Manchester, August, 1819: yeomanry on horseback charge a crowd of demonstrators; London, November, 2010: Mounted police charge demonstrators; London, December, 2010: “…police horses have charged the crowd once and appear to be about to do so again.”
Rise like lions after slumber
In unvanquishable NUMBER!
Shake your chains to earth, like dew
Which in sleep had fall’n on you:
YE ARE MANY–THEY ARE FEW.
Percy Shelley, The Masque of Anarchy (1819).
• Amid the rest of the week’s tumult, discussion and activity around the censoring of David Wojnarowicz’s A Fire in My Belly film at the National Portrait Gallery, Washington DC, continues to rumble on. I’d missed this appraisal of the exhibition at The Smart Set. Hide/Seek: Too shocking for America features an interview with Jonathan Katz, co-creator of the exhibition in the eye of the storm:
“When,” Katz asks, “will the decent majority of Americans stand against a fringe that sees censorship as a replacement for debate?” Hide/Seek sought to conquer what Katz calls “the last acceptable prejudice in American political life” – but the conservative right, rampant after last month’s midterm elections, won’t relinquish their prejudices without a fight. And so, “an exhibition explicitly intended to break a 21-year blacklist against the representation of same-sex desire,” says a dispirited Katz, “now finds itself in the same boat.”
Related: Q&A with Hide/Seek curators Jonathan Katz and David C. Ward. The Smithsonian Institution issued a fatuous statement saying they stand by the exhibition despite having forced the removal of one of its works. One of the NPG commissioners resigned in protest at the gallery’s capitulation to political pressure. Other protestors were banned from the Smithsonian after playing a video of the work on an iPad. There’s video of the iPad protest here and the protestors have their own blog. In my earlier post on the subject I noted that the actions of censorious Catholics have given Wojnarowicz’s work far more public exposure than it would otherwise receive. The LATimes has details of some of the galleries throughout the US showing the video as a result of its removal in Washington.
• “We focus most strongly at the margins, on the music that others may be blind to. We don’t care whether it is electronic, metal, jazz, folk, classical, noise, world music or whatever. We are as excited by the experimental, as we are exhausted by the ephemeral. We listen. We mosh. We think. We dance. We write words. We capture images. We hope to do justice to the art which inspires us. We are The Liminal”.
• Related to the above: What if we could touch our music again? (Hello? Some of us still play—and create—CDs and vinyl…) Is the mix tape as object-of-seduction a dead concept in a virtual world? “We traded connection for convenience,” says I Miss My Pencil. Their proposed solution, C60 Redux, is an RFID reader plus speakers, packaged in a smart 12-inch case.
• Iannis Xenakis: How an architect took music back to mathematical roots. Related: the Xenakis exhibition at MOCA, Los Angeles.
• The Body Electric at Ikon, Birmingham, is the first retrospective exhibition in the UK of work by New Zealand artist Len Lye.
• More David Lynch: he really does love cherry pie but isn’t 100% sure how magnets work. I sympathise on both counts.
• 2019: A Future Imagined. Visual Futurist Syd Mead reflects on the nature of creativity and how it drives the future.
• Quashed Quotatoes by Michael Wood, reviewing a new edition of Finnegans Wake.
• Portishead’s 2008 performance for the Canal+ show Concert Privé is one of their best filmed concerts. YouTube has the whole thing.