In case you missed it, Part 1. From Kreator, click for full size! Oh my, that third photo, wow. Lots to unpack there.
© Kreator, all rights reserved.
From Kreator: This mural is called “The Transport” and it was made in 2006 by an artist called Román Cura. It is one of the largest urban murals in Argentina and I’m very proud to have it here in the city of Trelew. It decorates the walls of a transport company called Don Otto S.A. and it was commissioned by them; it homages the history of transport in the Patagonia region accompanied by scenes from important events both domestic and foreign. Unfortunately it’s not in the best shape right now, but it’s still quite impressive in my opinion. You’ll notice how the artist even took advantage of wall drains and made them part of the mural itself. It had been restored once before, so I hope they can do it again sometime.
Click for full size!
© Kreator, all rights reserved.
The map above shows when women got the right to vote in each country around the world.
2018 marks the centenary of Women’s suffrage in the UK and even then only with several restrictions (had to be over the age of 30 and meet property qualifications).
You can read much more (with links) at Brilliant Maps: Women’s Suffrage Mapped: The Year Women Got The Vote By Country.
Oh, I would give so much to be a part of this, it sounds absolutely fabulous and it has the added bonus that it will make the Tiny Tyrant squirm all over.
Queen Elizabeth won’t the only queen greeting Donald Trump when he visits the U.K. in July.
A thousand people have signed onto a Facebook invitation for a drag-queen protest to greet the president in London on July 13. Another nearly 7,000 people are interested in attending.
Manchester drag performer Cheddar Gorgeous and four other performers have issued the call to all drag kings, queens, queers and our allies.
“Due to the appalling way the Trump administration has regarded the rights and welfare of the LGBTQI communities in the U.S., the idea of a Trump visit to the U.K. is unacceptable,” the invitation says.
“Let’s get visible, stand with our sisters, brothers and others in America.”
15th Century erotica! Oh my. This looks to be very interesting, and I do plan on reading it. Unfortunately I can’t do that right away, the day before chemo is always a busy one.
A decade or so after the famed Orientalist Richard Burton translated Muhammad ibn Muhammad al-Nafzawi’s The Perfumed Garden of Sensual Delight (1886), an anonymous translator became the first to critically assess and introduce for Anglophone audiences another of the Middle East’s more controversial and enigmatic texts — Kitab al-Izah Fi’ilm al-Nikah b-it-Tamam w-al-Kamal, or The Book of Exposition — a collection of fifteenth-century erotica. Despite there being much dispute over the authorship of the work, from both Western and Middle Eastern scholars over the centuries, The Book of Exposition is nowadays credited to a fifteenth-century Egyptian polymath called Jalal ad’Din al-Suyuti (1445-1505). Although perhaps best known for his co-authorship of Tafsir al-Jalalayn (Tafsir of the Two Jalals), a classical Sunni exegesis of the Quran, al-Suyuti was also a prolific erotologist, writing at least twenty-three treatises on various aspects of the sexual arts.
The two dozen stories he presents in The Book of Exposition are an exploration of promiscuity and sexual taboos under the societal constraints of the Arab-Islamic world. In “The Strange Transformation that Befell a Certain Believer’s Prickle” a man is granted a “Night of Power” in which he is given three wishes to be fulfilled by Allah.
In his opening essay and commentary, An English Bohemian sets out to dispel Victorian attitudes to sexuality through the idolisation of the Oriental — setting up “Oriental Sexuology” as a mystical alternative for aspiring libertines/hedonists. He doesn’t just limit himself to the Orient in his examination of sexuality. He offers an insight into the sexual customs of other lands he claims to have travelled and researched extensively as a former practitioner of medicine: from Loango to the Aztecs, Paraguay to Samoa, Europe to Arabia. Despite his intentions, we perhaps end up learning more about Western attitudes to sex than the those of the non-European cultures he examines. His assertions, in their elevation of Orient over the Occident, appear to be motivated more by a desire to rebel against the prevailing establishment of his own culture than offering a nuanced picture of a foreign culture’s attitudes to sex.
Indian Country Today is back! The NCAI has taken over, and this is grand news.
From September through February I have heard about the importance of saving Indian Country Today. So many people across Indian Country had the same idea:
What if … What if we all contribute?
What if I step up to make certain Indian Country has solid, accurate, fair reporting?
Is it worth it to save this voice? A national media platform for Indian concerns? And how much will it take?
Yes. Yes. And the answer is a lot — or perhaps a few tax-deductible dollars if we all contribute together.
We are building a new Indian Country Today on a public media model. We will have some advertising, but most of our resources will come from members, tribes, enterprises, and non-profits.
We need you.
We are launching a membership drive and an auction.
The membership drive will solicit help from our “members” as $100 Founding Members, $500 Sustaining Members, and $1,000 for Premier Members.
Unlike public media we don’t have nifty gifts as a thank you. No t-shirts. No coffee mugs. Just a better news report. We want to use the money to build our news operation, a multimedia reporting platform about what’s going on across Indian Country. We’ll stretch your dollars by partnering with other organizations, and amplify our reporting by letting others repurpose our editorial content.
We will serve.
This is great news, but to work, ICT needs help from people. If you can drop a few dollars into the fund, please do, and if you can’t do that, please, please, spread the word, get it out everywhere! You can read more by Mark Trahant at Indian Country today, or go straight to the membership drive. This is so very important, it’s vital for Indigenous peoples to have a voice. Also, be sure to check out the new edition, there’s all manner of interesting reading!
ETA: I should point out that it’s possible to donate $5.00 to the membership drive, which is all I can manage right now, but I’ll be dropping more fives each week.
Daniel Pešta is an artist with a lot to say, and he’s well worth getting acquainted with, to say the least. His work is deeply expressive, profound, and stirring. Many times it’s frightening, because people can be quite frightening, and Daniel Pešta has a good deal of insight when it comes to human nature.
Daniel Pešta’s largest exhibition to date, drawn from his high-flying decade starting in 2007 , which has included three Venice appearances and Second Prize in Painting at 2017’s London Art Biennale, dominates Prague’s DOX Centre for Contemporary Art. Pešta’s work is timely, disturbing and profound. His extraordinary artistic range encompasses photography, video, assemblage, installation, sculpture, drawing and painting; his materials include wax, leather, resin, textiles, paper, plaster, wood, acrylic, latex, gum, paint, neon lighting, and stone. Two generative objects pull this exhibition together. One is red string, signifying blood, genetic coding, fatalism, or humanity’s endlessness, variously. The other is the mask. A central motif in Pešta’s practice, it is meant to evoke disguise, dissemblance, and anonymity.
Born in 1959, Pešta lived according to the larger Czech struggle for self-determination. He was painting as the Czechs stumbled out of the darkness of Communist rule in 1989. In the mid-1980s he entered into the underground music scene, anticipating what has been dubbed the “Velvet Revolution” — the demise of what former Czech President Vaclav Havel had called “post-totalitarianism” (in his 1978 samizdat essay “The Power of the Powerless”). After a trip to New York, in 1998, Pešta saw the possibilities of multimedia art.
You can read and see more at Hyperallergic.
LOS ANGELES — Judging from the paintings and drawings on view at Susan Vielmetter Los Angeles Projects, Nicole Eisenman has been thinking a lot about angry white men. They are almost the exclusive population throughout the expansive gallery. There is a large contingent of shooters, each confronting us from behind a firearm aimed directly outward, so that to look at the drawings is to stare down a gun-barrel. These shooter drawings are almost all from 2016, with a few from 2017 and one from 2018, elaborated in ink, charcoal, oil, acrylic, and pencil. This last is the largest, and the only one bearing a title, “The Shooter.” One of the untitled drawings, in pencil and blue ballpoint pen, shows a man pointing his gun at us with one hand while the other grasps his penis. Along the bottom margin Eisenman has written “BAMSPLOOSH.”
While there is nothing original about equating guns with penises, the full array of drawings in Dark Light reveals Eisenman’s mind ping-ponging through a number of visual rhymes, adding up to many of the show’s most compelling moments. The circle of the gun barrel becomes the end of a cigarette smoked by impassive men. In one case, smoke billows from a man’s right nostril; in another, a sooty cloud issues from a cigarette belonging to an African American in a drawing titled “A Moment of General Anesthesia” (2018), suggesting this man’s need for relief from pain of America’s continuous police shootings of black men. Further iterations of the black circle appear: in a small 2016 sketch it is a bullet hole in the middle of someone’s face, in others it is a darkened sun. A 2015 ink drawing titled “Black Sun” has the cheerless orb spewing fecal liquid that piles like a mound of pudding below, resembling a pipe depositing sewage in our waterways. Finally and inescapably, the circle is an anus.
Nicole Eisenman: Dark Light continues at Susanne Vielmetter Los Angeles Projects (6006 Washington Blvd, Culver City, Los Angeles) through April 21.
Fascinating viewing and reading, you can do more of both at Hyperallergic.
Whoever the artist of the above piece was, I’d say they had been most impressed with Hieronymus Bosch. The Egg Dance, from village revelry to romance to politics. This is a wonderful piece of history, which demonstrates several cultural shifts throughout the centuries.
The egg dance was a traditional Easter game involving the laying down of eggs on the ground and dancing among them whilst trying to break as few as possible. Another variation (depicted in many of the images featured here) involved tipping an egg from a bowl, and then trying to flip the bowl over on top of it, all with only using one’s feet and staying within a chalk circle drawn on the ground. Although, as shown in many of its depictions in art, the pastime is associated with peasant villages of the 16th and 17th century, one of the earliest references to egg-dancing relates to the marriage of Margaret of Austria and Philibert of Savoy on Easter Monday in 1498.
This blindfolded version of the egg dance features in Goethe’s novel Wilhelm Meister’s Apprenticeship (1795). … According to some scholars Goethe’s mention gave birth to the phrase “einen wahren Eiertanz aufführen” (to perform a true egg dance) which refers to moving carefully in a difficult situation. This particularly association of the egg dance with navigating danger was expressed time and time again in political cartoons of the 19th-century: various political figures, from Bismarck to Disraeli, precariously trying to make there way about a floor strewn with potential upsets.
You read and see much more at The Public Domain Review.
These exercises and the photographic illustrations are splendid! Exercises anyone can do, without taking up much time, and can be done conveniently at home.
These wonderful photographs, which make such innovative use of multiple exposure, are from a 1913 German book titled Schwedische Haus-Gymnastik nach dem System P.H. Ling’s by Theodor Bergquist, Director of the Swedish Gymnastic Institute in the Bavarian spa town of Bad Wörishofen. As the title tells us, this style of “Swedish house-gymnastics” demonstrated by Bergquist (and his mysterious female colleague) is based on a system developed by Pehr Henrik Ling (1776–1839), a pioneer in the teaching of physical education in Sweden. Inventor of various physical education apparatus including the box horse, wall bars, and beams, Ling is also credited with establishing calisthenics as a distinct discipline and is considered by some as the father of Swedish massage.
I think I could choose a series to do each day from these, without over exertion, and it might really help to be a bit more flexible these days. You can see much more at The Public Domain Review.
This looks to be fascinating, and it’s a great way to learn too. The Last Fiction is a feature-length animation based on a Persian legend told in the Shahnameh of Ferdowsi. I will be looking for it, and looking forward to seeing it. The best bit might be that it’s out of an Iranian studio, so it will not end up being a stupid, offensive, Disnified version. If you could use a bit more information: Shahnameh (The Book of Kings), and Abu ʾl-Qasim Ferdowsi Tusi.
There’s nothing quite as fluid as borders, and Medievalists has some videos to vividly bring that home.
You can see videos of the history of South Asia, East Asia, the Mongol Empire, and the Middle East at Medievalists.
Banksy’slatest series of interventions in the New York City streetscape continued apace today. This afternoon the artist revealed on Instagram that a mural in the Midwood section of Brooklyn that had come to widespread attention last week is in fact his doing.
The mural is a characteristically coy commentary on capitalism, although it is accompanied by a smaller piece that depicts a seal. The pair is located in Midwood, at Coney Island Avenue and Avenue I. The larger one features what looks like a real estate developer (equipped with both a briefcase and a hardhat) brandishing a whip in the shape a rising red line graph, while a procession of children, a woman, an elderly person, and a dog flee. Nearby, a smaller mural whose connection to the theme of gentrification is indecipherable, features a seal balancing a ball — formed by the unpainted circle where a sign used to hang — on its nose.
It’s always interesting, tracking Banksy, and this is no exception. Benjamin Sutton at Hyperallergic has the story.