Category Archives: society

PvdA Beteugel financiële problemen scholen [NL 2012 CampaingWatch

door Jeroen Dijsselbloem op 3 september 2012

Financiële problemen van scholen vormen een gevaar voor de toekomst van het onderwijs. Daarom presenteert de Partij van de Arbeid een actieplan (pdf) om de deze problemen aan te pakken. Ook de Algemene Onderwijsbond (AOb) luidt de noodkloken doet een beroep op de politiek om in te grijpen. Financiële problemen leiden tot slechter onderwijs. Het is dus zaak om scholen financieel gezond te houden.

De PvdA wil openbaar maken welke scholen onder verscherpt toezicht staan en ervoor zorgen dat ouders op de hoogte zijn van de financiële situatie waarin de school van hun kinderen verkeert. In ons plan maken wij daarnaast extra geld vrij voor actiever financieel toezicht door de Onderwijsinspectie. Scholen in de problemen moeten hulp inroepen om erger te voorkomen.

Een kort parlementair onderzoek moet de feiten rond de financiële positie van scholen snel boven tafel krijgen. Dit onderzoek moet aantonen of de financiering van scholen door de overheid op dit moment voldoende is en of scholen in de toekomst met deze middelen de steeds hoger wordende rekeningen kunnen betalen.

Scholen laten ons weten dat ze geen geld hebben voor de gewoonste zaken zoals schoonmaak, de energierekening en onderhoud van het gebouw, omdat de prijzen flink zijn gestegen. Er wordt steeds vaker in rode cijfers geschreven.

Aan de andere kant zijn er ook scholen die onnodig oppotten. Daar zou een maximum aan gesteld moeten worden. Gaan scholen daar overheen, zonder goede verklaring, dan moet er een korting op de bekostiging volgen. Onderwijsgeld moet immers ten goede komen aan goed onderwijs.

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Hoeksteen Live: campaign watch met Rob Zwetsloot interviews met Eske van Egerschot, John Goring, Bart Robbers, Annelize v.d. Stoel, Arjan de Wolf 15 aug 2012

We volgen de verkiezingscampagne voor de 2e kamerverkiezingen van september 2012. Deze aflevering: Rob Zwetsloot bespreekt de campagne tot nu tor met Eske van Egerschot, John Goring, Bart Robbers, Annelize v.d. Stoel, Arjan de Wolf, e.a. Live vanuit Witzenhausen Gallery Amsterdam
15 aug 2012 13:00 – 17:00 C.E.T. livestream.com/HoeksteenLive Qik.com/HoeksteenCornerStone

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Call for submissions adressed from Arte Postal Express to participants of all editions of Muga Caula

Dear attendants,

In this 8th edition our motto is FLUXCHAMP!, Honoring the 50th anniversary of the creation of the group Fluxus (reference to every artist in action as well as every international festival), and the centennial of the first exhibition of Marcel Duchamp in Barcelona, where he showed his “Desnudo bajando una escalera” for the first time.

FLUXCHAMP! mixes Fluxus, the father of all action festivals, with Duchamp, the father of Fluxus, and the Muga Caula, born under the arm of Duchamp. We invite you to participate in this event (only to the participants of the various editions of The Muga Caula).
Conditions:
A catalog will explain every performance. Along with the reproduction of the work will appear
 the title, the author’s name and a contact address (postal, electronic or web).
The works will become part of the collection of the Muga Caula. There will be several public appearances at the Museum of Ampurdan de Figueras, in Arts Santa Monica in Barcelona and in the Off Limits Madrid. There is also a posibility to appear in the Fluxus Museum in Potsdam (Germany) and the Museum Vostell de Malpartida (Cáceres).
A copy of the catalog will be given to all participants as well as the libraries of all the centers where Muga Caula is present.

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Occupy Wall Street joins protests against Frieze New York

New York’s Carpenters’ Union has already complained about the fair’s labour standards

                 Following on the heels of a labour dispute brought against Frieze Art Fair by the New York City & Vicinity District Council of Carpenters, the Occupy Wall Street movement has revealed that it is planning a full-on demonstration of the London-based art fair. Members of the subgroup Occupy Museums, the self-described visual arts “affinity group of Occupy Wall Street”, aim to protest what they call “the rampant financialisation of art”.

Occupy Museum members say their action is a criticism of the one-sidedness of the art economy. Their plans involve both a traditional, placard-bearing protest and outreach through “the free exchange of art”, according to Imani Brown and Noah Fischer, the representatives for a movement that rejects the idea of official spokesmen. Brown and Fischer say the demonstrators (many of them artists themselves) will trade their art for whatever the fair-going public wishes to barter in return—time, conversation, even tickets to the $25 entry-fee event. The group held a similar, albeit rather anaemic, “Free Art for Fair Exchange” event at The Armory Show earlier this year.

In interviews, members of the protest movement repeatedly stressed their desire to branch out beyond traditional art world activities like “institutional critique”. “We want to stay away from that term. We want to un-Frieze art,” Fischer says. “We’re not specifically against exchanging art for money. But we do want to point out that the economic reach of an art fair like Frieze benefits a tiny minority of artists in New York and not the larger arts scene.” Brown points out: “artists are not unionised, so part of our outreach is to talk to people who are artists but are not represented in a fair like Frieze—a huge number. Free Art for Fair Exchange can do that because it lays the foundation for artists’ solidarity. This economic model obviously doesn’t work for the vast majority of artists.”

Both Brown and Fischer say they expect far larger numbers at Randall’s Island than attended March’s Armory Show protest on the West Side piers. They cited improved weather in May and sustained outreach for what they anticipate will be crowds “in the hundreds”. Besides explaining that they will set up tables and “a presence” outside the fair’s entrances, they refused to provide further details of the demonstration for “security reasons”. It remains to be seen how the twin entrance and snake-like tent design devised by the architects SO-IL for Frieze New York will stand up to protesting crowds.

The Occupy Wall Street protestors are joining local trade unions, who have already spoken out against Frieze plans to not use union labour on Randall’s Island. The movement has often supported the unions, most visibly in connection with the Teamsters’ protesting Sotheby’s lockout of art handlers. “We’re against breaking unions, like what’s happening at Sotheby’s,” says Fischer. “Frieze, by running away from union labour, is doing something inherently unfair. It’s like they’re trying to turn Randall’s Island into a gated community.”

Last week, the New York City & Vicinity District Council of Carpenters sent a letter to Deutsche Bank, the fair’s main sponsor, claiming that Frieze “and others like them… do not meet labor standards” and use contractors who “do not pay the area standard wages to all their employees including providing or fully paying for health benefits and pension”. Reached by phone, the union’s representative Brian Brady says the organisation attempted to reach management at Frieze New York, before it started a picket line outside Deutsche Bank’s US headquarters at 60 Wall Street on Friday 13 April. “We sent emails, left voice mails, we went to their offices at 41 Union Square; then, we went out to Randall’s Island to talk to them. We were met by two security guards and couldn’t speak to management. They were very annoyed we were there and called the police. These people don’t want any sort of discussion.”

According to a spokeswoman for the fair: “Frieze is aware of the letter sent by the New York City District Council of Carpenters and would like to state that we are not in a labour dispute with them or any other collective-bargaining organisation. Frieze has a track record of producing high-quality art fairs and has contracted reputable local vendors with the appropriate skills and experience to prepare the Randall’s Island site for the upcoming art fair. Frieze is working closely with Randall’s Island, the New York City Parks Department, and many of the City’s museums, galleries and not-for-profit arts organizations from Brooklyn, the Bronx, Queens and Manhattan to engage the community and provide access to artist-focused events during the fair. In our inaugural edition of Frieze New York, we aim to make a positive cultural and economic contribution to the city by creating the best art fair experience for our participating galleries and the public.”

Invoking an instance during the March 2012 fairs when the carpenter’s union resolved a similar dispute with the management of Scope art fair, Brady says: “At that time, they sat down with us and we came to a resolution. For a company from London to come over here to undercut our benefits and everything we’ve worked for is just wrong.” Asked what the District Council of Carpenters will do absent a resolution by fair time, Brady is firm: “We’ll protest. We’re not just going to get pushed around.”

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Caridad Botella en el Festival de la Imagen de Manizales / Caridad Botella at Image Festival in Manizales

La curadora, directora de arte y cultura española Caridad Botella Lorenzo dictará a los asistentes del Festival de la Imagen de Manizales, llevado a cabo en esa ciudad colombiana, una conferencia sobre el cine hecho con celulares.

El festival se realizará del 16 al 20 de abril del presente año. Para mayor información sobre el cronograma, exposiciones y conferencias, click a http://www.festivaldelaimagen.com/

The spanish curator, culture and art director Caridad Botella Lorenzo will dictate a conference about films made with mobile phones to the attendees of the Image Festival of Manizales, Colombia.

The festival will be held April 16 – 20. For further information about expositions, conferences and schedule click on http://www.festivaldelaimagen.com/

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Images 25th Anniversary 1988 Screening at Images Festival Toronto 2012

ImageTo celebrate 25 years of Images programming, we’re looking back to the last weekend of June 1988. For four nights, the festival took over the Factory theatre and presented four programs with 51 films and videos by artists from across Canada. To help explore the origins of the Images Festival, we’ve invited founding board members and programmers to select and talk about the work from the first festival that had the most impact for them. Cameron Bailey chose Last Days of Contrition by Ricard Kerr, Annette Mangaard picked Orientation Express by Frances Leeming and Ross Turnbull selected Sirensong by Jan Peacock.

Curator: Annette Mangaard, Ross Turnbull, Cameron Bailey

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MiArt 2012

Image

  MiArt 2012, 17th edition. From the 13th to the 15th of April, Milan, the capital of the Italian art market, is the site of a crucial period of meetings and cultural exchanges for the annual appointment with MiArt, which once again this year presents a selection of the most preeminent galleries of the art world which consider Milan as the strategic exhibition hub for their clientele. MiArt’s artistic director Frank Boehm underlines the continuity of the two worlds, the contemporary and the modern, which are purposefully brought together within the same time frame in a single, completely renovated exhibition venue. A choice which in the intentions of the new director, who is also the artistic director of the event, is expressly designed to highlight the mutual contaminations so as to provide the best possible presentation of the period on show which runs from the beginning of the 20th century to the present day.

Galleries and art dealers are the leading figures in this exhibition as they present Italian and international collectors, curators, museum directors and art enthusiasts with the kinds of choices they have made in these unquestionably difficult times, which are consequently all focused on guaranteeing the ultimate in terms of quality in order to satisfy the tastes and expectations of collectors. This is the goal sought by all the works on show at the MiArt, representative of artists from all over the world and promoted and supported by the efforts of the galleries, which pin their hopes on the excellence and the variety of the works on show in the various sections of artistic production which include painting, sculpture, installations, photographs, drawings, video art, performance art and special site specific projects.

The result of the exhibition projects presented directly by the art dealers will be further enhanced by the new section structure outlined below:

  • Established, which will include all the galleries with a long-standing experience in both modern and contemporary art;
  • Emergent, which will feature the galleries with the most cutting edge artists;
  • Solo/Double, which is designed to show monographic exhibitions or comparisons between two artists of the past or very recent;
  • Special Project which pays tribute to curation projects.

 

MiArt 2012 also embraces other arts such as fashion, design and architecture, all fields in which Milan excels and to which the fair program dedicates a share of its schedule events.

The many voice conversation program led by Milovan Farronato, though restricted in terms of time, covers all artistic disciplines and periods and will provide a moment of reflection and dialogue on contemporary issues as seen through the medium of these artistic endeavours which are becoming increasingly cross-fertilizing and abound in shared references.

The “modernist text” and its re-interpretations, is the exhibition curated by Giorgio Verzotti and hosted within the context of the fair event. A number of artists from the younger generations look at the research activities that held sway between the middle of the sixties and the middle of the subsequent decade. Practices and objectives of those periods which seem to deserve to be reviewed today, almost as if their conceptual and operative validity were now being put to the test. On the other hand a number of the major figures of that experimental era are now being presented even by the more recently established galleries, as if to mark a need for confrontation with a recent past and its effects on contemporary artistic production. So works of the past are shown beside those produced very recently by young artists. A lowest common denominator, not a condition but rather an indication: abstraction based on rationalist tenets, expressed not just in painting but also in sculpture, installations and video.

A great deal of space in this edition is given over to young artists and recently established galleries.

Young artists will benefit from the “Premio Rotary Club Milano Brera per l’arte contemporanea e i giovani artisti” (Rotary Club Milano Brera prize for contemporary art and young artists), which involves the purchase of works by artists under the age of 35 which will subsequently be donated, along with the collection that will have been built up by then, to the Milan Contemporary Art Museum which is currently being set up. The theme chosen this year is painting. The jury members are Chiara Bertòla, Laura Cherubini and Christian Marinotti.

MiArt 2012 will be held at fieramilanocity, pavilion 3, from the 13th to the 15th of April with the opening ceremony taking place on Thursday the 12th.

via MiArt.it

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(Opinion) Markets and people by Wolfgang Streeck

Democratic Capitalism and European Integration

Hopes that the resolutions of European heads of state would stabilize the financial markets and solve the Eurozone debt crisis, once and for all, have risen with each new summit over the past two years, only to be dashed again once the fine print comes to light. Would investors really join in on the ‘voluntary haircut’? Was the bazooka, after all, not more of a water pistol? No one could say with any degree of certainty what should be done to repair the crashed global financial system. Some demand strict austerity, others growth; everybody knows that both are necessary, but cannot be had at the same time. The technocrats’ rescue packages alternate between the horns of ever-new dilemmas; ingenious patent remedies are offered by the score, but have an ever-shorter life span. If, the British veto notwithstanding, European leaders were able to sleep free of nightmares after December 2011’s summit agreement on a 26-nation treaty, and the ECB’s long-term loans of half a trillion euros to the banks at 1 per cent, soon after it was back to business as usual. One thing is for sure: ‘the markets’ will calm down when they calm down; but they remain silent about when that will be and what they will next demand. Will they attack France? If need be, of course. They will only be satisfied once they are guaranteed to get their money back, through national austerity packages, international deposit-protection agreements or, ideally, both.

Read more at New Left Review Magazine March – April 2012

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Hans-Peter Feldmann in 303 GALLERY New York 24 February–31 March 2012

View of Hans-Peter Feldmann, 303 Gallery, New York, 2012.

Hans-Peter Feldmann, Golden Shoes with Pins.

Conceptual art has long had a reputation for being a bit dispassionate and cerebral, but recent curatorial and scholarly approaches have emphasized its more human and even emotional sides. Bas Jan Ader’s 16mm, silent film I’m Too Sad to Tell You (1971) is somewhat of a lynchpin work in this respect. A three-and-a-half-minute, black-and-white close-up of the artist weeping, the piece has none of the coolness—except, perhaps, for its lack of a soundtrack—associated with the genre.

There’s a similar warm conceptualism in Hans-Peter Feldmann’s work, and, like the reception of Ader’s art, a period of semi-disappearance and rediscovery. Some of this was self-induced, as when Feldmann stopped making art during the 1980s and later worked fulltime at a gift shop he opened with his wife in his hometown of Düsseldorf. But over the past two decades, Feldmann has produced and exhibited extensively again, culminating with his 2010 selection for the Hugo Boss Prize. For his accompanying solo exhibition at the Guggenheim Museum in New York City, he installed the $100,000 award money in $1 bills lining a gallery adjacent to the main rotunda.

But if a seriality of the mundane is at the heart of Feldmann’s work, the culminating result occasionally signals something larger. In one of his more striking projects, 9/12 Front Page (2001), he gathered the front pages of one hundred newspapers published around the world on September 12, 2001. The repeated, framed images of the burning Twin Towers have an unfoldingly devastating, but not exploitative, effect. Since his work often contains a secondary autobiographical component, it’s worth noting here that the Düsseldorf of Feldmann’s earliest childhood was one of the German cities heavily bombed by the Allies during World War II.

Nothing in his current show at 303 Gallery results in such—or, really, any—dramatic force. Instead, it extends Feldmann’s practice of appropriating photographs of everyday objects and people, and installing them in serial configurations. The collage Beds (Betten) is pretty much just what it says: eleven small, black-and-white photographs of unmade beds. Affixed directly to the wall, the overall piece is decidedly underwhelming, though by choice. One of the images is slightly blurry, none of them appear to be adjusted for contrast, and the shots’ framing is mostly casual. In Husband and Wife, Each with Red Nose, two clichéd Old Master portraits from the early nineteenth-century have red clown noses painted on them. Aside from the relative care with which the paint has been applied, the joke is over almost as soon as the viewer encounters them.

More effective is Ursula + Hans-Peter, eight black-and-white photographs of shoes standing in for the artist and his wife. Configured in two rows, the work vertically alternates pairs of men’s and women’s shoes so that gender positions are reversed and overturned, only to conclude with the men’s shoes in the bottom row mirroring the upward orientation of the female pair. The images implied face-to-face (actually, toe-to-toe) and turning away show Feldmann having fun with heterosexual gender relations and domestic arrangements and perhaps sexual positions, as well as with the man’s part in following the woman.

Despite his use of found materials and his collector’s sensibility, Feldmann’s work locates him rather assuredly at the center of his universe. The range of imagery seems very much of a time and place, even in the series of four enlarged color photographs of vinyl records that run the gamut of jazz, folk, classical, and pop. At the same time, an intriguing play of centripetal and centrifugal energies sometimes occurs in Feldmann’s art. While much of his work, including the format of his numerous artist books, involves a linear display, he also likes to install photographs in clusters. This extends to certain sculptural pieces, five of which are in the current show, including an untitled one with plastic toy animals aimed toward the edge of a small Oriental carpet, or another that features a scattering of quail eggs around a pair of snakeskin women’s pumps.

In the end, Feldmann might be seen as a kind of conceptual structuralist whose primary mode could be described as “this is not that.” It’s a strategy heavily reliant on seriality and repetition. If a viewer chooses to imbue a particular image or work with extra meaning, that seems fine with Feldmann. If not, not. The artist might want you to know that his wife is referenced in various works, but autobiography isn’t his driving concern. Even the exhibited set of eight photocopies of charcoal portraits of Feldmann made by street artists in Madrid seems less about depicting the artist and more a gesture at illuminating the same in difference and the difference in the same.

Hans-Peter Feldmann, Husband and Wife each with Red Nose.

Hans-Peter Feldmann, Beds (Betten).

Via art-agenda

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Front Porch Digital at NAB 2012

The changing broadcast landscape presents a huge opportunity for today’s media companies. Whether it’s the latest Hollywood blockbuster or dated, obscure news footage, for every piece of content there is a potential viewer waiting for it. As the global leader in Content Storage Management Front Porch Digital offers a broad range of award winning products and services that help streamline media enterprise workflow, from migrating videotape to files (SAMMA), through publishing content online (DIVApublish) and everything in-between (DIVArchive). Either on site (DIVASolutions), or uniquely, from a secure hosted cloud platform (LYNX), or any combination of the two. Find out more by talking to Front Porch Digital today.

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