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This is for our friends in Colombia: if in Bogotá this weekend, please join us for a casual talk on all things mono.kultur and self-publishing at the lovely Nada store. Very much looking forward to seeing you there, hasta sábado!

mono.klub #47: Nada
Saturday, August 29, 2015 / 11 AM
Carrera 6 No. 35 – 37 Piso 2
Cine Tonalá Bogotá
Sala Tonalá


Remember when Banksy was actually a guerrilla street artist? Last week the artist debuted his “bemusement park” Dismaland in Weston-super-Mare, England. And no, it’s not a ripoff of Paul McCarthy’s WS show. The park features collaborations with 58 artists including Damien Hirst and Jimmy Cauty, and sets with Banksy’s trademark satire. Cinderella’s carriage crash sprawls in her castle while a village replete with police inhabits another corner. While tickets are priced at low low £3 per person, it’s hard to imagine Dismaland as the dystopian fortress Banksy purports to be when musical acts play weekends and the project itself requires enormous capital. No one can contest the Banksy’s brand power anymore.


In his Metamorphosis series, Frederic Fontenoy seemingly pushes the visual logic of McGinley’s naked romps to the extreme. Here again are the pastoral settings and wan bodies of the latter photographer’s images, but a time lapse renders the human subjects intelligible. They become stumps of skin, trees of muscle, a naval notch, and a gesture a nude surf. In these images, the divide between man and nature collapses.


Martino Gamper first attracted widespread attention in 2007 with the project 100 Chairs in 100 Days, for which he reworked elements of existing  chairs into a collection of charismatic new pieces of furniture. Taking on the ultimate design object of the chair within severe self-imposed constraints in terms of time and material, the results were odd – at times impractical, at times funny-looking, but always refreshingly unexpected. Drawing upon the history of furniture yet altogether unique and original improvisations, he has toured 99 chairs around the globe, always creating another 100th chair in each new location. For the exhibition Martino Gamper – 100 Chairs in 100 Days in Japan, he will create a yet-unveiled 100th chair from a find in Marugame. Another Gamper-treat!

This might be also a good occasion to pick up mono.kultur #32, to re-read our interview with Martino Gamper, which we published in 2012.

Martino Gamper – 100 Chairs in 100 Days
The Marugame Genichiro-Inokuma Museum of Contemporary Art
The MIMOCA Foundation

80-1 Hama-machi, Marugame-shi,
Kagawa 763-0022 JAPAN
On view 13 June – 23 September 2015


Oh KIOSK, your Melamine Stuff for Summer 2015 (pictured above) and story telling is so fun and lovely!

“It’s Marco’s favorite, the one that originally got away, returned and on the rebound.  Back again by popular demand even though I’m not even certain how it arrived.  This vintage melamine keeps popping up like the beautiful invasive plant you thought you had eradicated or the mushroom you believe you had picked the last.  You want it to be over so you can savor the last drop but still, you’re glad when it returns.  Down, down old dog, I can’t cuddle you now!  A pleasant repeat performance.  Like the dessert you thought was finished but you find more of in the fridge at the finale.  Surprise!  Delicious stuff.  Eat, eat on it, eat from it. Drink and be merry for tomorrow my friend there may not be more. And the nebulous cloud said, Aye, Aye!”


As a part of My First Time interview series by The Paris Review, Sheila Heti talks about how she became a writer .


Omnipresent Kim Gordon appears in Peaches latest video for Close-Up, where she takes the role of a wrestling instructor. It is kind of odd, but also very funny to watch!

The new track “Close Up” feat. Kim Gordon will appear on Peaches upcoming album Rub, which will be released via I U She Music on September 25.


Tonight opens this year’s Berlin Atonal festival in the wondrous Kraftwerk, filling the space with electronic and experimental music, installations and screenings.

Berlin Atonal
Kraftwerk Berlin
Köpenickerstr. 70


Marsha P. Johnson (L) and Sylvia Rivera (R)

The German blockbuster-directer Roland Emmerich has just released a trailer for his new movie Stonewall, and it’s been already discussed controversially, particularly about its lack of authenticity. Just to quickly recap: The Stonewall Riots were a series of protests in 1969 against the police by the LGBT community in New York after a police raid in Greenwhich’s Stonewall Inn sparked a violent backlash. Stonewall is now referred to as the most significant event in the history of LGBT liberation. People critcize the movie as another example of whitewashing. Even though the film is billed as a “true story”, it appears to be told from the point of view of a corn-fed, white, cisgender boy called Danny who is kicked out of his house because of his homosexuality and retaliates by hitting the big city. In reality, Stonewall was started by black trans drag queen Marsha P. Johnson. While Marsha P. Johnson has been given a role in the Hollywood narrative, she is played by a cisgender male. She is only listed two places higher in the credits on than “Woman with Poodle”, played by Nathaly Thibault. Fortunately people reacted promptly. Two days after the trailer’s release, a petition to boycott the movie popped up; by now it has been signed by over 23,000 people. Boycotters claimed that the film had “white-washed” and “cis-washed” history, erasing the significant contribution made by trans and queer women of colour and drag queens in the Stonewall uprising. The petition was created by Pat Cordova-Goff, a trans activist feminine person of colour. She wrote on the page:

“OUR HISTORY WILL NOT BE WHITE/CIS-WASHED. History classes throughout our nation have built a reputation of instructing young generations that white, straight, cis folks are the saviors and founders of this land. Wrong. We were taught that light-skinned people are the goal; the goal to assimilate to. Wrong. We were also rarely taught about queer history, but when we were, it probably revolved around white cis gay men. Wrong.”

Emmerich responded to the controversy stating, “I think we represented it very well[...] We have drag queens, lesbians, we have everything in the film because we wanted to portray a broader image of what ‘gay’ means.” His responds fail even more spectacularly when saying in a Facebook comment “We are all the same in our struggle for acceptance.”

No. We are not all equal in our struggle. People like Emmerich – cisgender, white people – are born into a world that gives them unqualified power. If you, Emmerich, cannot recognise that, you definitely should not be doing a movie about the most significant moments for transgender people of colour.


The extravagant pervert, legendary director John Waters has precious advices, indeed, such as: ‘If you go home with someone, and they don’t have any books, don’t fuck them.’ In an old interview dating back to February, 13 2014, when his exhibition at Sprüth Magers Berlin was going on, Waters talked about ‘finding friends, beating the bullies, taking drugs, parents, regrets and staying young’.

‘I have youth spies, people that report to me and I give them poppers for good information. But mostly I’m still interested in life. I don’t think it was better when I was young. I think the kids that are 15 and getting into trouble are having as much fun as I did. So I’m still curious. I don’t have fear of flying. I have fear of not flying. Always thinking that tomorrow is going to be better than yesterday.’