Recent events, and business prospects before me,
have engendered a second "review" of cultural documents that support royalism, particularly UK royalism.
First, whatever has been proposed for Disney dolls stands. That's right, Wolfgang, at least to the point of discrediting such dolls, I stand by the view that young girls, like my daughter, should not be growing up wanting to be a princess.
Geert Lovink & Pit Schultz, Jugendjahre der Netzkritik, Essays zu Web
1.0 (1995 - 1997)
Dieses PDF / Print-on-Demand-Heft bringt eine Auswahl der Texte
zusammen, in denen die Medientheoretiker und nettime-Gründer Pit
Schultz und Geert Lovink zwischen 1995 und 1997 gemeinsam die
Grundzüge des Konzepts der Netzkritik formulierten. Damals auf deutsch
Here is a simultaneous review, or series of comments, on two films.
While it's fun to see Susan Philipsz getting the Turner Prize, it's worrisome that, with such an
honor, art remains in service of the Empah.
We can all enjoy the paahty, to quote Jay Jopling,
and we can all realize that life gets on, doesn't it, without too much muss or fuss.
Consider what will happen this year, 2011.
The presumptive Republican Speaker of the House, orange-faced crybaby John Boehner, currently bathing in a post-electoral glow, is taking a retrograde Conservative stand against freedom of expression, calling for censorship of Hide/Seek: Difference and Desire in American Portraiture, an exhibition of "gay art" at the National Portrait Gallery, and threatening a curtailment of government funds if they do not bow to his will. The NPG has cravenly caved in and removed David Wojnarowicz's 1987 video, "A Fire in My Belly", from the exhibition.
We have undertaken the necessary corrective of posting it above.
a program of collaborative video works plus radical re-edits of some of my works by fellow artists as well as my own re-edits of works by others
GATEWAY (2010) clipped from a short documentary on the annual taxidermists convention in Springfield, Illinois,
originally produced by Dominique Gradenwitz for German TV Sat 1, re-edited.
Saturday, November 27, 2010. Landing in Miami a few days before the wall-to-wall insanity commenced, I had a chance to take the temperature of the town, to selectively buzz through various Wynwood galleries and project spaces, to survey the tents of Art Miami, -Scope et. al. on Midtown Boulevard, to watch the graffiti boys throw up a mural on the side of a garage, to hook up both with the local scene and with other recent arrivals lured by the heady promise of Art Basel week.
In other words, I felt commendably and reassuringly early. That is, until Jill Clark, an art adviser from New York now relocated to South Beach, informed me that Basel-themed parties generally start in the middle of November, two full weeks before my arrival. Faced with the looming, inevitable immanence of the Great Influx and its concomitant doses of frenzy and glamor, many art dealers, club owners, party promoters, real estate speculators, fashion doyennes and benefit committees cannot resist the obvious marketing ploy. They resolutely hang their efforts on that familiar ABMB shingle, hoping to define their event as some sort of preamble
finally a sober analysis of the euro crisis and an idea how to fix the mess. from taz, 11/25/2010:
IRLAND Immer mehr EU-Länder gehen pleite. Wir brauchen einen europäischen Währungsfonds, der die Zinspolitik verändert und die Realwirtschaft stärkt
