Sometimes homelessness is brought on by unexpected circumstances, such as corrupt officials and uncaring diplomats failing their citizens. This problem is compounded when it happens in a foreign country, and you can't speak the language.
This is a personal experience. In 2003, I lived a year in China. I was teaching English, as well as researching human rights abuses, including homelessness. Which later proved ironic, as I became one of China's homeless.
A corrupt immigration police officer claimed my visa had expired, and took my passport from me. This is in violation of international law, but apparently China doesn't subscribe to international conventions. I was told I must pay A$1,000 to get my passport back. I was given 48 hours to get the money, or I would be jailed.
Now there's a funny thing in China. Without a passport, I couldn't get into my hotel room. I couldn't get money out of the bank. I couldn't travel on buses or trains out of the city I was in (Guangzhou).
Oh. And there's nowhere I knew of that I could go to for help. I tried the Australian consulate, but they didn't want to know about it. I was on my own, they said.
I had met with several foreigners, as we called ourselves, from different countries, who had all told me similar things had happened to them. I had also talked to many of the local Chinese homeless. As far as I could determine, there are no real welfare organisations in most parts of China.
Certainly, I had no idea where to go to find help. There was no Red Cross, Salvation Army Wesley Mission, or any of the numerous charity organisations we take for granted in Australia. Once you ae in that sort of predicament, you are more or less on your own.
Luckily, I was only in this predicament for six weeks, before getting out of China into Thailand, then back to Australia (with more help from the US consulate then from the Australian consulate, I might add). But it was still long enough to get a real taste of what it is like to be on the streets in hostile countries.
Now maybe I was wrong. Maybe there are organisations that provide help, but nobody in the country seemed to know for sure. Can anyone tell me if there are welfare organisations in China? If so, where are they, when so many people are looking for them.
More stories by this author after the following important information
CAPE 07 is a 'Cultural Soup Afrique': a multi-venue, multimedia contemporary African art event that aims to challenge artistic conventions, cross socio-economic and geographic divides and offer fresh perspectives on contemporary African art.
Featuring a dynamic programme of exhibitions, discussion sessions and performances, as well as a mobile art school and an innovative 'Soup Afrique' kitchen, it is call to action for cultural practitioners to respond to the unique realities of present-day Africa and redefine African cultural practice.
Architects are being urged to help fight the obesity epidemic in the UK. The Commission for Architecture and the Built Environment is this year promoting measures to improve community mobility around our cities, suburbs, shopping centres and office blocks – so often mere monuments to inactivity and over-consumption. "Far too much housing is built on a cul-de-sac format with a huge great wall around it and one entrance in and out," says Tim Townshend, a Newcastle academic. "It's for motor traffic, with high-speed distributor roads around the edge of the compound.
Usually these places have no local shops or facilities … Children play indoors or they're taken by car to friends' homes, where they play indoors.” Meanwhile, London’s inner-city boroughs are replacing former mining towns as Britain’s sickest areas, according to a report by market intelligence firm CACI. “The serious illness focused on within the report are, to a large extent, caused by lifestyle choices,” claimed Ian Thurman, the firm’s location analysis chief. Photograph: Erwin Wurm, Fat House, 2003. Source: Guardian
Architects are being urged to help fight the obesity epidemic in the UK. The Commission for Architecture and the Built Environment is this year promoting measures to improve community mobility around our cities, suburbs, shopping centres and office blocks – so often mere monuments to inactivity and over-consumption. "Far too much housing is built on a cul-de-sac format with a huge great wall around it and one entrance in and out," says Tim Townshend, a Newcastle academic. "It's for motor traffic, with high-speed distributor roads around the edge of the compound.
Usually these places have no local shops or facilities … Children play indoors or they're taken by car to friends' homes, where they play indoors.” Meanwhile, London’s inner-city boroughs are replacing former mining towns as Britain’s sickest areas, according to a report by market intelligence firm CACI. “The serious illness focused on within the report are, to a large extent, caused by lifestyle choices,” claimed Ian Thurman, the firm’s location analysis chief. Photograph: Erwin Wurm, Fat House, 2003. Source: Guardian
GALLERY twenty-four is now expanding its artist representation program to its Berlin location. Based on the model of its New York program, the gallery will now be providing 1 - 3 year representation in its new Berlin-Mitte location.
The new space, located in the heart of the established Berlin gallery district, will be able to accommodate works from 10 permanent artists. To be considered for this program, artists must demonstrate the ability to consistently produce high quality artwork and provide evidence of sound exhibition and sales history.
ASTO Museum of Art is pleased to announce the opening of L.A. International Art Festival 2007 on February 24, 2007.
The theme of the exhibition this year, which features work by over 115 international artists is 'Simultaneous Multiplicity' and will continue until March 31, 2007. The event is supported by Hanseo University, South Korea. Among the artists included in the exhibition is Cris Orfescu, who presents NanoArt.
Where: ASTO Museum of Art, Long Beach, USA United States of America
The Academy of Arts opened the exhibition “SPACE. Sites for Art” on February 23, 2007. It is the conclusion of an interdisciplinary project that has run for three years. The project began with the “prologue” to the opening of the new building on Pariser Platz and continued with an international symposium and a whole series of events. The central theme of the exhibition is the question of the relationship between space and site in the arts of the 20th and beginning 21st centuries.
This takes up, on the one hand, an artistic problem and, on the other, also the answer of the arts to a global change in our society. Art has become site-less – and not just since the emergence of virtual media. Already since the beginning of the 20th century, the arts increasingly connect depictions of space with an examination of their own site. With the disappearance of the unquestioned hierarchy of societal sites in modernism, art lost not only its commission to represent, but also the foundation of its traditional understanding of itself.
From America
After its headquarters at World Trade Center 7 were destroyed in the attacks of September 11, 2002, the city of New York’s Office of Emergency Management redefined what it needed to accomplish its mission to plan, prepare, and respond to any emergency. Now, with the help of by Swanke Hayden Connell Architects, the municipal department has a state-of-the-art new headquarters located in downtown Brooklyn.
The project to build the new Emergency Operations Center, which was undertaken on behalf of the New York City Department of Design and Construction, involved a re-skin, gut renovation, and addition to a former American Red Cross building. Clad in limestone, zinc, and glass, the building now stands at approximately 65,000 square feet and includes a 100-person emergency operations center, general office space, and a press and conference center. It will also be the first city government agency headquarters in New York to receive a LEED-Silver rating.
The building contains the most advanced technology and features available for OEM's emergency response and planning personnel. In addition to a watch command with several workstations, a citywide warning desk, and nine conference rooms to facilitate interagency training and coordination, OEM’s new headquarters also feature cutting-edge audio- and video-recording capabilities, a 15-foot video wall, and state-of-the-art communications tools. According to Joe Aliotta, the SHCA principal in charge for the project, “The facility is one of the most advanced emergency operations centers in the country.”
It is said that to see the entire Hermitage collection it would take 80 years - one's entire life. That doesn't excuse theft - especially when on a huge scale. Larisa Zavadskaya may not be internationally notorious but more details are emerging about the final years of this middle-aged specialist in enamels at one of the world’s great museums, and the greatest in Russia.
By all appearances a devoted custodian of art for 30 years, she had been the quiet keeper of thousands of artifacts in the museum’s Russian culture department. Anonymous in life—she lived in a communal flat with her family in Saint Petersburg and earned $500 a month—she became notorious after her death last year for her involvement in the ultimate inside job: the theft of 221 treasures from the collection in her care - that's serious
Not up my alley, but for those serious artists be aware that there's an interesting 'Call for Submissions' . Artscape is currently accepting applications for the Gibraltar Point International Artist Residency Program taking place June 1 - 30, 2007 Submission Deadline: February 21, 2007, 4pm EST 2007 Program Dates: June 1 - 30.T
he Gibraltar Point Residency transcends political, aesthetic and geographic boundaries, welcomes diversity and provides a spawning ground for unique cultural alliances. The program is open to international artists who are engaged in the research, development or creation of work. Emerging, mid-career and established professional artists are invited to apply. Participants in the residency program receive accommodation, a private work studio and all meals at no cost. Travel and material costs are the responsibility of participating artists.
The Pinch, the literary journal of the University of Memphis, seeks art to be featured in forthcoming issues. Published twice yearly by U. of M., printed by Hignell, and distributed nationally by Ingram, the journal serves as a forum for both established and emerging writers as well as visual artists.
Included is the award-winning Art on Paper, is the only magazine exclusively dedicated to covering art in the paper medium. Each issue presents a carefully balanced selection of periods (contemporary, modern and old master), with comprehensive, informative, yet readable feature articles and exciting special sections. Art professionals, collectors, and artists read Art on Paper regularly to increase their knowledge and to stay on top of the latest developments in the art world.
In what has been described as a coup for business interests, For five months, Sun Microsystems Inc. owned a life-size painted cutout depicting the co-founders of its rival, Hewlett-Packard Co., the product of a zany, cross-country art project.
Sun snapped up the painting for $6,000 in August after HP refused to buy it for the company lobby, and the piece became a jocular fixture on Sun's Menlo Park campus.
Photos of the men appeared on the Web draped in a Sun T-shirt, posed in front of Sun products, and the piece eventually made its way to the men's alma mater Stanford University after numerous other stops in the San Francisco Bay Area.
But the weary travelers -- actually the likenesses of William Hewlett and David Packard -- appear to have finally found a permanent home: the Tech Museum of Innovation in San Jose.
Sun has donated the Global Positioning System-enabled plywood cutout -- known as H&P and featuring the two men sitting atop the garage where they founded the company almost 70 years ago.
Sun boasted on a company blog that it has "officially consigned H&P to history" and "is happy to have helped two of Silicon Valley's most cherished figures find a suitable and dignified home."
The SMH reports that Mollie Gowing, the widow of Jim Gowing - of the famous retail family - has finally been recognised for her support and acquisition of aboriginal art for the Art Gallery of NSW.
Mollie Gowing's association with the gallery began 40 years ago when she became one of the first volunteer guides. Then she put her hand up to help the curator Deborah Edwards collate a list of all the gallery's Australian works: a laborious task. That done, she asked Edwards what area in the gallery needed the most help.
The indigenous galleries, Edwards replied. In 1992 Mrs Gowing returned, with a broad smile, to say her accountant had told her she might have some money to spare.
The result was the Mollie Gowing Acquisition Fund which gives on average $50,000 annually primarily for the acquisition of indigenous art.
In an astounding event for the antique art world Christie's International's five-day Hong Kong auctions of 2,502 ceramics, paintings and gems fetched about $210 million, led by the dealer Robert Chang's sale of an imperial Qing Dynasty bowl.
Chang's bowl, which bears the mark of Emperor Qianlong (1736- 1795), sold for HK$151.3 million ($19.5 million), the highest price for a Qing ceramic. Alice Cheng, Chang's sister and a rival collector who advises the Chinese Communist Party government, bought the bowl. Xu Beihong's 1924 "Slave and Lion'' sold for HK$53.9 million, the most for a Chinese oil painting.
Apparently, if you bought some paintings or antiques 20 to 30 years ago, the return today can be 100 times what you invested,'' says the influencial Joseph Lau, executive director of Chinese Estates Holdings Ltd. Indeed, earlier this month, Lau paid HK$17.4 million for Andy Warhol's "Mao,'' a record.
Ten works by Danish art legend Asger Jorn are making their appearance at a Copenhagen gallery more than 35 years after he put the final touches on them
Whilst the appearance of a single new Asger Jorn work is a sensation., the return of a total of ten works by the Danish master to Copenhagen can only be described as a miracle.
Jorn worked with the décollage art form, which translates iterally as 'take-off' or 'to become unstuck', in the early 1970s - long before it became fashionable. The technique is basically the opposite of collage. Instead of an image being built up from parts of existing images, it is created by cutting and tearing away pieces of an original image.
Gallery owner Anette Birch explained that the ten décollage works, 'Le Miracle', are part of a batch of 18 that Jorn produced in 1971.
There is still no indication as to how or why these works have been missing for such a long time.
A leading Sydney artist, James Gleeson, is set to pledge $16 million to the Art Gallery of New South Wales in the largest individual fund ever established for the gallery.
In the first stage of the endowment, the painter, now in his 90s, is providing $6 million to buy works of Australian art for the gallery's collection.
Gallery director Edmund Capon says he is thrilled to have the donation from such a highly respected artist.
"Here you have an artist living and working in Sydney, and is creating a very, very substantial endowment for the gallery," he said.
"I think [it] is an absolute declaration of belief and commitment by a peer of the Art Gallery of New South Wales and its present status and its future status."
A leading Sydney artist, James Gleeson, is set to pledge $16 million to the Art Gallery of New South Wales in the largest individual fund ever established for the gallery.
In the first stage of the endowment, the painter, now in his 90s, is providing $6 million to buy works of Australian art for the gallery's collection.
Gallery director Edmund Capon says he is thrilled to have the donation from such a highly respected artist.
"Here you have an artist living and working in Sydney, and is creating a very, very substantial endowment for the gallery," he said.
"I think [it] is an absolute declaration of belief and commitment by a peer of the Art Gallery of New South Wales and its present status and its future status."
I know this is totally outside the scope of this blog but I just wanted to acknowledge what a great guy Steve Irwin, aka the Croc Hunter, was. For those who haven't already heard the sad news Steve was killed yesterday filming an upcoming movie when he was pierced through the heart by the barb of a giant stingray.
Primarily I will remember Steve Irwin as an incredible nature conservationist. His love and passion for the natural environment was unparalleled, absolutely first rate. He showed the public that crocodiles, snakes and other 'dangerous' animals were not to be feared but ought to be admired and respected.
Secondly, as an ambassador for Australia overseas Irwin did a first rate job. A favourite on the talk show circuit Irwin raised Australia's profile in the US and cannot be overestimated as a tourist magnet. He was always pasionate, friedly, enthusiastic, honest and candid, exemplifying the best of the Australian character.
Thirdly, as a great bloke and dad. No matter how famous Steve got, and he was pretty damn famous, he never forgot his roots or his family. At Australia Zoo in Queensland, the Irwin family zoo, Steve could often be found doing the unglamorous work alongside the park's employees. And as a father to his two kids Steve was tremendous, a hero in their eyes as much as he was a legend in the eyes of the Australian public and for that matter a beloved and unique character the world over.
Many Westerns feature lawmen doing their duty, but in Joseph A. West’s Shootout at Picture Rock, Deputy U.S. Marshal John Kilcoyn has a very personal interest in bringing the outlaws to justice. The woman he loves, Angela Wilson, and her father, Dr. Alan Wilson, have been kidnapped by Jake Pride, a former lawman gone bad who Kilcoyn put in prison. Pride demands $10,000 in ransom money. Operating out of Dodge City, Kilcoyn teams with Ford County Sheriff Bat Masterson and a young photographer, Barry O'Neil, to embark on a dangerous mission that includes confrontations with hostile Indians, outlaws, and gunmen. The money in Kilcoyn’s saddlebags proves an irresistible attraction to those who would kill or risk getting killed to get their hands on that $10,000.
West has an excellent eye for detail, and with the story taking place mostly in the face of bone-chilling snowstorm and blizzard conditions, the environment could be said to be an important character in the book. In almost every chapter Kilcoyn has a deadly encounter, and as the bodies mount up, the marshal also has to deal with his own private demons. The involvement of Cheyenne and Sioux in the story is less convincing than the dangers presented by Pride and gunman Frank Ivers. One wonders if Indians would really be suicidal in pursuit of a man who killed one of their own in a fair fight. Also, since the final confrontation takes place at Horse Thief Canyon, the title of the book seems misplaced. That said, West provides a fast-paced story that will compel readers to read just one more chapter before taking a break, and maybe just one or two more after that.
I've been reading westerns recently. Ithought I'd throw a couple of reviews your way. In this novel Toby Ryker is an aging mountain man who’s never forgotten or forgiven the men who slaughtered his Indian wife and child. When by chance he sees the last living perpetrator of the tragedy, he shoots him, but because the man’s small daughter is witness, gives up his vengeance and leaves the man alive. Toby, a devil-may-care man’s man, (with a soft spot for children) goes on his way, whoring and instigating fights just for fun in saloons on the way to Laramie, Wyoming to visit his old friend, David Stewart. He’s unaware the shooting has brought ruthless bounty hunter John McQuiston down on his trail. To make matters worse, Toby’s heart is about to give out on him. He wants one more elk hunt with David before he dies. They head into the mountains, ignorant of the fact that McQuiston is following, with McQuiston followed in his turn by Sheriff Jesse O’Brian. Turns out the bounty hunter, in his drive to capture Ryker, has murdered an innocent cowhand who got in his way. In a finale that involves catsup—yes, catsup—the reader is being led into a sequel. Full of graphic, comic turns of phrase, this man’s novel is sure to please.