Since the announcement Tuesday that the New York Philharmonic plans a 48 hr visit into the heart of North Korea, the world has been a buzz. Headlines praise and criticize the visit on February 26th, 2008 for both encouraging discourse between states and legitimizing the D.P.R.K.’s regime. This is not a first for cultural diplomacy; China, the Soviet Union and Iran have all had their methods of trying to befriend the North American powerhouse, but is the agenda behind them cultural, political or both?
Cultural diplomacy: a gentler type of carrot
It’s no secret that North Korea is a bothersome splinter impeding the far reaching grasp of the current Bush administration. As one of the founding members of the ‘Axis of Evil’, North Korea has been less than forthcoming with U.S. plans for its denuclearization.
The current Six-Party Talks (U.S., China, Russia, Japan, D.P.R.K and South Korea) have been attempting to deflate tensions between states and force a shutdown of D.P.R.K’s nuclear programs. But despite the recent headway made at the sixth round of Talks, progress is slow. The traditional methods of sticks and carrots (sanctions and concessions) have been largely inefficient. Both sides continue to have hostile relations, while the demonization of the D.P.R.K as sponsors of terrorism cannot help open channels for dialogue. Perhaps the back door use of cultural diplomacy will prove to be more fruitful.
The Institute of Cultural Diplomacy insists that cultural influences are very effective means of taking down barriers between hostile parties, and will be increasingly important as traditional methods of diplomacy begin to fail.
“The current issues within local, regional, national and international systems can not be resolved without effective change at the grassroots level…The global community currently finds itself in a situation where state governments are starting to realize the significant constraints of their traditional models for diplomacy as the neutrality and legitimacy of their respective initiatives are systematically being questioned.”
If this is so, then The New York Philharmonic might be on the right track. It seems that the trip they planned was one of musical appreciation, education and understanding. Unfortunately it seems to have been overshadowed by the Bush Administration’s zeal for political gain.
Posted by Anikka Maya Weerasinghe on December 18, 2007
It has been decades since John Travolta first blessed our cinema screens with his tight, white, polyester pants. Saturday Night Fever celebrates its thirtieth anniversary this month, and while the leisure suits may be passe, the film's politics are as relevant as ever.
In an article for the Washington Post, Bruce J. Schulman discusses how little has changed since the days when Travolta's Tony Manero worked a dead-end job and daydreamed of dancing. It seems we still have much to learn from the dark days of disco.
"Lapels aside, the film seems strangely prescient—a road map to the income inequality, the ethnic and racial politics, and the lure of celebrity that we see today. Culturally speaking, the '70s are back. As we grapple with soaring gasoline prices, tune in to "Dancing With the Stars" and work through a new kind of national malaise, we would do well to heed the cautionary lessons of the young man in polyester."
Posted by Rob Maguire on December 11, 2007
Cumulus Press has published a 128 page comic book/graphic novel that combines investigative journalism, comic art, and the politics of mining and resistance to mining. Extraction! is divided up into four stories and four extracted elements of the earth. Whether its gold in Guatemala or oil in Canada (Alberta to be specific), this book delivers some excellent critical analysis of plundering while offering up some excellent art-driven narratives.
The book was inspired by other political comix producers such as Joe Sacco, and of course the ongoing malfeasance of Canadian mining companies who continue to ignore domestic populations the world over as they dig and strip the earth for precious stones, industry staples and fuel.
Four journalists teamed up with four artists to dig up the dirt (excuse the pun) on the activities of some of these companies and the result is a great bed-time read.
To find out more or to purchase (for $20), visit the cumulus press site.
Posted by Ezra Winton on December 5, 2007
Calling all graduate student artists and academics... Pivot Journal is calling out for your work!
A centre point. A counter point. Pivot provides the space from which to respond to the shared and divided scholarly territories of visual culture. Concordia's new peer-reviewed graduate academic interdisciplinary journal brings together the Departments of Art History, Studio Arts and Communication Studies in a forum for graduate scholarship working towards the exploration of relationships among diverse forms of art practice and production, as well as among art historical scholarship, visual studies, theory, and criticism.
Currently Pivot is an online journal with a small print run. Pivot accepts submissions from graduate students across many disciplines within Canada and internationally. As a journal of visual culture recognizing art production as a site for scholarly exploration, Pivot accepts content in the form of academic papers, artist project descriptions, short texts by artists and image based proposals.
Posted by Mél Hogan on November 29, 2007
Walmartopia, the Off-Broadway musical that targets the happy yellow face, has been playing in NYC since the end of September. As the good reviews keep coming in on this political comedy for the stage, I wonder, will it take off? This is a challenge to any theatre directors out there - bring the Big Box farce off Off-Broadway, way off, to other cities and towns. This topic is way more universal than Miss Saigon, so lets see some franchising!
Jeremy Thal of the Indypendent had this to say:
The campy absurdity of the musical only works because our present reality is so bleak. The lyrics of many of these songs could be used by the Bush attachés to promote their next surge in Iraq or an invasion of Iran. Musical theater is disarming and audience friendly, but the message in Walmartopia rings through as serious and urgent. Rohn’s songs have a home-grown sound, true to Walmartopia roots in community theater. Expertly arranged by August Eriksmoen and sung by a skilled cast, the songs are at once exuberant and thought-provoking and overcome their camp. The finale is an almost Brechtian invocation to the audience to get out of their seats and do something, and while doing it, to keep singing.Even sounds more entertaining than watching a Wal-Mart burn...
Posted by Ezra Winton on November 27, 2007
Long-time activist artist Vibiana Aparicio-Chamberlin was given a life-time achievement award by the city of Los Angeles last week. Aparicio-Chamberlin started her career in the 1970s doing street theater in East LA, and has spent most of her life teaching and continuing to use art to address social injustice. She is a painter, print-maker and mural artist.
Most recently, Aparicio-Chamberlin has focused her attention on the immigrant community in the US. In February, she conducted workshops for immigrant children, many who live in trailer camps, introducing them to the works of Frida Kahlo and Matisse. In late August, Aparicio-Chamberlin joined other activists in a march in support of Elvira Arellano, an illegal immigrant with an 8 year old (US born) son who was recently arrested by immigration officials. She also recently coordinated an art auction for conscientious objector Augustin Aguayo, a US Army paramedic who refused a second deployment to Iraq.
At the awards ceremony, after thanking the mayor, Aparicio-Chamberlin then asked the council to stop the war – at which point, they took the mic away from her.
To see more of Aparicio-Vibiana's work, go here.
Image of Aparicio-Chamberlin's painting "Women of Iraq: No War for Oil"
Posted by Michael Lithgow on November 26, 2007
An ad designed by Canadian agency Émergence and originally used in Quebec is causing an uproar in Italy. The ad (pictured at right) shows a baby with a hospital bracelet reading "homosexual." The regional government in Tuscany has recently put the ad up on billboards in a region-wide campaign to end homophobia.
The ad has sparked criticism from the conservative community and the LGBT community, with some arguing that it may communicate that homosexuality is a disease. One thing is certain - Émergence has stirred public interest, and it's not the first time.
From le Fondation Émergence (translated from the french):
The next question will be asked: is homosexuality innate or acquired? So far, science has been unable to answer this question in the affirmative or consensual. However, there is consensus on one fact: one does not choose their sexual orientation, which has inspired the theme of the campaign.Read an article on this ad at gay.com.
Posted by Ezra Winton on November 12, 2007
VAL Desjardins is Montréal-based photographer and a video artist who uses performance as a way to express her ideas about gender and queer sexualities. I was able to attend her Coming Home show, after she'd been away for years in New York, finessing her photography and becoming evermore involved in performance art.
[Interview by Mél Hogan for Art Threat]
AT: You are an artist who appears as much in front as behind the camera--can you talk a bit about what those different positions offer?
VAL: Breaking down the boundaries that have traditionally existed between the camera/artist and the subject has been pivotal in my work. Being able to move between the back of the camera where I plan images and engaging my body in performance for the camera allows me the freedom necessary to express my ideas and include myself as a source of exploration. I love creating images but also feel a strong need to be seen, therefore I need the dance between the two positions to be extremely fluid and open. Sometimes I work with models and shoot traditional portraits, sometimes I set up my camera on a tripod and perform alone for the camera, other times I collaborate with people and create images that record a live performance. It’s always different, there are no rules in my image making world…just feelings, ideas and the desire to express them by making images.
Posted by Mél Hogan on November 8, 2007
Three floors of artwork exploring connected themes around protest and confrontation are on exhibit at Washington's Katzen Art Centre. From DCist:
In an audacious presentation of political and protest art, the Katzen Arts Center’s Art of CONFRONTation showcases three separate exhibitions that share a confident outspokenness. Whether it’s the poignant reenactments of torture of Abu Ghraib by Fernando Botero, or the surreal depictions of the city-dominated human condition by Irving Norman in Dark Metropolis, or the multifaceted collection of some of the 1970s most important feminist art in Claiming Space, these works are united by a passionate and irrepressible yearning to speak and be heard.Read the whole article here.
Despite their similarities, each exhibit has its own floor in the Katzen Arts Center—whose curved walls and pointed hallways make it a perfect venue for such a dynamic collection—so viewers are able to see each one independent of the others.
Posted by Ezra Winton on November 7, 2007
Rolling Stone Magazine has determined the future, and it is bleak my friends. Yes, we may be used to the patriarchal drivel emanating from the pages of a magazine clinging to a post 40-has-been epoch, so much that we should not be surprised when they print a cover that promotes the underpinnings of patriarchy so conspicuously. But the guys who run Rolling Stone Magazine do not give a shit about this critique: they are still, stupidly, myopically, listening to their advertisers. They are, alas, still jerking off to their air guitars while feeling purpose in what they do: the promotion of corporate music culture that truncates the white male over the Others. Rolling Stone, you have grown up, and you have displayed your culture badge to us all: the visionaries of your future, are, wait for it, all MEN and ALL WHITE. Reality check? You bet, with performances like this your days are numbered, and some of us can’t wait until the count is up.
Take one second and examine THE 40th ANNIVERSARY COVER of Rolling Stone Magazine and you will see a promotion of phallancentricity, a sexist proclivity toward a culture of males. There is no other word on the eve of this magazine’s 40th anniversary to describe them: sexist ASSHOLES. Burn your copies, because folks we are in the age of pop culture patriarchy.
Rolling Stone, you make me sick.
Author's note: Some of you out there have sent me pretty nasty emails about this post, and while I appreciate you sticking up for your favourite culture-mag, I'd like to point out that this post is a provocation, I'm not really angry or sick. Unsurprisingly, this sarcastic post has even attracted sexist, self-described "aryans" jumping at the opportunity to defend whitedom. For that reaction and others, check out the comments section. And let's keep our sense of humour, no?
Posted by Ezra Winton on November 7, 2007
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