Finally - someone understands how to deal with Christmas.


25 Bank Street, Canary Warf, London is an office tower in Canary Wharf, in the Docklands area of London. It is currently home to the European headquarters of the investment bank J.P. Morgan & Co. © Wikipedia

All glass and reflections, a virtual world of flows and transactions, where mathematics and calculations are the basis of reality. These are the institutions that progressively run our worlds. North et al. argue for open access states and how they developed in the western world. However, higher you are to the top - more closed access the state becomes. It is true that open access state like US or UK support myrad of institutions - legal and illegal, big and small; they even claim that "All citizens have the right to form organizations" (North et al. 2009: 22). However this plurality of institutions does not necessarily mean that they will have the same access to civic participation. I am sure that CEO of J.P. Morgan have better skills, know-how and resources to lobby for their interest than let`s say a local allotment garden initiative .



Historical references preserved (only) in architecture; in government backed and preserved historical villages like Tongwei.



Sunset Monkey Dives, Bum Bum, Samporna


Canon Channa Horowitz, 1987, Detail

Previous weekend was on art biennale in Vennice. To say that Ai Wei Wei is an undisputed champion is an understatement. However, I still preferred some of the more unknown artists - it was great to see a parallel thread of the historically forsaken and forgotten.

On the picture Channa Horowitz: "Canon", 1987, Detail

"In the mid-1960s, Channa Horwitz began making rigorous, graph-like visual compositions whose complex, iterative patterns use logic and numeric progression from one to eight to graphically notate time, rhythm, and movement. [...] Through her works, Horwitz proposed a new artistic language-a kind of experimental choreography, which, through its flexible and abstract nature, can "talk to all the arts." (© the Biennale curators)