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The Red Krayola - Hamburg and Berlin 2011
9/30/11 Kampnagel - Hamburg, Germany
10/1/11 Hebbel Am Ufer - Berlin, Germany
Arthur Ou
Eduardo Sarabia
Anna Sew Hoy
Temporary bookshop and exhibition
July 21 — August 25, 2011
Reception: Thursday, July 21, 6-8pm
Organized by Textfield, Inc.
Creatures of Comfort
205 Mulberry St.
New York, NY 10012
www.creaturesofcomfort.us
Creatures of Comfort New York is pleased to present No More Reality, a temporary bookshop and exhibition organized by Textfield, Inc. The bookshop and exhibition will take place in Creatures of Comfort’s adjacent project space at 205 Mulberry St.
In conjunction with the bookshop, which will feature current and archived titles from Textfield Distribution, there will be an exhibition of work by artists that Jonathan Maghen has collaborated with through Textfield to realize various publishing projects. The exhibition will feature the works of Phil Chang, Arthur Ou, Eduardo Sarabia, and Anna Sew Hoy.
The bookshop and exhibition title have been appropriated from the Philippe Parreno work, No More Reality (the demonstration), 1991, which is a four-minute video of children demonstrating, and chanting the slogan and title (“No More Reality”).
Textfield· 06/29/11In conjunction with our residency at the Serpentine Gallery’s Centre for Possible Studies, the Bidoun Library is presenting a program of two films drawn from our collaboration with the online archive UbuWeb this Wednesday, June 8.
The program will be introduced by Masoud Golsorkhi, editor of Tank magazine.
Wednesday June 8, 2011
7-9pm
Free!
Centre for Possible Studies
64 Seymour Street
London W1H 5BW


Bahman Maghsoudlou
Ardeshir Mohasses & His Caricatures
1972
20 min
A short documentary about Ardeshir Mohasses (1938-2008) featuring rare footage of the Iranian artist in his studio in Iran before his self-imposed exile to New York, which was to last over thirty years. Mohasses’ anti-Shah and anti-Islamic Republic cartoons used settings and costumes of the Qajar dynasty (1794 to 1925) — a misdirection that fooled no one. The film features commentary from Iranian intellectuals of the time, including Houshang Taheri, Javad Mojabi, and Fereidoun Gilani. Mohasses, a man of few words, is noticeably mute throughout.
Kamran Shirdel
The Night It Rained
1967
35min
In northern Iran, a schoolboy from a village near Gorgan is said to have discovered that the railway had been washed away by a flood. When he saw the approaching train — so the story goes — he set fire to his jacket, ran toward the train, and averted a serious and fatal accident. Kamran Shirdel’s film The Night it Rained does not concentrate on the heroic deed promulgated in the newspapers, but on a caricature of social and subtle political behavior — the way in which witnesses and officials manage to insert themselves into the events. Shirdel uses newspaper articles and interviews with railway employees, the governor, the chief of police, the village teacher and pupils — each of whom tell a different version of the event. In the end, they all contradict one another, while the group of possible or self-appointed heroes constantly grows. With his cinematic sleights of hand, Shirdel paints a bittersweet picture of an Iranian society in which truth, rumor, and lie can no longer be distinguished.
Tiffany· 06/07/11Roseanne Barr was a sitcom star, a creator and a product, the agitator and the abused, a domestic goddess and a feminist pioneer. That was twenty years ago. But as far as she’s concerned, not much has changed.
Tagbanger· 05/16/11
Matt Anderson has released a new extended trailer for his documentary, Fall & Winter.
He has also started a Kickstarter page to raise funds to complete the film here.
Please check it out and support this important, powerful film.
Joe Connolly did the (many) buffs/tags on Washington Blvd. rooftops in the 1990s:
“GRAFFITI NO LONGER ACCEPTED HERE. PLEASE FIND A DAY JOB. THANK YOU.”

a film by Matt Anderson
‘Fall & Winter’ is a documentary that explores the origins of our global crisis in order to better understand the catastrophic transition we have now entered. This film presents the ideas and experience of a wide range of people dedicated to confronting this crisis head on. The result is an analysis of our failing institutions and culture so we may be equipped to handle drastic collapse and foster a vital, fundamental rebirth in the way we live on this planet.
PALS — “They came for the fame and stayed for the spectacles.”
Opening January 15, 2011
Actual Size
741 New High St
Los Angeles CA 90012
CONTRA MUNDUM I-VII BOOK RELEASE
Sunday, Dec. 5, 7pm
Mandrake
Featuring music by Dallas Acid
and films by Matt Anderson.

Chris Burden, still from TV Hijack, 1972.
It’s generally known that Chris Burden made a few commercials for television in the 1970s. But any pursuit of why, expanding meaningfully beyond the descriptive synopses Burden himself provides for most of his individual works, has been curiously rare. Burden—then living in Venice Beach—was concurrently making live performance work that deployed television monitors as critical signifiers of voyeurism. This link between his use of the television set as an object or prop in performances like Do You Believe in Television or Velvet Water and his works that actually took place on television is crucial to parsing why arguably the foremost performance artist of his generation began to resituate a live performance practice to a medium that seems antithetical to live art. Television as both communicative and manipulative vessel is a major focus in Burden’s work from 1971 to 1977. Burden usually downplays the political connotations or intentions of his art, but this body of television work seems like an examination of militaristic training, specifically, how authority results in belief.
thanks Kathy








