Radical media, politics and culture.


Dripht writes "Dripht's 'Mark Barnsley' available on-line

The video of Dripht's single 'Mark Barnsley' is available on-line

Red76 writes Portland/Chicago based arts collaborative Red76 will be in NYC to kick off a new project entitled NY Public Archive.

NY Public Archive will be housed at the Drawing Center (35 Wooster St.) and will serve as a space for folks to go and write and draw whatever it is that they are seeing, feeling, thinking in NYC right now. The hope being to create an archive from the material gathered of a finite period in the history of a place and time. As well to have the project serve as a framework for people to realize the potential of speaking their minds.



A group of artists in NYC are organizing a bus to go to Buffalo in support of Steve Kurtz from the Critical Art Ensemble (CAE). The demonstration will be in front of a Grand Jury in Buffalo on Tuesday June 15th, 9 AM at the Mahoney Federal Court House, Court St. Buffalo, NY.

Thus far seven subpoenas have been issued to: Adele Henderson, Chair of the Art Department at UB; Andrew Johnson, Professor of Art at UB; Paul Vanouse, Professor of Art at UB; Beatriz da Costa, Professor of Art at UCI; Steven Barnes, FSU; Dorian Burr and Beverly Schlee.

Please see the information about the CAE, the case and the peaceful demonstration attached below or visit www.caedefensefund.org.

The plan for the bus from NYC is to leave on the evening of the 14th, drive overnight to be there for the 9am hearing and return that same day to arrive back in New York City on the 15th at night. EXACT DETAILS TO FOLLOW.

"Liar's Poker"

Representation of Politics/Politics of Representation"

Brian Holmes

Basically, what I have to say here is simple: when people talk about politics in an artistic frame, they're lying. Indeed, the lies they tell are often painfully obvious, and worse is the moment when you realize that some will go forever unchallenged and take on, not the semblance of truth, but the reliability of convention. In a period like ours when the relationship to politics is one of the legitimating arguments for the very existence of public art, the tissue of lies that surrounds one when entering a museum can become so dense that it's like falling into an ancient cellar full of spider webs, and choking on them as you struggle to breathe. Now, the mere mention of this reality will make even my friends and allies in the artistic establishment rather nervous; but it is a reality nonetheless. And like most of the political realities in our democratic age, it has directly to do with the question of representation.

"Move Over, Michael Moore!"

Sheelah Kolhatkar, NY Observer

Reviewing the film documentary "The Corporation"

In the soon-to-be-released documentary The Corporation, a commodities trader named Carlton Brown stares into the camera and describes his first reaction upon hearing that two airplanes had crashed into the World Trade Center on Sept. 11, 2001.

"How much is gold up?" he wondered. "My God, gold must be exploding!" He explains that he and his clients went on to mint money as gold futures shot up and the buildings came down.

Craven attempts to capitalize on tragedy aside, corporations and those who operate them are destined to behave amorally because, well, that’s what they do, according to The Corporation, a film that won the World Cinema Documentary Audience award at Sundance and opens in New York on June 30. The filmmakers’ reasoning is simple: Corporations by their very nature are psychopathic.

Full story here.

"Searching for Truth on Monte Verità"

Dale Bechtel, Swissinfo

Ascona is Switzerland’s most popular southern resort, but
the cradle of European counterculture is only a shadow of
its former self.

Swiss-Germans and Germans come for a relaxing holiday on the
lakeside, most unaware that leading European anarchists once
tried to build a utopian society here.

Moore's Anti-Bush Film Wins Top Cannes Award

Houston Chronicle

CANNES, France — Michael Moore's controversial anti-Bush documentary "Fahrenheit 9/11" won the Palme d'Or best film award at the Cannes film festival today.

Moore's Fahrenheit 9/11, a scathing attack on the White House, was up against French director Agnes Jaoui's sharp, literate ugly-duckling tale Look at Me; South Korean filmmaker Park Chan-wook's savagely energetic vengeance saga Old Boy; and Brazilian Walter Salles' The Motorcycle Diaries, a portrait of rebel Che Guevara as a young romantic.

Moore Turns Up Heat on White House

Charlotte Higgins, Agence France Presse

Michael Moore's "Fahrenheit 9/11" is without doubt the film the Cannes film
festival crowds all want to see. And with good reason, because Moore hopes
it will bring down the US Government.

The American film-maker has hitherto kept a tight lid on the contents of
the documentary, and said only that it includes evidence of links between
the Bush and bin Laden families.

"Apocalypse Please"

George Monbiot, London Guardian

US policy towards the Middle East is driven by a rarefied form of madness.
It's time we took it seriously.

To understand what is happening in the Middle East, you must first
understand what is happening in Texas. To understand what is happening
there, you should read the resolutions passed at the state's Republican
party conventions last month. Take a look, for example, at the decisions
made in Harris County, which covers much of Houston.1

The delegates began by nodding through a few uncontroversial matters:
homosexuality is contrary to the truths ordained by God; "any mechanism to
process, license, record, register or monitor the ownership of guns" should
be repealed; income tax, inheritance tax, capital gains tax and corporation
tax should be abolished; and immigrants should be deterred by electric

Thus fortified, they turned to the real issue: the affairs of a
small state 7000 miles away. It was then, according to a participant, that
the "screaming and near fistfights" began.

Anonymous Comrade writes:

rogressive Art Institutions in the Age of Dissolving Welfare States

The new issue of the multilingual republicart web-journal is now online-

In the institutions of the art field the indissoluble link between power and resistance, as described by Foucault and Deleuze, is especially evident. Progressive art institutions try to act as buffers against the influence of state and capital on critical art practices, but at the same time function as machines of a soft instrumentalization of resistance.


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