The Oddstream festival in Nijmegen brought together an eclectic mix of music, art and education under the loose theme of love and conflict. I’m honoured to have been invited to participate in the festival, helping out with the Memefest workshop and the International Media Training. I met many people during a very intensive week, and have made many new friends. So, first off, many thanks to all those that helped to bring me there, specifically Oliver Vodeb, Doeko Pinxt, and Carola Stahl.

Taking off the rose-tinted glasses for a bit (which is not an easy thing to do considering how much fun I had), it was very unfortunate that more people didn’t turn out. Over the course of the weekend, in front of the stages and on the festival grounds, there was a palpable sense of emptiness. In part this can be attributed to the massive scale of the site, or the electronic music festival that was happening at the same time in Arnhem. As a first festival, this is to be expected I suppose, but it also raises some critical questions, as Sandy Kaltenborn brought up during the Inspiration day. What does this area of “cultural transformation” mean to the city, and what is the festival’s relationship to city marketing and gentrification more generally. Who stays and who goes? It will be an interesting question to ask a few years down the line, if the bills get payed.

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de Vasim, the site for Oddstream

I’ve been in the beautiful city of Nijmegen for four days now, and the Oddstream festival is getting underway. It’s been an exciting and busy time as I’ve been jumping between mentoring an amazing group of international media students and activists while also participating in Memefest‘s Mapping Socially Responsive Communication workshop. The evenings have been spent reaquainting myself (ie. drinking and drinking some more) with some old friends and collaborators (from declarations days!) and meeting many new ones. My head is swimming, and though genuine insight has yet to set in, I wanted to get some words and images out nonetheless.

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…not once, but twice this week!

First up, on Art Threat, where I speak to Rob Maguire about Imaging Apartheid: the Poster Project for Palestine. We’ve extended the deadline, so go submit some work!

And then, alongside partner in crime John W. Stuart, on the Kitchen Bang Bang Law on CKUT. We talk to Vincent Tinguely about the ideas behind Four Minutes to Midnight, the latest issue and our upcoming event (!!!). It’s actually rather insightful! Download the mp3 audio archive here, the interview starts about ten minutes in.

Thanks Rob, Vince!

As I was going through my archives tonight, I realised I had never properly posted about this small pamphlet we produced and distributed back in 2008. Lately, I’ve been thinking a lot about the new directions I want to take the magazine in (and the 2356 project generally), and this is a telling touchstone from the past to some of these ideas.

The pamphlet is a transcript of the speech delivered by cultural critic Brian Holmes at the Democracy in America exhibition, presented by Creative Time in New York in 2008. In it he compellingly argues for artists to engage with the radical opportunities presented by the financial crisis. A message as relevant today as it was then.

I first met Brian as part of the Declarations of Interdependence and the Immediacy of Design conference at Concordia University almost ten years ago. It was a heady time for me, with a lot of thinking about the relationship between design, art and activism. As a decade since then rounds out, I find myself thinking deeply about this again, and the position I’m now in to enact those ideas. So, many thanks Brian, for inspiring me in the first place, and allowing us to publish this important work!

Download Financial Crimes by Brian Holmes.

I designed this typographic poster at the request of my good friend Sarah Boris, for SoUp (East London) and Joiners Arms “Make Soup Not War” exhibition/event at Cordy House. Given the theme, I was inspired by the revolutions happening in North Africa and the Middle East and decided to pay tribute with this design.

I’d been looking for an occasion to use Non-format’s Otto typeface for a while, and it does most of the work here, paired with a few well chosen words and a heart-felt sentiment. The A3 posters were beautifully Risograph printed by London’s Ditto Press.

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After posting the video below and thinking of Vic Chestnutt’s life and death, and independent music and culture generally, I think it’s about time I write a few words on the passing of FA Nettelbeck. Please don’t read this as any sort of obituary (Stephen Kessler has us covered on that front) or anything official from our press acting as the publisher of his last printed work. It’s just a personal reaction, having had a few weeks for the news to settle in.

Fred’s death hit me hard, it shocked, confused and angered me. I honestly didn’t know how to feel, or how MUCH to feel… Who was this person to me? Could I call him a friend? I never had the chance to meet him, though I’d been in correspondence with him for the last three years.

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It is with deep sadness that I have to announce the passing of poet F.A. Nettelbeck. Fred passed away on January 20th, 2011 in Bend, Oregon. He was 60 years old.

For now, John and I have got no words. Our thoughts are with his family and friends.

“Throw down a few
against the darkness
brother”

from Kevin Opstedal’s remembrance poem.

[UPDATE] Obituary by Stephen Kessler.

Quick and dirty (literally) illustration for Ezra Winton’s article on Walrus magazine’s greenwashing of the tar sands on Artthreat.

The early view from our table

Another great Expozine weekend is in the books, and as tiring, stressful and hectic as it was, I’m pretty sad it’s over and we’re going to have to wait a whole year for the next opportunity to see so many amazing independent creators and creations.

As a member of the illustrious board, headed by the indefatiguable Louis Rastelli (with big shoutouts to Billy Mavreas, Genevieve Boyer, Pascal-Angelo Fioramore, Michelle Lacombe and Graham Hall) I spent Friday setting up hundreds of tables and chairs while hoping that issue XI of Four Minutes to Midnight would be printed and bound in time by my printers Kata Soho (kids, remember, don’t leave printing to the last minute!). Everything worked out in the end, and I was able to enjoy the opening event at Sala with some good friends and great performances by Sherwin Tija (reading from his collection of Pseudo-Haikus and new zine, “The Little Cancer that could”) and Super Fossil Power. There was a nice turnout, but unfortunately, as was to be expected, a lot of zinesters I was hoping to meet were MIA as they frantically finished their wares.

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