Real-Life Batman

" . . . Zoltan Kohari, from the southern Slovak town of Dunajska Streda, has donned a leather Batman suit that he’s stitched together himself, in an attempt to help the people of the town. He goes around cleaning the streets, helping the old, and calling the police when he spots something suspicious.

" . . . Kohari was a petty criminal prior to his superhero-avatar . . . . This was before he realized that he had a larger mission – to make life in his community better. . . . “I take care of order and help clean up the environment so we can keep living on this planet,” he says. Since Kohari doesn’t really have a full time job, he’s moved into an abandoned apartment in a dilapidated building on the edge of town. . . .

The unusual thing about Kohari is that he’s a bit of a peace-loving Batman. He says that he never resorts to physical violence, he’d rather make peace between people."

More at Oddity Central; photo and original story from Reuters; and Oddity Central has previously noted another real-life batman, here. (Thanks, Ben!)

Marina Abramovic Made Me Cry

Photos of some of those with whom she shared stares here. (Thanks, Julie!) From Abramovic's 2010 exhibition at MoMA, The Artist is Present.

The Whitney Biennial

The show was mobbed, though I went on a weekday. I left with fewer photos than I'd have liked; you can see 80+ here.

Pieces I wish I'd shot but didn't include LAST SPRING: A Prequel, by Gisèle Vienne with Dennis Cooper, Stephen O’Malley, and Peter Rehberg; Green Room by Wu Tsang; Sarah Michelson's Devotion Study #1–The American Dancer; and RP47 by Lucy Raven. I also really enjoyed Werner Herzog's video installation, Hearsay of the Soul, with its powerful audio of music from his film, Cave of Forgotten Dreams.

My photos also don't do justice to many of the works, e.g. Sam Lewitt's "self-organizing" installation comprising magnets, fans, and a pool of sticky-looking ferrofluid; or Nick Mauss's installation, which included, in addition to the twin-doored vestibule he built and "painted" with sewn fabric, a number of not-obviously connected objects: a small projection plus works by Andy Warhol, Gary Winogrand, Ellsworth Kelly, Charles Demuth, Ira Delaneaux [sp?].

Additional informative audio and bits of visuals re- the exhibition are available at the Whitney's site; more images at PaperMag.

(Image left: detail from installation/performance set by Georgia Sagri.)

Roberta Smith has a glowing review in the NYT, with an excellent slide show here. A couple of aspects she identifies are that (1) the biennial includes lots of modes of art, including an impressive array of time-based works in video, music, dance, and performance as well as painting, sculpture, and installation – without particularly privileging any of them (although I don't recall much photography, unless you count photographs used in larger works, such as Dawn Kasper's installation, which comprised the entire contents of her living quarters/studio); and (2) the show is artist-centric, in that it focusses to an unusual degree on artists' processes and in some instances had them curate other artists into the exhibition.

These aspects seem so sensible and right that I confess I didn't notice them 'til I read Smith's review after seeing the show; and I'm glad she praised them. (Now that I think of it, even the cover image for the biennial {above right} seems to reflect an ambition to make the museum a more transparent vessel for its contents.) And I did notice, as I think Smith also mentions, that the written explanations of the works were unusually helpful.

I personally wish that more of the video had been easier to see. With respect to most of the videos as well as performances, each was only presented at certain times and for only a few days during the run of the exhibition, making it impossible to see all unless you can return multiple times over a 13-week period.

I saw only a few minutes of Wu Tsang's Wildness in his Green Room installation (video embedded below), which was packed.

I also saw the dance performance choreographed by Sarah Michelson. The set and costumes were relatively simple (you can see a few images and another review here), and for the vast majority of the near-90 minute piece, four or less of the same 4 dancers walked rapidly backward in mostly counter-clockwise circles, all more often than not tracing the same basic movements and path while separated by a more or less fixed distance, with occasional pauses that seemed necessary in order to give the dancers much-needed breathers. During the latter part of the performance, a 5th dancer wearing a (race-?) horse's head strolled through, lingered briefly – observing? – and left. The audio consisted of the same, musically interesting but short loop throughout, without any variation in instrumentation, tempo, or volume, etc. – except that, at the beginning of the piece, there was additional audio of a relatively brief conversation, seemingly between Michelson and a male artist, with the male doing most of the talking, mostly about feeling uncertain whether he'll manage to come up with anything much for his current commission; plus other bits of Michelson's voice near the end, enjoining the dancers to "make it very beautiful" and then relating a story of God's other child Marjorie, in which I'm afraid I got a bit lost, between acoustics that were, for me, less than crystal clear, plus being by then fairly stupified by the monotony.

(Image right: detail from collage by Robert Hawkins.)

All in all, I enjoyed this biennial and found it well done and rewarding of time and attention, though it could perhaps have been more exciting.

Here's the trailer for Wildness:

NYC Art Fairs 2012, and "It's the Political Economy, Stupid"

Pulse may have decided, wisely, that the field's gotten too crowded; they've moved to May.

Within four days (Mar. 3 - 11), viewers were offered the Armory Show, Scope, VOLTA, the Moving Image Fair, the Independent Fair, the Dependent Fair, the Fountain Art Fair, the Spring Break fair, and the Brucennial; not to mention the Whitney Biennial, the New Museum Triennial and plenty of other shows, most of which could only be viewed Wed. thru Sun., i.e. mostly the same days the fairs were open, and mostly only during roughly the same hours. Given that most exhibitions include a lot more video and other time-based work than they used to, any hope of seeing and doing justice to all the work shown has become even more remote.

I saw (in no particular order): the Armory Show – just the contemporary Pier and some of the Armory Film programs; the Moving Image Fair; the Independent; the Dependent; Spring Break; the Brucennial; the It's the Political Economy, Stupid show at the Austrian Cultural Forum; the Whitney Biennial; and the New Museum Triennial.

I shot lots of photos, which I'm in the process of culling and putting online. The first up are from It's the Political Economy, Stupid, curated by Gregory Sholette and Oliver Ressler. The exhibition borrows its title from Slavoj Žižek's twist on Pres. Clinton's old campaign slogan. (Image above from The Bull Laid Bear (2012), video, 24 min., Zanny Begg & Oliver Ressler, from this show.)

As you may know, I've followed the economic situation for a while and am concerned that economic reform is essential but that few non-experts understand the problems well enough to know what should be done about them. But the problems aren't all that hard to understand; it's just that the perpetrators have done a terrific job obfuscating them. (My own grasp happens to be a little better than average, since I happened to write a paper on Glass-Steagall back when it was being repealed, and I've also had experience with commercial loans that were rolled into the kind of securitized mortgage pools blamed by some for the economic meltdown.)

The works in Political Economy were really brilliant, using various documentary and imaginative strategies to greatly further this discussion. More info at the Austrian Cultural Forum; and there's an excellent review of the show on the art:21 blog.

UPDATE: Posts on the other shows I saw will be available here.

What the Stratfor Emails Reveal Re- Efforts Against Wikileaks & Assange

Per Raw Story,

In an email published by WikiLeaks on Tuesday morning, Stratfor vice president Fred Burton writes that his firm has “a sealed indictment on Assange” . . . . In another email, Burton suggests that authorities could “lock him up” by having Assange detained as a material witness. [c-Blog note: the US Dept. of Justice has refused to confirm whether such an indictment has been issued; some have speculated it's because extradition proceedings are still ongoing in the UK, where the law might bar extradition if it were shown that Sweden is likely to permit extradition to a country {the US} where Assange could face capital punishment.]

Burton’s email was sent in response to a discussion about reports that U.S. prosecutors have not been able to hang the case against Pvt. Bradley Manning on any direct contact with Assange [c-Blog note: which would be required in order to show that Assange had violated US law].

* * * * *

Other Stratfor emails that discuss WikiLeaks hint that sexual assault allegations against Assange might not be entirely legitimate. One message shows Stratfor President George Friedman . . . replying to analyst Chris Farnham, who openly questioned the veracity of the charges and alleged that a “close family friend in Sweden who knows the girl that is pressing charges” against the WikiLeaks founder allegedly said “there is absolutely nothing behind it” aside from a pair of eager prosecutors.

(Emphasis supplied.) More at Raw Story.

Dead Drops

"‘Dead Drops’ is an anonymous, offline, peer to peer file-sharing network in public space. USB flash drives are embedded into walls, buildings and curbs accessable to anybody in public space. Everyone is invited to drop or find files on a dead drop. Plug your laptop to a wall, house or pole to share your favorite files and data. Each dead drop is installed empty except a readme.txt file explaining the project. ‘Dead Drops’ is open to participation. If you want to install a dead drop in your city/neighborhood follow the ‘how to’ instructions and submit the location and pictures."

By Aram Bartholl; see deaddrops.com for more, including how to install.

If You Wish to Avoid the Dept. of Homeland Security's Attention

. . . you should minimize your use of the hundreds of terms listed at Animal on social media sites (or elsewhere online?) I was going to list some of them for you so you could see how ridiculous many of them are, but I prefer to avoid the DHS's attentions – although just mentioning them may be all it takes. (But really, terrorists might be planning a tornado?)

Wikileaks to Reveal: Private Spy Network Paid Gov't Officials et Al. for Profitable Secrets, Etc.

Per a twitter source, Wikileaks will begin publication tomorrow of some 5 million emails from the files of an entity called Stratfor:

Government and diplomatic sources from around the world give Stratfor advance knowledge of global politics and events in exchange for money. The Global Intelligence Files expose how Stratfor has recruited a global network of informants who are paid via Swiss banks accounts and pre-paid credit cards. Stratfor has a mix of covert and overt informants, which includes government employees, embassy staff and journalists around the world.

The material shows how a private intelligence agency works, and how they target individuals for their corporate and government clients. For example, Stratfor monitored and analysed the online activities of Bhopal activists, including the "Yes Men", for the US chemical giant Dow Chemical. The activists seek redress for the 1984 Dow Chemical/Union Carbide gas disaster in Bhopal, India. The disaster led to thousands of deaths, injuries in more than half a million people, and lasting environmental damage.

Per Gizmodo,

Wikileaks says that the emails also reveal the creation of a parallel organization called StratCap. Apparently, this organization would use Stratfor's network of informants to make money in financial markets. Wikileaks claims that the emails show how then-Goldman Sachs Managing Director Shea Morenz and Stratfor CEO George Friedman put StratCap in motion in 2009.

* * * * *
Stratfor CEO has resigned following this clusterfuck. It seems the company's security hasn't been fixed yet, because Anonymous has captured and published his resignation email.

[Emphasis above and below in this post is supplied.] More at the links above.

A press release from the Yes Men notes,

Many of the Bhopal-related emails . . . reveal concern that . . . the Bhopal issue might be expanded into an effective systemic critique of corporate rule, and speculate at length about why this hasn't yet happened – providing a fascinating window onto what at least some corporate types fear most from activists.

"[Bhopal activists] have made a slight nod toward expanded activity, but never followed through on it—the idea of 'other Bhopals' that were the fault of Dow or others," mused Joseph de Feo, who is listed in one online source as a "Briefer" for Stratfor.

"Maybe the Yes Men were the pinnacle. They made an argument in their way on their terms—that this is a corporate problem and a part of the a [sic] larger whole," wrote Kathleen Morson, Stratfor's Director of Policy Analysis.

"With less than a month to go [until the 25th anniversary], you'd think that the major players – especially Amnesty – would have branched out from Bhopal to make a broader set of issues. I don't see any evidence of it," wrote Bart Mongoven, Stratfor's Vice President, in November 2004. . . .

Mongoven even speculates on coordination between various activist campaigns that had nothing to do with each other. "The Chevron campaign [in Ecuador] is remarkably similar [to the Dow campaign] in its unrealistic demand. Is it a follow up or an admission that the first thrust failed? Am I missing a node of activity or a major campaign that is to come? Has the Dow campaign been more successful than I think?" It's almost as if Mongoven assumes the two campaigns were directed from the same central activist headquarters.

Just as Wall Street has at times let slip their fear of the Occupy Wall Street movement, these leaks seem to show that corporate power is most afraid of whatever reveals "the larger whole" and "broader issues," i.e. whatever brings systemic criminal behavior to light. "Systemic critique could lead to policy changes that would challenge corporate power and profits in a really major way," noted Joseph Huff-Hannon, recently-promoted Director of Policy Analysis for the Yes Lab.

(You can see a Yes Man impersonating a Dow Chemical spokesman in an interview with an unwitting BBC here, accepting full responsibility for the 1984 Bhopal disaster.)