Con-

2012-01-11T03:16:00.000-08:00

<p>&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://vincentparker.bandcamp.com/track/cyrilian"&amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Cyrilian by Vincent Parker&amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;</p>

2012-01-06T20:08:00.001-08:00

2011-12-27T16:47:00.001-08:00

Just some illustrations I like

2011-12-27T16:18:00.000-08:00

スポーツソックス

Fun.: We Are Young ft. Janelle Monáe (Audio)

2011-12-11T06:11:00.000-08:00

2011-11-26T05:04:00.000-08:00

2011-11-26T03:03:00.000-08:00

2011-10-04T03:46:00.000-07:00

2011-09-03T21:36:00.000-07:00

Calligraphy Demonstration
Ehime Art Museum
2011

2011-09-03T00:41:00.000-07:00

Mike Relm 2010, Vancouver

2011-08-28T05:17:00.000-07:00

2011-08-28T00:24:00.000-07:00

石鎚山

(Ishizuchi-san)

2011-08-25T05:43:00.001-07:00

私のホバークラフトは鰻でいっぱいです

2011-08-18T06:55:00.000-07:00

¥ 600

2011-08-18T06:43:00.000-07:00

WORST SUSHI EVER

2011-06-27T15:02:00.000-07:00

CRIPS AND BLOODS MADE IN AMERICA

In the 1990s the now iconic American gangs of the Crips and Bloods became so infamous that North American children began replacing the dated game of Cow Boys vs Indians with Crips vs Bloods. Flashing gang signs in their white picket fenced back yards while screaming "Bang bang your dead," these children, there parents and neighbors likely still have little to no idea of the deep seated history of racial segregation and oppression that brought rise to these gangs. Crips and Bloods Made in America is a powerful documentary that sheds light on a long history of gang violence in Las Angeles that is far to often seen as a pop-culture spectacle by those who are lucky enough to have never lived through such violence
.

2011-06-24T16:48:00.000-07:00

Small study: Composition and colour

D-image

Kyle Duske

2010

2011-06-15T09:45:00.000-07:00

2011-06-08T23:50:00.000-07:00

D-image

Kyle Duske

2011

http://www.modelmayhem.com/530576

2011-06-06T16:23:00.000-07:00

Lea T - Torment of Duality

2011-06-02T11:24:00.001-07:00

This is not a TOY
D-images
Kyle Duske
2011

2011-06-02T09:52:00.000-07:00

Lets Hang Out!

Check out this great space a friend of mine is involved in in Milwaukee.
Sky High Gallery

Related Links:
fecalface.com
metrotimes.com

2011-04-04T06:34:00.000-07:00

10 KEY CALCULATOR by Ippei Matsumoto

Perhaps I would enjoy STATS 203 more if I had this fancy little guy.

One Hundred Attempts at Perfection (Each Side)

2011-02-24T14:16:00.000-08:00

Kyle Dunske- 100 attempts at perfection (each side) from Emilio Rojas on Vimeo.

This is some video documentation of a performance I did almost a year ago for Pact 4: Trade at Centre A in Vancouver. My last name is spelled wrong but I still thank Emilie for the great documentation.

Jennifer Kyle (Banf Artist Residency 2008)

2011-01-13T10:44:00.000-08:00

Two (working title)
D-Image
Jennifer Kyle
2008

Karate Poster Concept

2011-01-08T15:34:00.001-08:00

WSD Poster Concept

2011-01-05T23:28:00.001-08:00

Victoria BC 2010

2010-12-26T01:59:00.000-08:00

Design: Martial Arts Gear

2010-12-11T10:37:00.000-08:00

With the money that is pouring into MMA on all fronts many suppliers of martial arts equipment and apparel are stepping up their game in hopes to out shine their competitors. Hayabusa in particular has been setting an example for good design with in the martial arts community, at least with their equipment, I am not a fan of their street wear. Their new Kanpeki Elite Series has to be one of the nicest looking lines out there. It is sleek and simple. The branding is subtle and the brown leather gives it a feeling of antiquity. Aesthetically the Kanpeki Elite Series far surpasses anything I have seen on the market, I must say it is far nicer looking then the Drako gear I proudly picked up this September. Though there is no doubt that this gear will cost a pretty penny it is sure to make all those Street Fighter fans mouths water. I mean who doesn't want to wear brown leather just like Ken and Ryu?

WE ARE

2010-11-11T23:38:00.000-08:00

Pact 2 Submission

2010-11-11T00:28:00.000-08:00

Dance Corner
Reflective Vinyl, performance
Kyle Duske
2010

Download the Pact 2: Corner PDF (2.9MB).

Getting Ill Is So 1997

2010-11-01T23:31:00.000-07:00

Keep warm this winter with this:

1 cup Rooibus Tea
1/2 tbs Natural Honey
1/4 oz Unpasteurized Apple Cider Vinegar

New Work

2010-10-29T00:01:00.000-07:00

Small Furniture for Discussions on Local Materiel Politics
Ply-wood, Bamboo, Acrylic
Kyle Duske
2010

I apologize for the poor documentation

WSD Poster Concept

2010-09-02T23:50:00.001-07:00

Karate Advert Concepts

2010-08-27T22:58:00.000-07:00

These are two concepts I have been working on for the SFU Karate club. You can find more information on the club at rec.sfu.ca and on facebook.

New Photo

2010-08-27T21:45:00.000-07:00

Photo to be used in a advertisment for SFU's Woman's Only Self Defense course. Find more information at sfu.rec.ca

///////////////////////

2010-08-07T20:25:00.000-07:00

//////////////////// /diagonal zine fair,

4:00pm – 11:00pm
Diagonal is in its first year of operation,
it is a zine fair /show

Magazines /zines /printed works from
hamburger eyes
anteism
puppy teeth
smoke signals
darling [mag]
patrick cruz
island folds
wizard gang
no where fast collective
black bile
black budgie distribution
mongrel zine
maya beaudry
OCW
hack saw literary arts magazine
poetry is dead
sad magazine
rain magazine
bob scott
melanie coles
erin kraan
taryn hubbard
jason sunder
ashleigh kay rajala

Work from
erin marranca
patrick cruz
bob scott

Film presentation
r. thomas white & chris lennox-aasen present “gutter standard”
adam huggins & mohsen yazdani present “the point at which, the place where”

Music /performance
jesua
more t.b.a

& bake sale /bar
Facebook Event

Then and Now

2010-05-23T20:53:00.000-07:00

The internet is a world of tangential thinking. This type of thinking may incourage creativity, though most often I imagine it acts as a distraction. Today I was led away from facebook to youtube as a result of a friends status up date that read "whores in my head." I found my self watching a video of the Pixies performing Hey. As I became tired of the video I clicked on a thumb nail of what looked to a higher quality video. Again it was of the Pixies performing Hey. I thought I may share this little adventure with you here.

enjoy

LYRICS:

The Pixies - Hey

hey
been trying to meet you
hey
must be a devil between us
or whores in my head
whores at my door
whores in my bed
but hey
where
have you
been if you go i will surely die
we're chained

uh said the man to the lady
uh said the lady to the man she adored
and the whores like a choir
go uh all night
and mary ain't you tired of this
uh
is
the
sound
that the mother makes when the baby breaks
we're chained

FUTURE EXPANSION, TODAY, Daniel Oates-Kuhn

2010-05-19T16:38:00.001-07:00

Daniel Oates-Kuhn has applied with 221A Artist Run Centre for permission to construct an artwork installation containing three (3) to five (5) units, with approximately 600 square feet of exhibition area. Access to the site will occur at its opening, 8:00pm September 11th 2009 and thereafter during hours of operation until Oct 11th 2009.

Project Statement

Future Expansion, Today is an exhibition of incongruous familiarities. The current meteoric development craze in Vancouver provides a resonant sociopolitical context to these sculptural forms. Oates-Kuhn aspires to create impressionistic translations of utilitarian objects and altered terrains. The artist investigates our proprioceptive relations to these modified territories of architectural and infrastructural transformations.

Oates-Kuhn primary focus operates out of the formal language of falsework and other areas of construction and renovation, which elicit individual gestures and sentiments through the fog of an intensely uniform and pragmatic methodology.

Artist and curator alike share strong interests in the visual and conceptual codifications of manual labour as a result of personal engagement with these systems. Employment within the labour industry has allowed both persons to support their education and creative practices. Consequently, as inquisitive individuals both utilize creative mediums to reconcile the inherent conflicts, inconsistencies and conundrums of this manifold territory.

* falsework, an industry term identified as any temporary structure or article used to support a permanent structure while it is not self-supporting. This also includes structures or articles which provide for a safe working environment within the permanent structure’s immediate vicinity.

Daniel Oates-Kuhn, Artist
Kyle Duske, Curator

HOOK-NESS, Joji Fukushima

2010-05-17T17:27:00.000-07:00

Emilie Madill, Jeff Werner, Michelle Fu, Amanda Huynh, Joshua Doherty, Anna Gukov, Joji Fukushima

221A Artist Run Centre presents Hook-ness, a collaborative exhibition featuring the work of seven Vancouver-based designers who explore the complexities of ‘hook’. Each designer questions the conventions and assumptions of hooks – offering an array of new findings, interpretations and narratives.

The Hook-ness exhibition is the first of a series of investigative studies conducted under the scope of the –Ness project, conceived by Vancouver designer and curator Joji Fukushima. –Ness explores a strategy of design investigation where mundane events and phenomena are examined and re-designed to expose the limitations of our established perceptions.

Opening Reception:
8:00pm, Friday, May 21, 2010

Talks:
7:00pm, Thursday, June 10, 2010

Hours:
Thurs/Fri: 4:00-8:00pm
Sat/Sun: 12:00-5:00pm

hook-ness.com

http://221a.ca/

SFU: Application Karate

2010-05-17T17:23:00.001-07:00

SFU: Application Karate

Work For: How Much is Enough

2010-05-12T15:37:00.000-07:00

In 2008 I was involved in a youth out reach program called Arts 101. It was put on by the Contemporary Art Gallery and Watari in Vancouver B.C. There were a group of us who for six months acted as mentors to young artist from diverse backgrounds, some times referred to as Youth at Risk. At the end of the six months we put on a exhibition of work produced by both the youth and their mentors called How Much is Enough. Bellow I have posted my work. In the future perhaps I can post some of the other work from the show.

I am very appreciative that I was involved in this project, it helped instigate my return to school to study psychology, with the intention of applying to a masters in Counseling with in the next year or. Sadly the Arts 101 program is no longer running as a result of funding cuts. I do hope it is given the chance to start up again one day as it really felt like the ball had only just started rolling.

(above)
Contents of Mens Stall #2 750 Plaza of Nations
Urine on paper
Kyle Duske
2008

HOT DOG DAY

2010-05-10T16:47:00.000-07:00

Illustration by Andrea Wan

Hot Dog Day at 221A
$4 Hot Dog (animal or veggie)
$4 Beer

Hot dogs provided by Street Meet
Music by Labour of Love
Seating by bring your own lawn chair

A fund-raiser in support of the 221A Artist Run Centre (non-profit society).

221A ARTIST RUN CENTRE
221 E. GEORGIA ST. UNIT #100 (AT MAIN)
VANCOUVER, BC. CANADA V6A 1Z6
T: 604 568 0812
E: hello@221a.ca
W: http://221a.ca

If Your Video Wasn't Banned, it isn't Worth Watching

2010-05-09T23:39:00.000-07:00

Censorship is a funny thing. I cant say I really disagree with Youtube.com for banning MIA's video as they have clear rules as to what is not to be posted. I do however have a problem with what gets censored and what squeaks by. Below are three videos two banned and one that never even faced censorship, all of the videos contain "explicate" content. The first two videos are by MIA and Metallica, they explore very real social issues ether through metaphor or depictions of blatant reality. Bellow them is a video by Brittney Spears that was never banned. Take a critical look at these videos and ask your self what is it that censorship is achieving. Are we receiving quality family programming or are we just avoiding hard issues by amusing our selves with shallow puns?

MIA - Born Free 2010

Metallica - Turn The Page 1998

Britney Spears - If You Seek Amy 2009

More Banned Videos

FROM POCO TO MERRITT, Dave Stewart

2010-05-07T19:54:00.000-07:00

Photos by Chad Durnford

_______________________________________________________________

Artist Statement:

Sweat dripped out of every pore, reflecting the lustre of the plastic beads draped over his cotton shirt. His eyes looked through me as he mouthed the word: “THUNDER!”

There was a brief pause, with some crackling distortion coming from Brad’s stereo, and once again, although stronger this time, “THUNDER!”

Things were getting serious now. I didn’t know what was going to happen, although somewhere in his deeply intoxicated brain he knew exactly what he was going to do.

A fresh can of Old Style Pilsner came hurtling at me from across the fire pit, and although I saw it, I didn’t have time to react. He reveled in my slow reflexes, and was always the one who lit me up like a christmas tree during street hockey. I was angry, and even worse, I was sober….sober enough to feel the pain of the unopened pilsner that just hit my head.

With the kind of rhythmic timing that Angus Young would have applauded, Hackett looked at me and said, YOU’VE BEEN….THUNDERSTRUCK.

- Dave Stewart

_______________________________________________________________

Curatorial Statement:

It seems that at times the only way we can escape from our busy world of mass consumption is through further consumption. Some young men adventure out of their repetitive urban lives into the forest; Here they can escape from the public eye and release themselves into what can be called "a romantic tribal rebellion".

From Poco to Merritt exhibits a selection of paintings by Dave Stewart that depict young men engaging in acts of revelry in outdoor settings. Stewart originated this series as an exploration of technical ambition. He chose photos from his friends' collections that he found compositionally pleasing. Slowly, a theme of outdoor partying during music festivals and camping trips began to develop which largely follows a character known as Hackett.

Stewart uses a mixture of heavy rendering juxtaposed with loose, gestural and textured brushwork. This collision of smoothly articulated rendering with expressive texturing enforces the collision of romantic ideals with a vicious reality.

Both in the act of painting and partying, Stewart indulges in the romanticism of rebellion. He sees Hackett as wild and free-spirited. By depicting the aftermath of Hackett's destructive partying through the iconic medium of painting, Stewart attempts to lure his viewer into sharing this sense of sentimentality towards defiant male antics. At times, Stewart brings a certain level of eroticism to the way he depicts Hackett and other characters - this is most notable in The Lute Player 2008.

From Poco to Merritt allows us to glimpse into this intoxicating youthful counterculture. Through both the use of polished rendering and unrestricted, poignant painting techniques, we are invited into a destructive romance with rebellion.

- Kyle Duske

CV Update

2010-05-07T19:25:00.001-07:00

HALVING, Joji Fukushima

2010-05-06T08:06:00.000-07:00

all images by 221A

The simple act of cutting things in half yields new interpretations, understandings and possibilities.
A line starts everything in this simple process.

HALVING is a simple process that occurs in our daily lives. It is so simple that it can happen at a subconscious level; an apple is cut in half with a knife to share between two people, or a piece of paper is folded in half for storing in a bag. This simple and ubiquitous action is the main theme of this exhibition.

One of the purposes of this exhibition is to break standardization and to yield new physical experiences of everyday objects surrounding us. For example, toilet paper, a pillow and a table are some of the objects many of us interact with on an everyday basis. Most of these objects function well and fulfill our different needs. For the most part we are satisfied with the toilet paper, note pad, or pen we choose to buy and use. However, their basic properties have become static because they are made and used for specific needs.

Most of us do not have to think about what else a table, a pillow, or a toilet paper roll could be, because they work fine as they are. These objects are successful in this way, but the material and functional possibilities of the standardized objects are then rarely explored as a result of this ’success’. Other possibilities for these objects are therefore absent from our minds. What happens when a roll of toilet paper is cut in half and reassembled into two half-sized rolls? Can they still be called toilet paper rolls? Do they still function as such? What would you do with these familiar but unfamiliar objects?

Through this exhibit I hope to communicate our abilities to discover new possibilities existing in our everyday lives. Halving is just an example of a process through which we can gain new experiences of everyday objects.

- Joji Fukushima

http://jojifukushima.com

HALVING, by Joji Fukushima is an exhibition and experiment, that explores the act of cutting things in half as a form of disruption. This concept is imposed upon every day objects, many purchased from IKEA, and asks us to question the standard forms of these objects.

Fukushima sets an example of reformation that should not simply be reproduced but expanded upon. He takes an almost anarchistic approach to reinventing objects. This de-constructive approach breeds new energy and excitement into the world of objects

- Kyle Duske, Curator

May 22nd - Jun 13th 2009

Gallery Hours:
Thursday & Friday – 4:00pm – 8:00pm
Saturday – 12:00pm – 5:00pm
Sunday – 11:00am – 3:00pm
Or by appointment

*Hours are in effect only during exhibitions.

221A ARTIST RUN CENTRE
221 E. GEORGIA ST. UNIT #100 (AT MAIN)
VANCOUVER, BC. CANADA V6A 1Z6
T: 604 568 0812
E: hello@221a.ca
W: http://221a.ca

PACT 5: Beast

2010-05-06T00:30:00.000-07:00

How it works:
1. Theme announced.
2. Work, interviews, reviews, resources, readings is/are produced/prepared/recorded/written/collected/selected by you and us.
3. Work submitted/installed/prepared one day prior from 2:00pm – 8:00pm.
4. Food & drink cooked/prepared/purchased potluck format.
5. Event held with all of above at 8:00pm – 11:00pm.
6. Work de-installed/cleaned/removed by 11:30pm.
7. Pact collateral collected and assembled into web publication. See archives.

Pact Purposes
1. Provide non-juried exhibition opportunity
2. Participation and celebration – community/volunteer/member
3. Building industry – networking/knowledge/resources

Rules of the Potluck

1. Food – Bring food and eat food!
2. Labels – Allergens alerts & vegetarian/vegan labels provided.
3. Cutlery – We have re-useable plates/cups if you forget yours.
4. Finger Food – Make sure all food can be handled with fingers.
5. Beverages – Bring drinkables. Beer & wine will be sold for $4.
6. Leftovers – We will give away what is left.

History
The Pact was the founding reason for 221A Artist Run Centre (then – NOART Vancouver Artist Collective). It served as the backbone to the organization, holding 12 Pacts from 2005-2007. Held in room 260 at the Emily Carr Institute, the event awkwardly mixed facilitation with production and participation, creating our first group of dedicated members. Only in 2009, after the development of a permanent facility, has the Pact been reconsidered as a major activity. The premise of the old Pact is fundamentally similar to the new one, but with over two years seperating them we felt that it was appropriate to reset the number from Pact 12 to Pact 1. Although the collective that originated this activity does not exist anymore, we’ve maintained the existing website at http://noart.ca that documents the old 12.

221a Life Drawing

2009-07-20T17:14:00.000-07:00

LIFE DRAWING
Nude and costume models, varying pose times. In part with the Vancouver Sketch Group.
Participant Limit: 20
Walk-in or email to reserve: hello@221a.ca
Cost: $10 dollars or $40 for 5 sessions
Time: Weekly, Sunday’s 3pm – 6pm.

DUSKE

HOW MUCH IS ENOUGH 17/07/09

2009-07-09T22:39:00.001-07:00

Portfolio Development

2009-06-08T14:10:00.001-07:00

Curatorial Statement on: HALVING

2009-06-03T15:52:00.000-07:00

Often the most simple notion can be the most potent. In our daily lives we process so much information that the familiar can become little more then noise. Disruption is key then, in creating a break in the static that may allow us to reform the world around us in new and exiting ways.

HALVING, by Joji Fukushima is an exhibition and experiment, that explores the act of cutting things in half as a form of disruption. This concept is imposed upon every day objects, many purchased from IKEA, and asks us to question the standard forms of these objects.

Fukushima sets an example of reformation that should not simply be reproduced but expanded upon. He takes an almost anarchistic approach to reinventing objects. This de-constructive approach breeds new energy and excitement into the world of objects

More Information:
221a.ca
jojifukushima.com

DUSKE

Life Drawing

2009-04-07T00:21:00.000-07:00

DUSKE

Getting ready for art school

2009-02-26T23:39:00.001-08:00

Figure Drawing

2009-02-19T23:42:00.001-08:00

DUSKE

Birth Day Card

2009-02-11T10:24:00.001-08:00

New Photos: VCCEP

2009-01-26T16:42:00.000-08:00

Listen: Cult of Luna - Back to chapel town

DUSKE

Life Drawing

2009-01-26T15:50:00.000-08:00

Over the last two weeks i have started running a life drawing session at 221a Artist Run Centre from 2-5pm. Here are a few of my recent drawings from the last two sessions.

If you are interested in joining our sessions or modeling for us in the future please feel free to contact: kduske@221a.ca

DUSKE

Portfolio Development Courses

2009-01-11T12:24:00.000-08:00

Portfolio Development: Getting ready for art school.

Many students enter the post secondary stream of art education with little to no idea of what they have gotten them selves into. This course combines practical workshops for portfolio development with discussion groups focused around school choice, the work of leading contemporary artists, and introductions to basic cultural theory. This collaboration of technical work shops with theoretical and support based discussion group's helps prepare students for post secondary art education. Though this program is taught out of a Fine Art context it is applicable to those interested in design and media based programs.

Class Schedule:
March 30 - April 3
classes 3 hours 10am - 1pm or 2pm - 5pm
maximum 15 students

D1
Introduce artist + work/ theory
Schools and school selections
Intro to portfolio formats
D2
Introduce artist + work/ theory
What is portfolio worthy?
Why art school?

D3
Introduce artist + work/ theory
Organization systems
Organizational experiment

D4
Introduce artist + work/ theory
Digital portfolios
Documentation workshop (professional and doing it at home)

D5
Individual meetings students are welcome to bring in their existing portfolios, for review.

tuition $150
early registration $100 before (feb 25th)

Please Contact

Kyle Duske
604.773.4458
kduske@221a.ca

Call for Co-op students and Volunteers

2009-01-11T11:47:00.000-08:00

Curatorial Co-op 221a

221a Artist Run Centre, studio and gallery, is the latest endeavor of the Emily Carr based collective formally know as "No Art". We have already had one very successful season of exhibitions and are looking for ambitious students interested in curatorial practice to work along side our existing team in an effort to make every season better than the last.

Students will be expected to attend weekly curatorial meetings and to help facilitate our up coming season of programing. At the moment this would mean up to four exhibitions in one season. You would be involved in every aspect of launching exhibitions, including: developing time lines, distributing fliers, gallery preparation, exhibition installation, staffing, statement writing, public relations and much more.

While facilitating the smooth operation of the existing seasonal programming, Co-op students will be expected to collaboratively organize one final exhibition. This will be a chance for the students to take charge and to have the freedom to explore their own curatorial endeavors. At that point in time, the existing curatorial staff will take a back seat to the conceptual process and act only as consultants to the Co-op staff.

We are accepting up to three students per-season.
Feb - May

Please contact: include cover letter and CV.

Kyle Duske
Curatorial Director
kduske@221a.ca

Positions are also available for Design Co-ops:
Please contact:
Hello@221a.ca

Volunteers:

221a Artist Run Centre is currently looking for volunteers interested in gallery prep, programing and weekly or bi-weekly reception work. All volunteers should have an interest in contemporary art and design practises and be willing to familiarize themselves with our organization and exhibitions.

Please contact:
Hello@221a.ca

221A Artist Run Centre
221E. GEORGIA ST. UNIT 100 (AT MAIN)
VANCOUVER, BC. CANADA V6A 1Z6
T: 604 568 0812
E: hello@221a.ca
W: http://221a.ca

Collaboration

2009-01-08T00:33:00.001-08:00

Pencil: Duske
Colour: Ray.co & Duske

DUSKE

Promotional T-Shirt Concept. Final

2009-01-06T12:41:00.000-08:00

This is the accepted design for the JK model staffing promotional T-shirt. I re-worked the concept, to include more promotional information and use a female instead of a male portrait, as requested by the client. I am happy with the new design and cant wait to see it printed.

Does it look a little CK 1990's?

Lets reminisce with some good old BUSH (click to be redirected to myspace for a little listen of some great 90's music)

DUSKE

Promotional T-Shirt Concept.

2009-01-05T23:06:00.000-08:00

This project is not finished, this is my first concept. It is being reworked at the moment as requested by the client. Hopefully i can make something work as well as i feel this one does.

Past Apparel Designs:

Check out http://www.di.fm/ for some great beats. I have been especially enjoying chill out.

DUSKE

New Illustrations

2008-12-30T01:59:00.000-08:00

Happy Holidays,
DUSKE

Duetsch Lernen: The A B C's of Der Die Das

2008-10-24T19:34:00.000-07:00

Here are a few samples from my recent exhibition i hope you enjoy it:

see more here:

DUSKE

Another CV Update and a collection of photos

2008-10-15T13:28:00.001-07:00

01. Run way "Graphic by Brian Lou and Catriena Sanchez" 2007, Digital Photography
http://modelmayhm-6.vo.llnwd.net/d1/photos/071008/01/4709bfe293475.jpg

02. Crazy Water, 2007, Digital Photography
http://img.photobucket.com/albums/v215/kduske/Deutschland/party/_MG_5637.jpg?t=1224102679

03. Tacos?, 2007, Digital Photography
http://img.photobucket.com/albums/v215/kduske/Deutschland/party/_MG_5611.jpg?t=1224102748

04. Oh yaaaaaah, 2007, Digital Photography
http://img.photobucket.com/albums/v215/kduske/Deutschland/party/IMG_7722.jpg?t=1224102805

05. European Wieners, 2007, Digital Photography
http://modelmayhm-6.vo.llnwd.net/d1/photos/071003/00/47031ffbf1259.jpg

Studio Photography:

01. Hotel 1, 2007, Digital Photography
http://modelmayhm-6.vo.llnwd.net/d1/photos/080622/13/485e8f622b441.jpg

02. Hotel 2, 2007, Digital Photography
http://modelmayhm-6.vo.llnwd.net/d1/photos/080622/13/485e8ee332fba.jpg

03. Untitled, Photographer and Project Director 2006, Digital Photography
http://modelmayhm-6.vo.llnwd.net/d1/photos/071001/15/47014ca220830.jpg

04. Bound, 2006, Digital Fine art print
http://modelmayhm-6.vo.llnwd.net/d1/photos/071001/15/47014c71e4e9c.jpg

05. To Praha, 2007, Digital Photography
http://modelmayhm-6.vo.llnwd.net/d1/photos/071001/15/47014bcd264b7.jpg

06. Marcel Cattsmiller, 2005, Digital Photography
http://modelmayhm-6.vo.llnwd.net/d1/photos/071001/15/47014b4c98411.jpg

07. Clansmen, 2008, Digital Photography
http://modelmayhm-6.vo.llnwd.net/d1/photos/080624/04/4860aa708d717.jpg

Deutsch Lernen: The ABC's of Der Die Das

2008-10-13T23:04:00.000-07:00

IN THE GALLERY: Thursday, Oct. 2nd 7pm - Oct 25th 2008
DEUTSCH LERNEN: The ABC’s of Der Die Das, Kyle Duske

www.221a.ca
kduske@221a.ca
hello@221a.ca
604.568.0812
221a east george

Updated CV

2008-08-27T14:15:00.001-07:00

DUSKE

A Quick Over View: my work, Design and Photography

2008-07-15T01:11:00.000-07:00

Photography:
http://img.photobucket.com/albums/v215/kduske/Deutschland/berlin/_MG_6205.jpg
http://modelmayhm-6.vo.llnwd.net/d1/photos/071003/00/47031ffbf1259.jpg
http://modelmayhm-6.vo.llnwd.net/d1/photos/071008/01/4709bfe293475.jpg
http://modelmayhm-6.vo.llnwd.net/d1/photos/071001/15/47014ca220830.jpg
http://modelmayhm-6.vo.llnwd.net/d1/photos/080622/13/485e8ee332fba.jpg
http://modelmayhm-6.vo.llnwd.net/d1/photos/080624/04/4860aa708d717.jpg

Design/ Illustration:
http://bp3.blogger.com/_4fqj6yq9NVo/SHxaj8GO1xI/AAAAAAAAAPI/dKNealJ7AGQ/s1600-h/thebook_portfolio.jpg
http://img.photobucket.com/albums/v215/kduske/logos_2.jpg
http://bp1.blogger.com/_4fqj6yq9NVo/RmbtrbyEZYI/AAAAAAAAADg/zI5Mev-hYiY/s1600-h/verboten.jpg
http://bp2.blogger.com/_4fqj6yq9NVo/SEUBx2z4fzI/AAAAAAAAAOo/woFyQfvwyLU/s1600-h/Untitled-2.jpg
http://bp3.blogger.com/_4fqj6yq9NVo/SBrLGQ4C6qI/AAAAAAAAAIw/6kOChnyCZbg/s1600-h/_MG_0139.jpg
http://bp1.blogger.com/_4fqj6yq9NVo/SBrK7w4C6oI/AAAAAAAAAIg/JOatdjGSkcQ/s1600-h/_MG_0134.jpg
http://bp2.blogger.com/_4fqj6yq9NVo/SBrKuA4C6mI/AAAAAAAAAIQ/OI7tHPDXCPA/s1600-h/_MG_0133.jpg

Kyle Duske
604.773.4458
k@duskemedia.net
www.duskemedia.net

Finaly Done

2008-07-15T01:04:00.000-07:00

Just the other day i finally handed in my finalized files for a new money saving tool for Nanimo. Here is a brief of the design and lay out for the book. I hope you guys enjoy it.

2008-06-27T00:34:00.000-07:00

Submission for Paraflows 2008

2008-06-03T01:31:00.000-07:00

Kyle Duske
k@duskemedia.net
(604) 773-4458
www.duskemedia.net
www.kduske.blogspot.com
www.noart.ca

Submitted Work:

The Greenest Grass
Soil, Sod, MDF, Acrylic, Blk/Wht T-shirts, Blue Jeans, Sparring Mitts
Duske
2008

Work Description:

The Greenest Grass is a mixed-media installation and performance that relies not only on an existence within the gallery, but a digital existence as well. While it is in the gallery it is constantly evolving, there are most often three distinct stages. When viewed in any single stage, The Greenest Grass is an effective and thought provoking work. However, it is most successfully understood when the entire evolution is experienced.

Through material and performance it deals with many contemporary issues such as: the recent growing popularity of sport fighting, and the ever expanding and contracting urban sprawl. These topics come from a concern with the strange human desire to take the natural, most notably ecological and behavioral in this work, out of its original context to give it value and argue for its legitimacy.

Within the gallery, it exists first as a sculpture; A pristine, white, 8' x 8' planting bed, filled with soil and topped off with sod. For many viewers the green top is an obvious reference to monochrome painting. To many others it may look much like their own back yard with in urban spaces.

Two sets of lightweight sparring mitts sit on top of the sculpture foreshadowing the performance to come. During the opening reception two men fight atop of the sculpture in brutish free-for-all. A referee indicates the beginning and end of the fight. Though he and the now swarming observers all have the power to step in and stop the fight at any time, the men are allowed to fight until they can barely hit each other any longer.

In an art gallery full of pacifists, intellectuals and prudes one may expect that such an event would not be acceptable but this is quite the contrary as it is embraced whole heartedly. People swarm around the work speculating on the out come and calling out for blood. As handheld technologies have become the norm the audience hurry to retrieve cameras and cellular phones in order to record this unexpected event.

After the performance the sculpture is left scarred. During the first exhibit of this work, one wall of the bed became bowed, and the turf was left damaged and torn. With in days videos and photographs began surfacing on websites such as YouTube, Facebook, and in personal online journals and e-mails.

The Greenest Grass is able to draw viewers in by taking very familiar materials and behaviors and staging them together in a controlled fashion. It asks its viewers not only to reflect on its existence but theirs existence in relation to the work, constantly picking at questions of appropriateness and our strange desire to restrict our selves and surroundings in a attempt for potential bettering.

Technical explanation:

Sculpture:
• 81 square feet of gallery floor space.
• 26.66 cubic feet of dirt
• Four wooden pallets
• Two 8 foot long, half an inch thick, 10 inch tall strips of MDF
• Two 7 foot and 11 inch long, half an inch thick, 10 inch tall strips of MDF
• 64 square feet of sod (rolled grass)
• Acrylic white paint
• Hand drill, Screws and Counter sync
• One 9 foot by 9 foot plastic tarp
• One set of blue sparing mitts
• One set of red sparing mitts

Performance:
• Three men, including the artist, of average size ( 5' 10" tall 165 lbs ) 18 - 30 years of age.
• One white T-shirt
• One Black T-shirt
• One striped T-shirt
• Three pairs of Converse shell toe shoes (all black/ white toe/ other)
• One pair of dark denim slim fitting jeans
• One pair of light denim slim fitting jeans
• One pair of black pants

Biography:

Kyle Duske was born in Vancouver, British Columbia in 1986. He was raised in the suburb of Port Coquitlam, just outside of Vancouver.

As his home life and childhood where chaotic, Kyle began reverting inward with his drawing, heavily influenced by cartoons and comic books. His hectic home life came to a boil one evening in 1993 when his father lost his life, at only 30 years old, due to alcohol induced violence.

In his early teens he became very involved in the Vancouver hardcore and punk rock scene. This involvement opened him up to the concept of art as political. He become very interested in the Bauhaus and the Constructivists, and Kyle began to explore new and exiting artist medias in addition to drawing.

In 2004 Kyle graduated with honors from Terry Fox secondary and began to attend the Emily Carr School of Art and Design. In 2007 he spent one semester abroad, studying design at the Pforzheim, Huch Schule vor Gestalting, finally graduating from Emily Carr in 2008 with a Bachelors of Fine Arts.

He is now an active associate of the "No Art" collective, an artist run gallery and studio space based in Vancouver. He is a member of their curatorial board, a practicing artist and in charge of public relations.

His recent work starts from the very personal and expands out wards. He questions the social, political and historical relevance of his experiences using mixed media techniques. Through material he opens his experiences up to theoretical discussion and pure aesthetic enjoyment. Though his work strives for clean presentation it often caries many dark undertones, always attempting to peel back life’s many pho-finishes.

Documentation of earlier projects:

Berlin to Hameln
Digital print
Two 22 x 30 inch prints spaces at 10 feet
Duske
2007

S.S.C (Supporters of Socialism in Canada)
Screen print on canvas
Duske
2008

Mistranslations
Vinyl cut on panel
Eight panels at 10” x 20”
Duske
2008

My Little Red Square
Digital Illustrations
Duske
2008

More New Photos: Emily Carr Grad show

2008-05-31T18:19:00.000-07:00

Thanks Joji

NEW Photos: ECIAD Grad Show 2008

2008-05-10T16:20:00.000-07:00

Thanks Asia for tagging me on face book.

NEW Vids: ECIAD Grad Show 2008

2008-05-09T12:59:00.000-07:00

Here are a few more new vids from the eciad grad show. Performances by Duske and Zara Ackerman (i best have spelt that right :S).

See New vids Now

The Greenest Grass 1 2
Sculpting Bubble Gum 1 2 (i am sorry Zara i don't know the title)

Thank you
airgti23

The Greenest Grass

2008-05-04T18:26:00.000-07:00

NEW videos are up now
The Greenest Grass (youtube)
thanks jess

so it is all over. I finally completed my under graduate degrees at the Emily Carr University of Art and Design. My final project was a sculpture and performance entitled the Greenest Grass. It went wall and i got a lot of positive feed back. Here is the first documentation i have received. there should be plenty more coming soon including videos. If you have any please send it my way.

NEW photos

thanks again jess

The first set of photos

Thank you Krakov family

The Greenest Grass
Duske
soil, sod, mdf, acrylic, jurek s, kyle d, dave s, t shirts, converse shoes, blue jeans, sparing gloves, performance
2008

"modernism is beautiful"
check out ARTEMIS JACKSON
DUSKE

PAINTING

2008-05-02T00:59:00.000-07:00

So i swore off painting about a year ago but i am weak. Here is a recent hand full of paintings that i produced in conjunction with a figurative painting class. I hope you enjoy.

Woman and Book
Acrylic on Canvas
2008

Dark haired Girl
Oil on Canvas
2008

Woman (Green)
Oil on Panel
2008

Seated Man
Oil on Canvas
2008

The Longest Joke I ever Told
Oil on Canvas
2008

DUSKE

New Love

2008-04-27T22:51:00.000-07:00

A very sweet, happy couple hired me a while back to take some photos of them, so they could immortalize the beginnings of there new relation ship. They were wonderful to work with and obviously truly happy with each other. I hope they last as long as these photos. (they should cross their fingers my hard drive does not crash) If you are interested in similar projects feel free to contact me by email. kduske@eciad.ca

My Little Red Square

2008-04-12T21:03:00.001-07:00

Down loadable PDF
Illustrations by: Kyle Duske

A recap: Sep - Dec 2007

2008-01-24T14:50:00.000-08:00

Berlin to Hameln
Digital Print
DUSKE
2007

Mistranslations
Vinyl cut on Panel
DUSKE
2007
S.S.C
Screen Print on Canvas
DUSKE
2007

Set-Photography

2007-12-06T20:34:00.001-08:00

What is a Set photographer?

A set photographer is the photographer who creates still images during the production of a motion picture. These photos are used in promotional publications and to insure continuity from scene to scene. Very few people even realize this position exists but it is one that is very important.

(http://karenballard.net/bio.php)

Working Photographers (Portfolios and articles):

There are many photographers who are working with in the film industry. These people are not only your compotators but also people you should look to for advice. Write them emails, follow their work, offer your self as a assistant learn as much from them as you can.

http://dirckhalstead.org/issue0602/ballard.html
http://www.pensonexp.com/film.html
http://www.the-lightbox.com/filmtv.htm
http://www.imaginenews.com/Archive/2005/NOV_2005/PAGE16.htm
http://www.shutterbug.com/features/1104sb_hollywood/
http://www.pbase.com/sewardstphoto/set
http://sinfield.org/better.shtml
http://www.topherhopkins.com/page/page/4234105.htm

Equipment:

High-end Digital SLR Canon or Nikon
Most set photographers these days are shooting with digital cameras as it increases speed and productivity. This does not mean that you may not use other cameras but at the moment high end digital SLRs are industry standard.

Ex: Canon 30D/ Canon Mark III/ Nikon D3/ Nikon D2XS
10 - 21 MP pro-sumer level 2007

Price: 1,000 - 8,000 USD

A large selection of high quality lenses

Having a selection of lenses is very important, as you need to be ready to shoot from any angle.

Price: 100 - 4,000 USD

Sound Cancellation Blimp

After your camera a blimp is one of your most important pieces of equipment. The blimp is a large soundproof box that will muffle any noise your camera may make, specifically the clicking of the shutter. These blimps can be expensive but are a must have. If you are just starting out you may want to build your own (instructions below).

Do it your self:

http://www.whistlerweddingphotos.com/blimp.html

Purchase:

http://www.robgalbraith.com/bins/content_page.asp?cid=7-3408-3436
http://www.nikonusa.com/template.php?cat=1&grp=56&productNr=4484
http://www.soundblimp.com/canon.htm
http://www.soundblimp.com/

Step by Step

Getting Started - Finding a Job:

Step 1: Find formal and technical education via post secondary school Internet forums.
Step 2: Shoot for your self and for clients freelance as much as possible
Step 3: Build a portfolio of journalistic and studio photography
Step 4: Find work in private sectors for film and theater,
Step 5: accumulate set hours, make sure you have evidence such as paychecks, develop a set specific portfolio
Step 6: apply as a permitter with in a local film union
Step 7: work your ass off network and hope to be accepted as a full member to your union.

Finding non-union Jobs:

Non-union work is very touch and go. You must rely on your networking and advertising skills. Search for small independent productions student films and low budget productions for film festivals etc. This is your chance to take risks and test the waters to make sure you are going into a field that really interests you.

Below are resources in which you can find listings or list your self for non-union work. These resources can be used to take your first steps into finding work that will help you build up a portfolio and connections so you may work on bigger and better paying productions.

http://www.craigslist.com
http://www.independentfilms.org/
http://www.ifctv.ca/
http://www.imdb.com
http://vancouverfilmproduction.com/
http://www.allianceforarts.com/resources/links/film.html
http://www.film.bc.ca/resources/resources.htm
http://www.film.bc.ca/filmfest/
http://www.vifc.org/home.html

Unions and Requirements:

Being part of a recognized union can offer better wages and job security then not. Union productions are often much more organized and allow you to focus more with in your specific field.

There are different unions for every jurisdiction though most unions require similar application processes. IATSE (the international alliance of theatrical and stage employees) is one of the main unions with in North America. Refer to step by step and IATSE web site for detailed information on application processes.

http://www.iatse-intl.org/home.html
http://www.iatse.com/
http://iatse667.com/about/join.html

More Miscellaneous Information:

http://photo.net/bboard/q-and-a-fetch-msg?msg_id=00921y
http://photo.net/bboard/q-and-a-fetch-msg?msg_id=00LzSM
http://photo.net/bboard/q-and-a-fetch-msg?msg_id=00HgqI
http://www.digitalcameras-plus.com/best-still-camera-silencer.html
http://www.kftv.com/product-country-180-CAN.html

Mistranslations.

2007-12-06T19:33:00.000-08:00

Well my semester is coming to an end and i am only barely starting to feel relief. I have not posted much lately and this up coming semester will attempt to post a little more often, hopefuly once a week.

So now for your enjoyment more finalized documentation of my recent piece entitled Mistranslation. This is four sets of panels with vinyl cut text. The text is based on mistranslations i experienced while abroad in Germany. I hope you enjoy this work. Please feel free to comment and critique.

A limited number of artist T's are available for $45 each. Each T will be marked with an edition number out of 15. Contact kduske@eciad.ca if you are interested.

Helvetica Rules

Duske

RECENT STUDIES SAY EVERY ONE LOVES FREE THNGS

2007-11-01T17:12:00.001-07:00

Some kids from ECIAD assumed that you might like some free art supplies. I know i do also so you may also. Check it out in the link below.

http://idiothorse.com/freeartsupplies

____________________________________________________________________

Do you love Helvetica? read on:
Helvetica: Homage to a Typeface, review

Check out some dope beats:
Deichkind

WORK HARD LIVE STRONG

DUSKE

up for sale

2007-10-23T17:50:00.000-07:00

Sneak Peak

2007-10-13T19:41:00.000-07:00

Here is a sneak peak at the work Tyler and i did for the up coming illustration show at the snap gallery.

DUSKE

THE BIZZ

"the darkest light entrances me,"

DUSKE

Dont Drink and You Might Like it

2007-10-11T20:52:00.000-07:00

Up Comming Show

2007-10-07T13:45:00.000-07:00

http://www.clubzone.com/me/SchoolofMix

The Bizz told me about this upcoming call for submissions, for a halloween illustration peice. So i applied and was accepted. I am pretty exited and hope to see lots of people there.

_____________________________________________

CALL FOR SUBMISSIONS::

Curators::Neal E. NolanRobert MearnsAdam DoddKrista LomaxTyler HazelwoodWe are looking for a handful of illustrators to partake in theproduction of a 300' x 4' installation to be installed at SNAP Galleryon W.3rd in conjunction with the 'School Of Mix' "Bat Country"Halloween event scheduled for Saturday Oct, 27th.Illustrations will be done on 300 feet of typical brown packagingpaper weathered with diluted white acrylic paint.

Production to take place at The Arc studios on Powell and Commercial on::Friday Oct 12thstarting at 9pm - ?Drinks supplied by: Rn'B BrewingFood by: Uncle Fajiti's pizzaIllustrations must be done in black line art or shaded black in orderto realize desired black light effect.Theme- Halloween, horror, zombies- whatever...

-Each artist must supply their own medium::-Pen and ink-Charcoal-Graphite-Air brushetc...

The production will be installed by the curators the day of SaturdayOct, 27th at SNAP Gallery 190 west 3rd.On top of food and beverages night of production (Oct. 12th) eachartist will also receive entry plus one to the event on the 27th.Plans for the installation -post event- will be discussed during production.Previous events produced and featured by the curator's includefeatures in Juxtapoz Magazine, The Globe and Mail, Much Music, TheGeorgia Straight, The Only, Vice Magazine, The Vancouver Courier, 24Hours Newspaper and other web, broadcast and print media. This is anexcellent opportunity to have your work seen by an enthusiasticaudience.

Please send samples of your work to::

Thanks!We're looking forward to hearing from you.

_____________________________________________

Portfolio:

Hello my name is Kyle Duske. I am a fourth year student at Emily Carrand heard of your Halloween call for submissions, for a large collaborative walldrawing, through my friends Tyler and Sally. I would love to be involved in thisproject. I think it would be a great way to meet and great with cool localartists interested in the same things as I. below i have attached a smallsample of my work I hope you enjoy it.

01.Swamp MonsterPen and Paper, Digitalhttp://smg.photobucket.com/albums/v215/kduske/misc/?action=view&current=t-shirt.jpg

02.NosferatuPen and paperhttp://smg.photobucket.com/albums/v215/kduske/paint%20sketch/?action=view&current=nosferatuskectch.jpg

03.Anglepen and marker on paperhttp://smg.photobucket.com/albums/v215/kduske/paint%20sketch/?action=view&current=demongirl.jpg

04. Tatsgraphite on paperhttp://smg.photobucket.com/albums/v215/kduske/paint%20sketch/?action=view&current=tats.jpg

05.Dark housepen and marker on paperhttp://smg.photobucket.com/albums/v215/kduske/paint%20sketch/?action=view&current=darkhousecopy.jpg

06. Love notemixed media on paperhttp://smg.photobucket.com/albums/v215/kduske/paint%20sketch/?action=view&current=hpensmudge.gif

07. explosioncontay on paperhttp://smg.photobucket.com/albums/v215/kduske/paint%20sketch/?action=view&current=explosion2.gif

08. Keys Shoes watermixed media on paperhttp://smg.photobucket.com/albums/v215/kduske/paint%20sketch/?action=view&current=drawweb.gif

09.werewolfmarker and color pencil on paperhttp://smg.photobucket.com/albums/v215/kduske/paint%20sketch/?action=view&current=wolfcopy.jpg

10. Heathergraphite on paperhttp://smg.photobucket.com/albums/v215/kduske/paint%20sketch/?action=view&current=heatowl.jpg

11. Boundacrylic on panelhttp://smg.photobucket.com/albums/v215/kduske/paint%20sketch/?action=view&current=bound.jpg

12. scene credacrylic on panelhttp://smg.photobucket.com/albums/v215/kduske/paint%20sketch/?action=view&current=cons.jpg

13. Nudegraphite on paperhttp://smg.photobucket.com/albums/v215/kduske/paint%20sketch/?action=view&current=nude.jpg

14. sea monsterpen on paperhttp://smg.photobucket.com/albums/v215/kduske/paint%20sketch/?action=view&current=seamonster.jpg

15. Zombiepen and marker on paperhttp://smg.photobucket.com/albums/v215/kduske/paint%20sketch/?action=view&current=zombie.jpg

Thank you for looking at my work and i look forward to working with you and theother illustrators curated into the project.

Kyle Duske

kduske@eciad.ca

604 773 4458

kduske.blogspot.com

Proposal for Photographic Installation: "Berlin to Hameln 1940's - 2000's"

2007-09-26T22:36:00.000-07:00

Kyle Duske
September 2007

Recently while studying graphic design abroad, at the Pforzheim Hochschule vor Gestalting, in Germany, i was able to make connections with family members of my fathers lineage. As my father and grandfather are both deceased i have had little to no contact with my family abroad. Being able to create relationships with my family and being immersed in German culture, has brought me many artistic inspirations.

While speaking with my great uncle Horst i was able to learn a great deal about my grandfather and the families history with in Germany from mid world war two onwards. I found my self very interested in the families move from Berlin to Hameln nearing the end of the war to avoid the mass bombing that took place.

I was able to travel back and forth between Berlin and Hameln while doing so i made many photos. In the end i was left with two iconic photos, one from each city. The two photos capture the essence of the cities. Through iconism the photos transcend between past present and future. When juxtaposed the photos begin to create transient narratives and dialogues.

A small shoe box with the German flag silkscreened on it will accompany the two photos. The box will contain evidence of my travels with in Germany and the travels of my father and grandfather. the viewer will be welcome to handle the evidence to create a heightened sense of participation. Through this participation the viewer is allowed to more physically become involved in narratives of history and transience.

The project has a budget of two to four hundred dollars, this excluding the original investments in travel. The images will be printed the size of a average wall poster. Including the the accompanying box of evidence the project will need to manifest a wall space of approximately three meters by three meters. All components will be realized and ready for installation by October fifteenth 2007.

______________________________________________________________

see images in prior post: A Snapshot, My Work
direct link to images: Berlin, Hameln
______________________________________________________________

A Snap Shot, My Work

2007-09-16T15:30:00.000-07:00

ARTIST INTENT, 2007 - 2008:

This semester i intend on taking the technical and conceptual skills i have
learnt over the last three years to approach larger scale projects then i have
in the past. I would like to indulge in more personal experiences and family
histories to create works of narrative quality. My medias will very depending
on the content of the project.

My recent experiences abroad will heavily inform the content of my work. I have
spent the last five months living in south western germany attending the
Pforzheim Huchschule vor Gestalting. Well abroad i was able to create relation
ships with my german family and many other people of other then north american
boundaries. I found my self very interested in my family history and linguistic
audacious.

The first project i will explore is concerned with the traveling that has occurred
in my family between 1945 - 2007 from Berlin to Hamlen. The project will consist
of two large scale full color prints and a shoe box full of evidence of my
experiences abroad.

The works that explore linguistics and communication will involve typographic
prints on paper and fabric and also sound with video installation. Threw the
juxtaposition of words i hope to create puns and discuss concerns with fumbles
between languages. With the video installation i hope to discuss concerns
regarding sexual abuse and the endless amount of damage brought by silence.

I hope to take on each project individually, strongly focusing on one project at
a time until it is realized. By the end of the year i hope to have 5 to 8
fully realized projects that could be potentially gallery worthy.

PAST WORK:

ILLUSTRATION:

PHOTOGRAPHY:

WORK IN PROGRESS: in relation to intent

Two Photos plus component (small box full of travel exidance and stories )

Berlin to Hamlen
1940's - 2000's

TYPO:

This is a Typographic work that combined with a list of mistaken translations will inform a new series of typographic work.

Word List (Pending):

CHRISTMAS ... KRISTALLNACHT (says a boy from the USA )
EXPLORER ... CONQUISTADOR (discussions on the way to Praha )
GAS STATION ... GASKAMMER (to many drinks in Munchen )

Aesop Illustrated by Kyle Duske

2007-08-29T19:23:00.000-07:00

Sneak Peak: Aesop's Fabels Illustrated by Kyle Duske

On a recent exchange to Germany through my art school here in Vancouver i attended a illustration class. This was possible one of my favorite classes. We did illustrations based on Fabe ls written by Aesop. I was quite pleased with my final product so i will share it here with you.

The only problem is that the German translations are terrible. I was hoping to print a few of these books but have postponed that until i can find better translations. If any one can help me find better translations please msg me.

veiw entire book in pdf here
AesopsFables2007

Thank you and enjoy Kyle Duske

_____________________________________________________________

Recommended Listening
The Vanishing

"VANISHING have really created something quite remarkable here, as they trandscend boundries between all manners of eras, genres, and musical styles."

"stop collaborate and listen"
DUSKE

2007-08-26T23:42:00.001-07:00

Evolution Through Censorship

Kyle Duske
Ahis 408
Monika Szewczyk

Art today often asks to be given the chance to evolve and to give birth to dialogues. Some times this art finds its self under intense external pressure. This external pressure may result in censorship of the work. This censorship is often seen as an erasure of artistic rights. But I ask does this censorship succeed in erasing the work, or does it only help to bring the work to a higher evolutionary state.

Arguably in the Cases of Richard Serra's Tilted Arc and Huang Yong Pings's Theater of the World censorship has allowed these works to evolve to be something much larger then their original physical manifestations. Others argue that this censorship trivializes artistic rights. In this essay we will try to explore the works of Richard Serra and Huang Yong Ping while asking if censoring of their work has hindered their artistic freedom or liberated theirs work from sterility.

Richard Serra was born in San Francisco in 1939. He has been educated in many reputable schools and holds his BA in English literature and his BFA and MFA from Yale in. To support him self he worked in the steel industry, this became heavily influential on his Art. (Art 21) He is best known for his Large Cor-ten steel sculptures, but he also works with in the realm of illustration and printmaking. He has a practice highly driven by process and materiality. In an interview with ART 21 he describes this interest.

"When I first started, what was very, very important to me was dealing with the nature of process. So what I had done is I'd written a verb list: to roll, to fold, to cut, to dangle, to twist...and I really just worked out pieces in relation to the verb list physically in a space. Now, what happens when you do that is you don't become involved with the psychology of what you're making, nor do you become involved with the after image of what it's going to look like. So, basically it gives you a way of proceeding with material in relation to body movement, in relation to making, that divorces from any notion of metaphor, any notion of easy imagery." (ART 21)

Often Serra's work, that seemingly spontaneous, driven by process and materiel more so then content, can become very political. In some cases this is intentional and obvious, for example in the black and white Lythocrayon on mylar exhibited at the Whitney Biennial 2006 entitled Stop Bush, or his screen print from 1990 entitled Fuck Helms (Gnatt), which seam to be born of Serra's rumored temper.

(fig 1)

When it comes to his sculptural works their political edge is much more ambiguous. The large sculptural pieces which he is best know for, that utilize mass amounts of Cor-Ten steel, are often born out of many spontaneous actions and take on a highly minimalist aesthetic. He claims that the titling of his sculpture Charlie Brown was an action of spontaneity, a result of momentary topical immediacy. (Art 21).

Though he allows for his works to take form as result of chance and spontaneity He often works with site specificity. In works such as Tilted Arc this site specificity has become problematic, this causes the work to develop a political discourse. We will discuss this political development around the "Tilted Arc" further later in this article.

(fig 2)

Huang Yong Ping was born in China in 1954. He was invited to " participate in the exhibition Les Magiciens de la Terre in 1989." (Jantjes) This was a controversial time in China as this was the same year as the protests at Tiananmen Square took place. He was continually invited to show across Europe. Because of the attention he received in Europe and the controversial political time in china Huang decided to make Paris his home base.

Huang's work is most often sculptural. He uses a diverse array of materials to create site-specific works. "In the mid-1980s he founded the Xiamen Dada group." (inIVA) He uses Dada like theories of art practice mixed with Chinese history, mythology and philosophy. This collision of eastern and western ideas, fold out and in upon them selves creating ever changing narratives. These narratives are enforced through the use of clever titles and unstable iconography.

Huang's use of diverse materials has at times been problematic. In 2001 The Bat Project 2 was removed from and exhibit in Guangzhou. The Bat Project 2 is a large installation of a replica fuselage from an American spy plain that crashed into a Chinese plane. The censorship by the "the Chinese government... was prompted at least in part, by a wish to placate French--and ultimately American--diplomatic concerns," (Cash)

(fig 3)

In 2008 the Vancouver Art Gallery hosted a retrospective on Huang Yong Ping, entitled "House of Oracles". Once again Huang managed to stir controversy. This time the controversy was around his installation Theatre of the World. It came under fire by animal rights activists for its use of live animals such as: spiders, cockroaches, lizards, scorpions and other small animals and insects.

Because of the external pressures put upon Huang's Theater of the World I believe it can be relevantly discussed in contrast to Richard Serra's Tilted Arc. Both of these works because of site or materiel specificity became mediators that interfered with the lives of living creatures. This interference brought much attention and pressure upon these pieces of work. Attention that eventually led to censorship by removal.

Serra's Tilted Arc was installed in 1981, a massive wall of Cor-Ten steel, splitting the courtyard of New York City's Federal Plaza in half. This wall was 120 feet long and quickly rusting because of the volatile properties of its materiel. The rusting effect is one used in many of Serra's sculptures. By using such volatile materials Serra is able to create sculptures that are not as stable as most. With much displeasure Serra's Tilted Arc became unstable then he had hoped.

All most immediately after the installation, the Tilted Arc came under fire. Serra created the piece to make the "viewer becomes aware of himself and of his movement through the plaza," (lofter1) but some people saw the arc as nothing more then an obtrusive obstacle. They were un able to use it as a tool for heightened states of awareness. A New York "Judge Edward Re" was so annoyed by the piece he began a letter writing campaign to have the Arc removed. Eventually the disputes had to be brought into court. (Lofter1)

After long standing arguments and court battles the Tilted Arc was removed in 1989. It was cut into pieces and put into a government vault. Serra had fought the removal of the Arc vigorously but in the end the final jury was persuaded to rule in-favor of its removal and Serra was not permitted to further dispute the case.

Huang Yong Ping's Theater of the World is a wooden enclosed tank inhabited by many small creatures including: cockroaches, grasshoppers, spiders, lizards and scorpions. The tank is shaped like a turtle shell raised by four wooden legs, with small doors around the perimeter to allow for the animals to be introduced and removed from the environment. It has been toured recently, 2007, as part of a retrospective on Huang's work called "House or Oracles". This was one of the first retrospectives of Huang's diverse body of work. The animals which shared relation ship of predator and pray act out situations of complex power struggles.

(fig 4)

The interaction of the animals with in the closed environment hoped to bring rise to questioning and reflection upon the every day power struggle we have amongst our selves. Huang often uses animals in his work to create fable like narratives. Like traditional fables Huang explores the personal and political conciseness. Huang has used animals in many of his works and is interested in the Hierarchical relation ships created around man and animal in both eastern and western cultures.

"When we talk about the relationship between man and animals usually we just say man uses animals, man is superior to animals, period. But my way of using animals is taken from Chinese mythology in which man and animals are mixed together, using each other. They eat each other to form a kind of food chain. Man is actually not superior to animals; rather both are on the same level and open to the same danger. Man is threatened by animals and animals are threatened by man, so they face the same dangers." (Jantjes)

Despite this seemingly noble use of animals to explore our own possibly problematic situations Huang's Theater of the World came under great debate when displayed at the Vancouver Art Gallery in 2007. Animal rights activists found Huang's display unsettling. Quickly much negative attention was brought the exhibit. The SPCA investigated the piece and began to make demands on alterations to certain conditions of the work. In the end they demanded the larger animals to all be removed from the exhibit, at this point Huang decided all of the animals should be removed but not with out sever annoyance.

In the end both artists’ pieces were removed. The removal of these pieces has brought up debates on, what extent, and what rights the public, governments or institutions have to censor Art. This is incredibly provocative in the case of Richard Serra as the Tilted Arc was commissioned by the State costing $175,000 USD and much more once you include the removal and storage of the Arc (remember this is also in the 1980's). This is interesting because of the fact that the work was commissioned specifically by the State; this would mean there should have been some knowledge of how the final work would be displayed before it was finalized. Possibly if large public commissions such as Serra's Tilted Arc were discussed with he public before there nascent then such large amounts of tax dollars would not have to be wasted.

The use of public money to support the public installation of Huang's work Theater of the World is much less perverse then the fact that this piece had already been shown earlier in Vancouver at a smaller venue. This brings into question the effectiveness of censor ship. If this work were shown in Vancouver already, once with no problems, then why on its return would it be inflicted with censorship. If this piece was so demanding of censorship then why was it not censored upon its first exhibit in Vancouver or are some things more O.K. when viewed by a smaller crowed, then they are by a large crowed?

Despite the endless perversities that these two works bring into question I would now like to digress back to my original argument, that more then any thing the censorship of these works empowered them. To remove the works much discussion had to precede. These discussions allow for the work to evolve and attract more attention then they possible would have if left to their original devices.

I doubt Richard Serra's Tilted Arc would have ever found its way into my Art History text book "After Modern Art 1945-2000" by David Hopkins if it had not been removed. The removal of the Tilted Arc was the result of an eight-year debate, which included people from all walks of life ether for or against the removal of the work. Endless articles were published with in Art journals and newspapers. With such a body of text and dialogue developing around it Serra's Arc has take on a new conceptual form one that no longer needs the body in which the artist had given it.

Huang Yong Ping's Theater of the World was able to evolve drastically not only conceptually but also physically with in the gallery. To substitute the emptiness left with in the wooden tank Huang surrounded the work by text and recordings, of the debate with in the media of why or why not the work should be interfered with. Even though the animals were removed from the work it finds its self now embodied with in new dialogues that still speaks of relationships between predators and pray. Possibly the controversy around Huang's work could help him find his way into a new generation of Art History books.

By having external pressures put upon the works of Richard Serra and Huang Yong Ping the works, despite resistance from the artists, have been allowed to evolve. Both Serra and Huang arguable intend and desire for their works to be allowed to evolve. Serra does this through his choices of volatile materials and his constantly progressive use of them. Huang does this through his blending of the east and west both theoretically and iconographical. Once these works are bombarded by external controversy and pressure they are forced to evolve and adapt with in possibly unpredicted situations. This evolution I believe empowers the artwork bringing it to a realm of discussion that most work could only wish for. So finally I can only ask if in a moment of controversy a work is able to evolve far above its original embodiment through censorship then how successful is the censorship and can artistic rights be worth jeopardizing in such a moment.

Citations:

Art 21. “Biography” August 2007. http://www.pbs.org/art21/artists/serra/index.html

Art 21, “Charlie Brown.” August 2007. http://www.pbs.org/art21/artists/serra/clip1.html

Cash, Stephanie. "Huang Yong Ping work banished in China - Artworld - Bat Project 2 removed from Guangzhou Triennial". Art in America. Jan 2003. FindArticles.com. 20 Aug. 2007. http://findarticles.com/p/articles/mi_m1248/is_1_91/ai_96126407

Juantjes, Gavin. “Huang Yong Ping in conversation with Gavin Jantjes” 2006. August 2007. http://www.iniva.org/archive/resource/1803

InIVA. “Huang Yong Ping” 2006. August 2007. http://www.iniva.org/archive/person/204

lofter1. “Wired New York – Forum” September 2006. August 2007. http://wirednewyork.com/forum/showthread.php?t=10643

Images:

par Fig 1: Serra, Richard. Stop Bush 2004, http://www.whitney.org/www/2006biennial/artists.php?artist=Serra_Richard

Fig 2: Serra, Richard. Tilted Arc 1981. http://www.allposters.com/-sp/St-Johns-Rotary-Arc-1975-80-Posters_i855905_.htm

Fig 3: Huang Yong Ping. Bat Project 2. http://www.bigredandshiny.com/cgi-bin/retrieve.pl?issue=issue42&section=column&article=HUANG_YONG_PING_23161044

Fig 4: Huang Yong Ping. Theater of the World. http://blogs.walkerart.org/offcenter/2005/11/15/pings-prison-break/

A Brain Storm one Richard Serra and Huang Ying Ping

2007-08-14T23:07:00.000-07:00

Richard Serra

Biography
Richard Serra was born in San Francisco in 1939. After studying at the University of California at Berkeley and at Santa Barbara, he graduated in 1961 with a BA in English literature. During this time, he began working in steel mills in order to support himself. In 1964, he graduated from Yale University with both a BFA and an MFA. Receiving a Yale Traveling Fellowship, he spent a year in Paris, followed by a year in Florence funded by a Fullbright grant. Serra’s early work in the 1960s focused on the industrial materials that he had worked with as a youth in West Coast steel mills and shipyards: steel and lead. A famous work from this time involved throwing lead against the walls of his studio. Though his casts were created from the impact of the lead hitting the walls, the emphasis of the piece was really on the process of creating it: raw aggression and physicality, combined with a self-conscious awareness of material and a real engagement with the space in which it was worked. Since those Minimalist beginnings, Serra’s work has become famous for that same physicality, but one that is now compounded by the breathtaking size and weight that the pieces have acquired. His series of "Torqued Ellipses" (1996–99), which comprise gigantic plates of towering steel, bent and curved, leaning in and out, carve very private spaces from the necessarily large public sites in which they have been erected. Serra’s most recent public work includes the 60-foot-tall "Charlie Brown" (1999; named for the Peanuts comic-strip character in honor of its author, Charles Schultz, who had died that year), which has been erected in the courtyard of an office building in San Francisco. He lives in New York and Nova Scotia.

"I think working in steel mills gave me a whole notion of how to use steel in a way that it hadn't been used before...I could use it in a way that it hadn't been used in sculpture up to that point. So I had a certain freedom to move right in to it, and use it in ways that the Industrial Revolution had used it."
— Richard Serra
(http://www.pbs.org/art21/slideshow/?slide=638&artindex=148)

SERRA: When I first started, what was very, very important to me was dealing with the nature of process. So what I had done is I'd written a verb list: to roll, to fold, to cut, to dangle, to twist...and I really just worked out pieces in relation to the verb list physically in a space. Now, what happens when you do that is you don't become involved with the psychology of what you're making, nor do you become involved with the after image of what it's going to look like. So, basically it gives you a way of proceeding with material in relation to body movement, in relation to making, that divorces from any notion of metaphor, any notion of easy imagery.
(http://www.pbs.org/art21/artists/serra/clip1.html)

Against the Wall

NY TIMES
March 19, 1989

What is 12 feet tall, 120 feet long and red, or at least rust, all over? It is ''Tilted Arc,'' a curving steel wall by the sculptor Richard Serra that was at the center of a prolonged artistic battle. The work, commissioned by the Federal Government in 1981, bisected a portion of Federal Plaza in Lower Manhattan. Many downtown workers found it obtrusive, but other New Yorkers saw it as a statement of artists' rights. The Government wanted to decommission the wall to create more open space. Last week, Mr. Serra gave up his court fight to stop the removal but said that every artistic work commissioned by the Government now would be in jeopardy of censorship.

''This Government is savage,'' he said as workers stored the steel plates. ''It is eating its culture.''

Copyright 2006 The New York Times Company
(http://wirednewyork.com/forum/showthread.php?t=10643)

Although best known for his sculpture, Richard Serra began making prints in 1972. Since then his continued investigations into printmaking have produced an innovative body of work that is as large as it is varied. While Serra's prints explore the perceptual possibilities suggested by his sculptural work, they are not merely illustrative, but rather autonomous works of art that constantly push the media to its limits. Serra has earned a prominent position in the graphic art of the present day through prints whose forcefulness reach far beyond that of traditional graphics.
(http://www.andover.edu/addison/exhibition/2004-Winter/serra.htm)

links:
http://www.pbs.org/art21/slideshow/?slide=638&artindex=148
http://www.allposters.com/-sp/St-Johns-Rotary-Arc-1975-80-Posters_i855905_.htm
http://www.allposters.com/-sp/TWU-1979-1980-Posters_i855935_.htm
http://wirednewyork.com/forum/showthread.php?t=10643
http://foundationforcontemporaryarts.org/works/serra_jumpstart.html
http://www.diabeacon.org/exhibs_b/serra/
http://www.andover.edu/addison/exhibition/2004-Winter/serra.htm
http://www.comtogether.com/art/miscpix/serra.htm
http://www.acrstudio.com/projects/word/whitneybiennial2006/index.htm
http://mocoloco.com/art/archives/001166.php
http://www.whitney.org/www/2006biennial/artists.php?artist=Serra_Richard

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Huang Ying Ping

Huang Yong Ping (born 1954) is contemporary French visual artist of Chinese origin. Huang's work combines many media and cultural influence, but is particularly strongly influence by the intellectual abstraction of Dada and by Chinese numerology traditions. Founder of the Xiamen Dada group in China in the 1980s, Huang's installations have included unorthodox materials such as live snakes and scorpions. Many of Huang's sculptural works encompass a large scale, some tens of meters in dimension.
(http://en.wikipedia.org/wiki/Huang_Yong_Ping)

Some critics have accused Mr. Huang of pandering to a Western appetite for the exotic after his move. But his interest in Taoism and Buddhism followed naturally from his devotion to Cage and Duchamp. Just as Western art had done in China, Chinese culture provided a degree of resistance to the European world he was suddenly immersed in. Whatever the final judgment on the pandering question, the retrospective, organized by Philippe Vergne, chief curator at the Walker Art Center in Minneapolis and co-curator of the current Whitney Biennial, is impressive. It has a complicated sense of newness: you have never seen anything quite like this art before, yet it feels musty and archaic, as if excavated from tombs. And unlike his earlier work, it carries a dense, particular content of stories, myths, esoteric lore and political commentary.
(http://www.nytimes.com/2006/04/14/arts/design/14ping.html?ei=5088&amp;en=4d9c709cea43289f&ex=1302667200&adxnnl=1&partner=rssnyt&emc=rss&amp;amp;pagewanted=2&adxnnlx=1187157744-APR3eptmKUMqNQz7JrGkiA)

Lot 11, "Da Xian - The Doomsday, three bowls, fiberglass, oil point, expired food products, two drawings, watercolor and ink on paper, three black and white photographs, each bowl, 30 3/4 by 56 1/2 by 55 1/2 inches, each drawing, 25 1/2 by 20 inches, each photograph 35 1/4 by 39 1/2 inches, 1997

Lot 11, "Da Xian - The Doomsday," consists of three large and impressive painted fiberglass bowls filled with expired food products, two drawings and three black and white photographs. The work by Huang Yong Ping (b. 1937) was executed in 1997. It has an estimate of $50,000 to $70,000. It sold for $168,000, more than tripling his previous auction record of $50,939 set at Christie's Taipei in October, 2001.

(http://www.thecityreview.com/s06pcon1.html)

Huang Yong Ping's art incarnates this perfectly because his acts are always betraying his concepts, and this is the very center of his conceptual universe. His works always involve a deferring process.

(http://www.orbit.zkm.de/?q=node/17)

Ping graduated from the Fine Arts Academy of Zhejiang. In the mid-1980s he founded the Xiamen Dada group and staged radical happenings, in conscious reference to Marcel Duchamp, John Cage and Joseph Beuys. Living in Paris since 1989 Huang continues to subvert cultural stereotypes through his site-specific installations. His status as exile affords him a unique vantage point on the Western hegemony in the global discourse on contemporary art. He proposes alternatives through the use of unorthodox materials such as cooked rice and live scorpions and thus challenges aesthetic norms as much as their institutionalisation in the museum or gallery space. However, his numerous references to ancient Chinese history, philosophy and mythology remain deliberately obscure and difficult to decode. More than merely sly critiques of Eurocentrism, his works have been describes as "specific, strategic mediations between his Chinese heritage and the ambient language of Western contemporary art."

(http://www.iniva.org/archive/person/204)

Carol Gigliotti , an artist and animal-rights activist who teaches interactive design and media at Emily Carr Institute, said she supported the BC SPCA and the Vancouver Humane Society's handling of the situation. "Artists often feel that what they are doing is somehow sacred and they have this idea that they should be able to have the freedom of whatever they want to do," she said, adding, "I do think there are things that trump artistic freedom and for me, that is the well-being of another being." One lizard, one tarantula, one scorpion, and one cockroach died over the course of the exhibition, Augaitis confirmed, stressing that none had fallen victim to predation.

> Jessica Werb

(http://www.straight.com/article-86404/news-from-the-art-world)

HYP There is something positive and negative in this. I never refuse to be considered a Chinese artist, and Chinese is the only language that I speak, but I always have to say that I do not represent China. How can one person represent so many different peoples and cultures?

(http://www.iniva.org/archive/resource/1803)

Links:
http://www.artthrob.co.za/01feb/news.html
http://www.thecityreview.com/s06pcon1.html
http://www.aapmag.com/54news1.htm
http://www.iniva.org/archive/person/204
interview- http://www.iniva.org/archive/resource/547
interview- http://www.iniva.org/archive/resource/1803
interview- http://www.iniva.org/archive/resource/548
http://www.straight.com/article-86404/news-from-the-art-world
http://www.nytimes.com/2006/04/14/arts/design/14ping.html?ex=1302667200&en=4d9c709cea43289f&ei=5088&partner=rssnyt&emc=rss
http://calendar.walkerart.org/canopy.wac?id=1530
http://www.nytimes.com/2006/04/14/arts/design/14ping.html?ex=1302667200&en=4d9c709cea43289f&ei=5088&partner=rssnyt&emc=rss

http://findarticles.com/p/articles/mi_m1248/is_1_91/ai_96126407/pg_1

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otherlinks: food for thought

http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=59758083

http://findarticles.com/p/articles/mi_m0DTI/is_10_29/ai_79756165

back to feeling alive

2007-06-29T03:12:00.000-07:00

So for the last few days since Saturday night i have done nothing but all the home work i should have been doing since i was here. allot of it was just finishing touches but as every one knows these things always take for ever. I worked so much and slept so little that last night i was so sick and felt like i would throw up. so i layed in bed and had delusional dreams all night some of the strangest dreams ever.

In one of my dreams my first gf was going crazy. doing weird things like calling social services on her mom for no reason and then she shaved my eye brows i was so mad i threw water on her. i think some of the context came from this great indo-canadian comedian i watched with Heikki last night.

the next dream was that my friend N was in a insane asylum. but he was aloud out some days. we were planning to go to the mirage. woo ya the mirage so exited. him and this douche bag named matt borrowed my cloths so we could go then after we went back to where N's place was (the insane asylum) i spent half my time as bat man. trying to get into his room. then him and i had an argument about a night when i was drunk he said "i would rather have a conversation then use a microphone" and then referred to some video that had me going on about social states etc and my pinko banter, then i got on about how i am a idealist i dono it was weird.

sadly in all these dreams good old Rei Rei was at work. even for the one where we went to the mirage. what a strange night i should get sick more often weird dreams are great. but nothing is scary then some one shaving my eye brows what if they do not grow back properly :S.

well soon i am off to Italy i am just arranging the logistics now and i will upload my illustrations so you guys can enjoy.

do not trust the Internet
DUSKE

Spongebob's Band - Knee Deep - Death Metal

2007-06-18T09:10:00.001-07:00

k well i will write a real entry again some time soon but for now enjoy some spongebob

Taking down Van City I

2007-06-12T01:41:00.001-07:00

_____________________________________________________________
here is something that maybe worth rioting about...
the revolution will not be televised
this is a very good documentary watch it
_____________________________________________________________

Stanley Cup Riot 1994 Vancouver, Canada - 2 of 11

2007-06-12T01:40:00.001-07:00

Stanley cups and guns and roses why does no one care this much for the real issues. why don't we have a riot because our health care system is being diminished. or because we have a obvious drug abuse problem on the down town east side that is only getting worse. ?????

VERBOTEN

2007-06-06T10:15:00.001-07:00

"TO BE CONTENT IS TO FAIL"
DUSKE

Spiel ein Spiel mit mir

2007-05-28T17:06:00.000-07:00

So i got to see Ramstein. OH OK not the band but the city. I was only there for a short time. its very interesting. Ramstein is a city that is occupied by the US military for the most part. They have a air base, movie theater, shopping mall and many other things.

The US and also the English have many military cities that they occupied here in Germany even tell today. Sadly i believe even Canadians serve in some of theses bases. Personally i think this is wrong. It is time for them to pull out. The War has been over for how long now. Long enough that Germany no longer needs cities occupied by US and UK military.

The worst part of the occupied cities is that the residents live in small utopias that emulate their home countries. they are not expected to learn to speak any German what so ever. They would not even bother to learn to say please and thank you. (bitte/ Danke) This is disrespectful and degrading to the entire Germany country.

It is time that these bases all be abandon, i don't understand them at all. If they were here to create and maintain a good standing between troops they would make sense. if they were here so that the troops who live in them could gain worldly experiences. Experiences that could in force peace and not prejudice then i would be all for them but until then i say pull out.

Why must we dirty our hands in the pockets of others
DUSKE

MARIA Believe me I like it Loud

2007-05-14T20:10:00.000-07:00

Well i am in love with Berlin. It is a huge city with so much character and history. I have been twice now once for half a day and again for four days with Heikki.

Heikki and i flew in on a Saturday afternoon, arriving in Berlin for around 2 pm. We bought a bottle of Gin and caught the first bus into the city center.

Once we got to the bahnhofplatz we found the tourist information and booked a hostel near the zoo platz, for 7 euro each, and picked up a Berlin card. the Berlin card allows you to use all transit for free and gives you many discounts on food and museum's etc.

With our 25% off on many restaurants we eat very well. When we were not eating we were running from one end of the city to the other looking at any interesting thing we could find. Bitching about if we understood the map better how we could have gotten here and there so much faster.

In the end it was a wicked time we met a bad ass commie gall, saw the botanical gar tens, a Dali exhibit, the technical museum the Sony center and who knows what else. i do know we were not gay enough for the gay bar. Is that not discrimination? i think so.

PS i love Berlin

PINKO

no were in Berlin not Finland

how could you every get lost with signage like that?

I rest beneath where I remain as cold as clay

2007-05-04T09:57:00.000-07:00

The other day i went caving with some friends. It was one of the best times i have had here in Deutschland. We drove for about an hour and a half into the more rural areas of southern Deutschland, not far from Stuttgart. We visited 4 caves.

I am now very exited about this idea of caving. i have always wanted to try it but never really had the chance until now. Each cave we entered was beautiful. Most had little human interaction.

The final cave we entered was 5 km long. we only walked about 10o meters in because it was the end of the day and every one was tired. we figured it would not be so safe to proceed any further. It was full of deep water and interesting terrain. I would really love to go back soon and go much much further into this cave.

Does any one back home know much about caving? if you do i would love to go.

WEB GALLERY

http://www.eciad.ca/~kduske/webgall/index.htm

_________________________________________________________

MOVIE TIME
this is a great movie
about caving ALL AT COST - The formula

.....watch it......

MUSIC TIME
radioblogclub
song of the day:
AT ALL COST - The formula

_________________________________________________________

i would rather come home covered in mud and blood then sweat and boos
DUSKE