Monday, November 21, 2011




BURCHILL/MCCAMLEY
Pre Paradise Sorry Now (neon), 2001
neon, waferweld board, electrical cable and transformer
35 x 180 x 112 cm








SYDNEY, AUSTRALIA- Two of Australia's best-known contemporary artists Janet Burchill and Jennifer McCamley are set to exhibit one of their latest collaborative works using neon lights and sculpture. An essentially 20th-century phenomenon, neon is largely associated with advertising and the glitter of big-city retail. It's also a medium Burchill and McCamley have used together extensively in the past and they are well aware of its visual impact, particularly in Sydney.For this exhibition Burchill and McCamley are proposing to exhibit a new neon sculpture built around a 'found' sentence. Yet in contrast to the pop, bold lights of Sydney's cityscape, the artists aim to create a fragile site sensitive experience, which communicates the visual power of language. Perhaps there is something uncanny about glass tubes flooded with a poisonous inert gas, contorted into odd shapes, shuddering with electric current.Language and the language of art have often been central to their work. Their neon sculptures constitute part of an ongoing series and a major new strand of their collaborative activities. The language that comprises the neon is 'found', with most phrases coming from literature or film. The titles, however, do not relate to the content of the film but are chosen for their poetic attitude and ability to condense many ideas into something succinct.About their choice of title and process, Burchill and McCamley have said: While there is often an element of homage in the choices, the pieces aren't primarily meant to invoke the original work. Titles are chosen because of the tenor and sentiment that they evoke and, in a way, our selection constitutes a new type of genealogy of art. The titles we choose have a hard poetic tenor, a tenor which is carried through in the materiality of the artworks. We aim to make our works highly condensed, both materially and conceptually.



Pre-Paradise Sorry Now
Rainer Werner Fassbinder, the most brilliant exponent of the German New Wave Cinema, also made a startling contribution to the theatre scene with his AntitheatrePre-Paradise Sorry Now, one of his most disturbing and nightmarish theatre works, is an exploration of human brutality. The central plot material has to do with an actual case: the famous English "Moors Murders," committed by Ian Brady and Myra Hindley. Fassbinder uses the murderers and their demented longing for a neo-fascist "paradise" to ridicule notions of man's higher nature. He surrounds them with a black-comedy circus of thugs, whores, transvestites and exploiters who enact repetitive cycles of violence that force us to examine the society we have made and the principles upon which it functions. Perversely entertaining, deeply serious, it is a chilling journey that takes us into the dark heart of human behavior and challenges us to change it.


Karen Finley - Impulse to Suck






From the site fracturedatlas.org


Karen Finley
Impulse to Suck: The Performance of the Apology and the Separation of Sex and State
Performance and pencil drawings, 2008


"Karen Finley was in Albany, New York on March 10 to waiting to hear a speech from Eliot Spitzer on Reproductive Health. Instead later that day, Spitzer performed an apology with his supportive, devastated wife standing beside him. Finley will speak about the performance of the apology, the erotic transference of the media's fixation on Spitzer's frown and the emotional starring role for his wife, Silda.


Finley will perform her latest spoken word text which examines the confession, the apology, the imagining of the sexual encounter, the travel of the escort, the compulsion, the immigrant father's plan for his son to succeed and the couples imagined therapy sessions. Looking at the psychodrama in the intimacy of our political leaders, Finley poses to see the agony of the son's need for the approval from the father and the ancient wrestling of the ancient wrestling of the feminine archetypes of mother and whore."


Roula



DIANA THATER - CHERNOBYL

28 January – 5 March 2011, Hauser & Wirth London, Piccadilly
Opening: Thursday 27 January 6 – 8 pm
A new video installation by Diana Thater will fill the interior of Hauser & Wirth’s Piccadilly gallery with images of the post-nuclear landscape of Chernobyl. For this work, Thater spent time in the ‘Zone of Alienation’ which surrounds the site of the nuclear disaster, filming the eroded architecture and wildlife of the one-hundred mile wide radioactive territory. The animals she films have managed to survive amid the devastation of the only existing post-human landscape, demonstrating a wilderness of man’s making. The installation focuses on the rare and endangered Przewalski’s Horse. Once facing certain extinction in its native habitat in central Asia, this sub-species of the wild horse now roams freely in the ‘Zone of Alienation’.
The desolate remains of an abandoned movie theatre in Prypiat, a city founded to house the Chernobyl nuclear plant workers, will form the backdrop of Thater’s installation. The city’s decomposing architecture will be juxtaposed against the footage of the wild animals living in the ‘Zone of Alienation’. Through this installation, visitors will experience a world where a man-made catastrophe has abruptly halted all progress and animals inhabit an irradiated landscape. Overlaying physical and filmic spaces, Thater confronts the successes of civilisation with its profound failure.
For over two decades Thater has explored the precarious relationship between culture and nature. Frequently using animals and natural phenomena as subjects, her video installations are compositions of time and space. Their precisely choreographed imagery forms temporal abstractions that immerse the viewer in ambient environments and invite new ways of seeing the world.
PETA



A Measure of Remorse (2009) 
single channel video installation
color with sound
HD video 10:00 minutes
Shanghai protest against Japanese text books, April 2005 (2009)
photo transfer to paper
12 x 9 inches
Address by Japanese Prime Minister Junichiro Koizumi at the Asia-African Summit, April 2005 (2009)
ink transfer to paper
12 x 9 inches
This project was provoked by the life of writer Iris Chang, author of The Rape of Nanking (1998), which brought intense and overdue attention to the Japanese military atrocities committed against the Chinese in WW II. Exploring historical violence and the nature of apology through language, the body, desire, and trauma, the video re-imagines a confrontation on PBS in 1998 between Chang, the Japanese ambassador to the U.S., and journalist Elizabeth Farnsworth. The video is not a re-enactment of the past, but rather a kind of future made dark and deeply sensual, almost as an effect of Chang’s suicide in 2004. It raises questions about the effect of performative utterances - like an apology - when it comes to historical violence. The three figures acknowledge hurt, even death, and ask us about the claims our memories and voices can make against the past.


Please watch the video below


Sunday, November 20, 2011

Bruce Conner "Mea Culpa" (w David Byrne and Brian Eno)


"Mea Culpa" (1981)
Bruce Conner

This is a Bruce Conner film called Mea Culpa.  It was a collaboration between Conner and musicians Brian Eno & David Byrne.  The voice is sampled from an "inflamed caller and smooth politician replying,  both unidentified. Radio call-in show, New York, July 1979."  --What're you saying? He said "I'm sorry, I committed a sin, I made a mistake. I asked (?????) to forgive me... please forgive me." He said "Mea Culpa," can you put it better? "I'm saying I'm sorry, I made a mistake, I made... I committed a sin, I made a mistake. And I'm never gonna do it again, I never did it before and I'm never gonna do it again."  

-Dane

Thursday, November 17, 2011

Phobias Workshop



The Sketch Show UK

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The Big Question: Are apologies for historical events worthwhile or just empty gestures?


From the Independent....


So what's the latest one?
The Prime Minister, Tony Blair, has just been holding forth about "how profoundly shameful the slave trade was", in the run-up to the 200th anniversary next year of the outlawing of the practice on British ships. He didn't just praise those who fought for its abolition, but also expressed "our deep sorrow that it ever happened".

That's not exactly an apology
No, it's more an expression of regret. These historical/political apologies often are. Part of the problem is that, philosophically speaking, you can only properly apologise for something you have done. And these public statements are often on behalf of people other than the speaker, or even those he - and it's usually a bloke - represents. Mr Blair's last big public expression of regret was for English indifference to the plight of the Irish people during the potato famine of the 1840s.

No saying sorry over Iraq, then?
You're missing the point. Look at Bill Clinton. When he went to Africa he apologised for the world's inaction during the genocide in Rwanda. Not just his inaction, or Washington's, but that of the whole world. Sorry is not that hard to say when you're apologising for something someone else did. It's when we're to blame ourselves that the words tend to stick. "I did have a relationship with Miss Lewinsky that was not appropriate" and it was "a personal failure on my part". Indeed.

Where does this fashion for apology come from?
The last Pope was the real trendsetter. John Paul II apologised for no fewer than 94 things - from the Crusades, to the Inquisition, to the church's scientific obscurantism over Galileo, its oppression of women and the Holocaust. He did it throughout the 1980s and 1990s as a preparation for the new millennium. You can't heal the present, he insisted, without making amends for the past.

Everyone caught the bug. F W de Klerk apologised to the Truth and Reconciliation Commission for apartheid, or at least for the "many unacceptable things that occurred during the government of the National Party". Jacques Chirac apologised for the help the Vichy government gave the Nazis in deporting French Jews to death camps. The Japanese Prime Minister has apologised for the whole of the Second World War. And Boris Yeltsin apologised for the mistakes of the Bolshevik Revolution on its 80th anniversary in 1997.

Aren't they all just weasel words?
There is undoubtedly, shall we say, a wide range of motivation at work here. Some, such as George Bush's statements on the torture of Iraqi prisoners in Abu Ghraib - "what took place in that prison does not represent the America that I know" - may sound like an apology but they are actually a defence dressed up as condolences.

Others, like Mr Blair's latest on slavery, may well be a pre-emtive strike. By offering empathy rather than any suggestion of inherited guilt, the Prime Minister gets his retaliation in first against any attempt to suggest that Britain ought next year to be paying compensation to some group. "When we blame ourselves," as Oscar Wilde noted, "we feel that no one else has the right to blame us." Less cynically, one might observe, strategic apologies may be motivated by the speaker's attempt to change how others perceive them, or keep relationships intact.

So political apologies are just exercises in damage limitation?
They certainly risk being perceived as that. When Pope John Paul II in 1998 formally apologised for centuries of Catholic anti-Semitism and its failure to combat Nazi persecution of the Jews, many people felt he had not said enough. He made no mention of the silence of the 1940s pope, Pius XII, on the Holocaust.

Others are more forgiving. When John Paul II visited Judaism's holiest site, the Western Wall, he placed a piece of paper between the stones of the temple, as devout Jews do, which stated: "We are deeply saddened by the behaviour of those who in the course of history have caused these children of yours to suffer." No actual apology, some noted grumpily. But to many Jews, the symbolic power of the Pope's presence in that place was a more effective apology than words could ever be.

Have there been any other good apologies?
Yes, even when they didn't sound much. Often you find they are part of a process. The early apologies to the Aborigines by figures of in the Australian establishment began weakly but increased in strength over the years, and have been accompanied by some reparative actions.

You have to allow people time. In 1984 Japan's Emperor Hirohito alluded to the Second World War as "an unfortunate period in this century". It was the first step. In 1991, on the 50th anniversary of Pearl Harbour, the Japanese parliament considered apologising for the attack (but then decided not to do so).
But two years later the country's prime minister, Morihiro Hosokawa, declared the war had been "a mistake" and spoke of "a feeling of deep remorse and apologies for the fact that our country's past acts of aggression and colonial rule caused unbearable suffering and sorrow for so many people".
In Britain, too, Tony Blair's much-derided remarks on the Irish potato famine were followed, a year later, by him apologising for Bloody Sunday, in which 19 civilians were massacred in 1972 by the British Army. Not long after, the IRA made an unprecedented apology for the civilians killed in its 30 year "armed struggle". Peace dropping slowly.

How can you say sorry for something someone else did?
Many people think you can't. A lot of people in the Vatican didn't like Pope John Paul II's excessive breast-beating. One group lobbied the man who was then Rome's doctrinal watchdog, Cardinal Joseph Ratzinger, declaring that "you cannot apply a modern mentality to the actions of past centuries". Many historians agree; judging the past by the standards of the present is intellectually dishonest. We are all children of our time.

But a reluctance to square up to the wrongs of the past is often political. Many of John Paul II's critics feared that all his admissions that the church had been wrong in the past would give ammunition to critics who think it is wrong about a lot today. "As regards the sins of history," said Cardinal "Barmy" Biffi of Bologna, "would it not be better for all of us to wait for the Last Judgement?" Most people think that is a little too long a wait.

Are politicians' apologies a waste of time? 


Yes...
* They never apologise for things they've actually got wrong, only the mistakes of dead people, who can't answer back
* You can't judge the moral culpability of the past by the very different standards of the present
* Many politicians use apologies about the past as an excuse for inaction in the present


No...
* They are part of a long, slow process of public healing that may begin with words and end with actions
* Change in the real world can be a long journey and the apologies can be the milestones
* Sometimes even politicians tell the truth, and from time to time they may feel genuinely sorry for the mistakes of their predecessors

See link...
http://www.independent.co.uk/news/uk/politics/the-big-question-are-apologies-for-historical-events-worthwhile-or-just-empty-gestures-426138.html

Peta (via Juan)