June 9, 2010

If You Liked Embedded Reporting, You'll Love the "Fake Lake"

Apparently, in order to keep most of the media away from the actual G8 summit, the Canadian government plans to house most of the media in a specially-constructed replica far from the actual summit site:

"Summit organizers are constructing the artificial lake inside Toronto's Direct Energy Centre to showcase the actual site of the G8 summit hundreds of kilometres away in Huntsville, Ont., June 25-26. The temporary media centre will host all but about 150 of the estimated 3,000 journalists from around the world covering the G8 . . . ."
More at CBC News.

The cost for a few days of simulated news? $1.9 million, which includes $57,000 for a fake, 10 cm.-deep lake and $407,000 in consultation, management and other fees. More details at cnews.

Talk about The Society of the Spectacle . . . . And, laugh at Alex Jones; but at least he's not deterred by a lack of accommodations.

Want to See: "Rabbit Test"

Directed by Joan Rivers; with Billy Crystal, Alex Rocco, Roddy McDowall; (1978) 84 min.

"Joan Rivers' sole directorial effort, Rabbit Test features Billy Crystal (in his first starring role) as a nightschool teacher and long-suffering virgin who, after a night of passion, defies medical science to become the world's first pregnant man. Rivers' trademark brand of button-pushing comedy runs wild in this absurdist riot of raunchy humor and gleefully tasteless gags calibrated to offend, well, just about everybody. Includes cameos from a host of character actors and comedians including Imogene Coca, Alice Ghostley, Paul Lynde, and the director herself. It's inconceivably funny!"
(From BAM.)

THE SECOND PROGRAM Schedule

"Our mission with The Second Program remains as before--to bring to Dallas international work that for the most part would not have any other venue in this area. The format for 2010, however, is very different. Here is our schedule of events:

"July 22 - Premiere showing of Brent Green's feature film Gravity Was Everywhere Back Then at the Dallas Museum of Art.

"July 31 - Opening night of The Second Program at Conduit Gallery, an exhibition curated by Charles Dee Mitchell featuring work by David Askevold, Jon Gitelson, Matthew Day Jackson, Luke Murphy, Jason Rhoades, Erin Shirreff, and Bill Viola. (Exhibition continues through Aug 28.)

"August 4 - Dallas premiere of Rape of the Sabine Women by Ann Sussman and the Rufus Corporation at the Angelika Mockingbird Station. (This screening is made possible by a generous donation from Karen Erxleben Weiner.)

"August 7 - An evening of short films curated by Bart Weiss at Conduit Gallery.

"August 18 - Area premiere of Double Take, a film by Johan Grimonprez at the Angelika Mockingbird Station. (This screening is made possible by a generous donation from Half Price Books, Records, and Magazines, Inc.)
"More information on all these events can be found on facebook."

(By the way, some of you have assumed I'm involved in The Second Program; I am not. The Video Association invited me to co-curate again, and I'm grateful for their support of my efforts past and present; but the main reasons I did the first The Program were to get to see a ton of work and bring my video art education up to date {as well to share as much of it as possible with you}, and after the first The Program, having accumulated ca. 90,000 words of succinct notes on works I'd seen, I felt I'd gotten far enough along with that for a while and wanted to focus more energy on other projects. I'm delighted that Bart Weiss and Dee Mitchell are carrying on without me, and I plan to enjoy every bit of The Second Program. Hope to see you there!)

June 6, 2010

Categories: "Titles as Context" and

"Greater than Sum of Parts": I Think I Had An Accident (2009), Reuben Lorch-Miller.

June 3, 2010

What Happened to the Middle Class?

From "Zombie Nation," posted at MUTE, 2006-05-10 by Paul Helliwell :

The term zombie entered the English language as a result of slavery, in Robert Southey’s History of Brazil. William B. Seabrook’s book The Magic Island, a first-person account of Haitian voodoo rituals (like Maya Deren’s much later Divine Horsemen), inspired White Zombie, 1931, the first zombie movie. In this we see a sugar plantation owned by Bela Lugosi and staffed by zombies. One of the shambling beasts falls into the grinding machinery and becomes at one with the product. This images anxiety about stolen labour on the part of both producer and consumer embodied in what at once unites them and keeps them separate – the commodity. By 1968 and George Romero’s Night of the Living Dead, filmed in de-industrialising Pittsburgh, their passivity was the passivity of the mass non-violent resisters campaigning for civil rights. They lumbered because they were inevitable, the mass in human flesh to be sadistically destroyed, interested only in increasing the number of zombies – apocryphally by eating their victim’s brains. By Dawn of the Dead, 1978, their very existence is overproduction: ‘When there's no more room in hell, the dead will walk the Earth’ – zombies were the proletarian dead proletarian shopping. ‘But why have they all come to the Mall?’ asks one of the living, ‘I don't know… I guess it must have meant something to them in their lives.’ For Web 2.0 users, like the human survivors in Dawn, incarcerated by the zombie hordes in a shopping mall where everything is free, this anxiety of stolen labour can only increase (despite the muzak). Beneath the glossy reflective surface of the commodity is putrifying zombie flesh – humanity is not superfluous in the age of globalised production but only its ‘creative’ part is recognised (leading to its haunting by the latest in a long line of unquiet Marxist spectres).
More at the link above. See also Elizabeth Warren.

June 1, 2010

Exhibition: "Non-Profit Margin" (Event # 1 of 3)

Possibly excessively complete visuals here.

This exhibition at CentralTrak is the first of three events in the ART WORK in dallas series inspired by Temporary Services' ART WORK project. The exhibition runs through July 24.
Still to come: the symposium at S.M.U. on June 12 and the program of readings back at CentralTrak on June 19; for more info, see the "ART WORK" in dallas Facebook page or my previous post.

UPDATE: Great review of the show by Erin Starr White in Art Lies, Fall 2010.

For more info about the entire ART WORK in dallas event series, see here.

World's Slowest Porsche


Re- ART WORK, a Dead-On Letter to MoMA

from Hollis Frampton; see a more legible version of all five pages here.