St. Agatha Listens to Heavenly Music
by George Bolster
Tuesday, January 31, 2006
Photo archive of David Alfaro Siqueiros
Carlos Amorales
An Image Bank for Everyday Revolutionary Life
based on the photo archive of David Alfaro Siqueiros
Sunday, January 29, 2006
Sakiko Nomura
Born 1967 in Shimonoseki, Yamaguchi Prefecture; lives in Tokyo; 1990 graduated from the Department of Photography, Kyushu Sangyo University, Fukuoka; since 1991 works as a photographer at Aat Room, Tokyo.
Artworks by friends II
Macau Handover by Hanspeter AmmannVDO, 2000, 27'00'', Switzerland
Commissioned by the Institute of European Studies of Macau to commemorate the return of the Portuguese territory to China on 20 December 1999, 'Macau Handover' offers an elliptical, back-door view of an historic event. Though the official ceremony can be heard on the soundtrack in the form of a live television broadcast, it remains tantalisingly off screen. Excluded from the sacred rites of power, we take our place among the milling crowds at street level and await the fulfilment of a destiny beyond our control. The departing brass pose stiffly for a last official portrait, the Chinese army trucks roll in, but Ammann undercuts the stately pomp with vignettes that imply the resilience of common humanity.
Peter Matthews, Sight and Sound
Friday, January 27, 2006
Collier Schorr
How German Is It: An endless, shifting hall of mirrors where every image is hauntedby Leslie Camhi, Village Voice, November 28th, 2005
I would love to know what the photographer Collier Schorr said to Jens F., a German adolescent whom she met on a train, in order to convince him to pose for her. Schorr, who is American and Jewish, spends her summers in an intensely Catholic region of southern Germany. In a brief, eloquent essay published in her richly layered and complex new artist's book Jens F. (Steidl/MACK), she recounts that, during that particular journey through Hitler's former heartland, she was "reading Primo Levi's Survival in Auschwitz, which was my self-imposed punishment and seemed a fair compromise after reading Cynthia Ozick's essay, 'Why I Will Never Go to Germany.' "
Schorr was 37 at the time of this encounter, in 2000, while the red-haired Jens still possessed the soft, inchoate beauty of boyhood. I assume they spoke German. It's likely the question "What are you reading?" would have been a conversation-stopper. Did they chat about sports or movies, or the slow-moving train? Was he curious about New York and the life she led there?
Did she say, There's an American artist named Andrew Wyeth, long out of favor in the avant-garde art world precincts where my work is welcomed. He drew and painted a woman, his German-born neighbor Helga Testorf, in secret for some 15 years. I'd like to do something similar with you—to pose you as he did her, to fashion you in another's image while mining your private moods and least gestures, to record the changing lines of your body and the gradual hardening of your flesh, occasionally diverting my attention to others; in short, to attempt to possess you, as any portraitist does his or her model, knowing all the while that you will elude me, that the search is all.
However put—and who, in truth, is privy to the furtive, often unspoken negotiations between artist and subject?—the deal was struck. "Collier Schorr: Jens F.," the show currently at Andrew Roth gallery, includes single and collaged photographs produced over five years, mostly of Jens, clothed at times in German military surplus or semi-nude and striking poses inspired by Wyeth's Helga. Included are a few pictures of Jens's sister, a blond-braided mädchen in a field (an ideal of purity dear to Nazi propagandists) with an uncanny resemblance to Helga's daughter, who also modeled for Wyeth. Cameo appearances by a small cast of stand-ins and body doubles—a girl who looks like a boy, a friend of Jens with whom we occasionally confuse him, and an American woman who is Helga's doppelg matters even further.
The result is an endless, shifting hall of mirrors, where every image is haunted by the ghost of at least one other, where the distances between painting and photography, boyhood and womanliness, conceptual art and classicism, figure and ground, guilt and innocence, Wyeth's high-WASP attraction to Helga's Teutonic heritage and Schorr's Jewish ambivalence regarding the ghosts haunting German soil—to mention only a few—are temporarily collapsed, and near-opposites are rendered interchangeable. Schorr's handwritten notes, scribbled in margins of her collages and on the pages of Jens F. (which meticulously reproduces a dense scrapbook of Polaroids and contact prints that Schorr pasted into a catalog of The Helga Pictures), mention Henry James, whose American characters went to Europe only to find their own shattered reflections. One is reminded of Proust (and of Hitchcock in Vertigo), for whom love—the desire to possess another—is never an original feeling but an illusory edifice resting on the unstable foundation of past affections.
That this exchange took place in 21st-century Germany raises its stakes inordinately. Schorr, best known for her tender, silken, vulnerable depictions of testosterone-driven youths—most recently, New Jersey private-school wrestlers—has passed this way before, with a series portraying German adolescents in woods and fields, both nude and wearing military garb, including what appear to be fragments of Wehrmacht uniforms. The pictures were at once unsettling—in an interesting way—and irksome in their coyness. The display of Third Reich insignia remains illegal in Germany, presumably because it still inspires in some people a rather unhealthy nostalgia. Schorr works intuitively, and ambiguity is a key component of her art, but was it worth breaching this particular taboo for what seemed a private fantasy? It's hard to be sure. But the broader work reveals those photographs as one episode of a sustained investigation into landscape and memory, an attempt to unravel, ever so slightly, the tightly knit relation between "blood and soil" (as they once called it in Germany), nationhood and identity.
Thursday, January 26, 2006
JT Leroy II
Comment from Lawrence Chua:
I have never really seen the literary value of JT Leroy's writing but the fact that there is a collaborative process involved in the creation and selling of the work provides valuable insight into the machinations of the American publishing industry. The industry is full of ghost writers and pseudonyms, mostly with more widely published trade books. Why should we expect something different in mid-list writers?
I have never really seen the literary value of JT Leroy's writing but the fact that there is a collaborative process involved in the creation and selling of the work provides valuable insight into the machinations of the American publishing industry. The industry is full of ghost writers and pseudonyms, mostly with more widely published trade books. Why should we expect something different in mid-list writers?
JT Leroy
Transnational - Bangkok/Dublin - response to the JT Leroy thing. Between me and friend, one Roisin Collins.
Brian: I think the response to the hoax is bullshit. The hoax shows up white middle class arty types obsession with 'beautiful and damned' figures - the hoax doesn't undermine the literary merit of the work, and literary merit does not have to be grounded in real experience, it is irrelevant that the experiences of a HIV-transgendered-sex-working novelist were 'faked'.
Roisin: The middle classes, as you say, quietly appreciate the spectacle of 'authentic' abuse, while getting to feel virtuous because the boy is now sucking up to starlets rather than sucking off truckers. Thus, having achieved a sort of quirky celebrity, the 'author' has been handsomely rewarded for his pains. There's also that whole naif thing, where everybody gets to feel superior and protective to the artist, because you believe that he's an ignorant child , till it turns out you've been played by the kid.
I found a quote from Armistead Maupin about JT Leroy to the effect that when you believe that he's a retired rentboy the writing is effective and moving but when you reread it knowing that the author's somebody else entirely, it's just kitsch. I can't believe this; Maupin writes fiction so you'd think he'd have the whole literature/biography thing straight in his head, and as to the whole question of its literary quality resting on its author's lifestyle. So, you have to conclude that not only are all these American publishers/literati/hangers on hypocrites, and intellectually vain, they are also thick. It's a pretty basic category confusion, it suggests that texts adhere to their contexts in a way that only a fool could believe, it's obssessively fixated on the whole Reality thing in a way that makes Baudrillard seem commendable. I'm getting carried away...
Brian: I think the response to the hoax is bullshit. The hoax shows up white middle class arty types obsession with 'beautiful and damned' figures - the hoax doesn't undermine the literary merit of the work, and literary merit does not have to be grounded in real experience, it is irrelevant that the experiences of a HIV-transgendered-sex-working novelist were 'faked'.
Roisin: The middle classes, as you say, quietly appreciate the spectacle of 'authentic' abuse, while getting to feel virtuous because the boy is now sucking up to starlets rather than sucking off truckers. Thus, having achieved a sort of quirky celebrity, the 'author' has been handsomely rewarded for his pains. There's also that whole naif thing, where everybody gets to feel superior and protective to the artist, because you believe that he's an ignorant child , till it turns out you've been played by the kid.
I found a quote from Armistead Maupin about JT Leroy to the effect that when you believe that he's a retired rentboy the writing is effective and moving but when you reread it knowing that the author's somebody else entirely, it's just kitsch. I can't believe this; Maupin writes fiction so you'd think he'd have the whole literature/biography thing straight in his head, and as to the whole question of its literary quality resting on its author's lifestyle. So, you have to conclude that not only are all these American publishers/literati/hangers on hypocrites, and intellectually vain, they are also thick. It's a pretty basic category confusion, it suggests that texts adhere to their contexts in a way that only a fool could believe, it's obssessively fixated on the whole Reality thing in a way that makes Baudrillard seem commendable. I'm getting carried away...
Tuesday, January 24, 2006
Yesterday's Utopia
Yesterday's Utopia: What can we learn by looking back at large-scale modernism?
Brian Ackley
"Modernism's alchemistic promise-to transform quantity into quality through abstraction and repetition-has been a failure, a hoax: magic that didn't work. Its ideas, aesthetics, strategies are finished. Together, all attempts to make a new beginning have only discredited the idea of a new beginning. A collective shame in the wake of this fiasco has left a massive crater in our understanding of modernity and modernization."
Rem Koolhaas S,M,L,XL, 1995
What has become of experiments in modernist housing? That utopian project was inspired by the radiant city of towers, highways and green spaces but instead produced giant block housing projects whose morphologies, according to the usual criticism, destroyed street life by walling off neighborhoods and locking inhabitants in the sky. These huge public experiments transformed the landscape, redefined urban experience and forced a new social organization.The alchemy, as Koolhaas put it, of the materialization of a perfect urbanism may have failed, but another urbanism has arisen in its place. Giant carcasses survive-legacies of abandoned theories-and communities mutate into unexpected forms as daily life within these sites presses on. A perversion of scale is the typical attack directed toward extra large-scale modernist developments, but there is nothing inherently wrong with really really big. Problems arise from a lack of diversity and differentiation within the projects and from their isolation from existing urban fabrics. Because modernist architecture did not yield to its surroundings-to the social and cultural contexts in which it was placed-societies coped by growing around developments like a scar, becoming neither skin nor wound.Then there are moments when the tensions mount to a breakpoint, as in the weeks of rioting across France that began in late October. The one-way integration policy that protected the sacrosanct culture of France by resisting the culture of its immigrants has exacerbated isolation within the country's suburban ethnic ghettos. A now famous observation of Francois Mitterrand's from 1990 lays the blame on architecture: "What can a young person hope for who is born in a soulless neighborhood, lives in an ugly building, surrounded by other ugliness, gray walls on a gray landscape for a gray life, while all around him there is a society that prefers to look away and only intervenes when it has to get angry and forbid things?" Beneath this seemingly sympathetic attitude lurks a denial of responsibility. These same "soulless neighborhoods" were the utopian projects of the 1960s-their slip into wasteland was not some accident of ill-conceived planning but rather the product of neglect and racial inequality.After a distressing silence following the first weeks of rioting, lame duck president Jacques Chirac came forward with a cautious admission of fault. While still maintaining a focus on clamping the violence by granting emergency powers (a euphemism for the suspension of the civil rights of non-white French), Chirac sited the ubiquitous discrimination as one of the factors leading to what he called France's "crisis of identity." Interior Minister Nicolas Sarkozy, on the other hand, clearly denied any government accountability and ignored the charge that he was in part responsible for the riot's escalation by slinging such nasty epithets such as "scum" and "gangrene." In the same statement, Chirac made promises of reform, yet we shall see if these will translate into real solutions or if Sarkozy's (and more importantly, Jean-Marie Le Pen's) rhetoric will provoke a backlash that escalates France's xenophobia. In any case, the rehabilitation of France's housing projects will surely come to the table.
In the following series of articles, Bidoun assesses the state of XL scale modernism in the Middle East. First came Le Corbusier's Plan Obus for Algiers, an unrealized urban plan to overlay a massive modern infrastructure on the city and establish it as a world capital, thereby ensuring colonial dominance. The plan, Le Corbusier's most ambitious, demonstrated his new interest in forms inspired by encounters with other cultures. Next we look at Medinet Nasr, a development zone on the edge of Cairo gripped by modernist sprawl, and the communities that have emerged there despite deep infrastructural flaws. Contrasting Medinet Nasr is the mega-scale housing development of Ekbatan in the center of Tehran, which has dealt with its isolation by moving toward self-sufficiency. Finally, leaving the modernist epoch but following the tangent of discrete housing communities within an urban context, we discuss the self-imposed isolation of gated communities in Istanbul. In some ways, these communities are a reaction to the failed idealism of modernism; they intend to blot out urban experience in favor of a leisure lifestyle and a sense of security.
http://www.bidoun.com/current/04_all.html#article
Brian Ackley
"Modernism's alchemistic promise-to transform quantity into quality through abstraction and repetition-has been a failure, a hoax: magic that didn't work. Its ideas, aesthetics, strategies are finished. Together, all attempts to make a new beginning have only discredited the idea of a new beginning. A collective shame in the wake of this fiasco has left a massive crater in our understanding of modernity and modernization."
Rem Koolhaas S,M,L,XL, 1995
What has become of experiments in modernist housing? That utopian project was inspired by the radiant city of towers, highways and green spaces but instead produced giant block housing projects whose morphologies, according to the usual criticism, destroyed street life by walling off neighborhoods and locking inhabitants in the sky. These huge public experiments transformed the landscape, redefined urban experience and forced a new social organization.The alchemy, as Koolhaas put it, of the materialization of a perfect urbanism may have failed, but another urbanism has arisen in its place. Giant carcasses survive-legacies of abandoned theories-and communities mutate into unexpected forms as daily life within these sites presses on. A perversion of scale is the typical attack directed toward extra large-scale modernist developments, but there is nothing inherently wrong with really really big. Problems arise from a lack of diversity and differentiation within the projects and from their isolation from existing urban fabrics. Because modernist architecture did not yield to its surroundings-to the social and cultural contexts in which it was placed-societies coped by growing around developments like a scar, becoming neither skin nor wound.Then there are moments when the tensions mount to a breakpoint, as in the weeks of rioting across France that began in late October. The one-way integration policy that protected the sacrosanct culture of France by resisting the culture of its immigrants has exacerbated isolation within the country's suburban ethnic ghettos. A now famous observation of Francois Mitterrand's from 1990 lays the blame on architecture: "What can a young person hope for who is born in a soulless neighborhood, lives in an ugly building, surrounded by other ugliness, gray walls on a gray landscape for a gray life, while all around him there is a society that prefers to look away and only intervenes when it has to get angry and forbid things?" Beneath this seemingly sympathetic attitude lurks a denial of responsibility. These same "soulless neighborhoods" were the utopian projects of the 1960s-their slip into wasteland was not some accident of ill-conceived planning but rather the product of neglect and racial inequality.After a distressing silence following the first weeks of rioting, lame duck president Jacques Chirac came forward with a cautious admission of fault. While still maintaining a focus on clamping the violence by granting emergency powers (a euphemism for the suspension of the civil rights of non-white French), Chirac sited the ubiquitous discrimination as one of the factors leading to what he called France's "crisis of identity." Interior Minister Nicolas Sarkozy, on the other hand, clearly denied any government accountability and ignored the charge that he was in part responsible for the riot's escalation by slinging such nasty epithets such as "scum" and "gangrene." In the same statement, Chirac made promises of reform, yet we shall see if these will translate into real solutions or if Sarkozy's (and more importantly, Jean-Marie Le Pen's) rhetoric will provoke a backlash that escalates France's xenophobia. In any case, the rehabilitation of France's housing projects will surely come to the table.
In the following series of articles, Bidoun assesses the state of XL scale modernism in the Middle East. First came Le Corbusier's Plan Obus for Algiers, an unrealized urban plan to overlay a massive modern infrastructure on the city and establish it as a world capital, thereby ensuring colonial dominance. The plan, Le Corbusier's most ambitious, demonstrated his new interest in forms inspired by encounters with other cultures. Next we look at Medinet Nasr, a development zone on the edge of Cairo gripped by modernist sprawl, and the communities that have emerged there despite deep infrastructural flaws. Contrasting Medinet Nasr is the mega-scale housing development of Ekbatan in the center of Tehran, which has dealt with its isolation by moving toward self-sufficiency. Finally, leaving the modernist epoch but following the tangent of discrete housing communities within an urban context, we discuss the self-imposed isolation of gated communities in Istanbul. In some ways, these communities are a reaction to the failed idealism of modernism; they intend to blot out urban experience in favor of a leisure lifestyle and a sense of security.
http://www.bidoun.com/current/04_all.html#article
Monday, January 23, 2006
Diann Bauer
Diann Bauer uses the attraction of violent images from a number of diverse cultures to create large-scale paintings and installations. Her work addresses the image as spectacle: seducing us while simultaneously refusing the easy construction of narrative. The integration of varied visual styles in Bauer’s work generates a sense of confusion and dissolution between space, object and subject, which leaves us trying to decipher a narrative that seems graspable, but is just out of reach. Combining source material from nineteenth century Japanese woodcuts, European Baroque painting and experimental contemporary architecture, Bauer situates us within a swirling visually complex representation of space, time and movement.
21 Aphorisms
1 There are no errors in art, only various forms of corrigibility.
2 There are only errors in art, only they are disguised as various forms of incorrigibility.
3 In art we should not confuse errors with mistakes. Just as mistakes are not accidents, accidents are not failures, and failure is not incompetence.
4 To fail in art is to be neither incompetent nor in error, but to fail in art is no excuse for incompetence or error.
5 Some accidents in art demand the undivided attention of the artist; this is because the best accidents are the result of ambition, the worst of incuriousness.
6 Authentic accidents in art are found not made, but what is found is always made.
7 For the artist to recognize an unintended consequence as meaningful is to bring back into reflection the force of the artist’s critical powers. To recognize an unintended consequence, therefore, is to already havetaken value from it.
8 Assimilating the unintended consequence is what drives the risk of meaning.
9 Fashion a coin from every mistake, said Wittgenstein; but this is only worthwhile if you have something in the bank already.
10 In psychoanalysis, to talk of mistakes is to give the inconscient speech; in art, to talk of mistakes is to give the inconscient work to do.
11 The pleasures of recognizing the accidental are not to be confused with the pleasures of interpretation. Rather, they are a recognition of the point where power convulses itself.
12 To grasp the meaning of an error is to grasp the instructiveness of failure, but there can be no instructive failures without the desire to avoid errors.
13 Accidents are what reason leaves unguarded, not what makes reason lose face.14 Artists cannot make mistakes; however, they can mistake what they think is unmistakable.15 Acting on errors in philosophy allows thought to reestablish its critical responsibility; acting on accidents in art allows art to recover its future.
16 To know the truth of the accidental is indivisible from self-will.
17 To admit one’s errors from a position of power is to give moral authority to intellectual ambition. To transform one’s errors into an aesthetic is to lose all intellectual ambition.
18 For the philosopher the threat of incompetence is a crisis continually stalled. For the artist the threat of incompetence is a crisis continually performed.
19 The artist wants to resist what is taken for competence, but does not want to be taken to be incompetent.
20 To know the truth of incompetence is to know that art cannot speak from where it is most knowledgeable.
21 The performance of incompetence is the victory of failing over the failure of beauty.
John Roberts is the author of The Art of Interruption: Realism, Photography and the Everyday (St. Martin's Press, 1998) and has written for a wide number of journals and magazines, including New Left Review, Radical Philosophy, and the Oxford Art Journal. He is currently finishing his first novel.
Cabinet magazine Issue 1 Winter 2000/01
2 There are only errors in art, only they are disguised as various forms of incorrigibility.
3 In art we should not confuse errors with mistakes. Just as mistakes are not accidents, accidents are not failures, and failure is not incompetence.
4 To fail in art is to be neither incompetent nor in error, but to fail in art is no excuse for incompetence or error.
5 Some accidents in art demand the undivided attention of the artist; this is because the best accidents are the result of ambition, the worst of incuriousness.
6 Authentic accidents in art are found not made, but what is found is always made.
7 For the artist to recognize an unintended consequence as meaningful is to bring back into reflection the force of the artist’s critical powers. To recognize an unintended consequence, therefore, is to already havetaken value from it.
8 Assimilating the unintended consequence is what drives the risk of meaning.
9 Fashion a coin from every mistake, said Wittgenstein; but this is only worthwhile if you have something in the bank already.
10 In psychoanalysis, to talk of mistakes is to give the inconscient speech; in art, to talk of mistakes is to give the inconscient work to do.
11 The pleasures of recognizing the accidental are not to be confused with the pleasures of interpretation. Rather, they are a recognition of the point where power convulses itself.
12 To grasp the meaning of an error is to grasp the instructiveness of failure, but there can be no instructive failures without the desire to avoid errors.
13 Accidents are what reason leaves unguarded, not what makes reason lose face.14 Artists cannot make mistakes; however, they can mistake what they think is unmistakable.15 Acting on errors in philosophy allows thought to reestablish its critical responsibility; acting on accidents in art allows art to recover its future.
16 To know the truth of the accidental is indivisible from self-will.
17 To admit one’s errors from a position of power is to give moral authority to intellectual ambition. To transform one’s errors into an aesthetic is to lose all intellectual ambition.
18 For the philosopher the threat of incompetence is a crisis continually stalled. For the artist the threat of incompetence is a crisis continually performed.
19 The artist wants to resist what is taken for competence, but does not want to be taken to be incompetent.
20 To know the truth of incompetence is to know that art cannot speak from where it is most knowledgeable.
21 The performance of incompetence is the victory of failing over the failure of beauty.
John Roberts is the author of The Art of Interruption: Realism, Photography and the Everyday (St. Martin's Press, 1998) and has written for a wide number of journals and magazines, including New Left Review, Radical Philosophy, and the Oxford Art Journal. He is currently finishing his first novel.
Cabinet magazine Issue 1 Winter 2000/01
Sunday, January 22, 2006
Associated Press Sunday, January 22, 2006 / 10:54 AM
SINGAPORE -- A court has spared a Thai transsexual drug dealer from caning because Singaporean law does not allow women to be sentenced to that punishment, a newspaper reported Friday.
Thai prostitute Mongkon Pusuwan, who underwent a sex change from male to female a decade ago, was instead sentenced on Wednesday to six years in jail after a medical report concluded that she was a woman, The Straits Times reported.
District Judge Bala Reddy handed down the sentence after the long-haired Mongkon, 37, pleaded guilty to charges including trafficking in cocaine and tablets containing ketamine, the report said.
The amount of drugs in her possession was too small for her to qualify for Singapore's mandatory death penalty for some drug cases.
Thailand -- Thursday, August 4, 2005 / 03:54 PM
A leading Thai boxer has been fined for allowing nude photos of himself to be published in a magazine targeted to gay men, according to press reports.
Sirimongkol Singwancha was found guilty of allowing pornographic pictures of himself to be taken and published in Thai magazine Heat, according to the Fridae.com Web site.
The magazine is aimed at gay men and features naked, full-frontal images.
The report claims the champion boxer has had his fine and jail term reduced because he apparently cooperated with local police.
He was due to spend six months in jail for the incident, but his sentence was suspended for two years, during which time he must maintain "good behavior." His fine was reduced to Bt4,000 (approximately $100).
He was reportedly paid Bt200,000 (approximately $4,800) for the pictures, which have become well-known among Thailand's gay community. The move comes as Thailand pushes a clamp-down on porn -- both in print and online.
SINGAPORE -- A court has spared a Thai transsexual drug dealer from caning because Singaporean law does not allow women to be sentenced to that punishment, a newspaper reported Friday.
Thai prostitute Mongkon Pusuwan, who underwent a sex change from male to female a decade ago, was instead sentenced on Wednesday to six years in jail after a medical report concluded that she was a woman, The Straits Times reported.
District Judge Bala Reddy handed down the sentence after the long-haired Mongkon, 37, pleaded guilty to charges including trafficking in cocaine and tablets containing ketamine, the report said.
The amount of drugs in her possession was too small for her to qualify for Singapore's mandatory death penalty for some drug cases.
Thailand -- Thursday, August 4, 2005 / 03:54 PM
A leading Thai boxer has been fined for allowing nude photos of himself to be published in a magazine targeted to gay men, according to press reports.
Sirimongkol Singwancha was found guilty of allowing pornographic pictures of himself to be taken and published in Thai magazine Heat, according to the Fridae.com Web site.
The magazine is aimed at gay men and features naked, full-frontal images.
The report claims the champion boxer has had his fine and jail term reduced because he apparently cooperated with local police.
He was due to spend six months in jail for the incident, but his sentence was suspended for two years, during which time he must maintain "good behavior." His fine was reduced to Bt4,000 (approximately $100).
He was reportedly paid Bt200,000 (approximately $4,800) for the pictures, which have become well-known among Thailand's gay community. The move comes as Thailand pushes a clamp-down on porn -- both in print and online.
Link courtesy of one Hanspeter Ammann, artist, erstwhile psycho- and now bar owning gallerist...
http://shanghaistudio.blogspot.com/
SHANGHAI STUDIO PRESENTS AN ART OPENING ON FRIDAY 24TH FEBRUARY 2006
THE COLLECTIVE DREAM: NEW VIDEOART FROM BANGKOK
Exciting new single screen pieces from Bangkok Thailand, selected by a Korean Media artist JUNG-CHUL HUR
http://shanghaistudio.blogspot.com/
SHANGHAI STUDIO PRESENTS AN ART OPENING ON FRIDAY 24TH FEBRUARY 2006
THE COLLECTIVE DREAM: NEW VIDEOART FROM BANGKOK
Exciting new single screen pieces from Bangkok Thailand, selected by a Korean Media artist JUNG-CHUL HUR
Saturday, January 21, 2006
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