Today I received an eMail from Nana with a link to the January Paris conference that can be watched by those of us in Germany (Though i suspect the "robots" will find something to forbid us yet again).
I just watched it and it made me oddly nostalgic for this very recent special event directed by Deb Willis of New York University. It's primarily in FRANÇAIS so it will perhaps put you on your toes if this language is not part of your every day- as it also no longer is for me (to my chagrin).
The video documentary is 51minutes long and is a very well organized video documentary production. It was delightfully amusing to hear myself being translated (at around the 33min mark) and alarming to hear and see the real me (although it was a pleasure to express myself in my french/kreyol). Enjoy.
I had already mentioned this conference in an earlier post HERE with some additional links and programming information.
It has been a rather busy several months already since January before and after the trip to Paris for the Black Portraiture(s) Conference. I was able to collect the works from the recent exhibition DRIFTING at the Haus der Kulturen der Welt here in Berlin organized by Visual arts director Valerie Smith and Magdalena Wiener. Most of February was filled with a perspective changing journey through various African countries (Ghana, Togo, Angola, Sao Tomé e Principé, Namibia and South Africa. Benin, Congo and Luanda and a second stop in Namibia were lost in the triage of time and safety) as guest of C.Thompson via the luxury cruises of Travel Dynamic International where she lectured. At the moment I am juggling a variety of projects that span from now through the end of 2014. I am looking forward to Valerie Cassell-Oliver's Radical Presence exhibit which displays the imaginary postcards from the Negerhosen2000 series entitled the Travel Albums will shift from the CAMH in Houston to The Studio Museum in HArlem and Grey Art Gallery iof NYU before finally ending up at the Walker Art Center. Here is an online review of particular interest. And I was delighted to see the Journal from Duke University publish an interpretive essay by J.Philogene on the nature of that project. And do please pre-order your issue of No.7 from ARC Magazines special feature this spring 2013 focused on my artistic practice via an extended illustrated interview. Find ARC Mag here at : http://arcthemagazine.com/arc/
I have been developing some digital sketches and proposals for the re-installation of "The Goddess Constellation / Sky Above Port-au-prince Haiti 12 January 2010 21:53 UTC" in various spatial configurations such as in a ruin or an existing museum or a community space or a non art venue such as a castle or villa.
While in Africa i missed the opportunity to meet with the Haitian filmmaker Raoul Peck whose work i have marveled at at been deeply touched for years. His new film on NGOs in Haiti was to be filmed at the Berlinale and a close friend Wieland had the intention to make the introduction of two committed creative workers who share this small nation as our HEIMAT. My father has studiously kept his eye on many things and was kind enough to share with me Monsieur Pecks important work entitled "L'Assistance Mortelle" (= Mortal Assistance/Lethal Help) currently on view through Arte online here in Europe.
I can say with certainty that no other film has embraced the complexity of the subject as this film has
Here is the link below: (Note this may be a time sensitive link as most Arte programs are.) it is 95minutes long in a mix of english, french, kreyol and i believe an option for french/german subtitles.
As an aside there are various other online programs which have covered the topic- but with a distance that falls short of the true complexities Mr.Peck embraces successfully.
Can one man's unlikely tourism plan help turn around the country's economy?
Here is an AUDIO report via the BBC entitled "The Truth About NGOs". You may listen to it here: http://www.bbc.co.uk/i/p00mmnqy/
And finally Al J who should know better than starting their first sentence "Haiti one of the most impovrished countries in the world..."
"Paris. an internationally key and highly influential Western space in all things concerning the arts and modernity, is the perfect stage for Black Portraiture[s]: The Black Body in the West, the fifth in a series of conferences organized by Harvard University and NYU since 2004. Black Portraiture[s} explores ideas of the production of self-representation, desire, and the exchange of the gaze from the 19th century to the present day in fashion, film, art, and the archives. How do these images, both positive and negative, define, replicate, and transform the black body? Why and how does the black body become a commodity in the global marketplace and what are its legacies? Also, importantly, what are the responses and implications? How can performing blackness be liberating for performer and audience? How the black body has been imagined in the West has always been a rich site for global examination and contestation. The depiction of black peoples often has been governed by prevailing attitudes about race and sexuality. The conference will draw on the ideas and works of leading and emerging writers, photographers, scholars, artists, curators and filmmakers of our time and will include a broader discussion of Africa in the popular imagination."
I showed this two-chanenel video clip "simultaneously" as a preface to part of my presentation at the BLACK PORTRAITURE(S) Conference in Paris.
I am not certain how to myself summarize this four day event- which Manthia Diawara, the director of Africana Studies of New York University, said in his opening remarks was the first time since 1958 that such an event has happened in Paris (and Rome that following year). He mentioned how the work of Franz Fanon was virtually still unknown in his native France, a statement that was meant to - and successfully did- stun the hundreds of international academics. The key organizers have been Henry Louis Gates Jr. of Harvard's W.E.B. Dubois Center and Manthia Diawara of NYU'S African Studies, but as Manthia also pointed out in his opening remarks- he has been understandably distracted by the current violence in his birthplace Mali and that the conference is in fact fully in gratitude to Deborah Willis director of Tisch School of the Arts, NYU and her team who have successfully organized this massive conference that will take place at L'école superieur des beaux arts, the Sorbonne's Paris 7 and at the Musée Branly over four days.
I was scheduled to make a presentation of my work in a panel entitled "BLACK BODIES: LIVE AND UNCENSORED" organized and moderated by SCAD (Savannah College of Art and Design) director and chief curator Isolde Brielmaier with creative colleagues: Lyle Ashton Harris, Elizabeth Colomba, Simon Njami, Daniele Tamagni and Carrie Mae Weems.
The basic premise for my own presentation of my work was the underlying trend from "embodiment" to the "disembodied".
Beginning with the enigmatic (a) Burqa project
> to the (b) Negerhosen2000
> to my use of a (white) body for "hire" in (c) White Lessons
> to the body of the audience of (d) The Passion
> to the metaphor of gesture in the Goddess' (e)*Butterfly-Fans
> and finally to the disembodiment and destruction of body in the Goddess Constellation's (f) Sky Above Haiti ...
The emblematic image used for the Black Portraiture's conference was by the Angolan conceptual artist Kiluanji Kia Henda entitled "Merchant of Venice" It was very well publicized including new platforms such as UPRISING Contemporary Caribbean Art who had conducted an interview with me last year in 2012 during the Kunsthal KAdE exhibition in Amersfoort NL. A great resource for all things visual (including Caribbean DNA) is ARC Magazine, click HERE for their quick summary of the overall experience soon after this Paris event. Another ARC magazine review of a specific panel is HERE.
A 51minute presentation may be seen online by going to: www.youtube.com/user/bworldconnection (unfortunately it may not be viewed Germany due to copyright conflicts)
PARIS 4DAY CONF SCHEDULE_ Event Date and Time:
January 17, 2013 – January 20, 2013
École Nationale Supérieure des Beaux Arts Paris 7 University, Amphitheater Musée du quai Branly
PARIS January 17 – 20, 2013
THURSDAY – école nationale supérieure des beaux-arts
14 Rue Bonaparte
Amphithéâtre 1 / Bâtiment des Loges (A)
Salle de conférences/Palais des études (SC)
9:30 AM – 4:00 PM REGISTRATION
10:15 AM – 10:30 AM (A) GREETING
Cheryl Finley and Deborah Willis, organizers
10:30 – 11:00 AM WELCOME BY THE ORGANIZERS (A)
Henry Louis Gates, Jr. (in Sierra Leone), Nicolas Bourriaud, Manthia Diawara, Jean-PaulColleyn, Awam Amkpa, Lydie Diakhaté
11:00 – 12:00 PM OPENING PLENARY SESSION (A)
Jean-Pierre Dozon and Jean-François Chevrier, moderated by Noemie Oxley
12:00 – 1:00 PM LUNCH BREAK
1:00 – 1:45 PM SPECIAL GUEST SPEAKER (A)Lilian Thuram
2:00-3:30 PM EXOTISME ET AMBIGUITÉ, EXOTICISM AND AMBIGUITY (A)
Jean-Paul Colleyn, Nathalie Coutelet, Sylvie Chalaye, ChristineDouxami, Pascal Blanchard
2:00 -3:30 PM THE IMAGINARY AND THE BLACK BODY (SC)
Kalia Brooks, Anne Lafont, Michelle Stephens, AdrienneL. Childs, Alissandra Cummins, Allison Thompson, Gunja Sen Gupta, Tuliza Fleming
3:30 – 3:45 PM COFFEE BREAK / PAUSE CAFÉ
3:45-5:15 PM (T) IN THE COLLECTION: MUSEUMS AND THE ARCHIVE (A)
Dominique Malaquais, Françoise Vergès, Bogumil Jewsiewicki,Justin-Daniel Gandoulou, Prune Helfter, Christine Barthe, NgaireBlankenberg
3:45-5:15 PM MIRROR MIRROR: THE STEREOTYPES (SC)
Lydie Diakhaté, Michele Wallace, Diagne Chanel, Nora Chipaumire,
Léonora Miano, Rokhaya Diallo, Trica Danielle Keaton
FRIDAY – Université Paris Diderot - Paris 7
15 rue Hélène Brion - 75013 Amphithéâtre Buffon
9:00– 5:00 PM REGISTRATION
9:15– 9:30 AM WELCOME
Jean-Paul Colleyn and Manthia Diawara
9:30 – 11:00 AM MEMORY & NOSTALGIA: THE ARCHIVE IN
THE BLACK BODY
Cheryl Finley, Pamela Newkirk, Roshini Kempadoo, Celeste Marie
Bernier, Brendan Wattenberg, Renée Mussai
11:00 – 12:30 PM ROUNDTABLE – BLACK BODIES: LIVE AND UNCENSORED
Isolde Brielmaier, Ph.D., Simon Njami, Carrie Mae Weems, Elizabeth Colomba,
Kader Attia, Jean-Ulrick Désert, Lyle Ashton Harris, Daniele Tamagni
12:30 – 1:30 PM LUNCH BREAK
1:30 – 3:00PM "MIX-UP, MIX-UP": NIKKI MINAJ, RIHANNA AND OTHER
(MIS)READINGS OF PLEASURE, FEMININE ARTIFICE, BLACK-CARIBBEAN-AMERICAN
DIASPORIC PERFORMANCES IN POPULAR VISUAL CULTURE
Joan Morgan, Kevin Browne, Kimberli Gant, Treva Lindsey, Mark Anthony Neal
3:00 – 3:15 PM COFFEE BREAK / PAUSE CAFÉ
3:15-4:45 PM SWEET SWAGGER: EXPLORING REPRESENTATIONS OF BLACK STYLE, BEAUTY AND GRACE
Sandra Jackson-Dumont, Robert O’Meally, Mimi Plange, Ekua Abudu, Michaela angela Davis,Catherine McKinley, Katell Pouliquen, Anna Arabindan-Kesson
4:45-6:15 PM SHOW UP TO SHOW OUT: THE RISE OF GLOBAL BLACK DANDYISM
Shantrelle P. Lewis, Michelle Joan Wilkinson, Monica Miller, AllisonJanae Hamilton, Michael McMillan, Ylva Habel
SATURDAY – musée du quai Branly
37 Quai Branly
Théâtre Claude Lévi-Strauss (TCL) and Salle de cinéma (SC)
9:30- 5:00 PM REGISTRATION
9:30-9:40 AM WELCOME
Anne-Christine Taylor-Descola, musée du quai Branly
9:45-11:00 AM (TCL) (IL)LEGIBILITIES: WHAT MAKES THE BLACK BODY READABLE?
Awam Amkpa, J. D. Ojeikere, Renée Cox, Heike Behrend, James Barnor,
Angèle Etoundi Essamba, Kiluanji Kia Henda
9:45-11:00 AM (SC) INTRICATE INTERSECTIONS: BLACK APPARITIONS IN IMPERIAL EUROPE
Yemane Demissie, Idrissou Mora-Kpai, Temi Odumosu, Maaza Mengiste, Artwell Cain, Paul Kaplan, Dell M. Hamilton
11:00-12:30 PM (TCL) CURATING THE BLACK BODY
Lydie Diakhaté, N’Goné Fall, Xuly Bët, Elvira Dyangani Ose, Nadira Laggoune
11:00 – 12:30 PM (SC) BLACK EROTICS: NEW THEORIES ON RACE AND PORN
Nicole Fleetwood, Carla Williams, Mireille Miller-Young, Jennifer, Christine Nash, Jafari Allen
12:30 – 1:30 PM LUNCH BREAK
1:30-3:00 PM (TCL) CONTEMPORARY VOICES: NAMING AND BRANDING THE BLACK BODY
Hank Willis Thomas, Alexis Peskine, Misa Dayson, Nana Adusei-Poku, Aja Monet, Franck Freitas and Malek Bouyahia
1:30-3:30 PM (SC) ON BEAUTY: FROM JOSEPHINE TO MAXINE
Michael Dinwiddie, Anna Maria Horsford, Dyana Williams, Horace Porter, Dominic Thomas, John Shévin Foster, Myisha Priest
3:00 – 3:15 PM COFFEE BREAK / PAUSE CAFÉ
3:15-4:45 PM (TCL) UNIVERSALIZING THE BLACK BODY
Jeff Rabhan, Jason King, Tracey Sharpley-Whiting, Ed Guerrero, Sam Pollard, Lewis Watts, Vera Grant
4:45 – 6:15 PM (TCL) BLACK OPTICS: VISUALITY, THE CINEMATIC FRAME AND
THE BLACK BODY
Michael Gillespie, Erica Edwards, Eve Dunbar, Hiram Perez, Michael Ralph
4:45-6:15 PM (SC) OUT OF AFRICA: YOUNG WOMEN BEHIND THE LENS
Shelley Rice, Jeanne Mercier, Zanele Muholi, Nandipha Mntambo, MaïmounaGuerresi, Ayana V. Jackson, Nadia Benchalla
SUNDAY – musée du quai Branly
Film Screenings in the Salle de Cinema (SC).
11:.00 – 11:15 AM Welcome
11:15 – 11:30 AM LES PRINCES NOIRS DE SAINT-GERMAIN-DES-PRÉS *
(14’, 1975) by Ben Diogaye Beye
A satire about young men who are prepared to make the most outrageous promises in order to satisfy the longings of young women for exotic experiences.
*with the support of the Cinémathèque Afrique / Institut Français.
11:30 – 12:45 PM THE IMPORTANCE OF BEING ELEGANT
(69 min, 2004) documentary by George Amponsah
This is the story of one of the most unusual clubs in the world: La SAPE. Its members, the Sapeurs, come from the Democratic Republic of
Congo and have elevated fashion to the status of a religion. Set to the soundtrack of Congo's extraordinary music, the film follows the
sapeurs’ spiritual leader, Papa Wemba, the world-famous musician known as ‘The King of la Sape’.
1:00 – 1:45 pm NORA
(30 min, 2008) documentary by Alla Kovgan & David Hinton
In the presence of Nora Chipaumire “Nora” is based on true stories of the dancer Nora Chipaumire, who was born in Zimbabwe in 1965. In the film, Nora returns to the landscape of her childhood and takes a journey through some vivid memories of her youth. Using performance and dance, she brings her history to life in a swiftly-moving poem of sound and image.
2:00 – 4:00 PM SHAFT
(100 min, 1971) by Gordon Parks - Original music by Isaac Hayes. Introduction by Ed Guerrero (to be confirmed)
An action film with elements of film noir, Shaft tells the story of a black private detective, John Shaft, who travels through Harlem and to the Italian mob neighborhoods in order to find the missing daughter of a black mobster.
4:15 – 6:00 pm MONA LISA
(1 hr. 44 min., 1986) Drama Directed by Neil Jordan
Bob Hoskins plays George, a tough but basically goodhearted British mob flunky, recently released from prison, where he'd served a term to cover up for his gangster boss (Michael Caine). Still willing to be
everyone's doormat, George agrees to act as chauffeur for Simone
(Cathy Tyson), a haughty, high-priced call girl.
It is FINALLY demolished. It should not have been demolished in my opinion. It should have been preserved AS a RUIN. The conscious effort to erase significant symbols is always a mistake.
Posted: 28 January 2010 0721 hrs
PORT-AU-PRINCE: Haitian President Rene Preval said Wednesday France has offered to rebuild the ruined presidential palace, whose collapsed cupola has become a symbol of the devastated quake-hit nation.The French "ambassador has told me that France is ready to rebuild the national palace as it was," Preval told a press conference at the government's temporary headquarters near the airport. The imposing white domed building, designed by the Haitian architect Georges Baussan, was constructed in 1918 during the time of the American occupation, and was modelled on the White House, guide books say.
According to wikipedia (20.Dec2012 here are some details about this building: wikipedia The National Palace presently occupying the site was designed in 1912 by Georges H. Baussan (1874–1958), a leading Haitian architect who graduated from the Ecole d'Architecture in Paris and whose commissions included the City Hall of Port-au-Prince and Haiti's Supreme Court Building. He was a son of a former Haitian senator and the father of Robert Baussan, an architect who studied under Le Corbusier and later became the country's Undersecretary of State for Tourism. Baussan's classical design was chosen from a range of plans submitted by Haitian and French architects in a national competition in 1912, His entry was awarded the second-place prize but also was selected to be the new National Palace, for financial reasons—the structure proposed by the first-place winner was deemed too costly.
The construction budget for the new palace was set at $350,000 and work began in May 1914.By 1915, however, the under-construction palace was set ablaze by a mob that ousted and assassinated President Vilbrun Guillaume Sam. A contemporary news report stated the palace "has been partially destroyed after an early-morning attack which lasted several hours". After President Sam's death the country was occupied by the United States, with American forces taking possession of the palace and U. S. naval engineers overseeing its completion. The building was finished in 1920. Georges H. Baussan's 1912 design for the National Palace of Haiti.
John Dryden Kuser, a wealthy American who visited Haiti in January 1920, described the new National Palace as "a huge structure, quite like a palace in appearance .... It is more than twice the size of thw USA White House and is shaped like the letter E, with the three wings running back from the front. In the main hall huge columns rise to the ceiling and at each side a staircase winds up to the second floor". The primary rooms, Kuser noted, including the office of the president, were all about 40 feet square.
Like other public buildings in Haiti, Baussan's National Palace drew on the tradition of French Renaissance architecture and greatly resembled structures erected in France and its colonial territories during the late 19th century, such as Norodom Palace, the residence of the French governor general of Cochinchina. Made of white-painted reinforced concrete, the two-story National Palace had a central section featuring a domed entrance pavilion whose four Ionic columns supported a pedimented portico; at either end of the main façade were matching domed pavilions, also groined.The presidents and their families lived in the south wing of the building. Le Palais national d'origine, bâti sur ce site, fut détruit lors d'une révolte en 1869 qui renversa le gouvernement du président Sylvain Salnave. Le second Palais national a été détruit quant à lui en 1912 lors de l'explosion d'une poudrière au niveau du sous-sol. Cette explosion tua aussi le président de l'époque, Cincinnatus Leconte, un an et un jour après son investiture, ainsi que plusieurs centaines de soldats. Cependant, la famille du président Leconte a pu s'échapper indemne
Le Palais national actuel fut construit en 1918 sur les plans de Georges Baussan (1874-1958), un architecte haïtien de premier plan, fils d'un ancien sénateur, et qui avait étudié à l'école des beaux-arts de Paris. En 1929, un visiteur décrira Baussan comme « une griffe, c'est-à-dire de couleur de peau brune, mi-chemin entre noir et mulâtre ; il était au-delà de la quarantaine, un homme large, lourd, beau, avec des moustaches délicates, cheveux frisés ; dans son visage intelligent, il avait une expression d'une tristesse voilée, qui, combinée avec sa grandeur et la légère teinte jaune dans les blancs de ses globes oculaires, me faisait penser à un tendre chien Saint-Bernard »
Comme d'autres édifices publics d'Haïti, le Palais national de Baussan puise sur la tradition de l'architecture classique française et ressemble grandement aux structures érigées en France métropolitaine, ainsi que dans son Empire colonial pendant la fin du XIXe siècle, incluant l’Hôtel de Ville de Port-au-Prince, une autre création de Baussan. Avant le tremblement de terre, le bâtiment possédait trois étages et son pavillon d'entrée était constitué d'un portique avec quatre colonnes ionique. Le toit avait trois dômes et aussi un bon nombre de chien-assis. Le palais est entièrement peint en blanc.
Yesterday i took 25 minutes to watch a cinematic work by Werner Herzog.
I am very taken by this minimalist work and have been impressed by every piece i have seen by this German filmmaker.
I stayed up all night unable to sleep thinking about this film and how it operates as a work of art that is simultaneously critical and personal and universal- key elements, in my assessment, necessary in a great work of art. This work brings up the topic of sufferance and makes me recall a text by the New York based art-critic Peter Schjeldahl who wrote about it as necessary element in the experience of the artist in order to create great work. I have for years been appalled at his statement and dismissed them as artistic romance.
I must now confess, under the analysis of piercing interviews, that there is an undeniable kernel of truth within this notion of pain. I have unwittingly used art to exorcise pain, great or small, as a catalyst for comprehending a complex set of seemingly disparate events in the worlds i inhabit.
The death of an estimated quarter of a million people with whom i share my Heimat is encapsulated in my Sky Above Haiti / Goddess Constellation. The horror of watching New York's September eleven attacks found its exorcism in the Burqa Project: On The Borders of My Dreams I Encountered my Double's Ghost. The trauma of being attacked in the streets of Berlin birthed the Negerhosen2000 projects.
Perhaps for now I wont lay out the genesis of my works since this is ultimately less important that the work itself and its ability to transmit authentic experience through the a poetic lens. It is that captured authenticity in the art as vessel that will persist and carry an experience through time.
(To be continued)
(Youtube description:Pilgrimage is a 2001 short documentary film by famous Germany director Werner Herzog. Accompanied only by music the film alternates between shots of pilgrims near the tomb of Saint Sergei in Sergiyev Posad, Russia and pilgrims at the Basilica of Guadalupe in Mexico. The score was composed by John Tavener and performed by the BBC Symphony Orchestra with vocal accompaniment by Parvin Cox and the Westminster Cathedral Choir.) Today I received a poem from my father. A poem by René Dépestre (a bio on this poet can be found on my friend Thomas' website ile-en-ile)
Au rendez-vous de la vie
Dans une main je tiens mon droit à l’amour
et dans l’autre mon billet pour Berlin
D’un côté de mon coeur resplendit le ciel de ma Patrie
et de l’autre luisent comme des graines
dans l’avant jour d’un fruit
les yeux de tous les enfants du monde.
Mais avant de mettre le cap de mes espérances
sur l’air de Berlin
je veux faire le tour de mon ami Manuel
Je veux faire le tour de l’homme qui se lève chaque matin
avec la première goutte de rosée
bien avant que les coqs s’allument
dans la fraîcheur des arbres
L’homme qui n’a jamais dormi dans un lit
l’homme qui se rase avec un tesson de bouteille.
Je veux que sa voix de paysan souffle en poupe de la mienne
et enfle mes voiles comme un vent de pleine mer.
Dis-leur que depuis trois ans
les oiseaux ont changé de plumage
et les poissons d’écailles.
Mais que ma négresse n’a pas changé de robe
que ma fillette est morte le mois dernier
parce que je n’avais pas les sous pour la quinine
que la pluie rentre par le toit de ma maison
pour me voler la lueur de ma lampe
et abîmer la natte de mes amours.
Ne manquez pas de leur dire
que si mon foyer prend l’eau
si ma négresse doit rester nue le jour qu’elle lave sa robe
si au lieu d’une poupée ce sont les fourmis et les vers
qui tiennent compagnie à ma fillette
c’est à cause des actions que le drapeau étoilé
prend sur chaque goutte de ma sueur
afin de régler la note des grenades et des fusils.
Dis-leur que la vie de mon peuple
est un monolithe de peines
d’une coulée de ténèbres comme une lame tranchante d’épée.
Dis-leur que mon peuple ne sait pas consulter une montre
mais parvient à lire l’heure
d’après la profondeur de la faim dans ses entrailles
d’après l’intensité du sommeil contre sa rétine.
Il est midi dans mon ventre
il est minuit dans mes yeux.
Dis-leur que mon peuple ne sait pas compter jusqu’à mille
ne sait pas que la terre tourne.
Dis-leur que nos fins de mois sont aussi closes que des portes de prison.
Je vais à Berlin pour que soit mis l’embargo
sur la faim de mon peuple
l’embargo sur ses menottes sur son grabat
sur ses larmes et ses frissons de malaria
pour que le Dieu dollar cesse de verrouiller
la chanson radieuse de son visage
pour que sa misère ne soit plus à perpétuité
condamné au régime du secret.
Je vais à Berlin pour que la paix
garde toutes ses feuilles et ouvre ses bras
à la vie de tous les peuples
et comme une semence de clarté
dénoue chaque bourgeon de leur avenir.
Je vais à Berlin dans le sillage du printemps
pour que les lendemains de tous les hommes
soient ruisselants de lumière
et que jaillisse ( le pain) le vin le plus rouge de la fraternité
René Dépestre / Poète haïtien, prix Goncourt - vit en France
Tomorrow awaits the embrace of yesterdays experiences
One component of my artistic contributions for the "Who More Sci-Fi Than Us" exhibition initiated by Nancy Hoffman as guest curator for the Kunsthal KadE was a simple take away: A "Passport" , an invitation to join a geographically borederless and expanding CARIBBEAN CREATIVE COMMUNITY AND DIASPORA such as myself and all the other artist participants for the exhibition. Our passports that mark our geographical identities represent an aspect of our invisibility as well as our liberty.
Some of the Photos posted on this Diary/Blog are from the two Passport actions where the artist officiated and authorized these documents with his stamps and signatures. The other photos are the new holders. some are on site whilst others were posted on social networking websites such as FB.
The photos from this posting include Caribbean Creative Community and Diaspora passport holders in:
New York City (Shawn R.),
The Dominican Republic (SaraH),
Trinidad (Chris C.),
Saint Vincent (HollyB.).
I will of course add a Photo of anyone who takes a self picture with them "holding" their CCC&D Passport
A long week of diligent work and focus by many involved at and around the Kunsthal Kade in Amersfort brought to fruition a rather splendid show.
The main Exhibtion link is http://whomorescifithanus.nl/
The Artist panel discussion took place the next day- A young brilliant writer/poet with a wickedly quick mind put together his "notations" into a wonderful rambling text citing our salient points of the discussions and arguments.
the full text by quinsy Gario is called "Nets Have Many Holes"
This springtime 2012 has been very full for me after spending nearly a month in New York City- mostly with family/friends and some brief but necessary interview work for some articles later in the year.
I was delighted to see several art related events most notably an exhibition by Lorraine O'Grady at Gray Associates Gallery in Chelsea (where I had just missed Coco Fusco's recent show there but was fortunate to see here here in Berlin for s tremendous lecture she gave at the I.C.I. at Pfefferberg )
I arrived to Berlin tired and relieved after the first occasion of a New York alienation I had not known before. Much has changed in New York, and it is more beautiful, but I remain suspect at the many questionable details where the devil may lay.
AUFBAU in German means to "build up" - in English we tend to say or call the neccessary period before an exhibition opens the "installation" period. The Upcoming Aufbau of Nancy Hoffman's show would need to take priority in all my scheduled things in Berlin. Back in Berlin my skype meetings and email correspondences with Nancy Hoffman where clear and concise with each one of us wanting to make it "easy" (but wonderful) for her upcoming project " Who More Sci-Fi Than Us? Contemporary Art from the Caribbean" at the Kunsthal Kade in Amersfoort Netherlands where I know a nice couple since last year on Terschelling Island at the Wierschuur . The title is cited from a Juan Diaz novel of a young Domincan man living in manhattan's Washington Heights neighborhood (where i stayed with Thomas Spear and his partner for one night in April)
Late April and most of May 2012 has just been a laser-focus on making all the necessary elements work for the new project/commission of "Who More Sci-Fi than Us?" Within this short period of time I needed to generate a new constellation that would reflect the precise moment of Haiti's recent and devastating earthquake in January of 2010.
We also discussed creating a public project. something that could be produced at a reasonable cost and serve both the purposes of PR as well as my general interests in creating a work that is familiar but loaded with a poetic gesturet hat can literally be taken away. I proposed a "Passport" one that reflected a sense of this expansive community rooted in some way to the Caribbean. It would be created in the approximate size of a real passport 8the dutch one being a model) in similar colors and with a similar seriousness given to this document that rules the lives of billions on our planet today. The parameters of budgets being what they are - my desire for the passport "pages" to be rainbow colored did not come to fruition but they are very acceptable none the less (it was important that the pages not be white. Blue was a nice and acceptable alternative)
I saw this film many years ago and I found it very interesting in all its details. "Haiti" seems to arise from nowhere in the film- other than as a strong "symbol" for black sovereignty and pride (yet caged). Nothing is ever explained- but it is one of those artistic devices in which it stands in easily for the volumes of history and perceptions that can not be said. Josephine, like Hanna Schygulla in Fassbinder's Mariage of Maria Braun (1979), represents more than a person but stands-in for a large symbol of state and culture.
I Know Why The Caged Bird Sings (Maya Angelou) The free bird leaps
on the back of the win
and floats downstream
till the current ends
and dips his wings
in the orange sun rays
and dares to claim the sky.
But a bird that stalks
down his narrow cage
can seldom see through
his bars of rage
his wings are clipped and
his feet are tied
so he opens his throat to sing.
The caged bird sings
with fearful trill
of the things unknown
but longed for still
and is tune is heard
on the distant hillfor the caged bird
sings of freedom
The free bird thinks of another breeze
an the trade winds soft through the sighing trees
and the fat worms waiting on a dawn-bright lawn
and he names the sky his own.
But a caged bird stands on the grave of dreams
his shadow shouts on a nightmare scream
his wings are clipped and his feet are tied
so he opens his throat to sing
The caged bird sings
with a fearful trill
of things unknown
but longed for still
and his tune is heard
on the distant hill
for the caged bird
sings of freedom.
A notable essay to footnote from The Scholar and Feminist Online /Published by The Barnard Center for Research on Women,by Felicia McCarren "The Use-Value of 'Josephine Baker'"
But where is the "Cage"? one might ask. Why am i bringing these various disparate things together? There are a variety of cages- some golden, others not, from my viewpoint.
In the Mid 1980s I presented an analysis as part of my Cooper Union Thesis project. At the center of this thesis was (the late) Josephine, not merely her biography, but rather what she seemed to "represent" for large masses (the French, the francophone world (I would find it fascinating to know with some certainty Frantz Fanon's reflections on "la Baker"), Americans, black-americans, The Germans, Europeans over-all and so on) My thesis took as it's secondary focus a work of artistry (and sofistry) by the Austrian architect Adolf Loos (then with a practice in France and a competitor of the Swiss starchitect le Corbusier) a "House for Josephine Baker" (the location of which I only recently discovered during a work grant from the Kulturstiftung des Länder in Berlin). One of the upcoming Goddess Projects will use this Austrian's house as it's point of entry and departure. The cage in the film sequence above and its conflation with Haiti is perhaps understood metaphorically when reads between the lines of what consitutes the construction of a cage in Noam Chomsky's lecture on Haiti:
Just got off the telephone with "mediator" Nancy Hoffman who is curating an exhibition in Amersfoort (The Netherlands) at the KAdE Kunsthal with artworks by me and our Caribbean diaspora's creative-community.
I have proposed and will create, as the part of the Goddess Projects, a new work entitled The Goddess Constellation / Sky above Port-au-Prince Haiti 18°32'21"N 72°20'6"W 12 Jan 2010 21:53 UTC
This will reflect the position of the stars the moment the earthquake devastated Haiti in January of 2010 where up to 300,000 people lost their lives and limbs.
The exhibition is entitled 'Who More Sci-Fi Than Us, hedendaagse kunst uit de Cariben’ and is taken, in part, from the novel by the Dominican born writer Junot Diaz's The Brief Wondrous Life of Oscar Wao
"On January 12, 2010 an earthquake struck Haiti. The epicenter of the quake, which registered a moment magnitude of 7.0, was only fifteen miles from the capital, Port-au-Prince. By the time the initial shocks subsided, Port-au-Prince and surrounding urbanizations were in ruins. Schools, hospitals, clinics, prisons collapsed. The electrical and communication grids imploded. The Presidential Palace, the Cathedral, and the National Assembly building—historic symbols of the Haitian patrimony—were severely damaged or destroyed. The headquarters of the UN aid mission was reduced to rubble, killing peacekeepers, aid workers, and the mission chief, Hédi Annabi.
The figures vary, but an estimated 220,000 people were killed in the aftermath of the quake, with hundreds of thousands injured and at least a million—one-tenth of Haiti’s population—rendered homeless. According to the Red Cross, three million Haitians were affected. It was the single greatest catastrophe in Haiti’s modern history. It was for all intents and purposes an apocalypse."
SOURCE: Junot Díaz - "Apocalypse / What Disasters Reveal" http://www.bostonreview.net/BR36.3/junot_diaz_apocalypse_haiti_earthquake.php
In this blog are several interesting references. An interesting documentary film on Haitians symbolic National Palace (Palais national) which I had used years ago on the outset of my auto biographical work The ABCs of My Private Life. My contention has been that the Palais National should be preserved as ruin and never reconstructed. There is also a link to historical data on seismic activity in the Caribbean basin.
The Goddess series takes up the idea, in part, that science is the new religion and that a mysticism of science will emerge- thus these become the endless critical documents of our new belief systems.
Groups such as ISPAN (Institut de Sauvegarde du Patrimoine National) Most certainly are interested in reconstruction efforts:
Dimanche, 18 avril 2010 13:08
Haiti-ISPAN: Recommandations pour l'avenir du Palais National
Le groupe constitué par l'Institut de Sauvegarde du Patrimoine National (ISPAN), après consultations de divers secteurs de la société, après des consultations techniques sur l'état de conservation du Palais National, formule ses recommandations.
1. Nécessité de prendre en compte les valeurs exceptionnelles du Palais National, en tant que monument historique à part entière :
• Le Palais national construit entre 1913 et 1922 selon les plans de l'architecte haïtien Georges Baussan est, sans conteste, l'expression la plus achevée d'une grande période de l'Architecture en Haïti et est probablement un des plus bel exemple d'architecture néo-classique transplantée en Amérique.
• Les qualités plastiques, architecturales et architectoniques du Palais National en ont fait un des bâtiments les plus importants de l'histoire de l'architecture en Haïti. La réussite architecturale du Palais National tient à la combinaison des deux composantes principales : d'une part, la spontanéité de son assentiment à l'architecture néoclassique, associée à une générosité dans la distribution et le positionnement des espaces, un constant souci de la commodité, une quête permanente de la lumière, une rare précision dans le dessin, et d'autre part, une réelle adaptation aux conditions climatiques.
• Réalisé en béton armé, cet édifice constitue, de plus, une avancée remarquable dans la technologie de la construction en Haïti.
• Siège de la présidence de la république depuis près d'un siècle, le Palais National est le témoin privilégié d'événements importants de l'histoire politique et sociale de la nation.
• Cet édifice possède les trois valeurs définissant un monument historique : une signification, une valeur documentaire et une valeur architecturale. Pour toutes ces raisons, le palais national mériterait largement de rester en place dans la mémoire collective.
2. Nécessité de maintenir le lieu comme siège du Gouvernement
3. Nécessité de privilégier une approche urbaine dans tout projet de restauration du Palais National et de prendre en compte son environnement immédiat. La notion de préservation du patrimoine devrait dépasser celui du monument isolée et s'étendre au quartier (Champ- de-Mars), au centre historique de Port-au-Prince et à la ville.
4. Nécessité de considérer que les exigences de la bureautique moderne s'accommodent mal au fonctionnement du Palais National. Sa restauration ne devrait envisager que les fonctions d'apparat et les activités officielles de la Présidence (réception officielle, réunion du Conseil des Ministres, etc.). a visite du monument historique devrait également être pris en compte. Les fonctions administratives et autres seraient aménagées dans de nouveaux espaces appropriés et construits à cet effet.
5. Nécessité d'élargir la réflexion et d'engager un véritable débat autour de l'avenir du Pa- lais National pour la recherche d'un consensus national sur la question de la restauration du bâtiment endommagé ou la construction d'un nouvel édifice.
Things Have been busy here in Berlin!
A small group of us Ami's have gathered together to create a networking support group called USARTBERLIN and have found empathetic moral support from our US Embassy based in Berlin. It's been some 6 plus or more months now and it will continue to be challenging to work together and expand and enrich the Berlin creative community.
We now have a website (both private and public) at usartberlin.org where we can dialogue and allow the public at large a possibility to connect with the membership and the groups activities and events. You can of course follow us on facebook .
Our first event was a presentation by one of our members, the gallerist Alexandra Rockelman who delivered a presentation in her Berlin space called Galerie OPEN by Alexandra Rockelman . Her presentation included that of an invited gallery curator as well as a junior curator exhibition summer project she hosts every year in her gallery.
Our most recent events included a private exhibition tour by one of the Getty's senior curators and art scholars Glenn Phillips for the first day of the Pacific Standard Time exhibition here at the Martin Gropius Bau in Mitte.
This week we are having several more events (private AND public) with workshops held by American curator Kathy Rae Huffman. Her "Art survival" workshops where she discusses strategies artists (particularly those working with "media" must consider.
But this weekend will prove to be the most challenging event for me and my co-organizer , artist Elana Katz Elana-Katz.com , as we have invited Kathy Rae Huffman and two very engaged director/curators in the creative Berlin community, Valerie Smith of the Haus der Kulturen der Welt HKW.de , Berlin and Annette Rupp of the Villa Aurora Villa-Aurora.org , Berlin/Los Angeles, to speak on the topic of "Cultural exchange(s)"- Cultural Exchanges in Art: Patterns, Trends, Value, and Limitations . As a member of the well known and respected Neue Gesellschaft für Bildende Kunst NGBK.de I was able to use my personal network to propose this important round table discussion to be given and hosted at the NGBK. Director Katja Hübner, curator Frank Wagner and the NGBK board approved our last minute proposal only 2 weeks ago and it's been a mad rush by me and Elana to get it off the ground (whilst doing all the other events and *our own art practices). we have been getting a steady flow of informal RSVPs and I am a tad worried the event may be packed.
Lectures can be great ways to think. It forces all of us to understand what we are doing as we communicate our practice, with words, to others.
It has a therapeutic quality as well.
The above images reflect the following;
Jean-Ulrick Désert, Infinite Island Lecture, Brooklyn Museum of Art NY organized by curator Tumelo Mosaka (2007)
Jean-Ulrick Désert, FIFA Lecture Stadtmuseum München organized by Kulturreferatmuenchen/ Munich CulturalCouncil (2006)
Jean-Ulrick Désert, W.E.B. duBois Lecture Series, American Studies program, Humboldt University Berlin(2010)
Jean-Ulrick Désert Pecha Kucha No.1 Berlin Lecture No.1 (2006)
Sara Hermann (with Jose Noceda of The Wilfredo Lam) Lectures on "Invisible Geographies" at the Havana Biennale
I participated in a 7minute lecture challenge- perhaps not unlike the the TED Lectures in the Berlin component of the Pecha Kucha Lectures (which originated in Japan).
The format is simply 22 slides with a time duration of 22seconds per slide for content narration.
These invited lectures within the academic environments are perhaps the most fulfilling for me personally because of the engagement with the students- that said, the public venues in museums are always a challenge given their public nature. I often never read a prepared "paper" given that I believe the immediacy of connecting with each particular audience is of great value. The most complex moments arise when one has an audience whose personal concerns are so removed from my own- Thus my work is challenged to speak on its own and at times expand through the lens of an audience.
Some talks have been much fun to deliver- such as my White(ness) Lessons Lecture delivered with a tongue-in-cheek tone to the American Studies Program students at Humboldt University the day following my W.E.B.du Bois Lecture http://www.whitelessons.blogspot.com/
But sometimes the table has been turned and I attend a scholars lecture where my art practice comprises part of the speakers content. In this instance I am most humbled by their study of my work within the larger context of contemporary art practice.
Notably I think of several practitioners thus far who have expressed such eloquence. Dr. Isabel Hoving of Leiden University (Netherlands) who gave the opening lecture at my White Man project at BRUCE Rotterdam . Deeply committed to semiotic theory Prof.Hoving iterated a unique Dutch cultural viewpoint about the virtues of Dutch directness which is not shared by other cultures- where the tactic of bringing something into focus is done through the margins, an analogy in her assessment of my working practice. Whereas Art theorist Jennifer Gonzales of UC Santa Cruz (US) reached a certain set of conclusions that spoke of the "emptying out of meaning" as a methodology of reinventing the familiar. I am particularly interested in Gonzales' and Sara Hermann's views as all three of us are rooted in the Caribbean experience. Ms.Hermann of the Centro Cultural Eduardo León Jimenes (Domincan Republic) speaks about my work within the locus of the Dominican experience of the Western edge, a euphemism for Haiti's enforced absence (as i often say that my artworks are often concerned with conspicuous invisibility) a concept she elaborates on in her book on the Patricia Phelps de Cisneros Collection entitled Geografias (in)visibles. I am endlessly fascinated by the work of these scholars / writers /theorists /historians as they articulate a living dialogue we are all having as cultural makers.
The Goddess Project is a large on-going work that encompasses various parts.
It encompass the Shrine of the Divine Negress Nr.1 as seen in this short video walk through at Dada Post Gallery in Berlin Germany.
The video also includes the early Goddess Constellation studies with acrylic on Gold-papers
The Shrine of the Divine Negress Nr.1 was created in such a manner so that the main transparent sections could easily travel and fold like a map.
The Dada Post Gallery space offered the possibility of hanging the panels on a custom stained "fachwerk" frame structure in parity with the former German fish-smoking factory.
It was bitterly cold at the time of the installation during one Berlin's coldest snow storms and i was often listening to Gregorian chanting in my studio. This meditative sound harkens back to my Roman-catholic childhood among nuns and monks both in Haiti and in the USAas well as my time spent as a enfant de choeur (altar boy).
Dada Post's other gallery space exhibited the work of African-american artist Paula Ross during the time frame of this installation. I was concerned about how intrusive chanting might be, though it fits perfectly with an aspect of my intent- in many of the rituals of voodoo's Loa (spirit gods) pantheon music plays a critical role.
Photo of the official opening ceremonies of the "Negerhosen2000 / Postkarten von meinen Lieben" Quivid Billboards commission, with me, Jean-Ulrick Désert (left) Munich's mayor (Oberbürgermeister) Christian Ude (center) and acclaimed German artist Timm Ulrich (right) Photograph by Mattias Reichelt, Berlin
This is a short 2,5min video-link of the "Negerhosen2000" Project redeployed into public space. I was commissioned by the Munich Buildings Council (Münchenbaureferat) and QUIVID the Public Artworks Commission.
“Negerhosen2000 / Postkarten von meinen Lieben” is, in part, a homage to two beautiful European squares: Marienplatz in Munich and Piazza San Marco in Venice. These two historic centers of human communication, exchange and transport find their modern counterpart in the Marienplatz U/SBahn station interchange below ground.
This artwork offers a large quick colorful interlude during the public's subterranean trajectories.
Postcards are the image of modern tourism and travel, mediating beautiful or memorable experiences. They are private and yet they share publicly the experience of places or events with others. This social practice persists and remains popular today.
This manifestation of the Negerhosen2000 project consists of five (5) large framed and illuminated billboards in the manner of over-sized postcards each with a selective text from the histories of proverbs most cultures collect.
It is intended that these artworks not be confused with advertisements. They promote nothing other than images of beauty, history, tradition and wisdom in various proverbs. Proverbs that are connected to a fantasy of Heimat (homeland) as is the Lederhosen costume. To this end, each of these texts is written in a style of script known as Sütterlin or Deutscheschrift (German script) not taught on grade-schools since the 1950s. This created the peculiar situation in which only a fraction of the city's population (i.e. the elderly or historian/scholars) could decipher and read the private messages presented to thousands everyday in Munich's ground-zero known as Marienplatz.
Each element used is relatively ordinary, connected to everyday experience and are therefore easily accessible to the large public both from Germany and abroad.
The primary effect lies in the visual strength of the pictures. The pictures are bold, colorful, figurative and spatial. They are collected from ordinary people who participated in the Negerhosen2000 art-action. The light-heartedness and joyful spirit elegantly dominate the secondary element of the proverbs.
The old German handwriting style Sütterlin stresses their ‘decorative’ value as opposed to the surrounding publicity messages that depend on legibility.
The five German Proverbs used read as follows: Die Gerade geht nicht über die Brücke / The direct path is not over the bridge Jeder Platz hat seinen Schatz, jeder Ort seinen Hort / Every Square has it's treasure and every Place it's refuge Jeder Vogel singt seinen Gesang / Every bird sings it own song Die Augen sind der Liebe Tür / The eyes are the doors of love Fremder Rat ist Gottes Stimme / The stranger's message is god's voice
For this phase of the Goddess Project entitled The Goddess Constellations i decided to portray the something rather abstract yet meaningful- the hour of death and transcendence.
This work marks a moment in time and space and is essentially a map of the sky above the city of Paris (see the extensive constellations diagram in this Diary posting).
Josephine Baker dies in hospital at 5am on the 12th of April 1975, a moment of destiny that in ancient astronomy would be as significant as the hour of birth.
Each star is impregnated with an image of Josephine Baker, as if to imply her transcendent return to the cosmos.
I am aware and welcome the abstract nature of the work, though i would argue that in a former time humans were extremely aware of the sky, the stars and awesome sense of the universal potential that lay within it.
The physical installation took me a bit less than a week in the gallery spaces of the NGBK in Berlin. Fortunately I had been well organized about as many aspects of this projects construction as possible. The velvet (the tone of the color, its edges, the transfer of some nearly 750 points), the support mechanisms for the fabric and each of the pins, the delineation into small / medium / large stars as perceived from the earth, the complex arguments to fabricate the tools needed to create each coin-like metal star.
This has turned out to be one of the most surprisingly photogenic projects. Surprising in the sense that a photo can easily collapse the visual spatiality we experience with the naked eye. During the opening it became a rather amusing and insightful exercise to have the visitors take self portraits with the oculus of stars. This seemingly magical experience reaffirms for me the mixture between myth and science that in part underpins the larger Goddess Project
I just took a 2 week trip to the Netherlands, Terschelling island to be specific. I stayed with some friends at a wonderful, but raw, building known as the "Wierschuur".
It rained most of the nearly two weeks and yet it seemed appropriately apropos to the situation at hand. The rain did not dampen, but rather, contextualized the hardiness necessary to survive this life.
Six months earlier I had been in the Netherlands and spent a day with a close friend Eddie who took his own life on Easter Monday. Therefore being back on his 'turf' was rather special and a way to engage in a certain closure. Time was spent being inspired at the local islands cemetery with moments of moving beauty and poetry. The text on the gravestone pictured speaks of a devastated family in which the children and the parents have died unexpectedly from a contagious illness on Terschelling island.
"...Vier offers aan den dood
in een en twintig dagen
Hoe zwaar valt mij dat kruis;
toch moet ik 't willig dragen..."
Eddie would have taken much delight in giving me a full historical overview and translation of this text.
"Four sacrifices to the dead
in one and twenty days
I am struck by how heavy the cross is;
I do bear it willingly"
I had spent much time on the topic of suicide during my LMCC (Lower Manhattan Cultural Council) New York Studio program award- where I was given an atelier in the Woolworth Building across from Ground Zero outside my window during the duration of my award. It inspired me in part to create a video loop project on the theme of romanticized death through the use of imaginary ruins- in this case the Woolworth Building. It debuted as part of the Studio Museum's (of Harlem) video program and was intended as an endless loop.
Back to the present tombstones, I am struck by the beauty of the invasive lychen on the tombstones in part reminded me of my organic "Goddess Constellations". I can't help but think that the Goddess was there...somehow.
In a recent show that included my work, there was a photograph by the afro-deutsch (afro-german) artist Philip Metz that caught my eye. A beautifully seductive photograph of himself in WHITE-face , across from a Talkberg (a mountain of talc-powder) used for the face and make up (reminiscent of the early pigment-mountains of the artist Anish Kapoor)
I am very interested in the works of artist that resemble each other and yet are completely different in intent and ultimately details.
I had created in 2000, while living and working in Paris, a project which i would call "The Hip Decadence of Seductive Glamour" as a response to my then environment of fashion-world overdose and the nagging details of its political deficits.
I collected many coins to use in a public coin-operated photo-booth located in the underground level of the "Opera" metro station in central Paris (9th Arrondisement). From my atelier at the Cité internationales des arts where i lived and worked, i started my transformation with blond wig, some fashionable digs and a good mixture of foundation make-up and rouge for the caucasian beauty market. It was all a bit absurd really, but it was an act of exasperation in my then environment. I arrived to the Fotobooth in the busyness of midday and inadvertently had left the coins at the studio and had to , in my new 'look', ask a variety of strangers for change. This was an unexpected action of sorts. Paris is an odd place where having such courage is respected and thus the photo documentation aspect of the work was able to happen. It seemed important to me at the time to create the documentation via this seemingly neutral machine in public space. The mere rock bottom paucity of it's capabilities in comparison to the dirth of highly paid fashion photographers the city of paris offers. This for me was a collaboration of sorts that would ultimately portray a rather complex cultural pathos played out with elements of race and cool.
The originals were sent to the Netherlands for a show organized by Simon Ferdinando at the time and i had them scanned and blown up to distance them from the scale of their source.
This was a huge effort from every direction. It was a great effort none the less to have done. An action, a lecture, a sculpture-installation etc.
I hadnt known much about soccer before this project but grew to really like the game and ignore it's deficits. Sometimes the museums lobby was too full with enthusiastic participants and it was good that i had been set up with several assistants for the project.
The lecture was given in a large hall in a park where the Munchners isolate their clubs. I took the time to put together a series of video excerpts on hooliganism in the game and the international nature of the madness of fan-culture from Africa to Asia to Europe, each with their own small details.