tag:blogger.com,1999:blog-3767190615438128692024-02-19T09:18:10.347-08:00.news.zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comBlogger29125tag:blogger.com,1999:blog-376719061543812869.post-48909809501468255122012-05-24T18:15:00.001-07:002012-05-24T18:19:39.843-07:00Transit of Venus opens<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRfLdZA8kurylelmMtqtj8ar1bmtoQd1KzOj2hyO2Dk8lMpwd4eTP3P34Olu1dO7l3bjwzN_9GT1VzDY5Vf9xdnmUETbVmuT2Rozm811zdVdINlvU4ZEO87ODOSplVkFuDsKdBpoHdiZEL/s1600/UNTITLED_MAY_2012.jpg.jpeg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="320" width="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRfLdZA8kurylelmMtqtj8ar1bmtoQd1KzOj2hyO2Dk8lMpwd4eTP3P34Olu1dO7l3bjwzN_9GT1VzDY5Vf9xdnmUETbVmuT2Rozm811zdVdINlvU4ZEO87ODOSplVkFuDsKdBpoHdiZEL/s320/UNTITLED_MAY_2012.jpg.jpeg" /></a></div><br />
The Transit of Venus<br />
<br />
A ballast stone from The Endeavor, shells gathered from Tahiti, a human skull, a telescope, a series of rare books including an 1893 edition of Captain Cook’s journal and 1875 edition of the Observations made of the transit of Venus, some stuffed parrots – these are some of the items from the collection at the Macleay Museum that will be on display in the Tin Sheds Gallery during the exhibition The Transit of Venus. The objects have been chosen by Daniel Boyd and will be combined with his own paintings, video works, installations and drawings to explore the impact of the Transit of Venus on Australian history. <br />
<br />
June 6 this year marks the second passing of the Transit of Venus since Australia was colonized in 1788. The Transit of Venus is rare astronomical event that happens in a pattern that repeats every 243 years, with pairs of transits eight years apart. To mark this auspicious event Tin Sheds Gallery and the Macleay Museum are hosting The Transit of Venus - An exhibition with Daniel Boyd. The exhibition will explore the ramifications of Captain Cook’s fateful journey, not just for the Aboriginal people of Australia, but also more broadly for our understanding of the connections between science, art, astronomy and geography.<br />
<br />
Curated by Matt Poll (Assistant Curator Indigenous Heritage, Macleay Museum, The University of Sydney) and <br />
Zanny Begg (Director Tin Sheds Gallery, faculty of Architecture, Design andPlanning, The University of Sydney)<br />
<br />
Exhibition opens: May 24th 6pm - Tin Sheds Gallery<br />
<br />
Public Programs:<br />
<br />
June 14th 6.30pm, Tin Sheds Gallery<br />
<br />
Human Remains: Museum Object or Crime Scene? A discussion on the repatriation of human remains from museum collections. Daniel Boyd and Matt Poll, Sydney University Repatriation Project.<br />
<br />
June 21 6.30pm, Tin Sheds Gallery<br />
<br />
Mapping the size of the Universe: The Transit of Venus, Dr. Andrew Jacob, Astronomy Curator Sydney Observatory, Powerhouse.<br />
<br />zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-18810371152588908572012-05-06T03:49:00.001-07:002012-05-06T03:49:09.294-07:00Zanny Begg | Social Networking (GOMA)<iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/S4iwlsAb710?fs=1" width="480"></iframe>zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-19117503715384424262012-02-01T21:07:00.000-08:002012-02-01T21:13:11.260-08:00Launch of The Bull Laid Bear<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbUjiGvYTh6ahHubOpNZsszcGg1hKfaWEPbPq43da1zwoGYSeEgZ_itJd2RJoXABZX7IkU3At1OGCxeRgazAgmB5BMUZ9ALn0WYrO-m9s_ApHt0TnnyY7LN2uxyAnpy8sFesRSYA7aridX/s1600/bears2.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 180px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbUjiGvYTh6ahHubOpNZsszcGg1hKfaWEPbPq43da1zwoGYSeEgZ_itJd2RJoXABZX7IkU3At1OGCxeRgazAgmB5BMUZ9ALn0WYrO-m9s_ApHt0TnnyY7LN2uxyAnpy8sFesRSYA7aridX/s320/bears2.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5704401275443357682" /></a><br /><br />New film by Zanny Begg and Oliver Ressler, <br />Screening at Artspace as part of the Occupy Art International Day of Action<br />Guest Speaker Steve Keen<br /><br />2.00pm The Bull Laid Bear followed by Q+A with Zanny Begg<br />2.30pm Boom, Boom, Doom - Debunking the Economic Crisis, Steve Keen <br /><br />Sunday February 12<br />Artspace<br />43-51 Cowper Wharf Road, <br />Woolloomooloo, Sydney<br /><br />The Bull Laid Bear “lays bare” the economic recession (bear market) that hides behind each boom time (bull market). The film is structured around a series of interviews with US economists and activists including: William K. Black, a white-collar criminologist; Yves Smith, the author of the blog Naked Capitalism; Tiffiniy Cheng campaign coordinator for A New Way Forward; and Gerald Epstein co-director of the Political Economy Research Institute. The material gathered from these four interviewees has been blended with hand drawn animations to create a quasi-fictitious criminal world of gangster bankers and corrupt courts.<br /><br />Sydney based performer Singing Sadie provides a sound track for the film with a reinterpretation of Billie Holiday’s classic lament on money, God Bless The Child.<br /><br />Steve Keen<br /><br />Steve Keen, Professor of Economics & Finance at the University of Western Sydney, has made a name for himself debunking economics (incidentally the title of his best selling book). Calling himself a post-Keynesian, he has taken on the shibboleths of neoclassical economics, renaming the “Efficient Markets Hypothesis,” for example, the “Financial Instability Hypothesis.” Steve’s iconoclastic brand of economics allowed him to predict the current financial crisis warning back in 1995 that a period of apparent stability could merely be “the calm before the storm”. Steve’s pithy, controversial and insightful critiques of debt and his daring proposals for fiscal change have earned him a global reputation as an economic commentator able to provide insight into these troubling times.<br /><br /><br />The Bull Laid Bear<br />Concept, film editing and production:<br />Zanny Begg & Oliver Ressler<br />Animation and drawings: Zanny Begg<br />Camera and interviews: Oliver Ressler<br />Vocals: Singing Sadie<br />Piano: Mick Hanna<br />Other music: Captain Ahab<br />Camera Singing Sadie: Arunas Klupsas<br />Sound Singing Sadie: Jon Hunter<br />Sound and image editing: Rudi Gottsberger<br />Special thanks to Nancy Folbre, Brian Holmes, Jon Hunter, Pascal Jurt, Arunas Klupsas and Singing Sadie. <br /><br />Financial assistance provided by Kulturamt der Steiermärkischen Landesregierung and Australia Council for the Visual Arts New Work Grant.zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-20695625940132463102010-06-16T15:58:00.000-07:002010-06-16T16:41:51.087-07:00Art Lies Review, Issue 66<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgptN7LF4hgPhVPoUBSIpfNCrKaMPS3-DABUdZmly9Waccw7rsbjVIpO_LNbfZZ2C3S3WwRFhlN79E-tJOkfbt8PzR4wLZqGg5PjG7yXsfcop7DffmUCH_VJe1CqgyZn-bNfJ6836syr4Oi/s1600/page1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 226px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgptN7LF4hgPhVPoUBSIpfNCrKaMPS3-DABUdZmly9Waccw7rsbjVIpO_LNbfZZ2C3S3WwRFhlN79E-tJOkfbt8PzR4wLZqGg5PjG7yXsfcop7DffmUCH_VJe1CqgyZn-bNfJ6836syr4Oi/s320/page1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5483512125681985122" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDiTO_ctPHE-e7zMU7K2SeQA6WV5OGmNZTh6W9uFt4acSNanhGFGBsp6FC1xo9yHx1hzc9FqXZTUF13GzhFxJoamAvQonrFdpEIuf0buVfr9uS6FDxvzHTmqcCSRbo0N5SHJrmBoqMRPnN/s1600/page+2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 242px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDiTO_ctPHE-e7zMU7K2SeQA6WV5OGmNZTh6W9uFt4acSNanhGFGBsp6FC1xo9yHx1hzc9FqXZTUF13GzhFxJoamAvQonrFdpEIuf0buVfr9uS6FDxvzHTmqcCSRbo0N5SHJrmBoqMRPnN/s320/page+2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5483512578042560114" /></a>zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-6921248169128213952010-05-03T10:38:00.001-07:002010-05-03T10:52:57.442-07:00Local Brew Launch!<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX7_YfSZK7Mf7Yj80jR2NcmzZZMYKNXCodlm5McTYDmFA8rCUz_IVHM9mZTrYGXz4xr_CLCVq5i_tKBYGdtQLQqJV2DRBNH8yu4cDs1NVjB5zLGZOzPlq8pBRjHZks5Ggk9KF3ib6-4VRC/s1600/localbrewinvitewithbeer.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 295px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX7_YfSZK7Mf7Yj80jR2NcmzZZMYKNXCodlm5McTYDmFA8rCUz_IVHM9mZTrYGXz4xr_CLCVq5i_tKBYGdtQLQqJV2DRBNH8yu4cDs1NVjB5zLGZOzPlq8pBRjHZks5Ggk9KF3ib6-4VRC/s320/localbrewinvitewithbeer.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5467099873696838354" /></a><br /><br />Local Brew - new publication by You Are Here<br />Launched Wednesday April 28th at Serial Space Chippendale<br /><br />Under the influence<br /><br />Chippendale is a small suburb nestled between Broadway, Cleveland St, Central Railway Station and the University of Sydney. The land had rich soil, fresh water and has a long history of Indigenous ownership but got its current name after William Chippendale was granted a 95-acre estate over the area in 1819. Chippendale sold his namesake for a couple of hundred pounds and the fledgling settlement passed through a few hands as it grew into an urban slum known for its narrow streets and substandard housing. In 1835 the fortunes of the area shifted when Kent Brewery was established between George and Regent St with a pub springing up on each corner. As the amber ale began to flow so did life in Chippendale, with many poor people coming to the area to live and work. A sobering thought is that today the tiny suburb reportedly has the smallest amount of open space of any in Sydney. <br /><br />Despite, or perhaps because of, its small size Chippendale’s cramped streets have enabled an intoxicating combination of cheap inner city living, beer and creativity to develop - fermenting within its tiny borders much of Sydney’s underground performance, art and entertainment venues, spaces and places. From Boomalli in the 80s, Jellyheads in the 90s, Lan Franchis Memorial Discotheque in the 2000s to Serial Space today Chippendale has seen many “on the hop” artist run spaces which have emerged briefly to challenge, delight and intrigue Sydneysiders before staggering off into the night.<br /><br />The heart of Chippendale was the Kent Brewery. Long before the liquid lunch of the ‘80s the brewery had established “beer o’clock” for its workers giving them time-out for a schooner to refresh their working spirit - plant operators were even allowed to tap a leaking cask (the honey pot) to drink at their leisure. When the stout men of brewery management tried to ban the honey-pot the Industrial Relations Commission initially upheld it as a worker’s right: “fare shake of the barely mate”.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqwQu1pzzGn4Dafm58i6O-cLjNHxERFkLRv_H0JXYnuENZ3biixbQssr1aEvysTrUiUBrthXjHGlkRGPTH59sT9Qym9VBEVMwMhnnFRYzVwhWqFBbfmnQS6TFJrRikDIJBSEhPNOX8_QMk/s1600/beer+2sm.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 314px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqwQu1pzzGn4Dafm58i6O-cLjNHxERFkLRv_H0JXYnuENZ3biixbQssr1aEvysTrUiUBrthXjHGlkRGPTH59sT9Qym9VBEVMwMhnnFRYzVwhWqFBbfmnQS6TFJrRikDIJBSEhPNOX8_QMk/s320/beer+2sm.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5467101961908604738" /></a><br /><br />Eventually however stout men got the upper hand and the honey-pot was outlawed. Kent Brewery was also eventually sold - its operations bottled off to more efficient Queensland and WA breweries. The massive complex lay wasted for years with a stoush raging over its future. In 2007 the liquid gold of Old Kent was replaced by a more solid variety: Frasers a major construction company bought the site for redevelopment. The state government and council must have been wearing beer goggles during the negotiations - Frasers were granted permission to build 11 towers the size of the adjacent UTS building housing as many new residents as currently already live in the area. The staggering size of the proposed development left Chippendale seeing double. <br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTUu6lG99s4qxMyojpq20DzlNgsb4ezyORjlLqBesxe-QilR8tlK47ybdA93L5kzBQFYKI6F2RRGCuA0Bhin4ySFpSf-BaAqMH6hwiSNHvqDOV86uV9RyL_AkoDPzqUpSnLv6k7i6556aD/s1600/beer+4sm.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 141px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTUu6lG99s4qxMyojpq20DzlNgsb4ezyORjlLqBesxe-QilR8tlK47ybdA93L5kzBQFYKI6F2RRGCuA0Bhin4ySFpSf-BaAqMH6hwiSNHvqDOV86uV9RyL_AkoDPzqUpSnLv6k7i6556aD/s320/beer+4sm.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5467101201702118274" /></a><br /><br />To allay concerns over the frothy pace of change Frasers set aside one part of the development for artist studios and a steady stream of Sydney’s artists started to flow through the doors: after all, everyone thought, it was their shout. But as artists jostled to get free drinks at the bar there were mutterings that the beer tasted like piss and no one felt like it was their turn to get the next round. <br /><br />As the night wore on news spread that while the rest of us had been fighting over the dregs the banks and developers had been drinking on the house: they were totally plastered with Frasers particularly unsteady on its feet. The Brewery was already knocked down, a massive hole gaped from the middle of Chippendale and everybody could “feel a cold one coming on”.<br /><br />The artist runs spaces which had enlivened Chippendale for so many years were severely under the hammer, many had passed out and the few that remained survived on Dutch courage alone: the hole in the wall venue was losing out to the hole in the ground developer.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxhqb-VlD-00-72ObVn7KUCJBURxwB-uxyvMs1gKWQBKneZisbYe_Fp6I0tzjwhCQ7Dgy1wBzbOCP3IV1VRI6OVi4yyvU7ZvCv32G8eq6iLqYwPQN2GxWJNHfcQptalVdi6S3v7rdKEjEA/s1600/beer+1sm.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 209px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxhqb-VlD-00-72ObVn7KUCJBURxwB-uxyvMs1gKWQBKneZisbYe_Fp6I0tzjwhCQ7Dgy1wBzbOCP3IV1VRI6OVi4yyvU7ZvCv32G8eq6iLqYwPQN2GxWJNHfcQptalVdi6S3v7rdKEjEA/s320/beer+1sm.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5467103175656247362" /></a><br /><br />We were being drunk under the table! A challenge was thrown-down to defend the traditions of this tiny suburb - a toast was proposed to those who made Chippendale what it is today: the workers, the artists, the poor, the revelers. Chippendale may have been cramped, industrial and lacking in green spaces, but it was home and nothing tasted as satisfying as a good local brew. <br /><br />This publication is a joint effort with Keg de Souza and is published by You Are Here. Keg and I have both had residencies at Fraser Studios and part of our contribution to this book comes from our research during our time there. We hope this small book will be a toast to the suburb of Chippendale containing stories from some of the bar-flys who made it what it is today and some of the (brew)haha of its local history. Cheers!<br /><br />Zanny Begg<br /><br />Enjoy development responsibly.<br /><br />To order a copy of Local Brew email contactyouarehere@gmail.comzannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-17418274838123477612010-04-14T20:43:00.000-07:002010-04-14T22:27:07.181-07:00Animation Workshop 2009<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dw-jCRTJfaoJLTi2acw8hd4FTtgcpoPMTWUpHvK31FX5Ov7BUZWDURLg0ty-My9HgkfpEZ7EwCZ-8q08AIRrg' class='b-hbp-video b-uploaded' frameborder='0'></iframe><br /><br />Short video from a You Are Here residency with Performance Space at Redfern Community Centre, 2008/2009, where we conducted animation workshops with people who access the community centre. Workshop participants: Ted, Wasana, Naryma and Marcelo.zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-73127103010672748032010-01-27T13:10:00.000-08:002010-01-27T13:11:28.540-08:00Review: There Goes The Neighbourhood<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGRxHX-Tjnm-B532MJMPFEKl84dSy50oYEvRl-cZDYLHkuOmrXDi_DA8OPziuOKeUhdzvl4oxAlJrYqg0wwLDvbndGLTDeJa9cf112M2ur66kppW4atjXUZvAnvsbC_pNFU4TjZSQMgvDw/s1600-h/eyeline.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 278px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGRxHX-Tjnm-B532MJMPFEKl84dSy50oYEvRl-cZDYLHkuOmrXDi_DA8OPziuOKeUhdzvl4oxAlJrYqg0wwLDvbndGLTDeJa9cf112M2ur66kppW4atjXUZvAnvsbC_pNFU4TjZSQMgvDw/s320/eyeline.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5431530156734068018" /></a>zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-29471404217906054972009-11-24T03:44:00.000-08:002009-11-24T03:46:37.158-08:00Socialist ColonyHere is an exhibition I am participating in in Texas next year:<br /><br />Whereas an investigation has shown that during the Republic of Texas Archive War, one box of records was lost when the archives were violently seized by an armed militia-- in all the boxes that remained, there was no record of who owned the land that the building at 3400 Montrose Boulevard stands on; it was originally deeded to Benjamin Lovell and John Purnell for the purpose of starting a Socialist colony, before the land was sold. With the official record for the transfer lost, the new owners had no choice but to reclaim their property through adverse possession; however legally the terms of the original deed take precedent.<br /><br />Now, the Skydive Office of Cultural Affairs offers the possibilities afforded by this clerical mishap to the public and to assist interested parties in developing proposals to bring the original intention of this land to fruition and to convert this building into a socialist colony.<br /><br />to visit the project's blog go <a href="http://skydiveofficeofculturalaffairs.blogspot.com/">here</a>. http://skydiveofficeofculturalaffairs.blogspot.com/zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-59954979154389152009-11-16T02:21:00.000-08:002009-11-16T02:27:41.250-08:00RECIPROCIDAD<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijEhXXsUPRRGqqlky92_bjbCjUwg4Pb0oxRhDeMxhbBG1rHBE2j1caoPt6QWshFgF_ieqIIN-JLvEijEB2i2AyWRyKI8h1af0zyShmdYIFUr9n6sVg7B9tMp0VKhuJXXaTMI8OFTx-qI-8/s1600/4101328297_18610fbe3b.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijEhXXsUPRRGqqlky92_bjbCjUwg4Pb0oxRhDeMxhbBG1rHBE2j1caoPt6QWshFgF_ieqIIN-JLvEijEB2i2AyWRyKI8h1af0zyShmdYIFUr9n6sVg7B9tMp0VKhuJXXaTMI8OFTx-qI-8/s320/4101328297_18610fbe3b.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5404646206064925650" /></a><br />Treat (or Trick) is in a new show called Reciproidad organised by Loreto Garin Guzmán and Federico Zukerfeld. at the Centro Cultural de España en Buenos Aires. For more information go to: <a href="Aireshttp://reciprocidadproyecto.wordpress.com/">Aireshttp://reciprocidadproyecto.wordpress.com/</a>zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-57571375799583846522009-11-10T15:03:00.000-08:002009-11-10T15:07:21.844-08:00Film Sceening, AmsterdamWhat Would It Mean To Win? is being screened at Outpost a new squatted artist run space in Amsterdam. Below is their post and weblink:<br /><br />Outpost is a newly squatted artist run exhibition space in Slootervaart, a suburb of Amsterdam, which was squatted on october 11th 2009 with help from the kind people of kraak spreekuur west. It is situated on August Allebeplein in what used to be a thai restaurant on Jan Tooropstraat 35, which was standing empty since may 1st 2005. It is currently owned by Field Willow Real Estate Investments BV, which is a london based company, and if the city council of Slotervaart will approve of the plans to rebuild August Allebeplein it will be demoslished within a couple of years, probably in the end of 2011, but maybe later in 2012. We expect to stay until the end, but as we speak the Dutch government is busy with a new law banning squatting, in which case it is unclear what will happen. In the mean time we will try out best to share the space with you by organizing art exhibitions, film nights, dinners etc. Hope to see you around! <br /><br />For more information click <a href="http://radar.squat.net/index.php?mode=details&what=0&profile=radar&timerange=&where=22&event_id=85042">here</a>.zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-16086153697193641502009-10-08T00:54:00.000-07:002009-10-08T02:12:44.633-07:00Of bestial acts and rabbits in hats<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQCjkVPzG5FFmumZgyjUDcXmZQAJeShNM3m7sX4t2QMSkKpKiHoIcNlijrqBWURlijr2omK-3f3iaAM5Lcy8TuceRT5UxyGpVI0PO3re6EdssQ5S-EBa98Gg213PfCiWfUYiZmvzUnPhli/s1600-h/DSC_0367.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQCjkVPzG5FFmumZgyjUDcXmZQAJeShNM3m7sX4t2QMSkKpKiHoIcNlijrqBWURlijr2omK-3f3iaAM5Lcy8TuceRT5UxyGpVI0PO3re6EdssQ5S-EBa98Gg213PfCiWfUYiZmvzUnPhli/s320/DSC_0367.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5390137205026993490" /></a><br /><br />REUBEN KEEHAN<br /><br />Every performer, implies Zanny Begg’s 2008 video installation Treat (or Trick), relies to some extent on the complicity of their audience for the success of a given act, be it the distribution of the wealth or just pulling a rabbit out of a hat. It is an implicitly Brechtian conceit, an element underlined in the work’s inclusion in the forthcoming Istanbul Biennial, What Keeps Mankind Alive, themed, as it is, after the final song in the second act of Brecht’s Threepenny Opera. In a curatorial framework circulated in advance of the Biennial, What, How & for Whom (WHW), the four-woman, Zagreb-based curatorial collective behind the event, asserted that “bringing back Brecht is an attempt to think about the role of artistic endeavour in the conditions of contemporary capitalism, to re-evaluate our everyday practices, our value systems and modes of operation’; Brecht, they argued “invites us to rethink our position again and again”.1 This is very much the logic that seems to underpin Begg’s work, certainly Treat (or Trick) but also, and irreducibly, her entire practice as it sits within a general movement toward the visibility of the political in contemporary art.<br /><br />Interestingly, in terms of its construction of a relationship between a work and an individuated viewer—or, to use logic of the work itself, a performer and their audience —Treat (or Trick) is as close to the conventional staging of aesthetic experience as Begg’s work has come in recent years. The work invites the viewer into a black circus sideshow tent to see a video shot and projected in the same tent, a three part treatise-cum-magic show in which the ‘invisible hand’ of the market plays the magician whose rabbit assumes the mystical form of the commodity, at once the objectification of labour relations and the object of consumer desires. The viewer assumes the role of the audience, otherwise detectable only by a canned laughter and applause, an audience which, intertitles tell us, is all too aware that it is being duped by Mr Invisible Hands, but goes along willingly to the show, for the top-hat that produces the rabbit is where the audience’s seemingly bottomless desires find their home. In its ironically seductive presentation of the performer-audience dynamic, Treat (or Trick) proposes an awareness of similar relationships within the field of art, and begs the question of how they might relate to the social relations objectified in the commodity.<br /><br />If we are to take the work’s references to Marx as more than a repudiation of free market theories of economic management—which, truth be told, even Kevin Rudd is offering these days—and understand it as illustrating a critique of a social alienation whose origin lies in the division of labour, then this is a critique that operates from and is embodied within Begg’s practice as a whole. Works like Treat (or Trick), in which Begg is credited as the sole artist, are complemented by a cluster of collaborative projects. Notable among these are her work with Viennese artist and filmmaker Oliver Ressler, with whom she produced the film What Would It Mean to Win? as well as an accompanying installation at the 2008 Taipei Biennale and Den Frie Udstillingsbygning, Copenhagen, and with Keg de Souza with whom she organises the activities of Sydney artist collective You Are Here. Complicating this are the multidisciplinary practices these collaborations and Begg’s individual work involve, embracing critical, curatorial and pedagogical activities alongside art production, as well as the often simultaneous character of these projects and their varying timeframes—2016: Archive Project, one of the chief undertakings of You Are Here, is an evolving, decade-long commitment to explore and record the rapid changes underway in the inner-Sydney suburb of Redfern.<br /><br />These projects have manifested themselves at quite staggering levels of scope and ambition. The You Are Here-curated project There Goes The Neighbourhood, for instance, successfully positioned debates around the transformations in Redfern within the context of global artistic investigations of gentrification and urban planning. In addition to a major publication and exhibition at Performance Space, There Goes The Neighbourhood took in artist residencies, public programs and a restaging of Alan Kaprow’s participatory installation Push and Pull: A Furniture Comedy for Hans Hoffman, coordinated by Nick Keys, Astrid Lorange and Lucas Ihlein at Waterloo artist-run initiative Locksmith. The work of local artists dealing with highly sensitive issues of immediate relevance to the Redfern-Waterloo community, as well as an information centre on grassroots activism within the community itself, were complemented by contributions by such high profile international artist-activists as Michael Rakowitz, Rene Gabri and Ayreen Anastas of New York’s 16 Beaver group, Miklos Erhardt and Little Warsaw, Brazil’s Bijari, Spain’s Democracia, Chicago’s Temporary Services and Jakob Jakobsen of the self-dissolved Copenhagen Free University, with Temporary Services and Jakobsen visiting Sydney for the installation and accompanying events. It was a mammoth undertaking, but its vibrancy, impact and critical acuity were such that it was arguably one of the most important artist-driven projects ever to take place in Sydney.<br /><br />Whether working individually or collaboratively, Begg is careful to consider the role of the audience. Though highly political in its subject, her work marks a shift away from the dry earnestness often associated with certain activist art practices, and she has developed a characteristic humour and humility most clearly expressed in the elegant, affecting, hand-drawn animations that accompany the live footage in Treat (or Trick), What Would It Mean To Win? and her 2008 film Don’t Say Goodbye: An Exploration of Spatial Politics in Hong Kong. Moreover, Begg’s work operates at a range of social registers, from sophisticated analysis of the strategies and motivations of social movements, to projects geared toward audiences located well beyond the traditional activist and artistic communities. In 2008, for example, Begg and de Souza created a psychogeographical representation of Kali Code, a previously unmapped long-term squatter settlement in Yogyakarta, in collaboration with community members, including local children whose drawings of the area, generated in workshops run by the artists, were added to a giant map. For There Goes The Neighbourhood the pair hosted similar workshops at Redfern Community Centre to produce animated counter-narratives addressing daily life in the area, while in collaboration with software developer Andy Nicholson, they devised Pemulway Dream Team, a distribution-ready computer game pitching boxers, played by members of the Tony Mundine gym, against greedy developers and general injustice.<br /><br />Begg’s expanded conception of artistic practice integrates the socially engaged function of self-organised activity, the strategic constitution of new publics, with the socially concerned content of her more properly artistic works, which offer a symbolic imagining of the political sophistication—potential and actual—of these new publics. Through this dual politicisation, Begg and her complex network of Australian and international collaborators, a continuation of the activist networks developed by the 1990s social movements who first realised the communicative power of the internet, participate in a significant revitalisation of the social function of aesthetic production that works with and against existing institutional structures to stake a claim for symbolic and political autonomy.<br /><br />In conversation with Justin Clemens toward the end of 2007, Anthony Gardner noted the clarity of recent shifts in institutional and commercial legitimations of the political in art. Where the most visible art of the 1990s often concerned itself with fashion, advertising and film—‘different uses of the image’—Gardner observed that the past few years have seen a turn toward more explicitly political work, at least at the level of those more readily available art barometers, international biennales and widely distributed magazines like Frieze and Artforum.2 Although never entirely absent from contemporary art discourse, politics has arguably moved away from the margins, to which it was relegated in the embodied subjects of 1990s ethnographic art, and toward the very centre, where it has become a regular justification for a range of curatorial and critical conceits.<br /><br />Apart from important questions about the capacity of the market to appropriate practices oppositional to it, a capacity that is especially pronounced with regard to art, this new legitimacy for the political in art derives in part from concurrent expansions of both fields activity, that is to say, a general broadening of the practices deemed acceptable in both art and politics. While ‘the political turn’, as this shift in art world preoccupations has somewhat problematically been described, has channelled aspects of the artist as ethnographer model into a liberal democratic conception of globalisation where ‘trauma’ and ‘difference’ become roughly synonymous with ‘world’, there has also been a shift toward accepting as art practices that are political in form as well as content. In a general sense, this means that as art has become more socially engaged, its modes of production, distribution and presentation have themselves become more socialised. What is produced by these practices is not simply a series of works concerned with issues of relevance to the public sphere, but also an assertion of artistic agency within the total complex of human relations.<br /><br />The rise of the curator, whether interpreted as an opportunity for critical agency or simply ‘middle management jostling for a place in perpetuity’, has arguably overshadowed similarly marked shifts in what is broadly legitimated as artistic practice. Just as the role of the curator, at least in its ideal form, has absorbed both the reflexivity of the artist and the authority of the critic, the division of labour traditionally excluding discursive and organisational activities from the purview of the artist has undergone significant erosion in recent years. This is, of course, an erosion that has occurred largely on institutional and commercial terms—Marcelo Expósito has pointed out that challenging the division of artistic labour is itself a tradition within historical avant-garde practices, and a necessity in others, specifically marginal or emergent fields like video art before the mid-1990s, and one might add to this practices operating in contexts with limited cultural infrastructures, particularly the work of artists in the global South.3 And while this erosion reflects the shift toward flexible and communicative labour of post-Fordist societies, certain symbolic hegemonies are maintained in the name of economic and political interests—thus the presentation of the curator rather than the artist as the subject of substantial functional transformation.<br /><br />As much Begg’s practice constitutes an embodied critique of the conventional division of artistic labour, it is at the same time a tactical exploitation of her role as an artist within persistent cultural hegemonies. The figure of the artist, with its perceived position of subordination within these hegemonic structures, will always retain a greater potential to resist professional codification than that of the curator. The sheer breadth and ambition of Begg’s practice is an attestation that the activities which an artist might undertake alongside and as an extension of conventional artistic production, that is to say, as an actor within a given system of relations, are boundless, providing a mobility that, if exploited carefully, can produce real effects in the world. Her work is motivated by the same contingencies that led Simon Sheikh, several years ago, to ask the question, “What can we do for ourselves?”, playing out the “ongoing negotiation, translation and articulation between interested agents and groups” and fulfilling the necessity he perceived “to establish networks, to compare and mediate practices as well as theories”. “Art matters, certainly”, he concluded, “but art is not enough.”4 What matters more, Begg seems to suggest, is the socialisation of the artist. In highlighting the dynamic of the performer and the audience, the implication of Treat (or Trick) is that the audience divests itself of the performer’s tricks, or better, that it becomes the performer itself, not to deceive, entertain or conceal the ‘bestial acts’ that Brecht concluded keep mankind alive, but as a performer whose audience is only made up of other social actors. In answer to the age-old question of the relationship between politics and art, it introduces the figure of the artist as a political being. Art becomes political when the artist asserts their agency in the world. It becomes politically effective when it encourages its audience to assert its own agency.<br /><br />From <a href="http://www.cacsa.org.au/cvapsa/2009/7_bs_38_3/Keehan38_3.pdf">Broadsheet</a>, Vol 8, no 3<br /><br />Notes<br />1 What, How & for Whom, ‘What keeps mankind alive?’, unpaginated press release circulated by the Istanbul Biennial, 29 June 2009<br />2 Anthony Gardner, from ‘Anthony Gardner and Justin Clemens in conversation, Speech Interviews, http://tiny.cc/2YxfW, 30 November 2007<br />3 Marcel Esposito, ‘Inside and Outside the Art Institution: Self-valorisation and Montage in Contemporary Art’, Transform, October 2006, http://transform.eipcp.net/transversal/0407/exposito/en<br />4 Simon Sheikh, ‘Representation, Contestation and Power: the Artist as Public Intellectual’, Transversal, October 2004, http://eipcp.net/transversal/1204/sheikh/en/printzannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-58221825335326724142009-09-01T06:52:00.000-07:002009-09-01T06:54:56.558-07:00People playing Pemulwuy Dream Team<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/VGJWrUkZVEY&hl=en&fs=1&rel=0"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/VGJWrUkZVEY&hl=en&fs=1&rel=0" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-91943195869018594952009-08-25T05:37:00.000-07:002009-08-25T05:44:04.973-07:00There Goes The Neighbourhood press coverage<span style="font-weight:bold;">"“THERE GOES THE NEIGHBOURHOOD!”, TAUNTED THE US BLACK HEAVY METAL BAND BODY COUNT IN THEIR 1990 SONG, AN IRONIC TAKE ON THE PHENOMENON OF ‘WHITE FLIGHT’ IN AMERICAN CITIES AT THE TIME (THE SONG ALSO DRAWS AN ANALOGY BETWEEN THE PERCEIVED BLACK ‘ENCROACHMENT’ OF WHITE SUBURBS AND THE BAND’S ENCROACHMENT OF THE TRADITIONALLY WHITE DOMAIN OF HEAVY METAL).<br /><br />The title thus frames this Performance Space exhibition squarely within the politics of contested space and the central role of race (and youth) in this contestation; it also widens the frame of reference beyond the here and now of Sydney, Australia, to shared histories and their legacy for contemporary urban living globally. This breadth of scope marked every aspect of the exhibition, from the range of artists and media, to the scale, both spatial and temporal, of many of the works. Participants hailed from across the globe, including Brazil, Spain, Denmark, US, Australia and Hungary; the range and scale of works was expansive: photographs, video, painting, installation, mapping, networked activities and performances, many either filling the gallery in innovative ways or overflowing it altogether through their presence in publication, on the web, or as external events extending over time. This scope was thoughtfully designed to reiterate the themes: spatial justice and the place of the artist in articulating and complicating these debates and strategies."</span><br /><br />So reads the beginning of Jacqueline Millner's review of There Goes The Neighbourhood for Real Time. To read the rest of the article go <a href="http://www.realtimearts.net/article/92/9541">here</a>. <br /><br />There were heaps of the other news articles. Keg has collected them all on her website so to save me loading them up go check it out <a href=" http://kegdesouza.blogspot.com/2009/07/there-goes-neighbourhood.html">here</a>.zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-16448078819491200772009-06-30T22:07:00.000-07:002009-06-30T22:17:51.600-07:00Melbourne launch: There Goes The Neighbourhood!<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAe7_WUD9pIu8-VTdtdDYiihBTUiMlMXR3NRx-DP3CSlSWGAdGUc79of1oMlFzm2MbVB8H0Aw16UVHAf5mh8jw7eGZ6cFF0jxavodxbDVebv94JjHa62wG7_juYnUlITzFKZTTu6dS9GT7/s1600-h/TGTN-Cover.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 226px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAe7_WUD9pIu8-VTdtdDYiihBTUiMlMXR3NRx-DP3CSlSWGAdGUc79of1oMlFzm2MbVB8H0Aw16UVHAf5mh8jw7eGZ6cFF0jxavodxbDVebv94JjHa62wG7_juYnUlITzFKZTTu6dS9GT7/s320/TGTN-Cover.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5353356436676558562" /></a><br /><br />Guest Speaker: Gary Foley<br /><br />Book Launch, Brunswick Bound, Saturday July 4, 2pm <br />361 Sydney Rd, Brunswick <br /><br />Worried about the gentrification? Rising rents? Apartment blocks popping up on every corner and yuppies taking over your local neighbourhood? Well you’re not alone… There Goes The Neighbourhood: Redfern and the Politics of Urban Space is a book produced in conjunction with an exhibition in Sydney which explores these issues. From Collingwood to Redfern to New York to Copenhagen people the world over are negotiating life in the city – squatting, living space, evictions, rents and so on. Come along to a launch of the book and a discussion about spatial politics in the city.<br /><br />There Goes the Neighborhood begins with a close study of Redfern before expanding into international examples to provide a detailed exploration of how the phenomenon of gentrification is altering the relationship between democracy and demography around the world. This book has been published in tandem with an exhibition of the same name and many of the contributions come from participating artists in the exhibition: Brenda L. Croft (Australia), 16beaver (USA), Daniel Boyd (Australia), Temporary Services (USA), Jakob Jakobsen (Denmark), Lisa Kelly (Australia), SquatSpace (Australia), Claire Healy and Sean Cordeiro (Germany/Australia), Evil Brothers (Australia), You Are Here (Australia), Michael Rakowitz (USA), Miklos Erhardt and Little Warsaw (Hungary), Bijari (Brazil) and Democracia (Spain). The book also includes contributions from key thinkers about the complex life of cities such as the Situationists, Mike Davis, Brian Holmes, Gary Foley and Elizabeth Farrelly. <br /><br />There Goes The Neighbourhood is edited by Keg de Souza and Zanny Begg from You Are Here, a Sydney based art collective which focuses on social and spatial mapping.zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-52105655625172375522009-05-25T03:39:00.000-07:002009-05-25T04:45:36.441-07:00Pemulwuy Dream Team<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dyFjWuuqGUm_Y5DoK1ndlWbucUlCcgeQvwvS7ddmsSONcZ5I60tVplSEh_KeJFJ3Ed7b4glN4kH9Okpwrt16g' class='b-hbp-video b-uploaded' frameborder='0'></iframe><br /><br />Above is a fragment from Pemulwuy Dream Team an inter-active boxing game developed by Andy Nicholson, Keg de Souza and myself for the exhibition <a href="http://www.theregoestheneighbourhood.org">There Goes The Neighbourhood</a>. The game highlights four people from around The Block, Redfern - Danny, Wasana and Naryma Dixon and Ted - and uses the symbolic form of a boxing game to address the fight for issues they feel are important to the area. The film was filmed in the Tony Mundine gym and can be played by one or two players. It will be on exhibition at Performance Space for the next five weeks - go down and check it out.zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-62678156749116868742009-04-04T16:37:00.000-07:002009-04-04T16:43:55.646-07:00Gerald Raunig at Serial Space<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh1hfL0-CuV1axXISC_oh9bnN7QjTAh36UM_z8nSOBSoIXVIlbAAGFShbiDZ0kaw75enhtDFVrJR8lej4p809HVyeYNPgBL5Zfvw3TWwIX2jy7brNuimEO8NBqBceNPpq0f1El9rjwk4dT/s1600-h/standoff2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 229px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh1hfL0-CuV1axXISC_oh9bnN7QjTAh36UM_z8nSOBSoIXVIlbAAGFShbiDZ0kaw75enhtDFVrJR8lej4p809HVyeYNPgBL5Zfvw3TWwIX2jy7brNuimEO8NBqBceNPpq0f1El9rjwk4dT/s320/standoff2.jpg" alt="" id="BLOGGER_PHOTO_ID_5320986104516145858" border="0" /></a><br /><i><b><br />"AND is neither one thing nor the other, it's always in-between, between two things; it's the borderline, there's always a border, a line of flight or flow, only we don't see it, because it's the least perceptible of things. And yet it's along this line of flight that things come to pass, becomings evolve, revolutions take shape" - Gilles Deleuze<br /></b></i><br />Gerald Raunig, a philosopher, art theoretician and activist from Vienna is coming to Sydney for a conference at Artspace. He wants to engage in a more in depth and informal meeting with artists and activists from Sydney and is holding a free workshop, presented by You Are Here, to discuss his ideas on Friday April 10th at Serial Space. Gerald is the author of the book "Art and Revolution - Transversal Activism in the Long Twentieth Century" and will be giving two presentations from this book followed by discussions/debate/questions. Gerald has played an important role in maintaining several bilingual websites which have discussed important issues for artists and activists including republicart (<a href="http://republicart.net/" target="_blank">http://republicart.net/</a>) and transform (<a href="http://www.transform.eipcp.net/" target="_blank">http://www.transform.eipcp.<wbr>net/</a>) and has been one of the key theorists of the cultural significance of the counter-globalisation movement.<br /><br />The workshop runs from 1-6pm Friday April 10, for a full workshop program go <a href="http://www.youarehere.me/pedagogy%20gerald.htm">here</a>.<a href="http://www.youarehere.me/pedagogy%20gerald.htm" target="_blank"></a>zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-63438688835091110792008-11-26T13:19:00.000-08:002009-01-06T14:53:36.779-08:00Treat (or trick)<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwlELMpCvqB69naerCwBoshjfW7obGm3nTxZLpgQjn1Rvmsb7Ee6bXFzl1g85AuVZ2d7fLBBTDumnpgm7FAxQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe><br /><br />Treat (or trick)<br />Film by Zanny Begg<br />DVD 7min PAL<br />Sound <a href="http://www.myspace.com/k8carr">Kate Carr</a><br />Camera Osama Yousif<br />For a high resolution version email: zanny.b[at]gmail.com<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1AL_oTrwwVg2IBYy0Jb12o8N2yQMJ-eZ5zEIe0dWVUV0w57jtvYpdqpynEMAYVyWQH59FuzXtLgdugUAZTtD1cNI7iDdflSzZUQNT7iclSGBkLQjZXNlyb0JgeVkgpy4US0wW9zr71L6V/s1600-h/treat+or+trick+film+curtain+2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 256px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1AL_oTrwwVg2IBYy0Jb12o8N2yQMJ-eZ5zEIe0dWVUV0w57jtvYpdqpynEMAYVyWQH59FuzXtLgdugUAZTtD1cNI7iDdflSzZUQNT7iclSGBkLQjZXNlyb0JgeVkgpy4US0wW9zr71L6V/s320/treat+or+trick+film+curtain+2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5273167216500677970" /></a><br />For more information click <a href="http://www.zannybegg.com/treat%20trick.htm">here</a>.zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-83757618128684942282008-10-19T16:57:00.000-07:002008-10-19T17:03:13.120-07:00Freewaves Hollywould Film Festival<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiciQr11jex_Ki7fYgFx1HtwZXW01sDQxMOc8kG5yVS8Gs_fGJLQXq3sf8G57tCTZfmS8hcF5Do-7I1E7LJpJqhbhws42ieDfKeG6Jf4qegEdxaqE8el58FQe1tr9zwDSVSQEXWyH3-Npqv/s1600-h/2949956039_8e3e910d15.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiciQr11jex_Ki7fYgFx1HtwZXW01sDQxMOc8kG5yVS8Gs_fGJLQXq3sf8G57tCTZfmS8hcF5Do-7I1E7LJpJqhbhws42ieDfKeG6Jf4qegEdxaqE8el58FQe1tr9zwDSVSQEXWyH3-Npqv/s320/2949956039_8e3e910d15.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5259018743833722082" /></a><br /><br /><em>What Would It Mean To Win?</em> was presented as part of the Freewaves Hollywould Film Festival. For more information on the festival go to: www.freewaves.org.zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-41389507664535617862008-10-06T18:16:00.000-07:002008-10-06T18:22:42.658-07:006th Hong Kong Social Movement Film Festival<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzzCoKamVG4pWGbIWKe4u3OviEpb02vzqQ7NfmIGp3uF4joqh2SXtUojpfGj1q3C2vvXl3wCYP4A5uy5nmaqyMEpTUz3rqmWTXepbgQUd1vufZFbgg5JfKpnmS-CHkzY52b6OatiqZU6Pd/s1600-h/smffleaflet_02ss.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzzCoKamVG4pWGbIWKe4u3OviEpb02vzqQ7NfmIGp3uF4joqh2SXtUojpfGj1q3C2vvXl3wCYP4A5uy5nmaqyMEpTUz3rqmWTXepbgQUd1vufZFbgg5JfKpnmS-CHkzY52b6OatiqZU6Pd/s320/smffleaflet_02ss.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5254216097031416818" /></a><br /><br />My Film <em>Don't Say Goodbye - An Exploration of Spatial Politics in Hong Kong </em>will be screened as part of the 6th Hong Kong Social Movement Film Festival. For more information on the film program go <a href="http://www.smrc8a.org/smff/emain.html">here</a>zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-1502900868929787362008-09-29T08:16:00.000-07:002008-10-05T22:59:21.782-07:00Jumps and Surpises<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqMPxrDy-cF_54ERNnHy9Q5W1rV-H-f1C6DMTEHnpubBTy8jQbs6YhSmasuE830t4AtDBCcBpsOGfOxbp3qupqay8G6zIwX7fTatBwNI6vJmPpK7cXEm6VqpstQVN8yAIzIJJrY8HgWXrA/s1600-h/cope+pics.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqMPxrDy-cF_54ERNnHy9Q5W1rV-H-f1C6DMTEHnpubBTy8jQbs6YhSmasuE830t4AtDBCcBpsOGfOxbp3qupqay8G6zIwX7fTatBwNI6vJmPpK7cXEm6VqpstQVN8yAIzIJJrY8HgWXrA/s320/cope+pics.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5251465530425324530" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGqK3JgL-cmILYhAHgRxp2KhxW2MS1pTMm7rtxwTkYj9-LYMfPSoBI5iF_bNhgd7zrBECBCbCeFQrLTe_A1P9vq3wKqHe-dhHA6vwj5yR7ftT_jhzkLqh9j0VuB5av2dtSljkxaAJHBKnm/s1600-h/cope2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGqK3JgL-cmILYhAHgRxp2KhxW2MS1pTMm7rtxwTkYj9-LYMfPSoBI5iF_bNhgd7zrBECBCbCeFQrLTe_A1P9vq3wKqHe-dhHA6vwj5yR7ftT_jhzkLqh9j0VuB5av2dtSljkxaAJHBKnm/s320/cope2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5251463374782007538" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKjkYbHBV_pW8kmzVhg6M6prLOtHYFK78ezv8eqHQxITBMKAmTa6-OoCSf9jKqLl_2wQHrAnDm2SrsN5FYsi4EwwjyrcGveOcVLzr4DdzphCf3s2u23Z91JPqCOX3EE1DTBJJ6cD-vTL3L/s1600-h/oliver+and+1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKjkYbHBV_pW8kmzVhg6M6prLOtHYFK78ezv8eqHQxITBMKAmTa6-OoCSf9jKqLl_2wQHrAnDm2SrsN5FYsi4EwwjyrcGveOcVLzr4DdzphCf3s2u23Z91JPqCOX3EE1DTBJJ6cD-vTL3L/s320/oliver+and+1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5251463103359707842" /></a><br /><br /><span style="font-style:italic;">Jumps and Surprises</span>, installation with Oliver Ressler, Den Frie Udstillingbygning, Copenhagen. Wall drawings by Zanny Begg, films by Oliver Ressler and Zanny Begg, exhibition curated by Kuratorisk Aktion with the participation of Zanny Begg, Oliver Ressler, Lars Buchardt, Eva la Cour, Jan Danebod, Miklos Erhardt and Little Warsaw, Josephine Meckseper, Malene Nielsen and Tanja Stasia Schlander. Viewers were invited to contribute to a genealogy of the counter-globalisation movement by adding to a time-line which formed part of the <span style="font-style:italic;">Jumps and Surprises</span> installation. Public Hearing lectures by Zanny Begg, Mikkel Bolt, Eva la Cour, Oliver Ressler and Dmitry Vilensky. <br /><br /><span style="font-weight:bold;">Worlds Within Worlds Within Worlds</span><br /><br />Exhibition fanzine essay<br /><br /><span style="font-style:italic;">“Another world is not only possible she is on her way. On a quiet day I can hear her breathing.”</span> - Arundhati Roy, World Social Forum, 2003. <br /><br />Between the first People’s Global Action meetings of 1998-99 (which coordinated the Global Street Parties and the anti-WTO demonstrations in Seattle) and the most recent anti-G8 mobilisations in Lake Toyako, Japan, the counter-globalisation movement has experienced ten years of political evolution and struggle. These ten years have been more nebulous, elongated and elusive then the explosive “ten days” of the Russian Revolution which “shook the world” of the last century. Nonetheless they have shaken the world of this century – generating a new era of anti-capitalist activism, which has begun unravelling the problems created by the more decisive revolutions of yesterday. The last ten years has produced twin revolts against the ways and means of both the Old Left and the New Right and has facilitated the emergence of a new politics of global struggle, which is centered in notions of DIY (Do-It-Yourself), carnival, punk, embodied politics and autonomy. <br /><br />For us as artists, activists and/or art theorists, this movement has had a profound impact on cultural practice – since the end of the ‘90s there has been a noticeable rise in interest in collective, confrontational, antagonistic or critical artistic practices. In the beginning of the new millennium, there has been a marked increase in “big issue” exhibitions, which have sought to connect art and politics in a variety of ways. These exhibitions are not just a grouping of works by political or socially engaged artists but represent a variety of attempts, with varying degrees of success, at reconstructing the relationships between art and viewer, art and institution, art and activism and art and everyday life. To name just some of these projects: <span style="font-style:italic;">Who if not we?; Collective Creativity; First What We take is Museum; How do we want to be governed?; There must be an alternative; Space of Conflicts; The Invisible Insurrection of a Million Minds - 20 proposals for imagining the future; Taking the Matter into Common Hands; Disobedience; Ex-Argentina/Steps for the Flight from Labour into Doing; An Ideal Society Creates Itself; If I Can’t Dance – I Don’t Want to be Part of your Revolution; If You See Something, Say Something; Revolution – I Love You; Communism,</span> the very recent <span style="font-style:italic;">One World Where Many Worlds Fit</span> project curated by Oliver Ressler as part of the Taipei Biennial 2008 last week and the current exhibition through which this discussion has been initiated; <span style="font-style:italic;">asking we walk, voices of resistance</span>. And this is just to name a few…<br /><br />Many of these projects, the current one being an obvious exception, have been resourced by establishment cultural institutions, which have sought to respond to the mood of militant cultural production. This was obvious in Taipei when the Taiwanese President visited Oliver’s section of the exhibition and decreed that in addition to the three essential components of a successful biennial he outlined in his opening speech – creativity, energy and sensitivity – he would now add a fourth – rebellion. Mr. Ma Ying-Jeou’s speech presents us with a specific challenge: Have we been absorbed within the institution to the point where we are no longer threatening, even to the avowedly anti-Communist Taiwanese government and other such forces of authority? Or is our incorporation testament to our ongoing potencia, which challenges the Museum to open up, respond and accept us? <br /><br />Of course this question is one at the heart of the politics of the counter-globalisation movement post-Genoa which that has popularized the ideas of Autonomist Marxism including the Copernican Revolution in Marxism suggested by Mario Tronti. “For too long”, he argued, Marxism has focused on capital – we must “turn this on its head” and fix our attention on the constitutive power of labour. In the Post-Fordist world of Genoa, this fixation evolved to an emphasis on the creative potential and precarity of the multitude. The slogan “We are Winning” and “Another World is Possible” highlighted this sentiment: We make the world and we could just remake it anew. <br /><br />John Holloway further modified this Copernican revolution by suggesting that there were two ways in which it can be interpreted. As mentioned already, we can see this as a clash between the multitude and the external forces of capital where the capitalists are constantly forced to absorb and react to the demands and desires of the multitude. Or we can embrace the “stronger” “more radical” interpretation offered by Holloway, which acknowledges that capital is actually a product of the working class and therefore “depends, from one minute to another, upon the working class for its reproduction”. Out of this strand of interpretation came the notion, also articulated by Arundhati Roy in the quote which introducing this article, that another world is already here produced and sustained by the multitude: “[We] can hear her breathing”.<br /><br />But somehow amongst the buzz of this founded, and maybe not so founded optimism, the old world managed to reassert itself. While Genoa sparkled with the joy and surprise of a new movement which that generated an expansive feeling of political potential, the joy of this movement was also quickly tempered by the violent and repressive responses of the state. Seattle was held in a virtual lockdown for the duration of the protests as demonstrators battled tear gas, riots police and fortified streets. This was followed by horse charges of protesters in Melbourne, the mass arrest and accusations of torture of protesters in Prague, the firing of rubber bullets in Gothenburg, the firing of live ammunition and the killing of a protester, Carlo Giuliani, in Genoa, the killing of several <span style="font-style:italic;">piqueteros</span> in Argentina, and the escalating fortifications of cities which accompanied every meeting of the global financial and governmental elite. The absurd conclusion of this pre-emptive repression was manifest in La Plate during the Summit of the Americas when citizens were issued passes to get in and out of their houses during the complete security lockdown for the duration of the summit – a paranoid and surreal excessiveness Etcetera so effectively parodied in the creation of the Errorist International.<br /><br />Furthermore, within the first few years of the emergence of the counter-globalisation movement it was paired with another very different manifestation of anti-capitalist violence: the September 11, 2001 terrorist attacks on the World Trade Center. These terrorist attacks, like the anti-globalisation movement, transformed global politics, but in an entirely different, and negative, manner. After 9/11, the counter-globalisation movement would evolve in an international environment made decisively more complex by the opening of new wars in the Middle East, the passing of a raft of new laws that criminalized dissent and certain forms of militant organizing (in the name of Anti-Terrorism) and a political climate where violent protest, anti-capitalism and -imperialism had found a deadly and mutated doppelganger. <br /><br />Since 2001, Islamic extremism has stalked the counter-globalisation movement as a rival force of anti-capitalism, which offered its own methods of confrontation with the state and solutions to the legacies of colonialism. These two forces came into excruciating close proximity during the anti-G8 protests in Gleneagles, 2005. A loose coalition of counter-globalisation activists took to the fields around Gleneagles setting up a revolving series of roadblocks and other obstacles, which began successfully to disrupting transport into the summit venue. The success of these tactics was cut short, however, by a series of bombs that ripped apart London killing hundreds of people. Alex Trocchi, Giles Redwolf and Petrus Alamire explain how the news were received in the anti-G8 protest camp:<br /><br />“Before discussions about the next days of action could really commence news came of the terrorist attack in London. It hit everyone like a physical punch in the stomach and the whole meeting came to an eerie standstill… The timing was almost too convenient: it shattered any dreams about refocusing debate on climate change and poverty inescapably pulling the focus onto George Bush’s rusty refrain on war and terrorism and, most importantly, sending everyone into the arms of the state. The spectacular bombings simply fed the image of the G8 as the defenders of western civilization from anarchy and Islam.” <br /><br />The Islamist movement is extremely complex and multifaceted (and I cannot do justice to this complexity here), but in very general terms its methods of organizing and its focus on the G8 and the centers of global financial capital have given it some inconvenient, treacherous and ultimately superficial similarities with counter-globalisation movement. As Trocchi, Redwolf and Alamire point out, these similarities have generated a feeling of defensiveness and impotence within the movement: “In our stunned silence we could not even enunciate clearly that the enemy of our enemy is not our friend.” <br /><br />This defensiveness is further entrenched as Islamist extremism speaks to a certain failure within the secular Left to bring into being a world, which provided justice for the “Post-Colonial Other”. This failure is acutely felt in the Middle East where various squabbles of the Cold War era have left a legacy of dictatorial semi-feudal regimes, corrupt and impotent national liberation struggles, insurgent Islamic extremists, a violent Israeli state and non-existent beneficiaries of liberal democracy, let alone revolutionary socialism. This failure permeates outwards from the Middle East to places in Africa, Asia and central Europe where large numbers of people feel betrayed and disappointed by a secular Left politics which failed to deliver real changes in their daily lives. <br /><br />This turn to Islam, it must be pointed out, is largely peaceful and cannot be reduced to the extreme tactics employed by terrorists – having just spent three months in Indonesia, I can attest to the wide spread power of anti-Western politicized Islam. But religious terrorism feeds off the disappointment and frustration felt by those who have been given little reason to believe in secular Left solutions to the problem of imperialism and colonialism (incidentally also providing a convenient cipher of dissent in the interests of the Western imperialists). <br /><br />This failure of the Left is mercifully not absolute. In one promising moment, the multitude of Seattle and Genoa reached out and met with its “Post-Colonial Other” – creating a global multitude of refusal of US aggression in the Middle East. The February 15, 2003 mass demonstrations against the approaching war in Iraq were a historic gesture of popular disgust at Western imperialism and formed the largest, coordinated, anti-war demonstrations in history. This was followed by the equally enormous March 15 demonstration that was held just hours before the bombing began.<br /><br />The shear size of these demonstrations are hard to even imagine – 3 million people in Rome alone protested against the war (which has entered the Guinness Book of Records as the largest peace rally in history ) and the total size of the demonstration has been estimated at between fifteen and twenty million people. The momentous success of the demonstrations – which were organised from Rome to Ramallah, Rio to Reykjavik – proved in practice the power of the multitude as a global organisational force: a fact incidentally not only recognised by the demonstrators themselves; the New York Times described the mobilisation as the “second Super-power.” <br /><br />But as Iain Boal, T.J. Clark, Joseph Matthews and Michael Watts, who form part of the Retort collective in the US, point out the Great Refusal of 2003, while mobilizing an unprecedented number of people, worked unsuccessfully to halt the war; “Unsuccessfully. Of course that proviso is bitter, and in a sense absolute; and everyday now, as the horror in the Middle East deepens and the vanguard of jihardists gathers strength, the proviso becomes harder to bear. Elation is one thing, effectiveness another.” <br /><br />While the counter-globalisation movement had managed to score some important victories in its early infancy – the seizure of autonomous zone in Chiapas, the scuttling of the Seattle round of the trade negotiations, the collapse of the MAI treaty, the closure of the Prague IMF a day early, the fall of several successive governments in Argentina, the forcing of the IMF and the WTO onto the global back-foot – the multitude which that was born in 2003 as a truly global phenomenon, was utterly incapable of dinting the determination of Western imperialism to embark upon another war. The meta-politics of counter-globalisation reached its own limit and has been forced to reassess. <br /><br />The combination of these two factors – the continuing war(s) in the Middle East and the increasing preparedness, militarisation and violence of the state’s response to the international counter-summit carnival – has produced a certain hiatus in the movement. As early as 2001, Naomi Klein was talking about the limits of “summit hopping” and today it seems these have been thoroughly reached: Militant attempts to shut down the summits of the capitalist elite have been saturated as a form of protest producing a predictable and ritualized clash, which is becoming less attractive to new activists. This does not mean that these forms of protest cannot play constructive roles in particular circumstances – such as Heiligendamm 2007 – but they have ceased to generate forward momentum for the counter-globalisation movement as a whole, and nothing else has emerged (as yet) to replace them (if indeed it will). Out of this vacuum comes the more recent desire expressed by some to invert the slogan of the movement to “we are losing.” <br /><br />For us as artists, theorists and activists, who have in many ways been produced by the last ten years of the counter-globalisation movement, this presents some specific challenges. The comments of Mr. Ma remind us that in the new context the Museum will not turn its back on all forms of activist art – quite the contrary it is at this moment that we face the greatest danger of being prematurely historicized as a radical other within the institutional framework: There is nothing as tempting for the institution as a radical critique which has had the autonomous sting taken out of its tail. Nor is it time for us to flee cultural spaces and wait for the “next wave” of activism to crash us upon its shores again like some depressed Bondi surfer hanging around on a calm beach. <br /><br />In the early part of last century, Antonio Gramsci wrote of the political situation he faced at that time that “the crisis consists precisely in the fact that the old is dying and the new cannot be born.” Today, perhaps, we face a similar problem of an interregnum, but I would qualify it with the addition of the word “yet.” The new cannot (yet) be born, but it is struggling to come into the world – sometimes we can hear it breathing, sometimes it goes very quiet and we wonder fearfully if it’s a still birth. For those of us produced by the movements of the last ten years, therefore, we must act with fidelity to these struggles with neither irresponsible optimism, nor pessimism, but all the unavoidable patience of a midwife. <br /><br />The cultural capital of this movement is rich – giving us forms of activism, self-organisation, collectivity and autonomy, production methods based in open source technology and new media, theoretical ideas of post-postmodernism and autonomia, modes of Post-Fordist new subjectivities and sociabilities, and embodied ideas of the carnival and politics of desire – and these tools remain in our toolbox as artists and writers. While the world may not be generating images of protests outside summits as it used to (representation of actions or protests was only ever but one way of making art politically), there are many others to be explored and which have been explored already in the last ten years of activist art. The possibilities and challenges of “another world” or “worlds” continue to confront and invite us.<br /><br />By Zanny Beggzannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-10970474598895420442008-09-17T17:47:00.000-07:002008-09-29T08:15:22.944-07:0008 Taipei Biennial<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgneM_k-_BJjzC1m7mPyavzi0GK1QYHjcNznZHI-kkez6PeqbgIUSpGrWUAbj-Yg89itdVimTlh7nPlX-ucEDG7n7iIB645tHny89dFuucL_1RAFOyFsRsb74q7EwD0Dhd2JL8tYB_W_vsD/s1600-h/wall-drawing-1.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgneM_k-_BJjzC1m7mPyavzi0GK1QYHjcNznZHI-kkez6PeqbgIUSpGrWUAbj-Yg89itdVimTlh7nPlX-ucEDG7n7iIB645tHny89dFuucL_1RAFOyFsRsb74q7EwD0Dhd2JL8tYB_W_vsD/s320/wall-drawing-1.jpg" alt="" id="BLOGGER_PHOTO_ID_5247156969749487186" border="0" /></a>
<br /><meta equiv="Content-Type" content="text/html; charset=utf-8"><meta name="ProgId" content="Word.Document"><meta name="Generator" content="Microsoft Word 11"><meta name="Originator" content="Microsoft Word 11"><link rel="File-List" href="file:///C:%5CDOCUME%7E1%5COwner%5CLOCALS%7E1%5CTemp%5Cmsohtml1%5C01%5Cclip_filelist.xml"><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="City"></o:smarttagtype><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="place"></o:smarttagtype><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> <w:dontgrowautofit/> </w:Compatibility> <w:browserlevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:latentstyles deflockedstate="false" latentstylecount="156"> </w:LatentStyles> </xml><![endif]--><!--[if !mso]><object classid="clsid:38481807-CA0E-42D2-BF39-B33AF135CC4D" id="ieooui"></object> <style> st1\:*{behavior:url(#ieooui) } </style> <![endif]--><style> <!-- /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} span.hccdpe {mso-style-name:hccdpe;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} </style> <![endif]--> <p class="MsoNormal"><i>A World of Proximities - Globalisation timeline</i>, wall drawing.
<br />
<br />08 <st1:city st="on"><st1:place st="on">Taipei</st1:place></st1:city> Biennale opened on September 11th, 2008. This already inauspicious date was marked by the arrival of a typhoon which lashed the opening night with a windy storm and ensured the gallery was closed for the first few days of the exhibition. The exhibition was curated by Manray Hsu and Vasif Kortun with a parallel project within the exhibition, <i>One World Where Many Worlds Fit</i>, curated by Oliver Ressler. The exhibition as a whole was centred on globalisation and it fragmentary, political and decentering aspects: the project by Oliver Ressler, within this overall framework, focused on the counter-globalisation movement. For this exhibition Oliver and I exhibited our film <i>What Would It Mean to Win?</i> and I produced a wall drawing <i>A World of Proximities - Globalisation Timeline. </i>zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-61376826714138579872008-07-30T00:03:00.000-07:002008-08-28T08:33:04.710-07:00Cities Without Maps - Kota Tanpa Peta<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgBshzPvu0nWtukkcNIhjKlr6E-jlKzDFzgSrdxi7wXgbusIzKx8es0bMw-0dRM7VEeIgKluXAa9UPFlIyh9i-M5qfJFmU2F0CzNAq_Gbmd5GjGvJAwRL9tQZmIqyHTqmfr2xkIloErPbW/s1600-h/food+to+share.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgBshzPvu0nWtukkcNIhjKlr6E-jlKzDFzgSrdxi7wXgbusIzKx8es0bMw-0dRM7VEeIgKluXAa9UPFlIyh9i-M5qfJFmU2F0CzNAq_Gbmd5GjGvJAwRL9tQZmIqyHTqmfr2xkIloErPbW/s320/food+to+share.jpg" alt="" id="BLOGGER_PHOTO_ID_5228709220534469890" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-OsQfvm1Qy_cxyEoD4raChFACF3sEC1bcs4y2YK-10OAuoIvpDo5S7z2Mfpj8G8-HCL28xAOA7aMQpf9OXnV-MgayatsSCMsd5LzyG5PSjbpZX3_A5Oe0zFE2jNSxSM_7ZZOyuISOp4DM/s1600-h/kali+code+screening+2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-OsQfvm1Qy_cxyEoD4raChFACF3sEC1bcs4y2YK-10OAuoIvpDo5S7z2Mfpj8G8-HCL28xAOA7aMQpf9OXnV-MgayatsSCMsd5LzyG5PSjbpZX3_A5Oe0zFE2jNSxSM_7ZZOyuISOp4DM/s320/kali+code+screening+2.jpg" alt="" id="BLOGGER_PHOTO_ID_5228708018020076146" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkjrvYXj4hknP62KWLemDAcfPNzCCkvcgy4rxnSSKCO_zCIwPYl_9r1DPua9x8x1afZKXSrJf_13A4linkY_Yo3glztkRQ827KPK1HRNtIWJG6nOQ3jmCKH46TCYHGpwmQZ3D8eV3GVkft/s1600-h/warung+cinema+2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkjrvYXj4hknP62KWLemDAcfPNzCCkvcgy4rxnSSKCO_zCIwPYl_9r1DPua9x8x1afZKXSrJf_13A4linkY_Yo3glztkRQ827KPK1HRNtIWJG6nOQ3jmCKH46TCYHGpwmQZ3D8eV3GVkft/s320/warung+cinema+2.jpg" alt="" id="BLOGGER_PHOTO_ID_5228700760971627010" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI0nYZGY3qg32XdgsWSBmBvRsbj7cSOZi2sgYK0V1TaRRmwVwOjFQSNdR5KahbwpHp2X3hL_57LUf2T3G-FdtxSO3xXWhx8Q19fWtyztN9PWrMsqMaeXRj-GDzB7ycYSyxvo8txC-V9tVv/s1600-h/kali+code+screening+1.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI0nYZGY3qg32XdgsWSBmBvRsbj7cSOZi2sgYK0V1TaRRmwVwOjFQSNdR5KahbwpHp2X3hL_57LUf2T3G-FdtxSO3xXWhx8Q19fWtyztN9PWrMsqMaeXRj-GDzB7ycYSyxvo8txC-V9tVv/s320/kali+code+screening+1.jpg" alt="" id="BLOGGER_PHOTO_ID_5228699619554381602" border="0" /></a>On July 27, Keg and I held a film screening and book launch of <span style="font-style: italic;">Cities Without Maps - Kota Tanpa Peta </span>with the Warung Cinema in a vacant lot on the Kali Code, Ratmakan kampung. This was the first screening of <span style="font-style: italic;">Cities Without Maps - Kota Tanpa Peta</span> a film project coming out of our Asialink residency in Yogyakarta (made with Vanie, a local activist from Kali Code). The event was very well attended by the local community and also by other artists and friends who came down to watch the film in the place where it was made. Everyone was encouraged to bring food to share which was placed on the warung in exchange for a copy of the book. We also bought a large bunch of balloons as a thank you for the kids who helped out in the project by coming along to the drawing workshop. The night after we held a second screening at Mes 56 an photography collective from Yogyakarta. This also attracted a large crowd and provoked a heated discussion over community based art projects.<br /><br /><span style="font-style: italic;">Cities Without Maps - Kota Tanpa Peta </span>is an artistic mapping project of Ratmakan and Jagalan, two kampungs along the Kali Code. Both these kampungs are squatter communities - people's houses are built on a former rubbish dump and graveyard. <span style="font-style: italic;">Cities Without Maps</span> uses animation and film to explore the politics of space in this area including issues such as the development of new housing estates and the fragile ownership the local community has over their land. The film looks at how children, teenagers men and women all use space differently and how these over lapping uses of space constitute the local area. The film uses the metaphore of ghost stories - which predominate in a community built on a former graveyard (and where some houses still have tombs in rooms of the house) - to look at how different generations have used space and the fleeting relationship we create with the material world.<br /><br />If you would like a copy of the book and film <span style="font-style: italic;">Cities Without Maps - Kota Tanpa Peta </span>please send me an email.zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-54179820436503792142008-04-07T17:32:00.000-07:002008-04-08T16:42:06.725-07:00Treat (or Trick)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz0Ob8F45H4jT3K5h5zf1Iy6uVxMD7PtDp2cUmNmf2N3qQznFBoYqjnewATWYJXqdlcLlQTUWIsEvltDiu4IbZI5YwfaVBq7Hj7L8QXI2G6YoMxVLtYw8cFkQzvaku8IVxQwdYRkDUQXWS/s1600-h/treat+or+trick+small.jpg"><img id="BLOGGER_PHOTO_ID_5186666115828946546" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz0Ob8F45H4jT3K5h5zf1Iy6uVxMD7PtDp2cUmNmf2N3qQznFBoYqjnewATWYJXqdlcLlQTUWIsEvltDiu4IbZI5YwfaVBq7Hj7L8QXI2G6YoMxVLtYw8cFkQzvaku8IVxQwdYRkDUQXWS/s320/treat+or+trick+small.jpg" border="0" /></a><br /><br />Still from <em>Treat (or Trick)</em>, 1 min. 30 secs, sound by Kate Carr, words borrowed from an article by Alice Creischer and Andreas Siekmann, animated film, Zanny Begg, 2008.<br /><br /><br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dw87jIDaNVsRTZkTKdml_BSN9hFXOgtbhaNenfrvsEyzRfPxPGt2T5pHyOOrigI9UVkwIczLBuZtBOpQS5OWw' class='b-hbp-video b-uploaded' frameborder='0'></iframe><br /><br /><br />I have made a new animation <em>Treat (or Trick)</em> for Esky Cinema, as part of the Next Wave Festival, Melbourne. Esky is a giant inflatible bar/cinema which is the inspired brain child of Keg de Souza. For more information on the project go to: <a href="http://www.kegdesouza.blogspot.com/">http://www.kegdesouza.blogspot.com/</a>zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-88560605103704114972008-01-09T14:29:00.000-08:002008-01-09T14:36:15.340-08:00New Film: What Would It mean To Win?<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYEvw5Fqg0k1Fss94AOyX1P9vSyTxwtjUVgkvnNf2vgDoSHGGpv9fkoBVRmJK7IK1_HqM5bFbBTZHyjpCMNCmrzwst9rJX_fwyaZwQkhs3-HNRRF66fJbafhGeMUT2qyd3zkz5k9bgGGtX/s1600-h/cd-cover-version-2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYEvw5Fqg0k1Fss94AOyX1P9vSyTxwtjUVgkvnNf2vgDoSHGGpv9fkoBVRmJK7IK1_HqM5bFbBTZHyjpCMNCmrzwst9rJX_fwyaZwQkhs3-HNRRF66fJbafhGeMUT2qyd3zkz5k9bgGGtX/s320/cd-cover-version-2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5153607982254890066" /></a><br />WHAT WOULD IT MEAN TO WIN?<br /><br />A film by Zanny Begg & Oliver Ressler<br />40 min., 2008<br /><br />Media Release:<br /><br />“What Would It Mean To Win?” was filmed on the blockades at the G8 summit in Heiligendamm, Germany in June 2007. In their first collaborative film Zanny Begg and Oliver Ressler focus on the current state of the counter-globalisation movement in a project which grows out of both artists’ preoccupation with globalisation and its discontents.<br /><br />The film, which combines documentary footage, interviews, and animation sequences, is structured around three questions pertinent to the movement: Who are we? What is our power? What would it mean to win?<br /><br />Almost ten years after “Seattle” this film explores the impact this movement has had on contemporary politics. Seattle has been described as the birthplace for the “movement of movements” and marked a time when resistance to capitalist globalisation emerged in industrialised nations. In many senses it has been regarded as the time when a new social subject – the multitude – entered the political landscape.<br /><br />Recently the counter-globalisation movement has gone through a certain malaise accentuated by the shifts in global politics in the post 911 context. The protests in Heiligendamm seemed to re-assert the confidence, inventiveness and creativity of the counter-globalisation movement. In particular the five finger tactic – where protesters spread out across the fields of Rostock slipping around police lines – proved successful in establishing blockades in all roads into Heiligendamm. Staff working for the G8 summit were forced to enter and leave the meeting by helicopter or boat thus providing a symbolic victory to the movement.<br /><br />“What Would It Mean To Win?”, as the title implies, addresses this central question for the movement. During the Seattle demonstrations “we are winning” was a popular graffiti slogan that captured the sense of euphoria that came with the birth of a new movement. Since that time however this slogan has been regarded in a much more speculative manner. This film aims to move beyond the question of whether we are “winning” or not by addressing what would it actually mean to win.<br /><br />When addressing the question “what would it mean to win?” John Holloway quotes Subcomandante Marcos who once described “winning” as the ability to live an “infinite film program” where participants could re-invent themselves each day, each hour, each minute. The animated sequences take this as their starting point to explore how ideas of social agency, struggle and winning are incorporated into our imagination of politics.<br /><br />The film was recorded in English and German and exists also in a French subtitled version. “What Would It Mean To Win?” will be presented in screenings in a variety of contexts and will also be part of the upcoming installation “Jumps and Surprises” by Begg and Ressler, which will present a broader perspective of different approaches to the counter-globalisation movement.<br /><br /><br />Concept, Interviews, Film Editing, Production: Zanny Begg & Oliver Ressler<br />Interviewees: Emma Dowling, John Holloway, Adam Idrissou, Tadzio Mueller, Michal Osterweil, Sarah Tolba<br />Camera: Oliver Ressler<br />Animation: Zanny Begg<br />Sound: Kate Carr<br />Image Editing: Markus Koessl<br />Sound Editing: Rudi Gottsberger, Oliver Ressler<br />Special thanks to Turbulence, Holy Damn It, Conrad Barrett<br />Grants: Bundesministerium für Unterricht, Kunst und Kultur; College of<br />Fine Art Research Grants Scheme, Sydney<br /><br />Further Information:<br />www.ressler.at<br />www.zannybegg.com<br /><br />FIRST SCREENINGS / ERSTE VORFÜHRUNGEN:<br /><br />Wyspa Institute of Art, 1 Doki Street/145B, 80-958 Gdansk (PL), 17.01.08, 18:00, www.wyspa.art.pl<br /><br />“Tour de Lorraine”, Kino in der Reitschule, Bern (CH), 19.01.08, 23:15; 01.02.08, 22:45; www.reitschule.ch/reitschule/prog.shtml www.tourdelorraine.ch/sidemenu/programm-tdl-08/kino/index.html<br /><br />“politics”, Künstlerhaus Dortmund, Dortmund (D), 15.02. - 23.03.08 www.kuenstlerhaus-dortmund.de<br /><br />“empören – einrichten – fliehen: Institutionskritik und instituierende Praxen”, Kunsthalle Exnergasse, Vienna (A), 13.03. - 19.04.2008,<br />http://kunsthalle.wuk.atzannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.comtag:blogger.com,1999:blog-376719061543812869.post-42845849810067670792007-09-20T21:49:00.000-07:002007-10-08T18:11:46.776-07:00Electrification of Consumer Brains opens<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbEAgu3dqHyZjkOc0iGxIeBkBwnDe_S3m4k5xS16ZMyepaWBDdU9Yu1T3s-tlQk9u68110hJB0M-lafK2Hggb1PW9mZ1ATh8k9_JglfqetutITwKJuNN6N0swJ_JsTZWQFhyphenhyphenxY9bGT0-_-/s1600-h/d+illusions+consumer.jpg"><img id="BLOGGER_PHOTO_ID_5112515628092437714" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbEAgu3dqHyZjkOc0iGxIeBkBwnDe_S3m4k5xS16ZMyepaWBDdU9Yu1T3s-tlQk9u68110hJB0M-lafK2Hggb1PW9mZ1ATh8k9_JglfqetutITwKJuNN6N0swJ_JsTZWQFhyphenhyphenxY9bGT0-_-/s320/d+illusions+consumer.jpg" border="0" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWNfUdEfvYcvdQHcO73kYoS6Xri-KyTSAGhE58UJ6EZ44DEVmnY1ZFSEXS1ZBvYbdwKglo2MEYgYdOsPSTAuHaPGFvu77AR2ibn0jR6bBYdOokw0LuIlHMBRc7K1uKRigrHtlDVpaP_7fu/s1600-h/living+values+invert+into+abstract+values+small.jpg"></a><div align="left"><em>The Electrification of Consumer Brains</em>, a collaboration between Dmitry Vilensky and myself opens tomorrow at the Motorenhalle, Dresden, Germany. The work includes drawings, a publication, a poster campaign and a performance and will also be made into a film. </div><div align="left">.</div><div align="left"> </div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left"><span style="color:#ff0000;"><strong>A Few Simple Steps to a Stunning Magic Trick Performed Completely By the Spectator</strong></span></div><div align="left"><br /><em>Introduction: The magician asks the spectator: do you know any magic tricks? Whatever the spectator answers, the magician says "Well, here’s a great trick, only YOU'RE going to perform it."</em> </div><div align="left"><br />The fetishism of the commodity — the domination of society by “intangible as well as tangible things” — attains its ultimate fulfillment in the spectacle, where the real world is replaced by a selection of illusions yet which at the same time succeed in making themselves be regarded as the epitome of reality. It’s a great trick – all the better because we ALL participate in the performance. </div><div align="left"><br /><em>The Illusion: The spectator holds up a deck of cards, the magician points to one card which the spectator removes and places face down upon the table without looking at it. The spectator after some manipulation, ends up with two piles of cards on the table. The top cards on each pile are turned over, and, like magic one reveals the value of the selected card while the other reveals the suit.</em> </div><div align="left"><br />Economic growth has liberated societies from the natural pressures that forced them into an immediate struggle for survival; but they have not yet been liberated from their liberator. The commodity’s independence has spread to the entire economy it now dominates. This economy has transformed the world, but it has merely transformed it into a world dominated by the economy. </div><div align="left"><br />The pseudo-nature within which human labor has become alienated demands that such labor remain forever in its service; and since this demand is formulated by and answerable only to itself, it in fact ends up channeling all socially permitted projects and endeavors into its own reinforcement. Thus we may not yet know how the trick works but we always know the value of the card and the importance of the suit. </div><div align="left"><br /><em>The Performance: This trick is actually not too difficult, but the effect is astonishing because the magician never actually handles the deck all the work is done by the spectator. The only real skills necessary are good verbal communications and misdirection.</em> </div><div align="left"><br />Whereas during the primitive stage of capitalist accumulation “political economy considers the spectator only as a worker,” who only needs to be allotted the indispensable minimum for maintaining his labor power, and never considers him or her their leisure and humanity, this perspective is revised as soon as commodity abundance reaches a level that requires an additional collaboration from the spectator. </div><div align="left"><br />Once the workday is over, the spectator is suddenly redeemed from the total contempt toward him or her that is so clearly implied by every aspect of the organization and surveillance of production, and finds him or herself seemingly treated like a grownup, with a great show of politeness, in his new role as a fellow magician. At this point the humanism of the commodity takes charge of the worker’s “leisure and humanity” simply because political economy now can and must dominate those spheres as political economy. It’s a great trick - the “perfected denial of humanity” has thus taken charge of all human existence.</div><div align="left"><br /><em>The Trick: The spectator shuffles the deck and fans the cards in front of his or her face with the backs of the cards towards him or herself. Meanwhile, the Magician watches for the card that has the same value as the top card and the same suit as the card second from top.</em></div><div align="left"><br /><em>The Spectator puts the cards down and deals the cards alternately into two piles. The Magician explains to the spectator that if he or she has been concentrating on the card on the table, he or she will have subconsciously picked two cards that will respectively reveal the value and suit of the card that the magician have randomly selected. Flip the three cards to reveal that this is so.</em></div><div align="left"><br />The constant decline of use value that has always characterized the capitalist economy has given rise to a new form of poverty within the realm of augmented survival — alongside the old poverty which still persists, since the vast majority of people are still forced to take part as wage workers in the unending pursuit of the system’s ends and each of them knows that he must submit or die. The reality of this blackmail — the fact that even in its most impoverished forms (food, shelter) use value now has no existence outside the illusory riches of augmented survival — accounts for the general subconscious acceptance of the illusions of modern commodity consumption. The real consumer has become a consumer of illusions. And the most astonishing part of the trick is that we go to the magic show, having lost our belief in magic, but wanting to be fooled regardless. </div><div align="left"><br />Next Trick how to pull a rabbit from a hat with one easy sleight of hand…<br /><br /></div><br /><div></div>zannyhttp://www.blogger.com/profile/05290889233527422385noreply@blogger.com