54. BIENNALE DI VENEZIA PADIGLIONE ITALIA
TORINO - PALAZZO DELLE ESPOSIZIONI - Sala Nervi
17.12.2011 -  30.01.2012

Da sabato 17 dicembre a lunedì 30 gennaio 2012, la prestigiosa Sala Nervi del Palazzo delle esposizioni di Torino, Corso Massimo D’Azeglio, 15 ospiterà il Padiglione Italia, 54° Esposizione Internazionale d’Arte della Biennale di Venezia, per il 150° dell’Unità d’Italia a cura di Vittorio Sgarbi.
Il giorno dell’Inaugurazione, 17 dicembre alle ore 19,00 saranno presenti tutte le autorita’ che porteranno il saluto delle istituzioni dopo l’intervento del direttore del Padiglione Italia on. Vittorio Sgarbi che nella giornata di domenica terrà alle ore 11,30 una conferenza stampa alla Sala Nervi sede della Biennale.

Un apposito comitato tecnico scientifico composto da scrittori, poeti, registi, scienziati e uomini di pensiero e una commissione di studio ha raccolto e valutato il lavoro di migliaia di artisti, al fine di individuare e scegliere quelli più rappresentativi e interessanti. Gli Artisti e le opere qui esposte sono stati selezionati dalla commissione presieduta dal prof. Vittorio Sgarbi che ha voluto quest’evento d’importanza internazionale con l’obiettivo di valorizzare il gran patrimonio culturale italiano.

Gianluca Costantini, è uno degli artisti selezionati e invitati alla Biennale, per questa occasione presenterà nella sala Nervi di Torino, in anteprima, la sua nuova opera “OBAMA Middle East Speech” una grande stampa in pvc (cm 150x200)

Visita de alumnos del Colegio Cristobal Colon, previo a la inauguración de la exposición Gianluca Costantini en la Noche de los Museos de Buenos Aires, Argentina.

Museo de Humor Grafico Diogenes Taborda
Dirección: Av. Caseros 2739, Ciudad de Buenos Aires, Argentina

Invitación
La Fundación Cultural Volpe Stessens y el Museo de Humor Grafico Diogenes Taborda , tiene el agrado de invitar a usted y familia a participar de la exposición "Political Comics" , del artista Gianluca Costantini , durante la Noche de los Museos 2011 a realizarse el Sábado 12 de Noviembre 2012, en la sede del Museo Taborda, sita en la Av. Caseros 2739, Parque de los Patricios, en los horarios de 20 a 3 hs.
 

SOBRE LA EXPOSICION:
Gianluca Costantini es uno de los más importantes artista del cómico italiano de los años noventa. Fue creador de un fanzine que se distribuia en fotocopias (PuntoGIF, en el que las siglas GIF se traducían por "Greatest Italian Failure" (el mayor fracaso italiano), una idea que le había surgido en homenaje hacia las revistas culturales de los años setenta como Métal Hurlant, Cannibale y Frigidaire, y que duro solo un par de números. Gianluca Costantini creó numerosas historias de cómics, publicadas en revistas italianas como Interzona, Schizzo y Comix tatuaje; también es autor de dos álbumes de historietas: "Librepensador" y "Schizzo - Animalingua". Por otro lado, es el creador de un festival para dibujantes y caricaturistas: el Komikazen que cuenta con la participacion de, entre otros, Joe Sacco, Marjane Satrapi y Zograf, donde organiza muestras, encuentros y debates. Las exposiciones que nacen con el festival se llevan después de manera itinerante por diferentes ciudades de Europa mostrando las nuevas tendencias que se mueven en el continente al margen de las instituciones o los ambientes influyentes. Es editor de la revista Inguine Mah!gazine , ilustrador de carátulas de CD, y gráficos por ordenador y animación. Actualmente publica cómics y caricaturas en revistas de Europa, Asia y Latinoamerica. Gianluca Costantini actualmente es considerado como uno de los padres del cómic underground.

....... Si quieres salir de los cánones debes romper algunos tabúes. No debe suceder jamás que encuentres un estilo y ya te des por satisfecho el resto de tu vida, lo más interesante es utilizar cada vez un estilo distinto" aun sin olvidar que la técnica es lo primero, es necesario dibujar muchísimo como hacían los pintores del Quattrocento. Yo dibujo ocho horas al día desde que tengo 15 años. Pero el underground no se reduce a una cuestión de estilo, sino también de los temas tratados, del tipo de imágenes, de la línea editorial. "En los años setenta por ejemplo el argumento principal del underground era el sexo porque entonces era una cuestión con la que se podían escandalizar. Ahora hay más política. La revista perfecta del underground es World War de Nueva York, una revista de cómics creada por activistas políticos, entre los cuales hay gente como Peter Kuper, que usan el dibujo para expresar de una manera más fuerte sus propias ideas". Gianluca Costantini.(Nacido en 1971, Italia)

Museo de Humor Grafico Diogenes Taborda
Dirección: Av. Caseros 2739, Ciudad de Buenos Aires, Argentina
Cómo llegar:Subte línea H estación Caseros
Colectivos: 6 - 9 - 25 – 28 – 50 - 65 - 95 – 101 - 118 - 133 - 134 - 150 -
Noche de los Museos: Sábado 12 de noviembre 2011 a las 19.00 hs. hasta las 03 hs.
Días y horarios de visita: martes a sábados de 16 a 20 hs.
Finaliza: 28 de noviembre 2011 a las 19 hs.
Prensa: diogenestaborda@gmail.com
Curador: Jorge Omar Volpe Stessens
http://museodiogenestaborda.blogspot.com

http://volpestessens.blogspot.com

http://www.lanochedelosmuseos.gob.ar

In occasione dell'anniversario della tragedia delle Twin Towers, viene presentato all'Officina di Ælia Media a Villa delle Rose il cortometraggio 9-11/9-11 di Mel Chin, artista americano, tra i finalisti del Premio Internazionale di Arte Partecipativa, curato da Julia Draganovic con la collaborazione di Claudia Löffelholz, e promosso dalla Assemblea Legislativa della Regione Emilia-Romagna in collaborazione con goodwill e LaRete Art Projects.

L’iniziativa si inserisce all’interno di Ælia Media - progetto dell’artista Pablo Helguera, vincitore della prima edizione del Premio - per il quale il MAMbo – Museo d’Arte Moderna di Bologna ha messo a disposizione la sua sede di Villa delle Rose che diventa, in questa occasione, cantiere aperto in cui sviluppare metodi innovativi per fare informazione e giornalismo d’arte, aprire altri “mondi di comunicazione” attraverso un laboratorio sulle relazioni tra temi culturali e sociali e linguaggi artistici

Il film, della durata di 24 minuti, verrà proiettato in loop dalle 16 alle 20.

9-11/9-11 è un film d'animazione (durata 24 minuti), realizzato da Mel Chin nel 2006-2007, che tratta di una storia d'amore ambientata sia a Santiago di Cile, dove Augusto Pinochet con un colpo di stato prese il potere l'11 settembre 1973, che a New York, durante l’attacco alle torri gemelle l'11 settembre 2001. In un’atmosfera oscura e coinvolgente. Il cortometraggio si basa sul parallelismo tra due diverse storie e città per mettere in scena una duplice tragedia che nasce intrecciando una storia d'amore e speranza distrutta dalle manipolazioni occulte del potere. 9-11/9-11 è presentato come parte di un dialogo globale sull'impatto umano di questi traumi collettivi. Il film è il frutto di una collaborazione internazionale tra Chin, il regista americano Chip Schneider e i partner cileni di animazione PlanoVisual Estudio de Animación di Santiago del Chile.

www.artepartecipativa.it

Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo (1975–1979)
September 11 – October 16, 2011

Opening Reception
This Saturday, September 10, 6 - 8pm

When I state that I am an anarchist, I must also state that I am not an anarchist, to be in keeping with the (....) idea of anarchism. Long live anarchism.
- Christopher D’Arcangelo

Between 1975 and 1979, the US artist Christopher D'Arcangelo (1955-1979) developed an artistic practice notable for its radicality and critical import concerning the role of the artist, the status of the art object and the institutionalization of art. A desire for a radical democratization of the production and reception of art, motivated D'Arcangelo's critique of art institutions. His position as an artist was voiced in a statement on anarchism that accompanied, in various stenciled and typewritten forms, the majority of his actions and interventions. The statement, which contains an ellipsis between brackets in the place of an adjectival definition of anarchism, recalls the historical expression “anarchism without adjectives.”

In 1975, D'Arcangelo carried out a series of unauthorized, disruptive actions at New York's major art museums, followed by similar actions at the Norton Simon Museum in Pasadena (1976) and at the Louvre in Paris (1978). Concurrently, and until his suicide in 1979, D'Arcangelo worked in collaboration with the artist Peter Nadin carrying out construction work in exhibition spaces and downtown loft spaces. Their work became the subject of a series of flyers in which the two artists subtly questioned the separation between their means of subsistence and their artistic practice. Each flyer detailed the amount of labor involved and the materials used, and extended an invitation to view the work.

In September 1978, D'Arcangelo participated in a group exhibition at Artists Space, along with Louise Lawler, Cindy Sherman and Adrian Piper. His contribution consisted of exhibiting a series of texts, entitled Four Texts for Artists Space, in which he elucidated on the ideological conditions of the gallery’s status as an independent art space. As a conclusion to his analysis, he chose to withdraw his name from all material promoting the exhibition outside the gallery. A blank space in place of his name in the title and list of exhibiting artists formally indicated this erasure.

To date, no posthumous exhibition or critical evaluation of Christopher D'Arcangelo's work has been undertaken. The written and visual documents which D'Arcangelo compiled over a five year period, in order to chronicle his practice, have recently been made available at the Fales Library & Special Collections, New York University, following a donation to the library's "Downtown Collection" in 2009, by Cathy Weiner and the D'Arcangelo Family Partnership.

Testifying to an artist engaged in a critique of the social conditions and repercussions of art, and whose work is accessible in archival form alone, represents a challenge to contemporary art history. It is this challenge, along with the paradoxes and critical complexities that D'Arcangelo's work and legacy raises, that this exhibition will present and discuss.

Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo (1975-1979) will present a series of specially commissioned video interviews. Intended to form an oral history of the artist's work and practice, the series includes interviews with artists and critics who worked directly with D’Arcangelo, or have addressed his work in retrospect. Contributors to this series include Stephen Antonakos, Benjamin H. D. Buchloh, Daniel Buren, Peter Nadin, Naomi Spector and Lawrence Weiner, amongst others. Alongside this oral archive, the exhibition will also include a work by Christopher Williams titled Bouquet, for Bas Jan Ader and Christopher D'Arcangelo (1991), an installation that addresses both the resonances and the contradictions within the historical reception of conceptual art practices.

The exhibition will be accompanied by a program of lectures with contributions from artists, art historians and critics reevaluating the legacy of D'Arcangelo and his work, and the context in which it was produced.
Curated by Dean Inkster and Sébastien Pluot, together with Richard Birkett and Stefan Kalmár of Artists Space.

The first iteration of this project was presented at the CAC Brétigny, France, in June. The exhibition at Artists Space will be followed by a third presentation in the fall at the Centro Cultural Montehermoso Kulturunea, Vitoria-Gasteiz in Spain.

The video interviews have been co-produced by Solang production paris brussels, Centro Cultural Montehermoso Kulturunea, Vitoria-Gasteiz and Centre d’art contemporain de Brétigny, in partnership with Artists Space, New York.

Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo (1975-1979) is made possible through the generous support of Étant donnés, the French-American Fund for Contemporary Art, a Program of FACE, Ministère de la Culture et de la Communication, Foundation for Contemporary Arts, The New York State Council on the Arts, a State Agency, public funds from the New York City Department of Cultural Affairs, in partnership with the City Council, and The Friends of Artists Space.

With thanks to Cathy Weiner, and the D’Arcangelo Family Partnership.

A separate exhibition, The Christopher D’Arcangelo Homage will take place at the Algus Greenspon Gallery, NY from October October 15 – 29, 2011.

The Christopher D’Arcangelo Homage will include 3 parts:

1. The invited responses of viewers who visited the Christopher D’Arcangelo Papers at The Fales Library
2. Facsimiles of the binder Christopher D’Arcangelo prepared toshare documentation of his work.
3. The responses of visitors to this exhibition.

The Christopher D’Arcangelo Papers can be viewed by appointment at the Fales Library and Special Collections, New York University.

For more information visit www.nyu.edu/library/bobst/research/fales/

Political Comics appoggia la petizione di Avaaz.org

Fra qualche giorno si riunirà il Consiglio di Sicurezza dell’ONU, e il mondo intero avrà la possibilità di adottare una nuova proposta che potrebbe segnare il cambio di rotta di decenni di negoziati di pace fra israeliani e palestinesi: il riconoscimento da parte dell’ONU dello stato palestinese.

Oltre 120 nazioni del Medio Oriente, Africa, Asia e America Latina hanno già dato la loro adesione all’iniziativa, ma il governo di destra in Israele e gli Stati Uniti sono fortemente contrari. L’Italia e altri paesi chiave dell’Europa sono ancora indecisi, e un’enorme pressione da parte dell’opinione pubblica potrebbe convincerli a votare in favore di questa opportunità per mettere fine all’occupazione.

I negoziati di pace guidati dagli Stati Uniti, che vanno avanti ormai da decenni, hanno fallito, mentre Israele ha imprigionato il popolo palestinese, confiscato le sue terre e bloccato la Palestina dal diventare un’entità politica sovrana. Questa nuova coraggiosa iniziativa potrebbe liberare il popolo palestinese dalla prigionia, ma perché ciò avvenga l’Europa deve guidare l’operazione. Costruiamo una chiamata globale enorme rivolta all’Italia e ad altri leader europei per dichiarare il nuovo stato ora, e facciamo sì che il sostegno dei cittadini di tutto il mondo a questa proposta legittima, nonviolenta e diplomatica sia chiaro e forte. Clicca sotto per firmare la petizione e invia questo messaggio a tutti:

http://www.avaaz.org/it/independence_for_palestine_eu/?vl

Se tracciare le origini del conflitto israelo-palestinese è complicato, la maggioranza della popolazione da ambedue le parti è invece d’accordo su un punto: il modo migliore per raggiungere la pace ora è la creazione dei due stati. Tuttavia, i diversi negoziati di pace che si sono susseguiti sono stati indeboliti da episodi di violenza da ambedue le parti, i tanti insediamenti israeliani in Cisgiordania e il blocco umanitario di Gaza. L’occupazione di Israele ha ridotto e frammentato il territorio dello stato palestinese e reso la vita di tutti i giorni dei palestinesi un inferno. L’ONU, la Banca Mondiale e il Fondo Monetario Internazionale hanno annunciato recentemente che i palestinesi sono pronti per avere uno stato indipendente, ma il più grande ostacolo alla sua riuscita è l’occupazione da parte d’Israele. Persino il Presidente degli Stati Uniti ha chiesto di mettere fine all’espansione dei territori e di ritornare invece ai confini del 1967 con accordi sugli scambi di terra, ma il Primo ministro Netanyahu ha reagito furiosamente: il messaggio di non cooperazione non poteva essere più chiaro di così.

E’ arrivata l’ora di un cambiamento epocale e di passare da un futile processo di pace a un nuovo cammino verso il progresso. Mentre Isreale e il governo americano dicono che l’iniziativa palestinese è “unilaterale” e pericolosa, in realtà le nazioni di tutto il mondo appoggiano pienamente questa mossa diplomatica che rigetta la violenza. Il riconoscimento globale della Palestina potrebbe isolare gli estremisti e incoraggiare il crescente movimento nonviolento israelo-palestinese in corso insieme al vento pro-democrazia che sta soffiando nella regione. Ma più importante ancora, potrebbe salvare il cammino verso un negoziato sugli insediamenti, permettere ai palestinesi l’accesso a una serie di istituzioni internazionali che potrebbero aiutarli a raggiungere la libertà, e inviare un chiaro messaggio al governo in favore dell’occupazione dei territori che il mondo non è più disposto ad accettare l’impunità e l’intransigenza.

Per troppo a lungo ormai Israele ha messo a repentaglio la speranza della nascita dello stato palestinese. Per troppo a lungo gli Stati Uniti sono stati accondiscendenti e per troppo a lungo l’Europa si è nascosta dietro gli Stati Uniti. Ora Italia, Francia, Spagna, Germania, Regno Unito e l’Alto Rappresentante dell’Ue non hanno ancora deciso da che parte stare sulla costruzione dello stato palestinese. Appelliamoci a loro perché si mettano dalla parte giusta della storia e perché sostengano la dichiarazione della Palestina per la libertà e l’indipendenza, attraverso un forte sostegno e con il necessario aiuto economico. Firma ora la petizione urgente per chiedere all’Europa di sostenere l’iniziativa e appoggia questo passo decisivo per una pace di lungo termine fra Israele e Palestina:

http://www.avaaz.org/it/independence_for_palestine_eu/?vl

La costruzione dello stato palestinese non risolverà questo lungo conflitto di punto in bianco, ma il riconoscimento dell’ONU cambierà tutto e aprirà le porte alla libertà e alla pace. In tutta la Palestina il popolo si sta preparando con molte aspettative e speranze per riprendersi la libertà che questa generazione non ha mai conosciuto. Mettiamoci dalla sua parte e facciamo pressione sull’Europa perché faccia lo stesso, così com’è avvenuto quando ha sostenuto il popolo egiziano, siriano e libico.

Con speranza e determinazione,

Alice, Ricken, Stephanie, Morgan, Pascal, Rewan e il resto del team di Avaaz

PIU’ INFORMAZIONI

Abbas esorta l’Onu a riconoscere lo stato palestinese
http://it.notizie.yahoo.com/medio-oriente-abbas-esorta-onu-riconoscere-stato-palestinese-085049476.html

La Lega Araba chiederà alle Nazioni Unite il riconoscimento dello Stato di Palestina
http://www.ilfattoquotidiano.it/2011/07/15/la-lega-araba-chiedera-alle-nazioni-uniteil-riconoscimento-dello-stato-di-palestina/145612/

Migliaia di israeliani e palestinesi marciano per chiedere l’indipendenza della Palestina
http://www.asianews.it/notizie-it/Migliaia-di-israeliani-e-palestinesi-marciano-per-chiedere-l%E2%80%99indipendenza-della-Palestina-22119.html

La campagna di Israele contro il voto all’ONU (in inglese)
http://www.guardian.co.uk/world/2011/jun/10/israel-plan-block-un-palestinian-state?INTCMP=SRCH

L’appello della Palestina per il riconoscimento dello stato (in inglese)
http://www.ft.com/intl/cms/s/0/47a391f6-b121-11e0-a43e-00144feab49a.html#axzz1SefO7Aor

Lo stato palestinese bypassando Israele (in inglese)
http://english.aljazeera.net/indepth/opinion/2011/06/20116168535227628.html

Onu pronta al riconoscimento della Palestina. Obama prepara il veto
http://www.lastampa.it/_web/cmstp/tmplrubriche/finestrasullamerica/grubrica.asp?ID_blog=43&ID_articolo=2109&ID_sezione=&sezione=

Lista dei paesi che riconoscono la Palestina
http://www.avaaz.org/en/countries_recognizing_palestine/?info

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CHI SIAMO
Avaaz.org è un’organizzazione no-profit e indipendente con 9 milioni di membri da tutto il mondo, che lavora perché le opinioni e i valori dei cittadini di ogni parte del mondo abbiano un impatto sulle decisioni globali (Avaaz significa “voce” in molte lingue). I membri di Avaaz vivono in ogni nazione del mondo; il nostro team è sparso in 13 paesi distribuiti in 4 continenti e opera in 14 lingue. Clicca qui per conoscere le nostre campagne più importanti, oppure seguici su Facebook o Twitter.

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UK artist James Cauty’s series A Riot in a Jam Jar stages teeny, tiny scenes of police brutality and general disorder in… jam jars, naturally. Scenes like “French Extremist Students Contained” and “Fees Riot, Parliament Square” come with moving parts, internal lights and lots of violence. Oh my god, they killed Banksy!

His distorted views and videos are also worth checking out. 

“A Riot in a Jam Jar,” James Cauty, 1st Jun 1 – Jul 3, L-13 Light Industrial Workshop, London

http://animalnewyork.com

SPECCHIA (LECCE), dal 20 al 23 LUGLIO 2011 – VIII edizione - www.cinemadelreale.it

Non solo cinema, alla ‘Festa di Cinema del reale”, ma anche mostre, come quella che vede protagonista Gianluca Costantini, tra le voci più originali del fumetto contemporaneo internazionale, autore di tavole in costante dialogo con la realtà. We Will Not Stay in Silence è il titolo della mostra che raccoglie alcune tra le tavole pubblicate nel corso di questi anni sul sito del suo progetto Political Comics.

PASSIONI / VISIONI / RIVOLUZIONI

Ospite d’onore: AGNÈS VARDA

Dal 20 al 23 luglio torna a Specchia (provincia di Lecce) la Festa di Cinema del reale: giunto alla sua ottava edizione, l’evento – ospitato in uno dei borghi più suggestivi d’Italia, e in particolare nella corte del Castello Risolo – propone quattro giorni all’insegna del cinema più spericolato, curioso e inventivo. Più che una rassegna, una “festa di sguardi” che, attraverso proiezioni, mostre, installazioni, incontri, seminari e musica dal vivo, vuol sostenere e promuovere le narrazioni del reale e il cinema documentario realizzato in Italia, nei Paesi del Mediterraneo e in tutto il mondo.

Cinema del reale è un cinema “ambulante”, senza botteghino (tutte le proiezioni sono a ingresso libero) e senza effetti speciali. È il cinema che “si fa fuori”, per strada e ovunque, e invita le persone a incontrarsi, a guardare i luoghi dove viviamo, le cose che succedono, raccogliendo memorie e amnesie per attraversare luci e ombre del presente, del passato, del futuro.

Tre, come di consueto, le parole chiave anche dell’edizione 2011: PASSIONI / VISIONI / RIVOLUZIONI.

PRIMAVERA ARABA

Passioni e Rivoluzioni come quelle che hanno animato, nei mesi scorsi, le sponde africane del Mediterraneo: l’eco di quei movimenti arriva a Specchia attraverso le fotografie del regista Stefano Savona che documentano l’intensità dei volti dei manifestanti di Piazza Tahrir, la piazza del Cairo centro della rivolta contro il presidente Mubarak, e soprattutto i corti dei giovani studenti della EDAC (Ecole des Arts et du Cinema di Tunisi, diretta dal cineasta Nouri Bouzid), che raccontano in modo diretto e coinvolgente alcuni aspetti della rivoluzione tunisina culminata il 14 gennaio 2010 con la fuga del presidente Ben Ali. Attraverso narrazioni dirette e immagini e filmati tratti dai social network, donne e uomini denunciano violenze, soprusi, arresti di attivisti, ma anche la difesa dei diritti, le speranze di cambiamento, il desiderio di libertà.

AGNÈS VARDA

Ospite d’onore dell’edizione 2011 è Agnès Varda: anticipatrice della Nouvelle Vague (il suo primo lavoro, La Pointe Courte, 1954, precorre la stagione di Truffaut, Godard e di molti altri colleghi, tra cui il futuro marito Jacques Demy), la regista francese ha sperimentato in oltre cinquant’anni – e più di 30 titoli – durate, generi e formati i più diversi, costruendo una filmografia sempre originale, e spesso testimone dei cambiamenti politici e culturali della seconda metà del Novecento (dalla Rivoluzione cubana a quella femminista), al di qua e al di là dell’Atlantico (dai lunghi soggiorni in California nasceranno opere come Lions Love e Mur Murs). Cineasta personalissima, nota al grande pubblico soprattutto per i lungometraggi Cléo dalle 5 alle 7 (1962) e Senza tetto né legge (1985, Leone d’oro alla Mostra di Venezia), Agnès Varda sarà a Specchia per parlare delle “poetiche/pratiche” del suo cinema e per accompagnare la proiezione di 6 dei suoi lavori: L’Opera Mouffe (1958), Salut les cubains (1963), Uncle Yanco (1967), Black Panthers (1968), Les glaneurs et la glaneuse (2000) e l’ultimo, autobiografico Les plages d'Agnès (2008).

CECILIA MANGINI

A dialogare con Agnès Varda, dal vivo e attraverso le immagini dei suoi film, un’altra grande autrice del documentario europeo, l’italiana Cecilia Mangini, che dopo essere stata celebrata di recente anche a Parigi (nel corso di una retrospettiva promossa proprio da “Cinema del reale”) torna nella “sua” Puglia – è nata a Mola di Bari nel 1927 – per offrire al pubblico del festival tre opere tra le più significative della sua carriera: Maria e i giorni (1959), La canta delle marane (1962), ritratto delle borgate romane impreziosito dal commento scritto da Pier Paolo Pasolini; e La scelta (1970), dedicato al tema dell’eutanasia.

RIVOLUZIONI MUSICALI

La “Festa di Cinema del reale” conferma la sua attenzione anche per i protagonisti di Passioni e Rivoluzioni musicali: a cominciare da Lou Reed, storico leader dei Velvet Underground, che esordisce dietro alla macchina da presa con Red Shirley, ritratto della cugina Shirley Novick (sarta, stilista, attivista dei diritti civili), filmata alla vigilia del suo centesimo compleanno.

Genio e sregolatezza di uno dei massimi musicisti jazz della storia rivivono in Michel Petrucciani – Body & Soul di Michael Radford, che il regista de Il postino ha presentato all’ultimo Festival di Cannes; mentre Rockman di Mattia Epifani racconta la storia di Militant P, fondatore del Sud Sound System e precursore del reggae italiano.

E ancora, con Io e la mia sedia di Angelo Amoroso D’Aragona, un omaggio a Enzo Del Re, cantastorie rivoluzionario scomparso lo scorso 6 giugno e noto al grande pubblico per la canzone “Lavorare con lentezza”, storica sigla di Radio Alice.

ALTRE VISIONI

Tra le altre proposte del Festival, da segnalare anche Il sangue verde di Andrea Segre, che racconta la rivolta dei braccianti africani che hanno manifestato a Rosarno contro lo sfruttamento e la discriminazione; Ju tarramutu di Paolo Pisanelli, un viaggio “nei territori della città più mistificata d’Italia”, L’Aquila, passata dopo il terremoto dallo smarrimento alla rivolta delle carriole; Almost Married, in cui Fatma Bucak (regista con Sergio Fergnachino), giovane fotografa turca da tempo trasferitasi in Italia, racconta il suo ritorno in Turchia per affrontare il padre e comunicargli l’intenzione di sposare un italiano: una rivolta necessaria in amore per superare i limiti imposti dalla tradizione.

SGUARDI E VISIONI

Non solo cinema, alla ‘Festa di Cinema del reale”, ma anche mostre, come quella che vede protagonista Gianluca Costantini, tra le voci più originali del fumetto contemporaneo internazionale, autore di tavole in costante dialogo con la realtà. We Will Not Stay in Silence è il titolo della mostra che raccoglie alcune tra le tavole pubblicate nel corso di questi anni sul sito del suo progetto Political Comics.

La sezione ‘Sguardi e visioni’ ospiterà, inoltre, un allestimento curato da Starter, gruppo di ricerca che riunisce artisti attualmente operanti nel Salento (Giorgio D’Ambrosio, Antonio de Luca, Silvia Lodi, Fernando Schiavano, Ingrid Simon); un’onirica video-installazione di Carlo Michele Schirinzi; una mostra di ritratti che parlano di rivoluzioni interiori realizzata all’interno del Centro per la Cura e la Ricerca sui Disturbi del Comportamento Alimentare di Lecce e infine le “prove di trasmissione” di Radio Uéb, la radio in pillole.

Durante le quattro giornate si potrà visitare anche la mostra Miraggi e riflessi dell’artista Marco Gastini a cura di Luigi Ficacci da un progetto di Marina Senin Forni. E per le vie di Specchia parole, segni, suoni della rivoluzione a cura di Big Sur Lab.

CREDITS

La Festa di Cinema del reale è ideata e organizzata da Big Sur, Associazione Cinema del reale e OfficinaVisioni, con la direzione artistica di Paolo Pisanelli. È cofinanziata da Unione Europea, Regione Puglia (Assessorato al Mediterraneo Settore Attività Culturali) e Fondazione Apulia Film Commission, con il contributo del Comune di Specchia, con il patrocinio della Provincia di Lecce (Assessorato alla Cultura).

www.cinemadelreale.it

Ufficio Stampa

Gabriele Barcaro

Tel: 340 5538425

Email: gabriele.barcaro@gmail.com

FESTA DI CINEMA DEL REALE

Ideazione e organizzazione

Big Sur

Associazione Cinema del reale

OfficinaVisioni

Cofinanziato da

Unione Europea – Iniziativa cofinanziata con fondi P.O. FESR Puglia 2007-2013 Asse IV - Linea d'intervento 4.3

Regione Puglia – Assessorato al Mediterraneo Settore Attività Culturali

Fondazione Apulia Film Commission

Con il contributo di

Comune di Specchia

Con il patrocinio di

Provincia di Lecce – Assessorato alla Cultura

Pre-cinematic technology takes over HERE for a week of contemporary cantastoria, cooked up by puppeteers, artists and craftspeople from across the country. A millennium-old art form is rejuvenated and re-imagined, as performers animate paintings and banners alongside texts, puppets, jokes, songs and stories.

Each unique program features several original shorts on a given theme, and the festival kicks off with a FREE opening celebration, presented by Great Small Works at Pier 1 in Brooklyn Bridge Park, featuring cantastoria and cranky performances by 15 different theater artists and live music by The Greatest Smallest Band. Bring a picnic and the whole family. In case of rain shows will take place in the Tobacco Warehouse Tent on Water Street.

http://here.org/shows/detail/630

Community Solutions - End the War on Drugs
A response to the Failed 40-year War on Drugs
& Mass Incarceration

June 18, 2011
Doors Open at 1 pm • All day events

1 pm - Tabling
2 & 4 pm - Panel Discussions
Live Music • Poetry • Hip Hop • Punk
8:00 pm - Candle light Vigil

Chuco's Justice Center
1137 East Redondo Boulevard
Inglewood, CA 90302

For more information contact: Rodrigo "Froggy" Vazquez • 323.667.8297 or frogg_lok@yahoo.com

Featuring Prison Nation: Posters on the Prison Industrial Complex from the archives of Center for the Study of Political Graphics

Sponsored by: A New PATH / LA • A New Way of Life • All of Us or None / Los Angeles • Alternative Intervention Methods (AIM) • American Civil Liberties Union / Southern California (ACLU SC) • Blacksmith Records Inc.• California Partnership • Californians United for a Responsible Budget (CURB) • Community Justice Network for Youth (CJNY) • Cop Watch / LA • Critical Resístance / LA • Drug Policy Alliance (DPA) • Enlace •

Families to Amend California's Three Strikes (F.A.C.T.S.) • Hip Hop Not Bombs • Homies Unidos • Justice by Uniting in Creative Energy (J.U.I.C.E.) • Law Enforcement Against Prohibition (L.E.A.P.) • Leadership through Empowerment Action and Dialogue (L.E.A.D.) • October 22nd Coalition / LA (O22) • Pico Youth and Family Center (PYFC) • Students for Sensible Drug Policy / Los Angeles City College (SSDP) • Youth Justice Coalition (YJC)

or the Model of the Occupation of the Faculty of Humanities and Social Sciences in Zagreb
Introduction by Marc Bousquet
Translated from the Croatian by Drago Markisa

http://www.minorcompositions.info/occupationcookbook.html

The Occupation Cookbook is a “manual” that describes the organization of the student occupation of the Faculty of Humanities and Social Sciences that took place in the spring of 2009 and lasted for 35 days. It was written for two reasons: to record what happened, and to present the particular organization of this action in such a way that it may be of use to other activists and members of various collectives if they decide to undertake a similar action.

What does it mean to “occupy” a school? A school occupation is not, as the corporate media like to portray it, a hostile takeover. A school occupation is an action by those who are already its inhabitants – students, faculty, and staff – and those for whom the school exists. (Which is to say for a public institution, the public itself.) The actions termed “occupations” of a public institution, then, are really re-occupations, a renovation and reopening to the public of a space long captured and stolen by the private interests of wealth and privilege.  The goal of this renovation and reopening is to inhabit school spaces as fully as possible, to make them truly habitable – to make the school a place fit for living. – Marc Bousquet, from the Introduction

Josh MacPhee & Favianna Rodriguez (eds.)
Reproduce & Revolt/Reproduce Y Rebélate
$18 ($19.95 cover price)

A collection of over 500 political graphics, Reproduce & Revolt/Reproduce Y Rebélatecontains original art granted by the creators to the public domain, to be freely used on political posters, flyers, and campaigns. A bilingual (English & Spanish) book, it also includes a history of the reproducible political graphic and a design how-to for anyone interested in using the images in this book to help change the world. A powerful collection of graphic work by some of the world’s most active and interesting political propagandists, street artists and socially conscious graphic designers. Over 100 artists from over 25 countries are included!

Almost all of the Justseeds crew are inside, as well as many other artists, including: Morgon Andrews, Janet Attard, Jon-Paul Bail, Brandon Bauer, Beehive Design Collective, Christopher Bettig, Joe Biel, Erok Boerer, Scott Boylston, Dave Buchen, Rebecca Bughouse, Jacinta Bunnelll, Christopher Cardinale, John Carr, Tom Civil, Juan Compean, Carlos Cortez, Mathew Curran, Lincoln Cushing, Hugh D'Andre, Design Action Collective, Eric Drooker, Emek, John Emerson, Shepard Fairey, Peter Fine, Brandy Flower, Juan Fuentes, Clifford Harper, Theodore Harris, Art Hazelwood, John Jennings, Sandy Kaltenborn, Keinom, Klutch, Marc Lepson, David Lester, Ricardo Levins Morales, Liberation Ink, Rico Lins, Dave Loewenstin, Alejandro Magallanes, Estria Miyashiro, Doug Minkler, Richard Mock, Claude Moller, Mary Patten, Armando Pineda Cruz, Esperanza Portilla Zamora, Pure Evil, Toufic El Rassi, Ally Reeves, Vanessa Renwick, Cristy Road, Artemio Rodríguez, Melina Rodrigo, Keith Rosson, Lisa Roth, Ryan Saari, Margarita Sada, Leonel Sagahón, San Francisco Print Collective, Nicole Schulman, Susan Simensky Bietila, Tim Simons, Andy Singer, Sixten, Santiago Solis, Miriam Klein Stahl, Struggle Inc., Taller Popular de Serigrafia, Rini Templeton, Rocky Tobey, Seth Tobocman, Un Mundo Feliz, Vomito Attack, Christine Wong Yap, and many more.

196 pages
10.5"x8"
Soft Skull Press

http://www.justseeds.org

Break Free Art Exhibit
May 6 – 27, 2011

Opening Program
May 6th
7:00 - 9:30pm
Opening night will feature indigenous dance and drum circles and spoken word.

Posters from CSPG's Prison Nation: Posters on the Prison Industrial Complex
will be featured in the exhibition and will be available for sale.

Mercado La Paloma
3655 South Grand Ave., Suite 240
Los Angeles, CA 90007

Break Free is a collective art exhibit that will take you on an artistic journey exploring the prison industrial complex, school-to-prison pipeline and other forms of slavery in this country.

The following organizations/artists have been infuential in making this exhibit possible:

Center for the Study of Political Graphics
Youth Justice Coalition
PLANET LUCID
The Community Rights Campaign

Contact Damon Turner for more information:
damon@mercadolapaloma.com
p: 323.245.3199

http://politicalgraphics.org

LE MONDE DIPLOMATIQUE EN BANDE DESSINÉE
ORANGERIE DU THABOR (PAVILLON EST) 
DU MERCREDI AU DIMANCHE | 14H00-19H00

Prenez un journal mensuel de référence de la gauche critique et Homecooking books, éditeur d’images basé à Rennes, suggérez leur quelques noms de créateurs contemporains du monde entier, faites revenir et savourez enfin 100 pages de bande dessinée politique. L’exposition décortique les différentes facettes de ce hors-série paru en novembre 2010, en kiosque et en librairie, de son élaboration aux propositions très variées des auteurs.
http://www.monde-diplomatique.fr/
http://www.homecooking-books.fr/

http://www.periscopages.org

Créées en 2001, les Rencontres Périscopages de la bande dessinée d’auteur et de l’édition indépendante fêteront cette année leurs dix ans du 6 au 29 mai 2011.

Initiées par des professionnels travaillant aux différents degrés de la chaîne du livre, aguerris aux festivals et aux salons, et qui, à ce titre, questionnent dès l’origine les modalités de déroulement des manifestations traditionnelles, les Rencontres Périscopages visent, avant tout, à installer un rapport singulier avec le public, basé sur la découverte, le débat et les croisements, plutôt que sur des préoccupations commerciales.

Pas de commémoration au programme 2011 mais l’envie de marquer une étape alors que le paysage éditorial général de la bande dessinée a été définitivement bouleversé dans ses habitudes, thématiques et collections par des initiatives alternatives surgies depuis 20 ans. 
Concentrations industrielles, surproduction (dorénavant près de 5000 titres de bande dessinée paraissent chaque année), marketing vampirisant les «niches éditoriales» mises en lumière par l’édition indépendante, menaces répétées sur le prix unique du livre (un des remparts majeurs à l’uniformisation éditoriale)… on pourrait ajouter à ce morne tableau le risque d’essoufflement ou d’implosion récurrent dans des structures alternatives généralement fragiles économiquement et dépendantes d’un engagement déterminant de leurs membres, le bénévolat n’étant pas le moindre pilier de cet engagement. Ces organisations, souvent nées d’un désir collectif, se heurtent cycliquement aux difficultés de maintenir et pérenniser un fonctionnement lui aussi alternatif, en cohérence avec une volonté affirmée de ne pas crier avec les loups de la croissance à tout crin.
Bref, plus que jamais, Périscopages fait sienne la formule « Résister, c’est créer » en présentant une programmation gratuite, foisonnante et internationale !

Water is the Life of NYC - mural done with assistant artist Crystal Clarity and youth artists from Groundswell Community Mural Project - Sackett and 4th avenue, Brooklyn NYC, 2008.

http://www.nicoleschulman.com

La nostra non è una organizzazione che promuove fughe di notizie. La nostra è un'organizzazione che promuove giustiziia... JULIAN ASSANGE

Becco Giallo con IPS e COSV per la Giornata Mondiale per la Libertà Di Stampa

Anche la Graphic Novel scende in campo per la Libertà di Stampa, con un'anteprima del libro "Julian Assange & WikiLeaks" di Gianluca Costantini e Dario Morgante, prossimamente edito da Becco Giallo. Una tavola dedicata a chi cerca  la verità, che anticipa la graphic novel che vuole ricostruire la storia di Julian Assange e rispondere a molte delle domande che molti si fanno su WikiLeaks.

http://www.cosv.org/public/download/GiornataMondiale.jpg

ANARCH-ETIQUETTE
the etiquette of anarchy: preserving the writing on the wall

The Museum of Contemporary Art Denver (MCA Denver) and PlatteForum together with the Anthropology Department at the University of Denver are proud to announce the first American exhibition of Daniele Pario Perra. The exhibit compares and contrasts wall writings of spontaneous communication in the Denver metro area and also includes several examples from his previous work in Europe. This exhibition represents the second annual Confluence Project, a shared artist-in-residence program between MCA Denver and PlatteForum.
The exhibition title, ANARCH-ETIQUETTE is inspired by a series of action/public workshops demonstrating the removal and preservation of wall writings on public buildings before they are covered up or the buildings themselves are demolished or renovated. These writings are removed by the technique of fresco removal and then are transferred onto large canvas panels. The canvases become a means of preserving the contemporary thoughts and feelings expressed by the members of the community through wall writing. Since 2006, Pario Perra has been conducting Anarch-Etiquette and Fresco Removal workshops to preserve traces of spontaneous communication on city walls throughout Europe.

Anarch-Etiquette removes and preserves writings connected to the ideas of political parties and their inclinations, critical consumption, cultural and musical movements, among others. The project focuses on fields within the last few decades, which delineate the culture belonging to that specific place. Writings such as, GOD SHAVE THE QUEEN, MI CASA NO ES TU CASA, LIGHT CAMERA WAR, TV IS TANNING YOU, UN VOILE UNE VOIX UN VOTE, are examples of messages connected to the local issues in a specific community.

Anarch-Etiquette is not about the uniqueness of a single text on a wall but the collection of various writings, which reveal an understanding of the DNA of the city or area itself. It is a way to study the cultural behaviours in the city, collecting informal communications that reveal the differences between an unconscious visualization of single view and the perception of a global reality, which we identify in the  concept of identity. This dialogue can be seen as a sign of future thoughts and opinions, showing how the place will evolve according to the expressed needs of that society.

The project gives PlatteForum's ArtLab and MCA Denver's TeCo teens and the students from the Anthropology Department of the University of Denver the opportunity to do urban anthropological field work. They also engage in round table discussions about what they would like to conserve from their culture or not. The students learn the process of removal and preservation becoming guardians of the memories of the city, this allows the participants to conserve testimonies of an intangible heritage that would otherwise be eliminated.

Anarch-Etiquette would like to thank local partners who have been able to inform the project of where relevant writings could be found and removed before they were covered up or the building was demolished.

About The Confluence Project: PlatteForum Creative Residency MCA Denver is a strategic partnership between PlatteForum and MCA Denver. PlatteForum's Creative Resident will create new work lead Learning Lab workshops with teens. Students will research, create, install, and exhibit art projects side-by-side with the resident artist.

About ArtLab: the ArtLab program provides an integrated, substantive out-of-school arts opportunity for at-risk youth in our community. It is a yearlong intensive youth development and training program, utilizing the arts, mentorship and learning to reach underserved Denver area youth aged 14 – 19 years.  The program is funded in part by YouthReach the Colorado Council on the Arts, National Endowment for the Arts, St Mary Land & Exploration and Land Title Guarantee Corporation.

About TeCo: Teen Council (TeCo) is a selected group of energetic and creative high school students that intern at the MCA Denver to create programming and events for teens. TeCos also interact with leading artists in a collaborative environment, creating work and gaining unparalleled insight about art. Teen Council is sponsored in part by the Fox Family.

About PlatteForum: every good life is built on a handful of epiphanies - moments of deep insight when the light comes on and you see what is possible for you. PlatteForum teams contemporary artists with small groups of young people from underserved urban neighborhoods to plan, produce and exhibit a collaborative body of work. PlatteForum was created to answer the critical need for learning through the arts for Denver's underserved and at-risk youth. In doing so, PlatteForum gives kids a chance to work side by side with master artists who model the outlook and skills required to build a productive and satisfying life.

Museum of Contemporary Art Denver
Fox Family Idea Box
1485 Delgany St.
Denver, Colorado USA
Opening Friday May 6, 2011
May 6 - 29, 2011
tuesday / sunday 10 am - 6 pm
friday until 10 pm
www.mcadenver.org

www.platteforum.org

www.mcadenver.org
press@anarchetiquette.org
 
Special thank you to Christina Kreps/DU, Guerilla Garden, Jolt /Jeremy Ulibarri, Mary Valdez /City of Denver, Contributes by: Francesco Rovella /Galleria Carta Bianca, Andrea Caputo /All City Writers, Alicia Velazquez /In Transition, Julie Upmeyer /Caravansarai, Roberto Tos /Rewriting, Katja Diallo, Jan Kryszons /Noordkaap Foundation, Alexander Vollebregt /TU Delft, Andrea Bartoli /Farm Cultural Park, Loredana Longo, Cristina Ampatzidou, Roberto De Luca, Filippo Leonardi, Leo Micali, and the Denver community for their support of this exhibition. The fresco removal video is by Jeanne van der Horst.

Ricordando Vik: tavole di Mauro Biani testo di Sergio Nazzaro: un fumetto per ricordare Vittorio “Vik” Arrigoni. Pubblicato su L’Unità il 24.04.2011.

L'immagine è NO Copyright

Bologna 30.11.2010

Si avvisa la gentile clientela che per motivi di ordine pubblico gli ingressi della stazione sono momentaneamente chiusi. Ci scusiamo per il disagio.

Marina Girardi www.magira.altervista.org

www.jerrykearns.com

Peter Gourfain, a Chicago native and graduate of the Art Institute of Chicago, has had an impressive number of solo and group exhibitions throughout the United States. Most noteable are his solo exhibitions at the Brooklyn Museum of Art in New York and the Chazen (formerly the Elvehjem) Museum of Art in Madison, Wisconsin. The artist is the subject of a large and detailed catalog from the latter exhibit.

Although Gourfain prefers the existing ambiguities of his images rather than supplied meaning, a sociopolitical ambiguous Americana is present in many of his prints. The stylized images, dark contrast and heavy line lend gravitas to the subjects. In Gourfain’s prints, Romanesque figures and objects mingle. Images emerge from each other and body parts from new objects and characters, delineated by text and the occasional splash of color. Heads roll and shadows loom in the landscape as figures intertwine and repel amongst ladders and chairs, creating a firm uncertainty, to which the artist does not comment.

Renowned for his terracotta, bronzes and carvings into old wooden objects, the dimensionality of his sculpture is retained in the carving of his prints. Gourfain’s woodblock and linoleum print work exemplifies the style, skill, poignancy and humor for which he is known.

Gourfain has received several high-profile fellowships and commissions for both his sculptural and print works. His art is included in many private and public collections, including the Museum of Arts and Design, the Museum of Modern Art and the Guggenheim Museum in New York City. Based in New York, Peter Gourfain continues to create darkly humorous and thought-provoking images in several media.

EDUCATION: 
1956 – B.F.A., School of the Art Institute of Chicago

SELECTED SOLO GROUP EXHIBITIONS: 
2005 - Projects Gallery, Philadelphia, PA
- Bowling Green State University, Bowling Green, OH
- Alley Culture, Detroit MI
2002 - Elvehjem Museum, University of Wisconsin, Madison, WI 
1998 - Greenwich House Pottery Gallery, New York, NY
1990 - Objects Gallery, Chicago, IL (also 1985)
1989 - Patricia Hamilton Gallery, New York, NY
1987 - Brooklyn Museum, Brooklyn, NY, “Roundabout and Other Works” 
1982 - MOA Gallery, New York, NY 
1978 - Cusalon Gallery, New York, NY 
1973 - Bykert Gallery, New York, NY (also 1971, 1969, 1967)

SELECTED GROUP EXHIBITIONS: 
1999 - Neuberger Museum, SUNY, Purchase, NY (with Barry Bartlett and Arnold Zimmerman)
1988 - Big Little Sculpture, Williams College Museum, Williamstown, MA 
- Committed to Print, Museum of Modern Art, New York, NY
1983 - The New Sculpture, Patricia Hamilton Gallery, New York, NY 
1974 - Sculpture Installation, Storm King Art Center, Mountainville, NY 
- Monumenta, Sculpture with Grosvenor, Smith, Oldenburg, Newport, RI 
1970 - Using Walls, The Jewish Museum, New York, NY 
1968 - Toward a Romantic Minimalism, University of Pennsylvania, Philadelphia, PA 
- Whitney Biennial, Whitney Museum of American Art, New York, NY 
1967 - Corcoran Biennale, Corcoran Gallery, Washington, DC 
1966 - Systemic Painting, Guggenheim Museum, New York, NY

FELLOWSHIPS / GRANTS / COMMISSIONS: 
1999 - New York, Foundation for the Arts Fellowship for the Arts – Printmaking 
1998 - Neuberger Museum, Purchase, NY, Fate of the Earth, installation of 24 bronze reliefs in museum wall
1997 - Cathedral of St. John the Devine, NYC, Fate of the Earth, installation of 24 bronze reliefs in cathedral wall
1996 - Greenwich House Pottery, New York, NY, bronze medallion on front of the building 
1992 - National Park Service, Bronze Stele on the Canalway, Lowell, MA 
1990 - New York City Department of Cultural Affairs Percent for Art, two bronzes for P.S. 6, Brooklyn, NY 
1979 - National Endowment for the Arts, 10 ceramic urns for University of Ohio, Columbus, OH 
1978 - New York State Council for the Arts, CAPS grant for sculpture 
1975 - National Endowment for the Arts, sculpture 
- Guggenheim Fellowship, sculpture

TEACHING / RESIDENCIES: 
2005 - Bowling Green State University, Bowling Green, OH, visiting artist, printmaking
2005-1998 - Greenwich House Pottery, New York, NY, teacher, ceramic sculpture 
1998 - University of California, Davis, CA, visiting artist, ceramic sculpture <
- Penland School, Penland, NC, teacher, printmaking 
1996 - Penland School, Penland, NC, teacher, ceramic sculpture 
1993 - Rhode Isalnd School of Design, Providence, RI, visiting artist, ceramics 
1991 - Skowhegan School, Skowhegan, ME, professor, sculpture 
1990 - Massachusetts College of Art, Boston, MA, visiting artist, ceramic sculpture 
- Louisiana State University, Baton Rouge, LA, visiting artist, ceramics 
1980 - Cranbrook Academy, Bloomfield Hills, MI, visiting artist, sculpture 
- Kent State University, OH, visiting professor, sculpture (summer program) 
1974 - Cranbrook Academy, Bloomfield Hills, MI, visiting artist, sculpture 
1969-1970 - School of Visual Arts, New York, NY, teacher, sculpture

http://www.tanyaleighton.com

AYREEN ANASTAS AND RENE GABRI 
THE MEANING OF EVERYTHING
ONE STEP FORWARD TWO STEPS BACK
13 February - 20 March 2010
PREVIEW 12 February, 6 - 9pm

CINEMATIC EVENT 12 February (after opening) 9:30pm at Kino Arsenal, Potsdamer Straße 2 
TESTING NOTHING IN A LITTLE ROOM IS THE WAY TO USE THE ROOM AND NOTHING IS THEN LOST AND THAT IS SUCH A CORRECTION 

Tanya Leighton Gallery is pleased to present the very first solo gallery exhibition by Ayreen Anastas (b. Bethlehem, Palestine) and Rene Gabri (b. Tehran, Iran). 'The Meaning of Everything. One Step Forward Two Steps Back' is part of ‘Forum Expanded’ - a programme within the International Forum of New Cinema at the 60th International Film Festival of Berlin.  

'The Meaning of Everything'  is a long-term collaboration, which takes its title from a series of books of the same name. These books present a series of notes, questions, diagrams, and drawings, which trace or map the questions Anastas and Gabri share in the course of their work and life. One cannot say with precision what each of the books in the series will be about, nor what form they will take, as the life that will write them has yet to be lived. The current series is the artists attempt to give form to, and make public, the intellectual and affective movements or ‘becomings’, which constitute a life. There is a speculative and prospective dimension to the series as it will, at times, act as a script which can open up to events, actions, performances, videos, texts, gestures, and other unforeseeable incidents.

> download english press release (pdf)

www.marriedtothesea.com

No Human Being is Illegal

Posters on the Myths & Realities of the Immigrant Experience

October 7th to December 10, 2010

UCSB MultiCultural Center (MCC)

University Center Room 1504

Santa Barbara, CA 93106-6050

805.893.8411

www.mcc.sa.ucsb.edu

www.sitasingstheblues.com

Dear Audience,

I hereby give Sita Sings the Blues to you. Like all culture, it belongs to you already, but I am making it explicit with a Creative Commons Attribution-Share Alike License. Please distribute, copy, share, archive, and show Sita Sings the Blues. From the shared culture it came, and back into the shared culture it goes.

You don't need my permission to copy, share, publish, archive, show, sell, broadcast, or remix Sita Sings the Blues. Conventional wisdom urges me to demand payment for every use of the film, but then how would people without money get to see it? How widely would the film be disseminated if it were limited by permission and fees? Control offers a false sense of security. The only real security I have is trusting you, trusting culture, and trusting freedom.

That said, my colleagues and I will enforce the Share Alike License. You are not free to copy-restrict ("copyright") or attach Digital Restrictions Management (DRM) to Sita Sings the Blues or its derivative works.

Some of the songs in Sita Sings the Blues are not free, and may never be; copyright law requires you to obey their respective licenses. This is not by my choice; please see our restrictions page for more.

There is the question of how I'll get money from all this. My personal experience confirms audiences are generous and want to support artists. Surely there's a way for this to happen without centrally controlling every transaction. The old business model of coercion and extortion is failing. New models are emerging, and I'm happy to be part of that. But we're still making this up as we go along. You are free to make money with the free content of Sita Sings the Blues, and you are free to share money with me. People have been making money in Free Software for years; it's time for Free Culture to follow. I look forward to your innovations.

If you have questions, please ask each other. If you have ideas, please implement them - you don't need my permission or anyone else's (except for the copyright-restricted songs, of course). If you see abuses, please address them, but don't get bogged down in arcane details of copyright law. The copyright system wants you to think in terms of asking permission; I want you to think in terms of freedom. We've set up this Wiki to get things started. Feel free to improve it!

I've got to get back to my life now, and make some new art. Thanks for your support! This film wouldn't exist without you.

Love,

--Nina Paley

28 February, 2009

Curieux de développer dans d’autres langages les thèmes que traite traditionnellement Le Monde diplomatique, le journal s'est associé aux éditions Homecooking pour la parution d’un Hors-Série en bande dessinée.

Faisant appel à l’équipe éditoriale et aux auteurs habituels du Monde diplomatique ayant travaillé en binôme avec des dessinateurs, aussi bien qu'à des auteurs de bande dessinée confirmés ou émergents, Le Monde diplomatique en bande dessinée porte l'ambition d'une revue de création qui traite l’actualité internationale ainsi que des thématiques politiques et sociales. L’approche de Le Monde diplomatique en bande dessinée est rigoureuse et exigeante, évitant l'écueil d'un recueil caricaturalement « engagé », manichéen ou chargé de « bons sentiments »... où l’idéologie prendrait le pas sur la recherche artistique. Le Monde diplomatique en bande dessinée n’est donc pas l’énième hors-série en bande dessinée, anthologie disparate de fonds de tiroirs et de re-publications d'auteurs médiatiques. Il n’est pas non plus un hors-série SUR la bande dessinée. Dix-sept auteurs français et étrangers ont ainsi choisi un thème qui leur tenait à cœur, pour composer un sommaire très éclectique. Joe Dog (Afrique du Sud) évoque l’agression d’une femme blanche par un jeune noir à Cape Town, Lisa Mandel (France) s’intéresse à Osiris, une association de soutien aux victimes de répression politique, Fabrice Neaud (France) analyse les arguments homophobes du député Christian Vanneste, Jochen Gerner (France) traduit sous forme d’expérimentation graphique un article de Frédéric Lordon sur la Bourse, Joanna Hellgren (Suède) traite avec Huwaida Arraf (Usa) du mouvement Free Gaza, Grégory Jarry (France) et le journaliste François Ruffin s’intéressent au parcours d’ex-licenciés du groupe LVMH, Morvandiau (France) met en rapport les termes employés par les politiques français sur l’immigration avec des images coloniales, Mazen Kerbaj (Liban) règle ses comptes avec Beyrouth, Maximilien Leroy (France) trace le portrait de Marek Edelman, grande figure du mouvement ouvrier juif, David Vandermeulen (Belgique) propose – en guise d’éditorial – un manuel d’usage de la bande dessinée, Juhyun Choi (Corée du Sud/France) s’approprie l’histoire récente de la Corée du Sud, Victor Gurrey (France) imagine une nation – Iata – aux frontières bien gardées, Elettra Stamboulis et Gianluca Costantini (Italie) reviennent sur le parcours de Sheik Al Mansour, leader tchéchène du XVIIIe siècle, Madmeg (France) raconte la réintroduction d’animaux adaptés au grand froid au Pleistocène Park (Sibérie) sous la direction d’un certain professeur Zimov. Les pages de cet Hors-Série donnent leur vrai sens à la formule « journalisme en bande dessinée » : des thèmes liés à l’actualité française ou internationale dans toute leur complexité qui s’enrichissent de nouvelles et parfois surprenantes clés de lecture et d’interprétation une fois traités par « l’art séquentiel ».

Le travail des auteurs de Le Monde diplomatique en bande dessinée a été coordonné par Alain Gresh (directeur adjoint du Monde diplomatique et spécialiste du Moyen-Orient), Mona Chollet (journaliste au Monde diplomatique et animatrice du site de critique culturelle Périphéries), Kate Fletcher (co-fondatrice du magazine L’œil électrique et éditrice de Homecooking), Guillaume Barou (journaliste et graphiste, qui a participé à la création du webzine Bakchich en 2006 et actuellement fait partie de l’équipe du Monde diplomatique), Morvandiau (auteur de bande dessinée, dessinateur de presse et fondateur du festival Périscopages), Philippe Rivière (rédacteur en chef adjoint du Monde diplomatique et spécialiste des brevets, de la propriété intellectuelle, du logiciel libre et des médicaments génériques).

La sortie contemporaine en kiosque et en librairie de Le Monde diplomatique en bande dessinée sera accompagnée d’une forte couverture dans la presse du groupe (Le Monde Diplomatique, Le Monde, La vie, Télérama) et par une campagne d’affichage dans les points de vente.

In 1970 Malcolm Mc Neill received a phone call from a man who asked to meet “the guy who knows how to draw me.” The caller was William S. Burroughs. Mc Neill had recently illustrated a Burroughs text called “The Unspeakable Mr. Hart” for the underground paper Cyclops. Burroughs had been struck by how much Mr. Hart resembled him, even though he had never met Mc Neill and, as it turned out, Mc Neill knew relatively little about Burroughs. The young artist accepted an invitation to the flat Burroughs shared with Brion Gysin at Number 8, Duke Street, London. When he arrived, Burroughs served him bacon and discussed extending their collaboration into a book. Mc Neill was just 23, Burroughs was 56, and the project — tentatively titled Ah Puch — would last for seven more years.

link

justseeds.org

ABOUT
Justseeds Artists’ Cooperative is a decentralized network of 26 artists committed to making print and design work that reflects a radical social, environmental, and political stance. With members working from the U.S., Canada, and Mexico, Justseeds operates both as a unified collaboration of similarly minded printmakers and as a loose collection of creative individuals with unique viewpoints and working methods. We believe in the transformative power of personal expression in concert with collective action. To this end, we produce collective portfolios, contribute graphics to grassroots struggles for justice, work collaboratively both in- and outside the co-op, build large sculptural installations in galleries, and wheatpaste on the streets – all while offering each other daily support as allies and friends.

HISTORY
Founded in 1998, and originally the graphics distribution project of Josh MacPhee, Justseeds made the transformation into a worker-owned cooperative in 2007 – the original network being largely in place through past collaborations and friendships. In May 2010, Justseeds moved our distribution center from Portland to a new and larger base in Pittsburgh. We operate an online store and wholesale distribution center; an active, multi-voice blog detailing current art and resistance projects around the world; and a small gallery space in our Pittsburgh shipping office that highlights member work.

ACERCA
Justseeds Cooperativa de Artistas es una red descentralizada de 26 artistas comprometid@s a la elaboración de gráfica y diseños que reflejan una posición política, medioambiental, y social radical. Con miembr@s trabajando en EE.UU. Canadá, y México, Justseeds opera como una colaboración de artistas gráficos y también como una colección de individu@s creativ@s, con puntos
de vista y métodos de trabajo únicos. Creemos en el poder transformativo de la expresión personal en concierto con la acción colectiva. Con este fin, producimos portafolios colectivas, contribuimos con gráfica a movimientos y luchas sociales de base en su búsqueda por justicia, trabajamos de manera colaborativa dentro y fuera de la cooperativa, construimos grandes instalaciones en galerías, pegamos carteles con engrudo en las calles, mientras día a día nos ofrecemos apoyo l@s un@s a l@s otr@s como aliad@s y amig@s.

HISTORIA
Fundada en 1998, originalmente como un proyecto de distribución de gráfica por Josh MacPhee, Justseeds hizo la transformación a una cooperativa de trabajadores en 2007 – siendo que la red original se conformaba en gran escala de amig@s y colaboradores. En Mayo de 2010, Justseeds mudó su centro de distribución de Portland a una nueva y mas grande base en Pittburgh. Operamos una tienda virtual, una distribución de mayoreo, y un centro de distribución; un blog activo y multi-voz detallando proyectos de resistencia y artísticos alrededor del mundo; y una pequeña galería en nuestra oficina de distribución en Pittsburgh que acentúa el trabajo de nuestr@s miembr@s.

www.mitpressjournals.org/loi/dram

Back at the end of June I was in Toronto, strangely at an academic performance art conference to talk about the Spectres of Liberty project, and their was a table for TDR (The Drama Review), one of the longest running and most political drama/culture journals. They had a pile of old back issues really cheap, with great covers. Plus the contents are great too in the early issues, lots of material on The Living Theatre, Bread & Puppet, Futurism, and guerrilla theatre.

arthazelwood.com

At the beginning of the Iraq war it seemed like a bad idea. At the end of George W. Bush's final term in office it was a bad idea that had fossilized. This bound set of prints is the bookend to Art Hazelwood's Hubris Corpulentus, a series of engravings done in the first year of the war. Into Iraq consists of small linocut prints each one more full of bile than the previous. The subjects range from the battlefield to the media, to the neocons and the Congressional enablers in Washington. Oil Flag, Patriotic Tune, Sacrifice of Liberty, The President in his Labyrinth are some of the titles.

These linocuts were all created in the last years of the Bush administration. Several were used as the basis for posters. In the last months of the Administration during the 2008 elections the whole series was exhibited in Oakland at the now defunct Front Gallery. It took from that time to the present to print and bind the thirty books. But it is a good time for us to recall George W. Bush. It is a good time to recall the path that led the country on its downward cycle. It is a good time lest we think he or his ilk have disappeared or worse that they have any good ideas at all.

34 Linocut prints in a book by

Art Hazelwood

Signed edition of 30

36 pages, two fold outs, 34 linocut prints, linocut printed titles.

Three different papers used in the book body

Mohawk Superfine (21 of the edition) 9 3/4 x 8 1/2 x 3/8 inches, . Cover BFK grey

Torinoko (3 of the edition) 9 3/4 x 8 1/2 x 1/2 inches. Cover BFK tan

Whatman Print Paper (6 of the edition) 9 3/4 x 8 1/2 x 3/4 inches. Cover BFK cream

All with decorative end sheets. Accordion fold, paper binding. Bound by the artist.

Price $250.00 plus $20 shipping. In California add 9.5% sales tax or $23.75

www.princetonol.com/groups/iad/lessons/high/Sara-social.htm

Submitted by Sara Gant, North Carolina
UNIT: Social and/or Political Issues in Art 
Lesson: Choice of media - on social and or political issues
Grade level: High School (adaptable to middle school)
Political Art for Younger Students: Constructing a President

Work above is by students from Leigh High School, San Jose CA - art teacher Ken Schwab. Heidi used a collage of her drawings done in pencil and colored pencils and antiqued with oil paint stains. Marissa's is pencil and colored pencil. Heidi's work won first place in the Art Olympiad for high school students. It is about her grandfather who was interned and lived through Auschwitz; it uses images of Hitler, skeleton arm with her grandfather's number on it and images of prisoners in mixed media. Marissa's work is her anti-war statement. 

Work shown above is by Steve Shepard His work is very political in nature - and anti-Bush. Do a search on eBay to see his current offerings. Work is copyrighted and used here with permission. You do have permission to show students his work in PowerPoint presentations. Use caution when it comes to political bashing - you know how your school officials will react. Deb Mortl recommended Steve Shepard to Getty TeacherArtExchange list.

Uniting to Fight with Political Graphics 
A Panel Discussion & Exhibition Tour

September 12, 2010
2:30 - 4:30 pm

at the ONE Archives Gallery & Museum
626 N. Robertson Blvd.
West Hollywood, CA 90069
(entrance on El Tovar)

Center for the Study of Political Graphics presents a panel discussion with local LGBTQ activists who use political graphics to educate about the critical issues their communities face and to inspire and propel organized movements forward and into a broader public view.

For more than 40 years, political posters have been one of the primary art forms to challenge the oppression of lesbian, gay, bisexual, transgender and queer individuals and communities. From the fight to expose inadequate healthcare for HIV/AIDS patients and end the AIDS crisis in the 80s & 90s; to the ongoing battles to end discriminatory laws; to efforts raising awareness of how LGBTQ communities are alienated by institutionalized racism and hate crimes…panelists will discuss the past and recent history of posters and graphics displayed in CSPG’s current exhibition, Out of the Closet & Into the Street: Posters of LGBTQ Struggles & Celebrations.
Organizations represented by the panelists include ACTUP/LA, Queer Nation, Critical Resistance, and INCITE.

After the panel discussion there will be an exhibition tour. Out of the Closet & Into the Street: Posters of LGBTQ Struggles & Celebrations is  on display at the ONE Archives Gallery & Museum through September 26, 2010.

www.aceart.org

This weekend marks the final opportunity for Canadians to view “All Power to the People,” a striking exhibition of Black Panther Party posters, newspaper graphics and broadsheets organized by Toronto curators Heather Haynes and Izida Zorde in collaboration with Los Angeles’s Center for the Study of Political Graphics. (Haynes and Zorde are also, respectively, publisher and editor of Fuse.)

The exhibition opened at Haynes’s nonprofit gallery Toronto Free in September 2008, travelled to Edmonton’s Society of Northern Alberta Print-artists in November and opened at Winnipeg’s Ace Art in January.

Above: A 1969 cover from The Intercommunal News Service. From David Hilliard’s, The Black Panther: Intercommunal News Service 1967-1980. Atria Books, 2007

geotypografika.com/2008/03/27/david-hilliard-the-black-panther

"[A.D. is] one of the best-ever examples of comics reportage, and one of the clearest portraits of post-Katrina New Orleans yet published. An essential addition to the ongoing conversation about what Katrina means, and what New Orleans means."
– Dave Eggers

My latest book is the New York Times bestseller A.D.: New Orleans After the Deluge, a nonfiction graphic novel about seven real-life New Orleanians and their encounters with Hurricane Katrina. Released in hardcover last year, A.D. came out in paperback — cover pictured at left! — in August 2010.

At the August 2009 New York release party for A.D., we raised over $1,200 for Common Ground Relief, a grassroots organization based in New Orleans' Ninth Ward.

A.D. has been covered by the New York Times, Newsweek, NPR, the New Orleans Times-Picayune, Salon.com, Rolling Stone, theWall Street Journal, the Toronto Star, BoingBoing, Wired.com, "Pop Candy," and many others. The L.A. Times calls A.D. "a work . . . of literature, of high art, and of reverence for nature and humanity." 

A.D. has been nominated for an Eiser Award for Best Graphic Album—Reprint, and for a Harvey Award for Best Previously Published Graphic Album! It will be excerpted in the 2010 edition of Best American Comics, edited by Neil Gaiman. In addition, the book was listed on a number of 2009 holiday gift guides, including the New York Times. Vanity Fair magazine declared A.D. to be one of its five "better-than-a-sweater" gift suggestions. And MTV's "Splash Page" blog called A.D. the best nonfiction comic of 2009.

www.joshcomix.com