klobiger rave reißt einen Davidischen arsch auf
Television star Ed Asner died at age 91. I had a huge crush on Asner and his fellow TV comrade William Conrad of Cannon fame. I don’t know what it was about Mr. Asner but he radiated a certain kind of olde school masculine appeal.
I won a scholarship to Pepperdine University because of Mr. Asner and his dramatic TV persona Lou Grant the spinoff which he starred in after the Mary Tyler Moore show. Asner was the featured speaker at Pepperdine during the statewide high school journalism competition. I was the editor-in-chief of my high school newspaper and won first place despite the odds of competing with all these wealthy students from schools all over California. I guess my one year attending a fancy prep school in Connecticut, namely Choate/Rosemary may have boasted my confidence levels. But I won and sat next to Mr. Asner during the luncheon, and flirted with him, and made him laugh out loud several times. He was quite the charming bear daddy.
*
My ex student from Weissensee Art Academy in Berlin Anne Duk Hee Jordan is on a roll with some fascinating projects. Here is her latest:
KIOSK REOPENS/HEROPENT
Anne Duk Hee Jordan
making kin 3.0
11.09 - 28.11
NL | KIOSK is verheugd om u vanaf zaterdag 11 september om 14u opnieuw te verwelkomen. We luiden het nieuwe seizoen in met Making Kin 3.0 van Anne Duk Hee Jordan in de hoofdruimte van KIOSK.
Met Making Kin 3.0 brengt KIOSK de eerste solotentoonstelling in België van Anne Duk Hee Jordan (°1978): een fluïde en (eco-)utopische installatie. In haar performances, installaties, gemotoriseerde sculpturen en eetbare landschappen verkent Jordan het gebied tussen kunst, wetenschap en mythologie. Op humoristische wijze opent ze deuren naar een artistiek universum dat geïnspireerd is door het zeeleven, biologie, seksualiteit en voortplanting, voeding en ecologie. Zo creëert ze romantische machines die biologische processen kopiëren of transformeren tussen levende organismen en dood materiaal. De titel van de tentoonstelling is een referentie naar het boek van biologe en filosofe Donna Haraway uit 2016: Staying with the Trouble. Making Kin in the Chthulucene.
Wees welkom op de opening op zaterdag 11 september vanaf 14u. Nadien zal de tentoonstelling nog iedere dag (ma-zo, 12-18u) te bezoeken zijn tot en met zondag 28 november 2021.
EN |
KIOSK is delighted to welcome you again from Saturday September 11th onwards. We kick off the new season with the exhibition Making Kin 3.0 by Anne Duk Hee Jordan in the main space of KIOSK.
KIOSK presents Making Kin 3.0: a fluid, eco-utopian installation and the first solo exhibition by Anne Duk Hee Jordan (°1978) to take place in Belgium. In her performances, installations, motorized sculptures and edible landscapes, Jordan explores the crossroads of art, science and mythology. In a humoristic manner, she opens doors to an artistic universe inspired by sealife, biology, sexuality and procreation, nurturing and ecology. This way she creates romantic machines that copy or transform biological processes and chemical reactions between living organisms and inanimate material. The title of the exhibition references the book by biologist and philosopher Donna Haraway from 2016 called Staying with the Trouble. Making Kin in the Chthulucene.
Welcome at the opening on Saturday September 11th from 2PM onwards. The exhibition will be accessible everyday (Mon-Sun, 12-6PM) until Sunday November 28th, 2021.
My ex student from Weissensee Art Academy in Berlin Anne Duk Hee Jordan is on a roll with some fascinating projects. Here is her latest:
KIOSK REOPENS/HEROPENT
Anne Duk Hee Jordan
making kin 3.0
11.09 - 28.11
NL | KIOSK is verheugd om u vanaf zaterdag 11 september om 14u opnieuw te verwelkomen. We luiden het nieuwe seizoen in met Making Kin 3.0 van Anne Duk Hee Jordan in de hoofdruimte van KIOSK.
Met Making Kin 3.0 brengt KIOSK de eerste solotentoonstelling in België van Anne Duk Hee Jordan (°1978): een fluïde en (eco-)utopische installatie. In haar performances, installaties, gemotoriseerde sculpturen en eetbare landschappen verkent Jordan het gebied tussen kunst, wetenschap en mythologie. Op humoristische wijze opent ze deuren naar een artistiek universum dat geïnspireerd is door het zeeleven, biologie, seksualiteit en voortplanting, voeding en ecologie. Zo creëert ze romantische machines die biologische processen kopiëren of transformeren tussen levende organismen en dood materiaal. De titel van de tentoonstelling is een referentie naar het boek van biologe en filosofe Donna Haraway uit 2016: Staying with the Trouble. Making Kin in the Chthulucene.
Wees welkom op de opening op zaterdag 11 september vanaf 14u. Nadien zal de tentoonstelling nog iedere dag (ma-zo, 12-18u) te bezoeken zijn tot en met zondag 28 november 2021.
EN |
KIOSK is delighted to welcome you again from Saturday September 11th onwards. We kick off the new season with the exhibition Making Kin 3.0 by Anne Duk Hee Jordan in the main space of KIOSK.
KIOSK presents Making Kin 3.0: a fluid, eco-utopian installation and the first solo exhibition by Anne Duk Hee Jordan (°1978) to take place in Belgium. In her performances, installations, motorized sculptures and edible landscapes, Jordan explores the crossroads of art, science and mythology. In a humoristic manner, she opens doors to an artistic universe inspired by sealife, biology, sexuality and procreation, nurturing and ecology. This way she creates romantic machines that copy or transform biological processes and chemical reactions between living organisms and inanimate material. The title of the exhibition references the book by biologist and philosopher Donna Haraway from 2016 called Staying with the Trouble. Making Kin in the Chthulucene.
Welcome at the opening on Saturday September 11th from 2PM onwards. The exhibition will be accessible everyday (Mon-Sun, 12-6PM) until Sunday November 28th, 2021.
*
Received this sweet missive from Philipp Fleischmann who brought me to teach a workshop at the Leitung Filmklasse at Schule Friedl Kubelka Akademie der bildendenden Künste Wien:
Dear friends and colleagues,
I hope this email finds you well and that you had a nice summer break.
I am very pleased to share with you that I had the honor to be invited to produce a new work for the 34th Bienal de São Paulo.
The 35mm film 'Untitled(34bsp)' will be part of the Bienal group show 'Faz escuro mas eu canto’ (Though it’s dark, still I sing), which is opening on September 4, wish you were here!
Untitled (34bsp)
35mm Color Film
Silent, 5 min 10 sec
Commissioned by Fundação Bienal de São Paulo, co-produced by Phileas - a Fund for Contemporary Art, supported by the Austrian Ministry of Culture
34th Bienal de São Paulo
http://34.bienal.org.br/en/exposicoes/7660
Film shooting documentation
https://vimeo.com/576651616
*
This is the latest from The Lobster Lady Rebecca Goyette:
SPRING/BREAK Art Show
September 8-13, 2021
Atlantic Production Center, 625 Madison Avenue, NY, NY 10022
BOOTH #1149
Timed Ticket Entry: SPRING/BREAK Art Show
Qinza Najm’s Multimedia Installation:
#PleasureReClaimed
Curated by Rebecca Goyette
Pakistani-American artist Qinza Najm’s #PleasureReClaimed deconstructs the hearsay/public shaming that sex-positive women and LGBTQ+ people endure publicly on Twitter and within domestic spaces. Recreating her quarantine bedroom, a canopy of hijabs (Muslim women’s head coverings) and naras (drawstrings considered profane to expose) surround her bed and self-pleasuring soundscape. Erotically-painted postcolonial Medieval tapestries line walls, with a floor littered by Twitter heresy.
Qinza muses, "before the internet, so-called deviant behavior like a woman’s open flirting, masturbation, sex before marriage, multiple partners could be met by shaming the woman through gossip and rumors (hearsay). In older medieval times, much harsher punishments like the pillory, flogging and public shaming were dished out not just inside the home but also in public forums. Social media, particularly Twitter has become the modern day town square." To me, Qinza Najm’s #PleasureReClaimed immersive installation bears the question, “how do we reconcile sensuality and shame?” And what does this repression mean to us from our different perspectives globally?
For Spring Break, Qinza recreates her quarantine bedroom with an array of sacred and profane objects on display; a canopy of naras and hijabs will surround her single bed activated by whimsical homespun adult toys and a self-pleasuring sound sculpture. The walls will be adorned with eroticised paintings and painted tapestries collected from her grandmother's house while the floor will be littered with her collection of printed Twitter heresy.
During the isolation of Covid-19 quarantine lock down, Qinza explored self-pleasure by creating self-care rituals to transcend boundaries imposed on her since childhood in Pakistan, where she was raised in a strict Muslim household. In a move which would be considered heretical, and most probably make her the subject of shame and ridicule from her community and immediate family in Pakistan, Qinza created a sound piece recording her breaths while pleasuring herself. The private act of masturbation is considered a sin and haram (forbidden) in Islam and also in many religions - thus any unconventional form of pleasure outside of traditional matrimony is considered a taboo and sin.
In Pakistan and NY, Qinza has been collecting naras (traditional trouser drawstring symbolic of sexuality) and hijabs (traditional Muslim head cover for women symbolic of Spirtuality) as symbols of orthodox Muslim society. Qinza collected these ‘naras’ and ‘hijabs’ from friends of various sexual orientations including LGBTQ, family members, including her religious mother and domestic workers. Qinza audio-recorded and photo-documented their stories of shame and pleasure tied with these traditional textiles. In #PleasureReClaimed, Qinza openly displays these forbidden naras. Hung floor to ceiling, the naras create curtains around her single bed. Customarily, a nara is always white in color so as to draw minimal attention. However, Qinza has dyed them bright bodily colors.
In an attempt to show the complexity of the nature of society’s control over a woman’s sexuality, Qinza has chosen medieval tapestries to decorate the walls. Collected from her grandmother and other family member’s houses, these tapestries (introduced into her culture through the process of British colonization), are typically used as decor in upper middle class and elite households in Pakistan. She sees these tapestries as remnants of a postcolonial hangover. Many nations including the USA, supposedly free societies, are still controlled by the ruling elite that remain through the process of decolonisation. Qinza’s work asks us to analyze the wealthy class’s pervasive influence over our collective domestic and corporeal space.
If, in medieval times, tapestries were hung in castles and churches to record important historical events and stories, then Qinza has re-contextualized these medieval tapestries by adding her own juxtaposing sexualized narratives. Painted in a rough-hewn pop art style - Qinza challenges the polite and suffocating mannerisms she was taught while growing up in Pakistan. To each tapestry, she has added a blue bird (twitter trademark) to draw attention to tools used in modern society to control and shame deviant behaviors.
For many societies, shame associated with sexuality is unavoidable and so deeply rooted that it disrupts the most fundamental human experience i.e. sexual pleasure. Shame is the ideal tool used to regulate sexuality as it is a private experience for most people. Including the audience in her process, Qinza invites us to participate in interactive sacred/profane rituals within the domestic space of her installation, including touching the forbidden naras as a vehicle to release our own shame.
#PleasureReClaimed is a call to action to create a pleasure revolution. By sharing our stories and empathy, we confront shame. We induce pleasure as an act of solidarity, sexual or otherwise.
VISIT US AT BOOTH #1149
FOR INQUIRIES: REBECCA GOYETTE, rebogallery@gmail.com
FOR MORE ON QINZA NAJM’s WORK: https://www.qinzanajm.com
SHOW DETAILS:
PRESS PREVIEW--
Wednesday, September 8 // 11am - 5pm
FIRST LOOK COLLECTORS PREVIEW:
Wednesday, September 8 // 11am - 5pm
COLLECTORS PREVIEW DAY (extended):
Thursday, September 9 // 11am - 5pm
VIP PREVIEW NIGHTS:
Wednesday, September 8 // 5pm - 9pm
Thursday, September 9 // 5pm - 9pm
REGULAR SHOW DAYS:
September 10 - 13 // 11am - 8pm
TICKETS: SPRING/BREAK Art Show
Rebecca Goyette is a multimedia artist, curator and arts educator. Maker's Magic, her ongoing series of public workshops, focuses on a convergence of art making, magic and healing. She has curated exhibitions and public arts programming from an intersectional womanist perspective, centering voices from sex positive and spiritual communities and neuro-diverse artists. Goyette curated exhibitions, public programming and film screenings for the Museum of Modern Art’s Cullman Education Center Gallery, Museum of Sex, Lincoln Center’s Avery Fisher Hall, The Federal Reserve Bank of Boston, School of Visual Art’s Flatiron Gallery and Museum of the Moving Image/Kaufman Studios. In spring 2021, Rebecca Goyette and Jenny Mushkin-Goldman co-curated an exhibition entitled “Everyday Magic: Artistic and Gnostic Impulses'' at the National Arts Club (NYC), featuring works by 21 international artists with ritual-based practices including seminal works by Genesis Breyer P-Orridge, Jaishri Abichandani, Clarity Haynes and Qinza Najm amongst others. The exhibition was activated by a Magic Hour series of interactive rituals, live performances and happenings that served to break isolation and bring people together creatively, virtually and in small gatherings at the exhibition. Rebecca Goyette’s curatorial work has been featured on the Museum of Modern Art’s website and in Art Forum, Huffington Post and Elephant Magazine.
To kickoff the fall art season and celebrate the spirit of Qinza Najm'a #PleasureReClaimed, Goyette is hosting Maker's Magic God/ess Circle, a free virtual gathering on Tuesday August 31st at 8 PM. To register go to: https://www.eventbrite.com/e/makers-magic-godess-circle-tickets-167983245409?fbclid=IwAR2jKo-okYqBEujrTYlnQC_8zuofyYvG9BHwrdRnDvSO6PLO71DD-x5d6og
Rebecca Goyette created new work for "Shake the Pattern" opening at Shelter Gallery, NYC on September 2nd. For more information: https://www.shelternyc.com/exhibitions
For future updates go to: www.rebeccagoyette.com
*
And this from La Famiglia Bortolozzi:
Galerie Isabella Bortolozzi is pleased to announce
Jay Chung & Q Takeki Maeda
MONGOLOID
4 September – 31 October 2021
Opening: Saturday, 4 September, 6–9pm
at:
I hope this email finds you well and that you had a nice summer break.
I am very pleased to share with you that I had the honor to be invited to produce a new work for the 34th Bienal de São Paulo.
The 35mm film 'Untitled(34bsp)' will be part of the Bienal group show 'Faz escuro mas eu canto’ (Though it’s dark, still I sing), which is opening on September 4, wish you were here!
Untitled (34bsp)
35mm Color Film
Silent, 5 min 10 sec
Commissioned by Fundação Bienal de São Paulo, co-produced by Phileas - a Fund for Contemporary Art, supported by the Austrian Ministry of Culture
34th Bienal de São Paulo
http://34.bienal.org.br/en/exposicoes/7660
Film shooting documentation
https://vimeo.com/576651616
*
This is the latest from The Lobster Lady Rebecca Goyette:
SPRING/BREAK Art Show
September 8-13, 2021
Atlantic Production Center, 625 Madison Avenue, NY, NY 10022
BOOTH #1149
Timed Ticket Entry: SPRING/BREAK Art Show
Qinza Najm’s Multimedia Installation:
#PleasureReClaimed
Curated by Rebecca Goyette
Pakistani-American artist Qinza Najm’s #PleasureReClaimed deconstructs the hearsay/public shaming that sex-positive women and LGBTQ+ people endure publicly on Twitter and within domestic spaces. Recreating her quarantine bedroom, a canopy of hijabs (Muslim women’s head coverings) and naras (drawstrings considered profane to expose) surround her bed and self-pleasuring soundscape. Erotically-painted postcolonial Medieval tapestries line walls, with a floor littered by Twitter heresy.
Qinza muses, "before the internet, so-called deviant behavior like a woman’s open flirting, masturbation, sex before marriage, multiple partners could be met by shaming the woman through gossip and rumors (hearsay). In older medieval times, much harsher punishments like the pillory, flogging and public shaming were dished out not just inside the home but also in public forums. Social media, particularly Twitter has become the modern day town square." To me, Qinza Najm’s #PleasureReClaimed immersive installation bears the question, “how do we reconcile sensuality and shame?” And what does this repression mean to us from our different perspectives globally?
For Spring Break, Qinza recreates her quarantine bedroom with an array of sacred and profane objects on display; a canopy of naras and hijabs will surround her single bed activated by whimsical homespun adult toys and a self-pleasuring sound sculpture. The walls will be adorned with eroticised paintings and painted tapestries collected from her grandmother's house while the floor will be littered with her collection of printed Twitter heresy.
During the isolation of Covid-19 quarantine lock down, Qinza explored self-pleasure by creating self-care rituals to transcend boundaries imposed on her since childhood in Pakistan, where she was raised in a strict Muslim household. In a move which would be considered heretical, and most probably make her the subject of shame and ridicule from her community and immediate family in Pakistan, Qinza created a sound piece recording her breaths while pleasuring herself. The private act of masturbation is considered a sin and haram (forbidden) in Islam and also in many religions - thus any unconventional form of pleasure outside of traditional matrimony is considered a taboo and sin.
In Pakistan and NY, Qinza has been collecting naras (traditional trouser drawstring symbolic of sexuality) and hijabs (traditional Muslim head cover for women symbolic of Spirtuality) as symbols of orthodox Muslim society. Qinza collected these ‘naras’ and ‘hijabs’ from friends of various sexual orientations including LGBTQ, family members, including her religious mother and domestic workers. Qinza audio-recorded and photo-documented their stories of shame and pleasure tied with these traditional textiles. In #PleasureReClaimed, Qinza openly displays these forbidden naras. Hung floor to ceiling, the naras create curtains around her single bed. Customarily, a nara is always white in color so as to draw minimal attention. However, Qinza has dyed them bright bodily colors.
In an attempt to show the complexity of the nature of society’s control over a woman’s sexuality, Qinza has chosen medieval tapestries to decorate the walls. Collected from her grandmother and other family member’s houses, these tapestries (introduced into her culture through the process of British colonization), are typically used as decor in upper middle class and elite households in Pakistan. She sees these tapestries as remnants of a postcolonial hangover. Many nations including the USA, supposedly free societies, are still controlled by the ruling elite that remain through the process of decolonisation. Qinza’s work asks us to analyze the wealthy class’s pervasive influence over our collective domestic and corporeal space.
If, in medieval times, tapestries were hung in castles and churches to record important historical events and stories, then Qinza has re-contextualized these medieval tapestries by adding her own juxtaposing sexualized narratives. Painted in a rough-hewn pop art style - Qinza challenges the polite and suffocating mannerisms she was taught while growing up in Pakistan. To each tapestry, she has added a blue bird (twitter trademark) to draw attention to tools used in modern society to control and shame deviant behaviors.
For many societies, shame associated with sexuality is unavoidable and so deeply rooted that it disrupts the most fundamental human experience i.e. sexual pleasure. Shame is the ideal tool used to regulate sexuality as it is a private experience for most people. Including the audience in her process, Qinza invites us to participate in interactive sacred/profane rituals within the domestic space of her installation, including touching the forbidden naras as a vehicle to release our own shame.
#PleasureReClaimed is a call to action to create a pleasure revolution. By sharing our stories and empathy, we confront shame. We induce pleasure as an act of solidarity, sexual or otherwise.
VISIT US AT BOOTH #1149
FOR INQUIRIES: REBECCA GOYETTE, rebogallery@gmail.com
FOR MORE ON QINZA NAJM’s WORK: https://www.qinzanajm.com
SHOW DETAILS:
PRESS PREVIEW--
Wednesday, September 8 // 11am - 5pm
FIRST LOOK COLLECTORS PREVIEW:
Wednesday, September 8 // 11am - 5pm
COLLECTORS PREVIEW DAY (extended):
Thursday, September 9 // 11am - 5pm
VIP PREVIEW NIGHTS:
Wednesday, September 8 // 5pm - 9pm
Thursday, September 9 // 5pm - 9pm
REGULAR SHOW DAYS:
September 10 - 13 // 11am - 8pm
TICKETS: SPRING/BREAK Art Show
Rebecca Goyette is a multimedia artist, curator and arts educator. Maker's Magic, her ongoing series of public workshops, focuses on a convergence of art making, magic and healing. She has curated exhibitions and public arts programming from an intersectional womanist perspective, centering voices from sex positive and spiritual communities and neuro-diverse artists. Goyette curated exhibitions, public programming and film screenings for the Museum of Modern Art’s Cullman Education Center Gallery, Museum of Sex, Lincoln Center’s Avery Fisher Hall, The Federal Reserve Bank of Boston, School of Visual Art’s Flatiron Gallery and Museum of the Moving Image/Kaufman Studios. In spring 2021, Rebecca Goyette and Jenny Mushkin-Goldman co-curated an exhibition entitled “Everyday Magic: Artistic and Gnostic Impulses'' at the National Arts Club (NYC), featuring works by 21 international artists with ritual-based practices including seminal works by Genesis Breyer P-Orridge, Jaishri Abichandani, Clarity Haynes and Qinza Najm amongst others. The exhibition was activated by a Magic Hour series of interactive rituals, live performances and happenings that served to break isolation and bring people together creatively, virtually and in small gatherings at the exhibition. Rebecca Goyette’s curatorial work has been featured on the Museum of Modern Art’s website and in Art Forum, Huffington Post and Elephant Magazine.
To kickoff the fall art season and celebrate the spirit of Qinza Najm'a #PleasureReClaimed, Goyette is hosting Maker's Magic God/ess Circle, a free virtual gathering on Tuesday August 31st at 8 PM. To register go to: https://www.eventbrite.com/e/makers-magic-godess-circle-tickets-167983245409?fbclid=IwAR2jKo-okYqBEujrTYlnQC_8zuofyYvG9BHwrdRnDvSO6PLO71DD-x5d6og
Rebecca Goyette created new work for "Shake the Pattern" opening at Shelter Gallery, NYC on September 2nd. For more information: https://www.shelternyc.com/exhibitions
For future updates go to: www.rebeccagoyette.com
*
And this from La Famiglia Bortolozzi:
Galerie Isabella Bortolozzi is pleased to announce
Jay Chung & Q Takeki Maeda
MONGOLOID
4 September – 31 October 2021
Opening: Saturday, 4 September, 6–9pm
at:
EDEN EDEN
Bülowstraße 74, 10783 Berlin
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Bülowstraße 74, 10783 Berlin
*
Our fearless leader of Kollektiv CHEAP the great Susanne Sachsse has her first exhibition in New York City, USA. If you are in the trigg-state area you owe it to yourself to go and run in a sprint mode to see this installation.
Susanne Sachsse with Xiu Xiu
I WAS A FORMALIST PENSIONER. AN ANTIOPERA
Sep 10 – October 17, 2021
Susanne Sachsse with Xiu Xiu
I WAS A FORMALIST PENSIONER. AN ANTIOPERA
Based on the libretto antioper (1970) by Kurt W. Streubel
September 10 – October 17, 2021
Opening reception, Friday, September 10, noon - 7pm
Make an appointment here
I WAS A FORMALIST PENSIONER. AN ANTIOPERA is an installation with 27 horn loudspeakers, video, 40 miniature slide viewers, photos, objects and paper, made in collaboration with: Şenol Şentürk | Martin Siemann, Jonathan Berger, Maximilian Brauer, Glen Fogel, Richard Gabriel Gersch, Ruth Schönegge, Angela Seo, Marc Siegel, Jamie Stewart.
A true story. Formalist! Forbidden! GDR in the 1950s! East German painter and printmaker Kurt W. Streubel (1921-2002) was one of the last members of the Bauhaus. His formalist-abstract images put him in conflict with the cultural politics of his time, which heralded socialist realism as an artistic, civic, and national duty. His formalist art gets labeled cosmopolitan, against the German cultural heritage and in violation of the national consciousness. Because of a work ban, Streubel demands that the state provide him a formalist pension, a tongue-in-cheek term he coined. The state surprisingly gives in and pays him 200 marks a month for two years. He was only 31. 1970: Kurt W. Streubel plans an opera. antioper. A libretto. Streubel's libretto is a graphic work that turns rhythmically arranged texts into ciphers. His texts, some of which are presented as a kind of concrete poetry, are politically encoded, ambiguously charged sentiments that put pressure on the constriction of thought by absolutist ideologies. „Look here, I am Lenin.“ (Kurt W. Streubel)
Sachsse has written: “I met Kurt W. Streubel in 1981. I was only 16 at the time, and a close and long friendship developed between us. He asked me to become his assistant. I decided to become an actress. Decades later, I took his libretto of the antiopera as the starting point for a reflection on formalism, politics, and friendship.”
Donning clothes based on a fabric design by Streubel, Susanne Sachsse and Xiu Xiu engage in formalist frolics in a forest outside of Berlin, against the backdrop of a desolate industrial landscape in Los Angeles, and in the midst of the urban chaos of New York in a concurrent web takeover on participantafterdark.art
young Ed Asner
La Susanne Sachsse