Collective Newspaper February - July 2011

19 February – 3 April 2011 White Knight Alex Gross & Anna Mields | Emily Wardill 16 April – 29 May 2011 How to Turn the World by Hand via Beijing_Edinburgh_Istanbul Arrow Factory | Collective | PiST/// 11 June – 22 July 2011 Against the Realm of the Absolute Jesse Jones

FEBRUARY – JULY 2011

FREE

This season we bring you three projects, which in various ways investigate architecture, trading places and context.

‘White Knight’ brings together a new commission from Glasgow/Berlin based collaborating artists Alex Gross and Anna Mields. Their new filmwork ‘Farbenlehre’ and installation using architectural forms to interrupt the space of the galleries, reflect on architecture's history and the potential for utopian vision, Fiona Jardine expands on this in her text. In ‘Fulll Firearms Workshops’ by Emily Wardill, Imelda is building a house to accommodate the ghosts of people killed by the firearms manufactured by her father’s firearm company. While the house is being built, a number of squatters move into the property and Imelda mis-recognises them as ghosts.

‘How to Turn the World by Hand via Beijing _ Edinburgh _ Istanbul’ is a year long research project between Arrow Factory, Beijing, PiST///, Istanbul and Collective involving discussion focused around trading spaces, audiences and goods throughout the next year. The three spaces share similar locations, in shop-fronts on busy city centre streets, as well as programmes dedicated to experimental practice and investigating their context.

Unexpected operations and outcomes are bound to arise, questioning the expectations of, and negotiations within a contemporary art space, Pauline J. Yao reports from our first session. See the beginning of this project as Arrow Factory 'shanzhai' Collective’s space.

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‘Against the Realm of the Absolute’ a new filmwork and performance by Dublin-based artist Jesse Jones is the culmination of a ten-month research period. Collective has been following Jesse’s work for some time and is thrilled to commission this new work in and about Edinburgh. Jesse has taken inspiration from her many research trips and her project promises to provide a new vision of Edinburgh’s history, focusing on incidences of industrial obsolescence and near future predictions of resource scarcity and social upheaval.

Jesse provides a new text adapted from her recent book: ‘From the Centre of the Elephant’.

So, enjoy reading around the programme and also, check out the events page on the back cover for dates of the newly extended popular Soapbox events with presentations from practitioners of all disciplines and trades linked to the current show and our new film screenings featuring amongst other things the brilliant ‘The Girl Chewing Gum’ by John Smith (1976) on Edinburgh’s Big Screen, Festival Square… and it is all still free… Amazing!

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White Knight 19 February – 3 April 2011

White Knight 19 February – 3 April 2011

the realisation of International Style architecture to the extent that, of the twenty one buildings “exhibited” at the Weissenhofsiedlung in 1927, (an estate which set the agenda for architectural Modernism), all but two of the entries were white. In Modernism, the white wall aspires to operate transhistorically and transgeographically as the pure expression of a transcendentally appropriate architecture.

Perhaps understanding the intertwining relationship between the Situationist and Modernist can be meaningfully progressed using the figure of the Cynic, Diogenes of Sinope, as key. Diogenes lived in Athens where he made his home in a barrel (best described as a huge cynlindrical earthenware tub or pot). From his barrel, Diogenes sardonically punctured the complacency of indulgent and fatuous Athenian citizens, rolling it back and forth in an imitation of useful work, taking leave of it to search the sunny agora for an honest man, lighted lamp in hand. If Diogenes’ behaviour might be seen to have an affinity with Situationist strategies of detournement and provocation, for Courbusier and the Modernists, Diogenes’ barrel - “The primordial cell of the house”2 -was paradimatic. The inherent profligacy of Diogenes as a person seems contrapuntal to the asceticism of his dwelling.

White Knight

Alex Gross & Anna Mields Emily Wardill 19 February – 3 April 2011 Preview Friday 18 February

For Farbenlehre “On a hill overlooking the Ligurian coast, A… J… has now slightly modified a few old houses and is building a garden to link all of them together.”

If this sounds like the type of fantasy familiar from any number of TV property shows – Escape to the Country, Property Ladder, Grand Designs, A Place in the Sun – or some lascivious Sunday supplement spread, that fantasy is just the current incarnation of a long-established bourgeois idyll. And it is symptomatic of the times that such an idyll assumes utopia to itself: in individuals deprived of presumptions and metanarratives, idylls and utopias are fudged together for picturesque appeal - the idyll is permanently deferred and the utopia recalled as a middle class Oblivion washed in golden light and warm beer, a chimeric comforter as Things Get Worse.

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The A… J… in question was Asger Jorn and the sentence has been excerpted from On Wild Architecture written

by Guy Debord in 1974 to accompany a publication about Jorn’s garden at Albisola. “What more peaceful commentary could there be?” comments Debord. Despite the role of Liguria – Cosico di Arroscia - in the inception of the Situationist International, the relationship of the S.I. to rurality and “nature” is complicated and undertheorised (despite the volume of research and polemic connected with the S.I.) not least because, as Debord comments in the text “It is well known that initially the situationists wanted at the very least to build cities.”

The Situationist strategies for producing space and their insistence on spontaneity were deliberately gauged to interfere with the behavioural strictures imposed upon people in “rational” cities. “Chance” is nature mediated by the city, by science: if Situationist architecture is “wild”, it is because it is human.

Le Corbusier, against whose Modernist ideals Situationist theory might be pitched1, was inspired by the vernacular of Mediterranean villages – not unlike Cosico di Arroscia or Albisola, not unlike our contemporary bourgeois idyll.

He was particularly attracted to their whitewash, which stood, for him, as evidence of “harmonious culture”, preserved since time immemorial under an insulating layer of white. Corbusier’s Law of Ripolin, (Ripolin is the French equivalent of Dulux), articulated the essence of his architectural philosophy. White walls were crucial to

Asceticism is expressed literally and metaphorically as nudity in Modernism and it is nudity – with its connotations of health and hygiene, muscularity and clean living – rather than (vulnerable, sexualised, errant) nakedness: Diogenes’ barrel might be “nude”, the man himself is naked. As the white wall represented an opportunity for Corbusier to refer to an unbroken inheritance of folk harmony in his buildings, so the European enthusiasm for naturism in the early 20th century was a purified recovery of ancient (Greek) culture, which Modernism viewed as having been desecrated by successive centuries (a desecration accelerated by the Industrial Revolution). The rise of naturism is linked to the spread of Modernist ideals.

Corbusier’s veneration of whitewashed vernacular architecture sanitised and disregarded anything decadent, discordant or unpleasant in the vernacular culture that gave rise to it. Whitewash symbolised the vernacular ideal; ornament - clashing colours and overlaid patterns (a tattoo’d body) – symbolised the degeneration of that ideal. Coloured and patterned walls encouraged “accretions of dead things from the past” wrote Corbusier, they were “intolerable” and “staining”.

For some Modernists, (“Romantic” Modernists), methods of mass manufacture led to the production of cheap, gaudily coloured kitsch - stillborn artefacts which accreted sentimentally in domestic corners, in front of papered walls. Whilst Situationists like Jorn were opposed to the dictats of capitalism, (inextricably linked to industrialisation), they were not opposed to “mass production” per se, finding room for human play and contraversion of purpose in the use and cherishing of mass produced objects. Modernist rationalism, which moved to expunge kitsch, was much more in tune with the capitalist imperatives of convenience and predictability. Debord thought Jorn’s garden on a hill above Albisola:

“responds to even the concrete question of our appropriation of space, demonstrating that everyone could undertake to reconstruct around themselves the earth, which badly needs it. The painted and sculpted sections, the never-regular stairs between the different

levels of ground, the trees, the added elements, a cistern, vines, the most varied sorts of always welcome debris, all thrown together in a perfect disorder, compose on of the most complicated and, ultimately, on of the best unified landscapes that one can traverse in the space of a fraction of a hectare.”3 In the gallery - as Brian O’Doherty argues in his seminal text Inside the White Cube: The Ideology of the Gallery Space - the white wall consecrates the space.

It is not a blank canvas or a tabula rasa. Although, for O’Doherty, the development of the “white cube” follows the development of easel painting, the gallery’s whiteness is as much a consequence of the success of Corbusier’s Law of Ripolin. There is a symbiotic relationship between gallery architecture and artworks in terms of their general planning and production, as well as in terms of their co-existence for the duration of an individual exhibition. Any art shown in a white cube space necessarily enters a dialogue with the Law of Ripolin. Where art accepts and trades upon the lessons of Modernism, that dialogue is mired in formalism, convenient and predictable. Where it challenges and disrupts those lessons, it moves to stain and randomise the gallery space, to stretch and play off the Law of Ripolin, “welcome debris” foregrounding human activity - emotional, complicated, imperfect.

Nickolaus Pesvner thought “Corbusier’s houses can’t please in decay. Concrete structures with walls designed to be rendered white make bad ruins.”4 White – which must be clean according to the “Law of Ripolin” - does not stand up to weathering by the elements or by people.

Fiona Jardine is a PhD researcher at the University of Wolverhampton.

1 Le Courbusier was born in 1887 and died in 1965; Asger Jorn was born in 1914 and died in 1973. “Jorn... had worked in Le Courbusier’s studio in 1937–38 (executing mural decoration for the Pavillion des Temps Nouveaux)”. Quoted in “The Situationist City”, Simon Sadler, p.8 2 Le Corbusier, quoted in “White Walls, Designer Dresses: The Fashioning of Modern Architecture”, Mark Wigley p.19 3 This is also taken from “On Wild Architecture” 4 Quoted in “White Walls, Designer Dresses: The Fashioning of Modern Architecture”, Mark Wigley p.xvi Front cover: Alex Gross & Anna Mields, Theo E, Collage 33x22cm, 2010.

Image courtesy Alex Gross. Commissioned by Collective with support from Goethe-Institut.

Opposite: Alex Gross & Anna Mields, Farbenlehre, Video Still, 2011.

Image courtesy Alex Gross. Commissioned by Collective with support from Goethe-Institut.

‘Full Firearms Workshops’ by Emily Wardill shows footage developing the script for a feature film to be finished in December 2011. Supported by The Showroom Gallery, London - the workshops involve actors and non-actors working from a script in development, based around the Sarah Winchester story.

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Jesse Jones, US National Institutes of Health public domain and Jesse Jones Lenticular edition, Digital Image, 2010. Courtesy the artist.

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Against the Realm of the Absolute 11 June – 22 July 2011

Against the Realm of the Absolute 11 June – 22 July 2011

Against the Realm of the Absolute Jesse Jones

11 June – 22 July 2011 Preview Friday 10 June

From the Centre of the Elephant A hollow vacuum of air swept through the portal and dragged both Amerwitz and Hannah on its current through a dark cold corridor. It was as though he was entering the mouth of a mine, his hands reached out to feel his way in the dark, they must now in this place replace his eyes, moving through the dry wall of the cave, stumbling along this tunnel which it seemed was casting them deeper and deeper underground. After what seemed like 10 minutes the darkness was blindingly extinguished with the sharp illumination of fluorescent light. Perhaps even a thousand florescent lights. Amerwitz seized his eyelids to shield them from the glare. His rods and cones were now battling from behind his panicked eyelids to gain control of his vision.

They now stood in a room unlike anything he had ever expected to see here. The room appeared infinitely large; an illusionistic mixture of distorted mirrors and trompe l’oeil tributes to vast forest scenes and mountain ranges. Above was a large circular domed ceiling, beaming out fluorescent light as though the heavens were opening. Here in the centre of the room the intensity of the light was so strong it was as though it penetrated his entire body. Illuminating every cell of his internal darkness until each blood cell blazed red under its violent glow.

At the edge of the room was a railing, he walked towards its edge and peered over the side. A wave of vertigo shot through him, as the floor became what was in fact revealed to be a ledge to a far greater space, possibly even five or six stories high. Below him were rows of identical balconies overlooking a huge courtyard filled with statues of majestic goddesses, Zeus and Neptune. Giant 8

fountains stood all around as though he had been transported to the centre of Rome or Venice. “Incredible…. Where are we?”

Hannah was silent now and continued ushering him towards what appeared to be an elevator. It too has been plastered with trompe l’oeil surfaces making its perspective and the depth difficult to distinguish. As they descended to the courtyard, his ears popped.

This new world had, it seemed, been just a few feet away from his dark book-heaving cell this whole time. The doors of the elevator flung open to reveal another space, more than a room or a space this now felt like a city, filled with vast folly architecture and endless statues. These edifices which, from a distance gave the impression of the finest marble and stone, on closer inspection their materials seemed rather more course and slightly garish. Their proportions were also skewed in some way, almost cartoonish and unlike marble, they were not cold to touch but the dusty insipid temperature of plaster.

There were recognisable materials such as old vending machines modeled into roman pillars and sprayed in a crude marbling of paint. These relics and debris of Coney Island had been monstrously transformed into a Frankenstein city, a counterfeit universe made from trash. The exteriors of the buildings were just facades like a Hollywood film set. Their veneered exteriors formed jagged zig zags so that from one vantage point they seemed to shift entirely.

A lenticular city of surfaces, except for one building.

Standing in the centre of the pseudo street was a recreation of the Coney Island cinema.

It was entirely intact and replicated brick by brick. Amerwitz had recognised it from his childhood excursions. It was as though the

exact object had been transported from his memory into matter. Even the address sign was correct 1001 surf ave. Here was the epicenter to Rilke’s bizarre world.

The cinema itself was entirely filled with projectors. The projectors as if on cue sprang to life on his entrance, casting their pulsing forms onto every surface. The films were constant and in tandem until each one obliterated the next in a snarled web of images. It was as though every image ever committed to film was present at the same time. From epic films of history and ancient kings, newsreels of half forgotten events and even cosmic scenes of imagined worlds. Black and white Busby Berkley extravaganzas of dancing beauties were interrupted by some home movie or scenes from some unknown foreign atrocity. Cast from these bellowing mechanical projectors was every possible human pose. The tragic and profound became ludicrous as the faces of solemn politicians morphed to laughing children.

A brand new car, the atom bomb, a thousand disembodied eyes glared at him from every surface. Pride of place was the familiar spectre of the hanging elephant, which seemed to momentarily blast its horrific corpse onto every screen. These phantoms of the world fixed in this semi-translucent light show were in fact more disturbing than that first encounter with Rilke's macabre taxidermied dioramas. The film itself like some toxic formaldehyde had sealed them in a constant animation and eternal death.

His retina begin to lose its ability to calculate the droves of flickering images, fearing he may now himself dissolve into the projection he ran back into the artificial street of Rilke’s city. Yet in his retreat, he was unable to return to any previously encountered location. The entrance of the cinema has morphed into a stage, which now extended for miles. Shifting in scale in real time for what seemed like miles as though it was unraveling in space. Unfolding from its dormancy like a sleeping creature. In his panic and excitement he seemed to lose

Hannah. He walked back trying to retrace his steps but each time he did so it appeared his memory of the previous space was corrupted to a new scene. The stage now was filled with rows and roles of bookcases as though he was in the centre of some vast library. The shelves extended relentlessly away from him until he was standing in the centre of this infinite labyrinth of books.

He shouted out for his guide, “Hannah, …

Hannah, where are you?”

He rushed through the rows of books but each row seemed identical to the last so that no trail could be found that would lead back to a previous point in his journey. His voice echoed through the long corridors of the immense library. He shouted and shouted for hours it seemed until his voice became weak and was reduced to a whisper before finally collapsing against the base of a large grey statue of a hanging elephant. His exhausted blinking eyes flashed open and closed to the text emblazoned at its base.

I AM THE ARCHIVE. Jesse Jones is an artist based in Dublin.

Jesse Jones, film still from The Predicament of Man, 2010. Courtesy of Jim Riggott.

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How to Turn the World by Hand 16 April – 29 May 2011

How to Turn the World by Hand 16 April – 29 May 2011

How to Turn the World by Hand 16 April – 29 May 2011

How to Turn the World by Hand is an international research project between Collective, Edinburgh, Arrow Factory, Beijing and PiST///, Istanbul involving a three phase project and discussion programme investigating trade.

Arrow Factory

PiST///

Arrow Factory is an independently run alternative art space in Beijing located in a small hutong alley in the city centre. Arrow Factory reclaims an existing storefront and transforms it into a space for site-specific installations and projects that can be viewed from the street 24 hours a day, 7 days a week.

PiST/// Interdisciplinary Project Space, is an independent art space established in May 2006. It is located within three storefronts in the European centre of Istanbul, Turkey. PiST/// holds exhibitions, discussions, performances and screenings on contemporary art.

Alongside this it collaborates with local and international art professionals, develops its own projects and publications. PiST/// started an international artist in residency programme early this year. It is run by artists Didem Özbek and Osman Bozkurt. www.pist.org.tr

Arrow Factory occupies a former vegetable stand, signaling an economy of means that informs their practice and promotes artistic collaboration, exploration and experimentation across different cultural contexts and viewing publics. They are committed to presenting works by local and international artists that are provisional in nature, highly contingent upon the immediate environment and that form meaningful responses to the diverse economic, political and social conditions of our given locality and everyday lived experiences.

Arrow Factory's mission is to provide an alternative; a different context in which artists can experiment with pushing the relationships that radiate outwards from the levels of the individual, the neighbourhood, the urban, the region, to finally, the global. www.arrowfactory.org.cn/

Istanbul_Session_01, 23-27 January 2011.

How to begin a collaboration that connects three different art spaces in three vastly different locations? What are the common areas of interest and points of overlap? And where do the schisms occur? Over three consecutive days in Istanbul, members of Arrow Factory (Beijing), PiST/// (Istanbul) and Collective (Edinburgh) held meetings and discussions to contemplate these very questions and more. What emerged was a strategic plan for a year-long project spanning across two continents and involving artists from three distinct regions.

In early discussions prior to arriving in Istanbul, it was noted that all three of our art spaces share a distinct common feature – each used to function as a shop or storefront before being converted into a space for exhibiting or working with contemporary art.

Arrow Factory and PiST/// are embedded in tightly knit neighbourhoods with existing adjacent small businesses catering to immediate residents and passersby. By the nature of these locations, and the development of projects like One Mile at Collective all three spaces regularly create opportunities for contemporary art practices to engage with or come into direct contact with the immediate environment and surrounding social milieu. Sometimes the activities that occur in PiST/// and Arrow Factory can register as anomaly rather than as ‘contemporary art’ per se, thus serving to continually blur or better yet, obscure the line between art and the sphere of everyday life. Being that all three spaces previously functioned as shops - and that commercial activity is normally seen as anathema to the world of non-profit or artist-run art spaces - it seemed especially fitting to devise a multi-layered scheme that could tap into the notion of buying and selling, trading and commerce for our collaborative project.

How to Turn the World by Hand is conceived as an exploration of the myriad meanings of the word ‘trade’ with regards to contemporary art production as it occurs in our three locales: Edinburgh, Istanbul and Beijing. The first action (effective immediately) involves a purposefully superficial alteration - Arrow Factory, Collective and PiST/// will modify their logos and exterior signage for the coming year to include the names of each other’s cities, as if to indicate that each space has opened branches or suboffices in three different locations. This simple yet potent gesture not only makes our collaboration outwardly recognisable but does so in an instantaneous fashion, playing with the idea that such a transition from ‘locallyrun’ art space to ‘global’ brand is possible with the mere addition of a few keystrokes.

Another aspect of trade that arises in our collaboration points to literal forms of exchange, namely the swapping and trading of art spaces. As an extension of our ‘cobranding’, our three art spaces (Arrow Factory, Collective and PiST///) will find ways to inhabit or take over each one’s respective space for a short period of time during the span of one year. For instance, in the days following our meetings in Istanbul, PiST/// will hand over the keys to Arrow Factory and allow them to occupy or use the

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space as they wish for the next week. In April/May 2011 Arrow Factory will transform Collective’s space into a shop selling imported goods from Turkey and China.

Later in 2011 PiST/// will travel to Beijing to create a project in Arrow Factory, and similarly Collective will arrange a project that develops the theme of Investment at PiST///. The swapping of art spaces is meant to enact a deeper and more spontaneous process of exchange between art spaces as well as elicit new relationships to the surrounding environments in which they are situated. It also playfully acknowledges our shared line of work, or trade, as frontsmen of independent art spaces.

As a third and final way of initiating trade, Arrow Factory kicked off How to Turn the World by Hand in Istanbul by directly engaging with a makeshift import/ export business that drifts across geographic and cultural borders, tapping into the travel patterns of the international art world community. Using the standard production budget allocated per exhibition at Arrow Factory (¥1200RMB, L292 TRY or £115GBP), the group purchased new and used goods in Beijing, which were then transported to Istanbul for sale or exchange.

The movement of goods from China to Turkey and eventually Scotland echoes the logic of traditional trade routes (such as the Silk Road) but more importantly, is in keeping with the larger migrations of peoples as they move from east to west under the contemporary conditions of globalisation. This includes artists, curators and art professionals who travel around the world for biennials, projects and sundry meetings. The theme of trade activated by Arrow Factory - initiating an informal chain of commerce by transporting goods from Beijing to Scotland by way of Turkey - is also knowingly random.

The selection of products brought to Istanbul is based not upon any actual demand for such items or previous knowledge of the region, but instead on perception of lacking resources and/or an imagined interest. Once the goods are sold, the process will be repeated again with Arrow Factory using the funds generated to purchase more items in Turkey that will be taken to Scotland for later sale in Collective’s space.

At the conclusion of the project in January 2012, the members of each art space will meet again to launch a small publication documenting the collaboration and to discuss the year’s activities with other participating members of the art world. During this moment it will be possible to review the merits of our exchange, and to revisit the successes and failures of three art spaces experimenting with How to Turn the World by Hand.

Pauline J. Yao is a writer, curator and co-founder of Arrow Factory.

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Diary of Events We are delighted to announce a programme of public events tailored to our projects. Each project has a related film screening at an off-site venue and a Soapbox event with invited guests at Collective. All Collective events are FREE and all welcome.

If you want to keep up to date with all the forthcoming projects, events and opportunities please sign up for e-invites and monthly e-newsletters via our website: www.collectivegallery.net

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Fri 18 February 7 – 9pm | Exhibition Preview WHITE KNIGHT Alex Gross & Anna Mields | Emily Wardill Sat 19 February – Sun 3 April | Exhibition WHITE KNIGHT Alex Gross & Anna Mields | Emily Wardill Gallery open Tuesday – Sunday 11am – 5pm Thurs 24 March 6 – 7pm | Talk Event WHITE KNIGHT SOAPBOX Join Collective for our WHITE KNIGHT SOAPBOX with invited guests from across creative worlds who will share their ideas in a quickfire presentation.

6 speakers * 6.5 minutes each * Anything goes Sun 27 March | Film Screening SUNDAY SCREEN Join us for a film screening selected in relation to WHITE KNIGHT. The Girl Chewing Gum by John Smith (1976) Edinburgh’s Big Screen, Festival Square Sat 16 April – Sun 29 May | Exhibition HOW TO TURN THE WORLD BY HAND An international research project between Collective, Edinburgh, Arrow Factory, Beijing and PiST///, Istanbul.

Gallery open Tuesday – Sunday 11am-5pm Sun 1 May | Film Screening SUNDAY SCREEN Join us for a film screening selected in relation to HOW TO TURN THE WORLD BY HAND. Check the website for film and venue details.

Thurs 19 May 6 – 7pm | Talk Event HOW TO TURN THE WORLD BY HAND Join Collective for our HOW TO TURN THE WORLD BY HAND SOAPBOX with invited guests from across creative worlds who will share their ideas in a quickfire presentation.

6 speakers * 6.5 minutes each * Anything goes Fri 10 June 7 – 9pm | Exhibition Preview AGAINST THE REALM OF THE ABSOLUTE Jesse Jones

Beijing_Edinburgh_Istanbul Collective 22 – 28 Cockburn Street Edinburgh EH1 1NY t: +44 (0) 131 220 1260 w: www.collectivegallery.net e: mail@collectivegallery.net ADMISSION FREE Collective are committed to supporting new visual art through a programme of exhibitions, projects and commissions.

STAFF Director General Manager Programme Manager Communications Officer Voluntary Projects Assistant Voluntary Projects Assistant Administrative Assistant

Participation Leader

Kate Gray Kate Smith Jenny Richards Jill Brown Murray Ferguson Neil Ogg Geraldine Heaney Debi Banerjee

Funded by:

In Association with:

Sat 11 June – Sun 22 July | Exhibition AGAINST THE REALM OF THE ABSOLUTE Jesse Jones Sun 19 June | Film Screening SUNDAY SCREEN Join us for a film screening selected in relation to AGAINST THE REALM OF THE ABSOLUTE. Check the website for film and venue details.

Thurs 14 July 6 – 7pm | Talk Event AGAINST THE REALM OF THE ABSOLUTE Join Collective for our AGAINST THE REALM OF THE ABSOLUTE SOAPBOX with invited guests from across creative worlds who’ll share their ideas in a quickfire presentation.

6 speakers * 6.5 minutes each * Anything goes

© COLLECTIVE, the artists and the authors, 2011.

All information provided was accurate at time of printing, please check our website for updates.