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Willem de Ridder

Willem de Ridder

April 12, 2008 at 6:00 pm

Willem de Ridder

A very special guest, Willem de Ridder, will be speaking at 6pm. His presentation will be followed by our third screening of Here is Always Somewhere Else.

Willem de Ridder has been pioneering his entire life in the arts and the media. In the beginning of the sixties he brought in Holland all the modern young composers together in the MES (Mood Engineering Society), which resulted in the very first art performances and happenings. He became chairman for Northern Europe of Fluxus, started the First European Mail Order Warehouse for Fluxus works and made with Wim T. Schippers a national television program in which Holland heard for the first time about pop art, fluxus, zero, and his own anti-art activities. In 1965 he started a national newspaper in which everybody could publish anything they wanted. It caused a revolution in medialand (like internet now). Together with friends he started Paradiso and Fantasio, two clubs in which everybody could jump on stage and do whatever they wanted. Soon there were 150 of those clubs all over the country.

Together with English media adventurers like Jim Haynes, Germaine Greer, William Levy and Heathcote Williams he started SUCK, the First European Sexpaper, the beginning of the sexual revolution. They organised also the very first sexfilm festivals in Amsterdam, with visitors from all over the world. When he discovered how reading and writing had fatal effects on our society, he stopped with the newspapers and moved to the capital city of the image culture: Hollywood. There he started making weekly radio shows without any scripts for Holland. He developed the very first audio tours, before the walkman was invented. Then he made a radioshow in which the listeners were asked to sit in their car, turn on the radio and follow his instructions. About 30.000 of them started driving in the middle of the night having an adventure they would never forget.

Together with Max Lobckovicz, Shirley and Paul Eberle he made the first magazines in America in which everybody could publish anything they wanted about their sexlife. With Queen Adrena he introduced the first erotic telephone lines. He also made the very first magazine with sound in Hollywood, and so he went on and on.

He is going to tell his entire story in TELIC Arts Exchange.
Among others about his illegal exhibition in the MOMA.

In Holland he is called the Master Story Teller so you will hang on his lips, thumb in your mouth, time vanishes and space will disappear.

Visit Willem’s website and listen to some of his podcasts for Typeradio here.

This exhibition is made possible in part with support from the Mondriaan Foundation, Amsterdam, the Consulate General of the Netherlands in New York, The Andy Warhol Foundation for the Visual Arts, and basjanader.com.

Mondriaan Foundation

Public and Private Stages

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The nude is a notoriously hackneyed art subject, but it was still something of a surprise that several galleries in Chinatown - almost all of which opened on September 8 - had shows featuring naked (or nearly) people. Amy Bessone’s show at David Kordansky has several large paintings, which turn out to be paintings of photographs of nude porcelain figurines from auction catalogues. The press release refers to an interaction between the work and the viewer, who must “weather” a confrontation with naughty bits. Next door to TELIC at Black Dragon Society, Steve Canaday made several colorful, cartoony paintings of women in bikinis with beer, pets, and chubby thighs.

Finally, at TELIC Miguel Angel Reyes solicited audience members to come on stage and pose in a way that was physically revealing. Some spread their legs, others flashed undergarments, and a surprising number just let the flesh all hang out - all in exchange for the drawing of the session made by Reyes. This is Los Angeles, but I have to reiterate a mild astonishment that members of the general public were willing to do this - well, not pose nude so much as do it on a public stage while audience members shot camera phone photos and videos of the spectacle. Interestingly, Amy Bessone (according to Kordansky’s press release) asks what happens as we stop thinking in terms of the “male gaze” and instead turn the gaze upon ourselves?

Jordan Crandall is asking the same question in his exhibition, I think, but in a very different way. Perhaps one of the strangest things about the drawing session was how not awkward it was. It’s not that the publicly stages erotic figure drawings inverted the gaze - the audience members watching and snapping photos refute that I think - but the quotidian feeling of it all make us think about what we (see other people) do online. And so in the back space, Jordan spent the opening interviewing people one-on-one, trying to get them to confess. While the space was private, the session was obviously filmed and the footage was sent in real-time to a television next to the front door of the gallery. In other words, the inversion was there, in the private, but connected back space - the obverse of the public stage.

I won’t go too far into it, but I was also interested in the performative aspect of it all. Both artists, Jordan and Miguel had personal, intimate exchanges with their subjects, producing an experience rather than an object. Footage from the opening will be screening on the television at the front of the space for the duration of Showing.

See also: Continuous and Discontinuous Being by Georges Bataille

Susanna Paasonen

October 13, 2007 at 12:00 pm to 9:00 pm

12-5pm
“Lifecasting” channels (justin.tv; ustream.tv)
5pm
Video of performance by Felipe Zuniga
6pm
Presentation by Susanna Paasonen

For her lecture at Telic, Susanna Paasonen will speak on PORNOGRAPHY AND AFFECTIVE SENSATION. Her presentation will consider the affective force of pornography through the theorizations of Sara Ahmed, Vivian Sobchack and Isobel Armstrong. Discussions on porn, both academic and popular, tend to revolve around articulations of affect ranging from arousal to disgust, pleasure, shame and curiosity. Susanna Paasonen is interested in the role and meaning of such sensations in and for studies of online pornography.

Susanna Paasonen, Ph.D., is a research fellow at the Collegium for Advanced Studies, University of Helsinki. Her teaching and research interests include Internet research, feminist theory, pornography and popular culture. She is the author of Figures of Fantasy: Women, Internet and Cyberdiscourse (Peter Lang, 2005) as well as the co-editor of Women and Everyday Uses of the Internet: Agency & Identity (Peter Lang, 2002) and Pornification: Sex and Sexuality in Media Culture (Berg, forthcoming in 2007). Her work on pornography has recently appeared in the journals Feminist Theory, The Velvet Light Trap and European Journal of Cultural Studies.