quarta-feira, dezembro 28, 2011

revealing life from the past...

Do you remember your first email????

Written by a "scully666@compuserve.com" and addressed to a "makincopeez@prodigy.net," the writer expresses the ancient equivalent of boredom, asks the receiver about his or her status in their primeval office environment, then refers to the act of sending the e-mail itself.

"Nothing going on," begins the e-mail. "What's up with you? Are you going to Mike's b-day thing on Friday? I'm thinking about it. I might go, but I'm not sure yet."

The e-mail continues, "Let me know if you get this e-mail twice. I'm still trying to learn the system. I think the managers know when we're on the Net, so I'll stay away from the web surfing and check my e-mail only once a day."

The e-mail is signed only "K." It contains no subject line.

"It shows that these forgotten people of the '90s had many of the same concerns as modern man, such as b-days, and slow periods at work," Caspari said. "The presence of the archaic slang verbalization 'what's up' appears to indicate that they cared about the immediate welfare of others in their closely knit community, much as we do today."

read here

not very seasonal but yet...

Gem Club - 252 from Gem Club on Vimeo.

terça-feira, dezembro 27, 2011

greetings from CultureHub


la noche que nos separa, la noche que nos une

Mi muchacha salvaje, hemos tenido
que recobrar el tiempo
y marchar hacia atrás, en la distancia
de nuestras vidas, beso a beso,
recogiendo de un sitio lo que dimos
sin alegría, descubriendo en otro
el camino secreto
que iba acercando tus pies a los míos,
y así bajo mi boca
vuelves a ver la planta insatisfecha
de tu vida alargando sus raíces
hacia mi corazón que te esperaba.
Y una a una las noches
entre nuestras ciudades separadas
se agregan a la noche que nos une.
La luz de cada día,
su llama o su reposo
nos entregan, sacándolos del tiempo,
y así se desentierra
en la sombra o la luz nuestro tesoro,
y así besan la vida nuestros besos:
todo el amor en nuestro amor se encierra:
toda la sed termina en nuestro abrazo.
Aquí estamos al fin frente a frente,
nos hemos encontrado,
no hemos perdido nada.
Nos hemos recorrido labio a labio,
hemos cambiado mil veces
entre nosotros la muerte y la vida,
todo lo que traíamos
como muertas medallas
lo echamos al fondo del mar,
todo lo que aprendimos
no nos sirvió de nada:
comenzamos de nuevo,
terminamos de nuevo
muerte y vida.
Y aquí sobrevivimos,
puros, con la pureza que nosotros creamos,
más anchos que la tierra que no pudo extraviarnos,
eternos como el fuego que arderá
cuanto dure la vida.

Pablo Neruda

segunda-feira, dezembro 26, 2011

Xmas in Miami

sábado, dezembro 24, 2011

far and close... on the road...

...And one by one the nights
between our separated cities
are joined to the night that unites us.
The light of each day,
its flame or its repose,
they deliver to us, taking them from time,
and so our treasure
is disinterred in shadow or light,
and so our kisses kiss life:
all love is enclosed in our love:
all thirst ends in our embrace.
Here we are at last...

Pablo Neruda

sexta-feira, dezembro 23, 2011

segunda-feira, dezembro 19, 2011


Long, too long America...

Foster Owego, NY - 2011 ©BarbaraAnastacio

Long, too long America,
Traveling roads all even and
peaceful you learn'd from joys and prosperity only,
But now, ah now, to learn from crises of anguish,
advancing, grappling with direst fate and recoiling not,
And now to conceive and show to the world what your children
en-masse really are,
(For who except myself has yet conceiv'd what your children en-masse
really are?)

W. Whitman

sexta-feira, dezembro 16, 2011

I'm not here

You know how when sometimes you have that feeling that something is just not right? How things can change from one seconde to the other without even having awareness that something is changing? Sometimes I wish I could read minds... or at least how to read my own fucking mind.
It's an absurd to have this feeling that something is wrong when you've tried so hard to do things right and at some level you feel like you haven't done enough. Like to feel that because you did all the things you thought that would be right then something actually, along the way, might have become the wrong thing to do. And you don't even took it as a bad thing, you look back and you don't even think that it was really a bad thing, you don't even actually know what it was that you did, that transformed people's eyes. That on some level of uncounciessness you feel like the eyes lay on you with a slight feeling of regret or - I would say prejudice but it's not that - with a slight feeling of unsatisfaction or, even worse, of disbelief... New York is a big city, and I have often this feeling of living outside of something and I don't even know what brought me to this place and question everything again, question my own capacities, my own trust, my own awareness, my own value. In this city which I've immersed in the last few months I have felt a whole range of different feelings and emotions that made me think of an own absense - as when one is absent from himself, from being away and not being able to put out its roots - that one knows that will be due soon.
People often say that it's better to do whatever you want to do so you don't regret not having done them, but how can one regret something that he doesn't know that he was supposed to do? Or not?
Three months later this is a feeling of half being part and an incomplete part, an unkown part of something that is missing somewhere within or outside myself. I wish I knew better, I wish I could keep track of all the things I do and stop being so uptight about blaming myself for something that I just wonder about, that I fantasize, that I've created around my own existence and that does not let me count for the things that I've actually done.

quarta-feira, dezembro 14, 2011

live stream

tune in to watch at 2.30pm EST or watch the recorded stream of Digital Dialogues

terça-feira, dezembro 13, 2011

rehearsals | Digital Dialogues @ CultureHub

actors (David and Sarah) and artistic director (Baba Israel) in Manchester, UK

actor, artistic director and media technician in New York

actors (Charlotte L. Brathwaite and Daniel Pinheiro) and CultureHub's artistic director (Billy Clark) in New York

Photos by Lindsey Medeiros

Rehearsing for Verbally Challenged | Digital Dialogues (a collaboration between CultureHub, NY and Contact Theatre, Manchester, UK) happening on December 14th.

Body of Work | Karol Radziszewski

BODY OF WORK is the first solo exhibition in the United States by the Polish artist Karol Radziszewski.

Manipulating and driving the viewer’s gaze into the analysis of performance and body art of the 70s, by a strong conceptual attitude Radziszewski questions the idea of masculinity in the contemporary society. Radziszewski’s work comes out in a society where traces of homophobia, phallocentrism, racism and sexism, all issues that have characterized the modernism age, are back. The idea of masculinity comes together with the idea of metrosexuality, that outbreaks also in the United States in the 90’s: the idea of Sport and the Athlete-body as the only way to save the weak male from the effeminate attitude (so as it was in the Fascist era in Italy): the idea of Military, War and Fight (see at this point “Fag-Fighters”, Karol Radziszewski 2007).

Born in Bialystok (Poland) in 1980, Karol lives in Warsaw where he works as non-media-specific artist (he works with video, performance, installation, painting, photography), as curator and author of interdisciplinary projects and, last but not least, he is Editor-in-chief of “DIK Fagazine”.

Edited by Nicola Ruben Montini in Posi+tive Magazine

famous people I've see/met in NY

Amanda Lepore
Michael Stipe
Terry Richardson
Alec Baldwin
John Cameron Mitchell
Justin Bond
Julia Stiles
Diane Lane

found objects

gifts from overseas

quarta-feira, dezembro 07, 2011


Many of Del Rey's songs express a powerful desire to be submissive to powerful men. In most cases, it's framed as fantasy, but in the case of her internet hit "Video Games," she's singing about feeling disappointed by a guy who's too distracted, lazy and passive to give her the drama and intensity she's craving. It's easy to see why a lot of people, particularly young women, are relating to this music – she's clearly not the only lady out there wondering why they're among a generation of dudes who have more in common with shlubby, sensitive characters from Judd Apatow movies than brooding alpha males like Don Draper. At her best, Del Rey spins this frustration into sexy pop that practically dares her male listeners to man up and meet her halfway in living out a vintage Hollywood dream.


sexta-feira, dezembro 02, 2011

found projects

terça-feira, novembro 29, 2011

road trip

Motel Reflection (somewhere in the Niagara Falls - 2011)

Gas Girl (on the road to the Niagara Falls - 2011)

segunda-feira, novembro 28, 2011


Born in 1930, Keith Arnatt's life as an artist falls into two distinct parts. In the late l960s his iconoclastic and witty performances, sculptures and texts, challenging the tenet of 'art', established him as an influential Conceptual artist.

But then in the mid 1970s, in an act defying the prevailing values of the art world, Arnatt chose to become a photographer instead. Over the following 28 years he immersed himself in the history of photography, making progressive photo series in the immediate vicinity of his home in South Wales.

sábado, novembro 26, 2011

Happy Thanks Giving

terça-feira, novembro 22, 2011

It's a wonderful life in NY


On composing

"There is always so much in a work that we are unaware of having put there. (...) It seems to me that when these elements, known and unknown, counscious and unconsious, mesh perfectly an overtune is produced, a synchronicity created, that sings off the page and becomes a 'work of art' rather than simply 'authorship.' "

Last Exit to Brooklyn by Hubert Selby Jr.

segunda-feira, novembro 21, 2011


Window at French Connection, USA - SoHo, NY (2011)

1st series of an Identity Project

last week's top of performa: Liz Magic Laser

Scene from Liz Magic Laser's "I Feel Your Pain." Photo credit: Yola Monakhov

For Performa 11, Liz Magic Laser will present presented a new mixed-media performance, I Feel Your Pain, that will restage America’s recent political contests as a romantic drama. Drawing on a variety of agitprop theater tactics, particularly the Russian Constructivist idea of a “living newspaper,” the performance will examine how emotion is used to establish authenticity on America’s political stage. Staged in a movie theater, the performance will take place in the midst of the audience and on the cinema’s screen. Eight actors will perform a sequence of scenes that will trace the progression of a romantic relationship in adapted dialogues from political interviews and press conferences. Borrowing elements from historic “living newspaper” productions, the performance will feature live voice-overs, pantomime fight scenes, and mute commentaries by a clown. As the actors perform, footage from two cinematographers will be projected onto the screen as a continuous live-feed, and Laser will act as a real time editor, choosing which camera angles the audience will see.

For me it felt just like being in some of the John Cassavetes's movies, like in 'Opening Night'. The seats of the SVA Theatre were almost full with a huge audience that followed on and off the screen Liz's parody of America's own love story. Just that was by itself overwhelming, bringing theatre into the cinema and making bringing it to its own level by playing around with the language of meta-cinema, building up a story where you could either choose to be a part of it or just go through your pop-corn inside the movie theatre. As an example of the Performa festival (which meets its end today) this piece can somewhat be related to what live-performance is turning into, a hybrid between languages and expressions but somehow mediated and blurring the limitations between all of them. In this three-live camera shoot of a theatre play being turned into a live movie, all that it missed was probably the fact that it wasn't going into a live-stream; by live-streaming it, which nowadays becomes easier everyday, the art piece could have a been a full-length movie online free for everyone to watch and still bring an internet audience to think that probably it would be better if they were there seating and being part of the live experience!

...Similar to her recent, warmly-received performances Flight at PS1, in which references to violent movie scenes enacted on a staircase, and Chase, a staging of Bertolt Brecht’s 1926 play Man Equals Man around ATM vestibules, actors reframe bits of political interviews amongst the audience in I Feel Your Pain. Performers – Lynn Berg, Audrey Crabtree, Ray Field, Annie Fox, Kathryn Grody, Rafael Jordan, Liz Micek, and Ryan Shams – are surrounded by a throng of black-clad cameramen and projected on a screen, while Laser selects camera angles from a projection room. more

141 Wooster Street

[no pictures allowed] video taken from here

Walter De Maria, The New York Earth Room, 1977. Long-term installation at
141 Wooster Street, New York City. Photo: John Cliett. Copyright Dia Art Foundation.

The New York Earth Room, 1977, is the third Earth Room sculpture executed by the artist, the first being in Munich, Germany in 1968. The second was installed at the Hessisches Landesmuseum in Darmstadt, Germany in 1974. The first two works no longer exist.

The New York Earth Room has been on long-term view to the public since 1980. This work was commissioned and is maintained by Dia Art Foundation.

Walter De Maria was born in 1935 in Albany, California, and studied history and art at the University of California, Berkeley. In 1960 he moved to New York City, where he continues to live and work. With Robert Whitman, De Maria cofounded a gallery at 9 Great Jones Street, Manhattan, in 1963, and held a show of his sculptures there that year. His work was included in the "Primary Structures" exhibition at the Jewish Museum, New York, in 1966. De Maria has had numerous international shows, at venues including the Kunsthaus Zürich (1999), the Museum für Moderne Kunst, Frankfurt (1991), the Staatsgalerie Stuttgart (1987), and the Museum Boymans-van Beuningen, Rotterdam (1984).

sexta-feira, novembro 18, 2011

Benetton is Back!

quinta-feira, novembro 17, 2011

Liberty Plaza [empty]

terça-feira, novembro 15, 2011

Lonesome Cowboys or the story of Ramona and Julian

(Andy Warhol) 1968

Lonesome Cowboys was shot at the end of January 1968 in Tucson Arizona - on location in Old Tucson and at the Rancho Linda Vista Dude ranch 20 miles outside the city where some John Wayne movies had been filmed. (L&D285)
It was edited by Andy while he was recuperating from the gunshot wounds inflicted by Valerie Solanas on June 3, 1968 and won Best Film at the San Francisco Film Festival in November.

Yvonne Rainer vs. Marina Abramovic

After being present and having her own life and death staged, Abramovic's was building a new performance for the L.A. Museum of Contemporary Art where naked bodies and rotating heads were the center pieces of an on-going dinner where the audience played the rules of the performance... in the artist's words: "... and I want this to feel as though we're observing and being observed."
Last Friday, after having attended a rehearsal of the performance, Yvonne Rainer sent a letter in opposition to this, in her words, “exploitative” performance.

“I hope the performance itself will bring some kind of dignity, serenity, and concentration to the normal situation of a gala, and actually change the energy of the space. … “All these accusations, you can’t have them before you actually experience the situation and see how I can change the atmosphere, that’s my main purpose.”
Ms. Abramovic statement on Artinfo


... As the crowd moved in to find their seats—among them artists like Shepard Fairey, John Baldessari, Ed Moses, Ed Ruscha; arts supporters Maria Bell, Dasha Zhukova; actresses Rosanna Arquette and Kirsten Dunst; and dealers like Honor Fraser (co-chair Larry Gagosian didn’t make it, having already left for an art fair in Abu Dhabi)—we found ourselves face to face, or in some cases, face to crotch, with Ms. Abramovic’s centerpieces, aka the aforementioned supposedly economically exploited actors. Yes, Ms. Abramovic continued on her performance art trajectory of 2010 and caused us all a bit of initial shock. Here’s how it went: At each of the round tables, a nude woman was stretched out, draped with a skeleton. As in Ms. Abramovic’s own performance with a skeleton, these women were instructed to show no emotion and remain immobile. At the rectangular tables, things were a little different—heads popped out of the middle of each rectangular table, and rotating slowly, the actors seated, below the table,on lazy Susans. Since the event was 3 hours plus, and these centerpieces were not allowed to leave their respective posts, they were all wearing Depends, a source told The Observer, on condition on anonymity. We thought we knew the head at our table but, respecting the dictate of ‘no touching, feeding, or communication (other than the non-verbal kind) we were unable to say, “Don’t I know you?” (read the full article here)

family friends

I heard this when watching a live concert somewhere around Lower East Side. I was with a group of recently acquired friends here in NY. This was said as portrait of New York while the singer was dedicating his song to his 'family friends' - meaning that in this city, where most of the people aren't from here they find a new family within the new friends they make. Friends from work, friends from social groups, friends derived from strange acquaintances, friends of different friends... that get together in gatherings (sometimes all of them, sometimes in small parts of a whole). This made me think about my own friends (which as a consequence/circumstance of growing up have diminished into this small group of really close persons whose I don't consider myself as a person if I'm not near (or feel far near) from them; and also made me think about this new additions that due to the new environment I've been (as every social being) 'forced' to interact with and the thought continued to become a conclusion that even though almost every breathing existence is capable of co-existing with similar or different specimens of all different creatures we tend to find our different families wherever we are. Here in NY I've met some people some Friends from work, friends from social groups, friends derived from strange acquaintances, friends of different friends that have become after this two months my family, fortunately people that I relate with and that made me feel at home from the very beginning even if almost anyone is actually from here. I've felt alone in this situation of 'home disembodiment', and home is where the hear is so like a new friend of mine said today, I'll wear my heart in a sleeve so everyone can see it and feeling at home becomes easier wherever I go. I thought about similar experiences and I've found family friends across the places I've been and although sometimes time isn't enough and I feel unfulfilled for not being able to get everyone together, that's what family is. Even if the family concept sometimes feels to tiny, full of limitations, this larger family that we're able to build throughout our lives is a process that becomes silent and unconscious which I've been aware during the last few months because I feel at home. Away from the one's I love, but close to people that make it worth it. It's not only about wine and good laughs, but it's about road trips, sharing beds, splitting costs, trusting each other, and having a few laughs in the end... with a good wine.

sexta-feira, novembro 11, 2011

last week's top of performa: Boris Charmatz

Manifesto for a National Choreographic Centre.

Boris Charmatz performs at the Musée de la Danse. Photograph: Adeline Keil

To not cut the matter short, ten commandments:

a micro-museum
but a real one. It fully embraces its museum tasks and maintains a balance between its
various functions of conservation, creation, research, exhibition, diffusion, raising of public
awareness, mediation, without neglecting any of them. Such interdependence is what justifies
the creation of a museal structure.
an immediate museum
it exists as soon as the first gesture has been performed.

Boris Charmatz
Written in Leipzig, Berlin, Vienne, Rennes, Vanves, Bruxelles,
Montreuil, in the space of a few obstinate nights.

read more about the Performa11

terry vs. terry

The opening reception for my new show Mom Dad is this Friday from 6-8 at the Half Gallery, located at 208 Forsyth Street in NYC… come check it out!
Terry Richardson

material (art) girl

quinta-feira, novembro 10, 2011

BRUCE LABRUCE: Gay Culture is Dead

La Bruce: “Gay Culture is Dead.” (We say, “Finally, now can we get back to what we do best?”)

Bruce LaBruce writes: “Gay culture is dead. I guess the idea of gay culture was always an oxymoron, but lately I find myself declaring to it more definitively, “You’re dead to me,” as you might say to a former lover. Now, the gay movement is a zombie movement. It vaguely looks like its former self, operating remotely like it used to, going through the motions. But there’s no real life to it, no purpose, beyond bland consumerism.

The engine of the gay movement used to be an idea of adventurous and extreme sexuality. Gay culture itself was regarded by the status quo as something pornographic and sexually radical. Today, with the emergence of the gay conservatism, pornography appears to be the last bastion of sexual radicalism. That’s why I always express solidarity with gay pornographers. They’re the last glimmer of glamour in the gay movement.”


On 11 November 2011 the time will have arrived: in 11 European cities, more than 60 artists with some 300 more aiders & abettors – will initiate moments of encounter and confrontation in the heart of everyday life. Together, they will make time stand still.


What is being exchanged?

performa festival

sábado, novembro 05, 2011

the bath

The Bath by Paul Cadmus, 1951

The Bath by Bill Costa (Homage to Paul Cadmus), 1985

sexta-feira, novembro 04, 2011

[contains spoilers] the skin i live in

La Piel Que Habito is a psychological thriller very different from anyother Almodóvar's movies. It's set in 2012 resembling a science fiction movie by the subject is dealing with. Antonio Banderas plays the Frankstein dream of building a human skin free of diseases and injuries after his wife died burned up. Almost the whole movie runs in a flashback kind of way to let us know what is already perceived in the beggining of the movie. Transgender, Identity, Plastic Surgery are the objects of study in this new movie where Elena Anaya acts in a magnificient way.
After his incursions in the queer, travesti and transgender issues, Almodóvar takes a ride inside Thierry Jonquet's book "Mygale" builiding up a plot where the main character's identity gets trans-gendered having him (Vicente Piñeiro) starting this journey of being kidnappend until becoming Vera Cruz the skin clone version of Robert Ledgard (Banderas) diseased wife.
The movie ends at the point where one wonders where this new person is, in a point of no return, where it has nothing more than the memory of what he was and has lived with nothing else than trying to learn how to live in this this new skin. "Soy Vicente..." is the last line of the movie and at the moment it fades to a Jean Paul Gautier's credits roll the question remains... "Eres Vicente... pero eres Vera Cruz, y ahora?"

quarta-feira, novembro 02, 2011


The new HBO tv show stars Laura Dern. Going for it's 5th episode next week Enlightened shows Amy (Laura Dern) going through a state of change, a woman who is struggling to put herself together after a life of misbehaviour... It brings up some similiarities to the inner struggle of Julia Roberts playing Erin Brockovich in a light David Lynch set of this America (aka World) where retreats of enlightenenment have the price of gold. But just as Ghandi used to say... “Be the change you want to see in the world.” even if that means you have to fake it and take a deep breathe everytime you curse someone or feel like jumping on top of them and KILLING them just because you feel like it, and the world doesn't suit you at all...

jersey girls

Jersey Girls by Jenny&Lee

missing home

segunda-feira, outubro 31, 2011

Electronic Propinquity

Electronic propinquity refers then to electronic proximity, or electronic nearness, or electronic presence. Here it should be noted that electronic propinquity is not synonymous with
communication although it may appear as such. One can have a WATS Line and a potential set of relationships and still not communicate. Electronic propinquity allows for the possibility of communication, but isn't communication itself.
Propinquity is, of course, a variable: one can be more or less far or near somebody else. One can be close in voice, and far in image. One can be close in image and voice, and far in touch and smell (and taste if you will). Respectively, these values of propinquity would correspond roughly and not exhaustively to, for example, the following media: the telephone and video-phone.

>> read more

happy halloween...

on gender issues

All men are homosexual, some turn straight. It must be very odd to be a straight man because your sexuality is hopelessly defensive. It's like an ideal of racial purity.
-- Derek Jarman

quinta-feira, outubro 27, 2011

nearly 90

one of the set designers: Annie Kwon las night ARTALKed at Culturehub

duck sauce

sexta-feira, outubro 21, 2011

LOST - Online Project

LOST - Online Project (a collaboration project between Flávio Rodrigues & Daniel Pinheiro)


Things have got awfully tidy recently. There is a lot of finish on things. Clingfilm gloss and the neatest of hospital corners. The formula merchants are out in force. They are in the market for guaranteed product. They go out looking for film-makers with the nous of one who might consider employing halogen spotlights in the hopes of attracting wild cats into a suburban garden. They are missing the point. Don’t they know the roulette wheel is fixed? That the croupier is a cardsharp? Do these people not watch old movies? It’s the spirited that hold the hands in the long run, it always was – the low-key for the long term, the irreverent, the cheats, the undaunted and inspired rule-breakers, not the goody-goody industrial types with their bedside manners and managerial know-how…

I have always wholeheartedly treasured in your work the whiff of the school play. It tickles me still and I miss it terribly. The antidote it offers to the mirror ball of the marketable – the artful without the art, the meaningful devoid of meaning – is meat and drink to so many of us looking for that dodgy wig, that moment of awkward zing, that loose corner where we might prise up the carpet and uncover the rich slates of something we might recognise as spirit underneath. Something raw and dusty and inarticulate, for heaven’s sake.

- From “Letter to an Angel,” a remembrance by Tilda Swinton at The Guardian

Derek Jarman @ Fandor

quinta-feira, outubro 20, 2011

mic checking since 1967


The traders in stocks and bones shriek for New Frontiers—but the coffins return to the Bronx and Harlem. Bull markets of murder deal in a stock exchange of death. Profits rise to the ticker tape of your dead sons. Poison gas RAINS on Vietnam. You cannot plead “WE DID NOT KNOW.” Television brings the flaming villages into the safety of your home. You commit genocide in the name of freedom.


If unemployment rises, you are given work, murderous work. If education is inferior, you are taught to kill. If the blacks get restless, they are sent to die. This is Wall Street’s formula for the great society!

Read more

human condition

quarta-feira, outubro 19, 2011

Angels of Swedenborg

(Footage: Lindsey Medeiros | Video Editing: Daniel Pinheiro | Supervisor: Billy Clark)

Angels of Swedenborg | A dance theatre work by Ping Chong - Performed by LaMaMa’s Great Jones Repertory Company


Justin Vivian Bond

Ping Chong & Mia Yoo

Diane Lane

LaMAMA 50th Anniversary Gala - October 17

The downtown experimental theatre company La Mama etc honors Pulitzer Prize-winning playwright Sam Shepard with the first-ever Ellen Stewart Award, named in honor of the late La MaMa founder, Oct. 17 in the Ellen Stewart Theatre.

Shepard, whose early works were nurtured by Stewart at La MaMa, is being celebrated during the company's 6:30 PM gala. As part of the recognition, Shepard will also select a young theatre artist to create a new work to be presented and produced at La MaMa.

The honor is presented "to an artist who embodies the courage and pioneering spirit that Ms. Stewart encouraged at La MaMa, an artist who carries on her ideal of challenging conventional theatrical boundaries and expanding our understanding of human potential." Stewart died Jan. 13 at age 91.

The gala promises entertainment from actors and writers with ties to La MaMa, including Wallace Shawn, Estelle Parsons, John Kelly, Justin Bond, Scott Wittman, Taylor Mac and Elizabeth Swados. (read more)

sexta-feira, outubro 14, 2011

new music

An Open Letter to Heterosexual Americans

On Sunday, September 18, 2011, Jamey Rodemeyer took his own life at the age of fourteen. Earlier this year he had participated in the It Gets Better Project, but just a week before the suicide, he wrote “I always say how bullied I am, but no one listens. What do I have to do so people will listen to me?” It didn’t get better for Jamey, and he’s not alone. While the focus of many anti-bullying campaigns has been to empower LGBTQ youth and create community around them, I think it’s time for ALL Americans to make it better.
In my early teens, much before I became comfortable with my gender and sexual identity, I found myself being bullied. Because I was young, confused, and vulnerable, I found it very difficult to defend myself, so I know the important role courageous peers and responsible adults play when facing down bullies. When we are reminded of the vicious behavior of some children toward those considered different, we “different” adults see it as our responsibility to respond with education, therapy, hotlines, and activism. But what is needed to create real change is real action on the part of our heterosexual citizenry. After all, these are your children who are driving other kids to suicide. Where are they learning that it’s “okay to hate”? In part, young people are learning that it's "okay to hate" by pushing boundaries and getting away with it. Isn't that what young people do —test boundaries? Why are they forbidden to chew gum in class yet they are allowed to torture their LGBTQ classmates? We've come to an understanding that smoking should not be allowed and have given teachers the moral authority to stop it; we’ve made it illegal to sell cigarettes to minors because we recognize that it’s harmful to their health. But the number of deaths from LGBTQ bullying is mounting. When will the deaths of these children be recognized as an imperative to make change now?
Parents and educators are allowed, even forced sometimes, to be passive in the face of shameful and outrageous behavior on the part of their charges because they have had their own hands tied by legislators and a "moral" minority who claim to represent "our” values. But remember, the civil rights movement would not have been nearly as effective if white people hadn’t joined with African Americans to create the necessary changes to end institutionalized racism. It should not only be the responsibility of the LGBTQ community to protect certain youth. It is time for YOU to stand up for and be accountable to all America's children. Not only LGBTQ children, but all the children who are forced to live in a world of unnecessary cruelty and also—maybe even more importantly— to the bullies who are being allowed to destroy their own chances at happiness by passive adult bystanders. It is time for all Americans to come together and end homophobic and transphobic language, and to take action to protect the childhoods of ALL of our children, not just some.

Yours truly,
author of Tango: My Childhood, Backwards and in High Heels

quinta-feira, outubro 13, 2011

neverendingstory @ The Performing Garage

Cuqui Jerez - The Rehearsal as part of the Fiction & Non Fiction

"The curtain rises and we see the fiction within the fiction within the fiction within the fiction. The curtain falls."
—Cuqui Jerez

Cuqui Jerez, presented last night her new work Cuqui Jerez - The Rehearsal. A dress rehearsal for a story that never develops into nothing more than just what we foresee at the first surprise. Sometimes remembering my previous work “PERFIL ADEQUADO”, Jerez&Co. talk about the creative process as this neverending loop of ideas that sometimes the Artist doesn’t know how to put an end to it creating a messed up process of creation that sometimes leads to a never ending, or never starting point. Although during the whole process there’s an attempt to denie theater by covering it with the “contemporary performance techniques” well know since the 60’s and 70’s this collaboration project is a showcase of the adequate profile some of this performers have in terms of acting and that’s valid if they were actually accepting it as it was shown and not just a justified unconscious act of non-acting which brings the audience to laugh as if it was a stand-up comedy show with jokes that are not – in my opinion – the questions that are raised. The ‘neverending’ is understandable, and not having an answer to define where and when the end begins is also pertinent, but is this loop of actions continuously leading the creative process towards an infinitude of other roads and paths (that will, due to time, lead to possible ends) that are, as sometimes is shown in this piece, so boring that one has nothing more to do than just make it even more boring by yawning at it. In the overall the show took almost two hours to reach somekind of end (that kind when the audience leaves the room) and during that amount of time I just wished that the road had been a little bit more insecure, that the improvisation took a determinant role on having the performers ‘naked’ in front of an audience actually fighting to get to that unknown END.

Cuqui Jerez stays until next Saturday, Oct,15 at The Performing Garage - Wooster St. (7.30PM)

But the berkshires are where my heart is...

Sit here on the stairs and listen to the nighttime as the daylight fades away
Such a haunting and familiar tune, when I hear it in the distance i can say that I'm home

Where my daughters and my wife, they wait for me all alone
But the truth is it's where I always am, it's where I long to be
Because I am home

The north shore is where my father lives, I wear my red sox hat around the world with pride
But the berkshires are where my heart is and when i see them in the distance i could cry because I'm home

Where my daughters and my wife, they wait for me all alone
But the truth is it's where I always am, it's where I long to be
Because I'm home
Where my hero teaches classes everyday and where my friends don't treat me different
It's where my family is, it's where I'll always stay
Because I'm home

Aaron Lewis - Massachusetts

those were the days

“It's the place where my prediction from the sixties finally came true: "In the future everyone will be famous for fifteen minutes." I'm bored with that line. I never use it anymore. My new line is, "In fifteen minutes everybody will be famous."”

Andy Warhol's Exposures (1979) commenting on the nightclub "Studio 54", and his world famous quote.

looink into old NY


Shane O’Shea:

I knew the real escape was right across the river, but I didn’t had a car… Even though New York was 3 miles away, it seemed like another world.

A guy named Steve Rubell had a dream: To throw the best damned party the world had ever seen and to make it last forever. He built a world where fantasy was put up as reality and where an 80-year-old disco queen could dance till dawn. Where models mingled with mechanics, plumbers danced with princes. It was a place where all labels were left behind. A place where there were no rules.

254 West 54th Street

In those days New York was the place to be. Studio 54 was the hottest place in town, everybody wanted to be seen there.
Being here I feel a ghostly feeling that it still can be that place to be. People come here because they want it to be here. People leave their countries, families to follow the dream of living in New York. Watching the “concrete jungle” as a temporary visitor there’s something, a magnetic field of energy that impels you to want to be here. The thrive of the people, the rush, the traffic, the never-ending range of possibilities, the feeling that “If you make it here, you’ll make it anywhere”… What if you don’t? What if because of all of this global togetherness this is no longer the place to be? We no longer pay attention to the star system as is used to be… They were untouchable; they existed in a place where it was almost impossible to be near one of them. They were part of a dream that has been brought down by so many other conquests, that numbed the society to a point where there’s no place ‘far across the bridge’ that is so impossible to reach, that is in fact so unattainable specially with all of that we want to build to allow that interconnectivity in a world wide range. Of course this is not for everyone, of course that utopic dream that everyone is in fact connected and can have access to everything at the same time it’s not going to happen… What intrigues me more about this city is that ghostly presence of a past that still lives on, and that is nurtured by the whole world that makes this city what it is. And sometimes I feel they don’t value that they are the one’s making it as it is and instead they look for something else that some of them are already doing. The whole world is here. There is no time. Things change. But you always have New York.

terça-feira, outubro 11, 2011

pop culture: countdown

Anne Teresa de Keersmaeker press declaration:

Like so many people, I was extremely surprised when I got a message through Facebook about the special appearance of my two choreographies – Rosas danst Rosas (1983) and Achterland (1990) in Beyoncé’s new videoclip Countdown. I was asked if I were now selling out Rosas into the commercial circuit...
When I saw the actual video, I was struck by the resemblance of Beyoncé’s clip not only with the movements from Rosas danst Rosas, but also with the costumes, the set and even the shots from the film by Thierry De Mey. Obviously, Beyoncé, or the video clip director Adria Petty, plundered many bits of the integral scenes in the film, which the videoclip made by Studio Brussel by juxtaposing Beyoncé‘s video and the Rosas danst Rosas film gives a taste of. But this videoclip is far from showing all materials that Beyoncé took from Rosas in Countdown. There are many movements taken from Achterland, but it is less visible because of the difference in aesthetics.
People asked me if I'm angry or honored. Neither, on the one hand, I am glad that Rosas danst Rosas can perhaps reach a mass audience which such a dance performance could never achieve, despite its popurality in the dance world since 1980s. And, Beyoncé is not the worst copycat, she sings and dances very well, and she has a good taste! On the other hand, there are protocols and consequences to such actions, and I can't imagine she and her team are not aware of it.
To conclude, this event didn't make me angry, on the contrary, it made me think a few things.
Like, why does it take popular culture thirty years to recognize an experimental work of dance? A few months ago, I saw on Youtube a clip where schoolgirls in Flanders are dancing Rosas danst Rosas to the music of Like a Virgin by Madonna. And that was touching to see. But with global pop culture it is different, does this mean that thirty years is the time that it takes to recycle non-mainstream experimental performance?
And, what does it say about the work of Rosas danst Rosas? In the 1980s, this was seen as a statement of girl power, based on assuming a feminine stance on sexual expression. I was often asked then if it was feminist. Now that I see Beyoncé dancing it, I find it pleasant but I don't see any edge to it. It’s seductive in an entertaining consumerist way.
Beyond resemblance there is also one funny coincidence. Everyone told me, she is dancing and she is four months pregnant. In 1996, when De Mey‘s film was made, I was also pregnant with my second child. So, today, I can only wish her the same joy that my daughter brought me.
Anne Teresa De Keersmaeker October 10th, 2011

you'll always have something written in your forehead

segunda-feira, outubro 10, 2011


Keren Cytter, Video Art Manual (still), 2011. HD video. 14 minutes 42 seconds.

As in Keren Cytter’s previous work, “Video Art Manual” strings together clichéd, Freudian-tinged narratives with a bad case of ADHD. Comprising four videos and a series of peripheral drawings, “Video Art Manual” is the stuff masochistic art critics live for: as soon as one eye rolling-worthy moment passes, such as a misogynistic character announcing his unprecedented hatred of both ducks and women (they way the talk, the way they walk!), Cytter blasts off with another libidinal oddity, laboring her viewers to glean any sense of comprehension from her work. (Read More)
by Karen Archey

Manhattan, Chapter One.

Chapter One. He was scared of New York City. He felt it all out of his proportion. (--) He-he… was diminished by the proportion of it. Now… to him… for the time being this town existed in frames and pulsated to the great tunes of New Pop and Gershwin’s. (--) Chapter One. He started to feel romantic thrived in Manhattan – sometimes – between the hustle… bustle of the crowds and the traffic. To him, New York meant beautiful people who seemed to know all the angles. (--)
Chapter One. He was, in New York City. To him, the city, was a metaphor for the decay of the contemporary culture. The same lack of individual integrity to cause so many people to take the easy way out, “I hate my life” I would hear constantly, turning the town of his dreams in… (--)
Chapter One. He was in New York City, although to him, it could be a metaphor for the decay of contemporary culture. How hard it was to exist in a society desensitized by drugs, loud music, television, crime, garbage… (--)
Chapter one. He was in New York. Behind the scared look on his face, which was fading slowly into a more confident and pleasurable one, was the coiled power of a jungle cat. New York was his town. And from then on it would always be.

declare interdependence

domingo, outubro 09, 2011


East Village Rooftops, January 26, 2011 - Terry Richardson's Diary