Review “Deep Trash: The Animal Farm”

Deep Trash: The Animal Farm organised by CUNTemporary | 24 October 2015

Thomas Hensher © 2015, courtesy of Cuntemporary

If you have ever wondered in a modern art museum, “What is going on inside those artists’ heads?” this event would have definitely given you some answers.

I look back on the surreal experience I had that night, and I have to keep telling myself that it was not a dream…or a nightmare. A nightmare can be eye-opening for sure. You get a massive shock just because it is your first time. Who could have imagined that I would end up seeing a fully naked man dancing on the stage?

Thomas Hensher © 2015, courtesy of Cuntemporary

One step inside the Benthal Green Working Men’s Club, I felt like I stepped into a backstage of a circus. People with four breasts, horse heads, unicorn horns, people with their bottom showing, people with colourful frizzy hair that takes up more than their body – my eyes were confused as to what to look at. I certainly did not know whether it was fine to say, “Oh, that’s a lovely outfit!” because I wasn’t sure if it was meant to look lovely or scary. Then you hear a happy scream from the corridor, because a person won a butt plug at a hook-a-duck game… no, a “Hooker-duck” game – an interactive artwork aimed to raise awareness of prostitution laws.

The event was comprised of seven art performances, five video screenings, artworks, and dancing. It was an event based on the theme of Orwell’s Animal Farm, opening up conversations on gender and animal rights.

Vera Boitcova performing “The Loneliest Whale, or Unicorns and other Animals that don’t exist” | Thomas Hensher © 2015, courtesy of Cuntemporary

First, let me talk about my favourite performance of the night by Vera Boitcova. Dressed up as a unicorn, she talks about her friends Whale, Unicorn, and a mixed breed of Whale and Unicorn. What they all have in common is that they were socially ostracised because of their gender status. Based on a saying in Russia: “Lesbians are like Unicorns – they don’t exist”, the performance tells experience of being categorised as socially unfit.  Screening a video clip of a protest on her body was effective and both visually calming and powerful.

Kirsty Mckenzie performing “Cat Lady” | Thomas Hensher © 2015, courtesy of Cuntemporary

For the rest of the performances, I don’t know which one was most unique:

1) the Cat Lady, the artist herself, being in love with cats and allergic to cats at the same time, starting acting as a cat and starts munching on cat food
2) a massive egg with legs, singing on the stage, that later becomes a chicken
3) an almost completely naked woman eating a roast chicken hanging from her body and spitting on her arm to make a sticker tattoo work
4) a pig headed man with a little cloth just to cover his privates, dancing while pouring ketchup and mayonnaise and smudging his entire body – at least, he was giving sausages out to people before he got completely naked!

I also enjoyed the artworks, especially some of the photographs and paintings. But more than that, I had fun seeing the variety of responses by the audience. Some were absolutely loving them all and seemed like they were enjoying being part of everything; some were absolutely confused at what they were seeing. Among the latter was a family dad who happened to find out about the event after he entered the circus. Although he seemed to be disturbed at what he was seeing, we were all bursting into laughter at the surreal night.

This strange dream can be a once in a lifetime experience, but it was one worth experiencing.

Edythe Wooley performing “Your Mother’s Milk Runs Pink” | Thomas Hensher © 2015, courtesy of Cuntemporary

Thanks to:
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*Featured/thumbnail image: Gareth Chambers performing “Dick/Glitter Pig: the Dance of Love”; Thomas Hensher © 2015, courtesy of Cuntemporary

Review “The Sound Man – screening and Q&A”

“The Sound Man” (27mins) directed by Chip Duncan.
Q&A by Abdul Rahman Ramadhan (the soundman), Salim Amin, and Patrick Muiruri

The documentary, the Sound Man, is a story of a 62 year old professional soundman called Abdul Rahman Ramadhan who has witnessed and recorded the sound of crisis including Rwandan genocide, famine and revolution in Ethiopia, civil war in Sudan, the Black Hawk Down incident in Somalia, and tribal conflicts in Kenya. He has been working for more than thirty-five years with journalists, some of whom have been killed during their recording on the field. Abdul speaks his experience of what is it like to be a soundman and a witness of a scene at frontline.

The film opens its scene with the sound of a train going through a narrow way of slum of Nairobi, Kenya, where Abdul grew up. The story is told by Abdul himself, a journalist/producer Salim Amin, a journalist/producer Patrick Muiruri, and Abdul’s wife – members of a close professional or family relationship with Abdul. The documentary tells more than the words spoken as the story is being told with the archival footages they took. Some of them are so brutal you want to cover your eyes yet a scene that is invaluable. The duration of the documentary also tells us how a documentary film does not necessarily have to be three hour long to tell a story. Maybe it is more powerful when it is short and direct.

A line, “Sleep among the dead bodies of the soldiers so we don’t get spotted and killed,” describes the frontline where they can be regarded as enemy at any moment. At Q&A, Patrick Muiruri says that they were once arrested by helping a person on the street. Even giving a hand to a person is a risk to them, since it might appear that they are taking the side of the group the person belongs to. “How much you get involved in the story as a journalist is a very difficult question,” Muiruri says.

It is their recorded sounds and images from frontline that we see on media in the West, but the Western media has always had power to choose what footage to show on their screen. The footage of US armies’ atrocities during their intervention for example, was declined by the Western media. Since their footages had been mainly for the use of outside media, they say that their task now is to deliver news towards their own countries’ audience as well. As a chairman of Africa 24, Salim Amin says “I believe our work has an educational purpose. Along with that, I want to send out positive image of Africa both within and outside the continent.” Meanwhile, Abdul answers to the question why he keeps going back to frontline, “there are more stories to be told,” showing his enthusiasm of continue being a soundman. It is their words filled with enthusiasm that made the audience excited for their future journey. I was very lucky to be part of this audience.


*Featured/thumbnail image courtesy of ©, some rights reserved