Filed under: Uncategorized
Here’s a flyer for promoting critical mass. I can’t take credit for the the wheels on the bicycle. They were stolen from somewhere on the interwebz. You can either tape them to people’s top tubes, clamp them in their brake levers, or, if they’re riding a fixie, print the cards on heavier stock and wedge them in the spokes.
These guys buy all the bus advertisements in this city, I swear. Them and Spytech.
Filed under: Habermas Hole | Tags: Jeremy Jeresky, Kaipainen, London Ontario
Filed under: Department of Gossip and Complaints | Tags: East Village, Jeremy Jeresky, Kaipainen, London Ontario, public art
photo credit: msmediafrenzy
photo credit: msmediafrenzy
photo credit: msmediafrenzy
Thanks to Mike Roy who happened by with his video camera and hung out in the cold with the DOGAC crew.
Filed under: Uncategorized
We’re fucked unless we stop burning fossil fuels.
I’d like to include text in the project. Why should photographs and the photographed subject be mute? Why should we condemn them to the projections of their audience? Below is an example of how I want to render the text. In the darkroom! Way grittier looking than anything I could come up with in photoshop. Please disregard the incongruities involved in an image of Castro superimposed with a text from the CCF within a post about anarchists.
Filed under: Elegy For Billy Ray Moore | Tags: Kaipainen, Support the Troops
Here’s a a project that I did in 2008/2009 called Elegy for Billy Ray Moore.
Here’s a text that sometimes circulates with the work:
In my recent work I concern myself with the horizon of possibility that circumscribes liberal parliamentary democracy in North America. These works unfold in various media and according to varying measures of deliberate insincerity and deadpan realism. This strategy is deployed, however fittingly, in an attempt to examine the impossible ‘outside’ of policies that are construed as possible, pragmatic, and in touch with the desires of the public. Elegy for Billy Ray Moore takes as its point of departure the empty rhetoric of ‘supporting the troops’ and the consequent exclusion of pacifism1 from the domain of political possibilities, given that pacifism must in principle be opposed to the category of ‘soldier.’
Elegy is shaped by the hypothesis that one of the strategies of political conservatism is to articulate matters of public import as personal issues or matters to be debated privately between individuals. The political, to cite Chantal Mouffe, is made to play out in the register of morality. When confronted with the injunction to “support the troops” one cannot but agree to do so because to do otherwise would be morally destitute. One would have the appearance of condemning some person of agreeable character, who has a family, and who is “only doing their job.” But the enthusiasm of conservatives for little yellow ribbons, and the amount of time that has been spent arguing in the House of Commons over who does, or does not “support the troops,” makes it clear that such rhetoric goes beyond mere family matters. The rhetoric of support for the troops is a device for representing society as a whole where it is otherwise divided by the more contentious issue of “support for the war.”
Elegy satirizes this displacement of one type of support for another by making fun of a soldier. By doing so it figures the imaginary supplement of the moral obligation to “support the troops” – the implied pathological subject who wishes harm to befall “the troops” as specific individuals. The absurd impossibility of this figure, I hope, is enough to exonerate myself of any moral charges and to return discussion to matters of policy. Consensus in these matters is also a kind of blockage the prevents the articulation of new alternatives.
Filed under: Uncategorized
