Cohen explains how the recent election protests have revealed the inherent contradictions in Iranian society: between an entrenched, isolationist, autocratic theocracy and a technologically savvy, inherently democratic and cosmopolitan generation that came of age since the Islamic Revolution of 1979. The situation as the lines are drawn in the sand "isn't pretty", but could be the harbinger of real change in Iran.

The End of the Beginning
By ROGER COHEN
Published: June 23, 2009

TEHRAN — Iran’s 1979 revolution took a full year to gestate. The uprising of 2009 has now ended its first phase. But the volatility ushered in by the June 12 ballot-box putsch of Iran’s New Right is certain to endure over the coming year. The Islamic Republic has been weakened.

An article in the June 23, 2009 Wall Street Journal indicates that it's not just the repression of democracy on Tienanmen Square that's being recapitulated in the current election protests in Iran, but also the antiseptic, fully monitored experience of last summer's Olympic Games in Beijing, where an autocratic regime relied on technologies of surveillance supplied by complaint Western corporations to control the ability of their people to express dissent.

Iran's Web Spying Aided By Western Technology
European Gear Used in Vast Effort to Monitor Communications
By CHRISTOPHER RHOADS and LORETTA CHAO

The Iranian regime has developed, with the assistance of European telecommunications companies, one of the world's most sophisticated mechanisms for controlling and censoring the Internet, allowing it to examine the content of individual online communications on a massive scale.

Interviews with technology experts in Iran and outside the country say Iranian efforts at monitoring Internet information go well beyond blocking access to Web sites or severing Internet connections.

Instead, in confronting the political turmoil that has consumed the country this past week, the Iranian government appears to be engaging in a practice often called deep packet inspection, which enables authorities to not only block communication but to monitor it to gather information about individuals, as well as alter it for disinformation purposes, according to these experts.

Ernesto Neto
Anthropodino
Seventh Regiment Armory
Park Avenue and 66th Street, New York
May 13 - June 14, 2009

May 14, 2009.

In Brasil, to call someone or something "ginga" (pronounced ZHEEN-ga)

is to offer a high compliment. Ginga connotes an intuitive, mystical quality of movement and attitude that Brasilians like to think is uniquely theirs, permeating the way they walk, talk and dance, part of everything they do. It is a synthesis of mind and body, a state of corporeal grace informed by intelligence, creativity and rhythm. Most frequently applied to the "beautiful game" evinced by the star players of Brasilian fútbol, ginga is also evident in the Escolas de Samba, and in the other athletes, musicians, actors and artists who are the pride of Brasil.

When Ronaldo fakes out a defender with his splendid footwork and executes a somersault kick into the net, this is ginga. When Caetano Veloso sings and plays guitar on "O leãozinho", this is ginga. And now, Ernesto Neto, a true Carioca, an artist who lives, works and takes inspiration from his hometown of Rio de Janeiro, has successfully exported ginga to New York for his month long playground and sculptural installation in the huge Drill Hall of the Seventh Regiment Armory on Park Avenue.

Le Petit Versailles
346 East Houston Street, NY
(between Avenues B & C, additional entrance at 247 East Second Street)
Aurelio del Muro, 7th Avenue, through May 31, 2009

Aurelio del Muro, Twins, 2009

A sure sign that Spring has arrived in the East Village is the opening of the regular season of outdoor events at Le Petit Versailles, which generally runs from early May through October. A community garden and public art space, LPV is the brainchild of a pair of artists, filmmakers, performers, gay/queer/trans activists, green guerrillas and co-conspirators, Peter Cramer and Jack Waters, who are also amalgamated as Allied Productions, Inc., a non profit arts organization established in 1981.

East Second Street gate

Adel Abdessemed, RIO
David Zwirner Gallery, NY
April 3 - May 9, 2009

Adel Abdessemed, the 38-year-old Algerian born, French educated artist who now lives in New York, has been a curatorial darling for the past several years. He was included in Rob Storr's 2007 Venice Biennale, and given solo exhibitions at the San Francisco Art Institute, the Fondazione Sandretto Re Rebaudengo in Turin, the List Visual Arts Center at MIT, and at P.S. 1 in Queens. His current gallery show in New York, spread over all three of David Zwirner's expansive Chelsea galleries, reveals a shape shifting, confrontational artist who works in all media and all scales.

There is a room filling installation of several airplane cockpits and tailfins twisted together like a huge pretzel. There are small drawings of proposed projects. There is a steel oil drum that has been morphed into a music box which plays a bit of Wagner when it rotates around a motorized axle.

The Generational: Younger Than Jesus
New Museum
235 Bowery, New York
4/8/09 - 7/5/09

Younger Than Jesus is the first edition of The Generational, the New Museum’s new signature triennial. It includes work of fifty artists from twenty-five countries. The artists cannot be older than 33; none were born prior to 1976. The show is curated by Lauren Cornell, Massimiliano Gioni and Laura Hoptman.

The texts below are based on a number of comments I posted on the blog of a local magazine. Dates and times of their original postings are included, as are images found online.

Here's a show that begs to be loved. Anything less would be like kicking a puppy at its first sniff of art stardom. So I knew Jerry Saltz's carefully constructed persona - zeitgeist-er, confidante, ear to the ground, eye on the sparrow - would necessitate a thumbs-up review of this show and on the inauguration of the Nu Mu's ambitious triennial project. Even if he has to hedge his bets with phrases like "flawed but tantalizing" and "despite its clinical spaces and a couple of misfires". Even if he includes a polemical, cautionary first paragraph that states the problem - "received ideas about appropriation, conceptualism, and institutional critique...a cool school, admired by jargon-wielding academics who write barely readable rhetoric" - and then pretends the Nu Mu is the solution to this problem rather than one of its prime exemplars.