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
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
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... - # 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 ... - 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

Number Of International Occupation Force Troops Slaughtered In Afghanistan : 1,453


Cost of War in Iraq


Cost of War in Afghanistan

The cost in your community

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

No Sieges, Tortures, Starvation & Surveillance
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
David Baptiste Chirot
740 N 29 #108
Milwaukee, WI 53208

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.

Thursday, November 18, 2010

Remembering Forward - Australian Aboriginal Painting since 1960 at Museum Ludwig

---------- Forwarded message ----------
From: e-Flux <>
Date: Thu, Nov 18, 2010 at 5:32 AM
Subject: Remembering Forward - Australian Aboriginal Painting since 1960 at Museum Ludwig

November 18, 2010

Museum Ludwig

Ronnie Tjampitjinpa, "Tingari Ceremonies at the Site of Pintjun," 1989.
Acrylic on canvas, 152 x 180 cm.*

Remembering Forward –
Australian Aboriginal Painting since 1960

20 November 2010 – 20 March 2011

Museum Ludwig
Heinrich-Böll-Platz, 50667
Cologne, Germany

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It is far more than living memory: it is a sensory, non-linear intertwining of past and future, of cause and effect, that distinguishes Australian Aboriginal painting. In Europe these unusual artworks are still largely unknown. The Museum Ludwig will devote attention to them in a large exhibition of approximately fifty paintings by nine outstanding artists of the past five decades.

Despite their origins in remote regions of Australia, these works are central contributions to contemporary art and expand our understanding of painting. By including a selection of artists from various regions—the Western and Central Desert, the Kimberley and Arnhem Land—the exhibition also acknowledges the diversity of Australia's different Indigenous cultures.

These works by nine outstanding artists represent the creative interpenetration of tradition and modernity.

This exhibition places particular emphasis on the artists behind the works, whose individual styles and developments become clear. Their works are not understood as expressions of their cultural backgrounds; rather, they are the artistic presentation of the interpenetration of tradition and modernity. The artists have all chosen to paint stories based on their Dreamings, from the oral tradition of the time of creation. These creation myths describe, according to Aboriginal beliefs, how the ancestors formed the land, but at the same time they reach into the future. The artworks must thus be understood as a highly current involvement with this system of beliefs, not as the reprocessing of a cultural history. Together with modern materials such as acrylic paints and canvas, this has led to highly innovative visual representations and new developments of content as well.

The selection of artists makes it possible to experience the diversity of painters' experimentation through several examples.

Artists like Emily Kame Kngwarreye and Dorothy Napangardi increasingly departed from the depiction of specific narratives and arrived at pictorial programmes that can be described as abstract, though they have not given up their relationships and references to the land. Clifford Possum Tjapaltjarri and Tim Leura Tjapaltjarri pursued a different path in their somewhat earlier works, in which numerous different stories connected to a specific place are combined into a single image. This combination of multiple Dreamings was not a part of traditional sand painting. Turkey Tolson Tjupurrula, in contrast, varied one story many times: the straightening of spears. Thus he compresses numerous aspects into one complex visual metaphor: the story's telling, the passing of time, the land, and conflicts over land rights. Artists from the Kimberley such as Rover Thomas, Queenie McKenzie and Paddy Bedford have combined the mythological content of their images with historical events associated with colonization. Some of the horrors brought on by the European settlement of Australia, such as massacres of the Indigenous population, become tangible in paintings.

Two collections of bark paintings not only present this fascinating medium, but also provide the historical context for exhibitions of Indigenous Australian art in Western art museums.

The collections of bark paintings from Arnhem Land assembled by artist and curator Tony Tuckson with patron Dr Stuart Scougall dates from the period around 1960. Their exhibition in the Art Gallery of New South Wales, Sydney, initiated debate on the appropriateness of exhibiting Indigenous art in art museums. Today, Remembering Forward still is located within the context of this debate. This collection of bark paintings is complemented by others collected by Karl Kupka almost simultaneously for the Museum der Kulturen (ethnographic museum) in Basel. Altogether, fourteen bark paintings by eleven (in some cases unknown) artists will be shown.

The exhibition will be accompanied by an extensive catalogue published by Paul Holberton Publishing.

Remembering Forward is generously supported by the Peter and Irene Ludwig Foundation and the ART MENTOR FOUNDATION LUCERNE and Ströer Out-of-Home Media AG as a media partner.

*Image above:
Gabrielle Pizzi Collection, Melbourne.
© Ronnie Tjampitjinpa 2010, Aboriginal Arts Agency (AAA).

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New York, NY 10002, USA

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