Tuesday, May 29, 2007


Launch event celebrating the release of
Critical Planning Volume 14: SPATIAL JUSTICE
UCLA Journal of Urban Planning:

Thursday, June 7th 2007
UCLA Public Policy Building
Westwood Campus
(#2 Sunset Bus to Hilgard and Sunset / campus parking $8)
3rd floor lounge
Food will be served; Copies of the journal will be available
RSVP by June 5: avab(at)ucla.edu

Welcome: Ava Bromberg, co-editor of Critical Planning
Discussion: Edward W. Soja, Distinguished Professor of Urban Planning at UCLA
Gilda Haas, Executive Director, SAJE (Strategic Actions for Just Economy)
and UCLA Urban Planning faculty

Edward W. Soja is Distinguished Professor of Urban Planning at UCLA. He is the author of Postmodern Geographies (1989), Thirdspace (1996), and Postmetropolis (2000) and numerous articles. His current research involves the new labor-community coalitions that have been developing in Los Angeles "seeking spatial justice," and innovative approaches to regional governance and planning in Catalonia.

Gilda Haas is Executive Director and founder of SAJE, an economic justice, community development, and popular education center that has been building economic power for working class people in Los Angeles since 1996. Haas is an initiator of the burgeoning national movement on the “Right to the City” and serves as the representative for Los Angeles. She teaches community economic development in UCLA’s Urban Planning Department.

This volume serves as a companion / catalogue for the exhibit and public programming series: Spatial Justice at LACE (Los Angeles Contemporary Exhibitions) September 19 – November 18, 2007
co-curated by Ava Bromberg and Nicholas Brown

UCLA Journal of Urban Planning on line

Monday, May 28, 2007

opening of The Manual Archives

I'm very excited about the upcoming premier from the Manual Archives. This is my friend Susan Simpson's new space and is bound to produce some exciting work. I've seen a reading of the upcoming performance and have watched the new venue come alive over the last few months, (I'm also on the board of Automata) and am convinced that this addition to Silver Lake will be a very welcome one indeed!

Come one! Come all!

THE MANUAL ARCHIVES opens June 8th on Sunset Boulevard in Silver Lake
with the puppet play LEAD FEET AND NOTHING UPSTAIRS: A History of the Lifelike.
Written and directed by Susan Simpson
With live music by Emily Lacy and Eric Lindley
Costume design by Sarah Brown
Lighting design by Kristy Baltezore
Scenic desgin by Alison Heimstead and Susan Simpson
Performed by Marsian De Lellis, Jackie Kay, Katie Shook, Kendra Ware
and Anne Yatco

THE MANUAL ARCHIVES is a micro performance and exhibition space conducting narrative experiments with decoys, dummies, puppets, avatars, scale replicas, animated devices, apparitional bodies and live human beings.

The Manual Archives dot org

LEAD FEET AND NOTHING UPSTAIRS: A History of the Lifelike is an
experimental marionette play that tells the story of The Ditto
Sisters, identical triplets who set off a rash of architectural and
perhaps human replication in the City of Los Angeles. Throughout the
performance buildings and characters multiply and contract, as many
generations of artificial bodies mimic and interact with one another.

The first in a series of works at The Manual Archives devoted to a newly
invented folklore of Los Angeles.

Please visit the website for calendar and ticket information.

The Manual Archives dot org

THE MANUAL ARCHIVES is a project of AUTOMATA, a nonprofit organization
devoted to the creation, presentation and preservation of puppet
theater, experimental film, pre-cinematic attractions, and other lost
and neglected forms.

Friday, May 25, 2007

forgetting how to read/finding the thread

messages on the street
exploded narratives
games of interpretation
walking on words
place-names/written and erased
overwritten and emplaced
I follow the signs / I meet strangers - O, you just go around the corner, and past the post office, it'll be there on the right side
I forget how to read...and then, I start:

Thursday, May 24, 2007

supporting structures, or developing public dependencies

searching for support
using existing surfaces
locating points of contact
finding other usages
performing in public
reinventing the wheel
attaching oneself
relaxing within government
building without building

L´Épique aux Tropiques

performance of iliadahomero in the 1st art biennale of thessaloniki
posted by mathieu at hackeando catatau

Statue du Baron du Rio Branco, Place Generoso Marques, Curitiba, Brésil, 2006.

L´Iliade d´Homère, Chant I.
Traduction d´Odorico Mendes (Brésil, 1799-1864).

Tournée européenne de la compagnie de théatre Iliadahomero, en mai-juin 2007. Avec Claudete Pereira JORGE et direction d´Octavio CAMARGO.

Au départ: Thessaloniki (pendant la Thessaloniki Biennale of Contemporary Art), Skopje, Istambul, Sofia, München, Lisbonne, Porto...

D´autres villes d´Europe peuvent contacter la compagnie (pour le séjour de mai 2007 ou de futures tournées), pour vérifier la possibilité d´une présentation. Pour cela, écrire au directeur Mr. Octávio CAMARGO ou directement à la compagnie.

Le fichier pdf qui suit au dessous est un court essai a propos du travail et de la tournée de la compagnie Iliadahomero (illustré avec les photos de la dernière présentation de Me. JORGE à Curitiba avant le départ de la compagnie). Ces images sont en domaine public et disponibles pour impression 20cm x 30cm ici.

Le fichier pdf contient aussi un court éssai photographique de la ville de Curitiba (qui héberge Iliadahomero depuis 1999) inspiré dans la thématique d´Homére. Les photos de cet essai sont sous licence Creative Commons CC-BY-SA 2.0, ainsi que le texte de l´éssai proprement dit. Veuillez consulter l´auteur pour d´autres usages.

Dave Bowman: What's the problem?
HAL: I think you know what the problem is just as well as I do.

Download this pdf directly here.

Statue de l´Homme Nu, 2007
Erbo STENZEL (Centénaire de l´État du Paraná, 1853-1953)

ExlibriS (v.0.41)

Sequence of videos edited by orquestra organismo in "conSerto"
Curitiba, Brazil. April 2007

Posted by glerm at hackenado catatau

Tuesday, May 22, 2007

Berlin event and new Errant Bodies release

Radio Territories

Derek Holzer (US/NL)
Jason Kahn (US/CH)
Brandon LaBelle (US/DK)
Friday, June 1st, 18:00 to 23:00 (works performed simultaneously throughout the building)
Ballhaus Naunynstrasse
Naunynstrasse 27

While changes in live streaming and digital networks have transformed the use and understanding of radio, the notion and act of live transmission through the air continues to inspire and haunt the auditory imagination. From the potential of spreading information undercover of legal borders to filling the airwaves with fugitive sound, radio may remain at the core of what it means to communicate through circuits.

Inspired by the radiophonic excesses and marginal acts, an evening of performative installations by sound artists working with and around radio and its medial aesthetics will be staged. Using the building of Ballhaus Naunynstrasse, the works will aim for the intimate, tactile, and personal, bending radio toward the micro-narratives of place. The event is also organized in celebration of the release of the new publication, Radio Territories (see below), containing essays, articles, documents and audio works by authors and artists on the subject of radio culture.

Errant Bodies Press in collaboration with Ground Fault - announces the release of
Edited by Erik Granly Jensen and Brandon LaBelle
Book + CD (264 pages) / ISBN: 978-0-9772594-1-0 / ¤25
To order contact: admin at errantbodies dot org / www.errantbodies.org

The legacy of radio and the arts has spawned forms of radical culture, from early Modernist notions of the "Wireless Imagination" and its subsequent vernacular tongues to Acoustic Ecology's call for "Radical Radio" based on removing the DJ, transmission and broadcast media upsets and redistributes understandings of place, corporeality, social exchange, and the politics of information. Such instances of radicality find their current expression in radio networking and streaming, which seek to counter or supplement forms of public broadcasting through creating unique forms of collectivity. In response to these current initiatives, Radio Territories seeks to open the book on radio's historical, medial, and aesthetical status.

Critical and creative essays by historians, media theorists, and radio producers, including Steve Goodman, Heidi Grundmann, Douglas Kahn, Mikkel Bolt Rasmussen, and Ellen Waterman, are coupled with artistic and activist projects, from such practitioners as Anna Friz, LIGNA, and apo33, with a view toward locating the expanding and deepening reach of radio. Presupposing an intrinsic relation between transmission and place, Radio Territories aims to examine in what ways physical and cultural geographies become both defined and unsettled by the powers of broadcast. While radio through the Modern period stitched together an electronic network by expanding outward, current radio may fulfill Marshall McLuhan's global idea of the "extended nervous system" by networking individual lives on a cellular level. Radio is not only out there in the ether, but also totally inside, as signals that intensify the stratifications of culture.

Including additional contributions by Kabir Carter, Sophie Gosselin/apo33, Erik Granly Jensen, Brandon LaBelle, Sophea Lerner, elpueblodechina a.k.a. Alejandra Pérez Núnez, Kate Sieper, James Sey, neuroTransmitter, Marie Wennersten / SR c, and Achim Wollscheid.

With audio works by apo33, Joe Banks, Steve Bradley, John Hudak & Joe Resinsel, elpueblodechina, Anna Friz, Jason Kahn, Kode9, Kristen Roos / Jackson 2Bears, SR c, Ellen Waterman, and James Sey / James Webb.

Sunday, May 20, 2007

in Berlin

The exhibition opens on thursday 24.5., 19:00-22:00.
Erik will be leading a bicycle tour through Berlin with his drawings projected onto passing buildings!
The bike-projection-tour is friday 25.5., 20:30.

Knaackstrasse 7, 10405 Berlin


Thursday, May 17, 2007

just in from HOMEWORK

Dear Friend,

How do you re-enact Paulo Freire's pedagogy today?

HOMEWORK invites you to participate in a project for an exhibition titled "Everyone is Friends With Paulo Freire," at PS122 Gallery in NYC, June 2-24th.

We are creating an archive of responses to Paulo Freire's pedagogical project, which linked education to social change through strategies such as dialogical action, developing transformative consciousness, praxis, and the rejection of the traditional "banking" model of education with the aim to "liberate the oppressed".

This research-based exhibition aims at understanding the influence of Freire's theories in contemporary cultural and pedagogical production in a pressing time characterized by global, dominant, neo-liberal policies that prioritize markets over individuals. It also explores our role as artists and educators in creating alternatives and counter-knowledge.

Please respond to this letter in any form you want (text, image, video, audio, etc.) and help to further the dialogue by forwarding it to anyone you think might want to engage in this project.

1) Remove any files already attached to this email.
2) Attach your response to this email/project/question in a file of up to 1MB.
3) Forward this invitation email and your attachment to 5 people, and cc homework_project@yahoogroups.com so that we can include it in the exhibition.
**Please send us all contributions between now and May 30, 2007.

We look forward to your contribution!

HOMEWORK// Ditte Lyngkaer Pedersen, Jeuno J.E Kim, Carlos Motta, Lize Mogel

- - - - - - - - - - - - -
HOMEWORK is a year long collaboration between artists Ditte Lyngkaer Pedersen, Jeuno J.E Kim, Carlos Motta and Lize Mogel, which investigates the relationships between art, politics and pedagogy in a series of artwurl.org issues, and programs at PS122 Gallery and in the Contemporary Art Center in Aarhus, DK. HOMEWORK is funded by the Danish Arts Council's DaNY Arts Grant with support from PS122 Gallery.

Wednesday, May 16, 2007


Our friends at the Journal of Aesthetics and Protest will be in San Francisco this weekend for a series of events.

A Weekend of Projects, Publications and Performances by the Journal of Aesthetics and Protest
Friday, May 18 - Saturday May 19, 2007
Locations: Southern Exposure and locations throughout the neighborhood
Join the Los Angeles based Journal of Aesthetics and Protest for a weekend of activity, dialogue and production at Southern Exposure. The Journal's aim is to activate culture with smart, anti-authoritarian discussions, publications, and events to help build good things and stop bad things in the world. Founded in 2001, the Journal is co-edited by Cara Baldwin, Marc Herbst, Robby Herbst, and Christina Ulke. www.journalofaestheticsandprotest.org

Invisible Culture call for submissions


Invisible Culture, Issue 11, Fall 2007

Deadline for Papers: June 10, 2007

Issue 11: Curator and Context

In his 1965 book Museum Without Walls , André Malraux critiques museum conventions of display that deaden art of the past. In fact, over time the artworks have morphed, affected by their surroundings, and taken on new lives as different kinds of aesthetic objects. Three years later, Roland Barthes would identify the death of the author and the emergence of the reader in the making of meaning. These writers' prescient articulations of the fusions - and confusions - of art object, context, artist, and viewer foresaw today's hyper-interaction of art media and the overlapping of roles in the museum and beyond.

What these texts leave out is the seemingly unmarked presence of an intermediary between the artwork and the viewer – the curator – and the world she has traditionally inhabited – the museum. “The gallery space is no longer ‘neutral,'” wrote Brian O'Doherty in 1976, at a time when artistic practice turned the ideology of the gallery space upon its head. While underlining the pertinence of the museum's physical and contextual impact on the reception of art, he too neglects the curator. Douglas Crimp's seminal text On the Museum's Ruins laid bare the changing state of the museum by examining shifts in art practice and the rising significance of photography as challenges to the institution. To continue rethinking the museum as a site for art display and the interlinked roles of the artist, artwork, curator, and viewer follows in the steps of these theorists and their peers, to say the least of the decades of artists who have interrupted conventional modes of display in museums through strategic creative applications. As globalization gives way to new cosmopolitanisms, and new media art transforms the site of the museum into the virtual realm, what has become of the curator? By some accounts the role of the curator may be in decline as alternative art spaces, tactical art interventions, and virtual museums refute her role and the institutional power it implies. The other side might see instead a curatorial practice that takes on a multiplicity of roles – as artist, as architect, as nation - and has increased significance in the frenzied world of the international art fair.

Invisible Culture invites papers and projects concerned with contemporary (post-1960s) curatorial and museum practice. Submissions in the form of 2,500-6,000 word papers from all disciplines, as well as digital projects (virtual museums, online art exhibitions, and internet-based endeavors, for example) are welcome. Entries may include but are not limited to investigations of the following topics:

• the relevance and changing role of the curator
• artist as curator
• curator as translator
• criticism and interpretation of exhibitions
• models of curating and display
• new media projects, the virtual museum
• ethics of display
• histories of curating
• visual anthropology
• sense studies, anthropologies of the senses
• changes in culture and science museums, museums of natural history
• curator as mediator of cultural exchange
• architecture and context
• global visual culture
• problems of cultural translation
• alternative exhibition sites
• challenges to exhibition display: performance, video and installation art
• the interactive exhibit
• hybrid art forms and multimedia displays
• museum studies
• communication/audience studies
• cultivation of art audiences
• curating and the expansion of global art markets
• collections, collectors and curators
• curating the biennial/international art fair
• cosmopolitanism, diasporas of artists and curators at home and abroad
• display and the politics of identity
• authorship
• emerging area and regional curatorial networks
• developments in institutional critique
• the location of the frame

Submissions and inquiries should be directed to guest editor Mara Gladstone, Graduate Program in Visual and Cultural Studies at the University of Rochester via email (mgladstone[at]gmail[dot]com).

Deadline for submission is June 10, 2007 .

Tuesday, May 15, 2007

High Desert Non-Sites

I spent part of the weekend trying to make sense of the lastest installment of the High Desert Test Sites. For the most part, the entire weekend seemed rather uneventful. I unfortunately missed the Ann Magnuson performance. Liz Larner performed some strange plant experiment and David Shrigley's flag waved around Gamma Gulch.

Friday, May 11, 2007

Talk by Gregory Sholette

"Interventionist Art in the Age of Enterprise Culture"
Talk by Gregory Sholette (New York)

Place: Overgaden - Institut for Samtidskunst, Copenhagen
Time: Saturday the 12 of May at 15.00
The talk wil be in English it is free and open to all

"Many key assumptions held by an earlier generation of politically engaged artists and activists about what oppositional culture is and what it is not, are being challenged today by a new wave of interventionist practitioners who are less concerned with demystifying ideology than with 'creatively disrupting' it. Unlike most of the critical art practices of the 1970s and1980s in which dominant representational forms were systematically analyzed through a variety of methods ranging from Semiotics to Marxism to Psychoanalysis, the new approach plows directly, some would say even gleefully, into what Guy Debord described as the Society of the Spectacle. Groups such as RTmark, The Yes Men, Yomango, and the Critical Art Ensemble take full advantage of increasingly widespread and affordable digital technologies in order to practice what they call Tactical Media, a concept inspired as much by the Zapatista rebellion as it is by the Situationists. What is unique to these more recent, antagonistic practices is the way they mobilize flexible organizational structures, communicative networks, and economies of giving in order to produce a critical disruption of everyday life. At the same time, the new interventionist art reveals some definite similarities to the entrepreneurial spirit of the neo-liberal economy, including a highly plastic sense of collective identity, and a romantic distrust of comprehensive administrative structures. In the late 1970s Adorno cautioned that culture was becoming increasingly similar to the realm of administration. Ironically, in the 1990s it was the world of administration that moved closer to that of culture as private business interests extolled the non-linear thinking and flexible working habits of creative laborers. The aim of this presentation is to trace the effects of neo-liberalization upon politically committed artists in the United States by focusing on the shift from a post-war culture of administration to that of a post cold-war culture entrepreneurship. It concludes by asking what type of critical, artistic response is possible under the conditions of the new, homeland security state apparatus that emerged in the aftermath of September 11 2001?"

Gregory Sholette er en New York baseret kunstner og teoretiker. Sammen med Nato Thompson har han redigeret bogen The Interventionists: A User’s Manual for the Creative Disruption of Everyday Life (MIT Press 2004). Hans seneste publikation, Collectivism After Modernism, er redigeret i samarbejde med Blake Stimson. Sholette bidrager desuden jævnligt til tidsskrifter som Third Text, CAA Art Journal, Afterimage, MUTE, CIRCA, samt The Oxford Art Journal. Han underviser i øjeblikket på New York University’s Visual Culture Program.

Organized by publik.dk

Monday, May 7, 2007

Publicly Assaulted

Last week's immigrant right's march met a brutal end as L.A.P.D. officers fired rubber bullets and beat civilians and journalists covering the event. This L.A. Times article examines the ongoing response to this event. Here is an interview with two people injured in the melee.

You can also check out the L.A. indy media site for first hand accounts, images and video.

Wednesday, May 2, 2007

Rate changes?

For those of us at Errant Bodies Press, new postal regulation changes could have a significant negative impact on our publishing adventure...

Save Small and Independent Publishers!

Postal regulators have accepted a proposal from media giant Time Warner that would stifle small and independent publishers in America. The plan unfairly burdens smaller publishers with higher postage rates while locking in special privileges for bigger media companies.
In establishing the U.S. postal system, the nation's founders wanted to ensure that a diversity of viewpoints were available to "the whole mass of the people." Time Warner's rate increase reverses this egalitarian ideal and threatens the marketplace of ideas on which our democracy depends.

It's time stand up for independent media. Demand that Congress step in to stop the unfair rate hikes. Sign the letter below to alert Congress and put the Postal Board of Governors on notice.


Tuesday, May 1, 2007

The Situational Drive Conference

The Situational Drive

Free Weekend Conference
May 12 and 13, 2007
May 12, 10am – 7pm
May 13, 10:45am – 6:15pm
Cooper Union, The Great Hall
7th Street, btw 3rd and 4th Ave, NYC

Organized by Joshua Decter

A partnership between
inSite/ San Diego-Tijuana and Creative Time, New York
in collaboration with
The Cooper Union School of Art

In the network society everyone puts together their own city. Naturally this touches on the essence of the concept of public domain…Public domain experiences occur at the boundary between friction and freedom.
--Maarten Hajer and Arnold Reijndorp, In Search of New Public Domain

inSite/ San Diego-Tijuana and Creative Time, New York are pleased to present The Situational Drive: Complexities of Public Sphere Engagement, a two-day multidisciplinary sequence of panel discussions, conversations, and art projects rethinking the challenges of artistic, curatorial, architectural and theoretical engagement in urban and other public spheres.

What is at stake today in terms of public domain experiences? How do we know the impact of cultural projects upon the imaginations of citizens? Do we believe in the possibility of transforming publics? What is the nature of our situational drive?

Participants: Dennis Adams, Doug Aitken, Doug Ashford, Judith Barry, Ute Meta Bauer, Mark Beasley, Bulbo, Teddy Cruz, CUP (Center for Urban Pedagogy), Tom Eccles, Peter Eleey, Hamish Fulton, Gelitin, Joseph Grima, Maarten Hajer, David Harvey, Mary Jane Jacob, Nina Katchadourian, Vasif Kortun, Laura Kurgan, Rick Lowe, Markus Miessen, France Morin, Antoni Muntadas, Kyong Park, Anne Pasternak, Vong Phaophanit, Michael Rakowitz, Paul Ramirez Jonas, Osvaldo Sanchez, Saskia Sassen, Allan Sekula, Shuddhabrata Sengupta (Raqs Media Collective), Michael Sorkin, Javier Tellez, Nato Thompson, Anthony Vidler, Anton Vidokle, Judi Werthein, Krzysztof Wodiczko, Mans Wrange.

For a full program of events: http://www.inSite05.org or http://www.Creativetime.org.
Tickets are Free! No reservation necessary.

Surface Tension_Copenhagen

Surface Tension_Copenhagen
April 14 - May 6
Opening reception: Saturday, April 14
Plex 13:00 Kronprinsensgade 7 Kbh K
YNKB 17:00 Baldersgade 70 st tv Kbh N

Performance: Sunday, April 15, 20:00
at LiteraturHaus Møllegade 7 Kbh N
Octávio Camargo, Ken Ehrlich, Brandon LaBelle
Curated by Brandon LaBelle and Nis Rømer

Artists: Yvette Brackman (Denmark), Octávio Camargo (Brazil), Ken Ehrlich (USA)
Robin Wilson & Nigel Green (England), Brandon LaBelle (Denmark), RACA (Denmark)
Nis Rømer (Denmark)

Surface Tension_Copenhagen brings together practitioners from varied disciplines and geographies to undertake projects that seek to engage the city of Copenhagen. Focusing on aspects of the built environment, the exhibition aims to underscore the active systems, structures, and local productions at work in and around the city. From historical traces to urban infrastructures, the specifics and modulations of language to communities and their rituals, these investigations unfurl embedded features that inform and define the city and our place in it.