is the musician to work with this decade
here a song we made in honour of JULI!!!!!!!o
Working with artist Thomas Bratzke and designer Matthias Hübner is the ultimate dream. I’m so thrilled to see this book actualized (–yet another one we’ve worked together on bringing to completion!–) and to see the reaction of people reading who are from the GDR AND, awesomely, the West. Such interest. When reading the interviews, transitory romanticism is avoided. It’s easy to see how the collective memories expressed weakens the nearly automatic repressions/oppression experienced by youth raised before Germany’s unification. Very cool and huge thanks to everyone who has helped.
It was very fun going to Flasch’s special collection (Flaxman Library) and seeing the excitement of the purchaser to see a book honoring so many impt. topics rarely delved so deeply into due to this kind of paralysis felt from having one’s country ripped from underneath them. Shoutout to them too!
Dr. Renate Tost for her professional support in the course of the research work on the topic of the school’s beginning penmanship courses.
the Sauer family for lending the exercise books of her daughter Christiane Sauer
Branka Pavlovic for her work on the camera and at the editing room.
Carsten Schultze and the choir students of the Georg-Friedrich-Händel-Gymna-
Berlin for participation in the production of the video “Frösi 2016”
Sonja Bekkadour, Lienhard Hinz, Matthias Hübner, Sylvia Krolkiewicz, Anke Lück, Jo Preussler, Dr. med. Karl Prehn, Marc Schamuthe, Karin Scheel, Mark Straeck, Mikka Wellner and Matthias Wermke for their willingness to participate in the video “Writing with JP Espinosa”
Boesner GmbH for support with artist materials
Tel. +49 030 422 94 26
Galerie im Term is a facility of the Bezirksamts Friedrichshain-Kreuzberg. With the generous support of the Senate Department for Culture and Europe: exhibition communities galleries and funds for compensation.
My brilliant Zaida, James Rosen, sent me the accompanying portrait today, on the three month birthdays of my twin, feral kitten boys. The kittens overcame my life and heart oscillating neediness and constant freeness, and in the opposite expression, my grandfather has brought consistent care and careful insight. The many routes and detours end at the same destination.
Love gives hope and joy. A certainty is all that we love will disappear.
Love arrives as quick as love’s inevitable disappearance and absence. Unexpected and unfinished, this yank and release anchors us to move to the future we already know will hurt. But we also know the end is never quite the end.
I love Stormy, what can I say. recorded live in one session. stream of consciousnesses ….. first four tracks are unlike the last.
THANK YOU so much Beach Sloth for your WORDS:
Poetry, politics, and DIY come together as one with Rose Pacult’s defiant “Daniel Storm’s Stormy Daniel Mixtape #1”. Rose Pacult employs her poetic sensibilities throughout the entirety of the collection, at times tapping into the playful harsh sarcasm of Kim Gordon. Her vocal style really rules supreme over the course of the collection. Storytelling works wonders throughout, letting the personal and the news merge together as one. A playfulness defines the entirety of the whole piece. The arrangements are kept to the essentials, sometimes kept down to a single lonely drum. Out of all of the thoughtful lyricism, a hope emerges, thanks to the power of Rose Pacult’s determination to see the bright light amongst all the darkness that can easily consume.
The collection begins with the blunt drums of the opener “stormy1”. A no wave kind of stream of consciousness comes to tie the whole thing together. Rose Pacult discusses the NDA Stormy Daniels signed to hide Donald Trump’s own mediocrity in bed. Brutality remains supreme while Rose Pacult’s sarcasm is a pure joy to witness. Swampy grooves help to anchor “stormy2” where Rose Pacult reveals her own astrological sign. Organs sound dusty and dying while Rose Pacult’s voice takes front and center stage. Dreamy vibes lounge about on “stormy3”. Rhythms have a ceremonial approach with the powerful “stormy4”. Atmospheric to its very core “stormy5” ends the collection on a surreal note, with the whole song seemingly disappearing into the air.
Rose Pacult sings the songs America needs to hear on the sharp biting wit of “Daniel Storm’s Stormy Daniel Mixtape #1”.
15 hours of footage compressed 2k x speed into 5 minutes looped with audio recording of my mom singing things to me in my room.
made at 3045 N Southport Ave, Chicago IL 2015
Rose Pacult does incredible work. The writer of many books, the curator of so many shows, Rose Pacult once more finds herself in the midst of a serious degree of artistic talent, this time in merry old Paris, France, today at 11:00 continuing onwards until 17:00 on the 28th (tomorrow or today? Depends on your location). Yes Beach Sloth is aware how little time this gives everybody to seek it out. Sometimes Beach Sloth moves at a sloth’s pace, due to their inherent nature. For this festival, presented by the Queen House Festival, a dedicated team are on hand to help with any particular inquires. They include the fantastic Valentin Leblance, Ugushi Ogonor, Nicolas Rodriguez and Jessy Paolozzi.
The Souvenir Museum is allegedly next to a terrific pizzeria. Art is best taken with a slice of pizza. Historically it always has been and in the future art will be paired with pizza, as shown by the former actor’s cover band “The Pizza Underground”. Everyone in the show requires souvenirs to be brought to the show, to truly help the show along. With a penchant for snow globes and classically inclined objects, the show thinks about what souvenirs truly mean. In French, a souvenir has a more mental, less physical quality to it, akin to a great memory. Out in the United States souvenirs add to economic output. Souvenirs gain additional power only by default in New York, Boston, and other equally souvenir-led worlds.
Juste Ici goes first with their support of art projects in public spaces. The organization has some handmade books within the vast space. Carrying out artistic actions with people is their game, and they are in it to win it. Going through artistic routes and urban spaces, they acknowledge that art surrounds, comforts, and welcomes. For such an organization they have a fine cafe, named Chez Urban. A true living space, it is where curious people meet, volunteers and artists in a unique atmosphere.
Katy Dresner stars off the video installation focus, with a two-sided video installation. Media takes a lot from people, people create their own culture every day. Yet the concern is whether or not we act differently from this, knowing we are constantly on display. Does this sort of duality mean that media projects itself on people or does it mean they are enlightened. While the actual enlightenment time period indicates a wide body of things, it also continues on far beyond even our years.
Joyce Polance offers oil paintings, one of those things a person would hope to see in a curated collection.
Julien Fargetton draws the world a bath. This bath is put onto all sorts of canvases for people enjoy seeing the world drawn so richly. A canvas party continues with Matthew Julian Murphy’s work, as it investigates the misdeeds of the canvas, never an easy thing to do.
Films present themselves within this fine exhibit. By far one of the most popular artistic forms, films make it easy for the viewer to accept an entirety new realm. “Mountain Village” shows off the curious world of replication of an Austrian village in China, courtesy of the fine talents of Eric Winkler. Additionally for the piece an original music score comes into the fray thanks to the talents of Benedict Drew. Honestly at some point every single city everywhere in the world has a brother or sister city elsewhere there are only so many names to go around.
Sebastian Acker lives in both London and Berlin, two hip and happening places. The winner of countless prizes for those unable to count, quite countable for those able to count, he keeps himself busy. A visiting lecturer, his work appears strewn across the lovely internet-laden realm.
Yet another London-based artist appears: this one goes by the name of Phil Thompson. Quite a multi-faceted figure, Phil Thompson’s work has been exhibited internationally. Researching a PhD he still manages to find time for his solo shows across the entire world.
“Ask About War” allows for a number of opinions on the long-simmering conflict over Nagorno Karabakh. The anonymous audio recordings further emphasize the hidden and suppressed opinions people have, presenting a truer view. Film is courtesy of the intrepid explorer of the mind Vladic Radich.
Disco balls may seem a bit dated, but honestly the whole thing still has staying power. Even decades after the invention of the disco ball, bitter truths come to people with such ease from a harsh unforgiving decade. Vikenti Komitski lets the sound of the drone transform the space into something that feels so physical, so intense with the droning waves washing down on the audience.
Quaint and sleepy towns are the worst. Bee Grady, no relation to an actual bee of the honey-collecting variety, reunites with a ghost. That ghost has been waiting for a while because honestly what else do ghosts do, besides wait. Ghosts have a huge amount of time to kill, and at least this time the ghost gets to hang out in a cool art exhibit for many to know her story for the first time.
Simon Allen works in stop motion animation, ironically named because because that animation goes hard. Focusing on the miniature, the way stop motion animation works is to show the true devil in the details, even the angelic ones. Entire worlds go on outside the periphery of the average run of the mill human being, and with stop motion animation it forces the viewer to slow down for a moment.
A monster that eats shoes will never go hungry. Monsters love shoes. They are a tad bit eccentric, though given the other things they could potentially eat a shoe feels rather benign in all honesty. Matt Pacult explores the impulses of shoe-eating monsters.
The Devil Lives in Hollywood is the truth. Amy Lockhart lets the collages speak for themselves alongside a naively sung poem. Confusion and disillusion about the way the world is run feels very now, for the world has become an increasingly harsher realm. Besides making films, Amy Lockhart does animation as well, allowing for an entire world to come right out of her mind.
Sawako Kabuki’s “Summer’s Puke” offers a little glimpse into her tongue-in-cheek realm. Pushing boundaries, she certainly knows how to expand her horizons letting her sharp gaze reach everyone. Quite daring, her work seems amply suited for the music video realm.
Sense 8 features the fine special effects of Markus Butkereit. Pyrotechnics are a must and not just for bored high school students, but for artists too.
Chaotic parking is real. Millions participate. Only one can win. Sasha Kurmaz wants to win.
A number of performances shall take place with much merriments. Regie Xenia Lesniewski, Julia Rublow, Kid Chocolat, and Rose Pacult are among the finest of the performers. Kid Chocolat thinks he is known for taste in movies, but really he’s known for being named after a universally admired dessert. From various puddings, to candies, to even high-end chapsticks, chocolate has made a huge influence on literally billions of people, both living and dead. For a fine addition there is the always affable Rose Pacult. Beach Sloth recommends checking out Rose Pacult’s vast body of work, from the written word to the performed word to the spoken word. Without words it would be hard to truly understand Rose Pacult’s greatness.
Georgi Tomovo Georgiv lends social media notifications become the new music. About time somebody give social media a voice. Besides Georgi, there is also POL who gives a bit of grace to electronic music. Since the early 90s, POL has brought the beats to the blast that is post-industrialization. Fashion comes into the equation with Dante Goetia’s works, a nice nod to the world of clothing.
Of course all of these words do not do proper justice to the fine art. Beach Sloth wishes they were hanging out in this fine exhibit, hiding in the background and not talking to anybody as is it their wont. Those who can go ought to go. It will be a most memorable time indeed.
Tonight’s Schedule TBA
4:30-5 Local Chicago Merchandise Featured
5:30 Dan Stolar reads
6:15 Ishan Chakrabarti reads
6:45 Rose Pacult Reads
7 15 Presentation of Georgi Tomov Georgiev’s work
8 Screening Jerome Fino + Valerie Perrin’s Documentary
8:30 Screening Kurdwin Ayub’s Film
8:40 Screening Jeannie Sui Wonder’s Film
8:50 Jennifer Reeder’s Film
9:15 Music by Alvin, animation by Bill Porter
10 Music by Itsi, video by Katy Dresner
10:40 Screening of Xenia Lesniewskia’s Animation
11 Music by Rivkah Gevinson
INFO ON ARTISTS:
QUEEN HOUSE & GUESTS
§ PUBLIC PRIVATES §
Come Saturday 15 April, 5 PM
Together with William Amaya, Kurdwin Ayub, Andrew Boerder, An Chin, Ishan Chakrabarti, Club Fortuna, Jerome Fino, Katy Dresner, Georgi Tomov Georgiv, Rebirth Garments, Rose Pacult, Valerie Perrin Bill Porter, Jennifer Reeder, Dan Stolar and others. Curated by Rose Pacult
time to disrobe .
Ready the Kaleidoscope citizen.
Queen House asks for discourse and blank donations.
Gallery and Tangential Unspace Lab
1542 N Milwaukee Floor 2
The event will begin promptly at 5 pm and will be held in any circumstance.
Installations by An Chin and Katy Dresner.
Readings and Performances and Screenings by everyone else.
Screening of Kurdwin Ayub’s << Wrecking Ball Iraq >>
This video is about Hendrin, who is living in northern Iraq. His Idol is Miley Cyrus. Actually he is has to hide the way he is, but he doesn’t want to. He is proud of dancing like Miley. Kurdwin Ayub was born in Iraq 1990. She is working as an independent director, writer and performance artist in Vienna. Ayub was studying in the painting and animation class of Judith Eisler at the university of applied arts Vienna from 2008 to 2013. Simultaneously (2011) she was also participating in the class for performance art by Carola Dertnig at the academy of fine arts Vienna. Since 2010 she has been part of many film festivals and solo presentation in Austria and abroad. 2011 and 2012 she received the short film prize of the Viennale and 2013 the Vienna Independent Shorts Newcomer film prize. Her first feature-lenght „Paradise! Paradise!“
The film won awards several times internationally. It is about her father Omar, who is homesick and has decided to visit relatives in his hometown of Dohuk again, after he, Kurdwin and their family were forced to flee from Iraq in 1991, but this time in order to purchase property there. With a camera in hand, Kurdwin accompanies her father on visits with relatives, real estate agents, and even soldiers in a war zone within reach of the IS. The places and people they encounter repeatedly call into question Omar’s glorified picture of Kurdistan, a place he calls “Paradise”. Currently she is directing her next features.
I would best describe my work as generally autobiographical, not necessarily in reference to people places or things things that have actually happened to me or that I have encountered but I would say landscapes or entities that inhabit my own cerebral dreamscape, either waking or subconscious. My work may be quite simply interpreted as in the pictured piece Fountain of Youth ; or I may have no idea of the actual meaning of my work. I do not feel that work created without a specific subject matter in mind is nullified by a lack of purpose, in fact I feel work that may be deemed directly purposeless by its author may be more meaningful than work created with concrete subject matter. So called “purposeless” work has almost more meaning I feel as it was generated out of unnamed compulsion coming from the core of one’s being, created solely for the purpose of physical realization of a fantasy. Such work I happily leave open to interpretation, and may mean something different to each individual viewer.
— A.B. 2017
For the first time ever An Chin (Taiwan) presents her paintings in the USA. The gallery switches from a place reserved for observing to a carnival under continuous stimulation: visual and physical hydra held between the discouragement of a quick gaze and the celebration of a double take.
Chin crafts a model of the world where macrocosms and microcosms communicate tension and power balanced on the very complex to the simple manifolds. Most notable for colour, patterns, mark-making techniques and use of distance, An Chin paints in a symbolic manner most suggestive of a young Gustav Klimt.
Enquiries into her work may be directed and forwarded here: firstname.lastname@example.org
Ishan Chakrabarti (Bengal/USA) reads his translation of The Poet and the Prostitute: The Tale of Bilvamangala and Chintamani (Breach Press).” The book is handmade and designed in a format that references 17th-century Bangla manuscripts; it features illustrations by Natalie Bradford.
Though history can offer no prescriptions, it can guide us; tales from the past open spaces for current debates—they give us something to think with, something to think through. This story helps recover something that has slipped out of the tradition: the role of women as teachers of men, women as agents in crafting the very tradition that seems to have written them out. For contemporary readers, the tale also reveals the surprising place of sexuality—and sex workers—in the history of religions.
Ishan is a doctoral student in the department of South Asian Languages & Civilizations at the University of Chicago. His research engages pre-colonial South Asian literature broadly, with a focus on Sanskrit, Bangla and Hindi works from the 11th-18th centuries.
Katy Dresner developed a MAC computer application in Unity called <<FAKE TITLE>> (title to change with the news). This three-dimensional model allows the viewer to navigate a model of the world using the keyboard, like a video game. The walk goes through overwhelming mixes of news media, fake news media, and the viewer is dropped into a content wormhole. Fictional and nonfiction are presented in chaotic unison — this complexity reflects the difficulty in defining truth in any moment today.
Known as the premier American Digital Pioneer to know internationally, Katy Dresner is a Midwestern American classically trained as a textile artist, and is an autodidact in computer networks and computer systems. CICA Museum South Korea’s recent exhibition <<The International Exhibition on Digital Culture>> presented Dresner’s physical and web-based installation TELEPRESENCE, a work interacted with by lying on a bed. Upon contact with the mattress, visitors trip a sensor that initiates audio playback of dreamlike narratives through the pillow. The audio was sourced while the artist improvisationally browsed the Internet. A camera above the installation live streams at katydresner.com/telepresence enabling visitors to simultaneously dream in bed and online.
Jerome Fino and Valeria Perrin
Through his images, Jérôme Fino questions the links between the film and its soundtrack. He directs numerous projects in the field of experimental music.
Valerie Perrin is head of the Espace multimédia gantner (France), an art center which explores in various forms and media the links between art and (new) technology.
Georgi Tomov Georgiv
Screening of <<An audio-visual representation of the comparison data of two coastal towns>> by Georgi Tomov Georgiv (Bulgaria).
Being born in Sofia, his cultural upbringing is balanced on a thin string separating east and west, keen to both but not belonging to either. A duality inherent as a technique in his practice, weaving the matters, both metaphysical and factual, into a singular state by crafting an alternate perspective to temporality, topography, and the self as a cultural notion.
<<An audiovisual representation of the comparison data of coastal towns>> is an installation, which creates a separate reality, bringing two faraway places together based on their proximity to the world ocean. The piece draws inspiration from Samuel Beckett’s «Krapp’s Last Tape.» Interviews of people of various ages, which reside in a town situated on the Black Sea coast and in a town on the North Sea, are the basis of the installation. Interviewees of different ages represent the towns of Shabla and North Berwick. Each age—e.g. 10, 38, 77—has its own unique spokesperson, which responds to only one question: how was the past year for you? The indefinite nature of the question encourages interpretation on the part of the interviewee, constructing a literary image of the participating locality.
The piece tackles the issues of an individual’s view of society whether on a personal, communal or national level, one’s self-perception as a subject in a community and one’s self-prescribed societal role.This process exposes the habitual customs of communication in a society, providing a breakdown of a culture’s public interaction practices, touching upon matters of acceptable self-presentation and a participant’s consciously constructed self-image.
The installation juxtaposes the social demographics of each contributing locality (in this case the towns of Shabla and North Berwick). The manifold viewpoints spanning every age refract reality creating surreal parallel connecting places thousands of kilometres apart. As if in an alternate reality, the actors of the piece could be neighbours, living on the same street, sharing a garden.The work provides a common ground based on a simple quality—a participant’s age—bridging people’s fates and breaking apart the status quo superimposed by the current state of society, dissolving racial prejudice or national identity.
Gender non-conforming wearables and accessories for people on the full spectrum of gender, size and ability custom made by Sky Cubacub
Rebirth Garments is my soft armor. My collection challenges mainstream beauty standards, sizeist/ ableist notions and the gender binary. Clothing, especially the foundation garment is the closest thing to your skin, it is your second skin; it changes the way you hold yourself. I consider it armor because it has the power to give you the confidence and strength to feel comfortable in your first skin.
Society wants us to be invisible and not draw attention to ourselves, and this is reflected through the clothing options that are available for people with disabilities and undergarments for trans* folks. I believe a simple yet effective way to combat this invisibility cloak is by refusing to assimilate through a dress reform movement. I would like to suggest a new, politically forceful aesthetic style called “Radical Visibility”. Physical visibility is an important step towards political and social freedom and equality.
Historically the needs of our QueerCrip communities have condemned us to wearing clothes that only partially satisfy our needs but are also unattractive and stigmatizing. Through Rebirth Garments, I hope to provide an option that truly fulfills all of our needs because feeling confident in one’s outward appearance can revolutionize one’s emotional reality.
I am using Radical Visibility as a call to action to dress in order to not be ignored, to reject “passing” and assimilation. As Mattilda Bernstein Sycamore says about their anthology Nobody Passes, “I’m seeking to shift conversations about passing away from the dead end of authenticity, in order to ask: if we eliminate the pressure to pass, what delicious and devastating opportunities for transformation might we create” (Sycamore, 19)
Rose Pacult reads her most recent poetry collection.
She is the author of Knowing Zasd By His Walk Volumes I-III and the poetry collections Bending (Juste Ici) and Lifter + Lighter (Hausu Mountain).
Premiere of Bill Porter’s new animation.
Bill Porter (born UK, 1985) currently lives and works in London, UK.
He received a BA from Camberwell College of Arts, University of the Arts London (London, UK) in 2006 and an MA from the Royal College of Art (London, UK) in 2008.
Porter’s films have screened at animation festivals globally, including the Annecy International Animation Film Festival (Annecy, France) in 2011, the Eyeworks Festival of Experimental Animation (Chicago, USA) in 2011, International Festival of Animated Images Animadrid (Madrid, Spain) in 2009, and Anima Mundi 2009, 17th International Animation Festival of Brazil (Belo Horizonte, Brazil) in 2009.
Porter has had a solo exhibition at the Old Sweet Shop (London, UK) in 2008.
He has been included in group exhibitions at the Dreamspace Gallery (London, UK) in 2011, The City Arts & Music Project (the CAMP) (London, UK) in 2010 and The Jago Gallery (London, UK) in 2009.
Jennifer Reeder (born 1971, Ohio) is an American artist, filmmaker, and screenwriter. Her short film A Million Miles Away (2014) was nominated for a Tiger Award for Short Films at the International Film Festival Rotterdam and screened at the 2015 Sundance Film Festival in the U.S. Short Narrative Films category. In 2003, she had a solo screening at Moderna Museet in Stockholm, Sweden. She received a Rockefeller Grant for New Media in 2002 and a Creative Capital grant in 2015 to support the production of her first experimental feature-length film, As With Knives and Skin.
Reeder attracted notice early in her career for her performance and video work as “White Trash Girl,” a fictional identity through which the artist explored lower-income white culture in the United States. Interviewed by writer and Northwestern University professor Laura Kipnis for the anthology White Trash: Race and Class in America, Reeder said that white trash “describes a certain esthetic, but I think it’s also a socioeconomic situation, and a way of perceiving the world around you and your own place in the world.” Her more recent films explore the lives of adolescent girls and their use of music, slang, and fashion to express their identities and aspects of their emotional world.
Her films have screened at the Whitney Biennial; The New York Video Festival; Kunsthalle Exnergasse in Vienna, Austria; the Gene Siskel Film Center; the Yerba Buena Center for the Arts in San Francisco; P.S.1 Contemporary Art Center; the Wexner Center for the Arts; the Chicago Underground Film Festival; and the 48th International Venice Biennial.
Reeder currently teaches in the School of Art and Art History at the University of Illinois, Chicago and holds the position of Associate Professor Moving Image. She is the founder of the social justice group Tracers Book Club, which focuses on feminist issues. Reeder received an MFA from The School of the Art Institute of Chicago in 1996 and is represented by the Andrew Rafacz Gallery in Chicago, Illinois.
Jeannie Sui Wonders
Jeannie Sui Wonders is filmmaker from Detroit, and is currently living in Los Angeles. She got her BA in History of Art & Architecture from Harvard College. “Scripts” has been screened at the Female Eye Film Festival and the Marfa Film Festival.Dan Stolar
Dan Stolar (USA) reads new fiction. His first book, a collection of short stories called The Middle of the Night (Picador), was an American Booksellers Association Book Sense 76 Pick and a Finalist for the Reform Judaism Prize for Jewish Fiction. His fiction and creative nonfiction have appeared in numerous publications including The Missouri Review, Bomb, Virginia Quarterly Review, DoubleTake, Utne Reader, North American Review, Prism International, Five Chapters, Chicago Tribune and St. Louis Post Dispatch. The Washington Post Book World wrote of Stolar’s stories: Each one of these stories resonates with an elegant simplicity. Psychologically complex and fully realised, they manifest equal parts wisdom and wit.
after years of enjoying her work i finally met and talked to jen reeder and acted in one of her upcoming films, Signature Movie. I saw how she directs a set (how i hope to do it too now) and it was just inspirational.
watch my favourite freebie online shorts are here: (watch or unfriend)
Seven Songs about Thunder
And I will Rise Up if Only Hold You Down
enthusiastic as anything to be working on this poetry collection for TALsounds new album (out of Hasau Mountain’s label). what an opportunity to work w/ one of my all time favorite feminist idols! the album will be released with accompany book.
coming out very soon! get stoked to listen to some of the most beautiful music available to us. haunting, chaotic and daunting.
also the music video im doing for TAL will be out end of july!
if you dont know her work, you should be sure to check it out here: (she’s so good..)
really looking forward to working on books anthologies and magazines for the foreseeable future.
thanks to chicago cultural center for the great weekend (14 may 2016) and here’s to red fish writing workshop studio.
keep your eyes peeled for Queen House book updates. new work by rivkah gevinson and sarah squirm will be ready soon!
Material: spray paint on different surfaces
16m X 10.5m
In collaboration with Brad Downey
Made with the intent for destruction.
We finished this up in September 2014. The buildings in this section of Winterthur, a terrific area outside of Zurich, were to be demolished in 2016.
It’s about the time for the public works solicited by the swiss gov. to disappear. RIP ❤
KNOWING ZASD BY HIS WALK
In the book “Knowing ZASD by His Walk”, for the first time, we see a comprehensive survey of Thomas Bratzke´s work.
Bratzke´s performances, sculptures, installations, and interventions transcend the genre of graffiti. He deconstructs and reconstructs the quotidian, from commonplace objects to the fabric of the city, and engages social systems and structures, to create a new, more vibrant and interactive reality for his audience.
As a part of the Berlin-based collective JAZZSTYLECORNER, Bratzke expanded his practice to incorporate collaboration and improvisation, central tenets of the graffiti world, with more atypical elements such as jazz music, 3-D projection, kinetic sculpture, and digital media.
The book also introduces the novel ”The House of Thomas Bratzke” written by Rose Pacult (USA): A journalist gets trapped in a house which reacts upon thoughts and movements. The protagonist, who actually wanted to meet Thomas Bratzke for an interview to understand why he attacks architectural spaces, now finds herself alone in his house, digging through Bratzke’s countless crates, documents and writings in all the different rooms of the house. She needs to reveal the secrets of this house in order to find her way out – back into the city.
Knowing ZASD by His Walk
Dokument Press, Stockholm
Format 17 x 24 cm
Binding Hardcover with dust jacket
Illustrations approx 100
Design: Matthias Hübner
Price: €29,90 £24,99
Massimo De Carlo Gallery opens the 2015-2016 season with ,,prosopopoeia,’’ an exhibition crafted by the Viennese collective Gelitin. The gallery switches from a place reserved for observations to a rocambolesque carnival under continuous stimulation: visual and physical hydra hold our gazes. For years, we as a community, ask to collapse borders. Now, we must demand it: to navigate life and art as a single entity, to experience ,,migration’’ only in terms of individual evolution, to remind artists of their responsibility to their work, to themselves, to us. Within these projects, there is a celebration of individuality, an enquiry of the meaning of citizenship, deconstruction of ritualism, and ultimately the hope of connecting the past to the future to the horizons of possibilities.
Get your edition now, limited copies available! Short stories poetry interviews stickers photography and dope folks
100 HAND-NUMBERED COPIES
Size: 8 x 10 in
Pages: 56p + 2 stickers
Printed in United States
Dani M Kay
Aaah…It’s that time of year again…for a Holiday video.
From our family to yours. yours.
28th November 19:00
28th November to 14th December
MARKET READY — „UNTITLED“
RAUM FÜR KUNST
I drink my water cold, swirled with frozen berries. But I prefer black coffee. Occasionally, with blasphemy, both will be consumed in one sitting. I keep my hair rarely brushed, and tied with ribbon and wear shoes flat like Anaximenes of Miletus shouted the earth to be. Life to me crests a mountain of valleys, and people, dynamite of duality, of consumed and consumer; creator, but actually destroyer. I believe in the back-and-forth method, that we are inverses of each other, and to finish our mural of unbounded potential we need each other. Secretly, I prefer to be alone. With Funfetti cake.
Aside from the consumerism that has morphed into the “holiday” that is Valentine’s Day one must separate the romanticism from a meaning that can be found in the day. Valentine’s Day is an opportunity to express your appreciation for a person, or persons. First and foremost, the relationship can be of any sustenance. It can be a friend, a lover, a relative, a spouse; the titles are limitless. Valentine’s Day should be seen as an opportunity to remind someone why he or she are in your life, and what they mean to you. This does not mean an extravagant gift by any means! If anything a material gift can detract from the truth being communicated. Take the time to write a card, a poem, a letter, a note, a package to someone you care about.
If you are struggling to channel your romantic spirit and need to say something sweet to someone you love, may I make the humble suggestion of Pablo Neruda’s Love Poems, or ee. cummings, or Sylvia Plath’s Love Letter, which is a personal favourite of mine:
Not easy to state the change you made.
If I’m alive now, then I was dead,
Though, like a stone, unbothered by it,
Staying put according to habit.
You didn’t just tow me an inch, no–
Nor leave me to set my small bald eye
Skyward again, without hope, of course,
Of apprehending blueness, or stars.
That wasn’t it. I slept, say: a snake
Masked among black rocks as a black rock
In the white hiatus of winter–
Like my neighbors, taking no pleasure
In the million perfectly-chisled
Cheeks alighting each moment to melt
My cheeks of basalt. They turned to tears,
Angels weeping over dull natures,
But didn’t convince me. Those tears froze.
Each dead head had a visor of ice.
And I slept on like a bent finger.
The first thing I was was sheer air
And the locked drops rising in dew
Limpid as spirits. Many stones lay
Dense and expressionless round about.
I didn’t know what to make of it.
I shone, mice-scaled, and unfolded
To pour myself out like a fluid
Among bird feet and the stems of plants.
I wasn’t fooled. I knew you at once.
Tree and stone glittered, without shadows.
My finger-length grew lucent as glass.
I started to bud like a March twig:
An arm and a leg, and arm, a leg.
From stone to cloud, so I ascended.
Now I resemble a sort of god
Floating through the air in my soul-shift
Pure as a pane of ice. It’s a gift.