Monday, January 27, 2014

Borough and Tate: London Markets (Part 2)

The guidebook said that Borough Market is known as the foodie market, so naturally, I made my way down there, with the idea of walking along the Thames and going to the Tate Modern afterwards. While there, I realized that a lot of people went to the market to eat. Sure there were vegetables and meat, but there were also a lot of stalls that made food. I did have a bite at one of the Turkish stalls, but there aren't any shots of the sandwiches and things that were also available. The following day, I came back and ate at an Indian food stall (£6 for two items and rice), had a delicious brownie (£2) and a mulled wine (£3.50). Definitely a market to visit if you like food. And if you like the community and street life of markets. 

Borough Market with the Shard in the background. 
The market is in the shadow of Southwark Cathedral.
Similar to how the markets in Taiwan are usually by a temple. 
Fresh eggs. 

Nice farmer's stall. I bought some figs. 

Love these kinds of tomatoes. In Venice, I was told that they were for cooking. No idea they were called "Cow's Heart".  And jeez, they're expensive. 

Turkish Delight in all manners of flavors. And I thought Asia had invented gummy candy. 

I was really wired after Turkish Delight and Turkish Coffee. 

They apparently do hunt pheasants in England. 

These pies actually look really good. 
I'll have to ask someone just what is a banger boy.  

A nice walk along the Thames with St. Paul's in the distance.
Tate Modern - it's FREE!!!! 
Surrealist exhibit visited by the ghost of Magritte. 

I was really struck by the perfection of this piece by Meredith Frampton. In the corner (not sure if you can see it), there's a crack on the wall. See below. 

Self-portrait on a detail of Meredith Frampton's painting. 

Christian Schad painting. Amazing portrait of jealousy. The woman has a cut on her face. 

Detail of another painting by Meredith Frampton. So gorgeous. 

Another incredible painting by Christian Schad of two people from a sideshow. Love the directness of their gaze. 

Soviet propaganda posters. 
I found myself in a room with several large pieces of grey glass leaning against the wall. It was a piece by Gehardt Richter so I amused myself by making Gerhardt Richter-ish portraits:





There was also an exhibit of photographs by Harry Callahan. I loved the double exposures and thought it would be interesting to superimpose my reflection on the double exposures. Sort of like a triple exposure.




Wednesday, January 22, 2014

Cavorting in Camden: London Markets (Part 1)

Being a Taiwanese girl, I naturally make a beeline to outdoor markets wherever I go. In London, I've hit three of the major outdoor markets so far. Took me until the second market for me to realize that it really is like Taiwan here: if you want to eat cheaply and well, skip the restaurants and head to a market. I'm staying in the West End so the first market I hit was Camden.

This is what you see after you exit the tube and make a right. I was disappointed at the chintz. 

Reminded me of that cheap tee-shirt area next to Tower Records. Or St. Marks Place. 

But I kept going, hoping to find something a little more interesting.
Lots ofshops had creative exteriors. 
After five minutes, I found myself on a little bridge over a
waterway. In the distance was this sign. 

To the right are kiosks of cheap fried food, which you can eat on motorbikes overlooking
the lock. It was kind of eh, so I crossed the street and went to the other side.  

This side was much more interesting. There were all these interesting little restaurants. 
The west side of Camden Lock. 

Duck confit for £6?! I wish I hadn't eaten already. 

Any place with a nice second-hand bookstore must be the place. 

Londoners getting their food on in Camden. 

I remembered this ice cream shop from the guidebook. 

See those grey urns behind that guy? That's liquid nitrogen, used
to instantly freeze the the ingredients.

Then they whisk the frozen concoction and turn it into ice-cream. 
Caramel white chocolate ice cream with pistachio and fleur de sel. Incredible. 

All the clothing at Camden seemed pretty cheesy but then I found The Arc. Well-made retro clothing and some vintage pieces. There was a sale rack of jackets for £5.  Also one of those paintings of the green Asian lady. Remember how ubiquitous this painting was?  Who was this woman???

I kept going and found myself in an old stables yard that had been turned
into a marketplace. This really reminded me of  Taiwan. Same chintzy clothing
and carnival atmosphere. It's probably full of teenagers on the weekend.  
Odd but interesting gazebos to eat under. 

Mixed in with all the cheap stalls, there were a few shops with genuine pieces.
Like this place, run by an Italian guy from Bologna.

I resisted a gorgeous merino wool cape for £50 but caved in on a 1940s hat for £20.
The stables yard had all these statues of horses. 

More horse sculptures and two shops of slightly chintzy retro clothing. 

Monday, September 23, 2013

Finding My Way Back to Dreamland 2

I had the weirdest dream after seeing a play last night. I think it's because I haven't seen a play in nearly a year. Yes, strange for a culture junkie like me, but after so many years of giving my sweat, tears, and blood and getting so little in return, I just began to feel like I was in some kind of sick abusive relationship and had to take a break. In my head I was writing a letter that went:
Dear Theater,  
I've loved you since I was five years old but I think it's time I face the fact that our relationship is largely unrequited. I know that you have a lot of other lovers and I've always tried to be open about our relationship. For a long time, it didn't matter to me as long as we were together, but frankly, I'm sick of being so neglected. Things just aren't the same between us anymore and I think we need to take a break. Especially since there seems to be something nice developing between me and your brother, Film. 
The fallout with theater has been going on for a while. Last year, I broke my record for least amount of support: I didn't get a single yes for any of the grants, residencies, or programs that I applied for. And I was already terribly burned out by doggedly trying to continue producing things despite the worst case of poverty I've endured my whole life, being evicted from my apartment, and the crashing end of a ten-year relationship. I pondered what Robert Patrick once said to me about quitting theater when it stopped being fun, which I used to think was so very sad, but finding myself at a new wrist-cutting low in stamina and self-esteem, I basically thought at the beginning of this year, Screw this elitist shit.

I did attempt to attend a sold-out reading; salt was added to my wounds when I was turned away despite knowing half a dozen people involved in it. And I went to one promenade theater piece that was eh. And somehow despite thinking I would take a break, I ended up working on three full productions this year. But last night was the first night that felt like I was stepping back into my old relationship with theater.

I was lured into going to a reading by Nancy Robillard, who directed a staged reading of SINCE AFRICA by Mia McCullough at Take Two, the double bill of theater and film that I produced for five years. She was directing another staged reading of the play for Red Fern with pretty much the same cast, plus Mia (who lives in Chicago) was in New York City. So I went with a bit of trepidation, but it was a really good reading and I said hello to everyone and was pleased that I had introduced Nancy to this brilliant play and it was getting another go-around in New York City.

Then this morning, I woke up remembering a vivid dream. Haven't had one since the last time I wrote about (not) dreaming.
I was in the basement of Theater for the New City, the way it looked back in the 1980s when I was a teenager and lived down there. I sat down and my cat, Isis Crisis, jumped into my lap. She looked emaciated and her white fur was matted and dull. I was rather aghast - not because she was DEAD - but because I realized that I had left her down in the basement 15 years ago and forgotten to feed her. I ran outside to buy some cat food and then went back down to the basement, but now I couldn't find her although I called and called. 
I woke up and couldn't get back to sleep,  still rather mortified that I had forgotten to feed Isis when I loved her so much. Turning the dream around fretfully in my mind, I fell back asleep and had an even weirder dream.
There was a huge escalator with hundreds of people slowly going down in a neat orderly line. Next to the escalator was a giant wavy slide that looked much more exciting. So I elected to go down on the slide, which at first was really fun. I laughed and threw my hands up in the air. But then the slide became a tunnel that narrowed to the point where I began to feel uncomfortably claustrophobic. A recorded voice informed me that I was in a tube going to an area where I would either be baked in a pie or deboned. I suddenly remembered that I had been here before and had somehow managed to get myself out. Two buttons appeared in front of me. One said PIE; the other said DEBONING. I remembered that the last time, I had pressed PIE and belatedly realized that the buttons were mislabeled when I was attacked with a set of knives. I had to kick and scream to get out of the machine - though I was hazy on all the details on how I had managed to survive. This time, I carefully managed to choose PIE. A big pie pan appeared that said LAY HERE with a picture of someone curled up like they were in Child Pose in yoga. I obeyed, wondering if I could stand being baked for an hour in a pie and how on earth I was going to escape.  
Apparently according to my subconscious, which seems to have a weird sense of humor, the fate of an artist is to be deboned or served in a pie. But now I'm forgetting to feed the kitty in the basement. Guess I better crack open a nice can of tuna...

Saturday, August 24, 2013

The Asian-American Blues

So a few months ago, I applied to the Asian Film Academy (AFA), whose stated aim on their website is "to foster emerging filmmakers and establish Asian filmmaker's network." Stupid me for thinking that I'm an Asian filmmaker. This was their response:
I regret to inform you that it is not possible for you to apply for AFA because we can accept applications from those who have Asian or dual nationality only.
As a result of considering your application form, it seems to be that you are born in the USA and you only belong to the United States.   
So I'm not Asian enough for this program since I was born in the United States. But then again, I'm not American enough to be part of mainstream America either.

I responded by stating that my parents are Taiwanese, so I'm Asian even if I was born in America. They asked what nationality I had based on my passport. This was what I wrote, which was met with silence.
I have a US passport. But it seems that I have Taiwanese nationality, according to Taiwan's government website. You can scroll down on the page to see that it says: 
A person shall have the nationality of the Republic  of China under any of the conditions provided by the  following subparagraphs:
1.His/Her father or mother was a national of the Republic of China when he/she was born.
Both my parents were ROC citizens when I was born. My mother is still an ROC citizen - her English is too poor to take a US citizenship test. I've thought about applying for citizenship in Taiwan, just never done it since I've lived and worked in NYC my whole life. 

And I think it's terribly wrong that Asian-Americans aren't considered Asian. We struggle to belong anywhere, it seems.
It rankled that I had to prove my Asian-ness and I guess it's been part of the pile-up of discouragement that I've been feeling. I'm finally back to applying to a few things now and I just pulled up this application to copy some verbiage, but it got my blood boiling again.

I mean it just blows that Asian-Americans can't apply for programs in Asia and we are also limited in the support we get in America. Like instead of being both Asian and American, which is what I consider myself, we are actually neither Asian nor American.

Talk about rejection on top of rejection on top of rejection.

Thursday, August 1, 2013

Tompkins Square Park, 25 Years Ago

On the night of the 2003 blackout, I was sitting in Tompkins Square Park with my then boyfriend, enjoying the festivities that always spontaneously erupt during any emergency in New York City. We were in the old bandshell area, saying hello to people and enjoying the nice campfire glow from several garbage cans that had been set on fire. Several shirtless 20-something guys were dancing around one of the garbage fires, whooping like happy monkeys liberated from the zoo. A policeman finally ambled by and told them that he had to douse the fire. “Awww!” whined the kids and then they all began pleading, “Not now! Not now!”

My boyfriend and I burst out laughing, both of us flashing back to 1988, when the kids in the park would have been shouting, “Pigs out of the park! Who’s fucking park? OUR fucking park!” Where did all that anger, all that conviction, that sense of ownership, go? In the new New York, the puerile cry is, “Not now, dad! We’re having too much fun!“


Police Riot by Erik Drooker
It’s been 25 years since East Village residents stood up against 400 policemen in a heroic last stand against gentrification in the neighborhood.

The neighborhood was completely different then. Picture being constantly accosted by drug dealers on the corner. "Sense? Sense?" they would say. Or the names of various heroin brands, "Presidential? Poison?" Lines of scruffy people scratching their faces snaked out of bodegas that had nothing but a few dusty Goya cans in the window. Every so often you'd see some cops making a sweep of arrests, but most of the time, drug dealing went on right out in the open. Many buildings were hulking burned-out shells. Whole blocks were comprised of crumbled heaps of rubble.

It was like the Wild West, completely beyond the law. There were no regulations about anything. Depending on who you are, this could be really nerve-wracking or incredibly liberating. Shoot outs happened on the streets, drugs were sold openly, a thieves market flourished on St. Marks Place. But you could also do a show in the bandshell anytime you wanted. Or walk down the street in nothing but your skivvies and glitter in your hair. Or turn that empty store into a performance space. And you could live pretty decently on $800 a month. Which is why the neighborhood became a magnet for artists and radical thinkers from everywhere in the world.

So when white flight began to reverse itself, the first place people made a beeline toward was the East Village. In 1986, the Christadora House was converted into the first luxury condominium with a doorman in the neighborhood. Situated on the poorer side of Tompkins Square Park, it had formerly been a community center and settlement house, so it became a target of a lot of hostility and a symbol of gentrification. You just couldn't help but notice how the upper-middle class people who had started moving in were scared by the homeless people in the park and the lawlessness in the neighborhood. And they had the money and clout to do something about it. By 1988, there were enough of them to pressure the Community Board to shut down the park.

Then as now, Tompkins Square Park is the heart and soul of the neighborhood. Sure, there were plenty of problems with the park in the 1980s, but it wasn't just a destitute wasteland that no one in their right mind would enter. It was just poor, full of Latino kids from the nearby projects, and homeless people, who had erected a camp on the southeastern end. I remember lazy warm nights sitting on tire swings in the Avenue B playground with my high school friends, dancing with old Latino guys to the rhythm of conga players, performing in the bandshell to hundreds of spectators including families with kids. So when a sign appeared in Tompkins Square Park that police would be enforcing a 1AM curfew, many people were outraged, viewing it as a takeover by the wealthier people in the neighborhood and a trick to evict the homeless people. On July 30, the police announced on megaphones that they were closing the park and clashed with people who refused to leave. Incensed, neighborhood activists planned a bigger and more organized protest the following Saturday, August 6.

The evening began with a few hundred people marching around the park carrying banners that read GENTRIFICATION IS CLASS WAR and chanting, “Who’s fucking park? OUR fucking park!” About a hundred policemen were stationed in the park, about a dozen of them mounted on horses. Someone started setting off M80 firecrackers, but despite all the expletives and explosions, it was actually pretty tame. Videos made by Paul Garrin and Clayton Patterson, however, reveal that many of the police officers already weren’t wearing badges or had taped them over. They were apparently prepped for a brawl.

At 12:30, when it began to get close to the curfew, police tried to shut the park down and things began to get heated. Bottles were thrown and someone was arrested. Then at 1AM, the mounted policemen suddenly charged at the crowd. The commissioner called for reinforcements and their arrival added to the pandemonium. The police indiscriminately began beating people up, whether they were protesting or just simply passing by. “Move along, black nigger bitch,” a policeman said as they pounced on Tisha Pryors and her friend, Downtown reporter Dean Kuipers.  “I’m going to crack open your skull,” a policeman waving a nightstick shouted at media activist Paul Garrin, who continued to videotape as they grabbed him and threw him against a wall. A hundred people ended up in the hospital in skirmishes that persisted until 6AM, but the police were unable to close down the park.

Within the next week, over a hundred of complaints of police brutality were logged. “The police panicked and were beating up bystanders who had done nothing wrong and were just observing,'' stated Allen Ginsburg in The New York Times. The ranking police chief was later and the precinct captain was temporarily relieved of his post. The incident is called the Tompkins Square Park riot, but it's important to remember that it was the police who rioted. They were so out of hand that they radicalized a whole bunch of people who had never considered themselves particularly political.

Photo from Tompkins Square Park before the police rioted. By Q. Sakamaki from
his fantastic photo book on the riot published by PowerHouse Books. 

I wasn't there that night. I had spent the afternoon performing on 10th Street at the first show for Theater for the New City's summer street theater, which that year was about an evicted family squatting a Coney Island funhouse. We all went to get a drink at Bandito's on Second Avenue afterwards so I was about three blocks from the melee and missed it. Though I do remember seeing people running past and wondering what was happening. After hearing about the incident in the park from various people, I turned up at 7A Cafe the next night to see what was going on.

The place was packed and it seemed just like any other night. No one seemed to pay attention to the television on the corner of the bar but when an anchorperson began talking about Tompkins Square Park, the bartender turned off the music and amped up the volume. In a flash, the entire restaurant stopped talking and stood up, watching the news report in silence. It was one of the most beautiful moments of solidarity I've ever witnessed. We were all in it together – it was our park, our neighborhood at stake. When Mayor Koch announced that he was reversing the curfew, we cheered and hugged each other. Then the bartender turned the music back on and we went back to dinner. Life went on as usual. For a few more years.

In 1991, the cops descended on the park once more and this time, they were able to close it down. Maybe everyone happened to be out of town for Memorial Day. Maybe the energy of the neighborhood was all spent by then. Maybe the gentrification that had begun in the mid-1980s had already cemented into a resinous gloss of triviality and conformism. When the park re-opened a year later, the bandshell had been removed and there was a volleyball net in its place. Which always seems to me to be some weird irony. Gone was the opportunity for ad-hoc theater and music events in the park. But we can all play volleyball! Spontaneous raucous events in the East Village did persist for a few more years – people continued to crawl through the fence for late night parties at Dry Dock Pool and meander across to the East River on Sunday nights for salsa dancing and illegal gambling – but the closing of the park was like the taming of the West. A vital part of the East Village spirit of resistance died.

This coming week, several events will commemorate the 25th Anniversary of the riot in Tompkins Square Park.  Those of you who weren't there can get a rare glimpse of the good old bad old days. And those of us who were there can look back on that summer 25 years ago when Tompkins Square Park was still our fucking park. 


Event Listings:

  • The Museum of Reclaimed Urban Space (MorUs) is sponsoring a film festival in their space and several in several gardens. Filmmakers will be in attendance, some of these films are real gems. 
  • facebook page of all the events - the panel discussion at Theater 80 on August 6th will be interesting, especially with a slideshow of War in the Neighborhood, the great graphic novel by Seth Tobocman. 


Videos of the Tompkins Square Park police riot:


Articles on Tompkins Square Park police riot: