1 November 2015

affect fencing

"I am living on Fogo Island, Newfoundland, working for the Fogo Island Arts Corporation. Ai Weiwei's current situation, the questions that surround his life and art, are foremost on my mind. This is a freewrite of sorts, the idea being not to get caught up in form, not to force ideas to come, but to let them flow, stream, carry experience forward. [Clarice Lispector moment] It is telling that I move to the Ai Weiwei issue so quickly, right off the bat. Yes, of late, while waiting for my coffee to perk each morning, I search the net for updates on "Ai Weiwei's situation." We don't know if he is dead or alive. We don't know if he will ever be released. We don't know what will become of his practice, his work, his story, the people he supported, the people who supported him, the other artists, intellectuals and social activists that have also disappeared. Missing. [See here Judith Butler's essay "Indefinite Detention" in Precarious Life.] Me here, working 9-5 for a contemporary arts organization in rural Newfoundland, an organization with a mandate explicitly concerned with the relationship between local and global, personal and political. What can I do about what is happening to Ai Weiwei and others right now? What can I do from so far away? In isolation. Me here, living in a small outport community, in a country that shows no will to intervene in China's human rights abuses. Economics. What am I to do, not knowing the facts? How to respond? "Give an account of oneself." [Judith Butler moment] Initiate discussion. Look to Ai Weiwei's work for signs. Pressure the state. Question discourse. Think about mediation."
- Jack Stanley in Parcel Lab

28 September 2015


In the slums . . . the closer colors are to the rainbow, the more enticing they are. 
—Louis Cheskin, Color Research Institute 

9 September 2015

Sign here

Sapporo Tenjin-yama Art Studio observes The Sapporo Ordinance for Eliminating Organized Crime Groups (Boryoku-dan Haijyo Jyourei: Section 8).

As stipulated in Article 8 of the Sapporo Ordinance for Eliminating Organized Crime Groups (Boryoku-dan Haijyo Jyourei), Sapporo Tenjin-yama Art Studio may not be used for the activity of organized crime groups. When filling out this application, please check the box below if you agree to the following content.

   My purpose(s) of using Sapporo Tenjin-yama Art Studio has no relation to activities of a designated organized crime group (Boryoku-dan) and/or the other antisocial forces or their benefits. In agreeing these terms, I state that I have no objection to Sapporo Tenjin-yama Art Studio, if Sapporo Tenjin-yama Art Studio cancels my application and residency in the event that it be ascertained that I am using the Sapporo Tenjin-yama Art Studio for organized crime group activity or the benefit thereof. I also understand and agree that Sapporo Tenjin-yama Art Studio provides the police with information on this application to ascertain whether my use of Sapporo Tenjin-yama Art Studio is related to activities of a designated organized crime group (Boryoku-dan) and/or the other antisocial forces or their benefits.  

3 September 2015

Burqa of Skin

The Juggalos, a loosely-organized hybrid gang, are rapidly expanding into many US communities. Although recognized as a gang in only four states, many Juggalos subsets exhibit gang-like behavior and engage in criminal activity and violence. Law enforcement officials in at least 21 states have identified criminal Juggalo sub-sets, according to NGIC reporting.e
  • NGIC reporting indicates that Juggalo gangs are expanding in New Mexico primarily because they are attracted to the tribal and cultural traditions of the Native Americans residing nearby.
Most crimes committed by Juggalos are sporadic, disorganized, individualistic, and often involve simple assault, personal drug use and possession, petty theft, and vandalism. However, open source reporting suggests that a small number of Juggalos are forming more organized subsets and engaging in more gang-like criminal activity, such as felony assaults, thefts, robberies, and drug sales. Social networking websites are a popular conveyance for Juggalo sub-culture to communicate and expand.
  • In January 2011, a suspected Juggalo member shot and wounded a couple in King County, Washington, according to open source reporting.13
Juggalos’ disorganization and lack of structure within their groups, coupled with their transient nature, makes it difficult to classify them and identify their members and migration patterns. Many criminal Juggalo sub-sets are comprised of transient or homeless individuals, according to law enforcement reporting. Most Juggalo criminal groups are not motivated to migrate based upon traditional needs of a gang. However, law enforcement reporting suggests that Juggalo criminal activity has increased over the past several years and has expanded to several other states. Transient, criminal Juggalo groups pose a threat to communities due to the potential for violence, drug use/sales, and their general destructive and violent nature.
  • In January 2010, two suspected Juggalo associates were charged with beating and robbing an elderly homeless man.14

Federal Bureau of Investigation "2011 National Gang Threat Assessment – Emerging Trends

28 August 2015

Clasical Economic Theory as expounded by Round Baldwin

"For De Certeau, the walking body moves in search of a familiar thing in the city. He invokes Freud, saying that walking recalls baby’s moves inside of the maternal body: ‘To walk is to be in search of a proper place. It is a process of being indefinitely absent and looking for a proper.’"
—Doina Petrescu, The Indeterminate Mapping of the Common

The fuzz in Alberta

The Song of the Smoke

   I am the Smoke King
   I am black!
I am swinging in the sky,
I am wringing worlds awry;
I am the thought of the throbbing mills,
I am the soul of the soul-toil kills,
Wraith of the ripple of trading rills;
Up I’m curling from the sod,
I am whirling home to God;
   I am the Smoke King
   I am black.

   I am the Smoke King,
   I am black!
I am wreathing broken hearts,
I am sheathing love’s light darts;
   Inspiration of iron times
   Wedding the toil of toiling climes,
   Shedding the blood of bloodless crimes—
Lurid lowering ’mid the blue,
Torrid towering toward the true,
   I am the Smoke King,
   I am black.

   I am the Smoke King,
   I am black!
I am darkening with song,
I am hearkening to wrong!
   I will be black as blackness can—
   The blacker the mantle, the mightier the man!
   For blackness was ancient ere whiteness began.
I am daubing God in night,
I am swabbing Hell in white:
   I am the Smoke King
   I am black.

   I am the Smoke King
   I am black!
I am cursing ruddy morn,
I am hearsing hearts unborn:
   Souls unto me are as stars in a night,
   I whiten my black men—I blacken my white!
   What’s the hue of a hide to a man in his might?
Hail! great, gritty, grimy hands—
Sweet Christ, pity toiling lands!
   I am the Smoke King
   I am black.

A lot of work to do

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Global Exchange Program for Art Specialists in China, USA and Europe
•    Wonderka Art Management, LLC, New York • Paris 依托北京艺海廊桥文化艺术中心、中国国际广播电台国际在线书画频道、国大公益等中国艺术传播机构,联合中、美、欧顶尖艺术机构和院校,在北京、上海、纽约、伦敦、巴黎等城市全面推出“中、美、欧艺术精英全球交流项目”。

•    该项目由中国模块―国际艺术精英课程、美国模块――纽约文化艺术深度之旅、欧洲模块―欧洲文化艺术深度之旅三个部分构成。

•    Wonderka邀请国际著名艺术人士,以短期课程和考察访问为形式,融专题授课、实地参访、交流座谈、策展和收藏咨询为一体, 与海外高端文化艺术活动紧密结合,为中国广大艺术爱好者深度考察欧、美文化艺术提供高品质的服务。

第二期纽约文化艺术深度之旅(行程) The 2nd High-end Tour for New York Culture and Art

第1天,6月15日  (June 15th)

上午(Morning Events):
参观美国艺术联盟 (American Federation of Arts),了解如何与美国美术馆和博物馆进行项目对接
Visit American Federation of Arts and learn how to connect/collaborate with American museums and art museums.

下午(Afternoon Events):

•    参观戈勃朗基金会 (Gabarron Foundation),交流艺术基金会的管理与运作

Visit Gabarron Foundation and exchange experiences in the management and operation of art foundations

•    前往纽约第五大道购物,并参加世界顶级奢侈品牌Prada旗舰店的特许欢迎酒会。

Shopping at the 5th Ave and attend the welcome wine banquet at the Prada Flagship.

晚间(备选):Evening Events  (Optional)  

前往纽约林肯中心(Lincoln Center)观赏纽约地标。Visit the Lincoln Center

第2天,6月16日  (June 16th)

上午(Morning Events):

参观Hort家族艺术品收藏。Hort家族经过5代人的努力,现有私人藏品超过3,000 件,享誉纽约私人收藏界

Visit the Hort Family Collection. The Hort Family is well-known among the New York private collectors for their over 3,000 items in their collections after the endeavor of five generations.

下午(Afternoon Events):

参观德意志银行画廊, 德意志银行有超过5万7千件藏品分布在全球900多家办公室

Visit 60 Wall Gallery, Deutsch Bank. It has over 57,000 items in the collection distributed among over 900 offices globally.

晚间(备选):Evening Events (Optional)


Go to Broadway and watch the classic musical—The Phantom of the Opera

第3天,6月17日  (June 17th)

日间 (Day Events):


Visit Pioneer Works Center for Art and Innovation (Artist studios). The center helps produce creative work and social change. Collaboration between the arts and sciences is critical. Residency, educational and training programs are also offered in the center.

晚间(备选):Evening Events (Optional)


Hudson River Night Cruise

第4天,6月18日  (June 18th)

上午(Morning Events):


Visit Metropolitan Museum of Art, the largest art museum in America with over 3 million items in the collection.

下午(Afternoon Events):


Visit the Frick Collection, which is famous for its collection of Old Master Paintings from Europe.

晚间(备选):Evening Events (Optional)
Concert at Carnegie Hall

第5天,6月19日  (June 19th)

上午(Morning Events):


Visit Whitney Museum of American Art with over 21,000 items in the collection. The Whitney Biennale provides unique opportunities for younger and less well-known artists

下午(Afternoon Events):


Visit MoMA, which is often considered the most influential museum of modern art in the world. The museum's collection offers an overview of modern and contemporary art, including works of architecture and design, drawing, painting, sculpture, photography, prints, illustrated books and artist's books, film and electronic media.

第6天,6月20日  (June 20th)

日间(Day Events):

•    参观白宫―美国总统的官邸和办公室

Visit the White House

•    参观林肯纪念堂――被视为美国永恒的塑像及华盛顿市标志,为纪念美国第十六届总统亚伯拉罕·林肯而建

Visit the Lincoln Memorial

•    参观华盛顿纪念碑――为纪念美国首任总统乔治·华盛顿而建造

Visit the Washington Monument

•    参观美国国会大厦――美国国会大厦是美国国会所在地,是民有、民治、民享政权的最高象征

Visit the United States Capitol

第7天,6月21日  (June 21th)

上午 (Morning Events):


Visit National Gallery of Art, the Gallery's collection traces the development of Western Art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas

下午 (Afternoon Events):


Visit The Freer Gallery and Arthur M. Sackler Gallery, which are called jointed as “NATIONAL Gallery of Asian Art” 

第8天,6月22日  (June 22th)

上午(Morning Events):
参观私人藏家收藏 Mr. David C. Levy
Visit private collections by David C. Levy

下午(Afternoon Events):

参观纽约视觉艺术学院,被选为历史50年以来最重要的三所设计与艺术学院之一;也被评为在50年内最顶尖的设计专业学院。几乎所有美国历史上的美国动漫大片和特效大片都有SVA老师与学生的参与,包括玩具超人,蜘蛛侠,蝙蝠侠,功夫熊猫,赛车总动员,米老鼠与唐老 鸭,WALL.E, 海底总动员,等等
Visit School of Visual Arts, New York, which has been voted as one of the three most important schools that combine design and art in the past 50 years, as well as the No.1 design school in the past 50 years. Almost all the famous fimls and cartoons are related with professor and students from SVA, including Superman, Spiderman, Kongfu Panda, Car, Wall. E. Finding Nemo, etc.

晚间 (备选):Evening Events (Optional)

芭莎之夜, 纽约最闻名的夜间嘉年华
Night Bazaar

第9天,6月23日  (June 23th)

日间 (Day Events):

•    高古轩画廊(Gagosian Gallery)是拉里•高古轩(Larry Gagosian)创办的一家当代艺术画廊,代理了安迪沃霍尔(Andy Warhol)、达明赫斯特(Damien Hirst)、德库宁(Willem de Kooning)、杰夫昆斯(Jeff Koons)等当代顶尖艺术家作品

•    佩斯画廊是全球最有影响力之一的画廊,在纽约、伦敦和北京和香港均由画廊,代理查克克劳斯(Chuck Close)、毕加索(Pablo Picasso)、张晓刚、张洹等顶尖艺术家作品

•    大卫斯沃纳画廊集中展出新兴的美国和国外艺术家的作品,代理了杰夫昆斯(Jeff Koons)、草间弥生(Yayoi Kusama)詹姆斯韦林等当代顶尖艺术家
Visit galleries (Pace, Gagosian, James Cohan, David Zwirner, Klein Sun, Chambers, Fou, etc)

晚间 (备选):Evening Events (Optional)
Helicopter Tour  

2 June 2015


 "The following must go into my finished Directives: When you meet a Gethenian you cannot and must not do what a bisexual naturally does, which is to cast him in the role of Man or Woman, while adopting towards him a corresponding role dependent on your expectations of the patterned or possible interactions between persons of the same or the opposite sex. Our entire pattern of socio-sexual interaction is nonexistent here. They cannot play the game. They do not see one another as men or women. This is almost impossible for our imagination to accept. What is the first question we ask about a newborn baby? Yet you cannot think of a Gethenian as "it." They are not neuters. They are potentials, or integrals. Lacking the Karhidish "human pronoun" used for persons in somer, I must say "he," for the same reasons as we used the masculine pronoun in referring to a transcendent god: it is less defined, less specific, than the neuter or the feminine. But the very use of the pronoun in my thoughts leads me continually to forget that the Karhider I am with is not a man, but a manwoman. The First Mobile, if one is sent, must be warned that unless he is very self-assured, or senile, his pride will suffer. A man wants his virility regarded, a woman wants her femininity appreciated, however indirect and subtle the indications of regard and appreciation. On Winter they will not exist. One is respected and judged only as a human being. It is an appalling experience."
— Ursula K. Le Guin The Left Hand of Darkness

25 May 2015

baklava balaclava

"Affirmation here is not some sort of naïve, silly and candid-like “oh, I want the world to be a better place.” No, it’s a very gutsy engagement with the present. It takes a lot of courage to take on the present. It is very depressing stuff. If you want to do critical theory this way, you’re going to be a pretty gloomy person, a very depressed partner, and somebody that will never be invited to witty dinner parties, you will be just too depressed. So I always say, clock in and clock out; engage with the present just enough, and then have a good gin and tonic and get on with it, it’s Friday afternoon after all, so what the hell. But dosing the amount of horror that you take in, what Bourdieu called la misère du monde, the misery, the wretchedness, that negative consciousness that is so much a part of critical theory, to actually fight for justice you have to take on the burden of the injustice. To want to improve the situation you need to take stock of what it is; it takes a lot of courage. No wonder many people just go out the door and do whatever they do in the science departments… I’m just doing this, I’m not looking at the global picture… In the humanities, in critical theory, in feminism, we look at the global picture. I have lost so many of my friends either to burn out, to early death, or to forms of completely opportunistic conformism, that I have started thinking seriously about the politics of affirmation as a praxis, as a practice; you engage with the horrors of the world, you take it in, we dose it very carefully in space and time, and then we process it. This is what I think the micro political comes down to. You dose it, you focus, you frame it, and you act on it. And you can only do it in very localized manners and in very sustainable doses. Because we critical theorists are just as human as others, slightly more mortal than most, however. And that vulnerability that comes with this courage, this recklessness, or taking on the misery of the world, is something that we need to add to the general picture, or the methodology or pedagogics of critical theory. We really don’t want any more dead heroes. And we don’t want anymore of our students fighting losing battles in the margins, facing poverty and precarity, we want you to succeed. And this means dosages."
—Rosi Braidotti, "Nomadic Feminist Theory in a Global Era" (lecture 2012)

24 April 2015

Greek Rhythms

“‘Young Architecture’ as a discrete catagory [sic] reflects the atrophied aspirations of our cultural moment, in which, among a generation poorer than our parents, a growing majority will be unable to graduate to architecture, freedom, home-ownership or traditional debt-free marks of vocational maturity − a subtle but de facto form of slavery is creeping up on us.
Meanwhile the healthy ecologies formed of intermediate-scale architectural practice coupled with critical journalism and socially minded procurement have decayed through a process of polarisation − towards the very large and the very small, Establishment and emerging. In this context of power vs exploitation, the term ‘Young Architecture’ offers a vehicle for a compromised partnership between a cosy architectural press, morally bankrupt late-capitalist development and a disenfranchised generation of graduates with limited options. 
‘Young Architecture’: a tainted brand
Brand ‘Young Architecture’ is perilously close to becoming shorthand for a privileged clique purveying minor and pop-up buildings, instantly and uncritically published in a sycophantic hype driven by individualism, consumerism and an obsession with youth, in a way that increasingly apes the fashion industry. While the works themselves are consistently imaginative and delightful, demonstrating the skill of their authors, it is the term of ‘Young Architecture’ and the values it is coming to imply that must be interrogated.
‘Young Architecture’ makes a virtue of an injustice. The ageist mantle demands a level of knowing self-parody from emerging designers who it smothers as it belittles, imposing low expectations as default. In segregating architects into binary camps, the term smuggles through tacit approval for the Establishment while cementing the position of knowingly under-remunerated outsiders: the young.
(…) The reactive definition of an adolescent stage in career development places inflated emphasis on conspicuous displays of ‘authenticity’. Vulnerable, self-initiated projects necessarily embody a humane frugality. However, communicating this ethic in a visual language that is Tumblr-friendly constrains much of the work to a style measured in the thin rustic novelty of pop-up DIY-like production: chipboard, shipping containers, bare bricks, spontaneous installation and time-limited demountability.
Architecture has finally become fast enough to simulate the frivolity of throw-away fashion. But before it congratulates itself for this renaissance of dynamic participation and urban vitality, sedulous emerging designers should question the direct social consequences of the burgeoning pop-up industry which courts them and the widespread co-option of this architectural froth as a game of distraction. The permission for and sponsorship of such installations ties these energetic works to a broader political question around who owns the city for whom.”
— Phineas Harper, Phil Pawlett Jackson, The Architectural Review

15 April 2015


Bacon's emotions are in every brushstroke. He's the real deal and you'll understand and feel that again at some point. You have a habit of changing your mind several times about an artist, which is fine, as long as it's genuine at the time you write, not because it keeps you in a job.

  •  HeathCardwell
    Bacons emotions are in every film.He's the real deal and you'll understand and feel that when you watch Flash dance again.You have a habit of changing your mind several times about an actor(Tremors),which is fine as long as its genuine at the time you watch Stir of Echoes, not because it keeps you going to work

  •  MrPrintmaker
    Bacons taste is in every pan that fries it.Its the real deal and you'll understand and taste that when you put it in bread .You have a habit of changing your mind several times about a meat,which is fine as long as its genuine at the time you put the sauce on it.

  •  MrPrintmaker
    OK, I get it, you're frustrated. We all know how that feels MrPrintmaker.

13 April 2015


"If it was correct that the next step in art was predictable, then it didn't matter who took it. Anyone actualizing that step would enjoy some degree of acceptance based on the accuracy of apparent inevitability of that step. The steps might be suggested to someone else and they might produce the work, unaware of my influence. When their piece was accepted by either being published or shown, my piece would be completed. The principal worked, the process was predictable. I became somewhat apprehensive of the manipulative aspects of this direction and discontinued any further pursuit." 

— Raivo Puusemp quoted in Stephen Wright, "An Art Without Qualities: Raivo Puusemp's 'Beyond Art -- Dissolution of Rosendale, N.Y.'"