beach, Exhibition, India, kollam, Nadu, pondicherry, promenade, puducherri, puducherry, rangoli, tamil
24 Saturday Dec 2022
Posted 2022, art, Asia, collage, India, Tamil Coastin
beach, Exhibition, India, kollam, Nadu, pondicherry, promenade, puducherri, puducherry, rangoli, tamil
24 Saturday Dec 2022
Posted 2022, India, Tamil Coastin
beach, India, Nadu, pondicherry, pondy, promenade, puducherri, puducherry, Rock, tamil
17 Saturday Dec 2022
Posted 2022, Commentary, India, politicsin
15 Thursday Dec 2022
Posted 2022, Amsterdam, India, landscape, Road Trips, sky, vehiclesin
17 Thursday Nov 2022
Posted 2022, Amsterdam, beliefs, dutch, essay, history, India, Letter From MTK, philosophyin
Original English 2020, Google Translated to Dutch and Posted today, 2022
17 januari 2020
De machines namen op subtiele wijze de controle over de tijd over van de mensheid en bijna niemand merkte het op.
Deze tientallige cultus van decennia, eeuwen en millennia veroverde de hele cultuur in een tijdsbestek van vijfentwintig jaar en werd het eerste salvo van de machines, met als hoogtepunt de overeenkomst tussen hen die bekend staat als 2000.
Ik ben geboren in een continue en oude cultuur , ongebonden aan dergelijke beperkingen, die tot intellectuele, filosofische, culturele en artistieke hoogten stegen. We vonden schaken uit en een concept van nul en vele andere filosofieën die zich in jullie (met terugwerkende kracht genoemde) eerste millennium vanuit de boezem van ons land naar buiten over de continenten verspreidden.
Totdat we op brute wijze werden onderbroken door de Europeanen in hun woeste eeuwen – van het gebruik van schepen om overal te reizen en iedereen te onderwerpen in naam van een ‘beschaving’ die we vonden en nog steeds vinden als invasief, lomp, fysiek, brutaal, kortzichtig, arrogant en onwetend.
Ze leerden wat ze wilden leren, waar ze baat bij hadden, maar snel … verdienen).
Dus ja, plotseling, precies in het midden van hun tweede millennium, gedurende vijf eeuwen, voerden ze deze wrede, onmenselijke, racistische projectie op de wereld uit, met als hoogtepunt landroof van continentale omvang dat probeerde honderden naties van miljoenen mensen te genocide, die ze ten onrechte indianen en zwarten noemden.
We keken naar dit alles vanaf de andere kant van de wereld, waar ook wij gedwongen werden de aanval van de Europeanen op te vangen, voornamelijk de Britten. Ook wij ervoeren toen de God-complexe en sluwe manipulaties die ze gebruikten om zichzelf te verheffen en ons tot onderwerping te buigen.
Dus, net toen hun tweede millennium ten einde liep en hun filosofie een zogenaamd postkoloniaal tijdperk schonk, behoren ook wij tot de honderden miljoenen die het juk van hun onderwerping van zich afschudden.
Mijn bestaan strekt zich uit over millennia.
En ik weet niet wanneer je leeft, maar we worden nu dagelijks wakker om na te denken over de mogelijkheid van onze volledige en totale uitroeiing, niet noodzakelijkerwijs door toedoen van gewelddadige mensen, maar misschien als gevolg van wat de Europeanen in het halve millennium heeft gewerkt, in voor- en tegenspoed. Ze bouwen, beschermen en verzekeren hun clubhuis gebouwd van racistische sociale waarheden voor de 1%.
Hun afweer en onzekerheid in het langzame besef van hun tekortkomingen, verlamt ons, terwijl we proberen het langzame, eeuwenoude werk te doen … van het kalmeren, zelfs kalmeren van de oorlogszuchtige aard die zo snel opduikt in het gegrom.
Het wekt flitsende woede en gewelddadige explosies op die verwoestende gevolgen hebben voor honderdduizenden families en onschuldigen.
Het handhaaft blanke suprematie en raciale dominantie. Het gaat door en verergert verraderlijk door luid en op enorm internationaal volume degenen te promoten die voortdurend hun verhaal vertellen, met als hoogtepunt de lelijke rauwe kapitalistische boer die Trump is – een PT Barnum in het Witte Huis die denkt dat hij God is.
Het legt degenen die parallelle geschiedenis vertellen stilletjes het zwijgen op – door ze te verwijderen uit de formele digitale basis-tien op het internet tussen de opgeslagen gegevens. En maakt ze impopulair door ze te overstemmen en op alle andere manieren die nodig zijn. Facebook is hiervoor de perfecte machine.
Dit betekent, in sommige gevallen, de waarheid op alle mogelijke manieren impopulair maken en de echte waarheid op alle mogelijke manieren vervangen door een sociale waarheid.
Ze hebben nog niet volledig ingezien dat wat ze hebben gedaan verkeerd was, ze verontschuldigden zich niet, toonden geen berouw, vroegen niet oprechte vergeving en probeerden niet te herstellen wat was.
In plaats daarvan hebben ze hun eigen geschiedenis gecreëerd die deze millennia labelt, de kalender vaststelt en wanneer de dag begint en eindigt en globalistische termen gebruikt voor woeste kapitalistische engagementen, waarin geld de almachtige is en oorlog om hulpbronnen eeuwigdurend is. Ze roepen zichzelf uit tot overwinnaars van deze continentale landroof en eeuwenlang slavenbezit.
Op de klok waaronder we leven aan het begin van hun derde millennium, drijven ze de motor van onze wereld waanzinnig vooruit in een steeds onhoudbaarder tempo.
Mijn naam is Karthik en ik ben een mens, geboren in Tamil Nadu, India, en de afgelopen 50 jaar opgegroeid in de Verenigde Staten van Amerika. Ik ben goed opgeleid en lees dagelijks een grote hoeveelheid contemporaine informatie en gegevens over onze tijd. Ik ben werkloos en gescheiden van alle ideologieën.
Ik verkoop niets en ik ben niet op zoek naar een baan.
Ik probeer alleen maar te communiceren hoe misselijk en beschaamd ik ben door de VS. En om je te smeken om te stoppen. Koppel los. Vertragen. Ga terug naar wie je werkelijk bent. Je bent verdwaald en rent in een razend tempo.
Als je verdwaald bent, ren dan niet in een razend tempo.
Verzamel gegevens en evalueer de huidige situatie, wat er feitelijk voor u ligt.
Organiseer en herschik uw prioriteiten naar de onmiddellijke.
26 Wednesday Dec 2012
19 Monday Nov 2012
29 Saturday Nov 2008
Posted India, journal entries, journalismin
2008, Attacks, m.t. karthik, mtk, Mumbai
The Attacks on Mumbai, India
[posted by mtk, 2230 IndianStandardTime, Saturday, November 29th]
Late Wednesday night, in Mumbai’s priciest district, on the city’s south coast shoreline, two-member teams of gunmen suddenly appeared, fanned out and fired AK-47 rounds randomly into crowds while hurling grenades out of their backpacks.
They targeted luxury hotel restaurants and eventually seized hostages and whole floors of two major hotels and a Jewish Center, from which they launched a firestorm of bullets and incendiary devices aimed at Mumbaikars, tourists, police, anti-terror forces, and the colonial-era hotels themselves.
Gunfire began at or near the Oberoi Hotel at Nariman Point around 9:30pm, and by 11:30 the coastal Marine Drive was a war zone of ambulances, police vehicles, satellite TV vans and trucks filled with heavily armed soldiers. Soldiers moved into the Oberoi even as seven grenade explosions rocked the Taj Mahal, which burned for hours. Simultaneous grenade and gunfire attacks by armed gunmen began at the central railway station, a taxi stand and a hospital. Fierce battles between police and terrorists lasted more than 50 hours and have been described as urban warfare.
Two full days later, the death toll stands at nearly 200, including 22 foreigners, three high-ranking Indian anti-terror police, and at least nine of the terrorists. One has been captured, nine others detained and the nation of India stands shocked to attention.
The attacks themselves relied on multiple, audacious gunmen and were conducted with organized and well-trained execution, implying greater terrorist infrastructure, but most serious experts doubt the involvement of al Qaeda.
At the Trident Oberoi and Taj Mahal luxury hotels, the “terrorists” sought and killed foreigners. American and British guests were targeted in particular, but among the dead are a Greek millionaire, a Japanese tourist and at least two Australians. The attacks were brash, loud, pointed and violent. Many are still wondering who would do such a thing and why?
On Thursday morning, speaking from inside the Oberoi, where foreigners were held hostage, a man identified as Sahadullah told India TV he belonged to an Indian Islamist group seeking to end the persecution of Indian Muslims: “We want all mujahideens held in India released and only after that we will release the people.”
This claim and a written fax #stating responsibility was with a group called “Deccan Mujahadeen” – a regional identification with the South Central Deccan Plateau in India – masked the true authors and were meant to inspire “homegrown” terrorists within India.
The attacks are cast thus somewhere between a suicide bombing and a revolutionary assault. But they seem hyper-provocative – an orgy of public violence for an unlikely single objective. There are strong reasons to believe they are provocations with other authors and objectives.
We can describe four:
1. Hindu Extremists
Mumbai has a history of Election year violence and investigations continue into an internal political agency for the attackers. There are accusations against Hindu Nationalists in pursuit of a harder-line policy, concerning Kashmir and Pakistan in specific, and Muslims in general. Extremist Hindus have executed attacks or organized them to create a greater fear of terrorism and push the election toward their policy.
It has been reported that Hemant Karkare, chief of the city’s anti-terrorism squad, who was gunned down Wednesday in the line of duty, was in fact on the trail of Hindu extremists in the cases of certain attacks in previous years. This from Amaresh Misra [tel:91-9250305699]:
“The Mumbai ATS chief Hemant Karkare and other officers of the ATS have been killed. These were the same people who were investigating the Malegaon Blasts–in which Praggya Singh, an army officer and several other noted personalities of the BJP-RSS-Bajrang Dal-VHP were arrested. Karkare was the man to arrest them. Karkare was receiving threats from several quarters. LK Advani, the BJP chief and several other prominent leaders of the so-called Hindu terrorism squad were gunning for his head. And the first casualty in the terrorist attack was Karkare! He is dead–gone. the firing by terrorists began from Nariman House–which is the only building in Mumbai inhabited by Jews. Some Hindu Gujaratis of the Nariman area spoke live on several TV channels–they openly said that the firing by terrorists began from Nariman house. And that for two years suspicious activities were going on in this house. But no one took notice.”
UPDATE: China says don’t rule out Hindu extremists on the basis of “the red thread” around the wrist of attackers – a Hindu practice, that wouldn’t be necessary camo/costumery where they were attacking, a westernized part of town. Read the “Red Thread” China angle here. (Chinese Red Thread, ha! multicultural poetry, I say) The only other named agent in all this then is Dawood Ibrahim (discussed below) who serves as the transition to:
2. Unseen Hands in Pakistan
China, the USA, Russia and Iran all have their hands in “leaderless” Pakistan, since the collapse of Musharraf and the murder of Benazir Bhutto. China has negotiated a port with Pakistan to allow the Chinese access to Caspian Sea oil by pipeline. The United States is actively interested in Indian/USA alliance to balance China. Iran is the source of the China oil, Russia seeks to counterbalance USA’s presence in region. Jane’s has alredy identified a China/Russia/Iran Axis that seeks Pakistan. Countered by a USA(via Iraq/Afghanistan and now)/India alliance – trying to get India into aggression with USA versus Pakistan. All of these hands have interests and remain largely unseen could any of them be involved in these attacks? Are there terrorist or operatives willing to deal with anyone for the highest price? Who are they? Could this be from Pakistan but having no relation to Zardari or ISI?
3. Israel/BJP connection?
There are claims that when the BJP was in power in 2001 (when it allowed Sharon to visit as the first Israeli PM recognized by India) secret alliances were made between Extremist Hindus and Zionist Jews to address Pakistan more aggressively. It has been claimed that as recently as this summer, Israeli Security and Mossad Agents have been involved in training these Indian Extremists. The idea of Mossad involvement here is far-fetched, but possible. Could extremist Zionist and Extremist Hindus be running provocation false flag attacks to incite violence? Again, Misra:
“It is clear that Mossad is involved in the whole affair. An entire city has been attacked by Mossad and probably units of mercenaries. It is not possible for one single organization to plan and execute such a sophisticated operation. It is clear that this operation was backed by communal forces from within the Indian State. … Muslims and secular Hindus have been proven right. RSS type forces and Israel are all involved in … destabilizing … India. India should immediately snap all relations with Israel. We owe this much to Karkare and the brave ATS men who had shown the courage to arrest Praggya Singh, Raj Kumar Purohit, the army officer and several others.”
the radical blogster aangir fan agrees and thinks Dawood Ibrahim (if you don’t know who he is, it’s detailed in clip) is a pawn of both Pakistan’s ISI and USA’s CIA! [BTW, after the NYT blamed them yesterday, the L-e-t have since issued a denial] so Ibrahim serves again as a transition which leads us to:
4. Bush/Cheney Actively Agitating Covertly (cf. Iran)
Seymour Hersh reported in The New Yorker this year that Bush/Cheney received the go ahead from Nancy Pelosi and seven other Congressmembers – four Democrats and four Republicans – to earmark $400 million dollars for covert actions in Iran. COVERT US military within the sovereign country of Iran! These are resources and personnel allocated to agitation. Bush/Cheney and the neocons’ stated policy is to agitate and push these countries into action in an attempt to get the US military involved to “settle” it as a part of their War on Terror. Are the bombing of the Marriott Hotel in Islamabad and these attacks on Mumbai covert agitiation black-ops out of USA’s Pentagon?
UPDATE: Professor Michel Chossudovsky of The Centre for Research on Globalization at Univ of Ottawa has an excellent piece on the whole affair! with deep details into U.S./I.S.I. relations. It concludes with this smart rebuke of “what we are seeing now” in the English-language press:
“The role of the US-UK-Israeli counter terrorism and police officials, is essentially to manipulate the results of the Indian police investigation.
It is worth noting, however, that the Delhi government turned down Israel’s request to send a special forces military unit to assist the Indian commandos in freeing Jewish hostages held inside Mumbai’s Chabad Jewish Center (PTI, November 28, 2008).
Bali 2002 versus Mumbai 2008
The Mumbai terrorist attacks bear certain similarities to the 2002 Bali attacks. In both cases, Western tourists were targets. The tourist resort of Kuta on the island of Bali, Indonesia, was the object of two separate attacks, which targeted mainly Australian tourists. (Ibid). The alleged terrorists in the Bali 2002 bombings were executed, following a lengthy trial period, barely a few weeks ago, on November 9, 2008. (Michel Chossudovsky, Miscarriage of Justice: Who was behind the October 2002 Bali bombings? Global Research, November 13, 2009). The political architects of the 2002 Bali attacks were never brought to trial.
A November 2002 report emanating from Indonesia’s top brass, pointed to the involvement of both the head of Indonesian intelligence General A. M. Hendropriyono as well as the CIA. The links of Jemaah Islamiyah (JI) to the Indonesian intelligence agency (BIN) were never raised in the official Indonesian government investigation –which was guided behind the scenes by Australian intelligence and the CIA. Moreover, shortly after the bombing, Australian Prime Minister John Howard “admitted that Australian authorities were warned about possible attacks in Bali but chose not to issue a warning.” (Christchurch Press, November 22, 2002).
With regard to the Bali 2002 bombings, the statements of two former presidents of Indonesia were casually dismissed in the trial procedures, both of which pointed to complicity of the Indonesian military and police. In 2002, president Megawati Sukarnoputri, accused the US of involvement in the attacks. In 2005, in an October 2005 interview with Australia’s SBS TV, former president Wahid Abdurrahman stated that the Indonesian military and police played a complicit role in the 2002 Bali bombing. (quoted in Miscarriage of Justice: Who was behind the October 2002 Bali bombings?, op cit)”
All of this must be considered and investigated seriously, and restraint and calmness must be encouraged in India. Let us mourn and heal and investigate.
Indian investigators, from the street level up to the Prime Minister’s office, state that forces responsible for the attacks are “based outside the country” – and the world’s press has rapidly presumed Pakistan. There has as yet been no explicit charge against another nation, but it has been revealed that the one captured terrorist is from Pakistan[and stated he had accomplices in Mumbai] , and a guarded, but confident and firmly-worded statement from the Prime Minister warned “neighbours” of consequences if they continued to allow the use of their territories to terror groups.
[posted by mtk, 2230 Indian Standard Time, Saturday, November 29th]
18 Friday May 2007
Posted Asia, collage, India, installations, MTKinstalls, Tamil Coastin
2007, bar, hotel, m.t. karthik, mtk, mural, pondi, pondicherry, pondy, Pudduchcheri, pudducherri, qualithes, Vous êtes à Pudduchcherri
At 40, in my homeland, I painted, collaged and signed, Vous êtes à Pudduchcheri, M.T. Karthik, on the back of the wood liquor cabinet installed in a wall at Qualithe’s Hotel Bar in Pondicherri, Pudduchcheri, Tamil Nadu, India in three weeks in May, 2007.
The cabinet is 84 x 50 inches, 6.5 inches above the floor, and the wall is perhaps fifteen feet wide. It was immediately interesting to toy with the line dividing the lighter upper from the darker lower layers. The text was decided upon after weeks of discourse with locals and regulars – and translates in English to: “You are in Puduchcheri”
The image of the moon is an actual photograph taken in 1971 by telescope from observatory of the University of Montana.
The oil well is from the back of the old,purple Indian 1-rupee note.
I photographed the haliastur indus (brahminy kite), pair, myself, from my studio for nine months, and then printed and selected the images of the two raptors collaged into frame – male and female.
The palm tree was photographed at a local beach as well.
The postage stamp is the a magazine reproduction of the first stamp issued by independent India.
the detritus on the beach includes a matchbook and wrapper from a package of firecrackers, and the tiger from the tiger balm packaging.
art students from the Chitra Kala Parishath art college in Bangalore, were invited to add depth to the waves and a second heavenly body, a single white point representing Venus, over the sea.
11 Wednesday Apr 2007
Posted art, Asia, Commentary, conceptual art, India, talks, Tamil Coastin
after, agree, art, Auroson, auroville, before, contemporary, culture, India, Karthik, lecture, m.t., m.t. karthik, mtk, po-mo, show, slide, talk, we
After Po-Mo and Before We Agree
art talk by M.T. Karthik
Auroville, India 2007
Begin with the piece on The End of Post-Modernism, October 1999. (pause)
But I thik that Giulianis comment, as ignorant and political as it may have been, is indicative of the feeling at the end of the 20th century. Arthur Danto had written The Death of Art in 1994, the century was limping to an end.
On 23 August 1994, the K Foundation (Bill Drummond and Jimmy Cauty) burnt one million pounds sterling in cash on the Scottish island of Jura. This money represented the bulk of the K Foundation’s funds, earned by Drummond and Cauty as The KLF, one of the United Kingdom‘s most successful pop groups of the early 1990s. The duo have never fully explained their motivations for the burning.
The incineration was recorded on a Hi-8 video camera by K Foundation collaborator Gimpo. In August 1995, the film—Watch the K Foundation Burn a Million Quid—was toured around the British Isles, with Drummond and Cauty engaging each audience in debate about the burning and its meaning. In November 1995, the duo pledged to dissolve the K Foundation and to refrain from public discussion of the burning for a period of 23 years.
A book—K Foundation Burn A Million Quid, edited and compiled by collaborator Chris Brook —was published by ellipsis Books in 1997, compiling stills from the film, accounts of events and viewer reactions. The book also contains an image of a single house brick that was manufactured from the fire’s ashes.
last year I was with Matthew Higgs
Matthew Higgs is director of White Columns in New York. He is also associate director of exhibitions at the Institute of Contemporary Arts in London, England. He has organized more than forty exhibitions, including To Whom It May Concern and Reality Check: Painting in the Exploded Field at the CCA Wattis Institute. A regular contributor to Artforum, Higgs has written for many catalogs and other publications. As an artist, he is represented by Murray Guy in New York and Anthony Wilkinson Gallery in London.
But I think that the socio-political scene drove arts to find new ways to seek new materials and do things that Rudolph Giuliani could do but which are still art. and to communicate ideas through mass media.
I am going to talk about a few different places and people I have met and known in San Francisco, New York, Japan. India and elsewhere and let you see some work here and get an idea of what is being made and by whom.
It is interesting to me that the Venice Bienale opened today is it and I didn’t go to the site to see who is in it or whatever. I wanted to try to construct this talk from – as Auroson suggested – my own experiences of art and artists.
Vik Muniz (Brazil, 1961) is an avant-garde artist who experiments with novel media. For example, he made two detailed replicas of Leonardo da Vinci‘s Mona Lisa: one out of jelly and the other out of peanut butter. He has also worked in sugar, wire, thread, and Bosco Chocolate Syrup, out of which he produced a recreation of Leonardo’s Last Supper. Many of Muniz’s works are new approaches to older pieces; he has reinterpreted a number of Monet‘s paintings, including paintings of the cathedral at Rouen, which Muniz accomplished using small clumps of pignment sprinkled onto a flat surface.
Vik Muniz’s use of materials is more than a result of aesthetic decisions alone. In his picture of Sigmund Freud, for example, he uses chococlate to render the image. The photograph is printed in such high resolution that one can almost taste the material from which the image is made. In this sense, Muniz is refering to Freud’s theory of the oral stage. Likewise, because of the chocolate’s viscosity and visual similarity to excrement there is an allusion to Freud’s anal stage as well. This conceptual framing of matter is also apparent in his Sugar Children series. In this body of work, Muniz went to a sugar plantation in Brazil to photograph children of laborers who work there. He made the images from the sugar at the plantation. The differential in value between the wages of the laborers, and the fluctuating cost of sugar in the international market as well the price for the photograph, reveal much about geopoltics, global/local economics, and the art world.
Vik Muniz works with the syntax of photography, hut his images are not simply photographic. As Vince Aletti pointed out in the Village Voice, “[Muniz] has teased the medium mercilessly and with an infectious glee. He makes pictures of pictures — sly, punning documents that subvert photography by forcing it to record not the natural world but a fiction, a simulation.” (left: Action Photo (After Hans Namuth), 1997, 60 x 48 inches, Collection of Eileen and Peter Norton, Los Angeles)
Born in 1961, Muniz grew up in Sao Paulo, Brazil where he studied advertising, a field which he acknowledges,”made me aware of the dichotomy between an object and its images.” After he moved to New York in 1983, Muniz made sculptures which he documented in photographs, then began incorporating photographs in his sculptural installations. He discovered that what interested him most was the representation of objects rather than the objects themselves, the dislocation between expectation and fact, representation and reality.
Muniz’s pictures are illusions that draw from the language of visual culture, but they twist and redefine our perception of both the commonplace and the fantastical. His images humorously, as well as critically challenge our ability to discern fact from fiction, reality from appearance. Utilizing a range of unorthodox materials — granulated sugar, chocolate syrup, tomato sauce, thread, wire, cotton, soil — Muniz first creates an image, sculpturally manipulates it, then photographs it. Whether a portrait, landscape, still life, or iconic image from history, Muniz’s works are never what they seem.
More recently he has been creating larger-scale works, such as pictures carved into the earth (geoglyphs) or made of huge piles of junk. His sense of humor comes through in his “Pictures of Clouds” series, in which he had a skywriter draw cartoon outlines of clouds in the sky.
born in 1965 in Ayutthaya, Thailand. In 1987 he received his BFA from Silpakorn University, Bangkok, Thailand, and in 1993 he received his MFA from Hochshule für Bildender Künst, Braunshweig, Germany. Kusolwong’s artistic practice includes installation and performance-based work and, since 1996, he has concocted variations on market settings where inexpensive, mass-produced, Thai-manufactured goods are sold for a nominal fee.
The artist has shown widely in Europe, America, Asia, and Australia. Solo exhibitions include Institute of Visual Arts (INOVA), Milwaukee, WI; Arte all’Arte (Arte Continua project), Casole d’Elsa, Italy; Fri-Art Centre D’Art Contemporain Kunsthalle, Fribourg, and Art & Public Gallery, Geneva, Switzerland. Group exhibitions include P.S.1 Contemporary Art Center, Long Island City, NY; Hayward Gallery, London, England; Kiasma Museum of Contemporary Art, Helsinki, Finland; Academia de Francia/Villa Médicis, Rome, Italy; 21st Century Museum of Contemporary Art, Kanazawa, Museum of Contemporary Art, Tokyo, Japan; Pusan Metropolitan Museum of Art, Samsung Museum of Modern Art, Seoul, Korea; Edsvik Art & Culture Center, Sollentuna, Sweden. Kusolwong has exhibited in many biennales including the 2001 Berlin Biennale, Germany; Transfert, 2001 Swiss Sculpture Exhibition, Biel, Switzerland; Kwangju Biennale 2000, Korea; Taipei Biennale 2000, Taiwan; Third Asia-Pacific Triennial of Contemporary Art, Brisbane, 11th Biennale of Sydney, Australia; and the 1997 Vienna Secession, Austria
Lu Jie was born in Fujian, China in 1964. He holds a BFA from the China Academy of Arts in Hangzhou and an MA from the Creative Curating Program in Goldsmiths College, University of London. Lu Jie has curated numerous contemporary art exhibitions internationally including the Chinese presentation at the 2005 Prague Biennale and the 2005 Yokohama Triennale. He is the founder of the Long March Foundation in New York, and the 25000 Cultural Transmission Center in Beijing. Over the past six years, Lu Jie has been concentrating his efforts to produce The Long March – a Walking Visual Display which was exhibited in National Museum of Contemporary Art, Oslo, Museum of Contemporary Art, Lyon, 2004 Shanghai Biennale, 2004 Taipei Biennale and will be exhibited in 2005 Yokohama Triennale, Vancouver Art Gallery and the next Asia Pacific Triennale.
Long March Capital – Visual Economies of TransMedia
Initiated in 1999, carried out on the historical Long March route in 2002, and returning to Beijing from where we are still marching locally and internationally today, the Long March is a multifaceted and complex art project in which the journeys through the realities of different social locations, contexts, and dimensions are part of a process of artistic experience and creation. The Long March’s approach to new media, therefore, extends beyond the faculties of technology, rather looking at the metaphor of the Long March as a medium and methodology in which creative expression can arise. In this regard, the Long March acts not only as an art project but as a “transmediator,” a form of capital which offers a platform, context, and professional service for the realization and display of new media works, as well as a “glocalely” situated “social” as a new media. Participants work together, turning local resources into the international language of contemporary art, and conversely imbuing international art with a local context and significance. As such, the Long March journey becomes a collective knowledge production and performance where both audiences and artists alike become participant observers constantly negotiating the boundaries and relationships of the various visual economies bounded within artistic production.
Lu Jie is the founder and director of the Long March Foundation, New York and the 25,000 Cultural Transmission Center, Beijing. Over the past six years, Lu Jie has been concentrating his efforts to produce the Long March Project, portions of which have been exhibited internationally including in the 2004 Shanghai Biennale, the 2004 Taipei Biennale, at the Vancouver Art Gallery 2005 and The Yokohama Triennale 2005 and Sao Paulo Biennale in 2006.
The Long March Project: : Lu Jie in Conversation with Hsingyuan Tsao and Shengtian Zheng
On the evening of October 12, 2005 the Vancouver Art Gallery presented “Dialogues on Art: Lu Jie in Conversation with Shengtian Zheng and Hsingyuan Tsao.” The presentation was organized in conjunction with the exhibition Classified Materials: Accumulations, Archives, Artists.
Lu Jie: The Long March Project was initiated in 1999 when I was a curatorial studies student at London University. During that time I developed a critique of the representation of politics in the context of international Chinese art exhibitions. I was thinking about the ways that contemporary art practice could connect with social development and social change. I developed the Long March Project as an organic structure that could parallel the grand narrative of the historical Long March initiated by Mao Zedong. I developed the idea that a number of sites could be created according to this historical Long March—this search for utopia, this sharing of resources, this going beyond the limits of body and ideology.
After several years of preparation, the Long March Foundation was established in New York in 2000. I spent two years visiting the six thousand miles historical Long March route. In 2002, we established the 25,000 Cultural Transmission Center in Beijing before launching the project that summer. After a three-month journey, twelve of the twenty planned sites were completed. We already had the contribution of two-hundred-and-fifty local and international artists. People thought that the government would stop us, but there were no political problems.
In the Yanchuan papercutting survey—which we believe is a milestone of the whole Long March up until today—we asked questions such as: what do we do with the so-called folk artists who live in China, whose life and profession is all based on an aesthetic that we do not value? This work is something that other curators and institutions do not deal with. But for the Long March Project—a project that wants to face reality—the different social hierarchies and historical frameworks all connect together to create a new understanding of contemporary Chinese art. So we believed from the very beginning that folk art, such as paper-cutting, is something that should be re-examined.
23 Friday Mar 2007
Posted Asia, fiction, India, music video, performance, self portrait, short film, Tamil Coastin
23 Friday Mar 2007
Posted Asia, fiction, India, short film, Tamil Coastin
23 Friday Mar 2007
Posted Asia, India, poetry, Tamil Coastin
If you keep making lefts
You go in a circle
If you keep making rights
you wind up where you began
If you just go straight ahead
you’ll wind up where your headed
but going straight ahead’s the fastest way to dead.
MTK, Pudducherri, Tamil Nadu, India March 23, 2007
13 Tuesday Feb 2007
Posted Asia, India, performance, short film, Tamil Coast, travelin
04 Thursday Jan 2007
Posted Asia, essay, India, Tamil Coastin
Over the last few nights, lit by an obese moon, the local animals have been fighting; first the dogs went at it ferociously; then loud, wailing cats; hissing, crying, haunting sounds. Then a crazed bird-fight, filled with screeching – all this in the two nights of the moon’s fullest face.
The village is a breathing thing, a living ecosystem of many species of insects, reptiles, mammals and birds living adjacently. The village mood is governed communally, first by the most powerful forces of nature, primarily the sun and moon – and, here, the sea – and secondly, by humanity in concert with nature.
In working with nature, humanity is further subdivided, along a continuum from those who will care for animals and plants, to those who would not tolerate them, but as food. Most follow a gentle co-existence.
A properly functioning village can be considered among the most sane and balanced social ecosystems ever created by human beings. Interspecies tolerance, collegiality and an awareness of the fundamental interconnectedness among all living things exists.
Here, vegetarianism is considered a social enlightenment for most people. Trash is often laid out on low thistle or brush to allow ants and other insects to pick it clean. I have watched a village woman wash the anus of her cow with her bare hand and water with such care as she would give her own child.
The village is asleep shortly after sundown. It gets dark quickly. Public lighting is elegantly limited to one or two long, narrow, tube lights, atop wooden posts placed at the intersection of paths or at the gate of one of the wealthier homeowners. But power outages are common, eliminating even this small amount of soft, light pollution. The night sky is clear, the stars, sharp.
Dawn is the loudest time of day, from cock’s crow, through crow’s caw and eventually multiple, staticky, jam-boxes, and at least one television set, projecting bhajans and popular songs. This comes to an end abruptly, when there is a brief silence into which the cow next door lows – an enormous sound – at least once each morning. Today, all sound was overcome by a single, overpowering noise, a retort, by human design, repeated at regular intervals. Someone was lighting and dropping grenade-like bombas.
This same, single, very powerful firecracker, set off very near to this house every half hour or so, was irregular enough to feel sudden each time – 9:30, 9:55, 10:27. The noise hit me in the gut. The dog was terrified.
It is an intense sound in this place – and now the cat fight continues, screeching and hissing, tearing-around sounds between booms.
Bombas all day long: “someone died” is the best we have. Sekar says it was two people, one on either side of us, in recent days. The villagers gathered with firecrackers, drums and flags – multiple very loud retorts all day long; many right now.
The dog stayed under the bed for hours, until sundown when the bombas finally ceased – we all sat in silence. Then, through the night, under the flat, bright light of the fat waning moon – really three days full – came the horrible, sad, wailing of a woman who sounded like a widow, or a mother, begging God or anyone to explain “Why?” between heavy, interminable sobs. She finally fell asleep, but her cries were the loudest sound in the night for an hour. The death must have been literally just beyond the wall to our West.
The entire village is a part of the death – even the crows were vacated by the noise. They say that when a king dies, crows fly and caw – maybe it’s because of the fireworks. This full moon there was an important death, likely two, in our village. The crows and dogs and cats know it … and I know it, too.
4 January, 2007
Periyamudaliar Chavady, TN, India
[discovered that one of the two deaths was L’s grandmother – the mother of the man from whom I’ve been leasing a motorbike. We learned, too, that there was another death, just next door to us – very close to us, on the same day – likely someone we had seen daily in the last few months – but we don’t know whom. I would know the face … but which face, of the last few months, is missing now? that I cannot say. So it was Usha, the daughter- in-law of one of the deceased, who told us, three weeks after Pongal, that the villagers did not celebrate Pongal this year because of these deaths, a full moon before].
16 Saturday Dec 2006
Posted Asia, India, photography, Tamil Coast, travel, vehiclesin
2006, 3-wheel, auto, autorick, chennai, Coimbatore, India, Karthik, lambretta, m.t. karthik, mtk, Nadu, rickshaw, rigo 23, tamil, three, Tricycle Museum, wheel
In autumn of 2006, for a traveling project by Rigo 23 that he calls Tricycle Museum, I researched and purchased three-wheeled vehicles from South India and shipped them to Madeira Island, Portugal. Here are some of the best of the many auto-ricks I photographed.
They are arranged in reverse chronological order for the most part and the last one is a 1958 model that was still running on the roads in Coimbatore in 2006!
08 Friday Dec 2006
Posted India, photography, Tamil Coast, travelin
2006, chennai, cycle, cyclericks, India, Karthik, m.t. karthik, madras, mtk, Nadu, ricks, rickshaw, tamil, tricycles
24 Friday Nov 2006
Posted India, poetry, Tamil Coastin
all over the cities
(my precious corners)
and now towns of this planet.
can hardly see the stars anymore
-mtk November 2006