Weekly Twitter Round Up



The days of fall are growing shorter while the list of things to do grows longer—funny how that works.  The Twitterverse however never fails to entertain and educate, and so here are a few favourites from the past week. Grab some coffee or hot chocolate and a yummy treat (I baked these Pumpkin Blondies this weekend--yummy!) and check them out. 

Books that go where the iPad can't (yet): Over 1,000 art books @Frieze but how many will there be in the future?



What would it look like if the whole world made a film?




A creepy new site that takes your #Facebook data and turns it into a short horror film




The first 30 days, in photos




Wild Salvador Dalí documentary narrated by Orson Welles! "A Soft Self Portrait" from 1967




"Focus on the funk: an interview with Cornel West" at The Immanent Frame




Judith Butler at Occupy WSP (with echoes of Life of Brian's 'We are all Individuals'!!)

Art and Celebrity: Abramovic, Sherman, and Ai Take Center Stage


Ai Wewei recently directed the cover shoot for W Magazine's "art issue."
Strolling through the bookstore this past week, I happened upon an unlikely figure peering out of the fashion magazine section. There she was, Marina Abramovic, performance artist meets fashion model, featured on the cover of the British indie publication  Pop Magazine. Beautifully made up in a black and white large format photograph with an unusual doll draped across her shoulders, Abramovic resembles something of a puppeteer with a doppelganger Marina prop. Bizarre and fascinating—I immediately picked it up. And maybe that was part of the point. Looking at Pop Magazine’s mission statement on-line, a statement they provocatively term a "manifesto" (cue avant-garde associations), the stated purpose of the magazine intersects the world of art and fashion through the lens of pop: “With a bold international perspective and an understanding that the cultural and business LANDSCAPE is being dramatically rewritten, POP looks to join-the-dots and CELEBRATE the world’s key creatives. Fashion and its related universe is a prism through which so much of contemporary CREATIVITY, as well as the evolving celebrity culture, ends up being refracted.” No doubt I have already been noticing the growing partnership between contemporary art and the word of fashion. Earlier this year I blogged about Daphne Guinness and her “performance” piece at Barney’s in NYC. But we are also now seeing the heavy weights in the world of art taking part in this growing trend.

Marina Abramovic on the cover of Pop Magazine--
she appears on all three coversof the Fall 2011 issues.
Cindy Sherman for MAC Cosmetics-- I actually "get" this collaboration.
Take for example Cindy Sherman, who recently partnered with MAC cosmetics to create an advertising campaign for their fall collection. As a cosmetic company, MAC has always touted its outsider status (they were an early promoter of AIDS awareness with their VivaGlam line) and the ubiquitous black packaging and minimal design was seen as very radical when they first emerged on the very girly and "pink" makeup seen in the late 1980’s. As the Guardian noted when they wrote about the collaboration, most makeup campaigns “use beautiful models to impress upon women how wonderful the cosmetics will make them look. Also, to make them feel inferior, ugly, and more likely to reach for their purse.” Clearly, this campaign then with its anti-beauty and satirical approach to makeup (Sherman poses in a series of deliberately unattractive and even clown-like poses for the pictures) questions all of that, but still leaves in place the unsettling reality that the final pictures are created to sell the very product they question.

More Sherman-- but the sad clown face does not deter sales for MAC
Another more recent example involves the very controversial artist Ai Weiwei, an artist who has been featured prominently on my blog and has made headlines all year for his battle to retain his artistic vision and freedom of expression within his Chinese homeland. Just a few weeks ago, Ai was named the most powerful artist of the year by the influential British art magazine Art Review. In  a press release the magazine stated, “Ai's power and influence derive from the fact that his work and his words have become catalysts for international political debates that affect every nation on the planet: freedom of expression, nationalism, economic power, the Internet, the rights of the human being." Almost at the same moment, Ai was also getting buzz for directing the cover shoot for W magazine’s “art issue” one of the most important fashion magazines in the trade. The cover image, which features model Sui He (see image at top of post), was controversial, both for the fact that many Chinese models approached to do the shoot resisted for fear of reprisals from within China for working with such an outspoken artist, and also the subject matter of the shoot, which alludes to the NYC Tompkins Square Riots of 1988, and by connection, Ai’s own arrest earlier this year by the Chinese authority and the recent Occupy Wall Street protests. 

In the end, much like in the case of Sherman and Abramovic, the W magazine cover remains a vehicle through which to sell consumer goods and inspire new trends in the never ending cycle of fashion. This leaves open the question of what message the contemporary artists are also able to put forth in their collaborations. Perhaps a new awareness and audience for contemporary art, yes, but also the risk of diluting or side-stepping the important conversations around the critical practices these individuals are part of. I remain cautiously optimistic for now that the art will shine beyond the spectacle.  

Further Reading:

John A. Walker, Art and Celebrity Pluto Press, 2003.

Weekly YouTube Round Up


A sampling of some great videos from YouTube land this past week-- from an insider's view of the opening of the Frieze Art Fair in London's Regent Park, to a Ted Talk on beauty and a history lesson concerning the New York City park housing Occupy Wall Street, to an archived interview with artist Matthew Barney and a public discussion about protest movements at Harvard this past week. Enjoy, share, and most importantly, reflect and discuss.

Vernissage TV: Frieze Art Fair 2011



Ted Talks Director: Richard Seymour: How Beauty Feels





The Young Turks Network: NYC Zuccotti Park's History




SFMOMA: Matthew Barney Discusses His Influences 





Harvard: "We are the 99 Percent" From Frustration to Occupation - Institute of Politics"

Slavoj Žižek: One Philosopher's View on the Occupy Wall Street Movement

The philosopher Salvoj Zizek at Occupy Wall Street this past week (image courtesy: roarmag.org)
I spent much of today reading, reflecting, listening, and taking time to think about what the recent events of the Occupy Wall Street movement is signalling in the global collective. To date, there have been dozens of protests planned here in North America, and this weekend many more are planned around the world. Because so many of the ideas I discuss with students on a day to day basis revolve around notions of power and the construction of knowledge, I was especially interested to see if I could find something spoken by a figure from within academia and more specifically, from within a critical theory framework, to help spark some meaningful reflection. I was not disappointed.

Zizek in the classroom (image courtesy: Village Voice)
This past week Slavoj Zizek, arguably one of the world's most respected and dynamic philosophers, visited the OccupyWall Street protests in NYC and delivered a stirring and truly inspiring address to the crowd. As a Slovenian national and specialist in Hegelian, Marxist, and Lacanian theory, Zizek is most interested in ideas concerning subject formation and theorizing about how individuals come to identify within the context of the shifting world around them. Who better to comment on what is transpiring at this very moment? I have reprinted the original text from his speech here, taken from Verso Books website. And whether you agree or disagree with the aims of the movement, Zizek's arguments-- about why this moment is pivotal in our human history and what the stakes are if we ignore such a deeply abstracted power structure as the one we face globally today-- are worthy of our collective attention and consideration:

"Don't fall in love with yourselves, with the nice time we are having here. Carnivals come cheap—the true test of their worth is what remains the day after, how our normal daily life will be changed. Fall in love with hard and patient work—we are the beginning, not the end. Our basic message is: the taboo is broken, we do not live in the best possible world, we are allowed and obliged even to think about alternatives. There is a long road ahead, and soon we will have to address the truly difficult questions—questions not about what we do not want, but about what we DO want. What social organization can replace the existing capitalism? What type of new leaders we need? The XXth century alternatives obviously did not work.

So do not blame people and their attitudes: the problem is not corruption or greed, the problem is the system that pushes you to be corrupt. The solution is not “Main street, not Wall street,” but to change the system where main street cannot function without Wall street. Beware not only of enemies, but also of false friends who pretend to support us, but are already working hard to dilute our protest. In the same way we get coffee without caffeine, beer without alcohol, ice-cream without fat, they will try to make us into a harmless moral protest. But the reason we are here is that we had enough of the world where to recycle your Coke cans, to give a couple of dollars for charity, or to buy Starbucks cappuccino where 1% goes for the Third World troubles is enough to make us feel good. After outsourcing work and torture, after the marriage agencies started to outsource even our dating, we see that for a long time we were allowing our political engagements also to be outsourced—we want them back.

They will tell us we are un-American. But when conservative fundamentalists tell you that America is a Christian nation, remember what Christianity is: the Holy Spirit, the free egalitarian community of believers united by love. We here are the Holy Spirit, while on Wall Street they are pagans worshipping false idols.


They will tell us we are violent, that our very language is violent: occupation, and so on. Yes we are violent, but only in the sense in which Mahathma Gandhi was violent. We are violent because we want to put a stop on the way things go—but what is this purely symbolic violence compared to the violence needed to sustain the smooth functioning of the global capitalist system?

We were called losers—but are the true losers not there on the Wall Street, and were they not bailed out by hundreds of billions of your money? You are called socialists—but in the US, there already is socialism for the rich. They will tell you that you don't respect private property—but the Wall Street speculations that led to the crash of 2008 erased more hard-earned private property than if we were to be destroying it here night and day—just think of thousands of homes foreclosed...

We are not Communists, if Communism means the system which deservedly collapsed in 1990—and remember that Communists who are still in power run today the most ruthless capitalism (in China). The success of Chinese Communist-run capitalism is an ominous sign that the marriage between capitalism and democracy is approaching a divorce. The only sense in which we are Communists is that we care for the commons—the commons of nature, of knowledge—which are threatened by the system.

They will tell you that you are dreaming, but the true dreamers are those who think that things can go on indefinitely they way they are, just with some cosmetic changes. We are not dreamers, we are the awakening from a dream which is turning into a nightmare. We are not destroying anything, we are merely witness how the system is gradually destroying itself. We all know the classic scene from cartoons: the cat reaches a precipice, but it goes on walking, ignoring the fact that there is no ground under its feet; it starts to fall only when it looks down and notices the abyss. What we are doing is just reminding those in power to look down...

So is the change really possible? Today, the possible and the impossible are distributed in a strange way. In the domains of personal freedoms and scientific technology, the impossible is becoming increasingly possible (or so we are told): “nothing is impossible,” we can enjoy sex in all its perverse versions; entire archives of music, films, and TV series are available for downloading; space travel is available to everyone (with the money...); we can enhance our physical and psychic abilities through interventions into the genome, right up to the techno-gnostic dream of achieving immortality by transforming our identity into a software program. 

On the other hand, in the domain of social and economic relations, we are bombarded all the time by a You cannot ... engage in collective political acts (which necessarily end in totalitarian terror), or cling to the old Welfare State (it makes you non-competitive and leads to economic crisis), or isolate yourself from the global market, and so on. When austerity measures are imposed, we are repeatedly told that this is simply what has to be done. Maybe, the time has come to turn around these coordinates of what is possible and what is impossible; maybe, we cannot become immortal, but we can have more solidarity and healthcare?

In mid-April 2011, the media reported that Chinese government has prohibited showing on TV and in theatres films which deal with time travel and alternate history, with the argument that such stories introduce frivolity into serious historical matters—even the fictional escape into alternate reality is considered too dangerous. We in the liberal West do not need such an explicit prohibition: ideology exerts enough material power to prevent alternate history narratives being taken with a minimum of seriousness. It is easy for us to imagine the end of the world—see numerous apocalyptic films -, but not end of capitalism.

In an old joke from the defunct German Democratic Republic, a German worker gets a job in Siberia; aware of how all mail will be read by censors, he tells his friends: “Let's establish a code: if a letter you will get from me is written in ordinary blue ink, it is true; if it is written in red ink, it is false.” After a month, his friends get the first letter written in blue ink: “Everything is wonderful here: stores are full, food is abundant, apartments are large and properly heated, movie theatres show films from the West, there are many beautiful girls ready for an affair—the only thing unavailable is red ink.” And is this not our situation till now? We have all the freedoms one wants—the only thing missing is the red ink: we feel free because we lack the very language to articulate our unfreedom. What this lack of red ink means is that, today, all the main terms we use to designate the present conflict—'war on terror,' "democracy and freedom,' 'human rights,' etc—are FALSE terms, mystifying our perception of the situation instead of allowing us to think it. You, here, you are giving to all of us red ink."

Further Reading:

Sarak Kay, Zizek, A Critical Introduction Cambridge UK: Polity (2003)

Shai Ginsburg, "Taking Slavoj Zizek Seriously." Tikkun 21.1 (2006): 76-77.