-08:00

Kite

I mistook a garbage truck for thunder.

The morning after the first night we made love,
I dreamt thunder was chasing rain
through your neighborhood,
flooding the streets and keeping the two of us
indoors for days or even weeks,
until some old prophet could drop, by in an ark,
to take us and the rest of the paired-up animals
to a very high place, or an island maybe,
where we could just
sleep naked for a living.

But the thunder was a garbage truck.
And when my eyes woke up
a note on your pillow said:
"Good morning, Sparkle Boy!
I'll be back around noon.
You--make yourself at home."
And so I did.

Maybe.

I'm saying maybe I put on your slippers,
which were as comfortable as bunnies
because they were bunnies,
and then shuffled over my new favorite
hardwood floor to the bathroom
where maybe I took a bubble bath,
which is not something I can do at my place
because, frankly, my tub is way too skanky
to ever sit my bare ass down in.
And then maybe I got so caught up in the romance of the suds
I started quoting old Latin poetry from my college days
like: "fulsere quondam candidi tibi soles..."
You know: "Verily a bright sun does favor me this morning...muthafucka!"

And then maybe I...played with myself.
But it’s not what you’re thinking--
I’m saying possibly I just sorta
stuck my hand up from the water, going:

hand!(HERE I HOLD MY HAND UP LIKE A SOCK PUPPET
hand!WITHOUT THE SOCK AND MY HAND TEASES ME
hand!IN A HIGH, SMUTTY VOICE):

HAND: "Somebody got laid last night!
Ha-ha-haaaa!
It was youuuuuuuuuuuuuuuu!!!"

Or whatever.

And then maybe I...played with myself,
and it's exactly what you're thinking.
But if I did, it was only to put
the mental motion picture of our naked night together
on replay and replay and replay
so touching myself was just like...
Tivo in a way.

And yes, I was still wet when I borrowed your bathrobe.
And yes, I baked apples in your oven
and then ate them with your honey, honey.
And yes, I scared the birds away from your balcony
with my antics, dancing full-blast
to your old Prince CD's--
but please let’s just keep that my little secret,
because nothing is as private as a solitary dance
unless--maybe--it's standing in front of a full-length mirror
in a borrowed pair of bunny slippers,
slipping off a bathrobe and then wishing to a lightbulb
that my name, or my game, or my whatever were bigger,
wondering: "What kind of woman wants this skinny kid for her warrior?"

And so I made for you a kite, enormous,
out of coat hangers, brown paper bags
and the masking tape from that drawer in your kitchen,
and I hung it in the hallway
where you couldn’t hardly miss it,
and I tagged that kite with my words,
I wrote:

Just so you know--

My weird mind wanders and my brave heart breaks.
I've nailed some milestones, but I've made mistakes,
Cuz I got more faults than a map of California earthquakes.

I am taking a nap beneath your covers.
Wake me if you like me.
Wake me if you want me
Wake me if you need another poem.

Your once and future lover
has made himself at home.

Rives on 4 am

2011-02-10T11:49:00.000-08:00

2011-02-09T02:09:00.000-08:00

They used to be told that someone wasn't coming back from Kuwait because he'd died ; he'd died of sunstroke. He'd been driving his shovel into the earth when he'd fell on th one knee then on both . And then what? He was killed by sunstroke. Do you want him buried here or there? That was all, sunstroke. It was quite right. Who called it 'sunstroke'? Wasn't he a genius? This dessert was like a giant in hiding, flogging their heads with whips of fire and boiling pitch. But could the sun kill them and all the stench imprisoned in their breasts?

From 'Men in the Sun' by Ghassan Kanafani (translated by Hilary Kilpatrick)

Tuli Kupferberg: I Am an Artist for Arts Sake

2010-12-21T11:01:00.000-08:00

R.I.P

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

2010-12-06T14:13:00.001-08:00

CLICK HERE

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

2010-12-02T09:34:00.000-08:00

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

2010-11-30T15:42:00.000-08:00

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

marxism today: Phil Collins

2010-11-30T14:08:00.000-08:00

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

2010-11-30T14:01:00.000-08:00

link

IDF recruitment

2010-11-24T01:13:00.000-08:00

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

2010-11-08T07:13:00.000-08:00

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

2010-11-06T12:23:00.000-07:00

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

2010-11-06T11:30:00.000-07:00

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

2010-11-06T09:27:00.000-07:00

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

2010-11-02T12:57:00.000-07:00

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

2010-10-31T16:29:00.000-07:00

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

Susan Philipsz

2010-10-31T05:22:00.000-07:00

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

2010-10-31T04:02:00.000-07:00

BLOG ART

DOUBLE HAPPINESS

Requiem for Detroit

2010-10-30T14:39:00.000-07:00

Uriel Barthelemi

2010-10-28T13:03:00.000-07:00

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

2010-10-28T12:57:00.000-07:00

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

2010-10-24T03:26:00.000-07:00

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

Yael Bartana

2010-10-24T03:23:00.000-07:00

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

2010-10-06T09:49:00.000-07:00

Israeli Video Art

2010-08-17T08:25:00.000-07:00

Israeli centre for Digital Art- Video Archive

www.artisrael.org

J G Ballard 'What I Believe'

2010-08-17T08:10:00.000-07:00

“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

2010-08-12T04:34:00.000-07:00

Life in Film: Hito Steyerl

eflux: Is a Museum a factory?

Rogue Radio

2010-04-28T11:01:00.000-07:00

Research and Resources on
Micro Radio/Low Power FM

Hamish Imlach

2010-04-26T07:57:00.000-07:00

Mick Broderick

2010-04-24T08:19:00.000-07:00

Donald was a piper
Dick Barton, Special Agent

5 factories: Dario Azzellini & Oliver Ressler

2010-04-22T02:58:00.001-07:00

Maysles Salesman

2010-04-21T08:05:00.000-07:00

Adrian Piper

2010-04-19T05:38:00.000-07:00

'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

2010-04-11T05:50:00.000-07:00

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

2010-01-27T08:04:00.000-08:00

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

2010-01-25T15:36:00.000-08:00

Down at the Bamboo Club

2010-01-20T05:44:00.000-08:00

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

STAN DOUGLAS: Television spots/Monodramas

2009-11-30T09:27:00.000-08:00

TELEVISION SPOTS (1987/88)
In 1989, his first series of short works for television, the twelve Television Spots, were broadcast in Saskatoon and Ottawa amid regular programming, as if they were commercials. Unidentified, the short scenes depicting open-ended, banal activities baffled viewers.

MONODRAMAS (1991)
Douglas's "Monodramas," ten 30- to 60-second videos from 1991, conceived as interventions into commercial television, interrupted the usual flow of advertising and entertainment when broadcast nightly in British Columbia for three weeks in 1992. These micronarratives mimic television's editing techniques, but as kernels of a story they refuse to cohere. They are tales of dysfunction and dislocation, misanthropy and misunderstanding. When the videos were aired unannounced during commercial breaks, viewers called the station to inquire about what was being sold, their responses evincing how the media can refocus attention from content to consumption. -- Nancy Spector

Tacita Dean- Kodak

2009-11-30T09:02:00.000-08:00

After discovering that the Kodak factory in Chalon-sur-Saone, France, was closing its film production facility, Dean obtained permission to document the manufacture of film at the factory with the soon-to-be obsolete medium itself. The 44-minute-long work Kodak constitutes a meditative elegy for the approaching demise of a medium specific to Dean's own practice. Kodak's narrative follows the making of the celluloid as it runs through several miles of machinery. On the day of filming, the factory also ran a test through the system with brown paper, providing a rare opportunity to see the facilities fully illuminated, without the darkness needed to prevent exposure.

Francis alys: seven walks

2009-11-10T04:03:00.000-08:00

TS Eliot: Choruses from 'the Rock'

2009-10-19T02:13:00.000-07:00

'dreaming of systems so perfect that no one will need to be good.'

Katri Walker 'Keep us together Tear us apart'

2009-09-25T07:05:00.000-07:00

radio 4: Analysis- thought experiments

2009-07-17T03:28:00.000-07:00

Studies have shown that if the smell of fresh bread is in the air we are far more generous than otherwise. In the past few years, a fascinating range of experiments has begun to shed light on the moral choices humans make. Philosopher Janet Radcliffe Richards asks whether the results can tell us not just how we tend to behave, but how we should behave.

WORK (term 3)

2009-05-15T12:56:00.000-07:00

in frame: 'myths prime function is to make the cultural natural'

09/04/09

14/05/09

lasso, salla tykka

2009-05-09T13:42:00.000-07:00

from print the legend exhibition march last year.
narrative
music

publicity's dreams, john berger

2009-04-30T07:55:00.000-07:00

from 2:49

Epistemology

2009-03-06T02:15:00.000-08:00

Epistemology Is knowledge a subset of that which is both true and believed?

language and culture

2009-03-03T07:43:00.000-08:00

language and culture

words (concepts) and their meanings

2009-03-01T12:26:00.000-08:00

words (concepts) and their meanings:

esoteric(esotericism)

idiosyncratic

individual

socialization

intangible cultural heritage

2009-02-27T08:12:00.000-08:00

intangible cultural heritage (wikipedia)According to the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage, the intangible cultural heritage (ICH) – or living heritage – is the mainspring of our cultural diversity and its maintenance a guarantee for continuing creativity. It is defined as follows:
Intangible Cultural Heritage means the practices, representations, expressions, knowledge, skills – as well as the instruments, objects, artefacts and cultural spaces associated therewith – that communities, groups and, in some cases, individuals recognize as part of their cultural heritage. This intangible cultural heritage, transmitted from generation to generation, is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity. For the purposes of this Convention, consideration will be given solely to such intangible cultural heritage as is compatible with existing international human rights instruments, as well as with the requirements of mutual respect among communities, groups and individuals, and of sustainable development.
This Convention - like the World Heritage Convention - developed a listing system (Representative list and Endangered list). The Intergovernmental Committee is currently working on criteria and procedures, and first inscriptions will be made in 2008 or 2009.

what makes a great portrait

2009-02-26T07:12:00.001-08:00

what makes a great portrait

marlene dumas | images and words

2009-02-26T06:45:00.000-08:00

marlene dumas

marlene dumas | images and words

audio arts:online

2009-02-26T06:36:00.000-08:00

audio arts:online

lucy gunning

2009-02-26T06:24:00.000-08:00

lucy gunning

frieze article

Tangentially: The Archive and the Bathroom(tate papers)

Art Now: Lucy Gunning: Intermediate II

santiago sierra

2009-02-22T11:17:00.000-08:00

the body as site for cultural representation.

the artist pays 200 (mainly black) men to get their hair dyed blonde

REMAKE OF "GROUP OF PERSONS FACING THE WALL AND PERSON FACING INTO A CORNER"Lisson Gallery. London, United Kingdom. October 2002 / Turbin Hall, Tate Modern, London, United Kingdom. January 2008

claude levi-strauss (structuralism)

2009-02-20T11:35:00.000-08:00

claude levi-strauss(wikipedia)

toilet and ideology

2009-02-20T10:17:00.000-08:00

('semiotic triangle that correlates exactly with levi-strauss'*' )

underlying ideologies

that ditsiguish cultures, (countries etc.)

children of men (slavoj zizek)

2009-02-20T07:34:00.000-08:00

focus of film in the background-crucial- to look at thing(issue)(eg. social opression) directly you dont see it.

tension between fore & background. protagonist/plot microcosm for issue.

'fate of the indivual hero becomes a prism in which you see the background more clearly'

theme of infertility describes also spirtitual or social infertility?

*society without history (despair)

works of art deprived of meaning (decontextualised?)

england (britain)-relies on its substance of tradition,meanings (no constitution)- loss of history (context?)

boat-rootless, solution-renewal-cut roots

killing us softly 3, Jean Kilbourne

2009-02-19T06:45:00.001-08:00

killing us softly 3, Jean Kilbourne

The Paradox of Choice: Why More is Less Barry schwartz

2009-02-19T05:17:00.001-08:00

(04:30) choice of identity, not inherited, change at will

'everyday when you wake up in the morning you have to choose what kind of person you want to be'

2009-02-18T09:24:00.000-08:00

things to watch(to watch list):

The Paradox of Choice: Why More is Less Barry schwartz

Killing Us Softly 3 Advertising's Image of Women

Lectures on Great Social Thinkers - Alan Macfarlane 2001 (search on youtube(start with lecture 1)(9 parts))

if your lonely, martin creed

2009-02-03T12:14:00.000-08:00

If you're lonely...

by martin creed(to avoid confusion)

Work... this is work. This is hard work. Talking about work is work.
Thinking is work. Words are work. Words are things, shapes. It's hard
to compose them, to put them in any kind of order. Words don't add up.
Numbers add up! Things are everywhere. Everything is something,
everything has something, but not everyone has someone. It's hard to
distinguish between things, to separate things. I'm in a soup of
thoughts, feelings and things, and words. Actually, it's more like a
purée... or thick and stiff, like a paté. I'm in a paté and it's hard
to move. It needs a lot of work to get out of it — or to separate it
and find something in it. Thoughts, thoughts, sometimes I want to stop
them, but it's hard to stop them. It's work. Dealing with thoughts,
that's work.
Thoughts, thoughts, don't come! Stop! Please! When you're going to
sleep and you can't stop thinking, thoughts queueing up, that's when
you need drugs — or a notebook.

I want something to ease the pain. I want to get out of my head.

Smoking used to help. For a long time smoking made my life bearable. I
gave up smoking because I couldn't do it enough. I couldn't smoke
enough. It was never enough. I wanted to smoke all the time, to breathe
in all the time, but I couldn't, not in the shower, not when I was
talking, not when I was eating. I wanted something I could do all the
time. Not smoking, that was something I could do all the time.
I am an addict in search of drugs.

Maybe working is trying, and work — the result of work — is everything
that one tries to do. Trying... looking for excitement, or trying to
handle it and use it to get out of the paté. Trying to do things;
talking. Or maybe testing is a good way of putting it: testing things
out. Testing things out by putting things about, and all the time
trying, hoping to be excited, wanting. Wanting is what makes me work:
excitement, desire for something.

Sometimes people say: 'What the fuck do you think you're doing? That's
not art.'
I say: 'Fuck off, assholes!'

Assholes... they are something to get excited about, something to work
for.
Work is a fight against loneliness, against low self esteem, against
depression, and against staying in bed. Sometimes my self esteem is so
low that I cannot reach it even when I'm feeling down.

I want to be on my own, but I don't want to be alone.

Work is everything, I think. Everything is work. Everything that
involves energy, mental or physical. So... everything, apart from being
dead. Living...

I don't know how anyone can do it.
How can anyone get through it?
I can see why people hide.
I can see why people commit suicide.

If you're lonely,
If you're sad,
If you're lovely,
If you're mad,

Then this is for you.

© Martin Creed 2005

Work #470

2009-02-02T16:39:00.000-08:00

"As in all his subsequent actions, the artist himself was the protagonist, yet surrendered his active artistic self to the decisions of others"(frieze issue 113, on jiri kovanda)

Carey Young/Richard Long

2009-02-02T16:24:00.000-08:00

A Line Made by Walking 1967

Photograph and pencil on board
image: 375 x 324 mm
on paper, print

Purchased 1976

P07149
This formative piece was made on one of Long’s journeys to St Martin’s from his home in Bristol. Between hitchhiking lifts, he stopped in a field in Wiltshire where he walked backwards and forwards until the flattened turf caught the sunlight and became visible as a line. He photographed this work, and recorded his physical interventions within the landscape.
Although this artwork underplays the artist’s corporeal presence, it anticipates a widespread interest in performative art practice. This piece demonstrates how Long had already found a visual language for his lifelong concerns with impermanence, motion and relativity.

CAREY YOUNG's

Lines Made by Walking
Louise Menzies

First published in Scape Biennial catalogue , 2006

Experienced as a series of projected 35mm slides unfolding at automated one-second intervals, Lines Made By Walking (2003) reveals the certain actions of an individual amidst a crowd. More specifically, these are the actions of the artist herself walking back and forth as she attempts to crave a line within the space of a crowded strip of commuters in central London. Intentionally recalling Richard Long’s 1967 piece A Line Made By Walking, Young inserts in our memories the politicised acts of the neo avant-garde, while suggesting how such actions of an individual can still offer a negotiation of space within our late capitalist situation.

Performed in public space, Young’s work sharply sketches the globalised daily reality of the worker and suggests an attempt at updating contemporary relationships between corporate and cultural politics. Dressed in a suit like those around her, in many ways Young is a nameless face in the crowd; collapsing the distances of artist, worker and audience. Over time however, her self-directed and purposeful walking offers us a form of resistance drawn from the very structures it seeks to resist. In place of Long’s flattened grass, we are left with negative urban space.

© Copyright Louise Menzies and Scape Biennial Trust, 2006

richard wilson '20:50'

2009-02-02T16:14:00.000-08:00

richard wilson

'20:50'

guardian interview

fluxus

2009-01-27T03:53:00.000-08:00

The Fluxus artistic philosophy can be expressed as a synthesis of four key factors that define the majority of Fluxus work:

Fluxus is an attitude. It is not a movement or a style.[4]

Fluxus is intermedia.[5] Fluxus creators like to see what happens when different media intersect. They use found and everyday
objects, sounds, images, and texts to create new combinations of objects, sounds, images, and texts.

Fluxus works are simple. The art is small, the texts are short, and the performances are brief.

Fluxus is fun. Humour has always been an important element in Fluxus.

Carey Young

2009-01-26T06:10:00.000-08:00

carey young

A small stall was set up in a marketplace, close to other market stalls and in sight of the facades of multinational businesses. At the stall, the services of a local professional ‘arbitrator’ was made available, without charge, to the public for the period of one day. Arbitration is the process in which disputes are settled by the use of a professional mediator. Arbitrators are primarily used in commercial situations in which conventional discussion processes have broken down, but in which peace must be created. The process may be familiar to anyone who recalls the clashes between trade unions and their often-corporate employers in the days before the globalised erosion of union power.

The arbitration service was on offer for the period of one day for two (or more) people who had a dispute – any dispute - to resolve. The arbitrator was situated at an office-style table, with two office-style chairs for members of the public to sit down. Prior to launch, the service was advertised in the local media and signs were also placed next to the stall.

The piece also made reference to larger questions of conflict. Arbitration is inherently concerned with the attempt to create peace. Thus this tiny site, almost as small as a picnic table, alluded to notions of a peaceful Utopia, whilst it nevertheless seemed vulnerable, dwarfed by the size and architecture of the surrounding environment. The site offered a tiny and temporary peace zone that was gone all too soon.

jiri kovanda

2009-01-23T10:20:00.000-08:00

jiri kovanda

kissing through the glass
www.flashartonline.com/

extract from frieze interview

JM I’m very interested in the transition that occurred between the performance of your actions and their translation into documentary photographs. There are no audiences present at some of your actions. The only people who know they’re art are you and the photographer. But the resulting photograph isn’t the art work, it’s the action, isn’t it?
JK The question is when communication takes place. I think it’s at the moment when the thing is referred to as art. That means that if an action has an audience, it happens straight away. If no spectators have been invited, however, I think it doesn’t take place until afterwards, in the artistic space – in other words, either at an exhibition, or in print, it doesn’t matter. In short, when it’s presented as art.
JM In retrospect, then?
JK Yes in retrospect, although you can’t draw a clear dividing line. Without the action, it wouldn’t exist. The action has to take place.
JM In this respect time has quite a particular status. In the act of documentation, you’re calling attention to something that happened earlier: the action without an audience.
JK But the action has to be there. An idea isn’t enough, it has to really take place.(*) I’ve had many ideas and scripts for different actions that I haven’t carried out, but I’ve never published the ones that didn’t happen.

*why does it have to take place, can art exist in an iddea only?

but if you tell your idea the tellig of it is the art and not the idea? so you couldnt present an idea only as art?

eileendaily

macdermott's war song (project)

jayce salloum at canadian cultural centre, paris

Glasgow International Let's Get Lyrical Event

Tom Leonard on Language and social status

Hito Steyerl on Minorities

'The City' Constantine P. Cavafy (1910), translations

TEDxRamallah: Munir Fasheh-Occupation of Knowledge

50/50: Hip Hop in Israel and Palestine (Alexandra Boulat)

Wenn Ich Ens Nit Mih Existiere (cultural identity)

la memoire dure (memory resists)- Rossella Ragazzi

Research Project- يما مويل الهوا

There is a Happy Land

Why Orthodox Jews May Have the Hottest Sex Lives, 2011

Alan Currall: Encyclopaedia

'Did You Kiss the Foot that Kicked You?' Ruth Ewan w/ Artangel (over 100 buskers in London who played 'The Ballad of Accounting' for a week)

Rives- Kite

Rives on 4 am

Tuli Kupferberg: I Am an Artist for Arts Sake

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

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

ICA Boston: exhibition

marxism today: Phil Collins

marxism today

Phil Collins

Muslala: Chiara's Stairs, Matan Israeli

IDF recruitment

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

KIDAM

TAKE AWAY SHOWS

Camille

Camille-God is Sound

Palestine Film Festival 2011

SUBMISSIONS FOR THE 2011 FESTIVAL NOW OPEN

al quds fairuz

Susan Philipsz

Art with Blogging

Requiem for Detroit

Uriel Barthelemi

Claire Bishop

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

Nira Pereg, Profile

Yael Bartana

Clydebank Male Voice Choir, May 2010

Israeli Video Art

J G Ballard 'What I Believe'

Hito Steyerl

Rogue Radio

Hamish Imlach

Mick Broderick

5 factories: Dario Azzellini & Oliver Ressler

Maysles Salesman

Adrian Piper

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

work term 1 year 2

Darren Cullen: Braveheart vs Trainspotting

Down at the Bamboo Club

Down at the Bamboo Club2008 - 2009

The Use of Moneyby Mark Wilsher

Bamboo Memoriesby Barby Asante

STAN DOUGLAS: Television spots/Monodramas

Tacita Dean- Kodak

Francis alys: seven walks

TS Eliot: Choruses from 'the Rock'

Katri Walker 'Keep us together Tear us apart'

radio 4: Analysis- thought experiments

WORK (term 3)

lasso, salla tykka

publicity's dreams, john berger

Epistemology

language and culture

words (concepts) and their meanings

intangible cultural heritage

what makes a great portrait

marlene dumas | images and words

audio arts:online

lucy gunning

santiago sierra

claude levi-strauss (structuralism)

toilet and ideology

Down at the Bamboo Club
2008 - 2009

The Use of Money
by Mark Wilsher

Bamboo Memories
by Barby Asante