Interviews: Christine Sun Kim & Gyun Hur
Two recent interviews I did for ArtAsiaPacific.Â
Christine Sun Kim
Gyun Hur

shark vs the universe

oozey mess

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Keni
đ©” avery cochrane đ©”
Three Goblin Art
PUT YOUR BEARD IN MY MOUTH
tumblr dot com
Sade Olutola
he wasn't even looking at me and he found me
we're not kids anymore.
Cosmic Funnies
Monterey Bay Aquarium

Kaledo Art
wallacepolsom

blake kathryn
official daine visual archive
cherry valley forever
Mike Driver

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@notarriving-blog
Interviews: Christine Sun Kim & Gyun Hur
Two recent interviews I did for ArtAsiaPacific.Â
Christine Sun Kim
Gyun Hur
My Writing in ArtAsiaPacific: Review of Sejin Park's "Won-Kyung" at Doosan Gallery
Click here to read full text.
Translation of Ji Hyun Jung's Artist Book
It was a pleasure to translate an essay for Ji Hyun Jung's artist book which was part of his solo exhibition Bird Eat Bird at the Insa Art Space in Seoul, Korea.
Paul Auster, In the Country of Last Things
Supposedly an image of the first Unification Church. I am not a member by no means, but large faith groups such as these have been a fascination of mine.
My Writing in ArtAsiaPacific
Had the pleasure and honor to contribute a web review for ArtAsiaPacific. I reviewed Alwar Balasubramaniam's exhibition at Talwar Gallery.
Click here for full review. Below is just a snapshot.
Steven MacIver at Dillon Gallery
Steven MacIver is a young Scottish artist who is having his first solo exhibition at Dillon Gallery. The opening reception will be on Thursday, September 6th, from 6-8 PM.Â
Image Source: Dillon Gallery Steven MacIver, Maracana, oil on paper, 23 x 32 inches
My Writing in The Brooklyn Rail
I wrote a piece for The Brooklyn Rail's September issue on Tauba Auerbach's How to Spell the Alphabet, which was included in the Ecstatic Alphabets/Heaps of Language exhibition at The Museum of Modern Art. You may find that the writing is a bit unusual but that is because guest art editor Bill Berkson's concept for this month was for writers to submit to one of two methods: to write only interpretation or just physical description (ie. Donald Judd's writings-- to see an example, read Berkson's concept for the current issue. He includes a full review written by Judd towards the end). I chose the latter method. Read my full text here, below is just a snapshot.
Judith Butler responds to attack: âI affirm a Judaism that is not associated with state violenceâ
Yesterday the Jerusalem Post published an attack on the awarding of a major international prize to Judith Butler, the philosopher and Berkeley professor of comparative literature, because Butler favors boycotting Israel. Butler wrote this response and, unhopeful that the Post would publish it, sent it to us. --Editors of Mondo Weiss.
Mondo Weiss. August 27, 2012 by Judith Butler
The Jerusalem Post recently published an article reporting that some organizations are opposed to my receiving the Adorno Prize, an award given every three years to someone who works in the tradition of critical theory broadly construed. The accusations against me are that I support Hamas and Hezbollah (which is not true) that I support BDS (partially true), and that I am anti-Semitic (patently false). Perhaps I should not be as surprised as I am that those who oppose my receiving the Adorno Prize would seek recourse to such scurrilous and unfounded charges to make their point. I am a scholar who gained an introduction to philosophy through Jewish thought, and I understand myself as defending and continuing a Jewish ethical tradition that includes figures such as Martin Buber and Hannah Arendt. I received a Jewish education in Cleveland, Ohio at The Temple under the tutelage of Rabbi Daniel Silver where I developed strong ethical views on the basis of Jewish philosophical thought. I learned, and came to accept, that we are called upon by others, and by ourselves, to respond to suffering and to call for its alleviation. But to do this, we have to hear the call, find the resources by which to respond, and sometimes suffer the consequences for speaking out as we do. I was taught at every step in my Jewish education that it is not acceptable to stay silent in the face of injustice. Such an injunction is a difficult one, since it does not tell us exactly when and how to speak, or how to speak in a way that does not produce a new injustice, or how to speak in a way that will be heard and registered in the right way. My actual position is not heard by these detractors, and perhaps that should not surprise me, since their tactic is to destroy the conditions of audibility.
I studied philosophy at Yale University and continued to consider the questions of Jewish ethics throughout my education. I remain grateful for those ethical resources, for the formation that I had, and that animates me still. It is untrue, absurd, and painful for anyone to argue that those who formulate a criticism of the State of Israel is anti-Semitic or, if Jewish, self-hating. Such charges seek to demonize the person who is articulating a critical point of view and so disqualify the viewpoint in advance. It is a silencing tactic: this person is unspeakable, and whatever they speak is to be dismissed in advance or twisted in such a way that it negates the validity of the act of speech. The charge refuses to consider the view, debate its validity, consider its forms of evidence, and derive a sound conclusion on the basis of listening to reason. The charge is not only an attack on persons who hold views that some find objectionable, but it is an attack on reasonable exchange, on the very possibility of listening and speaking in a context where one might actually consider what another has to say. When one set of Jews labels another set of Jews âanti-Semiticâ, they are trying to monopolize the right to speak in the name of the Jews. So the allegation of anti-Semitism is actually a cover for an intra-Jewish quarrel. In the United States, I have been alarmed by the number of Jews who, dismayed by Israeli politics, including the occupation, the practices of indefinite detention, the bombing of civilian populations in Gaza, seek to disavow their Jewishness. They make the mistake of thinking that the State of Israel represents Jewishness for our times, and that if one identifies as a Jew, one supports Israel and its actions. And yet, there have always been Jewish traditions that oppose state violence, that affirm multi-cultural co-habitation, and defend principles of equality, and this vital ethical tradition is forgotten or sidelined when any of us accept Israel as the basis of Jewish identification or values. So, on the one hand, Jews who are critical of Israel think perhaps they cannot be Jewish anymore of Israel represents Jewishness; and on the other hand, those who seek to vanquish anyone who criticizes Israel equate Jewishness with Israel as well, leading to the conclusion that the critic must be anti-Semitic or, if Jewish, self-hating. My scholarly and public efforts have been directed toward getting out of this bind. In my view, there are strong Jewish traditions, even early Zionist traditions, that value co-habitation and that offer ways to oppose violence of all kinds, including state violence. It is most important that these traditions be valued and animated for our time â they represent diasporic values, struggles for social justice, and the exceedingly important Jewish value of ârepairing the worldâ (Tikkun). It is clear to me that the passions that run so high on these issues are those that make speaking and hearing very difficult. A few words are taken out of context, their meaning distorted, and they then come to label or, indeed, brand an individual. This happens to many people when they offer a critical view of Israel â they are branded as anti-Semites or even as Nazi collaborators; these forms of accusation are meant to establish the most enduring and toxic forms of stigmatization and demonization. They target the person by taking the words out of context, inverting their meanings and having them stand for the person; indeed, they nullify the views of that person without regard to the content of those views. For those of us who are descendants of European Jews who were destroyed in the Nazi genocide (my grandmotherâs family was destroyed in a small village south of Budapest), it is the most painful insult and injury to be called complicitous with the hatred of Jews or to be called self-hating. And it is all the more difficult to endure the pain of such an allegation when one seeks to affirm what is most valuable in Judaism for thinking about contemporary ethics, including the ethical relation to those who are dispossessed of land and rights of self-determination, to those who seek to keep the memory of their oppression alive, to those who seek to live a life that will be, and must be, worthy of being grieved. I contend that these values all derive from important Jewish sources, which is not to say that they are only derived from those sources. But for me, given the history from which I emerge, it is most important as a Jew to speak out against injustice and to struggle against all forms of racism. This does not make me into a self-hating Jew. It makes me into someone who wishes to affirm a Judaism that is not identified with state violence, and that is identified with a broad-based struggle for social justice. My remarks on Hamas and Hezbollah have been taken out of context and badly distort my established and continuing views. I have always been in favor of non-violent political action, and this principle has consistently characterized my views. I was asked by a member of an academic audience a few years ago whether I thought Hamas and Hezbollah belonged to âthe global left" and I replied with two points. My first point was merely descriptive: those political organizations define themselves as anti-imperialist, and anti-imperialism is one characteristic of the global left, so on that basis one could describe them as part of the global left. My second point was then critical: as with any group on the left, one has to decide whether one is for that group or against that group, and one needs to critically evaluate their stand. I do not accept or endorse all groups on the global left. Indeed, these very remarks followed a talk that I gave that evening which emphasized the importance of public mourning and the political practices of non-violence, a principle that I elaborate and defend in three of my recent books: Precarious Life, Frames of War, and Parting Ways. I have been interviewed on my non-violent views by Guernica and other on-line journals, and those views are easy to find, if one wanted to know where I stand on such issues. I am in fact sometimes mocked by members of the left who support forms of violent resistance who think I fail to understand those practices. It is true: I do not endorse practices of violent resistance and neither do I endorse state violence, cannot, and never have. This view makes me perhaps more naĂŻve than dangerous, but it is my view. So it has always seemed absurd to me that my comments were taken to mean that I support or endorse Hamas and Hezbollah! I have never taken a stand on either organization, just as I have never supported every organization that is arguably part of the global left â I am not unconditionally supportive of all groups that currently constitute the global left. To say that those organizations belong to the left is not to say that they should belong, or that I endorse or support them in any way. Two further points. I do support the Boycott, Divestment, and Sanctions movement in a very specific way. I reject some versions and accept others. For me, BDS means that I oppose investments in companies that make military equipment whose sole purpose is to demolish homes. It means as well that I do not speak at Israeli institutions unless they take a strong stand against the occupation. I do not accept any version of BDS that discriminates against individuals on the basis of their national citizenship, and I maintain strong collaborative relationships with many Israeli scholars. One reason I can endorse BDS and not endorse Hamas and Hezbollah is that BDS is the largest non-violent civic political movement seeking to establish equality and the rights of self-determination for Palestinians. My own view is that the peoples of those lands, Jewish and Palestinian, must find a way to live together on the condition of equality. Like so many others, I long for a truly democratic polity on those lands and I affirm the principles of self-determination and co-habitation for both peoples, indeed, for all peoples. And my wish, as is the wish of an increasing number of Jews and non-Jews, is that the occupation come to an end, that violence of all kinds cease, and that the substantial political rights of all people in that land be secured through a new political structure. Two last notes: The group that is sponsoring this call is the Scholars for Peace in the Middle East, a misnomer at best, that claims on its website that âIslamâ is an âinherently anti-semetic (sic) religion.â It is not, as The Jerusalem Post has reported, a large group of Jewish scholars in Germany, but an international organization with a base in Australia and California. They are a right-wing organization and so part of an intra-Jewish war. Ex-board member Gerald Steinberg is known for attacking human rights organizations in Israel as well as Amnesty International and Human Rights Watch. Their willingness to include Israeli infractions of human rights apparently makes them also eligible for the label, âanti-Semitic.â Finally, I am not an instrument of any âNGOâ: I am on the advisory board of Jewish Voice for Peace, a member of Kehillah Synagogue in Oakland, California, and an executive member of Faculty for Israeli-Palestinian Peace in the US and The Jenin Theatre in Palestine. My political views have ranged over a large number of topics, and have not been restricted to the Middle East or the State of Israel. Indeed, I have written about violence and injustice in other parts of the world, focusing mainly in wars waged by the United States. I have also written on violence against transgendered people in Turkey, psychiatric violence, torture in Guantanamo, and about police violence against peaceful protestors in the U.S, to name a few. I have also written against anti-Semitism in Germany and against racial discrimination in the United States.
Perimeters Catalog
It was a pleasure and an honor to write the catalog essay for Perimeters, an event organized by artist Anne Percoco, presenting three site-specific works by artists Einat Imber, Martha Clippinger, and Lily Mooney in the DUMBO neighborhood of Brooklyn. The works were on view during the 2011 DUMBO Arts Festival. Perimeters was supported by A.I.R. Gallery, The DUMBO Arts Festival, and The Puffin Foundation.
To preview the catalog, click here and click here to purchase one.
A Tour Guide of Elmhurst, Queens
There are many routes to Elmhurst. Each method will give one a different experience of the area. I prefer walking, but many enjoy sitting on a bus, taxi or underground in the subway. A combination of all of the above is feasible, because within just the town of "Elmhurst," there must be at least three subway stations (Grand Ave/Newtown, Elmhurst Ave, and Woodhaven Blvd), over eight buses and as always, taxis are numerous. The thing about walking in Elmhurst is that one will always be able to find a different way to get somewhere. The town is kind of a grid, yet still retains its organic city planning. It's very ad hoc. If one street does not work for you, someone will just add another. And it's likely that many already use that alternate road.Â
The journey begins from Van Kleeck Street at 2:30 PM. There are two apartment buildings facing each other, but 51-55 is where we must start. When walking out of the building, the most striking thing is the sun shining and reflecting off the bricks of the building across. It is as if the light is trapped in between the two buildings, as if the sun is shining directly at them. Perhaps it is the bareness of Van Kleeck Street that makes the light always so bright. There are hardly any trees or any notable structures that can absorb the light. There are only buildings, some old cars (like a burgundy 80s Ford Taurus), and kids playing outside.
After exiting the building, you must turn left and walk straight. For the first ten steps, it is necessary to either look at your feet or stare straight at the stores ahead. You must do all that is possible to ignore the kids loitering outside. Handball is likely being played against the façade of the building. You must do everything in your power to not engage in this game or with the people involved with it. Soon after passing this, you will finally reach the first opening, which is L&P Supermarket, at the corner of Van Kleeck Street and Grand Avenue. There is no striking signage that marks L&P. It is a mystery why it is even called L&P. Perhaps there is a very small sign or poster on the side of the building that says âL&Pâ and that is how everyone in the neighborhood started to call it that. But that L&P might just as well be the remnant of something that existed before Mr. and Mrs. Kim opened their store. Iâd like to imagine that it was a hardware store. There is something about hardware stores that are incredibly ugly, seemingly obsolete yet necessary.Â
You are walking South now, perpendicular from where you began, along Grand Avenue. I am directing you to the library, but there are so many things to note along the way. You must walk swiftly, look straight ahead, while using your peripheral vision to glance at the store windows on the left. Depending on whether you want this to be 1995 or 1998, you will pass a Chinese food take out restaurant or a renovated deli. The deli is a misfit in the neighborhood because it is so stylish, but they have amazing turkey sandwiches that you can eat for lunch, but it is the kind of New York City sandwich that when you take one bite, everything inside the sandwich will come out the other end. That is, unless you are very accustomed to eating it.
You will cross many roads but these are not significant. The only thing I will tell you is try to cross them very quickly, taking two very wide steps. No one in Elmhurst takes her time crossing the road. Finally, after walking on the windy road that is Grand avenue, you will reach the fire station. The fire station looks phony, as if no fireman or fire trucks were actually inside of it. The red door is always closed and the Dunkin Donuts next door is much more part of the community than the fire station. However, people in the neighborhood will tell you that it is very nice that we have our own fire station and that it has a sign that reads âElmhurst Fire Station.â The Dunkin Donuts is the size of a closet and before it became that, it was just a regular newspaper, coffee, and donut shop. People seem not to notice the difference, except it is much cooler drinking coffee from a cup with a pink logo on it. Five steps more from the fire station, you will finally be at the grand landmark of Elmhurst, which is the Queens Boulevard.
However much you feel inclined to gasp and take a few steps back, you must resist. Just stand there looking at the six lanes of cars moving in three different sections, in two directions. You must cross the boulevard bit by bit and make sure you are not alone. It is also known as the âboulevard of deathâ, and two people died in Elmhurst crossing it in â95. One of them was a boy my age. He was always skateboarding though, so you could have said it was coming. You can hardly walk across the boulevard, so it is crazy to expect that you can skateboard across it. The boy was in a coma for days or weeks and his poor, single, abusive father nursed the boy in his last days. We donât know what happened to the father and his sister after the boyâs death.Â
Once you reach the other end of the boulevard, you should cross the small street. It is much nicer on that side of the road. Right by the Grand Ave/Newtown subway station, there is an entrance to a small stationery store. This store, unlike the fire station, deli, L&P or the Queens Boulevard, is not a landmark or monument of the community but it is has for me a personal significance. The details regarding the memories made in and around it I will not divulge, but it is pleasurable to imagine you lingering around it. When you start walking straight forward though, you will start to see signs for the library and its contours will begin to appear. The library, unlike anything in Elmhurst, has a lot of land around it. Whatever you do though, do not enter. Stand right by the black fence surrounding the library, positioning your body parallel to its entrance. Tilt your head up and look for the green clock tower on the right. If it is just around 3 OâClock, it will start ringing.
Written by: Diana Seo Hyung Lee
Jean Shin, Alterations (1999), Fabric (pants scraps) and wax
Book Review
John Berger
Ways of Seeing
One thing that could be known solely through reading the title of John Bergerâs book, Ways of Seeing, is that seeing must have bigger implications. To have âwaysâ of doing implies that seeing is not a mere physiological phenomenon that is out of my control. My eyes do not see in the way my lungs take in air or the way my heart pumps blood.
However, in the image-based and image-bombarded culture we live in, seeing seems to be out of our control. Often we are helpless but to see and we have become seeing machines. "Did you see my picture on Facebook?" "Did you see that new restaurant?" "Did you see that new film?" Seeing has become an obligation and a responsibility.
However, Berger's states, "Soon after we can see, we are aware that we can also be seen. The eye of the other combines with our own eye to make it fully credible that we are part of the visible world"(9). Through this statement, Berger attempts to reclaim the act of seeing, which seems to have been taken away from us.Â
The principal argument or motive of Berger is revealed in that statement. Seeing is not a singular action, it involves thought and it involves a community. It is reciprocal in nature. Therefore, we cannot treat seeing as divorced from our place in the world as communal, political, and social beings. Though seeing might occur to us as a private act, Berger reconstitutes its rightful place. The other principal that is revealed is that because we live in a visible world, we must be vigilant, responsible, and aware of our faculty to see.
The tone that Berger takes in his book is that of protest. His objectives are clear. He says, "a people or a class which is cut off from its own past is far less free to choose and to act as a people or class than one that has been able to situate itself in history. That is whyâand this is the only reason whyâthe entire art of the past has now become a political issue"(33). He maintains this tone and argument throughout his essay and it is a difficult position to wholly accept, because he focuses on art as being part of a bigger conspiracy and the power of art in and of itself is not given much attention. But further into the writing he speaks directly to the skeptics: "We are accused of being obsessed by property. The truth is the other way around. It is the society and culture in question, which is so obsessed. Yet to an obsessive his obsession always seems to be of the nature of things and so is not recognized for what it is"(109). Berger points out that as part of the society and culture, it is a monumentally difficult task to separate oneself and see oneâs own being with a critical eye. But only in this way will the critic not demystify and leave out issues that are central to the work of art. Â
Written by: Diana Seo Hyung Lee
Tauba Auerbach, How to Spell the Alphabet, 2005
Shannon Ebner, Agitate
F. Scott Fitzgerald's letter to Frances Turnbull
Source:Â http://www.lettersofnote.com/2012/07/youve-got-to-sell-your-heart.html November 9, 1938
Dear Frances:
I've read the story carefully and, Frances, I'm afraid the price for doing professional work is a good deal higher than you are prepared to pay at present. You've got to sell your heart, your strongest reactions, not the little minor things that only touch you lightly, the little experiences that you might tell at dinner. This is especially true when you begin to write, when you have not yet developed the tricks of interesting people on paper, when you have none of the technique which it takes time to learn. When, in short, you have only your emotions to sell.
This is the experience of all writers. It was necessary for Dickens to put into Oliver Twist the child's passionate resentment at being abused and starved that had haunted his whole childhood. Ernest Hemingway's first stories "In Our Time" went right down to the bottom of all that he had ever felt and known. In "This Side of Paradise" I wrote about a love affair that was still bleeding as fresh as the skin wound on a haemophile.
The amateur, seeing how the professional having learned all that he'll ever learn about writing can take a trivial thing such as the most superficial reactions of three uncharacterized girls and make it witty and charmingâthe amateur thinks he or she can do the same. But the amateur can only realize his ability to transfer his emotions to another person by some such desperate and radical expedient as tearing your first tragic love story out of your heart and putting it on pages for people to see.
That, anyhow, is the price of admission. Whether you are prepared to pay it or, whether it coincides or conflicts with your attitude on what is "nice" is something for you to decide. But literature, even light literature, will accept nothing less from the neophyte. It is one of those professions that wants the "works." You wouldn't be interested in a soldier who was only a little brave.
In the light of this, it doesn't seem worth while to analyze why this story isn't saleable but I am too fond of you to kid you along about it, as one tends to do at my age. If you ever decide to tell your stories, no one would be more interested than,
Your old friend,Â
F. Scott Fitzgerald
P.S. I might say that the writing is smooth and agreeable and some of the pages very apt and charming. You have talentâwhich is the equivalent of a soldier having the right physical qualifications for entering West Point.
And i will fall at your feet