Archive for April, 2015

Very sad to hear of the passing of a lovely gent, a man who would leave his bed while receiving chemotherapy to join a march against the Miller Argent opencast proposal.
A lovely warm human being. A real character.
Sleep well David, you will be missed x

Here’s David with actor Michael Sheen, he can also be seen asking Michael Sheen a question in the recent Valleys Rebellion documentary.

David with actor Michael Sheen in Pontlottyn Blast Furnace public house, September 2014.


The famous Irish backbone has been ripped out and replaced with a spineless bunch of suckers in thrall to the Bank$ters that THEY bailed out with th€2.7 billion it gave Permanent TSB!

When a Tory Manifesto pushes a policy such as Right To Buy housing association rental homes, I always ask myself what’s in it for their City Financier overlords.
The signpost is currently happening in Republic of Ireland where Permanent TSB Bank has hiked up it’s variable rate mortgage interest to 4.5% despite the European average being 2.9% and the cost of the Bank Borrowing Rate being between 0% – 0.5%
This bank was bailed out by the Irish Government – even though it should not have been as loans were made in bad faith, thus, the Bank’s own fault – to the tune of €2.7 billion.

The Tory push for right to buy is intended to get more people indebted to the Bank$ters. It’s fuck all to with Aspirational economics. It’s an attempt to start another Ponzy scheme!

In this racket, fairness is not an option

The Permanent TSB mortgage scandal is just part of the same dodge as Irish Water, writes Gene Kerrigan

Last week, the airwaves were full of reports of Permanent TSB mortgage holders pleading with bankers to be fair.

Get real, folks. The penny should surely have dropped by now. This, after all, is 2015. Since 2008, we’ve been watching billions of euro being transferred from us to a small minority of empty-eyed money-men.
Let’s stop pretending that fairness is an option.
There are two sides to this: the takers and those who get taken. Variable mortgage holders are being taken.

They’ve found their role in life – which is to be suckers.
In fact, it’s official government policy that they be treated as suckers.

Accept it gracefully, folks, and stop whining. Allow yourself to be fleeced by the bankers. Or, do something about it.
The variable-rate mortgage scandal is right up there with the Irish Water scandal, as one of those stories that will make the jaws of future generations hit the floor.
Like all the best stings, it’s simple. It affects 300,000 variable-mortgage holders, plus their families. And they’re being fleeced by a number of banks, including Permanent TSB.

These days, money is cheap. With the right connections, you can borrow for as little as 0.05pc.
Across Europe, the average mortgage rate is 2.09pc. Good times, you might think.
But the bankers here are charging approximately 4.5pc on a variable mortgage.
Why? Because they can.
Permanent TSB is losing money, and the bankers want it to be profitable, so it can be sold. At that stage, all sorts of empty-eyed money-men will reap bonuses and the Government might get back some of the €2.7 billion it gave Permanent TSB.
So, they forcibly extract whatever rate of interest they think they can get away with. And in their back pockets, there’s the implied threat of repossessing people’s homes.
It’s a breathtakingly simple sting – one that we might christen the Bonnie and Clyde technique. You have money, we want it, we take it.
This is using a position of strength to unfairly reap unwarranted profits from a helpless element of the market. The mortgage price being charged doesn’t relate to costs or hazards – it relates only to the capital needs of the bankers.
Isn’t there a law against this kind of thing? Probably not – given the beliefs of the people who make the laws.
Like most of us, I grew up believing that the government is a kind of independent referee, answerable to the electorate, arbitrating fairly between the competing interests of various sections of society.
Anyone still believing such fairy tales got a jolt in late 2008, when the politicians immediately agreed to whatever the bankers requested – to the potential limit of about €400bn.
Since then, whether within the EU or at home, the demands of the bankers have overridden the interests of the rest of us. Blindly, €64bn was given to bankers.
And if the bankers decide they need another 10 or 20 billion, can anyone doubt it will be provided to them (after the general election)?
And the hole in the public finances will be patched up, using more charges and spending cuts.
Some think that the Government should ensure fair play to mortgage holders – after all, it “owns” Permanent TSB. And it “owns” AIB and it “owns” 14pc of Bank of Ireland.
Surely it could, if it wanted, stop this deeply unfair practice?
It could, but it doesn’t. Because (a) it agrees with what’s being done; and (b) its “ownership” of the banks is not really ownership.
The Government provides whatever amount of public money a bank demands. And, as in any commercial transaction, it must receive what’s called “consideration” in return. So, it is given token “ownership” of the bank, in order to make the transaction legal.
But such is the deference of politicians to bankers that they make a virtue of ignoring how the banks are run. Oh, they proudly announce, we wouldn’t dream of interfering in commercial matters.
Even when – as in the variable mortgage racket – the unfairness is blatantly obvious.
This shameless protection of the bankers has nothing to do with old-fashioned corruption, where the bankers are cronies or relatives of the politicians. It has nothing to do with an exchange of brown envelopes.
This is ideology – an element in the version of right-wing politics that has dominated us since the 1980s.
This says: the financial sector is central to society and must be protected as though it was a precious child. Do this and the markets will prosper and things will get better for all.
This, by now, is so ingrained in the minds of our leaders that it’s taken to be not so much an element of right-wing principles as a natural law.
Like gravity.
There has been clear evidence from 2008 that the financial sector was a glorified casino, run by people who don’t understand banking and who despise common businesses. They understand only profit and bonuses.
Not to worry, the ideology is deeply entrenched and the banks will continue to receive the protection of the politicians.
What’s happening to the variable-mortgage customers is merely an extra element in the array of charges, levies, cuts and other money-extracting techniques employed to transfer wealth to the empty-eyed among us.
One of the most ambitious projects was Irish Water.
Some may consider Irish Water to be the worst company ever set up anywhere, at any time, by anyone, for any purpose.
It’s as though Irish Water managed to corner the market on ham-fisted eejits programmed to make a balls of whatever task they are given.
This is not true. There’s no evidence of innate stupidity among Irish Water’s staff, many of whom manage to dress themselves on a daily basis.
The problem with Irish Water is that Enda Kenny and Phil Hogan tried to do too much at once.
They wanted a cash cow that would provide a healthy revenue stream, to replenish the depleted state coffers.
Second, the company was to amass a substantial database, based around PPS numbers, which would be a lucrative asset when it comes time to privatise the water supply.
Third, it had to be an off-the-books operation, so the Government could pretend it was keeping inside the deficit rules.
And – as an afterthought – it had to fix the leaks that are losing 49pc of the treated water. No private company would buy Irish Water until the leaks are fixed at public expense.
And, needless to say, this project has inevitably provided a healthy revenue stream to the usual consultants, advisors and managers.
And it worked, up to a point. In the process a lot of the usual geniuses made large dollops of money, There’s a nice logo and all the trappings of a utility.
Try as it might, however, this multifaceted operation couldn’t pass itself off as a water utility with a mission to fix the leaks.
It became an assault on our credulity, as well as a raid on our pockets.
So, large numbers of people refused to play the game. The Government cut the charges, to seek to entice some dissenters into signing up – after which the charges will soar.
As the bills arrive, the jury is out on what happens next.
The variable-mortgage suckers plead for fairness. It won’t work. They could try a mortgage boycott, but if there are too few they’ll be hammered mercilessly. If there are many, the bankers might well flinch at an uppity customer base – it sends a chill through investors.
Meanwhile, maintaining its reputation for screwing up every single thing they try to do, Irish Water have sent out a bill to a man they knew was dead.
We know they knew he was dead because when they addressed the bill they carefully typed (RIP) after his name.
Truly, future generations will marvel at what we have wrought??

Max Keiser:

This talk I recently found is on finance capitalism and the phenomenon of vacant buildings (this is just one of a series of talks and references others that fits in with the themes of their show).

It’s clear that global finance is based on get rich quick schemes and property price based economics is anti-Human.

When it comes to Asset Urbanism people are utterly irrelevant, China currently has 50 million units of empty properties, never been lived in, Ghost Cities. They are monetised assets nothing more.

Madrid has a completely empty complex of high rise buildings the size of a city, completely void of Humans.

Rep of Ireland has Zombie Hotels, completely empty built in rural Ireland, built as investments and abandoned when the hedge funds dried up.

When people wake up and realise the property con, then the Human Race may have a chance of moving forward, until then we are fucked – we’re heading for dystopia

Is This How We Are Forced to View The World In A Certain Way? | True Activist.


Putting A Lid On Ones Autonomy

The imposition of Will on autonomous beings, an experiment with Fleas mirrors social control.

Subjectivation in Foucault, Deleuze & Guattari. “The process of producing various modes of existence, it has nothing to do with people but is dealing with individuation – the process of coming into being.

Global Mobilities


Bayart begins his process of thinking about subjectivation with Weber’s concept of ideology. When thinking about ideology Weber highlighted the roles of social institutions in conveying a “method or conduct of life” which was not a conscious choice on the part of the individual. He focused on the impact these institutions have on social practices.  In particular how they shape individual’s lives and are processed into daily performance. Bayart asks the question does our existence as individuals originate in a global world government or in the process of globalization. To find an answer he turns to Foucault’s philosophical shift from the constituted subject to the constitution of the subject.  The subject doesn’t exist but is produced by a historical process. The historicity of this process becomes the originating moment that the subject begins to exist.  In focusing on the process of becoming subject it becomes extremely important for one…

View original post 460 more words

What our own mainstream (or as John Pilger calls it, EXtreme) media neglects to report…
The western NATO backed government of UKRAIN is extreme right-wing and are neo nazi collaborators.

Solidarity with the Antifascist Resistance in Ukraine

Banned in Ukraine

On April 9, the Ukranian Rada passed 4 pieces of legislation submitted by the government, which ban all symbols and propaganda of Communism. After the law comes into effect, any monuments for Communist figures which have not already been destroyed by fascist thugs in the last few months must be demolished. Also any cities and streets which named after communists are supposed to be renamed.

View original post 703 more words

Futurist Collage.

Carlo Carra – Manifesto for intervention, 1914.  Interventionist Demonstration (Patriotic Holiday-Freeword Painting) (Manifestazione interventista [Festa patriottica-dipinto parolibero]), 1914
Interventionist Demonstration (Patriotic Holiday-Freeword Painting) (Manifestazione interventista [Festa patriottica-dipinto parolibero]), 1914

DADA collage.

“Dadaists set out to Destroy the message that newspapers and magazines tried to get them to believe in; their weapons would be scissors and glue.”

The DADA Berlin members include- Rahul Hausmann, Hannah Hoch, George Grosz and brothers Wieland Herzfelde & John Heartfield.

Hannah Höch, – SCHNITT MIT DEM Kuchenmesser, 1919. {Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch of Germany, 1919-20}

Hannah Höch, Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch of Germany, 1919-20.

Hannah Höch, Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch of Germany, 1919-20.

Here is a large selection of collages by Hannah Hoch. And a 2014 retrospective covered here in The Guardian.

Hannah Höch was a German Dada artist best known for her work of the Weimar period, when she was one of the originators of photomontage.

MERZ movement.

Kurt Schwitters. (1887-1948).

Kurt Schwitters is acknowledged as the twentieth century’s greatest master of collage. Merz has been called ‘Psychological Collage’. Most of the works attempt to make coherent aesthetic sense of the world around Schwitters, using fragments of found objects. These fragments often make witty allusions to current events. (Merzpicture 29a, Picture with Turning Wheel, 1920. for instance, combines a series of wheels that only turn clockwise, alluding to the general drift Right across Germany after the Spartacus Uprising in January that year, whilst Mai 191(9), alludes to the strikes organized by the Bavarian Workers’ and Soldiers’ Council.)

Kurt Schwitters, Mai 191(9)

Kurt Schwitters, Mai 191(9)

Autobiographical elements also abound; test prints of graphic designs; bus tickets; ephemera given by friends. Later collages would feature proto-pop mass media images. (En Morn, 1947, for instance, has a print of a blonde young girl included, prefiguring the early work of Eduardo Paolzzi and many works seem to have directly influenced Robert Rauschenberg who said after seeing an exhibition of Schwitters’ work at the Sidney Janis Gallery, 1959, that; “I felt like he made it all just for me.”).
He was to use the term Merz for the rest of his career. While these works were usually collages incorporating found objects, such as bus tickets, old wire and fragments of newsprint, Merz also included artist’s periodicals, sculptures, sound poems and what would later be called installations.
Kurt Schwitters experimented with abstract and expressionist painting before becoming involved with the Dada movement, an artistic philosophy based primarily on incongruity, absurdism, and nonsense. Although he associated with the Dadaists and his works shared many similarities to theirs, Schwitters preferred to refer to his own artistic efforts under the separate title “Merz”– a meaningless word Schwitters derived by taking the middle syllable from the German word “kommerzbank” (“commercial bank”)

“What springs to mind when trying to characterize his personality is one word: ‘paradox’.”

The Surrealist Collage. Andre Breton, Dali, Max Ernst, Hans Bellmer, Joan Miro, Yves Tanguy, Paul Eluard, George Hugnet.

Max Ernst, The Chinese Nightingale (1920), photomontage, 8.8 x 12.2 cm.

Max Ernst, The Chinese Nightingale (1920), photomontage, 8.8 x 12.2 cm.

Exquisite Corpse by André Breton, Jacqueline Lamba, Yves Tanguy

Exquisite Corpse by André Breton, Jacqueline Lamba, Yves Tanguy

Paul Eluard | La Petite Mélancolie

Paul Eluard | La Petite Mélancolie

Paul Eluard | La Petite Mélancolie

George Hugnet

George Hugnot, 1936.

George Hugnot, 1936.

Georges Hugnet (11 July 1906 – 26 June 1974), was a French graphic artist. He was also active as a poet, writer, art historian, graphic artist, bookbinding designer, critic and film director. Hugnet was a figure in the Dada movement and Surrealism. He was a prolific producer of collage, a great deal more images and links to videos can be seen via the link here.

And also here.



Pop Art Collage.

Eduardo Paolozzi. Richard Hamilton.

Paolozzi's I was a Rich Man's Plaything (1947) is considered the first standard bearer of Pop Art and first to display the word "pop".

Paolozzi’s I was a Rich Man’s Plaything (1947) is considered the first standard bearer of Pop Art and first to display the word “pop”.

Richard Hamilton

Assemblage and Combine Paintings.

Wolf Vostell. Robert Rauschenburg.

Wolf Vostell


 Signs - Robert Rauschenberg. Collage. 1970. The artist captured the apocalyptic 60s by depicting the oppression of African Americans, the war in Vietnam and so on.

Signs – Robert Rauschenberg. Collage. 1970. The artist captured the apocalyptic 60s by depicting the oppression of African Americans, the war in Vietnam and so on.

Martha Rosler – the grey drape, 2008. More shown here

Martha Rosler - the grey drape

Martha Rosler – the grey drape


Hooded Captives, 2004.

Hooded Captives, 2004.

Wangechi Mutu. Links

cancer of the uterus, 2004.

cancer of the uterus, 2004.

Nils Karsten. Links

Hard Position Standing Up Hands Too, 2011 graphite and collage on paper 9 1/2 x 13 inches

Hard Position Standing Up Hands Too, 2011
graphite and collage on paper
9 1/2 x 13 inches


JOHN WHITLOCK Growth Paradox, 2014

Growth Paradox, 2014

John Stezaker.

John Stezaker Mask XIII 2006

John Stezaker Mask XIII 2006

Bobby Neel Adams couples

bobbyneeladams couples

bobby neel adams, couples.

Matthieu Bourel. 2014. Les collages et animations de Matthieu Bourel

les-collages-et-animations-de-matthieu-bourel Yul Brynner

Yul Brynner

Aneta Grzeszykowska and Jan Smaga.

Aneta Grzeszykowska & Jan Smaga 2007

Aneta Grzeszykowska & Jan Smaga 2007

Linder Sterling’s Feminist Punk Collages Tear Up 30 Years Of Bad Advertising.

Linder Sterling's Feminist Punk Collages, 2012.

Linder Sterling’s Feminist Punk Collages, 2012.

In 2010 Lady Gaga shocked the masses when she donned a dress made of raw meat. But the singer was only taking hints from British punk artist Linder Sterling, who debuted the unusual “fabric” in 1982.

Kerstin Stephan. Little Monster

Kerstin Stephan little monster ii

Kerstin Stephan
little monster ii

Astrid Klein. BROKEN HEART II”. 1990-1995.

Astrid Klein. BROKEN HEART II. 1990-1995

Astrid Klein. BROKEN HEART II. 1990-1995

Office Supplies Incorporated.

OSI Dancers-Vancouver-Art-Gallery-Install-2

OSI Dancers-Vancouver-Art-Gallery-Install-2

Randy Grskovic. LinkLink.

Randy Grskovic | The Trickle Down Effect | 2012.

Randy Grskovic | The Trickle Down Effect | 2012.


randy grskovic, imperium.

randy grskovic, imperium.

I Am Ciara.

The Week End Popshot Magazine

The Week End
Popshot Magazine


Bring Back Our Girls

Bring Back Our Girls

Jesse Treece. LinkLink.



Jesse Treece, The Tipping Point.

Jesse Treece,
The Tipping Point.

Jesse Treece is a collage artist living in Seattle whose work screams of the simple, yet ever complex, interpretations of both the mundane and whimsical facets of life. He’s somehow managed to mix both the regular and absurd, beautiful and disturbing and put them into images that you find you could get lost in for hours. His tools of the trade include scissors, glue and vintage magazines/books.

Nicholas Lockyer.

leave-me-no-choice-but-to-plot-my-revenge, 2012.

leave-me-no-choice-but-to-plot-my-revenge, 2012.



Sarah Eisenlohr.

A selection of beautiful collages from the series “Mapping” by American artist Sarah Eisenlohr, mixing old photos and retro postcards to create stunning landscapes and surreal compositions.

Sarah Eisenlohr, Mapping.

Sarah Eisenlohr, Mapping.

Sarah Eisenlohr, Mapping.

Sarah Eisenlohr, Mapping.

Nathaniel Whitcomb. extracted poetry.

Extracted Poetry


last words 2013 H leads T, his son, after a day of gathering in the strategic border area, rich in potential. What, I wonder, will become of the so-called primitives? One day, perhaps, I will know. I remember their last words to me, the alien they befriended: “You will have to come back. We want you to live with us.”

last words
H leads T, his son, after a day of gathering in the strategic border area, rich in potential. What, I wonder, will become of the so-called primitives? One day, perhaps, I will know. I remember their last words to me, the alien they befriended: “You will have to come back. We want you to live with us.”

Noa Giniger.

(IL, b. 1977) graduated in 2005 from the Ecole Nationale Supérieure des Beaux-Arts in Paris.

weeping willow the sorrow the joy brings Noa Giniger

the sorrow the joy brings Noa Giniger

Luis Dourado.

uses analogue and digital collage and manipulation to explore themes surrounding control, memory and illusion in his work.

Luis Dourado was born in Porto, Portugal in 1984.


Luis Dourado - ronald reagan 

Scott Dickson.

Scott Dickson‘s series Moment Monument is a juxtaposition like the artwork. Using vintage postcards as collage material, Dickson obscures the monuments that are the intended subject of the photographs. Using the vintage photos and geometric forms, Dickson relieves the monuments of their narrative and posterity. This allows a second look at the monuments physical context – it’s pedestal, its surrounding, the space it in inhabits. More importantly, though, it encourages a second look at monument’s conceptual context – the meaning of commemoration and memory through sculpture.

Scott Dickson‘s - Moment Monument

Scott Dickson‘s series Moment Monument


Mary Lum.

Mary Lum Geometric Collage Art

artist Mary Lum, exploring cities with her camera, uses the images of overlooked spaces she captures as the basis for her colorful geometric collages.

mary lum

Richard Galpin.

This book “Surface to Surface – Richard Galpin” documents the development of Galpin’s work with his unique ‘peeled photograph’ technique – from the early works based on snapshots of London shop signs, to the latest large scale works with New York and Sao Paulo cityscapes. The essay by writer and curator David Thorp contextualises Galpin’s practice within a 20th Century art-historical discourse, exploring the various references in the work to early modernist movements.






Rodrigo Torres.




Gordon Magnin.




Jorge Chamorro.




Joe Castro.


Leigh Wells.


Sergei Sviatchenko.


Justin James Sehorn.


Edoardo de Falchi.


Harold Diaz


Christopher Gideon.


Tres Roemer.


Andrew Riggins.


Isabelle Cordemans.


Samuel T. Adams.


Mario Zoots.


Andrew Lundwall.




Beth Hoeckel.


Bryan Olson.


Jon Legere.


Virginia Echeverria.


Dominic McGill.



Neasden Control Centre.


John Vincent Aranda.


Benjamin Edmiston.


Francisca Pageo.


Eva Eun-Sil Han.


Brian Vu.


Ruth van Beek.


James Gallagher.


Jens Ullrich.


Arturo H. Medrano.


Katrien De Blauwer.


Liam Crockard.


Jordan Clark.


Tintin Cooper.


Valero Doval.


Jose Romussi.


Brandi Strickland.


Hisham Akira Bharoocha.


Kent Rogowski.


Eugenia Loli.


William Crump.


Geoff J. Kim.


Dennis Busch.


Hugo Barros.


Philippe Jusforgues.


Jesse Draxler.


Ashkan Honarvar.


Charles Wilkin.


John Gall.


Dash Snow.


Julia Busch.


Vanessa Lamounier de Assis.


Eli Craven.


Beni Bischof.