LEX·IC·A - Jerry Blossom & Mister Junior - January 2013
Jerry Blossom & Mister Junior
Kiam Marcelo Junio a.k.a. Jerry Blossom is a familiar face to Salonathon. I first encountered Kiam via a submission to Chicago IRL and soon after experienced a plethora of inventive and vividly sharp performances discussing their Philippine heritage, naval career through the shifting lens of gender and class. Kiam continues debuting new works and series with exponential fervor. Kiam was also just awarded Chance Dances Critical Fierceness Mark Aguhar Memorial Grant. Find out more about Kiam during my recent interview with them: soundcloud.com/joevarisco/kiam-marcelo-junio-interview-a
Mister Junior is one of those forces of life that passes through a social climate and leaves it altered and renewed. Their spirit of collaboration and engagement is in a constant state of forward movement. Recently Mister Junior began an expanded tour around the country jumping in and out of Chicago in time to audition for America’s Got Talent. Details of airdate on their site soon.
LEX·IC·A is a celebration of the ways in which we communicate with one another and the knowledge we share in this process. It seeks to explore the myriad of complex and beautiful ways we share, play, love, suffer and honor one another through performance work and strive to cultivate community. LEX·IC·A is an inclusive event for anyone interested in procuring dialogue and discourse through performance. Take risks, challenge norms, resist and thrive!
Most time I photograph people in their own environments because it is personal, familiar, and comfortable for them. For me as a photographer, the situation becomes rather peculiar, intimate, and doubtful. Once I achieve the trust of the model, I can feel their energy and their desire to be seen and be explored but at the same time still reserve some for themselves. It is in those Almost Naked moments that my subjects are the most exquisite, when things occur, and what generally is not displayed initially in public is exposed. - SHEN WEI in conversation withJOERG COLBERG
SHEN WEI is a Chinese photographer who explores the intimate life of his subject through portraiture, landscape and still life. By intertwining the three genresWEI produces a unique and sensitive perspective of his homeland.
Save the date: his new solo exhibition will be on view at Light Work, an artist-run, non-profit photography and digital media center in Syracuse, NY from November 05 to December 14, 2012 (opening: Thursday, November 8, 5-7pm).
via We Find Wildness
Tseng Kwong Chi, photographer, performance artist, Keith Harring’s main photographer. Born in Hong Kong and lived in Canada and studied in Paris, died of AIDS complications in 1990.
Kwong Chi developed an artistic persona in the late 1970’s as a kind of Chinese Communist dignitary complete with the classic Mao Tse-Tung suite, dark eyeglasses and a tag stamped “SlutforArt” (first user of hashtag, perhaps?)
Many of his photographs are deliberately composed in the heroic Maoist Cultural Revolution style. His hand is stuck cavalierly in his pocket, and deliberately includes the camera’s cable release in the frame…
The term “Orient” as it refers to Asia was invented in Europe, “the Occident,” as a way to separate “us” vs. “them.” Asian countries had not considered themselves as any different, or Europe as “there” and not “here.” You can see this reflected in the difference of schools of philosophy coming from these regions.
Even to this day, what constitutes as “foreign” and “exotic” is filtered through a Western-centric lens, always ready to call the East as “other,” what is over there, and not here, what is not yet conquered, but is available to be so.
Through decades of Western influence throughout the world, this mindset has become perpetuated and is taken as status-quo. Decades of imperialism and cultural subjugation has convinced most people that Eastern traditions, ways of dress, cultures, are fine to be taken apart, used for one’s own personal expression, simply used as tropes of inspiration, decoration, a way to look “different,” “exotic,” and “unique.” Western appropriators continue to perpetuate “other”-ing the East.
It’s as if someone were to come to your house (without knocking) and take your furniture, your family heirlooms, your art work, to “borrow” (steal). In exchange they offer to lend you their DVD’s. Who the fuck wants to borrow DVD’s? In addition, they’ve got shitty taste in movies.
FUCK ORIENTALISM (and not in a good way).
“From the beginning of Western speculation about the Orient, the one thing the orient could not do was to represent itself. Evidence of the Orient was credible only after it had passed through and been made firm by the refining fire of the Orientalist’s work.” - Edward Said
NEW Wong Kar-Wai film, The Grandmasters.
I’m not sure what I think yet about Wong Kar-Wai’s new visual style. He’s obviously filming in digital now, and no longer working with Christopher Doyle (cinematographer). The sumptious, slow-mo, cross-processed, blurry, neon/candy-colored schemes of his earlier films (Days of Being Wild, Fallen Angels, Chungking Express, 2046) is now replaced with fast paced, cold, intricately detailed, sharp visuals.
People change, after all. Art has to continue evolving. I’m sure this will still be amazing.
Luckily, they’re screening In the Mood for Love and Happy Together at the Siskel Film Center this month. If you’re in Chicago and wanna be my date, let me know!
I find it disturbing when people say “Yes, I’m a racist, and I’m gonna keep being that way.”
This rant, though perhaps well-cited, is full of holes and assumptions based on stereotype, self-loathing, and surrender to the status quo. She also negates the fact that there are Asian-American men who grew up just like her, who want nothing to do with patriarchy and planning for the future. In the end, all she says is that she dates white guys because that’s who has societal power. She basically wants white privilege by proxy.