Colonial Surfer - STNC is a project about the contemporary globalized world and power structures within the surf industry and its realm. Surfing is not just a sport but also culture (producer and distributor). In current discussions you hear about the post-colonial but the situation today is better described as neo-colonial. Surfers do travel a lot and sometimes to places unknown to other tourists. The way surfers behave and represent themselves in the adventures search of perfect waves has a lot in common with ancient colonizers and their roles. To surf maintain and conserve already existing structures. History.
Editor: Kristoffer Svenberg
Wednesday, March 28, 2018
Studies of art, photography, postcolonial theory and my own experience of traveling as a tourist in Asia are behind my decision to perform the action. I am convinced that the action is worth doing for a number of important reasons. Placing the bag like this at Charles de Gaulle airport can scare, shock and hurt individuals. A part of the airport may be blocked by the security guards and people on their way to or from their flights might be disturbed. The ethical problem of exposing other people to my actions is included in my calculations.
I justify the action with theories of how the system itself is so much more violent, wrong and destructive.
The contents of the backpack are pictures. These images consist of scanned material from travel brochures and travel commercials printed on photo paper and then cropped to 10x15cm format. Nothing but a large number of these pictures lies in the bag. The selection is made to represent a typical representation of the world through a European travel commercial perspective. The backpack contains something that the tourism industry generates. Images that constitute the current world order.
The security system, the structure, and the strictly disciplined architecture are tangible. I’m up in this with intentions about it as art. Flying with the bag containing only pictures is part of a performance work. Passing the bag through the X-ray machine at the airport worries me. Perhaps I will face suspicion and questions. I’m afraid to be remembered, or that security staff should notice this as something strange so that I can later be linked to the Charles de Gaulle airport attack and seized as a terrorist.
Tuesday, March 27, 2018
Sunday, March 25, 2018
Wednesday, March 7, 2018
STNC: It's about the position and role. Who is mobile and free and who is getting frozen solid. Anyone who can move more freely, such as a surfer who travels the world, has the advantage in matters of representation when holding the camera. From such a free-floating position, it is easier to control the representation of the 'other', the influence of photography and the performative power. It is also very much about his/her own identity by consuming the environment as an "aesthetic surface." The power lies in the ability for geographical movement but manifests itself through pictures and stories. Whose stories are told through these images and why? What is the purpose of the image photographed from this tuktuk ride? In general it is very often photographs that manifest the photographer's role and identity.
STNC: Yes, that’s a way of putting it. But somehow that is also problematic. Since we need to find ways of getting everyone able to be observers alike. Not just the free traveling surfer. In Surfers are The New Colonialists I am observing the surfer and the surfers gaze. I do this to find ways of challenging very unequal perspectives.
Monday, December 4, 2017
Thursday, September 7, 2017
role-play and as an art performance. The organizations name is Surfing The Nations and has its base of operations on Oahu, Hawaii. The Same place as the colonizing English missionaries discouraged and forbade wave surfing in the 1800s. Surfing The Nations is an American organization but with a surprising over-representation of Swedes. STN:s (not to mistake for STNC) main focus is to bring people into religious conversion within what they call the 10/40 window. Countries that are located 10°-40° north of the Antarctic Circle. Countries like Bangladesh, Sri Lanka, Indonesia, India and more.
Wednesday, September 6, 2017
Saturday, October 29, 2016
If you believe that meaning comes in sequences and takes the form of a trajectory through a number of different points, then what you really care about is movement: the real possibility to move from one point to another fast enough to prevent the overall shape from vanishing. Now what is the source of this movement, and what keeps it going? Your curiosity, of course, and your desire for experience. But these aren’t enough, believe me. This movement is also propelled by the points through which it passes … [The surfer] has a chance to build real sequences of experience only if at each stop along his journey he gets another push. Still, they’re not really stops, but systems of passage that generate acceleration.
Unsurprisingly, if the diver is the person who reads Proust, Baricco writes, the surfer is the person browsing the internet.
More importantly, by introducing the figure of the surfer, Baricco develops Jameson’s notion of depthlessness from an experiential register to a modality of engagement. In order to stay above water, after all, the surfer needs to develop the skills that keep him on his board. One of these skills, one similar to Deleuze and Guattari’s concept of the rhizome, is to perceive the ocean as a “trajectory” rather than either a territory (implying a mapping) or a telos(suggesting direction). (Indeed, Deleuze himself introduces the figure of the surfer in his “Postscript on the Societies of Control.”) Here the surfer stays on his board by choosing one wave after the other, regardless of the corals he scratches with the tip of his board or the direction the waves take him in. He literally lets the waves carry him—he “lives in the moment.” The second skill is the ability to constantly keep moving. If the surfer slows down or is momentarily stopped “by the temptation to analyze,” as Baricco puts it, he sinks.
He must progress, advance, experiencing each wave not on its own terms but as the medium, the catalyst for the next encounter, which is to say that each experience is experienced not in and of itself but in anticipation of the next experience, the next wave. What Baricco suggests, thus, is that the experiential registers of depth and depthlessness prescribe different modes of engagement: in the former you focus on one point in particular whilst in the latter you let your eyes scan over the surface; in the first you look for the special, in the second for the spectacular: the next wave, the next thrill. Though Baricco’s metaphor of the surfer is both limiting and reductive and certainly does not define all art from the eighties and nineties, it manages to put into words a sentiment often shared between certain artistic traditions and their audiences: the act of looking for a hint, not of what lies beneath, but rather of what lies ahead of us—the spectacle, the thrill, the controversy, the next wave we can ride and then the next, and the next.
By invoking the figure of the surfer, someone whose concern is not only to stand on the water but to avoid falling into it, going under, this duality is made manifest: to speak about depthlessness is to speak about the extinction of depth, not its nonexistence.
To return to Jameson’s case studies, Van Gogh’s A Pair of Boots implies another mode of engagement than Warhol’s Diamond Dust Shoes: in the former we are invited to look for traces of an experience; in the latter what we are left to see are points for discussion.
Vincent van Gogh’s A Pair of Boots (1887), Jameson wrote, expressed both, through its “hallucinatory” use of color, the artist’s “realm of the senses” and, through its use of “raw materials,” a world “of agricultural misery, of stark rural poverty, … backbreaking peasant toil, a world reduced to its most brutal and menaced, primitive marginalized state.”5 The painting, in other words,conveyed individual ideas, sensibilities, and social realities which continued beyond its borders. In contrast, Andy Warhol’sDiamond Dust Shoes (1980) communicated neither an authorial voice, nor a personal attitude or affect, nor a sense of the world it supposedly represented. The black-and-white photograph, with its shiny, isolated aesthetic, Jameson suggested, could allude to glamour magazines just as well as to a memory of the artist’s mother, to shoes left over from Auschwitz or the remains of a dance hall fire. If Van Gogh’s painting of peasant shoes pulled the viewer into another world of poverty and misery, Warhol’s photo of pumps pushed the spectator out back into his own.6 As Warhol himself is alleged to have said: “If you want to know all about Andy Warhol, just look at the surface: of my paintings and films and me, and there I am. There’s nothing behind it.”
Extract from: The New “Depthiness” - Timotheus Vermeulen
Friday, August 12, 2016
"The mayor of Cannes has banned the wearing of burkinis - full body swimsuits - on the beaches of the French Riviera resort famous for its annual film festival, officials said on Thursday."
- The Telegraph
Sunday 14 August 2016
"A second resort town on the French Riviera has announced a ban on full-body swimsuits - or 'burkinis' - at its beaches. (...) Anyone found breaching the order, in place until the end of August, faces a €38 (£32) fine."
MAKE SURE NOT TO WEAR THIS IN CANNES OR VILLENEUVE-LOUBET!
Friday, August 14, 2015
Sunday, August 2, 2015
Saturday, August 1, 2015
What does the sign that this guy is doing in the picture mean? A positive way of reading could be to say that this guy is breaking the surface in the image. A image of him as a poor. But the one in control here is the one who’s behind the camera.
And this is rather a sign that says Hello in a more specific way.
It’s a surfers sign. And in this case it's about the surface. Being above or under the surface.
A young kid doing the hang loose sign from his perfect position as a poor.
Traditional. As used in the Hawaiian Islands, "Hang Loose or "Shocka" is used as a non verbal expression; or greeting. To tell the receipiant, that every thing will be OK, Relax, Stop looking at me w/ that stern look on your face. / from Urban Dictionary
Sunday, July 19, 2015
Friday, July 17, 2015
Sunday, July 12, 2015
“We are greater than I.” Yes, I can agree on that. I guess we all can agree on that. But when this WE, is a way to narrow norm, it’s not just that great. What WE are in this video is not just anyone. Let me be the party crasher. Let me be the troll. But this video is very much about an “I”. Even though there are people from different areas in the world, girls and boys in this commercial there is an obvious I. Try to read the pictures more carefully and tell me what you see. I am a man in this video. The “I” is a white western man. The “I” is a successful white muscular western man setting up standards about the norm. The norm in this video is that I, and if there is a greater we in this video, that we, or us, are working on worshipping that I. We are that I. We are worshipping that I. We are greater than I. But I am the norm in this surf video. I am the norm that we are surfing on, or trying not to get whitewashed in. I am the direction in this commercial. I am not free.
Monday, December 15, 2014
Wednesday, July 2, 2014
|This picture is taken from the surf organization Walking on Waters website. Christian surfers traveling the world while trying to bring people into conversion.|
Friday, June 13, 2014
Wednesday, April 30, 2014
Partiet (med Navid Modiri) - Flippa ur
The guys in this video might not be surfers, but they are somehow surfing the world. The pictures in the music video are from a volunteer trip.