DOCSLIB.ORG

Untitled (I T's Almost a One-Liner

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Untitled (I T's Almost a One-Liner THE NEW GA UNTITLED (I LLERY PRESS T’S ALMOST A / 2014 ONE-LINER) / SARAH BECK AND SHLOMI GREENSPAN Untitled (It’s almost a one-liner) © 2014 The New Gallery Press Printed in Canada Designed and edited by Steven Cottingham, featuring contributions from Sarah Beck, Shlomi Greenspan, and Sky Goodden. All photos courtesy the artists, the gallery, and the internet. ISBN 978-1-895284-21-8 208 Centre St S, Calgary, AB, T2G 2B6 thenewgallery.org/ PAGE TWO PAGE THREE Sarah Beck uses her art practice to address contem- INFO Canada from 2011 to 2014, and regularly writes porary issues, engaging the audience with humour and for Modern Painters, Art + Auction, Canadian Art, and common signifiers. Her studio practice favors accessibil- C Magazine, among others. She was the 2010 Editorial ity and moves between mediums. Beck is a Saskatche- Resident at Canadian Art, and holds an MFA in Criticism wan artist currently based in Toronto. She has won var- and Curatorial Practice from OCAD University. ious awards, including the Canada Council for the Art’s Joseph S. Stauffer Prize. She was featured at Toronto Untitled (It’s almost a one-liner) by Sarah Beck and City Hall’s Museum for the End of the World during Nuit Shlomi Greenspan was on view at The New Gallery’s Blanche 2012, and at the 2010 Winter Olympic Cultural Main Space (208 Centre St SE) from November 21 to Olympiad. Beck completed her Interdisciplinary Master’s December 20, 2014. of Art, Media & Design at the Ontario College of Art and Design University’s (OCADU) in 2010. In 2014 Beck was the first Artist in Residence at the International Space University. Shlomi Greenspan is an Israeli artist, currently living and working in Toronto. He studied at the Avni Institute of Art and Design in Tel Aviv and at OCAD University where he received his BFA. Greenspanʼs practice is multidis- ciplinary, with an emphasis on painting, animation and video installation. His work interfaces elements of time, narrative and storytelling to explore the various ways in- formation technologies and mechanical devices mediate and distort the perception of time and space. By calling attention to certain patterns, cycles and unfolding mo- ments inherent in every day life, Greenspan examines the ambivalence and mutability of lived experience in the 21st century. Greenspan’s work is currently featured in Urban Fabric, an exhibition curated by Deborah Wang at the Textile Museum of Canada. Sky Goodden is the founding editor of a new online art publication titled MOMUS, which promotes international art writing and journalism, and stresses a return to art criticism. She was the executive editor of BLOUIN ART- PAGE FIVE Untitled (It’s almost a one-liner) is a multi-media installation that explores the ambiguity of a performance about to begin via an empty stage. Bearing the signifiers of a comedy club, the viewer is left to work out whether a show is about to begin. Here, comedic material becomes the material of the artwork. The installation cultivates expectations and then subverts them; waiting for a punchline is, in fact, the punchline of the work. THE QUESTIO PAGE NINE An old adage says brevity contains the soul of wit, but forgets the palimpsest that steadies it, and provides its N WE ASK WH punchline. A long-strung joke regarding modern and contemporary art confirms this (“my kid could do that”), but the biggest laugh’s still had by those who know art’s history. Art is a succession of attempts and redresses. EN WE JOKE / It’s a medium that only becomes something once it’s complete, and upon its recognition, goes negated: the Renaissance painters finally mastered realism only to be undone by Mannerism; Romanticism loosened the pic- SKY GOODDE ture plane that Neoclassicism roped-in; history painting found a thread that Modernism unspooled; and so it’s gone. Until recently. The joke, now, is harder to locate. It’s woven in and threaded out in such succession that N we don’t trust what’s made sincere, or laugh at some- thing stupid. “What does it mean?” has become the best joke of all. Sarah Beck and Shlomi Greenspan are having fun with our confusion. Untitled (It’s almost a one-liner) recalls the risk-taking and self-effacing stand-up of Andy Kaufman, and marries it with our renewed investment in perfor- mance and installation art (think The Artist Is Present, Marina Abramović’s self-serious MoMA “event”; or the omnipresent darling, Tino Seghal, whose vapid action is all there is to hold). Punching their weight on a well-lit stage, Beck and Greenspan perform a joke that’s made better for its build-up, and a delivery formed by absence. A recording device and mic sit on a stool, the word “ONE” reflected on its surface. A merrymaking comedian issues the first of many recordings, inviting his agent (the ever-absent “Bernstein”) to see his show. It beeps and another message goes issued (“just following up about those tables and those drinks”), and seven voicemails PAGE ELEVEN succeed. Again and again, the absent comic tries to seat his singular audience, but never lands him. In an unmoving frame, Beck and Greenspan deliver their joke: what would it add if the artist was present? When does absence become fame? As with Andy Warhol, Bruce Nauman, and the chimeric Sophie Calle, Untitled (It’s almost a one-liner) performs a joke-as-commentary on the increasingly ephemeral matter of an artist’s presence and aura. With nothing active but the narrative of missing action, we’re made to query what it is we’re hoping to see. What would art look like, now, were it to present itself? How would it manifest, nevermind the thing it resists? Maybe that joke about Salvador Dalí walking into a fish and order- ing a pint of stamps (and the barman saying, “Why the bicycle wheel?”) utters something true. What is missing, and, moreover, would we know it to see it? I think of an Ad Reinhart cartoon: “An abstract painting will react to you if you react to it. You get from it what you bring to it. It will meet you half way but no further. It is alive if you are. It represents something and so do you. YOU, SIR, ARE A SPACE, TOO.” The text lies over a dead man, his eyes marked with an X. As with so much contemporary art, the punchline lands with a chill. We’re looking for mean- ing in a body that’s missing. “What does it mean?” has be- come the best joke of all. “UNTITLED (IT’S ALMOST A ONE-LINER)” by Sarah Beck Shlomi Greenspan The New Gallery 208 Centre St SE Calgary, AB T2G 2B6 +1 403 233 2399 thenewgallery.org/ Copyright © 2014 18. 19. ANSWERING MACHINE beeps and all recorded messages (Cont’d) play. ROGER ROGER Jerry, Roger, listen. Is there a guest Hey Jerry, Itʼs Roger. Just wanted to list for tonight? Thereʼs this agent. thank you for setting up tonightʼs Paul Bernstein. Heʼs kind of a big gig. You wonʼt regret it. My new mate- deal. Thanks man. Call me. rial is killer. Hope youʼre well man. 20. 21. (Cont’d) (Cont’d) ROGER ROGER Big J, Roger again. Went ahead and Yo, Roge the Dodge givinʼ you a shout. told Bernstein heʼs on the guest list. Just following up about that table and Promised him a front row table and those drinks for Bernstein. Thanks some comped drinks. Iʼm thinking Iʼll Jerry, call me when you get this. pay and we can just keep that between us, hey buddy? Call me, Jer. 23. (Cont’d) ROGER Jer-Bear! Itʼs Roger. Havenʼt heard back from you, so Iʼm on my way to the club now. Gonna leave my credit card with you for Bernsteinʼs tab. The car honks and ROGER yells out the window at the car ahead of him. Pick it up clown! Back into the phone: Anyway, call me back-- Sound of squealing tires, a car crash. ROGER be- comes very serious. Jerry, gotta straighten this out. To the car ahead of him: You bonked me, bozo! 24. 25. (Cont’d) (Cont’d) ROGER ROGER Jerry, itʼs Roger. Down at the sta- Jerry. Listen, this accident thing is tion. Rear-ended that clownʼs Prius. taking longer than I thought. Theyʼre You know how those guys are. A bunch acting like itʼs really serious, but of ’em poured out, grabbing their Iʼll work it out. Iʼm running a bit necks. Whining about injuries and in- late and this is the only call theyʼre surance. Theyʼre making a big deal letting me make. Iʼd be really grate- about it, but donʼt worry, Iʼll be ful if you sort out that stuff for out of here and early for the show... Bernstein. Still got to make sure we work out the Bernstein thing. In the background, a stern voice: COP Wrap it up! ROGER See you tonight man -- my setʼll knock ’em dead! 27. RACHEL Jerry, itʼs Rachel. Turn on the news! They arrested some guy who slammed into a car full of clowns. Heʼs screaming “Bernstein! Bernstein!” There are bloody clowns everywhere. One of them is dead. Itʼs like perfor- mance art or something. The ANSWERING MACHINE beeps one last time and au- tomatically rewinds to the beginning..
Load more

Recommended publications
  • Unobtainium-Vol-1.Pdf
    Unobtainium [noun] - that which cannot be obtained through the usual channels of commerce Boo-Hooray is proud to present Unobtainium, Vol. 1. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We invite you to our space in Manhattan’s Chinatown, where we encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections by appointment or chance. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Please contact us for complete inventories for any and all collections. The Flash, 5 Issues Charles Gatewood, ed. New York and Woodstock: The Flash, 1976-1979. Sizes vary slightly, all at or under 11 ¼ x 16 in. folio. Unpaginated. Each issue in very good condition, minor edgewear. Issues include Vol. 1 no. 1 [not numbered], Vol. 1 no. 4 [not numbered], Vol. 1 Issue 5, Vol. 2 no. 1. and Vol. 2 no. 2. Five issues of underground photographer and artist Charles Gatewood’s irregularly published photography paper. Issues feature work by the Lower East Side counterculture crowd Gatewood associated with, including George W. Gardner, Elaine Mayes, Ramon Muxter, Marcia Resnick, Toby Old, tattooist Spider Webb, author Marco Vassi, and more.
    [Show full text]
  • Joe-Thinking Sideways Is Not Brought to You by Crawfish Boxing. Instead, It Is Supported by the Generous Contributions of People Like You, Our Listeners, on Patreon
    Joe-Thinking Sideways is not brought to you by crawfish boxing. Instead, it is supported by the generous contributions of people like you, our listeners, on Patreon. Visit patreon dot com slash thinking sideways to learn more. [Intro] Steve-Why, hey there! And welcome again to another episode of Thinking Sideways. As always, I'm Steve, joined, of course, by... Devin-Devin... J-And Joe. S-And once again, we've got a mystery. D-What? J-Uh huh. S-Yeah. We do. J-It's a pretty scary one, too. S-It, well, no it isn't, but you know what the thing is? I had so much fun last week, or not last week, last time that I hosted doing a wrestling episode, that I decided we'd do another one. D-It seems like it's been a million years since that, we did that episode. S-It really does. D-Yeah. S-Cause in our world, it's been a month. D-At least, at least. J-Uh huh. D and S-Yeah. J-Three weeks. S-Ok, well we're not actually going to do a wrestling story. D-Well, a little bit. S-Kinda. It's kind of, kind of a wrestling story. D-Yeah. S-We are, this week, for anyone for who, as Devin would say, didn't read the episode title, going to be talking about Mr. Andy Kaufman. J-Yeah. S-And you might say, “Well, why?” Well, the mystery is is Andy Kaufman really dead or not? D-Dun dun dun! S-Cause he's one of those people who has had sightings of him for years.
    [Show full text]
  • APPEAL US Don't Know! Conference on Artistic Research - 2021-10-02
    APPEAL US www.open-frames.net/appeal_us don't know! conference on artistic research - 2021-10-02 15 principles of Black Market International, Michaël La Chance 2 ou 3 chose que je sais d'elle, Jean-Luc Godard 30 minuten, Arjen Ederveen 55 stars, tattooman 56 stars, tattooman 8 1/2, Federico Fellini A Buttle of Coca-Cola, Interview with John Cage A la recherche du temps perdu, Marcel Proust A Voice And Nothing More, Mladen Dolar Accuracy & Aesthetics, Deborah MacPherson Ademkristal, Paul Celan Against Method, Paul Feyerabend Aliens & Anorexia, Chris Kraus All Movies, by Toni Queeckers ALTERMODERN, Nicolas Bourriaud An Anthology of Optimism, Peter de Buysser & Jacob Wren Apparatus for the Distillation of Vague Intuitions, Eve Andree Laramee APPEAL US , all contributors Apur Sansar, Satyajit Ray Arm en Rijk , prof. Davis S. Landes At Land, Maya Deren Bin Jip / 3-Iron (movie), Kim Ki-duk Black Mass, John Gray Body Pressure, Bruce Nauman (1974) Calimero, C in China Call of Cthulhu, HP Lovecraft Canopus in Argos : Archives, Doris Lessing Case Study Homes, Peter Bialobrzeski Catalogue of Strategies, Mieke Gerritzen ea Cheap lecture, Jonathan Burrows Clara et la pénombre , José Carlos Somoza Cornered (1988) , Adrian Piper De man zonder eigenschappen, Robert Musil De Princes Op De Erwt, Hans Christian Andersen Dear Wendy, Thomas Vinterberg / Lars von Trier Decreation, William Forsythe / Anne Carson Deep Democracy of Open Forums, Arnold Mindell Der Mann Ohne Eigenschaften, Robert Musil Der Spiegel im Spiegel, Michael Ende DIAL H–I–S–T–0–R–Y (1997), Johan Grimonprez Die Gesellschaft der Gesellschaft (2 vols), Niklas Luhmann Disfigured Study, Meg Stuart APPEAL US - http://www.open-frames.net/appeal_us_II/ - Page 1/4 Dodes'kaden ( 1970), Akira Kurosawa Don't Stop Me Now, Queens Don't Stop Me Now , Worldclock Environmental Health Clinic, Natalie Jeremijenko Erotism: Death and Sensuality, Georges Bataille Espèces d'espaces, Georges Perec Flight of the Conchords, HBO series Francis Alys (Contemporary Artists), Francis Alys Franny and Zooey, J.D.
    [Show full text]
  • Vincent Honoré, Dora García: Interview 17.02.2009
    VINCENT HONORÉ, DORA GARCÍA: INTERVIEW 17.02.2009 Vincent Honoré: I wanted to ask about the main background of the exhibition at galerie Michel Rein, its points of departure. Dora García: … In 2008, I realized a series of performances, heirs of The Beggar’s Opera of 2007 in Münster Sculpture Projects1, where the main focus was on the very delicate equilibrium and fine tuning that must exist between an author and his/her public, between an actor and his/her audience, and between an artist and his/her spectators. This issue had been addressed in works such as The Sphinx, Letters to Other Planets, and The Messenger2, but now, after The Beggar, it was ready to assume a greater narrative weight. A very clear and permanent model has always been Dan Graham’s performance performer/audience/mirror (1977)3… VH: Why this work by Dan Graham? DG: This work has always haunted me, meaning different things as time passed by. Right now, two things in it are especially important for me: the notion of real-time narrative (to describe an action as it is happening, with description and action mutually unsettling each other) and the idea of making the audience the object of the work, not the recipient. There is nothing more than artist and audience (art object is therefore eliminated). A third thing, too: the artist forces the audience to abandon the position of spectator through sheer embarrassment… VH: Often, to start with, your work is rooted in extensive research, an archaeology of its context, an investigation of the situation the work will address, or where it will be realised.
    [Show full text]
  • Services Combine Open Houses
    HAWAII Voluntary MARINE payment for delivery to MCAS housing/$i per four week period. VOL. 1 1. NO. 19 KANEOHE BAY, HAWAII. MAY 12, 1982 .1'WEINTY t :-; Medical guidelines established for Agent Orange examinations HQMC - Vietnam veterans on adversely effect the skin, and Procedures active duty who for the special are concerned possibly the liver and nervous medical exam were recently about possible exposure to system. In animal studies, the outlined in a Herbicide (Agent) memorandum from Orange can herbicide acted in some cases as a the Assistant Secretary of Defense now more easily take a special promoter or of cancer and for Health Affairs. medical exam and Marines be included in congenital defects. To date, these should contact the local medical the Veterans Administration effects have not been confirmed Agent in facility for the exam and Orange Registry. humans. information about the Registry. The herbicide was used as a defoliant to improve visibility in Administration dense jungles and to deny cover forms new office and crops to the enemy. Used The Veterans Administration has formed a new office to deal extensively in Vietnam from 1965- exclusively with matters involving Agent Orange, and its possible effects 70, the herbicidewas believed to be on Vietnam veterans. Agent Orange was a herbicide used in Vietnam to harmless to humans. In acute kill unwanted vegetation and to defoliate trees which otherwise would doses, such as a result of an have provided cover from which the enemy could attack American industrial manufacturing personnel. The VA is leading the way in resolving the Agent Orange accident, the herbicide can question through medical and scientific research projects.
    [Show full text]
  • The Unbelievable Andy Kaufman E Book Free Download for Mobile TID:Veiqja
    %K6nM@ - Free Download Is This Guy For Real?: The Unbelievable Andy Kaufman e book free download for mobile TID:veiqja *** Multiple Devices Supported *** >>> Read or Download Now! >>> Read or Download Now! Hey all My name is Clara Mccarty and i'm here to express my opinions on this wonderful book written Is This Guy For Real?: The Unbelievable Andy Kaufman called Is This Guy For Real?: The Unbelievable Andy Kaufman. With a lot of fake Is This Guy For Real?: The Unbelievable Andy Kaufman reviews written on the internet lots of users find it troublesome looking for trusted information while browsing Google for 'where to download Is This Guy For Real?: The Unbelievable Andy Kaufman PDF free', or perhaps 'where to download Is This Guy For Real?: The Unbelievable Andy Kaufman torrent'. I understand that this has to be a difficult task when making a decision if one ought to buy Is This Guy For Real?: The Unbelievable Andy Kaufman ebook for ereader, or virtually any popular device in which the reader wants to read their digital books. Then again, by checking out this review internet users can be assured that Is This Guy For Real?: The Unbelievable Andy Kaufman is a great book as explained. Is This Guy for Real? (Paperback) | Chicago Public Library ... Why Would You Even Bring That Up? ... Box Browns new biography of Kaufman, Is This Guy For Real? The Unbelievable Andy Kaufman is careful ... Is This Guy For ... Process Party Episode 71 Box Brown! | Study Group Comic ... Is This Guy For Real? The Unbelievable Andy Kaufman.
    [Show full text]
  • Art & Architecture Design Cultural Studies
    ART & ARCHITECTURE DESIGN CULTURAL STUDIES NEW AND RECENT TITLES THE MIT PRESS Muriel Cooper David Reinfurt and Robert Wiesenberger Foreword by Lisa Strausfeld Afterword by Nicholas Negroponte Muriel Cooper (1925–1994) was the pioneering designer who created the iconic MIT Press colophon (or logo)— seven bars that represent the lowercase letters “mitp” as abstracted books on a shelf. She designed a modernist monument, the encyclopedic volume The Bauhaus (1969), and the graphically dazzling and controversial first edition of Learning from Las Vegas (1972). She used an offset press as an artistic tool, worked with a large-format Polaroid camera, and had an early vision of e-books. Cooper was the first design director of the MIT Press, the cofounder of the Vis- ible Language Workshop at MIT, and the first woman to be granted tenure at MIT’s Media Lab, where she developed software interfaces and taught a new generation of design- ers. She began her four-decade career at MIT by designing vibrant printed flyers for the Office of Publications; her final projects were digital. This lavishly illustrated volume documents Cooper’s career in abundant detail, with prints, sketches, book covers, posters, mechanicals, student projects, and photographs, from her work in design, teaching, and research at MIT. A humanist among scientists, Cooper embraced dynamism, simultaneity, transparency, and expressiveness across all the media she worked in. More than two decades after her career came to a premature end, Muriel Cooper’s legacy is still unfolding. This beautiful slip-cased volume, designed by Yasuyo Iguchi, looks back at a body of work that is as contemporary now as it was when Cooper was experimenting with IBM Selectric typewriters.
    [Show full text]
  • Course Schedule
    Printed on: Apr 8, 2020 at 1:54 PM Course Schedule Undergraduate : Spring 2016 : Art and Technology Course Schedule AT-100-01 Introduction to Art and Technology Credits: 3 Lasse Scherffig Tu Th 9:00AM - 11:45AM Room: 25 This course is an introduction to the practices and theoretical approaches used to produce the content and structure of art and technology; the relations between space, place and identity, as well as the ways in which these relations and their practices are produced in a range of media. Students explore the forces that shape the authority of technology in society from concepts of identity, democracy, and privacy, to the impact of technology on entertainment, economics and politics. Student projects include creative and critical project-based forms of practice completed at staged skill and conceptual levels of a gradually increased complexity. FALL ONLY. Prerequisite: none Satisfies: Introduction to Art &Technology I, Art &Technology Elective, Studio Elective, Media Breadth AT-109-01 Concepts and Tools for Artful Apps Intervention With Everyday Things Credits: 3 Chris Kubick M W 4:15PM - 7:00PM Room: 25 M W 4:15PM - 7:00PM Room: DMS2 As smartphones and tablets have become ubiquitous, these portable, location-aware, touch-screen multimedia devices and their applications are changing the way we consume, create, explore, and experience art. What's more, these apps are changing the way we live, by accelerating social interaction, challenging accepted notions of public vs. private space, informing and enabling political activism, and giving us new means to document and share our lives. As these new ways of life become more and more mundane, artists step into the breach, asking us to re-imagine the possibilities presented by these digital devices and their apps.
    [Show full text]
  • “Is This S**T for Real?” Adorno, Benjamin, and Anti-Comedy Dennis Golin
    “Is This S**t For Real?” Adorno, Benjamin, and Anti-Comedy Dennis Golin German cultural theorists Walter Benjamin and Teodore Adorno were outspoken in lamenting the industrially-churned sameness produced by the culture industry, yet both men also saw the power of truly authentic work to deliver moments of introspection (or, as is often the case in modern art, to highlight the absence of them). Te visual technologies of the twentieth century have the power to lull us into submission, but also to politically energize mass audiences through propagating absurdity, imperfection, and confrontation. According to Benjamin’s theories, flm may even have the power to form a window into the unconscious. Te philosophy sustained and elucidated by these two men has had a profound infuence on modern American comedy, particularly in the work of comedians Tim Heidecker and Eric Wareheim. Troughout their oeuvre of surreal comedy sketches, Tim and Eric take up the complex themes of alienation, greed, inadequacy, and a Freudian obsession with paternity (and by extension patriarchy), and feed them roughly through the meat grinder of lowbrow comedy. Te result embraces the derivative, the faulty, and the profane, creating authenticity by pointing out the hopelessness in trying to achieve it. In the process, their comedy expands our sensibilities and sensory vocabularies, challenges our relationships to reality, and redefnes the scope of artistic expression. Dennis Golin is pursuing his Master's Degree in Media, Culture, and Communications at New York University. A lifelong resident of the Washington Heights neighborhood of Manhattan, his research interests include alternative comedy, Public Access Television, the Cold War, and social media manipulation.
    [Show full text]
  • Make-Believe : Parafiction and Plausibility Author(S): Carrie Lambert-Beatty Source: October, Vol
    Make-Believe : Parafiction and Plausibility Author(s): Carrie Lambert-Beatty Source: October, Vol. 129 (Summer, 2009), pp. 51-84 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/40368563 Accessed: 24-07-2017 15:53 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October This content downloaded from 146.96.128.36 on Mon, 24 Jul 2017 15:53:08 UTC All use subject to http://about.jstor.org/terms Make-Believe: Parafiction and Plausibility* CARRIE LAMBERT-BEATTY There is no steady unretracing progress in this life; we do not advance through fixed gradations, and at the last one pause: through infancy 's unconscious spell, boyhood's thoughtless faith, adolescence, doubt (the common doom), then skepticism, then disbelief resting at last in manhood's pondering repose of If But once again gone through, we trace the round again; and are infants, boys, and men, and Ifs eter- nally. Where lies the final harbor, whence we unmoor no more? - Herman Melville l Istanbul, 2005 When the artist Michael Blum arrived in Istanbul to prepare for that city's Ninth International Biennial, he discovered that the apartment building that had been home in the early twentieth century to the teacher, translator, communist, and feminist Safiye Behar was slated for demolition.
    [Show full text]
  • Dead Peasant Stories by Lisa Baldissera CONTENTS
    Dead Peasant Stories by Lisa Baldissera CONTENTS 1 Weepers I/Curator 1 2 The Unionists and the Three-Comma Club 13 3 Relationship Manager 37 4 Multiples 43 5 Weepers II/Guard 55 6 The Glacier and the Suffragette 65 7 RUArt is looking for Gallery Interns! 75 8 Archivist 81 9 Ghost Writer 87 10 Weepers III/Soldier 97 11 Dead Peasant 115 12 Letter from Free Port (After the Art World) 147 Sometimes “here” has no walls. There are some pieces of corrugated cardboard, a square of tarp and a sleeping bag, a deck of cards for solitaire. Or, following the movement of thinking, a woman escapes the confinement of identity, moving into the open of language as it discovers her. The most temporary membranes serve as shelter, and the city is a density of desire. Amidst this flux speak- ing begins, makes its tenuous continuities near and in spite of the accreted institutions that com- pel anyone to obey, violate and buy, to be placed on identity’s grid. —Lisa Robertson 1 Weepers I/ Curator Dead Peasant he weeping started at conferences. When asked T to speak about my work, my eyes began to water. I thought about the unpaid wages. I thought about the free labour. I thought about what it had been like to be an unfunded doctoral student for six years. The terrorization of poverty. Three people had been killed on the street in front of my student apartment on Hackney Road. The buses had driven around their bodies in large arcs; people were impa- tient with the obstruction.
    [Show full text]
  • San Francisco Cinematheque Program Notes
    San Francisco Cinematheque Program Notes 1997 From the collection of the n z m o Prelinger v .Library t p San Francisco, California 2007 San Francisco Cinematheque 1997 Program Notes San Francisco Cinematheque 480 Potrero Avenue San Francisco, California 94110 Telephone: 415 558 8129 Facsimile: 415 558 0455 Email: [email protected] www.sfcinematheque.org San Francisco Cinematheque Director Steve Anker Associate Director Joel Shepard Associate Director/ Curator Irina Leimbacher Interim Managing Director Elise Hurwitz Program Note Book Producer Targol Mesbah Program Note Editors/ Coordinators Jeff Lambert Irina Leimbacher Steve Polta Smith Patrick Board of Directors Stefan Ferreira Oliver Marina McDougall Kerri Condron Sandra Peters Linda Gibson Julia Segrove-Jaurigui Elise Hurwitz Laura Takeshita Wendy Levy Program Co-Sponsers Castro Theatre San Francisco International Gay and Cine Accion Lesbian Film Festival National Asian American San Francisco International Film Telecommunications Association Festival (NAATA) San Francisco Museum of Modern Art New Langton Arts The Spiros Vyronis Center for the Pacific Film Archive Study of Hellenism Proyecto Contrasido por Vida Temenos, Inc. Roxie Theatre Verba Buena Center for the Arts San Francisco Art Institute Guest Curators and Co-Curators Robert Beavers Eduardo Morell and Mark Wilson Bruce Cooper Bruce and Amanda Posner Kathy Geritz Charlotte Pryce Jerome Hiler Janelle Rodriguez Ed Jones Daniel Schott and Charles Lofton Wendy Levy and Jay Rosenblatt Jerry Tartaglia Aline Mare Timoleon Wilkins
    [Show full text]