Thursday, 29 January 2009
Las Casas is Not a Home
4 February - 14 March 2009
Las Casas is Not a Home brings together several recent works concerning Lagomarsino's analysis and re-contextualization of historical colonial discourse and attributions of language and identity. The starting point is the debate in 1550 between Bartolomé de Las Casas and Juan Ginés de Sepúlveda concerning the moral issues at stake in the Spanish Conquest of the 'New World'. The theologian Sepulveda argued that Spanish colonization was an attack against barbarism, and believed it was the Spaniards God-given duty to bring universal values (Catholicism) to savage natives with cruel customs. Las Casas - the first fierce critic of colonialism - abhorred the mistreatment of the indigenous population, and became an outspoken advocate for the rights of the Indians, most effectively through his vivid firsthand description of witnessed atrocities, A Short Account of the Destruction of the Indies.
The exhibition creates a narrative in multiple parts that unfolds the links between this fraught colonial past and its repercussions in our own equally fraught geopolitical present. This narrative, a re-examination of history presented in drawings, slide projections, collages and sculptures, reflects upon how historical processes have influenced the way we read and re-read history. The title of the exhibition plays with the notion of home and of placement using the double meaning of Las Casas both as a name and also the word for homes in Spanish, and Lagomarsino explores this idea of home in political and geographical contexts. The works reflect the fragility of positions, geographical movements and constructions: one of the drawings states in a deadpan fashion, If you don't know what the south is - It's simply because you are from the north . Another work, a slide projection of text projected on a sculptural model of a commercial billboard, announces We support , leading the viewer to wonder who the 'we' are and what in fact they're supporting. The viewer enters from an outsider's perspective, peering into the in-between layers of the narratives, identifying the emblems and metaphors inscribed in words, while the tensions and questions of universalisms in the present reveal the links, shifts and resistance to the past.
Runo Lagomarsino was born in 1977, and graduated from Malmo Art Academy, Sweden in 2003. He has participated in the Whitney Independent Study Program (NY, 2007-08) and the IASPIS residency at Platform Garanti (Istanbul, 2006). Lagomarsino recently exhibited in The 7th Gwangju Biennale, Annual Report: A Year in Exhibitions (Gwangju, 2008), AutoStop (Malmo Konsthall, 2008), Ours: Democracy in the Age of Branding (Vera List Center, New York, 2008), Imagine Action (Lisson Gallery, London, 2007), Ground Lost (Galerija Nova, Zagreb, 2007) and Heterotopias, Thessaloniki Biennalen (Thessaloniki, 2007).
Mummery + Schnelle
83 Great Titchfield Street
London W1W 6RH
Wednesday, 28 January 2009
Sharon Hayes, In the Near Future, London, 2008, 35 mm slide projections
AUDIO, VIDEO, DISCO
24 JANUARY – 26 APRIL 2009
Kunsthalle Zurich is pleased to present «Audio, video, disco», an international group exhibition featuring artists Nina Beier and Marie Lund, Claire Fontaine, Luca Frei, Sharon Hayes, Sturtevant, and Cerith Wyn Evans, curated by David Bussel.
By looking at various formations of revolutionary dissent – social movements, identity politics – the artists in the exhibition reflect on the grammar of history as a series of soft configurations of acts, events, and correspondences in counterpoint to today. This act of negotiation, the analysis of revolutionary history as an unending process, freighted with a sense of mistrust and doubt, is the thematic departure of the exhibition.
Although they engage with different manifestations of the past and the discourses that produced them, the works in the exhibition interrogate the very positions they seek to occupy as art objects, excavating and re-inscribing symbols and codes, engendering further narratives about narratives. Embedded in these historical folds, however, are repressions and erasures around meetings of aesthetic and political acts, where the artist in effect has option to "betray" his or her object of inquiry, pervert or undermine its ostensible origins and authenticity, in an effort to rethink it. Histories – both personal and collective – are interrogated, inscribed with a sense of occlusion at the centre, and then presented as a disassembled formation of yet another evanescent moment in time. By reimagining histories of protest in linguistic and visual form, the artists engender ways of rethinking the past through a double détournement, a repetition or redistribution of the already recoded, without returning it to an originary "Primal Scene" in time or space.
The Archives (World Peace) (2008), is a suite of framed vintage protest posters from the 1960s and 1970s by Nina Beier and Marie Lund. Each poster is folded in half, concealing its content. However, some traces do seep through, creating evidence of past acts and desires that are seen here as elegiac messages from an altogether different time and place. Installed horizontally in a line based on the level of their folds, the individual works, though of slightly differing scale, become a blank horizon suggesting a communal ground, an archive-crypt that mourns the past against nostalgia, waiting for the next time ...another time and another place to be activated.
The collective Claire Fontaine presents a selection from its series Brickbats (2007): sculptures made from ordinary bricks individually wrapped in copies of book covers and secured by elastic bands. A "brickbat" is both a brick used as weapon and a term of blunt verbal criticism. By collapsing the two meanings, Claire Fontaine invokes the street battles of revolutions past with a brutal condemnation of the poverty of collective thought, where the history of and need for revolutionary acts and desires are rendered virtually impotent by the weight of the culture industry and the politics of consensus.
The subtitle of Luca Frei’s "Everything was to be done. All the adventures are still there." (2007) – a citation from writer and artist Kodwo Eshun – is a rallying call, an invitation to intellectual and aesthetic experimentation superimposed upon a bleak black-and-white image of Place Beaubourg in Paris, the site of the Centre Pompidou before the museum was built. The photograph depicts the area when it was still a vast car park, already severed from its historic past, from above. Frei’s work is charged with a melancholy suggested by a temporal slippage between image and text: It affirms and condemns the bald optimism and ideological values of this cultural centre dialectically both as an idea and as a reality.
In the Near Future, London (2008), is a three-part slide projection by Sharon Hayes that investigates the history of political demonstration, the way it is expressed and the forms those expressions take – their verbal and visual appearance. Part of an ongoing series of performances, produced in New York, Vienna, Warsaw, and, most recently, London, the work employs national histories and languages to assess the political power of acts of dissent in historical counterpoint. Hayes performs these actions alone and in silence with hand-written placards that reiterate familiar slogans of manifestations from past actions. By inserting ideologically charged references into the present, the artist radically displaces and ambiguously reactivates collective memories of civil and social antagonisms that persist today.
For more than 40 years, Sturtevant has rigorously and unwaveringly explored the possibilities of thought through object making. By "repeating" works by other artists such as Duchamp, Warhol and Stella, she does not simply appropriate or copy, produce likenesses or simulacra, but rather produces something more than the original to dissect its very integrity, undermining elemental categories of objecthood and the visual altogether. She asks what discursive formations allow art to be and what does it mean to see something for the very first time again? Beuys. La Rivoluzione siamo noi (1988) is an image of the artist posed, dressed, and situated as the artist Joseph Beuys himself was in his work of 1972. Here Sturtevant asks us to think about what her repeat of "the revolution starts with us" suggests about Beuys’ own practice, which equates art and social politics, and how discourses on thought, difference, and the body might disrupt it, only to better understand it.
Cerith Wyn Evans’ The Return of the Return of the Return of the Durruti Column (2008) is like a mirror that only reflects itself, a finite feedback loop that reuses an already reused image. The title refers to a double appropriation of the anarchist unit from the Spanish Civil War, the Durruti Column, by the Situationist International in a 1967 anonymous poster – a re-inscribed American cowboy comic strip – further re-inscribed by Wyn Evans. The work, a silkscreen on board, is made from phosphorescent paint, making it illegible in the light and luminous in the dark and, suggesting not only the transitory nature of concatenations of art and revolution, but also the dangers of misrecognising history as spectacle.
With a special contribution by Rosemarie Trockel.
Tuesday, 27 January 2009
SITAC VII 2009
Séptimo Simposio Internacional de Teoría sobre Arte Contemporáneo
7 th International Symposium on Contemporary Art Theory
Jueves 29 de enero. Panel I
El otro hoy: a dos décadas de la emergencia postcolonial
Centro Cultural Universitario Tlatelolco
Con todo y las desigualdades de poder institucional y simbólico, el Sur ha adquirido un nuevo protagonismo en la textura de la imaginación global. Esta importancia se manifiesta no sólo en la ampliada geografía de la actividad cultural, sino en las superposiciones, tensiones y corrientes de pensamiento, fantasmas y sombras que lo habitan. Esos cambios, no han sido una concesión graciosa: son el resultado de la contraofensiva cultural que, especialmente en el terreno inestable del arte contemporáneo, planteó sobre todo desde fines de los años 1980 el cuestionamiento de la división geográfica del poder cultural y la crítica de los efectos del colonialismo.
Ha llegado el momento de someter esa empresa colectiva a un balance. A dos décadas de la irrupción de la coalición del arte de la periferia, y tras la recomposición geográfica e histórica de la narrativa de la historia del arte moderno y contemporáneo, ¿qué nuevas fuerzas centrífugas emergen en la cultura bajo la línea ecuatorial? ¿Qué saldos han tenido las políticas de inclusión? ¿Qué nuevos diagramas de poder han emergido con la inscripción del sur en el mapa artístico global? ¿En qué medida la práctica artística puede pretender tener aún alguna relación con el proyecto de la descolonización?
|3.30-3.40||Cuauhtémoc Medina: Perdiendo el Norte|
|3.40-5.00||Nikos Papastergiadis/Jean Fisher/ Nelly Richard |
Moderador: Cuauhtémoc Medina
|5.00-6.00||Debate y ronda de preguntas y respuestas|
|6.20-7.00||Doris Salcedo/Beatriz González conversan con Taiyana Pimentel|
|7.00-7.30||Preguntas y respuestas|
Viernes 30 de enero. Panel II
La genealogía del sur: historias e historia del arte contemporáneo.
Centro Cultural Universitario Tlatelolco
Uno de los principales cambios de la revolución de nuestra geografía simbólica es el estallido de la narrativa histórica metropolitana. Asistimos a un replanteamiento dramático de las genealogías artísticas contemporáneas y a una perturbación de los relatos lineales del modernismo, que empieza a ser abandonado como paradigma de las colecciones de los museos y la historia del arte global. Al mismo tiempo, el pasado se actualiza: la memoria de las vanguardias del siglo XX es hoy un horizonte lejano, en la medida que la historia del arte se ha corrido para concentrarse en las neovanguardias de los años 60 y la multitud de resonancias culturales de la agitación del del 68. ¿Cómo es ética e intelectualmente posible absorber el radicalismo cultural del sur en los relatos históricos formulados desde el norte? ¿Qué promesas contiene la tarea de replantear las genealogías culturales sureñas: la memoria de las dictaduras lo mismo que la posible tropicalización del conceptualismo? ¿Cómo se explora la historia del la militancia y del margen? ¿Qué proyecto intelectual y político se escuda bajo la expresión del “conceptualismo del sur”?
|3:30-4:30||Suely Rolnik. Ana Longoni, Marcelo Expósito, Emilio Tarazona. Moderadora: Helena Chávez|
|4:30-5:15||Debate y ronda de preguntas y respuestas|
|5:30-6:15||Diálogos: Okwui Enzewor conversa con José Luis Barrios|
|6:15-7:00||Preguntas y respuestas|
Sábado 31 de enero. Panel III
Desde el sur, para el sur: el despliegue de otra geografía
Centro Cultural Universitario Tlatelolco
A todo lo largo de la trama del sur, emergen una multitud de espacios, iniciativas y publicaciones que activan la especificidad local con la ambición de significación global. En muchos casos, toca a los artistas más que a las instituciones servir como activistas de esta nueva geografía, usualmente operando como “agentes dobles” al servicio de la aventura de sus propias obras y como productores de la red de discursos, movilizaciones y agencias con que el sur busca materializarse. ¿Cuál es la forma en que se lleva a cabo esa doble vida? ¿Cómo se produce al mismo tiempo que se organiza? ¿Cómo entienden los artistas su producir el sur para el sur? ¿Cómo se conectan estas líneas que rara vez se intersectan?
|10:00-11:30||Ricardo Basbaum, Magdalena Jitrik, Fernando Alvim, Roberto Jacoby. Moderadora: Daniela Pérez|
|11:30-12.30||Debate y ronda de preguntas y respuestas|
|12:45-13:45||Terapia intensiva: debate sobre el simposio a cargo de participantes de las clínicas. Moderadora: Mariana Botey|
|13.45-2.20||Raimond Chaves: Toque criollo|
Lunes 2 de febrero
|19.00||Conferencia: Jean Fisher|
|20.00||Raimond Chaves: Toque Criollo|
Programa de las Clínicas del SITAC
Director: Roberto Jacoby
Las Clínicas no están abiertas al público en general. Requieren inscripción previa
Enero 17 y 24
Clínicas I, II, III
Museo Tamayo Arte Contemporáneo
Clínicas I, II, III
Centro Cultural Universitario Tlatelolco
¿Hasta que punto el SUR se prefigura como la inversión teórica de la trinidad: universalidad (globalización)-modernidad-capitalismo? ¿O es el SUR la interioridad espectral de la formación histórico-política del capitalismo como sistema mundo?
El énfasis de la clínica será el de establecer un contexto histórico-teórico al concepto-metáfora SUR como herramienta crítica en las prácticas culturales contemporáneas.
Interlocutores: Suely Rolnik, Nelly Richard
Se pretenderá profundizar de manera crítica sobre prácticas culturales que, en un territorio específico, buscan crear redes y un espacio de resistencia y revisión. Prácticas que hacen frente a las condiciones de un mundo en el que se ha venido concentrando el poder. A través de revisar estas exposiciones, libros, colectivos, seminarios… ¿qué queda aún por aprender?
Interlocutores: Nikos Papastergiadis, Raimond Chaves
Desigualdad, crisis y guerra son situaciones recurrentes asociadas con el ‘Sur'. Lo que se deja de lado en dichas revisiones es el nivel de experiencia que producen las situaciones y que, dependiendo del lugar, acontecen, se articulan y entienden de distintas maneras.
La clínica tiene como intención cuestionar ‘críticamente los fundamentos de estas experiencias y evaluar la profundidad de su inscripción en una lógica y una praxis verdaderamente cuestionadoras de la dominación'.
Interlocutores: Ana Longoni, Magdalena Jitrik
Monday, 26 January 2009
Sunday, 25 January 2009
Saturday, 24 January 2009
Friday, 23 January 2009
23 Jan – 26 Feb 09
The Agency is pleased to present the second solo exhibition of works by Ludovica Gioscia. After her successful exhibition in S.T.O.R.A.G.E Gioscia returns with a large-scale installation piece and new wallpaper sculptures. Gioscia’s works engage with mise-en-scene, scaled down architecture and scaled up fashion elements. Taking her cue from the baroque and in a wider sense all things exuberant, playful or variational, she creates wall sculptures and whole environments with ephemeral materials such as printed paper, silks and lightweight wooden screens. Akin to models, which in their semi- human scale take on a life of their own, the works are always one finely balanced step away from destruction or being dismantled. Dainty, seductive and with multiple and complex iconographic references they speak of a grandeur which can be folded away, ripped off the wall or blown over. Yet, their joyous and colourful essence belies the underlying destabilisation they actually represent.
Tiger Economy is the chosen title for this show and title of the installation, a much apt nod to the current status of financial turmoil as well as to one of her cultural reference points, contemporary East Asia. Gioscia begins with luxury goods, such as wallpapers designed to give the appearance of opulence. Opulence such as it is found within the world of super casinos and over designed hotels with the Bellagio in Vegas perhaps is the starting point and driven to new heights in the candy coloured domes of casinos in Macao and resorts like the Atlantis Hotel in Dubai. It is a world in expectation of growing wealth expressed with newfound formalisms, which echo the excesses of the Baroque, a world which is as tempting as it is also always on the brink of ruin as this level of lavishness and with that stylistic impurity is not financially and aesthetically sustainable, although always dazzling. It is here that the dichotomy of Gioscia’s work becomes apparent. On the first glance the candy and neon coloured works are highly desirable, their titles, references and realisation stylish, fun and fashionably elegant. On second glance, whilst luscious looking and often hand-printed the materials are mere lining paper, mass manufactured wallpaper imported from China, seductive, derivative, illusionistic and in a way easily discarded. The opulent shapes of her wall sculptures inspired by the cornices of Baroque palaces and the elaborate folds of 16th century busts, Fifties cocktail dresses, Chinese and Venetian fans, are created by crunching and ripping wallpapers covered in bits of flaky paint of old and crumbling walls. Gioscia freezes a performative moment of play with the shiny simulacra of luxury as sculptures. In these, baroque motifs juxtapose with Disney figures, tasteless golden quasi-modernist wall coverings and various shades of fluorescence. The works started off as medium scale wall pieces mimicking bourgeois cabinet pieces with a twist, and have now mutated into larger “origami” structures, which attach to walls like a decorative growth or flattened architectural models. These works have been named after famous and decadent characters, be they disco diva queens, historic tyrants, or as in this new series, ‘Beheaded Monarchs’.
The installation Tiger Economy highlights another new element in Gioscia’s work. Child-scale three dimensional installations made from flat-pack screens and wooden shapes mimick the artifice and iconoclasm of the aforementioned entertainement cities. Rather than being orientalist the work embraces the architectural style, but copies it in mere outline. Wooden screens are filled with silks from Thailand and Hongkong, cut-out shapes hold wallpapers feature decorative patterns made from quotations of Liechtenstein, Picasso, Fontana. With their videoarcade type piracy the screens populate a large irregular platform, which in turn represents a comicstrip type popart shape. The work is lightweight, theatrical, camp, irreverent and no longer post-modern. Or post-modernism’s worst nightmare- it is the simulacrum and it works just fine. Despite knowing that it is no more stable than Westworld I want to believe in it, stroke it, embrace it. I too covet Babylon, Atlantis and all that glitters. So does Gioscia and we both and the audience will know that all that glitters is not gold. This is one shiny exhibition to have unashamed fun in, and that is the very moment that we also understand the critique, which is hidden under all that glitz. The great thing about art is that it still works even when consumer culture has just died.
Ludovica Gioscia, born 1977 in Rome, lives and works in London. Gioscia has shown widely internationally including recently in projects at the Jerwood Foundation and the South London Gallery as well as Tadu Contemporary in Bangkok and she is featured a/o in the book Collage by Blackdog Publishing as well as Flashart, London Calling. She is due to have further solo Shows at Sara Tecchia Gallery New York in March, Siobhan Davies Studios, London in Autumn and also will participate in a group exhibition at the Fundacio Miro in Barcelona in spring 2009.
15 A Cremer Street London E2 8HD + 44(20)7729 6249
Thursday, 22 January 2009
Dearest Friends, Cohorts, and Compatriots,
Envoy® and BrandonHermanLand® are so pleased to announce the release of the Brandon Herman Lighter that we are absolutely beside ourselves. We know how important fire is in day-to-day life, and now it looks better than it ever has before...
The Brandon Herman Lighters were created in a limited edition of 69. Priced at $199.00 each, the lighters rest gently in custom-cut red velvet cases, and were all hand-made by the artist himself (with some help from friends and family members). Every lighter is signed, numbered, dated, and comes with a certificated of authenticity and instruction manual.
Due to pre-orders, only 19 are left, so please act fast! Trust us, you won't be happy until you have one.
Orders can be sent to Studio@BrandonHermanLand.com.
Brandon Herman is represented by Envoy, New York, NY.
Wednesday, 21 January 2009
(reposted from Matthieu's blog http://globaldemix.blogspot.com/)
Tuesday, 20 January 2009
Monday, 19 January 2009
Sunday, 18 January 2009
Diane Pernet goes to Mexico to present 'A Shaded View of Fashion Films', invited by EGR/clinica store, here photogrphed in Teotihuacan.
Thursday, 15 January 2009
Baltic, Newcastle Upon Tyne,
Friday 16 January – Sunday 15 March 2009 (opening Friday 16/01)
A Spoken Word Exhibition is composed of worded artworks (artworks only made of words to be spoken), to be read by BALTIC Crew members to visitors who ask to hear the pieces.
Acting as a voice when addressed throughout the building, the Crew repeat the words, sentences or paragraphs, the texts or haikus as written and instructed by the invited artists. Not performing, only using language through the act of reading, the works are available only on demand, initiating an exchange between visitors and BALTIC Crew.
The exhibition inhabits the realm of the spoken word, addressing the possibilities of art, memory & exhibition making. The exhibition is constituted of artworks that are to be spoken and exchanged as a verbal gesture from one person to another. Artworks that only last for the time it takes to read them, generating ultimately an exhibition that only lasts for the time it takes to listen.
A Spoken Word Exhibition is an exhibition of the same nature & material as that of the artworks that constitutes it, which are words. Contributing artists are Vito Acconci, Fia Backström, Robert Barry, James Lee Byars, Nick Currie (aka Momus), Douglas Coupland, Karl Holmqvist, Maurizio Nannucci, Yoko Ono, Mai-Thu Perret, Emilio Prini, Tomas Vanek, Tris Vonna-Michell, Lawrence Weiner, and Ian Wilson.
Please ask to hear the artworks.An exhibition by Mathieu Copeland
Wednesday, 14 January 2009
January 16th — February 21st, 2009
Sies and Hoke
Poststrasse 2 & 3
For his first show at Sies + Hoeke Gallery Bruggemann will show a new body of work (paintings, installation and text pieces) as “Mirrored Dollar Sign” a large spray paint directly on the wall reflecting upon the status, the value and the destination of the work of art as part of a network of material and immaterial economies. “Conceptual Decoration” a site-specific installation consists of a wallpaper with the text conceptual decoration inscribed endlessly the piece develops a verbal game between meaning and representation and buts in existential crisis the visual and the mental.
Brüggemann’s work combines a conceptual practice with a rough and critical attitude that questions its inner activity at the same time as it reflects on our sociological context. Even if the artist mainly works with text, using vinyl and neon as its supports, he explores a wide range of media, creating big installation pieces, videos, paintings and drawings.
Brüggemann’s works find their essence in an odd combination between philosophical concepts (mainly grounded on post-structuralism and deconstructionism) and popular imagery, often inspired by punk ideologies and attitudes (anti-conformism, provocativeness and an cynicism) and that are often expressed through twisted tautological premises, not only within themselves but also in relation to the sociological and spacial context in which they are conceived and inserted.
Tuesday, 13 January 2009
Monday, 12 January 2009
January 16 - March 7, 2009
Opening Reception: January 15th, 7–9pm
What does the line between reality and fiction look like? Can an exhibition be a life-sized paper model of itself? Whose name didn’t make the press release? And if it sounds good on paper, where is the paper? These enigmatic questions locate Paper Exhibition at the periphery of the known—between paper architecture and new pages of old books. The exhibition renders the open space of the gallery as a labyrinth of folds, holes and gaps through which an exchange between the literal and the literary can happen.
Paper Exhibition began as a seminar conducted in San Francisco in 2008 entitled Kaleidoscope Room. Inspired by Jonah Freeman’s artwork, the series of class discussions drew on an open- ended inquiry: “Why are we so attracted by the missing, the lost, and the im- possible to know?” Paper Exhibition, like Kaleidoscope Room, focuses on artworks that position themselves as fragments of larger, non-documented narratives of the lost or vanished. For example, trailers of non-existent films, an examination of the identities of disappeared artists, secret exhibitions and footnotes, and objects extracted from time capsules are included. In translating the seminar to an exhibition, aspects of the conceptual framework of the show have been lost as well. Some ideas and references have evaporated in this transition, while others are still disappearing.
The exhibition includes works and performances, in order of disappearance, by:
Julieta Aranda / Olivier Babin / Fia Backström / Judith Braun / Alex Cecchetti /
Mariana Castillo Deball / Dexter Sinister / Gintaras Didziapetris / Jonah Freeman /
Aurelien Froment / Dora Garcia / Mario Garcia Torres / Mark Geffriaud /
Loris Gréaud / Morten Norbye Halvorsen / Will Holder / Pierre Leguillon /
Gabriel Lester / Marcos Lutyens / Benoit Maire / Nicholas Matranga /
John Menick / Melvin Moti / Trong Gia Nguyen / Job Piston / Pratchaya Phinthong /
Conny Purtill / Adam Putnam / Amy Robinson / Joe Scanlan / Gareth Spor /
Donelle Woolford / Joe Zane
A series of related events will take place throughout the exhibition:
Performance with Will Holder, Thursday, January 15 (during opening reception)
Hypnotic Show with Marcos Lutyens, Friday, January 23, 7pm (Please RSVP: )
Diaporama with Pierre Leguillon, Thursday, January 28, 7pm
Kaleidoscope Room with Jonah Freeman, February, DATE TBA
Please see http://www.rye.tw for details and for more information.
Curated by Raimundas Malasauskas
Sunday, 11 January 2009
THE CENTRE IS EVERYWHERE: MATHIEU AND PABLO DRINK SOME PINTS AT THE NEW CENTRE FOR THE AESTHETIC AND INTELLECTUAL REVOLUTION: THE SEVEN STARS PUB!
"We thought we were free, but we found out we are the slaves of everyone, but at least we don't have to wake up early!"
"London is like an airport, we are in a waiting lounge waiting for our time to depart."
"It's time to Take Over!"
"Viva la Revolucion!"
From a conversation with curator Mathieu Copeland at the 'new center for the aesthetic and intellectual revolution'
Seven Stars Pub, 53 Carey Street, London, WC2
January 10, 2009