Skateboarding in Kabul
Learn more about the Skateistan project here.
Skateboarding in Afghanistan?
Absolutely. As soon as two Australian skateboarders dropped their boards in Kabul in 2007, they were surrounded by the eager faces of children of all ages who wanted to be shown how to skate. Stretching out the three boards they had brought with them, they developed a small skate school.
A group of Afghan friends (aged 18-22) who were naturals at skateboarding shared the three boards and quickly progressed in their new favourite sport—and so skateboarding hit Afghanistan. The founders’ success with their first students prompted them to think bigger: by bringing more boards back to Kabul and establishing an indoor skateboarding venue, they would be able to teach many more youth, and also be able to provide older girls with a private facility to continue skateboarding.
On October 29, 2009, Skateistan completed construction of an all-inclusive skatepark and educational facility on 5428 square meters of land donated by the Afghan National Olympic Committee. The indoor section was graciously built by IOU Ramps.
Skateistan has emerged as Afghanistan’s first skateboarding school, and is dedicated to teaching both male and female students. It aims to build indoor and outdoor skateboarding facilities in which youth can come together to skateboard: here, they forge bonds that transcend social barriers. Here, they’re enabled to affect change on issues that are important to them.
DONATE to Skateistan here.
NY Times article here.
Horst Ademeit’s Secret Universe was up at the Hamburger Bahnhof, in Berlin, from May 13 — September 25.
From the Hamburger Bahnhof website:
With Secret Universe, Hamburger Bahnhof begins a series of exhibitions focusing on artists who have so far remained largely neglected by the established art discourse. The first exhibition in this series is devoted to Horst Ademeit.
This artist has devoted more than 20 years of his life to the photographic documentation of what he called “cold rays” and other invisible radiation that he thought harmed him and his environment. In the complex reference systems developed by Ademeit, certain motifs play a constant role: electricity meters, peepholes, building sites, electric cables, collections of bulky trash or bikes. Ademit began to cast the flood of images he produced in a concrete form in October 1990: he arranged measuring instruments and a compass on a newspaper and photographed them with a Polaroid camera. Over the course of 14 years, he made 6006 numbered Polaroids.
Born in Cologne in 1937, Horst Ademeit first trained as a house painter, and then studied textile design before joining the Werkkunstschule in Cologne. In 1970, he was a student of Joseph Beuys for a short time. His first documentary photographs were taken during renovation work in run-down houses. From the end of the 1980s, the artist concentrated on the documentation of “cold rays.” His oeuvre was discovered and exhibited for the first time in 2008. He died in July 2010. The exhibition at Hamburger Bahnhof is Horst Ademeit’s first museum show.
Ademeit also showed at White Columns in NYC in April 2010 but I never saw his show, unfortunately. Looks like interesting work.
I was having a crappy week and now I am EXCITED!
The Beat Is The Law – Fanfare For The Common People
Glastonbury Festival, 1995. The Stone Roses pull out of their headline set after a mountain bike accident and Rod Stewart is unavailable. Last minute replacements Pulp take to the stage to face 80,000 people. They deliver a set “regarded as one of the best in the festival’s history”, climaxing with the era-defining song “Common People”, and in the process catapult themselves to the forefront of the Britpop movement — an achievement that 10 years earlier seemed like an impossible dream. Made with the full cooperation of Pulp, The Beat is The Law – Fanfare For The Common People brings together original interviews, performances, promos, newly unearthed live footage and home videos to tell the story of Pulp and their contemporaries’ journey from the darkest industrial depths of Sheffield to the pinnacle of pop via the consciousness-raising techno/house of Warp Records. Featuring original interviews with Pulp’s Jarvis Cocker, Russell Senior, Candida Doyle and Nick Banks — plus Richard Hawley (Longpigs), Mark Brydon (Chakk/FON/Moloko), Rob Gordon (FON/Warp), Adi Newton (Clock DVA) and many more!
Directed by Eve Wood, 2010, 90 min.
Film website here.
The Taryn Simon show at the Tate Modern was also great. But after seeing Photography: New Documentary Forms plus another documentary photography show (entitled Burke + Norfolk: Photographs From The War In Afghanistan), A Living Man Declared Dead and Other Chapters was hard to digest.
All of the exhibits up at the Tate were pretty heavy and definitely caused some introspection. These 3 shows, seen all in one afternoon, left my friend and I feeling completely mentally drained. After we finished going through the Simon exhibit, we sat out by the Thames and contemplated the world and it’s fuckedupedness. It is a pretty crazy place where we live and reading through Simon’s texts about these different families, from all over the world, is certainly proof of this. My life is relatively easy compared to the struggle most humans must endure to get by on this planet and I am thankful that I have it so easy. After seeing a show like Simon’s I am reminded that I should not complain about anything and I should be MORE thankful for all that I do have. I would love to see this exhibit again.
From the Tate website:
Tate Modern premieres an important new body of work by the American artist Taryn Simon. A Living Man Declared Dead and Other Chapters was produced over a four-year period (2008-11), during which Simon travelled around the world researching and recording bloodlines and their related stories. In each of the eighteen ‘chapters’ that make up the work, the external forces of territory, power, circumstance or religion collide with the internal forces of psychological and physical inheritance. The subjects documented by Simon include feuding families in Brazil, victims of genocide in Bosnia, the body double of Saddam Hussein’s son Uday, and the living dead in India. Her collection is at once cohesive and arbitrary, mapping the relationships among chance, blood, and other components of fate.
Guardian interview with Taryn here.
Wallpaper write up and slideshow here.
Another aging gentleman that I would like to hug, Jacque Fresco.
Excited for this film! Maybe I should have become an architect/engineer,
it is too bad that my brain hates Math!
I wonder if he had anything to do with Archigram?
More info on Future by Design film here.
Oscar-nominated filmmaker William Gazecki directs this thought-provoking documentary chronicling the life and work of self-taught futurist Jacque Fresco, a Florida-based engineer, designer and inventor who’s built his life around forward thinking. Moving away from present-day concepts of commercialism and militarism, Fresco promotes an array of fresh, sustainable alternatives that are viable — and far from fantastical.
thanks robotowitz for this amazing link!
OK, so Greenpoint is pretty much already the greatest place to live in NYC and today I learned that Light Industry is moving to my fair neighborhood. I am VERY excited about this and if I were rich I would donate gobs of money to make sure that they took up residence on Freeman St., since I am not nouveau riche (or any type of rich, unfortunately) perhaps you can send them gobs and gobs of YOUR money… I promise to be forever ecstatic if Light Industry is only a stumble away! And everyone wants a happy Violet, yes?
Here is their Kickstarter campaign. CHECK IT OUT.
I like Kathleen Hanna, CNN interview here.
Who Took the Bomp? Le Tigre on Tour
Dir Kerthy Fix, 2010, 72 min.
Tuesday, June 7th, at the Maysles Institute, 7:30 PM.
Who Took the Bomp? follows electronic feminist icons Le Tigre on the This Island tour across four continents and ten countries. Supported by a community of devoted fans and led by outspoken Riot Grrrl pioneer Kathleen Hanna (Bikini Kill), Le Tigre confronts sexism and homophobia in the music industry while tearing up the stage via performance art poetics, no-holds-barred lyrics, punk rock ethos, and whip-smart wit in this edgy and entertaining documentary. Who Took the Bomp? features never before seen live performances, archival interviews, and revealing backstage footage with these trail-blazing artists. “Hysterically funny, shamelessly political and musically intense” says Rolling Stone.
Post-screening Q&A with: Director Kerthy Fix and Le Tigre members Kathleen Hanna and Johanna Fateman.
About the Speakers:
Kerthy Fix’s credits include Flying: Confessions of a Free Woman with director Jennifer Fox, Hotel Gramercy Park with filmmaker Douglas Keeve, and Who Does She Think She Is?, airing on PBS this year. She also directed and produced Strange Powers: Stephin Merritt and the Magnetic Fields.
Kathleen Hanna is best known for her groundbreaking performances as a member of the seminal 90′s punk band, Bikini Kill, and her more recent multimedia group, Le Tigre. She is currently making art, giving lectures and writing a new album with her band The Julie Ruin.
Johanna Fateman, a Harlem resident and “zine queen,” is best known for her work with Le Tigre. She produces the band Men, is a frequent art and pop culture contributing writer at ArtForum and co-owns Manhattan’s Seagull salon.