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astriiformes · 2 years ago

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University and community archives both are doing so much important work in curating and preserving queer history! And even the academic collections are generally still open to the public, whether that looks like you coming into the reading room at a local university to look at their materials or emailing the librarians to ask for photos or scans of them.

Also, like, even if they're affiliated with institutions, queer archives at universities and museums are generally still curated and cared for by queer folks. I work in a queer history archive at my university, and all of us who regularly work with the collections are queer, the curator is even another trans person, and we have strong connections with other queer people and organizations in the surrounding community.

Academic and cultural institutions like historical societies, libraries, and universities have facilities built to preserve archival materials -- everything from books and zines to pins, banners, t-shirts, and etc -- and people trained in curation and conservation. And often we want to connect with the local community so we can house and preserve their stories and materials for a long time!

All the archives that have been added to this post are great, but here's a few more to look at if you're interested in finding a queer archive near you -- or one further away with materials that interest you. Australia: The Australian Queer Archives

Bosnia & Herzegovina: Kvir Arhiv

Canada: The ArQuives (formerly the Canadian Lesbian & Gay Archives)

Archives Gaies du Québec

The Transgender Archives at the University of Victoria

France: Conservatoire des Archives et des Mémoires LGBTQI, Le Académie Gay & Lesbienne

Germany: Das Lila Archiv

Bibliothek & Archiv at the Schwules Museum

Spinnboden Archiv (focused on lesbian history)

Bibliothek & Archive at Centrum Schwule Geschichte

Forum Queeres Archiv München (focused on queer history in Bavaria and Munich)

The Netherlands: LGBT Heritage Collection at the Internationaal Homo/Lesbisch Informatiecentrum en Archief

Norway: Skeivt Arkiv at the University of Bergen

South Africa: GALA Queer Archive

Switzerland: Verein Schwulenarchiv Schweiz (focused on the history of gay men in Switzerland)

The United Kingdom: LGBTQ Collections at the Glasgow Women's Library

LGBTQIA+ Archives at the Bishopsgate Institute

The Hall-Carpenter Archives at the London School of Economics and Political Science

The LGBTQ Histories Collection at the British Library

Queer Heritage South/Queer in Brighton

LGBTQ+ Collections at the National Museums, Liverpool

The United States: The Human Sexuality Collection at Cornell University

The Stone Wall Center at the University of Michigan Amherst

The Gay & Lesbian Collections and AIDS/HIV Collection at the New York Public Libraries

OutLoud Collection at StoryCorps (an oral history project)

The LGBT History Project at Dickinson College and the LGBT Center of Central Pennsylvania

The Rainbow History Project (focusing on queer history in Washington D.C. and the surrounding area)

The Invisible History Project (focusing on queer history in Alabama and the American South)

LGBTQ+ Collections at the University of South Florida

The Stonewall National Museum Archives & Library

The Saint Louis LGBT History Project

LGBTQ Religious Archives Network

The Gerber/Hart Library and Archive (focusing on Midwestern queer history and culture)

The Kinsey Institute Collections at Indiana University

The Jean-Nickolaus Tretter Collection in Gay, Lesbian, Bisexual and Transgender Studies at the University of Minnesota

The National Transgender Library and Archive Collection at the University of Michigan

The Gay and Lesbian Archives of the Pacific Northwest

ONE National Gay & Lesbian Archives at the University of Southern California

The Lambda Archives of San Diego

The James C. Hormel Center at the San Francisco Public Library

Also -- I know what's happening today is incredibly scary, but there are so many archives all over the world documenting our history, and so many people devoting their lives to preserving everything from groundbreaking political manifestos to kitschy ephemera. And supporting queer archives is more important than ever. My first day of work in the collections, the curator handed me a charred book that had been rescued from the Institut für Sexualwissenschaft book burnings, and nothing has ever driven home more that the work of archivists is both critical and powerful, especially in this day and age. Support queer archivists and queer archives, save materials and find one to house your own collections no matter how random they might seem, and go out and learn about our history!

We need a digital archive of LGBTQ+ works of art, science, and every other conceivable work we can share between each other because we are beyond the genocide warning level in most countries in the west and they're already trying to purge us from libraries.

#happy pride month i got really passionate about queer archives #also yes! some of these are in places with scary politics right now! but resistance is the point!#everyone deserves access to history regardless of where they live!#nate at the museum

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walls-to-the-ball · 3 years ago

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Images from "Archives in Residence" series from the holdings of Forum Queeres Archiv München, here.

#queer #archives #munich

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harvardfineartslib · 2 years ago

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The Leslie-Lohman Museum of Art in New York is the only dedicated LGBTQIA+ art museum in the world with a mission to exhibit and preserve LGBTQIA+ art and foster the artists who create it.

In the Preface for the publication entitled “Queer Holdings,” the editors Gonzalo Casals and Noam Parness write that “the act of presenting, archiving, and collecting queer art is still a political act. In this context, there is a renewed sense of urgency for queer visibility, but this context simultaneously opens opportunities for critical conversations and visualizations toward more expansive forms of visibility.”

This sense of urgency seems even more prevalent in today’s political climate, and in the time of growing hostility and violent crimes against many LGBTQIA+ communities. We stand together in solidarity with LGBTQIA+ communities here at Harvard and beyond.

November 20th was International Transgender Day of Remembrance as a day to memorialize those who have been murdered as a result of transphobia. Cassils, who is on the cover of the publication, is a transgender performance artist. They make their body the material for a form of social sculpture to address the history of LGBTQI+ violence, representation, struggle and survival.

Image: Cropped image from the front cover. Cassils. “Becoming an Image Performance Still No.4, National Theater Studio, SPILL Festival, London 2013”, C-print. 22”x30”

Queer holdings : a survey of the Leslie-Lohman Museum collection Edited by Gonzalo Casals and Noam Parness. Munich : Hirmer Verlag, [2019] 264 pages : illustrations (some color), portraits ; 26 cm English HOLLIS number: 99154382110903941

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mz-elysium · 3 years ago

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daily dracula (may 3-5)

may 3 : recipes and travel thru e.europe

might be a lil late, but hey, i like vampires, why not sign up?

i just need to catch up on a few pages, which are neatly in the archive and man. i forgot how unintentionally hysterical classic lit can be.

like.

THIS is the grand opener to Dracula By Bram Stoker???

Left Munich at 8:35 P. M., on 1st May, arriving at Vienna early next morning; should have arrived at 6:46, but train was an hour late.

like, same, jonathan. why has nothing changed?

another line that hits different in 2022 our year of the lord

I did not sleep well, though my bed was comfortable enough, for I had all sorts of queer dreams.

queer dreams, eh? he hasn’t even met the vampire yet.

also, half of this first chapter is “wow, this is a tasty dish from THIS VERY SPECIFIC PLACE in eastern europe. gotta get mina the recipe. I’m super thirsty bc paprika is too spicy”.

also, the great meme I’ve seen around that inspired me to read this:

Your friend, DRACULA.

I get it. But that is fucking hysterical.

When I came close she bowed and said, "The Herr Englishman?"

Also, that’s too legit. My grandmother still tells stories that, when she moved to her husband’s village in Germany, everyone called her “the Ami Frau” (”the Yankee Woman”).... she’s Danish-Canadian.

may 4 : uncomfy crosses

[he] pretended that he could not understand my German. This could not be true, because up to then he had understood it perfectly; at least, he answered my questions exactly as if he did.

That’s just what ppl are like when you travel lmao

Finally she went down on her knees and implored me not to go; at least to wait a day or two before starting [journey to the castle]. It was all very ridiculous but I did not feel comfortable.

Yeah. No shit you didn’t feel comfy.

She then rose and dried her eyes, and taking a crucifix from her neck offered it to me. I did not know what to do, for, as an English Churchman, I have been taught to regard such things as in some measure idolatrous...

wtf. church of england banned the cross?

I am writing up this part of the diary whilst I am waiting for the coach, which is, of course, late;

I feel like Stoker had a lot of bad interactions with transportation when he was writing this.

may 5: wow so many commas

Why do sentences gotta be so long? It’s like reading unedited fanfic.

This is pretty good, tho. Like, so much of reading this is funny bc of what Dracula is to modern culture. I can’t even imagine how it was reading it, before vampire craze and knowing about The Count Dracula.

Harker hears some locals gossiping about satan and demons and vampires.

Jon: Hmmm.. memo: I simply MUST ask the Count about this!

really? do you?

What sort of place had I come to, and among what kind of people? What sort of grim adventure was it on which I had embarked? Was this a customary incident in the life of a solicitor's clerk sent out to explain the purchase of a London estate to a foreigner?

Yep. Totally normal. Scary coach driver, with a hand of a steel vise, and howling wolves and scary dogs and a giant frowning castle and all the peasantry sobbing and giving you trinkets to ward the evil eye. yeah, yeah, all normal for old-timey lawyers.

"Count Dracula?" He bowed in a courtly way as he replied:—"I am Dracula; and I bid you welcome, Mr. Harker, to my house.

oh jesus. I AM DRACULA and BID YOU VELCOME.

Within, stood a tall old man, clean shaven save for a long white moustach...

wtf. no slick black hair? and a fucking Lorax moustache?

"You will need, after your journey, to refresh yourself by making your toilet.

wow. old timey words are really a thing, aren’t they? YES HUMAN. TOILET YOU MUST MAKE, YES?

His face was a strong—a very strong—aquiline, with high bridge of the thin nose and peculiarly arched nostrils; with lofty domed forehead, and hair growing scantily round the temples but profusely elsewhere. His eyebrows were very massive, almost meeting over the nose, and with bushy hair that seemed to curl in its own profusion. The mouth, so far as I could see it under the heavy moustache, was fixed and rather cruel-looking, with peculiarly sharp white teeth; these protruded over the lips, whose remarkable ruddiness showed astonishing vitality in a man of his years. For the rest, his ears were pale, and at the tops extremely pointed; the chin was broad and strong, and the cheeks firm though thin. The general effect was one of extraordinary pallor.Hitherto I had noticed the backs of his hands as they lay on his knees in the firelight, and they had seemed rather white and fine; but seeing them now close to me, I could not but notice that they were rather coarse—broad, with squat fingers. Strange to say, there were hairs in the centre of the palm. The nails were long and fine, and cut to a sharp point.

I know it’s long, but bear with me. Read that. Read the actual canon physical description of Count Dracula. what. the. fuck. he’s so disturbing, who thinks this is a normal human being? i don’t even care about the unsexy vampire, I’m living for this. it’s amazing.

also didn’t expect this BANGER of a line

"Listen to them—the children of the night. What music they make!"

It’s about wolves, tho, not bats (as I had thought). Wolves howling is an excellent sound. Dracula got taste (even if he got no hair lmao)

#daily dracula #live tweeting? live reading? live tumbling?

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fanzineist · 5 years ago

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Fanzineist Vienna Art Book & Zine Fair

24-26 May, 2019

Nordbahnhalle - Leystraße 157, 1020 Vienna, Austria

Project Directors: Deniz Beşer & Deniz Güvensoy

Supported by: Bundeskanzleramt Österreich, Kulturabteilung der Stadt Wien (MA 7), ÖH - Österreichische Hochschüler_innenschaft, Nordbahnhalle, TU Wien, Klima Energie Fonds. HochschülerInnenschaft an der Universität für angewandte Kunst Wien (hufak) Contributed by Stockholm Performance Art and Istanbul Performance Art

2019 Exhibitors

3 kittens from moon (Vienna, AT)

Akulka (Moscow, RU)

Are We There Yet Magazine (Vienna, AT)

Auslöser (Vienna, AT)

Bahoe Books (Vienna, AT)

Bernhard Cella - Salon für Kunstbuch (Vienna, AT)

Carlos Vergara (Barranquilla, CO / Vienna, AT)

Carol Barbour (Toronto, CAN)

Colleen Anderhub (London, UK)

Damocle Edizioni (Venice, IT)

DEPOSIT (Budapest, HU)

DIN - Drawn Into Narrative ( Vienna, AT)

Dirty Flower Press (Berlin, DE)

Edition Dostal (Vienna, AT)

Epileptic Media (Vienna, AT)

Eva Jaroňová (Brno, CZ)

FOMO (Istanbul, TR)

Franz the lonely Austrionaut (Vienna, AT)

Handshake (Valencia, ES)

Heyt be! Fanzin (Istanbul, TR / Vienna, AT)

Hurrikan Press (Budapest, HU)

Industrias Doc (Barcelona, ES)

Jack Kollektiv (Vienna, AT)

Kristian Ujhelji (Vienna, AT)

Kudla Werkstatt (Prague, CZ)

Livor Mortis Zine (London, UK)

Mass Control Superviolence (Vienna, AT)

mischen (Vienna, AT)

MOSHI (Baden, DE)

Moshpit (Leipzig, DE)

Multiple Spirits (Tokyo, JP / Vienna, AT)

Nase Zine (Vienna, AT)

pAф (Vienna, AT / Sofia, BG)

PageFive (Prague, CZ)

Pirol (Vienna, AT)

Rada Nastai (Berlin, DE)

Risotop Verlag (Leipzig, DE)

RRevue / Schnösel mösel (Leipzig, DE)

Sakura (Vienna, AT)

Tales of Narwhales / by Katja Hasenöhrl (Vienna, AT)

Taumatropo Libros (Vienna, AT)

TheHiddenRiver (Munich, DE)

TLTRPreß (Berlin, DE / Prague, CZ )

UnterPalmen (Vienna, AT)

Viktoria Strehn & Erik Norden (Vienna, AT)

Volcano Club (Marseille, FR)

Well Gedacht Publishing (Vienna, AT)

ztscrpt (Vienna, AT)

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FANZINEIST EXHIBITIONS:

Fanzineist Vienna Art Book & Zine Fair International Art Book& Zine Exhibition:

Eva Fenz, Yusuf Murat Şen, Lucky Punch Press, Die Brueder Publishing, Torso Zine, Olga Stefatoy, Jens Besser, Sezgin Boynik (Rab Rab Press), KLD Repro, DEFACED by Olivia Browne, Flowyage, Livor Mortis Zine, New Poetic of Labor, Lena Wurz, Sophia Hembeck, Lex Kartane, (AIWS), Out of Darkness Fanzine, Zeynep Beler, Emin Yu, Lupemacanudo, Michael Dietrich, Asta D., Miss Eve, Irena Silic, Lolli Editions, Lea Schnell & Lena Wittman, Emekci Sair, James Turek, Father Zine (Valdir Ramos), Henry Jaepelt, Elmonstruodecoloresnotieneboca, Kati Szilagyi, Thomas Wellman, Lukas Verstraete, Roni Fahima, Benjamin Courtault, Gözaltı Fanzine, Suimasen Turkey, Dinçer Dökümcü, Erdem Varol, Arzu Arısoy, Onur Girit, Hrisitina Tasheva, Stefan Alexander, Ruben Malia, Pietra Publications, Rurality (Null Set Magazine & SLAG Magazine), Judith Erwes, Hugo Tripper (Publiko), Fail Books, and many mores.

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Heyt be! Chronology & Mini Zine Archive from Turkey

Curator & Installation: Deniz Beşer

Turkey has a long tradition of censorship but Zines are documents and snapshots of society without the censored voice. The installation displays Heyt be! Fanzin’s all issues, some selected zines and other forms of selfpublications from Turkey, going back to the 1990s to today

Heyt be! Chronology & Mini Zine Archive from Turkey: Mondo Trasho, Spastik Eroll, Nase Zine, Çizgi Fanzin, Heyt be! Fanzin, Fomo fanzin, Santigrad100, Paslı Teneke Fanatik Magazin, Taxidermia Fanzine, Güzel, Shadow Of A Doubt, Efkar Records, Mirror Selfieholic, Falçata, Why Has Nobody Noticed This, Diplo Docus, Medya Tav��rs Fanzine, Hayta, Anarşist Vegan Queer Gün, Eblek Hardcore, Ver Leftere,Yelloz, Genedoğum, Haylaz Eroll, Fanzin Literarü, Frozen Kuken 45 C, Sünnet Fanzin, Mono Propaganda

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Data Loam Book Prototype, 2019

(FWF-PEEK project Data Loam: “Sometimes Hard, Usually Soft. The Future of Knowledge Systems.”)

http://www.dataloam.org/

Artists:

Maximilian Gallo

Monica C. LoCascio

Ivonne Gracia Murillo

Istem Özen

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Istanbul Performance Art: Antonio Irre, Marija Griniuk, Pınar Derin Gençer, Roi Vaara, Viviana Druga.

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Stockholm Performance Art: István Kovács, Jasmin Schaitl.

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#fanzineist2019

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formulas2021 · 3 years ago

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As FEDERICO LUZ I center the voice as a channeling and magical instrument. It moves within the interstice of music, fashion, and performance:

How is the voice part of our dress? Of our sorcerous uniform?

Through these constellations, the persona FEDERICO LUZ navigates as a mythical ferryman providing care and companionship on a collective journey.

The hybrid musicology acts as a vessel, harbouring spirituality and sensibility for transcendent exchange. With an alternating crew and an evolving set of artistic tools, FEDERICO LUZ has set out to explore how kinship materialises across time and space.

The extended play FORMULAS roams through a series of modern spells for daily life. Invoking ancient god*desses, summoning natural phenomena, and addressing our endlessly mysterious affairs of the hearts, it provides a shimmering-warm vocabulary of re-orientation. FORMULAS is a language of the future, a map to the Inner-World.

selected performances:

➼Volkrsoom, Brussels, BE, 2021

➼22th International Feminist & Queer Festival Red Dawns, Ljubljana, SVN, 2021

➼Kolorádó Fesztivál, Budapest, HU, 2019

➼Hackney Downs, by the Kate-Bush-y Tree Trunk, London, UK, 2019

➼TAKE Festival for Fashion & Photography, Vienna, AT, 2019

➼Trampolin Residency, Kunsthaus Essen, DE, 2019

➼ANTIGONE Archive Opera, Schwere Reiter, Munich, DE, 2019

➼Tinta Art Cafe, Budapest, HU, 2019

[email protected]

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avenpt · 7 years ago

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Asexual Countercultures: Exploring Ace Communities and Intimacies Workshop in Vancouver

The Ruth Wynn Woodward Program and the Department of Gender, Sexuality, and Women's Studies at SFU* invites you to:

Asexual Countercultures: Exploring Ace Communities and Intimacies

November 2, 2017 - 6:30pm - 8:30pm Rm 2495 Simon Fraser University (Harbour Centre) 515 West Hastings Street, Vancouver, BC

* SFU Harbour Centre is located on the territories of the Musqueam, Squamish, and Tsleil-Waututh Nations

Co-Organized by RWW Fellow Ela Przybylo and Justine Munich

Centered on asexual and activist perspectives, the speakers and audience will explore the online and offline cultural production surrounding the asexuality movement, community, and asexual identities. This will be an interactive event that will begin with three 20 minute talks which will be followed by an asexuality zine-making workshop.

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Justine Munich and Angie Byron: Zucchinis and Eggplants: What the Asexual Movement Can Bring To Relationship Dialogues

Cole Brown: The History of the Asexual Community

Ela Przybylo, Adam Kopczynski, and Sage Strobel: Building an Asexual Archive: Pedagogical and Research Strategies

Asexy Zines Workshop: Heather Prost Zines constitute a fun, low-fi, queer, feminist, countercultural form of expression that has been central to the asexual movement. In this workshop we invite everyone present to take part in making page-spreads that will be compiled and shared with participants electronically post-workshop in the form of an "Asexy Zine." This will also be an opportunity to come together in groups to discuss what we've learned.

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Tea and coffee provided.

All are welcome.

The space is wheelchair accessible. Please be advised that this event is not hosted by AVEN and therefore the content in the event may not reflect the values that AVEN has regarding asexuality.

http://www.sfu.ca/…/newsw…/Asexual_Countercultures_2017.html

#asexuality workshop #asexuality #Vancouver Aces #Asexual Vancouver #Ace community #Workshops

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gardenpeony71-blog · 6 years ago

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If you’re into experimental animation, Eyeworks is your festival

Now in its ninth year, the Eyeworks Festival of Experimental Animation, curated by artists Alexander Stewart and Lilli Carré, remains the best annual survey of the form, one that takes care not to limit itself.

"We don't normally curate the festival around specific themes," the curators explain via e-mail, "but they inevitably emerge in each year's lineup as we get the [short] films together." Works "that use digital collage techniques, and . . . that feature a kind of dystopic environmental collapse" are this year's de facto leitmotifs; the best example of both is James J.A. Mercer's Landfill (2014), purportedly composed of archival video footage from the year 2157. Wholly committed to its found-footage premise, the film defies summation; at times reminiscent of a Dalí dreamscape, its surreality encourages revelry rather than attempts at decoding.

I found myself drawn to the densely bizarre abstractions of the program. Dane Picard's Rosencrantz and Gildenstern Are George (1992) features computer-animated George Jetsons wearing Shakespearean ruffs speaking dialogue dubbed from Laurence Olivier's Hamlet, with The Jetsons patriarch's fictional—and utterly batshit—life story detailed via randomly dispersed intertitles. Theo Chin's Pinakothek (2018) uses a Polyvision-esque aspect ratio to present the story of an offscreen protagonist looking for companionship in the Munich art museum's digital archive. "Experimental" need not mean "exceedingly bizarre," but with these two films (and several others), it's absolutely the case.

"We are always interested in finding works that attempt to do something we see as truly unusual, both in terms of the way the piece is made, and what it's working with conceptually," Carré and Stewart write. "It's especially exciting when we find older pieces that do this, that anticipate or speak to ideas that artists are engaging with in contemporary work."

Decades-old short films by children's book creator Lisze Bechtold, abstract painter Maria Lassnig, and animator Faith Hubley will be projected from 35-millimeter prints; this year's Eyeworks features more films in that gauge than any previous edition. The varying formats and lack of established through lines speak to the festival's own experimental spirit, running the gamut from old-school computer animation (the 1985 short Calculated Movements by Larry Cuba, who designed the animated Death Star blueprints in Star Wars: Episode IV—A New Hope) to hand-painted animation (Cheng-Hsu Chung's 2018 short Adorable). The latter is a graphic exploration of queerness, a reflection of how important diversity is to Stewart and Carré. "We think of the idea of diversity in multiple ways," they write, "including gender and identity, geographical and cultural perspective, and creative sensibilities." Through their seemingly random assortment of animations—limited only by the stipulation that they be experimental—they achieve that and more. v

Source: https://www.chicagoreader.com/chicago/eyeworks-festival-of-experimental-animation-2018/Content?oid=62031335

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micaramel · 5 years ago

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Artist: Diamond Stingily

Venue: Kunstverein München, Munich

Exhibition Title: Wall Sits

Date: September 21 – November 17, 2019

Click here to view slideshow

Full gallery of images, press release, and link available after the jump.

Images:

Images courtesy of the artist; Kunstverein München; Queer Thoughts, New York. Photos by Margaritas Platis.

Press Release:

Diamond Stingily (born 1990 in Chicago) addresses the materiality and mythology of identity and social class. Using everyday found objects such as hair, doors, or chains, Stingily negotiates personal and collective memories by relating them to social and economic questions. Wall Sits, at Kunstverein München, is Stingily’s first institutional solo exhibition in Europe, and presents an overview of various groups of her work, as well as new productions that relate to the Kunstverein and its urban environment. Stingily’s artistic practice encompasses video, sculpture, and writing, and draws relations between the intimacy of one´s own biography and perceptions of history. Instead of working on representation of black communities in general, she examines childhood memories, which, fragmentarily, speak of the systemic racism and violence inscribed into US-American culture.

On the 1st floor of the Kunstverein, dark archive shelves filled with hundreds of trophies stand in rows one behind the other. In the middle but in the corner of 176th place (2019) consists of over 700 individual works that occupy the entire space. Most of the trophies are standardized cups awarded to the participants of conventional competitions; some are larger and recall official awards ceremonies. Their gilded labels, which normally attest to the respective sport and position achieved, are replaced by short text passages such as THROUGH ALL THE MADNESS THIS IS ALL YOU ARE GOING TO GET, I DID THE BEST I COULD WITH WHAT I HAD, or I DID IT FOR THE GLORY. These self-awarded trophies tell a non-linear story about obsessions with triumph, competition and failure. Entirely absent are descriptions of how winning could look or feel like. The texts revolve around exhaustion. And perhaps cautious apologies: I AM DOING THE BEST I CAN. A portrait of the fixation on competition and winning, in which the “American dream” is mirrored as an unattainable fiction, though a reference. Stingily comes from a family of athletes; two brothers play in the NFL, the US-American professional football league. She herself compares the experience as an artist with that of an athlete. Questions of resilience, endurance and risk in the face of apparent impossibility, and irrepressibly joy in overcoming obstacles are addressed. For Stingily, people in top-level sport are defined more by an attitude than a particular kind of activity. It is a state in which pain, competition and triumph override.

The repeating engravings also portray Stingily’s own upbringing in seemingly playful statements like WE DIDN´T HAVE THIS SPORT WHERE I WAS AT. This one, for example, refers to Stingily’s childhood, growing up in suburban Chicago in neighborhoods like Country Club Hills with predominantly black population. Questions of access to materials, relating to economic conditions that derive from systemic inequality are also addressed in the work Double Dutch Ropes (2019). In found, cheap materials, this series – installed in the rear space of the exhibition – imitates the skipping ropes that can normally be bought in children´s toy shops. Knotted and woven loops of telephone cords hang on the wall – materials available for free in place of toys that have to be purchased.

Through the use of found, common materials, Stingily deals with the mutual conditionality of artistic production and social class. Questions of race and gender are often reflected in contemporary artistic discourse on identity politics, but those of social class are largely absent. But for Stingily artistic form is always a means to reflect on origin and therefore class. Who has access to which materials? What can be found, appropriated, utilized?

The windows of the exhibition space are darkened by multiple layers of local newspaper. Commonly used in commercial premises in urban centers to mark transition from one owner to the next, or to indicate closure, here they portray the institutional space as an urban exterior. Their yellowing, sun-bleached condition and their dates usually provide information about property prices or crisis. Stingily reflects spaces as culturally constructed and historically mutable – just as the Kunstverein, with its first exhibition in the new program gives the impression of an ongoing reconstruction. Metal window grids, usually mounted at ground floor level, are installed in front of the high windows. They are the placing of a barrier, and anticipate imagined intruders. The work, titled Outside (2019), marks divisions between public and private, and allocates visitors a place outside.

The work titled Entryways (2019) consists of five worn-out doors, all with locks – held at a distance from the wall by metal bars. Leaning against each door is a used baseball bat – an object thought about in action. It refers to Stingily´s grandmother Estelle who always kept one by the front door. The bats are a manifestation of systemic violence in a culture in which black bodies are subject to brutality. “I think violence is a part of every day for a lot of people – to be non-violent I think is a very privileged thing. To not live in violence is a privilege.” But the doors also stage a counter-narrative to the stereotypical representation: via the grandmother’s domestic space they tell a matriarchal story of protection and safety.

The exhibition’s title, Wall Sits, refers to an endurance-training exercise in which you sit at 90 degrees to the wall with your feet on the floor and retain this position as long as possible. In Stingily’s childhood it was used as a punishment – that, painful as it was, also had a sporting function.

Link: Diamond Stingily at Kunstverein München

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2CFsgl6

#micaramel

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chicagopdlover · 6 years ago

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Tarantino First Look; Academy Class Questions; Chalamet's 'Beautiful Boy' Trailer; L.A.'s "Influencer-Only" Mural

Tarantino First Look; Academy Class Questions; Chalamet’s ‘Beautiful Boy’ Trailer; L.A.’s “Influencer-Only” Mural

What’s news: Leonardo DiCaprio unveiled the first look at Quentin Tarantino’s Once Upon a Time in Hollywood . Plus: Lingering questions about the Academy’s record new class, Dana Brunetti launches a new company and an “influencer-only” mural arrives in Los Angeles. — Erik Hayden June 27, 2018 What’s news: Leonardo DiCaprio unveiled the first look at Quentin Tarantino’s Once Upon a Time in Hollywood . Plus: Lingering questions about the Academy’s record new class, Dana Brunetti launches a new company and an “influencer-only” mural arrives in Los Angeles. — Erik Hayden Academy Class Questions Having sifted through the 928 member list unveiled by the film Academy, Scott Feinberg has a few questions about the direction of the organization: 1. Is the Academy of Motion Picture Arts and Sciences still an Academy of Motion Picture Arts and Sciences? In order to meet its diversity goals, the Academy — and, in particular, its largest division, the actors branch — is increasingly inviting people to become members who are tremendously talented, but whose talents have primarily manifested themselves in other media. 2. If you’re good enough to win an Oscar, why aren’t you good enough to join the Academy? I do believe that there is one circumstance under which someone who has not amassed a large body of standout work should still be invited to join the Academy, and that is if that person has made a contribution to a film that was deemed excellent enough to merit an Oscar. 3. Is Oscar campaigning about to go crazy? With the latest class added, this will create the highest number of Oscar voters since the period spanning 1938 to 1945, when certain classes of members of outside guilds, including the now-defunct Screen Extras Guild, were granted full voting privileges, bringing the size of the voting rolls to approximately 12,000. Full column. Elsewhere in film… ► MoviePass parent stock hits new low. The company is losing about $45 million a month on its plan that gives subscribers 30 movie tickets for the price of one; it may need to spend $1.2 billion more if it is to stay afloat and keep growing ► Mark Wahlberg, Peter Berg reteam for Netflix film. The duo have set their next project (their fifth together) with the movie Wonderland , an adaptation from Robert B. Parker’s detective series. Sean O’Keefe penned the screenplay. ► Pete Davidson to lead indie Big Time Adolescence . The SNL star will join Machine Gun Kelly and Griffin Gluck in the pic. The film, which will begin shooting next month, will be the directorial debut of Jason Orley. ► Annapurna president to exit company. Marc Weinstock is leaving after less than two years in that role. According to insiders, his decision to depart is amicable and he will not be replaced. ^Sony’s Quentin Tarantino Manson drama unveils first still. Leonardo DiCaprio posted an image of Once Upon a Time in Hollywood , with him and Brad Pitt featured. First look. ► Amazon unveils Beautiful Boy trailer. Steve Carell, Timothée Chalamet and Maura Tierney star in the drama from the streamer that hits theaters Oct. 12. Full clip . ► Dwayne Johnson’s Skyscraper scores rare China release date . Legendary Entertainment and Universal’s action thriller has locked down a July 20 date, securing a spot right in the midst of Beijing’s summer blackout on imported Hollywood fare. ► Lionsgate finds new film group marketing chief. Damon Wolf, currently co-head of marketing at Sony, will join the studio Jan. 1. His recent campaigns include work on Baby Driver and Don’t Breathe . ► Constantin Film buys production group Hager Moss. The Munich-based production outfit is best known for its dramas and for crowd-pleasing films, including Oktoberfest . ► Independent Film and Television Alliance leaders renew contracts. Jean Prewitt and Jonathan Wolf have each re-upped for another three years with the trade association. Prewitt has headed the group since 2000. ► Writers Guild of America East unveils board candidates . It’s election season for the guild, which revealed a list of 16 candidates nominated for 10 open seats on its council. In Heat Vision : Marvel’s wait-and-see LGBTQ character approach. Graeme McMillan writes: Studio chief Kevin Feige recently confirmed queer characters are coming to the Marvel Cinematic Universe, which lags behind the comic book publisher. Full column. Mega TV Deals It’s official: Fox will be the new home of WWE SmackDown Live, Marisa Guthrie writes: + Fox: The new five-year agreement will commence Oct. 4, 2019, and will give Fox two hours of live event programming 52 weeks each year. It is worth $205M annually, and $1.025B over the life of the pact. + NBC: The network said that is has closed a new five-year pact to keep the Monday night showcase Raw on USA Network. That deal is worth $265M annually, a big premium over the current pact, which is worth about $150M annually for both properties. Currently both programs air on NBCUniversal’s USA. Full story. Elsewhere in TV… ► Charter greenlights its first scripted series. Bad Boys spinoff L.A.’s Finest , starring Jessica Alba and Gabrielle Union, has been ordered by Charter Communications. The 13-episode drama will premiere in 2019. ► HBO casts Jeremy Irons in Watchmen pilot. The actor will topline the pilot from Damon Lindelof. While the pay cabler has remained mum on details, Irons will likely play an imperious lord of a British manor. ► Freeform cancels Famous in Love . Sources say the Disney-owned cabler wanted more money from SVOD partner Hulu for a potential third season amid clashes between star Bella Thorne and showrunner I. Marlene King. ► Lionsgate inks Dear White People showrunner to deal. Fresh off a third-season renewal, showrunner Yvette Lee Bowser has signed an overall deal . Under the pact, Bowser will create new projects for the studio. Quoted: “It seemed like, you don’t need to murder someone that’s committing suicide. I thought the firing was overkill. She’s already dead.” — Jerry Seinfeld to USA Today on Roseanne Barr ‘s firing. ^Can Netflix transform the TV landscape in the Middle East? With over 400M potential viewers, the region has vast potential, but with little variation in programming, audiences are starved for original content. The streaming giant could change all that. Full column. ► ITV COO, CFO to step down. The U.K. TV giant said that CFO and COO Ian Griffiths has advised the board of his intention to retire in the next 12 months. The company is searching for a successor. ► Endemol Shine names head of non-English scripted drama. Lars Blomgren, producer of the Scandinavian series The Bridge , has been hired as the new head of scripted across Europe, the Middle East and Asia. ► Fox Searchlight’s TV division fills out exec ranks. The new arm of the company has tapped Kara Buckley and Danny Samit as vps of television production. The division has yet to launch its first project. ► Sony shutting down Crackle in Canada. The video hub will shift some of its Canadian inventory to two new local ad-supported VOD services, via a partnership with Sony Pictures Television. Dana Brunetti launches new TV and film company. He is teaming with former Relativity exec Keegan Rosenberger to create Cavalry Media with “moderately-priced, premium” programming that includes the Columbus series Hispaniola. The budget for a film will be in the $40M-$80M range. Details. L.A.’s Influencers-Only Mural A stunt: Stroll down Melrose Avenue and there it is: A blue mural with a pink heart and angel wings. A security guard stands out front, next to a sign that reads, “For verified influencers and people with over 20,000 followers only,” Natalie Jarvey notes. What that means. What else we’re reading… — “Comcast hunts for additional cash.” Amol Sharma and Dana Mattioliis report that the company is “exploring tie-ups with other companies or private-equity investors that could provide additional cash as the cable giant pursues a costly acquisition of 21st Century Fox’s entertainment assets.” [ Wall Street Journal ] — ” How’s he gonna react when there’s a scandal?” Joe Pompeo on CNN: “So much appears to hang on the Jeff Zucker-John Stankey bromance. For now, everyone is saying the right thing.” [ Vanity Fair ] — “Hollywood’s instant antihero.” Reggie Ugwu’s Benicio Del Toro profile: “he’s been a strikingly economical player, if not always the most valuable one, averaging an unusually high ratio of memorable moments.” [ New York Times ] — “What does ABC want from The Conners ?” David Sims writes: ��The network canceled Roseanne and ordered a rebooted version of the show without its star, but what kinds of stories is the spinoff hoping to tell?” [ The Atlantic ] — “Prince estate signs deal with Sony Music to re-release 35 catalog albums.” Colin Stutz notes: “The deal also includes rights to other previously released singles, B-sides, remixes, non-album tracks, live recordings and music videos recorded before 1995.” [ Billboard ] From the archives… + 10 years ago today: On June 27, 2008, Pixar unveiled WALL-E, a sci-fi adventure that would become a summer hit with critics and audiences. Flashback review. Today’s birthdays: Sam Claflin , 32, Khloé Kardashian , 33, Wagner Moura , 42, Tobey Maguire , 43, J.J. Abrams , 52. Follow The News Is this email not displaying correctly? View it in your browser. ©2018 The Hollywood Reporter. 5700 Wilshire Blvd., Los Angeles, CA 90036 All rights reserved. Unsubscribe | Manage Preferences | Privacy Policy | Terms of Use June 27, 2018

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nofomoartworld · 7 years ago

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Hyperallergic: Art Movements

Chuck Welch, “Ray Johnson Nothing Soup” (2017), can sculpture, 18 x 3 1/2 x 14 (photo by Chuck Welch)

Art Movements is a weekly collection of news, developments, and stirrings in the art world. Subscribe to receive these posts as a weekly newsletter.

The State Department announced that the US will withdraw from UNESCO on December 31, 2018, citing “mounting arrears, […] the need for fundamental reform in the organization, and continuing anti-Israel bias.”

“Salvator Mundi” (c. 1490-1519) the only work attributed to Leonardo da Vinci that remains in private hands, is to be sold at Christie’s on November 15. The painting is estimated to fetch $100 million.

Marina Abramović abandoned plans to open the Marina Abramović Institute (MAI). The artist stated that she is unable to raise the purported $31 million required to convert a space in upstate New York during a talk at the Serpentine Sackler Gallery last week. A highly publicized Kickstarter campaign raised over $661,000 for the project, which is described on its official website as a site to “serve as the legacy of Marina Abramović,” explore performance, and “encourage collaboration between the arts, science, and the humanities.” According to Abramović, the Kickstarter funds were used to pay architect Rem Koolhaas for a preliminary design of the space.

A number of Puerto Rican arts organizations — including the Museo de Arte Contemporáneo de Puerto Rico, Instituto de Cultura Puertorriqueña, and Beta-Local — are pooling their resources and offering free public programs to support those impacted by Hurricane Maria.

The Crackerjack Art Of Chuck Welch Networks The FeMail XX Conspiracy opened at the Christine Price Gallery at Castleton University, Vermont. The exhibition is a collaboration between artists Chuck Welch (aka the Crackerjack Kid) and Tara Verheide (aka Sinclair Scripa), and includes mail art solicited in response to the topics of “Women as Scientific Artists” and “Networked Art as a Global Conspiracy.”

Harland Miller, “Who Cares Wins” (2017), silkscreen print, hand finished with pencil and oil paint, 58 1/2 x 48 inches (courtesy Sotheby’s)

Art for Grenfell, a charity auction for those affected by the Grenfell Tower fire, will be held at Sotheby’s on October 16. The sale includes works by Phyllida Barlow, Jake & Dinos Chapman, Tacita Dean, Isaac Julien, Harland Miller, and Rachel Whiteread.

Philippe Méaille will withdraw his loan of over 500 artworks to the Barcelona Museum of Contemporary Art (MACBA) due to “the political instability in Catalonia.”

Tristram Hunt, the director of the Victoria and Albert Museum, called for the complete pedestrianisation of London’s Exhibition Road. A 47-year-old mini-cab driver ploughed into pedestrians outside the Natural History Museum last Saturday, injuring 11 people and sparking fears of a terrorist incident.

Both UK and non-UK citizens and organizations have until December 29 to respond to a public consultation regarding a proposed ban on UK sales of ivory. The 12 week consultation was announced by environment secretary Michael Gove.

D. Neal Bremer, the former COO of the Grand Rapids Art Museum, filed a whistleblower protection lawsuit against the museum after alleging widespread misuse of donor-restricted funds.

Semiotext(e) cancelled an event with arts organization 356 Mission in Los Angeles after the anti-gentrification group Defend Boyle Heights vowed to disrupt it.

Italian culture minister, Dario Franceschini, confirmed plans to introduce a fee — thought to be around €3 (~$3.50) — for entry to the Pantheon in Rome.

New Architecture Writers, a free program for BAME (black, Asian, and minority ethnic) young people aspiring to work in architecture and design journalism, was launched in London.

Dale Chihuly‘s “Rose Crystal Tower,” a 31-foot tall sculpture composed of composed of Polyvitro crystals and steel, was unveiled in Union Square Park, New York.

Transactions

David Hockney, “15 Canvas Study of the Grand Canyon” (1998), oil on canvas, 66 1/2 x 65 1/2 inches (courtesy Sotheby’s)

David Hockney’s “15 Canvas Study of the Grand Canyon” (1998) was sold at Sotheby’s evening sale of contemporary art for $7,949,576, the second highest price paid for the artist at auction. The same sale saw records set for Josef Albers, Thierry De Cordier, and Alex Da Corte.

The Smithsonian’s Archives of American Art acquired the 1975 to 2015 records of Artists Talk on Art (ATOA). The archive includes recordings of just under 1,000 panel discussions and screenings held in New York City.

The Ullens Center for Contemporary Art in Beijing has been sold to a group of investors led by Lunar Capital, a private equity group in Shanghai.

The Skowhegan School of Painting and Sculpture received a $250,000 gift from the Helen Frankenthaler Foundation.

Rose-Marie and Eijk van Otterloo and Susan and Matthew Weatherbie committed to donating their collections of 17th-century Dutch and Flemish art to the Museum of Fine Arts, Boston — the largest donation of European art in the museum’s history.

A double-sided sketch by Alberto Giacometti sold for £130,000 (~$172,000) at Cheffins auction house. The work was recovered from the estate of the late antiques dealer Eila Grahame earlier this year [via email announcement].

The Frans Hals Museum acquired Jan Porcellis’s “Ships in a Storm” (c. 1618/22).

Jan Porcellis, “Ships in a Storm” (c. 1618/22), oil on panel (courtesy Frans Hals Museum, Haarlem)

Transitions

The International Center of Photography is to relocate to Essex Crossing a year after it moved into a $23.5 million exhibition space on the Bowery.

The New Museum selected Rem Koolhaas and Shohei Shigematsu to design an expansion using an adjacent property at 231 Bowery.

Ludwig Spaenle, the Bavarian Minister of Culture, announced the appointment of Stefan Gros as commercial managing director of the Haus der Kunst in Munich. Gros is co-direct the museum with Okwui Enwezor in a bid to deal with the institution’s financial deficit.

Tim Whalen was elected chair of the National Trust for Historic Preservation’s board of trustees.

Jorrit Britschgi was appointed executive director of the Rubin Museum of Art.

Alistair Hudson was appointed director of the Manchester Art Gallery and the Whitworth.

Julian Cox was appointed chief curator and deputy director of the Art Gallery of Ontario.

Rita S. Craig was appointed chief financial officer at the Oklahoma City Museum of Art.

Jessica Kreps was made a partner at Lehmann Maupin gallery.

The family of S.I. Newhouse Jr. appointed Tobias Meyer to advise them on the family’s art collection.

Laurie Anderson, television producer Laura Michalchyshyn, and writer Tanya Selvaratnam, launched The Federation, an organization committed to combatting xenophobia and the threatened closing of physical borders.

Tate St Ives opened its new £20 million (~$26.5 million) extension.

White Columns will relocate to 91 Horatio Street next spring.

Proxyco, a new gallery with a focus on emerging and mid-career artists from Latin America, will open 168 Suffolk Street on the Lower East Side next month.

Mary Weatherford is now represented by Gagosian gallery.

Landon Met is now represented by Sean Kelly Gallery.

Accolades

Trevor Paglen, “Code Names of the Surveillance State” (2014), video (courtesy Altman Siegel Gallery)

The John D. and Catherine T. MacArthur Foundation announced its 2017 MacArthur ‘Genius’ Grant winners. The recipients include Dawoud Bey, Njideka Akunyili Crosby, Taylor Mac, and Trevor Paglen.

ArtPrize 9 announced its award winners. The Public Vote Grand Prize was awarded to Richard Schlatter for his work “A. Lincoln,” a portrait of the US president composed of over 24,ooo pennies. Seitu Jones received the Juried Grand Prize for “The Heartside Community Meal,” an installation in which 250 neighbors dined together at a 300-foot table.

Isa Genzken received the 2017 Goslarer Kaiserring award.

Kader Attia was awarded the 2017 Joan Miró Prize.

The Bessies announced the recipients of the 2017 New York Dance and Performance Awards.

Queer|Art announced the eleven Fellows accepted for its 2017–2018 Queer|Art|Mentorship program.

Obituaries

The London Eye (via Wikipedia)

Holly Block (1958–2017), executive director of the Bronx Museum of the Arts.

Nora Johnson (1933–2017), novelist and memoirist. Best known for The World of Henry Orient (1958).

Hervé Léger (1957–2017), fashion designer.

David Marks (1952–2017), architect. Best known as the designer of the London Eye.

Ralphie May (1972–2017), comedian.

Bunny Sigler (1941–2017), singer, songwriter, and producer.

Jim Walrod (1961–2017), design consultant and expert in mid-century design.

Anne Wiazemsky (1947–2017), novelist and New Wave actress. Wife of Jean-Luc Godard.

The post Art Movements appeared first on Hyperallergic.

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markwatkinsconsumerguide · 8 years ago

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Consumer Guide / No.46 / writer & translator (and inaugural Translator in Residence at the British Library) Jen Calleja with Mark Watkins.

MW: Where’s home?

JC: I live in Brixton, London with my partner and our cat Ludo. I’ve lived in London for nearly ten years in total (including university), but I’m originally from Shoreham-By-Sea in West Sussex, which is where my parents still live.

MW: Tell me about your work...

JC: Well, I’m a jack of all trades really, and I’ve worked hard to be able to do that; to do a bit of everything I love and feel passionate about. I’m a writer of fiction and poetry; a literary translator from German; the inaugural translator in residence at the British Library; a columnist on translated literature; and a co-coordinator, spokesperson and workshop leader for an independent campaign tackling sexual harassment in the night time economy.

My first collection of poetry, Serious Justice, came out last year and I’m currently finishing writing my first novel. I’ve also published a number of short stories over the years and had a few writing commissions for musical and artistic projects. I’ve been a literary translator for about five years. I lived in Munich for eighteen months before starting my degree in writing and literature, and got my German to a good enough level to translate just through reading German novels and poetry. I’ve translated ten books from German so far, and I’m starting work on number 11 shortly. I’ve supplemented these jobs by editing and translating for magazines, residencies and connected jobs.

The column at The Quietus came about from wanting to be able to promote translated literature on a general literary platform; there are a few amazing translated literature focused journals and websites, but I wanted to help bring those conversations and books into the mainstream. So I pitched it to The Quietus and they enthusiastically accepted. I seek out a different language and different ‘question’ about the process, ethics or significance of a translation for each column, and I’ve always got my eyes peeled for the next one. I currently have three columns on the go.

I’m three months into a year-long one-day-a-week residency at the British Library where I’m promoting translation and the role of the translator. This is through curating a public events programme, exploring the Library’s multilingual staff and visitors through a short film, and even writing a collection of poetry inspired by the archive of poet-translator Michael Hamburger. There’s about a dozen projects I’m working on for it. It’s an amazing opportunity and it’s been incredible so far.

I’ve been volunteering as one of the coordinators and as a paid workshop leader for the Good Night Out Campaign for about a year. The campaign not only raises awareness about the amount of sexual harassment and assault that happens in bars, clubs, venues and pubs but primarily trains staff in participating premises how to react, handle and hopefully prevent harassment. It’s an intense but incredibly worthwhile role and I love doing this work. We’re in the process of rolling out the campaign across London and other cities in the UK. It’s also starting up in the US, Canada, Australia and the Czech Republic.

MW: ... your favourite piece of literature from the past and the present?

JC: In this moment I’m going to say Pale Fire, but basically anything written by Vladimir Nabokov. Could have easily been Lolita or any of his short stories. He is the master of the tragi-comedic and taught me so much about how the smallest difference in someone else and between characters can be enormous and have enormous consequences.

And from right now, even though she’s dead and it’s the centenary of her birth, Leonora Carrington’s collection of short stories The Debutante and Other Stories. It’s just come out with Silver Press in the UK and will make you feel like a child reading fairy tales for the first time.

MW: What have you most enjoyed translating ? How do you ensure such translations remain true to the original?

JC: I love telling great stories, including those that happen to have been written in German by someone else. I read a chapter I’d translated of my favourite German book at a reading event a few weeks ago and people went crazy for it, and couldn’t believe it hadn’t been translated. Literary translation for me, in brief, is getting across the same meaning even if the expressions or words wouldn’t match up in the dictionary. Word for word translation is a myth, languages can’t be mapped onto one another as every word/expression has a different nuance, history, tone in every language. Translation is technically impossible, and yet we do it every day. I could talk forever about translation.

MW: Do you prefer to construct, de-construct or destroy art - why?

JC: I have always wanted to make things and write, to express things and create art; it’s how I think about the world and how to be in it. Deconstructing makes me think of reviewing and I hate reviewing, in the most part (but not always) it’s preachy and there are too many rules to how to do it for me to be good at it or interested in it. You can’t be precious and art objects and all art has the fate of one day being destroyed. The ideas, impetus and energy behind or around something lives on of course, even if the object is gone. More art will come after the art that already exists and will override or usurp what comes before it.

MW: Is 'Girl Power', the spirit of the 90's Britpop age still around, and if so, where can it be found in UK culture today?

JC: I don’t really know much about Britpop, I was a bit too young at the time, though in recent years there’s been a lot written about how macho that period was and how that ‘girl power’ movement tried to rival this.

You won’t find much of a non-male or feminist presence in mainstream music (I’ve written before about how UK festival bills are overwhelmingly male) or if you do see a band with women in they’re treated in a tokenistic and frequently sexist way.

However, the DIY music scene right now is filled with the best punk and DIY bands who are feminist, queer and comprised of women, trans and non-binary musicians. It is seriously a weird novelty to go to a show – or should be – in the DIY music scene and see an all-male bill.

In fact, the norm in the scenes I move in is that every band will have at least one woman in, if not have multiple bands with all-women on the bill, and the people on stage and in the crowd will stand up for intersectional (anti-racist, anti-ableist, anti-transphobic and anti-homophobic) feminist values as the norm.

MW: Tell me about making music and your bands (seemingly) post-punk sensibilities....

JC: I play in a few bands, which I see as part of my creative practice and inseparable to all the other things I do. My writing has even appeared on my bands’ records and I’ve written about being in bands in my fiction and poetry.

I would refer to them as DIY punk/post-punk bands I guess; self-promoting, self-booking, self-releasing or put out on independent labels, previously self-recording, preferably playing in DIY and independent venues. Currently these are Sauna Youth (vox, sampler), Gold Foil (vox, bass) and Mind Jail (drums); and previously: Feature (vox, drums) and Monotony (drums).

I started teaching myself the drums when I was 18, and started my first (short lived but very fun) band when I was 19 at university. Over the last few years I’ve got to do a couple of short tours in the UK with Feature, and tour the UK, Europe and America with Sauna Youth, but thought I would slow down with music stuff this year; instead it seems to have ramped up. I have multiple band practices a week, sometimes in the day, so it’s handy being freelance.

There have been some really memorable highlights over the years, like supporting bands I admire in the DIY scene and beyond, playing a festival at one in the morning in San Sebastian in Spain, playing a basement show on a stormy night in Minneapolis, and getting to sing for Pissed Jeans at a festival in Switzerland. Most recently (at the age of 30) I’ve started playing the bass so I could replace our bass player in Gold Foil, while carrying on being the singer.

MW: What makes a ‘Good Night Out’ ?

JC: Going to see a show, or going to the cinema on my own and always one where harassment doesn’t have to ruin your night: www.goodnightoutcampaign.org

MW...and a 'Good Night In' ?

JC: Watching RuPaul’s Drag Race.

MW:: How do you envisage the rest of 2017 panning out for you?

JC: Finishing the novel, starting a new poetry collection, pulling off my residency projects, helping Good Night Out grow, and going on tour later in the year. Oh, and I’m getting married.

www.jencalleja.com

@niewview

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caveartfair · 8 years ago

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How Wolfgang Tillmans Became the Visual Poet of Britain’s Left

When the press gathered at the opening of “Wolfgang Tillmans: 2017” at Tate Modern two weeks ago, one question came up repeatedly. Following his poster campaign encouraging British residents to vote remain in the European Union referendum known as Brexit, ought we to consider Tillmans’s practice in a political light?

The question was all the more germane given the gallery we were standing in. On one wall hung an enormous photograph of a stone-colored ocean, threatening to rise up into a wall; on another, the shipwrecked remains of refugee boats piled high on the beaches of the Italian island Lampedusa.

Wolfgang Tillmans, Between Bridges EU Campaign, 2016. Courtesy of the artist and David Zwirner Gallery, New York.

“The exhibition is not about politics,” Tillmans replied. “It’s just as much about poetry, installation.” He is right to be cautious of assuming the mantle of political artist. After all, his deeply personal aesthetic and often autobiographical works are a far cry from the protest performances of Pussy Riot, or the AIDS activism of Gran Fury.

Despite his reservations, however, Tillmans has a lengthy record of using his artistic eye, and his status, to highlight issues of social importance. And in a political climate dominated by simplistic and divisive rhetoric, his nuanced and ethical perspective is a welcome voice.

Tillmans belongs to a generation of European artists whose careers have flourished during a time of free movement between EU member states. Born in Germany, he made his breakthrough at British magazine i-D in the early 1990s, photographing the continental acid house scene.

He became the first non-Brit to win the Turner Prize in 2000, and in recent years, he has documented his unease at the resurgence of nationalism, which threatens to stymie precisely the sort of socially liberal, pan-European identity that characterizes his photography. He has also witnessed first-hand the harrowing impact of AIDS on the queer community (it took the life of his partner, Jochen Klein, in 1997).

“I never thought the private and the political can be separated,” Tillmans went on to say at Tate Modern. And indeed the two themes are infused throughout “Wolfgang Tillmans: 2017,” where you are as likely to see intimate portraits of friends or a box containing a 17-year supply of prescription HIV drugs, some made out in Tillmans’s name, as you are ominous meditations on the nature of national borders.

Tillmans’s outspoken position on Britain’s EU referendum may be his most high-profile foray into political terrain, but it is by no means his first. In the same year that he won the Turner Prize, he guest-edited a photo edition of The Big Issue, a U.K. publication that helps people out of poverty. “Magazines like The Big Issue can cross borders between communities and classes,” he wrote in the editorial.

The same concern with unity can be seen in his art and social work today. Tillmans runs the non-profit project space Between Bridges, founded in London in 2006 and now operating in Berlin. Between April and June last year, he opened its doors as a meeting place for coordinating responses to the growing refugee crisis and countering the rise of xenophobia.

Since 2005, Tillmans has been working on truth study center, an attempt to chart the spread of misinformation for political ends and our propensity to believe it. The latest incarnation of the project is on display at Tate Modern: a sprawling archive of psychological studies and newspaper clippings concerned with a phenomenon now popularly referred to as “post-truth.”

In the early stages of a U.S. administration for which facts are synonymous with bald ideological expediency, Tillmans’s turn as a citizen researcher is arguably more pertinent than it ever has been.

Over the years, Tillmans has been involved in numerous AIDS and HIV awareness-raising initiatives. In 2002, an AIDS memorial designed by Tillmans was unveiled in Munich. He modelled it on the blue, tiled columns in Sendlinger Tor station, an alighting point for the city’s gay and lesbian district.

An inscription on the column commemorates the extensive network of people affected: “AIDS/ den Toten/ den Infizierten/ ihren Freunden/ ihren Familien/ 1981 bis heute” (AIDS/ The dead/ The infected/ Their friends/ Their families/ 1981 to today).

Though his direct political engagement may seem poles apart from the subtle poetry of his better-known photography, the various aspects of Tillmans’s practice come together in his interest in community. It is a theme as prominent in the creation of public platforms and memorials as it is his approach to display.

Typical of his style, photographs in “Wolfgang Tillmans: 2017” are presented in associative groups, so that the affinities between them are fundamental to the way we view any single frame. In one room at the Tate Modern, an image of a dust-covered car on a roadside in Jeddah, Saudi Arabia, keeps company with a four-foot-tall photograph of a weed growing through the cracks in Tillmans’s London garden.

Taken thousands of miles apart, they are united by an appreciation of fragility, and ideas of erosion, destruction, and regrowth—and are all the more affecting for the unexpectedness of their alliance.

The care with which Tillmans treats his subjects has long enamored him to audiences, and continues to set him apart from many of his contemporaries. He rose to prominence at i-D in the company of Juergen Teller and Terry Richardson, two all-star photographers whose signature styles are defined by high exposure and a brash, candid aesthetic. (Richardson is also known for repeated accusations of having sexually harassed models.)

In contrast, one of Tillmans’s photographs is exemplary of the artist’s acute sensitivity. In Collum (2011), a young man’s neck is shown close-up, his veins visible through milk-white skin. It captures a sense of tenderness and wonder: a photograph created with an eye for what the camera can give, rather than what it can take.

—Rosanna McLaughlin

from Artsy News

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caveartfair · 8 years ago

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How Wolfang Tillmans Became the Visual Poet of Britain’s Left

Wolfgang Tillmans, Between Bridges EU Campaign, 2016. Courtesy of the artist and David Zwirner Gallery, New York.

—Rosanna McLaughlin

from Artsy News

#Artsy News

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