September 30, 2015
In
Anonymous Boh, Art, EVENTS, NonGrata, Performance
Artist Talk
Mushimaru Fujieda the master of Butoh Dancing representing The Psychical Poets (JPN) !
Mushimaru Fujieda the master of Butoh Dancing representing The Psychical Poets (JPN) !
American Dirty Printmakers feat Peeter Allik and Anonymous Boh
On 28th of September we opened an exhibition in Yigeng Art Museum located in Songzhuang Town of Tongzhou (in the eastern suburbs of Beijing), which is the most famous and biggest artist community in Beijing. More than 5,000 artists live there. Being a biggest artist community in Beijing, also makes it one of the biggest artist communities in world!
Originally representing the avant-garde, the area now accommodates artists who paint in varying styles, ranging from the avant-garde to the academic. Painters, sculptors, photographers, writers, conceptual/new media artists and dreamers live side-by-side.
Participating artists: Anonymous Boh, Taje Tross, Leonhard Lapin, Tõnis Laanemaa, Raul Meel, Toomas Kuusing, Peeter Allik, Tyler Krasowski, Curtis Jones, Ryan O’Malley, Charles Hancock, John Hancock, Kate Fire, Katy Seals, Joseph Velasques, Greg Nanney, Xenia Fedorcenko, Mila Balti.
Exhibition opening included undercover Chinese secret police who studied each art piece at least 3 minutes which made them unarguably the best audience!
Later they followed us to an after party to make sure that we would not perform in any other way than singing or dancing! They also followed us for an hour to verify that we are not staying in Songzhuang area. For past days the heat is totally on! We are basically house arrested for at least 48 hours to not attract any attention.
Anonymous Boh & Taje Tross
Tõnis Laanemaa, Raul Meel, Peeter Allik
Taje Tross, Tõnis Laanemaa, Raul Meel, Peeter Allik
Peeter Allik, Leonhard Lapin,
Leonhard Lapin, Anonymous Boh, Taje Tross
Taje Tross, Tõnis Laanemaa, Raul Meel, Peeter Allik
Leonhard Lapin, Anonymous Boh, Taje Tross, Tyler Krasowski
Anonymous Boh in the middle of Chinese artists
Research on performance
On the left: our local friend Chris. Thanks for making the communications possible!
C G S P was especially interested by the works of Anonymous Boh
after party
Exhibition featuring: Anonymous Boh, Taje Tross, Leonhard Lapin, John Hancock, Tõnis Laanemaa, Ryan O’Malley, Curtis Jones, Tyler Joseph Krasowski, Joseph Velasques, Raul Meel & Troubleshooter Prints (printmaking.ee)
Exhibition opening performance planning
„In graafika“ kunstnikud peegeldavad oma riigi probleeme, kuid tegelikult räägivad ühest ja samast.
Näitused Pärnu Linnagaleriis, Endla teatris, kaubamajas Port Artur 2, Pärnu keskraamatukogus, Katlamajas ja Tartu ülikooli Pärnu kolledžis kuni 12. IX. Korraldaja Academia Gustaviana Selts, kunstnikud Maurice Abelman, Kenneth Laing Herdy, Lemon Ye, Wang Xixi, Troubleshooter Prints, Peeter Allik, Toomas Kuusing, Anonymous Boh, Taje Tross, Grafodroom, Raul Meel, Leonhard Lapin, Tõnis Laanemaa, Lukas Kolmogorcevas, Dalia Dūdaitė, Merilyn Anvelt, Emeric Weber, Liisa Kruusmägi, Mati Karmin, Elo Liiv, Mari-Liis Tammi, Hannes Starkopf, Mare Mikoff, Vergo Vernik, Ants Viitmaa, Ahti Seppet, Aime Kuulbusch, Marc Brunier Mestas, Li Chang, Ieva Nagliņa, Māra Uzuliņa.
*Maurice Abelman woodblock cutting workshop
„In graafika“ festival korraldati sel aastal kaheksateistkümnendat korda. Suurele festivalile omaselt hõivati enamik linna galeriidest ning ekspositsioonipindadeks kohandati ka muu funktsiooniga ruumid, sealhulgas vaid suvekuudel avatud kultuuriklubi Katlamaja, sanatooriumi Tervis endine küttehoone, mille industriaalne olemus sobib ideaalselt mitmepäevaste graafikatöötubade asupaigaks.
*Madis Põldsaar Adobe Illustrator Drawing workshop
Nii nagu ikka, ei tähenda „In graafika“ festival vaid suurt massi näitusi valmisproduktidena. Festivali orgaaniliseks osaks on loominguline protsess ja kunstnike kohalolu. Näituste avamisele eelnes mitu päeva tööd Katlamajas, peamiselt Ameerika graafiku Maurice Abelmani puulõike töötubade näol, kus EKA tudengite ja teiste huviliste osavõtul valmisid suuremõõtmelised ühistööd, mida näidatakse Endla Teatrigaleriis. Veel sai osaleda Peeter Alliku ja Toomas Kuusingu linoollõike töötoas, tutvuda Madis Põldsaare käe all Adobe Illustratori programmi ja portreejoonistamisega või Hannes Paldroki ja Ott Piibemani juhendamisel siiditrükiga.
*Ott Piibeman & Hannes Paldrok / Troubleshooter Prints screen printing workshop
Aastaid vaid talvise festivalina peetud „In graafika“ suvine formaat õigustab end igati: programm on sisutihedam ning festival on tunginud linnaruumi ja tekitanud dialooge teiste ürituste ja festivalidega (performance’i-programm „Diverse Universe’i“ festivalil „Augustiunetus“, Katlamaja „ArtFest“ ja „Kuldrula“). Meenub „Augustiunetuse“ ühe korraldaja muhelev kommentaar festivalide võimaliku sünergia kohta: „Metsikus rahvamassis olid kõrvuti oma nägu veristav performance’i-kunstnik ja verepiiskade eest peituvad ontlikud muffinimüüjad. Aga kõik oli lõpuks kontrolli all.“
*Toomas Kuusing & Peeter Allik live printmaking
*Maja Andersson (SWE)
Just seesama piltlik idee kultuuride, vaadete ja väärtuste kooseksisteerimisest kumab tugevalt läbi kõigil „In graafika“ näitustel. Väljapanekud egiidi all „Langev taevas“ on poliitilised ja ühiskonnakriitilised ning toovad vaatajani maailma eri paigust kunstnike mõtted süsteemi ning valitseva võimu eetika kohta. Möödunud aasta teemale „Mugavustsoon“ on selle aasta festivali fookus igati loogiline jätk.
*Kenneth Laing Herdy (CAN) performance feat Xiaozhou Zhu (CHI) and Tota (JPN)
Kaubamaja Port Artur 2 tühjas boksis avatud indiaani juurtega Kanada kunstniku Kenneth Laing Herdy näitus käsitleb tabu, võimu, religiooni ja kultuurilise mitmekesisuse konflikte tänapäeva Kanadas, ühes arenenumas demokraatlikus lääneriigis. Herdy on kaevanud välja totalitaarsele riigile iseloomulikud tunnused ning rõhub Kanadas paar aastat tagasi vastu võetud seadusele, mille kohaselt kriitiline tegevus riigi suhtes on kuritegu. Väidetavalt kannab selle paragrahvi eest karistust viis kodanikku. Samasuguse paragrahvi tõttu saab Herdy sõnul tema näitust eksponeerida vaid Eestis ja veel mõnes riigis, kus riigivastane kriitika ei klassifitseeru seaduse järgi kuriteoks. Kunstnik väitis oma avakõnes, et Kanada holokaustist kõneleva näituse eest läheks ta oma kodumaal kinni. Siin on ta aga saanud välja panna oma aastatepikkuse salaja tehtud uurimuse, mis koosneb Kanada vähemusrahvuste esindajate fotodest, siiani kestvate genotsiidiaktide dokumentatsioonist, pealtnägijate-osalejate-kõrvalseisjate tunnistustest, mis toovad välja luukered Kanada valitsuse kapisügavustest. Herdy väidab, et tänase päevani kiusavad ja tapavad nii kirik kui ka valitsev võim vähemusrahvaid ja iidsete põliselanike järeltulijaid.
*Kenneth Laing Herdy (CAN) exhibition opening discussion at Port Artur 2
Hiina kunstnik Lemon Ye esineb võimukriitilise väljapanekuga endises linnavalitsuse hoones, Pärnu Linnagaleriis raekoja ruumides. Paberil akrüülmaalid meenutavad Hiina ajaloo poliitilisi sündmusi ning Mao Zedongi aegseid propagandaplakateid, mis olid möödunud sajandi keskpaigas Hiina kujutavale kunstnikule ainus eneseväljenduviis. Oma plakatmaalidel kujutab ta parteitegelasi või ajalooliselt murrangulisi hetki, viidates kunstniku rollile ideoloogia kujundajana totalitaarse riigivõimu käsutuses. Sealjuures on maalid hägustatud ja osutavad viimaste aastakümnete muutustele ja vabadusele, millest siiski kumab läbi minevikutaak.
*Lemon Ye opening his exhibition at Pärnu Raekoda
Seda, et Hiina kunst on surmtõsiselt poliitiline, tõestab ka Pärnu kunstnike maja suures saalis noore hiina naiskunstniku Wang Xixi väljapanek. Xixi ei ole kriitiline ainuüksi oma riigivõimu suhtes, teda huvitavad pigem globaalsed protsessid ja nende mõju inimkonnale.
Oma loomingus kõrvutab ta ajaloolisi ja nüüdisväärtusi Hiina ühiskonnas. Nii on ta puudutanud totalitaarse võimu all pikalt keelatud religiooni temaatikat ning põiminud selle praegusaegse inimese „valejumalatega“. Hiina palvemajadega installatsioonile on ta kontrastiks lisanud tušijoonistused ilu teemal. Traditsioonilises tuši- ja pintslitehnikas teostel on portreteeritud jänkukõrvade, platvormkingade ja käeraudadega naisi meelates poosides. Tehiskeskkonda ja sellega seotud problem
*Wang Xixi
aatikat märgivad teosed „Minu unelmate linn“ („The City In My Dream“) ja „Ideaalriik“ („Ideal Country“), kus budistlikud sümbolid segunevad pilvelõhkujate, virtuaalse maailma ja lõputute põldudega.
Pärnu Linnagalerii kunstnike maja (endise raekoja) ruumides on Hiina kunstnike väljapanek kõrvutatud kodumaiste tegijate loominguga ning kaasatud peale graafiliste disainerite ja graafikute ka kohalikke kujureid. Lemon Ye „propagandaplakatitele“ sekundeerivad Anonymous Bohi oravatopistega skulptuurid ja Peeter Alliku mitmeid kordi eri paigus eksponeeritud graafiline leht „Brainwashing Machine“ ehk „Ajuloputusmasin“. Endisesse linnapea kabinetti Lemon Ye parteipildikeste kõrvale asetatuna mõjuvad need kui kohaspetsiifilised viited kohalikule propagandamasinale, tõestades, et kunst on võimeline kontekstist olenevalt oma sisu kameeleonina muutma. Ka Mati Karmin mõjub Wang Xixi väljapaneku kõrvalruumis ühtäkki maailma kõige poliitilisema kunstnikuna, kelle meremiinid jutustavad Eesti pinnal toimunud maailmasõjakoledustest. Hiina kunstnike loominguga tekitavad need igal juhul efektse dialoogi.
Pärnu keskraamatukogu ruumides on väljas Tõnis Laanemaa ja Leonhard Lapini 1970. ja 1980. aastate loominguvalik. Neid vaadates on selge, et maailm ei ole mõnekümne aastaga kuigi palju muutunud. Külma sõja aegse kunsti metafoorid on ilmsed ka tänases kunstis, sest praegusi rahvusvahelisi suhteid võib julgelt võrrelda toonase situatsiooniga.
Tartu ülikooli Pärnu kolledži fuajees esineb Toomas Kuusing tavapäraselt argiste stseenidega. Kuusing on ilmselt kunstnik, kes on kõike muud kui poliitiline ning tuntud oma humoorikate maaelu kajastavate motiivide poolest. Sel korral leiab aga temagi väljapaneku hulgast paar teravamat kommentaari viimase aja kuumimatele teemadele: pagulaste probleemile ja juba selle varju jäämas kooseluseadusele. Raske öelda, millise positsiooni on võtnud kunstnik homoabielude suhtes teosega „Koos“, kus üks kukk teisel seljas hüppab, või pagulaste vastuvõtmise suhtes teosega „Neegri portree“. Igal juhul tõestab see, et globaalsed probleemid on jõudnud Kuusingu loomingu kaudu ka pisikese Eesti kõige kaugematesse küladesse. Poliitiline kunst on Pärnus „In graafika“ näol oma missiooni täitmas ning festival avatud diskussioonideks.
*Magnus Logi Kristinsson performance
*Toomas Kuusing giving interview to local newspaper Pärnu Postimees
By Marian Kivila
Pictures by Hannes Paldrok
Published in Sirp
Raido Keskküla @ Pärnu Postimees
Pärnu linnavalitsuse tänasel istungil kinnitati selle aasta kultuuri aastapreemiate saajateks Andrus Joonas ja Al Paldrok.
2014. aasta loomingupreemia 1500 eurot otsustati anda maalikunstnik Andrus Joonasele silmapaistva isikunäituse ja väga aktiivse loomingulise tegevuse eest sel aastal.
Aasta korraldajapreemia 1500 eurot otsustas komisjon anda ühehäälselt Al Paldrokile kolme rahvusvahelise kultuurifestivali, Diverse Universe tegevuskunstifestivali, IN Graafika ja Pärnu fideofestivali kõrgetasemelise korraldamise eest.
Statuudi kohaselt antakse kultuuri loomingupreemia autorile või interpreedile (autorite või interpreetide kollektiivile), kelle looming on oluliselt rikastanud nii Pärnu linna kui kogu riigi kultuurielu ja korraldajapreemia kultuurikorraldajale (isikule, kultuurikollektiivile, seltsile, ühendusele), kelle korraldatud sündmus on oluliselt rikastanud Pärnu linna kultuurikeskkonda ja tõstnud Pärnu mainet kultuurilinnana.
Komisjonile laekus kaheksa ettepanekut, neli loomingupreemia ja neli korraldajapreemia väljaandmiseks.
Preemiad antakse üle 5. detsembril Ammende Villas linnapea vastuvõtul Pärnu kultuuritegelastele.
Anonymous Boh & Amazing Hancock Brothers “TexEstonian Extravaganza” in Grace Exhibition Space, Brooklyn Broadway 840, New York. Gallery Hours Saturday 12 to 5.
Live Performance Program at 9.30 PM
Yesterday Non Grata represented best of Estonian printmaking, including Peeter Allik, Anonymous Boh, Raul Meel, Tõnis Laanemaa, Leonhard Lapin, Taje Tross and Toomas Kuusing at Cannonball Prints event Prints Gone Wild in New York City!
Non Grata presents the best Estonian Print Collection in New York – Anonymous Boh, Peeter Allik, Taje Tross, Toomas Kuusing, Leonhard Lapin, Raul Meel and Tõnis Laanemaa
Friday, Nov 7th for the latest instalment of a New York City Print Week tradition!
Cannonball Press proudly presents:
PRINTS GONE WILD 2014!
The eighth-ever annual printacular mega-hairy Brooklyn affordable print fair!
THE ORIGINAL 50 bucks and under American print fair.
WHEN: ONE NIGHT ONLY!
FRIDAY, NOVEMBER 7TH, 2014. 6pm – 1am.
WHERE:
LITTLEFIELD NYC
622 Degraw St., Gowanus, Brooklyn, NY 11217
btwn. 3rd and 4th Aves.
Take the 2, 3, 4, 5, B, D, N, or Q to Atlantic Terminal or the R train to Union St.
directions: www.littlefieldnyc.com/
Free admission. 21 and over only.
FEATURING:
Drive By Press Brooklyn, NY
Florence Gidez Brooklyn, NY
Bikini Press International Minneapolis, MN
Sean Star Wars Laurel, MS
Non Grata Collective Parnu, Estonia
Raking Light Projects Colorado
Evil Prints St. Louis, MO
Deerjerk and Haypeep West Virginia
Church of Type Los Angeles, CA
Justseeds Brooklyn, NY
The Amazing Hancock Bros. Austin, TX
Cannonball Press Brooklyn, NY
Brooklyn’s own legendary Cannonball Press has again assembled an extraordinary menagerie of graphic artists under one roof who will be present displaying and selling their prints for $50 or less for one night only at LITTLEFIELD NYC.
As part of New York Fine Art Print Week, organized by the International Fine Print Dealers Association in conjunction with the Annual IFPDA Pint Fair, long-time champion of the affordable art cause Cannonball Press has brought together these great artists so that New York can have a chance to see first-hand the incredible resurgence in affordable fine art printing that is happening across the country.
Come join us for live printing, beer, music, and a GIANT dogpile of awesome cheap prints!!!
| Anonymous Boh “10 NEW COMMANDMENTS”Anonymous Boh starts from the beginning, by coming out with New 10 Commandments – Contemporary Surviving Rules. Nowadays the problems of contemporary human being are mainly connected with 2000 years old operating instructions which best before is long gone. Along the example of Bible, the visualization is sent to illiterated. After all the artist gives 100 % quarantine that the formula of happiness works if to follow the rules without exception and incontrovertibly.
Visualization of “10 commandments” is outcome of world wide trips on open landscapes of Parallel Universe – “Force Majeure”, “Extravaganza Shooting”, “Beauty of The Car Accident”. And Even More … “Anonymous Boh, via non-stop world tours, performances, exhibitions, and publications, has created one of the most representative, significant, timely and transformative art movements in all of history. As Ring Master, Boh has become the Wild Bill Hickok, the P.T. Barnum, the Alfred Jarry, the Tristan Tzara, the Ezra Pound, the Orson Welles of our Era. We have entered The Apocalypse, The Storm. Boh, implementing all The Arts via NON GRATA’S Diverse Universe global performances, reveals to us not only where we presently stand in The Storm but he also conjures visions of our soon to be realized post-apocalyptic absurdly playfully tormented kaleidoscopic landscapes.
Ron Whitehead, Outlaw Poet, Kentucky
“Al is a grizzly bear with a chain saw in a jack in the box. As dangerous and amusing as that sounds, he’s unpredictable, boundless and one step ahead of all who surround him. His stories are real, his madness is real. Just grab hold and enjoy the ride, this journey has many twists and turns and sometimes there are no roads.”
Andy Cook, Musician and publisher, California
|
Published in Incident Magazine
Watching Non Grata perform and performing as Non Grata are two completely different experiences, a difference that can be best described as watching a tornado carve out its path from a distance, and being thrashed around in the eye of the cyclone: what looks like organized chaos, is just, well, chaos.
Non Grata, which is filled with a rotating group of artists of many backgrounds from around the world, gains a sort of reputation, a persona given by the crowd before you take center stage. You gain the reputation of being wild and dangerous, you put on that mask, and you always feel like you live up to the crowd’s expectations. At times you want to get lost in the moment of performing in a smoke hazed room, you become focused and nearsighted in vision, an hour can go by in a minute—this while also having to always look over your shoulder in case you run into another performer or an errant flame. After the adrenaline wears off and the spectacle recedes, the debris from the performance fills up the once clean gallery space. “Was that a good performance?,” you ask yourself. “What were the other performers doing? What happened?” Well, these things happen.
Non Grata is back in the United States after an extended tour that included Athens, Latvia, Beijing, and South Korea; the collective will be holding at month long stay in November at Grace Exhibition Space that will include curated shows, as well as a performance workshop on the 19th and 20th that explores how to perform like a child of the Storm Generation.
Al Paldrok, a founding member of Non Grata, answered a few questions through email about the workshop, as well as some his ideas, methods and experiences in teaching performance and public interventions.
– David LaGaccia
Interviewer
For the workshop, how have you designed the workshop based on your previous experiences in performance and public intervention?
Paldrok
My performance workshops are designed like the Academia Non Grata curriculum and educational philosophy – it is based on the method to trigger a creative explosion in people and help them find their own individual expression suitable to their own mental and physical capacity. To release the wild side and connect into the intellectual and social context.
During the workshop, participants can bring their ideas strait to the society and express themselves how they want – politically, socially, existentially. If you have something important to say – Do it, just do it. Workshop participants will help each other to make it happen – in street context there is lot of details what you have to take care off – starting from just keeping you personal belongings safe during the action, to blocking police and security when you escape.
This summer we made workshop in Athens what ended up with political protest actions in front of the Greece parliament and there this practice was in use in full script.
Conception, Chile with local participants we cached the president of the country with his crowd on the street and used them in performance, creating situation where the border between art and life disappeared.
Interviewer
What have you felt works, or doesn’t work on understanding and making performance?
Paldrok
There are no bad performance ideas, but there are thousands of lousy ways of realizing them. First of all you have to have guts and when you know the truth, you have to spread it around, loud and wide. In workshop you can make things what you never are able to make alone.
Interviewer
Were the designed activities informed from personal methods that you have found beneficial for making good performance, or are you exploring new methods in the creation of performances and public interventions?
Paldrok
An artist’s own body can be a performance instrument, however, today its importance gradually decreases – there are robots, electronic and mechanical devices, automobiles, crowds of people – that all can be remotely directed. One’s own body is definitely the most available means. One can direct a performance totally separate from one’s body, using only one’s brain. To create a non-carnal space, a virtual performance or global catastrophe where performative activities start functioning on their own, disconnected from body. A brain is still a material part of one’s body, a thought originating from there is already a compromise between an idea and materialized reality. The real world is, as we all know, imperfect. Within the compromise between the spiritual and real, the carnal side finally determines, as it acts as a filter or stirrer of the channelized idea. Filters and stirrers are widely used in all kinds of technical activities precisely as the factors that distort the original signals and raise the quality. Carnal filter in co-operation with the surrounding real absurd theatre at its best will result is a creation of a reality shift which, in turn, will bring about a new mental dimension that will, on the meta-level, initiate new processes. Therefore, the initial idea being thrown into the mundane reality is rather in a secondary role, it is more of a trigger.
Interviewer
Can you “teach” someone how to make performance? or is it a manner of learning by doing?
Paldrok
First of all – what is performance? Art is a deeply personal tool and really what teachers can do is give practical advises based on earlier experiences and encourage participants to contribute fully and not to be afraid of anything.
Interviewer
You have done many performance and interventions in the street and in a crowd. Does the space where you teach your methods affect the quality how performers learn new methods? What are the benefits of learning to perform inside a gallery, and what are the benefits of learning to perform outside on the street? Does each space have new things to learn from?
Paldrok
A vast majority of performances are interactive and in whatever crazy situations one can expect anything: from verbal disturbances to direct physical attack by the audience, unexpected spatial configurations, interference by the police, fire brigade, ambulance etc. One of the most important characteristic features of a performance artist is the ability to control the performative process. To be ready to improvise and guide the processes in an unexpected situations.
Gallery performances are safe versions, at least in western world everything is allowed there.
I use the performance medium, because it is very hard to say what it is exactly. This is what I like most about it and also it’s what makes it interesting for people, unexpected results, you never know what you are going to get, you see something, but you do not know what it is (It is the opposite of entertainment – there, you get what you expect). When you know it is politics, you turn away, it’s boring, when it is protest action, theatre, circus, protest to save nature, gender, animals, humanity, it’s the same thing. In a museum context everybody knows that you get performance art there – booooring! It takes all the layers away from the act and leaves just one – contemporary art. For that reason I like it when in performance art circles they say, that Non Grata is not real Performance Art.
I think it is really important to take back public place as platform of changing society.
It is not fighting against the system but approving of the system. We are all living in this structure and our goal is to make it a better place. The world is now so big, so complicated a structure that it is beyond our human understanding. I truly believe that all these cursed politicians and people in financial positions – they are not evil in their hearts, I think they make the best with what their human resources allow. Unfortunately their intellectual capacity is just not enough. So creative forces have to take over this system, if they want to approve it. If we do not do it, then there is no point for us to whine.
