Dead Girls, Protest, Celts and the Future of the Past

Verschwundene Mädchen in El Salvador: „The girl says her father is in one of El Salvador’s two main gangs. He’s in prison for murder. And now he says if his ex-wife, the girl’s mother, doesn’t give him $50,000 when he gets out, he’ll have the girl raped and killed. This is how gangs work in Central America. The girl says the family doesn’t have $50,000. The girl’s mom is in the U.S. Her grandmother works in a street stall. Her grandfather doesn’t have a job. It’s a Catch 22 — one that so many girls in El Salvador find themselves in.”

Ein Kunstprojekt zur Kritik an der Serie Homeland, möglich gemacht durch Vernachlässigung des Überprüfens von Details. “Given the series’ reputation we were not easily convinced, until we considered what a moment of intervention could relay about our own and many others’ political discontent with the series. It was our moment to make our point by subverting the message using the show itself.”

Postkarten aus der Zukunft der Vergangenheit. „In light of the Industrial revolution that occurred in France in the early part of the 19th century, automation would have been rife with possibilities. Among the collection, personal automatons — or robots as we call them — showed up prominently. Clearly, the artists felt they would be a big part of the future, taking care of many of the mechanical tasks used in daily life, such as robot barbers. For women, the vision was more extensive, including an all-in-one robotic make-up artist and hairdresser. Technological advances in robotics is seriously on the move, so while we have robots to wash hairservice bots in hospitals and cleaning bots like the Roomba to help in small ways, bots to take care of all our personal needs are probably only years away.”

Wer waren die Kelten? Menschen, die in Rätseln sprachen, Muster erfanden und 6 kg schwere Halsketten trugen und vieles mehr, das man nicht weiß.“ Theirs was an abstract, shapeshifting art, which writhes and transforms in the eye of the beholder. From one angle a sinuous line might resemble leafy tendrils, from another perspective it resolves into a hidden beast or bird. On close inspection, the swirling plant-like decoration on the circular shield boss from Wandsworth (pictured below) becomes two waterbirds, rearing back with wings outstretched, each with a single webbed foot curling down in front of its hooked beak.”

Über Karin Koller

Biochemist, Writer, Painter, Mum of Three
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3 Antworten zu Dead Girls, Protest, Celts and the Future of the Past

  1. daria1985 schreibt:

    Ich weiß nicht, ob du das schon gesehen hast: die BBC sendet gerade eine interessante Dokuserie über die Kelten:

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