geekgirl (r)osiex aka the metal cupcake publishing about interesting things for a really long time!
  • Arts In Oz [#geekgirl]

    [Via artfacts]

    [Via artfacts]

  • The 101 Vagina Project is Looking For Artists [#geekgirl]

    “The 101 Vagina project is looking for artists who would like to bring their art / music / performance / poetry / education to be included in the exhibition space.

    Opening days/nights of the exhibition tour will play host to a mini Festival of the Vagina. The idea is to bring together local artists, educators, etc together in vaginal celebration.

    The exhibition and event are free for all to attend, though a donation will be sought from attendees to help cover costs like gallery hire etc. 101 Vagina will be covering the cost of the exhibition space etc, so though you may have your work for sale, we ask that you understand that the main focus of the event/exhibition will be the 101 Vagina book and exhibition.

    At the various venues I hope to have some spare wall space for art, floor space for sculpture and performance, etc. Some venues are smaller/larger than others, so I need to work with what’s available.

    Past events have included:

    • vagina crafternoon: make a vagina/vulva out of various crafty materials
    • muff muffins: decorate muffins (cup cakes) with toppings
    • musicians performing vagina songs
    • spoken word and poetry around vaginas and body image in general
    • vagina art and sculptures
    • Vaginal Mary confessional: confess your sins directly to her living breathing vagina under her nun’s habit
    • Speeches by sexuality educators, therapists, politician, plastic surgeon, etc”
  • The Girlie Werewolf Hall of Fame [#geekgirl]

    [From The Maroondah Art Gallery Website]

    [Image Credit: The Maroondah Art Gallery Website]

    [From the Maroondah Art Gallery] “The Girlie Werewolf Hall of Fame presents a sweeping visual survey of the female werewolf throughout the centuries, re-imagined as exquisite reduction linocut portraits by Melbourne-based printmaker Jazmina Cininas. The portraits draw on references as diverse as early modern woodcuts, Baltic folklore, Victorian gothic literature, comics and contemporary cinema, bringing to light the many overlooked yet fascinating narratives of female were-creatures.”

  • Hirsute Girly Armpits Ahoy! [#geekgirl]

    [(c) Ben Hopper Via The Daily Mail]

    [(c) Ben Hopper Via The Daily Mail]

    [From an article at the dailymail.co.uk] “A striking photo series of women showing off their underarm hair is challenging the conventional standards of beauty.

    London-based photographer Ben Hopper recruited dozens of models and actresses to grow out their body hair for the Natural Beauty series, with the aim of proving that women don’t need to conform to society’s expectations in order to be attractive.

    ‘The whole point is contrast between fashionable female beauty and the raw unconventional look of female armpit hair,’ the Israeli-born photographer told the Huffington Post.”

  • “Australian arts community responds to George Brandis’s Biennale threat” [#geekgirl] [#BiennaleBullyBrandis]

    [From an article at The Guardian] “Minister’s letter to the Australia Council suggesting that artists who reject corporate sponsorship on political grounds should be denied government funding draws a strong industry reaction…

    ‘George Brandis has made a dramatic intervention into the Sydney Biennale-Transfield controversy. In doing so, he has openly attacked the philosophy of arms-length funding that underpins the Australia Council.

    The Australia Council Act of 2013 explicitly states that the minister of the day can’t issue a direction on funding decisions. “The Minister must not give a direction in relation to the making of a decision by the Council, in a particular case, relating to the provision of support (including by the provision of financial assistance or a guarantee),” it states.

    Brandis, who is also the attorney general, seems to be arguing that he get around such niceties by telling the council to work up a broadbrush policy on the matter, striking out any cultural funding recipients who dare to deny the corporate coin. The act is “plainly wide enough to include matters of policy and funding criteria”, he wrote in a letter to the Australia Council.

    That’s an ambit claim that is yet to be tested in court. But whatever the black letter details, Brandis’ intervention is an attack on the general philosophy of arms-length funding.

    From a public policy perspective, that’s a real concern, because ministerial meddling is inimical to cultural innovation. When funding bodies have to look over their shoulders to consider what politicians and the media will say about the funding decisions they make, the interesting, the innovative and the risky are likely to be abandoned in favour of the safe and the staid.’ – Ben Eltham, industry columnist at ArtsHub.”

     

  • #Transfield Quits the @biennalesydney [#geekgirl]

    [As reported by The Guardian in this article] ‘The chairman of the Sydney Biennale and of its major sponsor Transfield Holdings, Luca Belgiorno-Nettis, has resigned his position with the festival.

    Organisers have announced that they will cut all ties with Transfield Holdings and with Transfield Services, a contractor for Australia’s network of immigration detention centres.

    “We have listened to the artists who are the heart of the Biennale and have decided to end our partnership with Transfield effective immediately,” organisers said in a statement.

    “With deep regret, the board reluctantly accepted the decision of the chair to resign. We gratefully acknowledge the personal contribution of Luca as chair over the past 14 years. We also acknowledge the enormous contribution of the Belgiorno-Nettis family over 41 years.”

    Belgiorno-Nettis said in the statement: “I wear two hats: one as chair of the Biennale of Sydney and the other as a director of Transfield Holdings; both organisations conceived by my father and nurtured by my family over many decades. I am deeply thankful to the many friends of the Biennale, and my personal friends who have supported me and the teams throughout my tenure, especially in recent weeks.”’

  • PHD Examination Exhibition – Nancy Mauro-Flude

    “Tenebris in Lux : The Performance of Code and the Aesthetics of Transmission in contemporary art through practice-orientated research.”

    Summary Tenebris in Lux
    Start Date 7th Mar 2014 5:30pm
    End Date 17th Mar 2014 5:30pm
    Venue Plimsoll Gallery, Centre for the Arts, Hunter Street, Hobart
    RSVP / Contact Information Open 12 noon – 5pm, six days per week – closed Tuesdays.
  • “Four more artists have withdrawn from the Sydney Biennale…” [#geekgirl]

    [From an article at Artshub] “Four more artists have withdrawn from the Sydney Biennale in response to its refusal to sever ties with Transfield. This brings to nine the number of artists who have pulled out of the Biennale because of its partnership with Transfield, which manages the offshore detention of asylum seekers.

    Agnieszka Polska, Sara van der Heide, Nicoline van Harskamp and Nathan Gray announced today they would not participate in the prestigious exhibition. They have asked the Biennale to leave their spaces blank so their protest will be obvious.

    Last week Libia Castro, Ólafur Ólafsson, Charlie Sofo, Gabrielle de Vietri and Ahmet Öğüt announced they would boycott the Sydney Biennale because they object to sponsorship by Transfield.

    ‘We withdraw to send a message to the Biennale urging them, again, to act ethically and transparently. To send a message to Transfield that we will not add value to their brand and its inhumane enterprise. Finally, and most importantly, we withdraw to send a message to the Australian Government that we do not accept their unethical policy against asylum seekers,’ the first group of artists said in a statement, which has been endorsed by the additional withdrawing artists.

    The boycotts came after a letter, now signed by 37 artists, asked the Biennale to cancel its partnership arrangement with Transfield.”

  • “The 1,000 Drones Project: an interview with Joseph DeLappe” [#geekgirl]

    [Via Joseph DeLappe and Furtherfield]

    [Via Joseph DeLappe and Furtherfield]

    [From the always-fantoobulous Furtherfield]:

    Marc Garrett: Could you tell us why you felt it was necessary to do this project even though there is already much media attention out there relating to the use of drones in domestic, military and commercial culture?

    Joseph DeLappe: There has indeed been much media attention surrounding the use of militarized drones as a part of US foreign policy. Our drone policies have received much attention yet, as with the coverage of civilian casualties from the Iraq war, the actual human costs of our drone strikes remains rather illusive. Through the work I am doing regarding drones that specifically focuses on memorializing civilian deaths I hope to actualize the estimates of civilian deaths and to call into question the moral issues surrounding such remote killings. You might say that drones have struck a nerve with me. There is something different about drones. They seem to perfectly combine aspects of our worst fantasies of digital technologies, interactivity, computer gaming and war. One might consider them a bit of a “gateway” weapon (the drug reference is of course intentional here). I suspect we have indeed opened a Pandora’s box leading to the further utilization of remote and robotized weaponry that will make our current drone usage seem quaint.”

  • “The secret life of us” [#geekgirl] [#art]

    [From the fabulous Jeanette Winterson in the Guardian] “Modern art has become a media circus; a money-driven, prize-hungry extravaganza, dependent on marketing and spin, which may leave the public with a few extra names it recognises, but that makes everyone cynical about the product.

    The word gives it away: product. Art is being treated as a commodity. We doubt that it is special. Dead artists belong to the heritage industry. Live artists belong to the PR industry.

    It may be that capitalism will be as successful with art as it has been with religion, absorbing it to the point of neutrality. Capitalism, for all its emphasis on the free market, hates competition – that is, any challenge to its system. Anybody with a smattering of English history knows about the great conflicts between church and state. We know that traditionally there have been been two powers: the material world and the invisible world. God and Mammon…

    Don’t be fooled by the way capitalism co-opts art. It pretends to do it for money, but underneath money is terror. Terror that there might be a different way to live. There is a different way, and it’s not a William Morris utopia, or an Omega workshop niche; it’s a celebration of the human spirit. Art reminds us of all the possibilities we are persuaded to forget. Peace or war, we need those alternatives.”