Emvergeoning

I know it’s short notice, but we are toasting our late friend in front of his house in King William. Uninhibited dancing in San Antonio will never be the same.

7:30 pm
Tonight (Weds)
8-20-08

407 Wickes. (Blue house on the right side if you’re coming from S. Alamo.)

10 Comments »

Thanks to the writers over at BBC, I enjoyed a good laugh this week. Apparently, Paul McCarthy made some gigantic, inflatable turds in Switzerland and one of them got away. Paul Klee meets “Complex Shit.”

1 Comment »

First there was Friendster. Then MySpace. Now Facebook. Next… HoffSpace?

3 Comments »

A Man of Words

His case inspires interest
But little sympathy; it is smaller
Than at first appeared. Does the first nettle
Make any difference as what grows
Becomes a skit? Three sides enclosed,
The fourth open to a wash of the weather,
Exits and entrances, gestures theatrically meant
To punctuate like doubled-over weeds as
The garden fills up with snow?
Ah, but this would have been another, quite other
Entertainment, not the metallic taste
In my mouth as I look away, density black as gunpowder
In the angles where the grass writing goes on,
Rose-red in unexpected places like the pressure
Of fingers on a book suddenly snapped shut.

Those tangled versions of the truth are
Combed out, the snarls ripped out
And spread around. Behind the mask
Is still a continental appreciation
Of what is fine, rarely appears and when it does is already
Dying on the breeze that brought it to the threshold
Of speech. The story worn out from telling.
All diaries are alike, clear and cold, with
The outlook for continued cold. They are placed
Horizontal, parallel to the earth,
Like the unencumbering dead. Just time to reread this
And the past slips through your fingers, wishing you were there.

– John Ashbery (from )

No Comments »

In between running around shooting photos of record stores and weird museums today, I managed to make it by the Alamo and catch Jacob Goudreault (fresh in town from Chicago, IL) doing a performance / painting give-away in front of our favorite old mission.

2 Comments »

I saw Werner Herzog’s new movie, Encounters at the End of the World, last night. I’ll just say briefly that this is one of the funniest movies I’ve caught in a while, despite the fact that it’s a documentary about Antarctica. Herzog displays his usual keen eye, sense of levity with weighty subjects, and managed to pull off another great soundtrack (Henry Kaiser plays much of the music, and also did the underwater cinematography).

For those of you in San Anto, today is the last day it shows at the Bijou, so try to check it if you can.

1 Comment »

There’s been some grumbling lately about the “fake fireworks” at the Olympics in Beijing. Here’s how the story goes: the people responsible for planning the fireworks developed a display that would outline 29 footprints in fireworks from Tiananmen Square to the Bird’s Nest stadium. Due to the grandiose nature of this display, no single person would be able to see it all — not even from a helicopter. So the special effects team spent a year developing a CGI version of the footprints, made to look as if a helicopter were flying along the route filming it live (including a shaky camera and digitally generated Beijing smog). This video was inserted into the “live” broadcast stream sent to TV networks worldwide, and shown within the stadium itself. No disclaimer was ammended to the video, so audiences thought they were watching “actual” fireworks. When the truth was revealed, many viewers became upset at the deception.

There are so many implications to this I don’t think I can really unpack it all here, but I’ll give it a try. To begin with, we have the notion of authenticity. This July article from the New York Times helps explain the the gap between Chinese and Western relationships with authenticity. (Most of the relevant discussion comes on the last page of the article, e.g.: “it is common practice [to] substitute copies of famous works of art in museums when the originals are unavailable.”) The fireworks actually happened, but to give an impression of the true scope of the display, some cinematic sleight-of-hand was necessary. Here’s a video someone shot of the — not so impressive. The idea here was not to embellish reality, but to give viewers some sense of a reality they couldn’t fully experience. A disclaimer would in some sense rob viewers of the experience as well: perhaps ironically, the closest a viewer could get to experiencing the full display was to watch a CGI version of it thinking it was authentic. But, for a Westerner, that won’t do. If our experience of a thing must be partial in order for it to be real, so be it, even if that “reality” is only through the TV screen. We’d rather watch a video of part of the display, and then read about how it stretched across Beijing, than to see a simulation of the whole thing.

I’m sure it would be possible to go on for a few thousand more words on the ideas of authenticity that this brings to the fore (sprinkling in some appropriate snippets of Baudrillard, of course), but let’s move on. What was the point of this display? In the West, Tiananmen Square is largely associated with the Tiananmen Square Massacre, but its history is a comprised of a long string of political and military conflicts. Symbolically, it can be seen as the seat of political power in China, stretching back to the Ming Dynasty. These footprints, walking from the site of battles, protests, massacres, and Mao Zedong’s proclamation of the People’s Republic of China in 1949, to the site of the Olympics, represent China’s lurching entry into the capitalist global economy.

China is stuck in a precarious position with the West: it constantly signals that it wants to engage as political equal with the US and the EU, but cannot bring itself to uphold even the inconsistently enforced standards of human rights cherished by the West. As noted in the Sky News article linked above, the architect who designed the Bird’s Nest stadium recently wrote on his blog about the Beijing Olympics:

He was directly critical of China’s ruling communist party, characterising the ceremony as “a showcase of the reincarnation of the Marxist imperialism; the ultimate paragon of an all embracing culture of fascist totalitarianism; an encyclopaedia that encompasses total defeat in intellectual spirit.”

Perhaps the Chinese relationship with authenticity is indicative of a deeper disconnect between the Chinese and Western understanding of the world. Even in its symbolization of a movement towards Western values, China has managed to offend.

UPDATE: Oh yeah, and then there’s this.

2 Comments »

How is it that in a city of approximately 1.2 million people, not one single theater is screening Man on Wire? What’s up, Crossroads? Alamo Draft House?

UPDATE: Man on Wire will be showing at the Bijou at Crossroads. Apparently, there is just a delay in screenings of good movies in San Antonio. Also, The McNay will be showing some awesome films this fall. I’ll keep you posted!

Thanks for sending me the photo, Beto!

10 Comments »

I’m honored to be able to offer a recording of Crevice’s Infinity Asylum performance on this blog. This is a truly beautiful recording by one of the few groups in Texas to successfully bridge the music and art worlds. Infinity Asylum was part of an installation / performance at the Friedrich Building, a 500,000 square foot space on the east side of San Antonio, originally built to produce air conditioners. Tucked away in little nooks and crannies of the building were a number of installations (artists included: Dwayne Bohuslav, Christopher Biasiolli, Nate Cassie, Rae Culbert, and Jack Robbins). As visitors explored the space, Crevice played this “peaceful, hypnotic, cyclical music” (to quote from the original press release), which fell in and out of earshot. Many of the vocals you hear in the recording are samples of people talking about the installations, thus folding audience reaction into the performance. It was recorded on July 11, 2003.

Performers on this recording: Jeff DeCuir (guitar, processors), Jessica Barnett DeCuir (harmonica, percussion), John Navarro (theremin, processors), Bryan Stanchak (synth, bass), Stephen Reyna (guitar/e-bow).

Download Infinity Asylum through SendSpace »

2 Comments »

Russia and Georgia are at war; the Olympics start; John Edwards confesses his affair; but the biggest news this week for those of us in San Anto: serrano chiles are back!

3 Comments »

Tonight at One9Zero6 Gallery, Denver-based artist Kelly Pierce shows new prints (see below). Pierce culls imagery from his huge collection of Japanese and American comic books and magazines, manipulates them with various reproduction techniques, ending up with highly expressive prints full of pop imagery and forgotten cultural artifacts. “Hello Walls” is still showing next door at FL!GHT, and Lone Star Studios has a group show with live music. Should be a pretty decent Second Saturday.

1 Comment »

The Orwell Prize publishes George Orwell’s diaries in blog format starting today with the entry from August 9, 1938. [hat tip]

2 Comments »

Hey! Congrats to local artist/musician Ken Little for getting into the Texas Biennial ‘09. He’s the only artist from San Antonio to be selected by the Corresponding Editor for Art In America, Michael Duncan. The other artists include: Stevie Nicks-lover Jill Pangallo, Ryah Christensen, Bill Davenport, Sasha Dela, Colin McIntyre and the coolest name on the list, Buster Graybill. It will be interesting to see how each artist takes the local Austin park landscape into consideration for their public art projects. The jury is still out on the list of Individual and Group Exhibitions for the Biennial, but we’ll keep you posted. Executive Director Xochi Solis said they pushed the deadline back to Sept. 1st.

1 Comment »

A pleasant way to start the week with a video that treats text as a visual equivalent.

3 Comments »

There is a Jewish proverb which says that “the other’s material needs are my spiritual needs;” it is this disproportion, or asymmetry, that characterizes the ethical refusal of the first truth of ontology–the struggle to be.

… The ethical situation is a human situation, beyond human nature, in which the idea of God comes to mind. In this respect, we could say that God is the other who turns our nature inside out, who calls our ontological will-to-be into question.

– Emmanual Levinas

Jesus
Others
You!

– Anonymous

2 Comments »

Now that the first batch of artists commissioned for the Riverwalk expansion has been announced (there will be others as the expansion proceeds), I wanted to highlight the most historically significant artist selected, and the most interesting one to me personally: Bill Fontana. I missed the reception for him at Artpace earlier this week, so if you attended feel free to let us know how it went in comments.

Fontana studied at the New School for Social Research in New York, graduating with a B.A. in 1970. From 1972 to 1978 Fontana showed several sound sculptures in galleries, but it was in 1976 that he began producing the large-scale sound installations for which he has become known. Fontana’s work follows directly from the thought of John Cage, who was the most prominent inspiration for the early sound artists:

I began in the late 60s, when I was a student in New York and had taken a John Cage course at the New School, and was really beginning to experiment a lot with sound, found sound, recording sound and playback. The very first sound installation I made was in the very early seventies called Sound Sculpture With Resonators, in which I took some resonant objects, like large bottles that someone had made wine in, and placed them on the roof of a building in New York and put little acoustic microphones in them, and transmitted the sounds to the gallery space below. So you’d hear the object which became this very musical, filtered noise of the city. That’s probably one of the earliest works for me. [source]

In his work, Fontana chose to focus on the idea of musicality being a state of mind more than a characteristic of the sounds themselves:

I began my artistic career as a composer. What really began to interest me was not so much the music that I could write, but the states of mind I would experience when I felt musical enough to compose. In those moments, when I became musical, all the sounds around me also became musical. [source]

One thing that has distinguished Fontana from other sound artists (such as Max Neuhaus) is that throughout his career he has kept working with ambient sound, and never moved into electronically generated sound. He has often worked with types of sound displacement in installations such as “Sound Island” (1994) which allowed people at the Arc de Triomphe in Paris to hear ambient sounds from the coast of Normandy and from various locations in the city. This work, which is in a sense extremely minimal, has a number of historical and philosophical implications.

In “Harmonic Bridge,” on the other hand, Fontana deals not simply with displacement of sound, but with revealing the relationship between environmental sounds and the acoustic properties of objects within those environments. By applying microphones the London Millenium Foot Bridge, and amplifying sounds “hidden” in the bridge, Fontana reveals a “music” created from wind, foot traffic, etc., engaging with the resonant structure of the bridge itself. As with “Sound Island,” this piece has a number of social implications lurking just below the surface. A recording of “Harmonic Bridge” can be heard below.

2 Comments »