CHIROT ZERO ZINE--ANNOUNCING NEW BLOG

Dear Followers, Friends, fellow Workers:

I have just begun a new blog/zine called
Chirot Zero Zine A Heap of Rubble--
Anarkeyology of hand eye ear notations
---
http://chirotzerozine.blogspot.com
the blog is more exusively concerned than this one with presenting essays, reviews (inc. "bad reviews") , Visual Poetry, Sound Poetry, Event Scores, Manifestos, Manifotofestos, rantin' & raving, rock'roll, music all sorts--by myself and others--if you are interested in being a contributor, please feel free to contact me at david.chirot@gmail.com
as with this blog, the arts are investigated as a part of rather than apart from the historical, economic, political actualities of yesterday, today, & tomorrow
as with al my blogs--
contributions in any language are welcome

Free Leonard Peltier

Free Leonard Peltier
The government under pretext of security and progress, liberated us from our land, resources, culture, dignity and future. They violated every treaty they ever made with us. I use the word “liberated” loosely and sarcastically, in the same vein that I view the use of the words “collateral damage” when they kill innocent men, women and children. They describe people defending their homelands as terrorists, savages and hostiles . . . My words reach out to the non-Indian: Look now before it is too late—see what is being done to others in your name and see what destruction you sanction when you say nothing. --Leonard Peltier, Annual Message January 2004 (Leonard Peltier is now serving 31st year as an internationally recognized Political Prisoner of the United States Government)

Injustice Continues: Leonard Peltier Again Denied Parole

# Injustice continues: Leonard Peltier denied parole‎ - By Mahtowin A wave of outrage swept the progressive community worldwide at the news that Native political prisoner Leonard Peltier was denied parole on Aug. ... Workers World - 2 related articles » US denies parole to American Indian activist Leonard Peltier‎ - AFP - 312 related articles » # Free Leonard Peltier 2009 PRISON WRITINGS...My Life Is My Sun Dance Leonard Peltier © 1999. # Prison Writings: My Life Is My Sun Dance - by Leonard Peltier, Harvey Arden - 2000 - Biography & Autobiography - 272 pages Edited by Harvey Arden, with an Introduction by Chief Arvol Looking Horse, and a Preface by former Attorney General Ramsey Clark. In 1977, Leonard Peltier... books.google.com/books?isbn=0312263805... - # Leonard Peltier, American Indian Activist, Denied Parole And Won't ... Aug 21, 2009 ... BISMARCK, ND — American Indian activist Leonard Peltier, imprisoned since 1977 for the deaths of two FBI agents, has been denied parole ... www.huffingtonpost.com/.../leonard-peltier-american_n_265764.html - Cached - Similar - #

Gaza--War Crime: Collective Punishment of 1.5 Million Persons--Recognized as "The World's Largest Concentration Camp"

Number of Iraquis Killed Since USA 2003 Invasion began

Just Foreign Policy Iraqi Death Estimator

US & International Personnel losses in Iraq &Afghanistan; Costs of the 2 Wars to US


Number of U.S. Military Personnel Sacrificed (Officially acknowledged) In America's War On Iraq: 4,667
icasualties.org/oif/

Number Of International Occupation Force Troops Slaughtered In Afghanistan : 1,453
http://icasualties.org/oef/


=

Cost of War in Iraq

$691,188,637,164

Cost of War in Afghanistan
$229,137,844,021

The cost in your community

www.nationalpriorities.org/index.php?option=com_wrapper&Itemid=182

flickr: DEATH FROM THIS WINDOW/DOORS OF GUANTANAMO--Essays, Links, Video-- US use of Torture

VISUAL POETRY/MAIL ART CALL Cracking World’s Walls & Codes Concrete & Virtual

Cracking World’s Walls & Codes Concrete & Virtual


VISUAL POETRY/MAIL ART CALL
No Sieges, Tortures, Starvation & Surveillance
GAZA-GUANTANAMO-ABU GHRAIB—THE GLOBE
Deadline/Fecha Limite: SinsLimite/ongoing
Size: No limit/Sin Limite
No Limit on Number of Works sent
No Limit on Number of Times New Works Are Sent
Documentation: on my blog
http://davidbaptistechirot.blogspot.com
Addresses: david.chirot@gmail.com
David Baptiste Chirot
740 N 29 #108
Milwaukee, WI 53208
USA

Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'



Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'


The current 'Miss Universe' Dayana Mendoza (formerly Miss Venezuela) and 'Miss America' Crystal Stewart visited US troops stationed in Guantanamo Bay on March 20th, the New York Times reports. Here's Mendoza's account of the visit from her pageant blog last Friday. She says the trip "was a loooot of fun!"

This week, Guantánamo!!! It was an incredible experience...All the guys from the Army were amazing with us. We visited the Detainees camps and we saw the jails, where they shower, how the recreate themselves with movies, classes of art, books. It was very interesting. We took a ride with the Marines around the land to see the division of Gitmo and Cuba while they were informed us with a little bit of history.


The water in Guantánamo Bay is soooo beautiful! It was unbelievable, we were able to enjoy it for at least an hour. We went to the glass beach, and realized the name of it comes from the little pieces of broken glass from hundred of years ago. It is pretty to see all the colors shining with the sun. That day we met a beautiful lady named Rebeca who does wonders with the glasses from the beach. She creates jewelry with it and of course I bought a necklace from her that will remind me of Guantánamo Bay :)

I didn't want to leave, it was such a relaxing place, so calm and beautiful.

Sunday, January 20, 2008

Art Attack in Bethlehem





Art attack

by Peter Kennard | New Statesman | 17 January 2008 (cross-posted at peoplesgeography.com)

Guest BloggerBanksy attracts the press attention, but around him is an increasingly influential movement of political artists operating outside the mainstream
The phone rings; the number is withheld. It’s Banksy. He wants to know whether I can go to Bethlehem over Christmas. He is putting on an exhibition, bringing together like-minded artists from all over the world to raise awareness of the situation in Palestine. Like the annual guerrilla art shows that have taken place in London for the past six years, it will be called “Santa’s Ghetto”. Two weeks later, I find myself involved in an experience that transforms my ideas about what artists can do in the face of oppression.

We are living through an exciting time for political art. I have been an artist for 40 years, and my work has always focused on political and social issues. In the 1970s, I started making photo montage work, drawing on imagery from the Vietnam War and the row over nuclear armaments (a retrospective opens at the Pump House Gallery this month). Since the build-up to the Iraq War in 2002, I have been collaborating with a younger artist, Cat Picton Phillipps, developing new techniques and using digital technology to expose the lies that led to the invasion and the subsequent humanitarian disaster.

Over this period, our work has become linked to a group of young artists who work outside the official art world. Most of them started out painting graffiti on walls. The central figure in this group is Banksy, but although he attracts most of the press coverage, he is surrounded by a growing band of talented, politically committed artists. Our associates come from Spain and Italy, the US, Britain and Palestine. Since the era of the Bush/Blair war in Iraq, this movement has become increasingly politicised, just as my generation was politicised by the war in Vietnam. These are artists who want to connect with the real world, rather than work for the market, which has more of a stranglehold on art than ever. They combine creativity with protest, insisting that art should be more than the icing on the cake for the super-rich.

We arrived in Bethlehem with four fellow artists: Blu, an Italian who has painted on walls from Bologna to Buenos Aires; Sam3, from Spain; the long-standing Banksy collaborator Paul Insect, from Britain; and Gee Vaucher, another Brit and the only other artist of my generation. The rest are all in their thirties and come from street-art backgrounds. All of them are well informed about the Middle East and came to Bethlehem to show their solidarity with the Palestinians.

Banksy had been to the West Bank a number of times to paint on the Separation Wall. He knows and understands the situation and had a team of focused, sussed people working with him. They found a disused fast-food joint in Manger Square and managed to rent it. The idea was to show a combination of western and Palestinian artists. The art was available to buy on site only, so if you wanted to get hold of the latest Banksy or any of the other artworks, you would have to travel to Bethlehem to place a bid. This was important, because Bethlehem is being starved of its tourist trade as visitors are bussed in to see the Church of the Nativity and bussed out an hour later back to Israel. All proceeds from the sale, which exceeded $1m, went to local charities.

For our contribution, Cat and I decided to print a dollar bill across 18 sheets of the Jerusalem Post, ripped through to expose images of pre-Naqba Palestine. The pictures show the richness of Palestine’s history and the diversity of its culture - a sobering antidote to the stereotype of a violent, irrational people that we so often see on the news. We wanted to make the work in Bethlehem because taking finished pieces over would be difficult, given Israel’s heavy and ever-changing restrictions on what and who can travel in to the Palestinian territories.

We teamed up with a group of Palestinians, who helped to get hold of materials and sort out logistics. They also gave us all a window on life in the West Bank, with looming Israeli settlements and endless checkpoints. Every night we would pile into a kebab restaurant, where we would drink and dance, arguing over and discussing that day’s work. One night over dinner, the Palestinians recounted how they had been held and tortured by the Israeli authorities while they were still in their mid-teens. It was extraordinary how welcoming they were to this motley band of artists. All the privations and restrictions have only increased the Palestinians’ resilience and their desire to communicate with the outside world.

Through these friends we found a commercial printing house in Hebron, which got involved in sorting out our highly unconventional printing needs. This involved printing a giant dollar across many sheets of newspaper and also making a giant print to plaster on the Separation Wall. The printers immediately committed their time and energy to the project, and ended up printing for Banksy and the other artists.

Through this process of making, the people of Bethlehem became involved in what the work was saying. After we pasted our picture on the wall, we went for tea in the cafe opposite. The cafe owner, whose business has been destroyed by the wall, told us he appreciated the statement we had plastered on to the cement that he has to stare at every day of his life.

Sticking up a poster or painting the Separation Wall in the West Bank might sound inconsequential, but these are highly practical ways to help, in contrast to the intellectual interventions prevalent in much contemporary art. They contribute to a town and a people that are having their lifeblood strangled out of them.

In this context, it is important that the work communicates directly to the Palestinian people. While there has been a move to take on contemporary issues in a direct way in the theatre, in visual art the idea still holds that if you have something to say about the world, you have to hide it behind theory and obscurity. It sometimes seems that Britain’s art colleges turn out experts in camouflage, rather than fine art.

The pressure of world events is so great that it is increasingly difficult to sustain the idea of art for art’s sake. Radical art and politics converge in times of crisis, and that is happening now. I know, from my experience as a tutor at the Royal College of Art and at the University of the Arts in London, that the ironies of the Nineties YBA movement are now a thing of the past. Many art students and young artists are searching for ways to make a direct connection between their awareness of how things are in the world and their own art practice.

This involves thinking about not only the form of the art itself, but also the process of making. There are many collaborations taking place across media and disciplines, and artists are looking for new methods of distribution.

Unlike in my youth, there is no organised “left” into which artists can slot, but there is a concrete wall, 425 miles long, and we can turn it into an international canvas of dissent.
Four to watch

Blu burst on to the public-art scene after the success of his contributions to the “Urban Edge” show in Milan in 2005. His reputation is built on expansive, surreal, often aggressive wall and pavement murals. Though renowned for his playfulness, acclaimed pieces from 2007, such as Fantoche in Switzerland, Letter A in New York and Reclaim Your City in Berlin, have a more macabre tone.

Suleiman Mansour co-founded al-Wasiti Art Centre in east Jerusalem, which he now directs, and went on to lead the New Vision artists’ group, which proved influential during the first intifada. A pioneer of resistance art, Mansour makes work that revolves around the Palestinian struggle. He was head of the League of Palestinian Artists for four years, and won the Nile Award at the 1998 Cairo Biennale as well as the Palestine Prize for the Visual Arts the same year. He is famous for using locally sourced materials, such as mud and henna, in his pieces.

Sam3 (Samuel Marín) comes from Granada in southern Spain, where his ephemeral long, black silhouettes haunt the cityscape. Famous works include his 12 Shadows project for AlterArte and the iconic Erase Yourself, a silent protest against the civic legal authorities for removing graffiti in Barcelona.

Paul Insect is a London-based ex-designer whose pioneering of “steampunk”, a mixture of Gothic Victoriana and futuristic themes, has proved popular with the British arts intelligentsia. In July last year, Damien Hirst bought his entire “Bullion” show at the Lazarides Gallery in Soho. His painting Unicorn sold for an estimated £24,500 at Sotheby’s last month.

Ben du Preez



On this blog the following images from this same show appearing in the entry for 23 december 2007:

Sunday, December 23, 2007
Santa's Ghetto English Street Artists' Show & Shop in Bethlehem' Palestinian Side of Apartheid Wall
































2 comments:

Tony Marshall said...

Hi,
I Work in London myself & I got a job very quick from London4Jobs. (Thank you) So now what I have Decided to do is link all the London job board on my blog. So when job seekers visit my blog they have a choice of who to register there CV with or they could register there CV with all of them!

Kind Regards
Tony Marshall

rachel defay-liautard said...

art attack on spam attack on art attack!!
spamart is beautiful!
thanks david!