Drawn!

Drawn! is a collaborative weblog for illustrators, artists, cartoonists, and anyone who likes to draw. Visit us daily for a dose of links and creative inspiration.
http://drawn.ca/

special fx

Puppy Star Trek was created in 1989 by Gene Doggenberry. It ran for three years and 24 episodes, spawning a feature-length motion picture in 1991.

http://video.google.com/videoplay

============

thanx to the dad

Trent Parke - amsterdam

Trent Parke - Coming Soon & Minutes to Midnight
20 oktober t/m 10 december 2006
http://www.foam.nl/index.php

Trent Parke (1971), de eerste Australiër die lid is geworden van het gerenommeerde agentschap Magnum Photos, wordt beschouwd als een van de meest vernieuwende fotografen van zijn generatie. Parke is vooral bekend geworden door zijn fascinerende zwart-wit fotografie waarin het spel van licht en schaduw en de spanning tussen realiteit en droom een opvallend kenmerk is. Naast werk uit de zwart-wit serie ‘Minutes to Midnight’ toont Foam_Fotografiemuseum Amsterdam als eerste plek in Europa zijn meest recente serie ‘Coming Soon’ uit 2005/2006. Voor deze serie werkte Trent Parke voor het eerst in kleur. Zijn keuze voor kleur viel samen met de start van een groot en ambitieus project waarin Trent Parke zich concentreert op de stedelijke omgeving van Australië. De getoonde foto’s zijn monumentaal van schaal en bezitten de van Parke bekende harde contrasten en de bijzondere spanning tussen echt en onecht. De tentoonstelling biedt een uitgelezen mogelijkheid om te zien hoe Trente Parke nu ook in kleur reageert op de wereld om hem heen.

In zijn zwart-wit fotografie probeert Trent Parke altijd een verhouding te vinden tot de emotie van de tijd waarin hij leeft, in het bijzonder die van zijn vaderland Australië. Nu Trent Parke de overstap heeft gemaakt naar kleur is dit niet wezenlijk veranderd. Ook in zijn meest recente kleurenwerk reageert hij op het hedendaagse Australië, in het bijzonder op de uiterlijke verschijningsvorm van de grootste Australische steden en de snelle verstedelijking van de Australische kustlijn. En alles daar is GROOT. Grote straten, grote luchten, grote tekens, grote lichten, een groot land. Hoewel Parke zich richt op het unieke karakter van elke stad, gaat zijn belangstelling het meest uit naar hoe iedereen gewoon zijn leven leidt in een omgeving die voortdurend verandert en in hoge mate bepaald wordt door platte commercie. Spiegelend glas, staal, wolkenkrabbers, reepjes hardblauwe lucht, mensenmassa’s en reclame komen samen in een visuele haiku van het grootstedelijke leven. Trent Parke maakt fotografische beelden die zo perfect zijn dat ze de indruk wekken geënsceneerd te zijn, als in een gladde advertentiecampagne. In zijn werk vervagen de grenzen tussen de echte wereld en de kunstmatige. Waar reclame een zogenaamde ‘echte’ wereld probeert te creëren, daar doet Trent Parke precies het omgekeerde. Hij neemt de echte wereld als uitgangspunt en biedt het allemaal te koop aan. Zoals Parke ons toont heeft tegenwoordig alles een prijs, is alles te koop.Trent Parke’s recente werk in kleur wordt in de tentoonstelling gecombineerd met een selectie uit zijn bekroonde project Minutes to Midnight, geschoten in kenmerkend zwart-wit. Voor deze serie reisde Parke twee jaar door Australië. Doel van het project was het geven van een beeld van “the current and changing state of the Australian nation’. Terwijl hij de stemming van dit nog steeds jonge en opkomende land probeert te vatten, speelt Parke met de spanning tussen het beeld van de Australische manier van leven en de veel complexere realiteit. Werkend als een fotojournalist gedurende de eerste jaren van zijn loopbaan ontving Trent Parke talloze nationale en internationale prijzen, waaronder vijf Gouden Lenzen van het Internationaal Olympisch Comité en World Press Photo Awards in 1999, 2000 en in 2005. Parke’s Dream/Life & Beyond (2001) toonde een stad ogenschijnlijk bewoond door geesten en bepaald door mythes. Zijn boek, Dream/Life, ontving de tweede prijs bij de American Picture of the Year Awards for Photography books in 2000. In 2003 ontving Parke de prestigieuze W. Eugene Smith Grant in Humanistic Photography voor zijn project Minutes to Midnight.Met dank aan Stills Gallery, Paddington, Australie en Magnum Photos.

http://www.foam.nl/index.php?pageId=342

October Subject Index

September Subject Index

amsterdam
jong talent 2006
veemvloer - Amsterdam
SMART Project Space
De Veemvloer
de Appel
expat expo - amsterdam
GORGE (I) - Antwerp

film
CIG Productions
south park
Anto Skene
stencil music video
Alabama Man!
Sinterklaas Rap

the0ry & criticism
squatter art scene in Paris
misogyny
Art, Women, and Power
negative names for women

res0urces
Cuban Posters
The Moving Image Gateway
Posters from the WPA
Rock 'n' Roll posters

street art/urban painting/graffiti
Art Chantry
digital spray can
bitchfest
Art in Public Space - Groningen
Amsterdam Graffiti videos
anarchy in art
happy - melbourne
Invader - skateboards
zevs performance - Paris
My Streets My City - Amsterdam
bunnies - munich
Knitta
Jeremy Fish - Amsterdam
Kroonjuwelen - Amsterdam.

australia
Australian Comics
Swap Meat - Sydney/ Melbourne

aliens

Q. what do you get when you cross a Klingon with a Ferengi?

A. Not sure but there's a lot of them in Amsterdam

If you are not spitting ... you are not speaking it right http://video.google.com/videoplay?docid=1463772525462080448&q=star+trek




http://www.garmentdistrict.com/store/popculture/startrek/index_startrek.htm




The homeworld of the Ferengi species is Ferenginar. The Ferengi have a culture which is based entirely upon commerce. They follow a code of conduct known as "The Ferengi Rules of Acquisition." These rules ordain conduct such as "Never place family before business." Reportedly these rules are subject to interpretation depending upon the situation. Plea bargaining is a legal tradition, as is the purchasing of an apprenticeship following the Attainment Ceremony. There is no distinction between business and pleasure in Ferengi culture. Money is expected to accompany every interchange of life, even private visits to family and friends' homes and government business.

Ferengi females have smaller lobes then males and are not permitted to go out in public, hold jobs, wear clothing or particpate in trade or commerce. They are also forbidden to travel. A woman talking to a stranger is considered an insult; a clothed one is cause to shield or avert one's eyes.

http://en.wikipedia.org/wiki/Rules_of_Acquisition
{285 rules}

1. Once you have their money, never give it back
2. The best deal is the one that makes the most profit
3. Never spend more for an acquisition than you have to
4. A woman wearing clothes is like a man in the kitchen
5. If you can't break a contract, bend it
6. Never let family stand in the way of opportunity
7. Always keep your ears open
8. Small print leads to large risk
9. Instinct plus opportunity equals profit
10. Greed is eternal

The guy who invented the Ferengi had to have been living in Amsterdam...

http://video.google.com/videoplay

Sinterklaas Rap

This is a parody on the dutch Sinterklaas from the stand up comedian boom chicago bar in Amsterdam, the Netherlands.... (more)

CIG Productions

The first part of the claymation series Kampf Claydolf, in which Claydolf Hitler tries to get a special edition of Mein Kampf which got stolen.


ET pulls a bong: The second part of the claymation series Kampf Claydolf.


A very special Christmas edition of the claymation series Kampf Claydolf.

http://www.claymations.net/

squatter art scene in Paris

United Kingdom - The Guardian
The squatter art scene in Paris
http://arts.guardian.co.uk/features/story/0,,1931582,00.html

The journalist Angelique Chrisafis responds to the recent eviction of artists from 'Le Barbizon', an early 20th century cinema converted into an artist's squat since 2003, "Like a dozen other illegal arts venues in Paris - empty factories, warehouses and parcel depots invaded and reclaimed by artists, designers and film-makers who can't afford the city's studio rents - 'Le Barbizon' was a fixture on the local arts scene. ...The raid on Le Barbizon and the threat of a string of other police evictions of squats artisques has panicked culture officials at Paris's city hall, who believe the capital's long tradition of squats and illegally occupied buildings are crucial to breathe life into its stultified arts scene. So integral are squats to Paris's cultural infrastructure that four years ago the city hall paid 7m euros to buy and renovate the most conspicuous one, 59 rue de Rivoli, a former bank not far from the Louvre..." (27/10/2006)

Cuban Posters

180 political and cinema posters. An illustrated journey through Cuba’s history with works high in colour and vibrant with energy

CENTRE DE LA GRAVURE ET DE L'IMAGE IMPRIMÉE
Rue des Amours 10
B-7100 La Louvière
Belgium

INFORMATION:
Tél : +32(0) 64 27 87 27
E-mail : accueil@centredelagravure.be
Site: www.centredelagravure.be


The most memorable images of the island’s history and its regime appear on the country’s walls. Given the government’s determination to use posters as a tool in education and political propaganda, the street became the preferred location for communication. Contrary to what happened in other communist states, artists were granted the greatest artistic freedom of expression. Consequently we have the privilege of seeing images that are both aesthetically very emotional and truly convincing, in the cultural as well as in the political field. ICAIC (Cuban Institute for Art and the Cinematographic Industry, 1960) and OSPAAL (Organisation for the Solidarity between Asian, African and Latin American Peoples, 1966) produced most of the Cuban posters. Those on show are rare or unique examples, which adds to the historical and aesthetic value of the exhibition. They bear witness to the enormous cultural heritage of the island. Amongst the artists on show are Azcuy, Bachs, Morante, Ñiko, Reboiro, Rostgaard… The 180 posters exhibited here all come from José Lambert’s collection, which currently numbers more than 700 pieces. These are original silkscreen prints, whereas most current posters are reprints published to keep the legendary image of Cuban cinema alive.

The revolutionary posters
In 1959, the actors of the Cuban revolution wanted to reach out to the population: the masses were to be mobilised and slogans carried in the street. Oil paintings – aside from their bourgeois character - could not be quickly reproduced. Posters on the other hand, far from all elitist culture, appeared to be better adapted as a means of expression. They allowed for wide distribution on the walls of the city and their design evolved freely according to the changing political messages. Fidel Castro had a strong and positive interest in the political and cultural posters that served to promote the revolution. In 1960, El Comandante declared the right of intellectuals, artists and scientists to fight for a better world through their work. All styles could be used, all themes could be treated ...as long as the Revolution was not criticized.

http://www.centredelagravure.be/code/en/expo_actu3.asp

Cuban Posters
<1960>
from 16 September to 17 December 2006

On loan from a private collection, all 160 of the Cuban posters dating from between 1960 and 2000 bear witness to the enormous cultural heritage of the island.

<<< ©The AD Store-Bruxelles The exhibition will be accompanied by a booklet edited by the Centre de la Gravure. >> Details

http://www.lalibre.be/article.phtml?id=5&subid=106&art_id=309073

http://www.humanite.presse.fr/journal/2001-05-28/2001-05-28-244926

Art Chantry

Interview with Art Chantry in St. Louis fall 2005.

http://www.philipsleingallery.com

http://www.artchantry.com/

Rotodesign interview May 31, 1998.
http://www.rotodesign.com/art/art.html

http://www.logolounge.com/

Yeah, it's kind of weird, that collector mentality pisses me off. At Estrus we spend a lot of time trying to fuck with collectors' heads. We do things that are designed to break the hearts of collectors.

Well, for instance, there's a Galaxy Trio record, a 10-inch. Not that they have a big collector's market around that band, but we put a sticker on the cover, and you know, a lot of collectors can't stand stickers, you know, because it covers up part of the cover. We used a super-adhesive material, so you can't peel it off without ripping off the cover. So the cover doesn't exist without the sticker, and there's two versions of the sticker. So completists will want two versions, and they'll constantly be seeking that un-stickered version, which only exists in about ten copies, that are samples we got before the print job.

jong talent 2006

Een selectie van in 2006 afstuderende kunstenaars aan de 12 kunstacademies in Nederland. Naast deze virtuele presentatie organiseert ArtOlive in de Westergasfabriek in A'dam de expositie Jong Talent 2006 (van 14 t/m 17 september).

Op de openingsavond wordt de Kunstbeeld ArtOlive Award 2006 uitgereikt aan de meest veelbelovende afstudeerder van dit jaar. De 12 kunstacademies zijn: Gerrit Rietveld A'dam; KABK Den Haag; HKU Utrecht; Willem de Kooning R'dam; ArtEZ ABKVA Arnhem; AKV|St. Joost Breda/Den Bosch; ArtEZ AKI Enschede; Minerva Groningen; ArtEZ CABK Zwolle; ABV Tilburg; ABV A'dam & ABK Maastricht.

=====
an exhibition of selected graduates from the 12 art academies named

digital spray can

an automatic graffiti machine

28. August until 3 October 2004
link
IF ROBOT DRAWING
In the frontier of humans and machine
An exhibition of the institute for digital culture IDK, Solothurn, in co-operation with the Migros Kulturprozent and the art museum Solothurn

http://www.kunstmuseum-so.ch/prog_00.html

Anto Skene

Faster download of 'Heaps Good'. Aussie Hip Hop and office supplies. Mix em together and you get this. Directed by Anto Skene... (more)

south park

It's easy




cartman

Art in Public Space - Groningen

The Medium Gallery organises an OPEN AIR exhibition:

'Who gives a f*ck about Art in Public Space!?'

Art in Public Space is always conducted by local governments, policies, permissions or even used as 'Decoration' for city-squares and parks.The Medium Gallery initiates an opportunity for artists to realize a work in public space without intermediation.

Interventions, performances, sculptures, happenings, conceptual works, paintings and/or adjustments in public space: An event exploring infliction and attention in public spaces.

the Medium Gallery
Menadostraat 37 B
9715 KW Groningen

http://www.mediumgallery.nl/index.php/content/view/48/40/

The Medium Gallery is an initiative of curators/artists Daniël Dennis de Wit and Wouter Sibum. It's a place where they give artists the opportunity to show their work in a unusual and non-conformistic environment. The Gallery is situated in a informal living environment; sometimes referred to as: "a house", therefore artists will have to deal with certain issues they mostly will not be confronted with showing their work in a 'standard' white cube.


*4 & 5 November, downtown Groningen heading on 'till the MediumGallery
(see http://openair.mediumgallery.nl in the near future for
specific locations)

A weekend long the MediumGallery will turn it's focus away from it's site-specific ''Gallery'' to show works in public space. A dozen artists where selected for their visions on the question of: "Who Gives a F*ck About Art in Public Space?!". Their works will be on show
in the citycenter of Groningen.

Een heel weekend lang zal de MediumGallery z'n specifieke ruimte verlaten om werken in de publieke ruimte te tonen. Zo'n tiental kunstenaars zijn naar aanleiding van de directe maar toch dringende vraag: "Who Gives a F*ck About Art in Public Space?!" geselecteerd
door de MediumGallery om hun visie op dit thema te tonen in de binnenstad van Groningen.

Alabama Man!

link

misogyny

Why Aren't We Shocked?

By Bob Herbert
Published: October 16, 2006 (NYT)
"Who needs a brain when you have these?"-- message on an Abercrombie & Fitch T-shirt for young women

In the recent shootings at an Amish schoolhouse in rural Pennsylvania and a large public high school in Colorado, the killers went out of their way to separate the girls from the boys, and then deliberately attacked only the girls.

Ten girls were shot and five killed at the Amish school. One girl was
killed and a number of others were molested in the Colorado attack.

In the widespread coverage that followed these crimes, very little was made of the fact that only girls were targeted. Imagine if a gunman had gone into a school, separated the kids up on the basis of race or religion, and then shot only the black kids. Or only the
white kids. Or only the Jews.

There would have been thunderous outrage. The country would have first recoiled in horror, and then mobilized in an effort to eradicate that kind of murderous bigotry. There would have been calls for action and reflection. And the attack would have been seen for
what it really was: a hate crime.

None of that occurred because these were just girls, and we have become so accustomed to living in a society saturated with misogyny that violence against females is more or less to be expected. Stories about the rape, murder and mutilation of women and girls are staples of the news, as familiar to us as weather forecasts. The startling aspect of the Pennsylvania attack was that this terrible thing happened at a school in Amish country, not that it happened to girls.

The disrespectful, degrading, contemptuous treatment of women is so pervasive and so mainstream that it has just about lost its ability to shock. Guys at sporting events and other public venues have shown no qualms about raising an insistent chant to nearby women to show their breasts. An ad for a major long-distance telephone carrier shows three apparently naked women holding a billing statement from a competitor. The text asks, "When was the last time you got screwed?"

An ad for Clinique moisturizing lotion shows a woman's face with the lotion spattered across it to simulate the climactic shot of a porn video.

We have a problem. Staggering amounts of violence are unleashed on women every day, and there is no escaping the fact that in the most sensational stories, large segments of the population are titillated by that violence. We've been watching the sexualized image of the murdered 6-year-old JonBenet Ramsey for 10 years. JonBenet is dead. Her mother is dead. And we're still watching the video of this poor child prancing in lipstick and high heels.

What have we learned since then? That there's big money to be made from thongs, spandex tops and sexy makeovers for little girls. In a misogynistic culture, it's never too early to drill into the minds of girls that what really matters is their appearance and their ability to please men sexually.

A girl or woman is sexually assaulted every couple of minutes or so in the U.S. The number of seriously battered wives and girlfriends is far beyond the ability of any agency to count. We're all implicated in this carnage because the relentless violence against women and girls is linked at its core to the wider society's casual willingness to dehumanize women and girls, to see them first and foremost as sexual vessels -- objects -- and never, ever as the equals of men.

"Once you dehumanize somebody, everything is possible," said Taina Bien-Aimé, executive director of the women's advocacy group Equality Now.

That was never clearer than in some of the extreme forms of pornography that have spread like nuclear waste across mainstream America. Forget the embarrassed, inhibited raincoat crowd of the old days. Now Mr. Solid Citizen can come home, log on to this $7 billion mega-industry and get his kicks watching real women being beaten and sexually assaulted on Web sites with names like "Ravished Bride" and "Rough Sex -- Where Whores Get Owned."

Then, of course, there's gangsta rap, and the video games where the players themselves get to maul and molest women, the rise of pimp culture (the Academy Award-winning song this year was "It's Hard Out Here for a Pimp"), and on and on.

You're deluded if you think this is all about fun and games. It's all part of a devastating continuum of misogyny that at its farthest extreme touches down in places like the one-room Amish schoolhouse in normally quiet Nickel Mines, Pa.

stencil music video

First single from Aussie maestros TZU. Wicked stencil inspired clip directed by Anto Skene.
http://www.youtube.com/watch?v=ViFHCbD0fLA

bitchfest

Catfight is an all female graffmagazine that shows
all aspects of graffiti. Since our foundation in 2005,
we aim to publish our magazine 4 times per year
to show you the best and most recent works.

http://www.catfightmagazine.com/



http://www.fotolog.com/lowlita


http://www.meggie.nl/




http://www.fotolog.com/bitchesincontrol

bio
http://www.mystreetsmycity.com/mystreetsmycity.html


============



http://www.fotolog.com/ephameron/


=========



bellebyrd
http://printaustralia.blogspot.com/2005/11/class-10a-australian-bred-bitch.html

Amsterdam Graffiti videos

galo




Amsterdam Graffiti




dutch masters

anarchy in art

street art is about subverting the dominant paradigm


image from wooster

happy - melbourne

http://www.flickr.com/photos/happyone/186916920/

http://www.flickr.com/photos/happyone/page2/

http://www.flickr.com/people/happyone/contacts/

SMART Project Space

Rosa Barba, François Bucher, Claire Harvey, Sung Hwan Kim, Katya Sander, Nicholas Spratt

SMART Project Space
Opening 21hrs October 21st
October 21st – November 18th, 2006

Intimate attitudes are gleaned from and woven into expansive ideas, becoming both a celebration of individual empowerment and a haunting ground for loneliness and isolation. Last Lives in the Universe reflects singular, finite relationships within the dynamics of power and communication.

The solitary or singular exists as a binary condition, defined in part by the broader context around it. Micro narratives provide portals by which we can peer into a complex world, citing incidents of global relevance as well as the immediate or personal repercussions. These singular attitudes serve to focus an awareness of embedded power and relationship dynamics, proposing that it is these interactions which provide a quantifiable measure of intent. An historic ambition of activism or revolution becomes manifest as a normalised state of being, a form of communication with its own peculiarities - questionable, romanticised or diffused. Here the multitude is recognised by the component parts within it – be they people, thoughts, or actions, they propose tangible realities that reflect the vast urgencies surrounding us.

SMART Project Space is kindly supported by the Mondriaan Foundation, Gemeente Amsterdam, Project BroedplaatsAmsterdam, Stichting Doen, Filmfonds, Prins Bernhard Cultuurfonds.
Last Lives in the Universe is further supported by the Danish Arts Agency.

Press information and press images please contact Tessa Giblin, acting Head of Exhibitions: tessa@smartprojectspace.net
Further information and updates visit: www.smartprojectspace.net

How to get here: www.smartprojectspace.net/info/location

Opening hours: Wednesday – Saturday, 12:00-18:00 hrs

SMART Project Space | Arie Biemondstraat 105-113 | NL-1054 PD Amsterdam

phone: +31 20 42 75951 | fax +31 20 247 59 53 | www.smartprojectspace.net
http://www.smartprojectspace.net/press/

De Veemvloer

De Veemvloer is an artists` space that exists already since 1993. Next to its role as a place of production, De Veemvloer functions now regularly as an exhibition space. Theme-based group exhibitions and collaborations with other organisations are accompanied by diverse events (incl. presentations, screenings, performances). De Veemvloer`s programming takes the cosmopolitain and dynamic character of Amsterdam as a starting point.
De Veemvloer functions as a laboratory and an exhibition space for contemporary art. It wil react both to the current developments and the local context of the neighborhood and the city of Amsterdam.
De Veemvloer is provided with 250 m2 of a multifunctional space; it is a raw warehouse with a view of the haven.

WE ARE HERE!
De Veemvloer
Van Diemenstraat 410
1013 CR Amsterdam
Open: woensdag t/m zaterdag
13 - 18 uur
zondag 14 - 17 uur

DE VEEMVLOER en Stichting ZET
presenteren lezing i.h.k.v. de tentoonstelling ATTITUDES

20 oktober 19.00 uur
- presentatie Majid Seddati, artistiek directeur FIAV,in gesprek met Theus Zwakhals, Nederlands Instituut voor Media Kunst-Montevideo/TBA; presentatie Anja Masling (NL/D), Jose Miquel Biscaya (NL/P), Teresa Borasino(NL/Ar) kunstenaars en deelnemers aan het FIAV 2006
In het Nederlands en het Frans

ATTITUDES
video-foto-installatie

My Streets My City - Amsterdam

EXHIBITION My Streets My City

Leave it to the Chiellerie to come up with an exhibition in which 20 artists are asked to give their view on the city they live in. I love this concept, especially because the work of the participating French, Dutch and Belgian artists can usually be found in the streets of those same cities. Yes, graffiti and street artists have yet again been giving an inside space to showcase their creativity.

Showing their skills will be Aleteia/ lAtlas / Babou / Bfree / Bitches In Control /Clyde Knowland / D-struct / Ephameron /Ewos / G / Havec / Mamacita / Niels Popkema / Sjoerd Bijlsma / Specio / Sunset / Superanus / Tunc / Teurk / Yaze. /

WHERE
Chiellerie
Raamgracht 58
020-3209448
http://www.chiellerie.nl/
WHEN
Until November 2
http://www.mystreetsmycity.com/mystreetsmycity.html

http://www.winston.nl/
http://www.blend.nl/

negative names for women

Date: Fri, 13 Oct 2006
From: Renee Turner
Subject: [-empyre-] Tactics and Strategies
http://www.subtle.net/empyre

"we have been archiving the negative names for women over several years (ranging from the virgin to the whore) and have turned them into a set of T-shirts sold in our webshop.
http://www.geuzen.org/current/geuzennamen/catalogus.htm

Our net stats show us that people often come to our site because they are searching for porn. (their keywords reveal them ;-) And oddly enough, they linger.

We actually get teenagers that email us because they want to add to our list of words, or they want to buy a T-shirt.

(sorry this project is in Dutch but hopefully you get the idea: "
http://www.geuzen.org/current/geuzennamen/


================
I get the idea alright, check out the advertising.

If you run the site through altavista you discover that the grey box contains a list of insulting names for women and you can vote for your favourite. This market research assists in determining inventory levels.

http://vote.sparklit.com/poll.spark/645771

=================

De Geuzen (a foundation for multi-visual research) is Riek Sijbring, Femke Snelting and Renee Turner. Collaborating since 1996, they have deployed a variety of strategies both on and offline to explore their interests in female identity, critical resistance, representation, and narrative archiving.

Their research-oriented works and DIY activities have been featured in Rhizome, Manifesta 3 (Slovenia) Mute and the Kuenstlerhaus Bremen (Germany).

Some of their most recent projects include,
a temporary conversion of a bridge-watcher's house into a news kiosk,
a workshop on future mobile media,
a Global Anxiety Monitor
(http://www.geuzen.org/anxiety/ )
and a Critical Browser (http://www.geuzen.org/browser/ )

While some of their projects are by commission,
many are self-initiated. For a general overview, see:
http://www.geuzen.org/

Australian Comics

Heroes & Villains: Australian Comics and their Creators
20 October 2006-25 February 2007
State Library of Victoria

Who was the Lone Avenger? What magic word gave Captain Atom his powers? Where did Molo the Mighty come from? And which masked crime-fighter was banned by the Queensland Government?

Heroes & Villains: Australian comics and their creators is a free exhibition at the State Library of Victoria that explores the colourful, and sometimes controversial, history of Australian comic books, from their wartime origins in the 1940s to the present day.

Heroes & Villains showcases hundreds of Australian comic books and rare examples of original artwork, plus toys and merchandise such as Phantom skull rings and Ginger Meggs statuettes. It will appeal to comic-book fans, nostalgia buffs and families alike.

Visitors to the exhibition will discover colourful characters that have entertained generations of Australians - costumed heroes like Captain Power and Dark Nebula, western gunslingers such as the Phantom Ranger and the Hooded Rider, and cheeky misfits like Da 'n' Dill and Fatty Finn.

The exhibition documents a wide range of comic-book genres, including crime, war and horror stories, tales of fantasy and science fiction. It highlights how Australian comics moved beyond the printed page to form the basis for radio serials, toys and merchandise, and even computer games.

The exhibition examines factors that influenced the development of Australian comics, such as competition from imported comic books, censorship, popular literature and the electronic media. It shows how Australian comic fans have expressed their passion and fostered a local comic-book culture through fanzines, comics conventions and online forums.

Heroes & Villains is curated by Kevin Patrick, an Australian comics expert, collector and devoted fan. Many of the items on display are drawn from Kevin’s own former collection, which he recently gifted to the State Library, and which includes nearly every Australian comic published from 1975 to 2005. Other exhibits are from the Library’s pre-existing collection and on loan from private collectors.
http://www.slv.vic.gov.au/programs/exhibitions/kmg/2006/heroes/heroes_villains.html

Art, Women, and Power

Jill Medvedow discusses the current wave of women artists and trends in the contemporary art world. Are women artists gaining power?

http://forum.wgbh.org/wgbh/forum.php?lecture_id=1014
Jill Medvedow, director, Institute of Contemporary Art, Boston

=========
Dont miss this lecture.

Posters from the WPA

The By the People, For the People: Posters from the WPA, 1936-1943

http://memory.loc.gov/ammem/wpaposters/wpahome.html
collection consists of 908 boldly colored and graphically diverse original posters produced from 1936 to 1943 as part of Franklin Delano Roosevelt's New Deal. Of the 2,000 WPA posters known to exist, the Library of Congress's collection of more than 900 is the largest. These striking silkscreen, lithograph, and woodcut posters were designed to publicize health and safety programs; cultural programs including art exhibitions, theatrical, and musical performances; travel and tourism; educational programs; and community activities in seventeen states and the District of Columbia. The posters were made possible by one of the first U.S. Government programs to support the arts and were added to the Library's holdings in the 1940s.

Rock 'n' Roll posters

http://www.sledbag.com/splooft/prints/rnrposters/rnrposters.html#

Invader - skateboards

http://www.mekanismskateboards.com/invader2.htm

After their collaboration in 2005, Mekanism and Invader joined forces again. This time Invader created three original and unique skateboards for Mekanism. Each deck is covered by a mosaic made of real tiles and is signed, titled, dated and comes with a certificate of authenticity signed by the artist.

zevs performance - Paris

http://www.mekanismskateboards.com/zevs_vdo.html

veemvloer - Amsterdam

ATTITUDES
video - installatie - foto

Abu Ali-Toni Serra (E/Ma), Brahim Bachiri ( Fr/Ma), Ineke Bakker (NL), Abdelghani Bibt ( Ma),
Mohamed Bouyzgarne ( NL/Ma), Wineke Gartz (NL), Maria Karim (Ma), Jeroen Kooijmans (NL), Malah E.M. (NL/Ma), Fatima Mazmouz ( Fr/Ma), Marjolijn v/d Meij-Arianne Olthaar (NL), Younes Rahmoun ( Ma) e.a.

Curator: Alite Thijsen

Opening donderdag 12/10, 18:30

In de tentoonstelling ATTITUDES staat de relatie tussen beeldvorming en identiteit ter discussie.

Ook worden videowerken getoond van studenten van de Ecole des Beaux Arts in Casablanca en
de resultaten ‘one minute video’ workshop tijdens het Festival International d’Art Video in Casablanca-FIAV.

Nevenactiviteiten:

-13 oktober om 19.00 uur - ronde tafelgesprek met de deelnemende kunstenaars

-14 oktober om 16.00 uur - lezing Fatima Mazmouz ( kunstenaar-kunsthistorica) en Laure Michon ( UvA- Instituut voor Migratie en Etnische studies)

-20 oktober 19.00 uur - presentatie Majid Seddati, artistiek directeur FIAV,in gesprek met Theus Zwakhals, Nederlands Instituut voor Media Kunst-Montevideo/TBA; presentatie Anja Masling (NL/D), Jose Miquel Biscaya (NL/P), Teresa Borasino( NL/ Ar) kunstenaars en deelnemers aan het FIAV 2006

-29 oktober om 16.00 uur - lezing Mohamed Rachdi (Fr/Ma), kunstenaar. kunsthistoricus, curator le Rare, en docent universiteit Valenciennes; prof. Patricia Pisters (UvA – hoogleraar film – specialist op het gebied van Magreb cinema) en presentatie van het werk van Abu Ali- Toni Serra.

Open: 13-10 / 12-11
DE VEEMVLOER, Van Diemenstraat 410, Amsterdam
Woensdag t/m zaterdag, 13 - 18 u en zondag 14 - 17 uur

www.veemvloer.nl
www.zetfoundation.nl

bunnies - munich

Knitta

Knitta began in August 2005, when AKrylik and PolyCotN were discussing their frustration over unfinished knitting projects: half-knitted sweaters and balls of yarn gathering dust. That afternoon, they knit their first doorknob cozy.

Then it dawned on them… A tag crew of knitters, bombing the inner city with vibrant, stitched works of art, wrapped around everything from beer bottles on easy nights to public monuments and utility poles on more ambitious outings.

With a mix of clandestine moves and gangsta rap — Knitta was born! Today, Knitta is a group of more than 10 ladies of all ages, races, nationalities, religions, sexual orientation… and gender.

http://www.knittaplease.com/Home.html

http://www.myspace.com/knittaplease

The Moving Image Gateway

The Moving Image Gateway (MIG) is a new service that collects together websites that relate to moving images and sound and their use in higher and further education.

The sites are classified by academic discipline, some forty subjects from Agriculture to Women's Studies, collected within the four main categories of Arts & Humanities, Bio-Medical, Social Sciences and Science & Technology.

Each site has been evaluated and described by the BUFVC's Information Service, which regularly checks and updates the database. Sites are highlighted which have video or audio streaming.

There are some 600 sites on the MIG database at present, and it continues to grow at the rate of ten per month.

Look out also for our 'Site of the Month' feature under each of the four main categories, highlighting resources of particular value or inventiveness.

http://www.bufvc.ac.uk/gateway/index.html



The BUFVC is a representative body which promotes the production, study and use of film and related media in higher and further education and research. It was founded in 1948 as the British Universities Film Council.

GORGE (I) - Antwerp

GORGE (I)
Oppression and relief in art
FROM OCTOBER 7 2006 TO JANUARY 7 2007

KONINKLIJK MUSEUM VOOR SCHONE KUNSTEN ANTWERPEN
Leopold De Waelplaats, B-2000 Anvers

Email: info@kmska.be
HOURS: Tuesday to Saturday from 10 am to 5 pm; on Sunday from 10 am to 6 pm. The Museum is closed on Mondays

ADMISSION FEES: €6 / €4; Gorge(l): €8 / €6
CURATOR: Sofie Van Loo

Art that takes you by the throat... When things start to turn

Both the sense of oppression and the sense of relief we situate in the throat. Gorge(l) shows art that takes you by the artistic throat in different ways. One of the major 'throat artists' of the 20th-century art is Frida Kahlo (1907-1954). In her self-portraits, she never expresses panic and frightening oppression through the face, but through the throat, by choking it with ribbons and thorn collars. However, from that same throat she also suggests links - with the environment and nature - that help in causing an insufferable situation to topple.

An in-between zone
It is a group exhibition that was not developed from a predetermined theme or concept; neither does it present an art-historical overview. The works were selected because of their intensity and the fact that they deal with intensity, 'floating' between oppression and relief, between something that emerges and fades again, between bottling up and expansiveness, between something that shrinks and expands, between something that opens and closes, between breathing in and breathing out, between something that goes up and comes down again.These works do create a border-linking "in-between zone" that does not insinuate a state of equilibrium. It is an artistic adventure midway between being "seized by the throat" and "diving into the sea'".

Toppling in art
The exhibition focuses on a specific association with toppling in art. Toppling occurs at a moment when things start to turn; when the tension floating in the air descends and becomes (in)tolerable. For the sake of convenience, from the angle of western art it may be stated that the toppling is often purged from the image [conceptual art is often clean, hygienic art) or is emphasized (trail-blazing art, romanticism, drama etc.). A more rational approach is set against a more sensitive approach. The desire to continue making that distinction is rather characteristic of western art.

Between too early and too late
Western art has also produced different ways of dealing with toppling, as a result of which toppling does not have to result in '"the fall' "or the evolution from one state to the other, but can precisely lead to floating in between. The latter can be described as a border-linking association withtoppling, the theory of artist and psychoanalyst Bracha L. Ettinger. who wrote: Art links the time of too-early to the time of too-late and plants them in the world’s time. The works of art in, Gorge(l) link, float and hover between "too early" and "too late". Visitors experience that feeling between oppression and relief' through works of art from artists including Louise Bourgeois, Berlinde de Bruyckere, Thierry De Cordier, Marlène Dumas, James Ensor, Frida Kahlo, Erna Ómarsdóttir, Robert Seidel,
Alda Snopek, Merlin Spie and Pé Vermeersch.

Confrontation
At certain places in the exhibition, work by contemporary artists is confronted with art from the 19th and the early 20th century. Following on from Beaufort, Maman, the largest spider by Louise Bourgeois (1911) was placed on James Ensor's grave in Mariakerke. In this exhibition, a smaller wall spider by Louise Bourgeois, Spider IV, ,is confronted with Ensor's Adam en Eva uit het paradijs verjaagd, [Adam and Eve expelled from Paradise] (1887). Not because James Ensor also drew and etched spiders, but because of the comparable intensity of the two works: it is a seething intensity, both infective and literally physically touching.

PUBLICATION
Exhibition catalogue Dutch/English Texts by Sofie Van Loo, and Bracha L. Ettinger
300 p., 20 x 30 cm Published by Luc Derycke : 40 €

Participating artists: Ido Bar-El, Orla Barry, Diane Bogaerts, Louise Bourgeois, Berlinde de Bruyckere, Peter Buggenhout, Thierry De Cordier, Christophe Denys, Marlene Dumas, James Ensor, Erki De Vries/ Tim Vets, Pascale Gijsemans, Victor Hugo, Frida Kahlo, Marilou van Lierop, Bracha L. Ettinger, Alice Maher, Ana Mendieta, Maryam Najd, Ans Nys, Erna Ómarsdóttir/ Johann Johannsson, Constant Permeke, Haleh Redjaian, Robert Seidel, Alda Snopek, Merlin Spie, Boris Debackere, Pierre Fátúmbi Verger, Pé Vermeersch, Ellen Vrijsen, Francesca Woodman

Kroonjuwelen - Amsterdam.

Kroonjuwelen
http://www.kroonjuwelen.com/
[see trailer]

" Today sees the premiere of the documentary ‘Kroonjuwelen’, which tells the story of the rise and rise of the graffiti scene in Amsterdam.

It shows the crews that inspired the whole country. It shows the ups and downs of the scene. From punk to hip hop, from illegal work to spraying a metro with the city council's permission. "/

Bonny Vrielink

WHERE
Paradiso
Weteringschans 6-8
020-6264521

WHEN
wed 11th 0ct
21:00

COST
7,50 Euro
http://www.paradiso.nl/index2.php

Swap Meat - Sydney/ Melbourne

blank_space gallery based in the inner-city Sydney suburb of Surry Hills, has organised an innovative gallery swap with Melbourne’s Brightspace Gallery.
http://www.blankspace.com.au/
http://www.brightspace.com.au/

Both are established artist run spaces with a history of representing emerging artists and actively promoting innovation within the arts.

The gallery swap project was conceived to extend audiences for emerging artists and create a link between Sydney and Melbourne’s emerging art scene.

Swap Meat will showcase new works from the studios of the Sydney based artists Arnie Arnold, Ben Frost and Simon Lovelace including collage, photography, works on wood and canvas as well as objects and a DVD based retrospective

“Swap Meat”
Exhibition dates 9 - 15 October, 2006.
Official opening 6-9pm Wednesday 11 October, 2006

Brightspace Gallery
8 Martin Street
St Kilda VIC 3182

de Appel

de Appel (on the side)

In addition to its regular menu ? the exhibitions ? de Appel is offering a selection of ‘side dishes’ this autumn, additional events that run from lectures and book presentations to mini-exhibitions.

A fixed part of this auxiliary programme will be The Shadow Cabinet, where past and present students from the Curatorial Training Programme (CTP), which de Appel has been running since 1994, will be our guests. They will use the space to make comments about the exhibition policy or to propose their own projects to a wider audience.

The kickoff will be introduced by curator Hilde de Bruijn (NL, CTP 00/01) and artist-curator Gavin Wade (GB) with Strategic Questions – Platform 06 (17 September- 15 October), an exhibition of a series of publications related to 40 questions asked by R. Buckminster Fuller.

Included is the new book work ‘What is positive? Why?’ with contributions by Lise Autogena, Yona Friedman, Marko Lulic, Ioana Nemes, Maria Pask, Marjetica Potrc, Oliver Ressler and Jun Yang.

de Appel
Nieuwe Spiegelstraat 10
1017 DE Amsterdam
The Netherlands
http://www.deappel.nl
Opening hours
Thu-Sun: 11 am – 6 pm

=================

I've only seen one show at de appel that was worth visiting. After two seperate and unrelated unpleasant experiences at the door I must admit it hasnt been high on my visiting list. Perhaps a change in management will be an improvement, lets face it, things couldnt get much worse.

=====================
de Appel presents:
MELIK OHANIAN
Somewhere in Time
Solo exhibition
9 September - 5 November 2006


de Appel is kicking off the cultural season, under the leadership of new director Ann Demeester, with a solo exhibition by French-Armenian artist Melik Ohanian (1969).

Ohanian’s Invisible Film (2005), inspired by British filmmaker Peter Watkins’ Punishment Park (1971), will be shown at the Film Museum Amsterdam (Vondelpark 3).

On 22 October the Film Museum will be showing Invisible Film (2005) and the film Punishment Park by Peter Watkins (1971), which served as a source of inspiration for Ohanian’s experiment. Punishment Park depicts an imaginary detention camp in the Californian El Mirage Desert and records, in pseudo-documentary style, the agony of a group of young activists who are persecuted for their resistance to the Vietnam War. After its NY premiere Watkins’s film was immediately withdrawn from distribution in cinemas and has never been shown on television in the US.


If I reading this correctly, Ohanian has copied/remade an obscure film and is presenting it as new work.

Ohanian sees the works he produces first of all as ‘instruments’-cum-containers that must be filled with an array of ‘contents’. He develops strategies and methodologies for research and presentation. The range of contents he covers is broad and extremely varied. He delves into the history of cinema and explores socio-political phenomena

ie he re-presents old found footage as new work. And the creative input is what exactly?

expat expo - amsterdam

I AM NOT A TOURIST!

The 3rd annual Expo for the International Community in the Netherlands returns to the Beurs van Berlage October 22nd, 2006!

FREE REGISTRATION HERE
http://www.expatica.com/iamnotatourist/

New to the Netherlands?
Looking to make the most of expatriate life?

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This year's event will be an interactive extravaganza of entertainment, classes, seminars, prizes, surprises and more! It's a day you don't want to miss!

Whether you've lived in the Netherlands for 5 months or 5 years, I AM NOT A TOURIST: The Expo for the International Community in the Netherlands has something for you:

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