stagnanTVowels

basically this in a bowl Shin-Yokohama Raumen Museum or the Ramen Museum: The "Shin-Yokohama Raumen Museum" is a unique museum about ramen. In a gallery on the first floor, the museum presents the history of ramen in Japan, including the big success of instant ramen. It displays the variety of noodles, soups, toppings and bowls used across Japan, and shows how the noodles are made. On the two basement floors, visitors can explore a 1:1 replica of some streets and houses of Shitamachi, the old town of Tokyo, of around the year 1958, when the popularity of ramen was rapidly increasing. Nine ramen restaurants can be found there, each featuring a ramen dish from a different region of Japan. For visitors who wish to try multiple ramen dishes, the restaurants offer "mini ramen" small portions. Tickets for the meals are purchased at vending machines in front of each restaurant before entering. So now for this message , a link to join together similar concepts (Fibe

His Name Is Not Kimsy Dogmatic, what is a Dogmatic? Dogmatic opened in 1997. Its first show was, His Name Is Not Kimsy. 1822 S Desplaines is a mixed use residential building located in Chicago’s Pilsen neighborhood. The building houses between 2 and 5 occupants at any time. In addition to the exhibition area its residents also have ample living, studio and shared workshop space on site. Dogmatic was founded by four artists, Paul Chan, Aviv Kruglanski, Andrew Natale and Michael S. Thomas, the current director. The gallery's name has nothing to do with dogs. Siebren Versteeg, our web designer is responsible for the anthropomorphism of the gallery’s name. Dogmatic shows it all however site specific work is what the space is best known for. Dogmatic is a platform that artists, writers, and musicians are encouraged to make use of. We maintain that it is crucial that artists remain unedited and that the public not be ridiculed in order to reach a mutually beneficial understand

Here is a sad moment... Characterized by an iterative structure and favoring modulating events to idol speculation, Meg Duguid and Catie Olson’s program navigated a space wherein process was investigated as an experiential device. At its core, Serious Laughter employed humor and absurdity as mediums with which contemporary aesthetic could be analyzed and its fraying bits snipped at the pleasure of a passerby’s joke. In their words this was, “based on a weird tracking of subject and object within a fictional world of serious laughter.” This could have meant most anything, but it didn’t. It’s in fact a lovingly crafted piece of language that provides a specific literal introduction to a body of work whose feet existed in two streams of poetic distinction, with its patina of thrift and casual craft on one side and its postulations of action and experience on the other. This bit of doggerel, of tag line is in fact a very clever indication of the viewers “subjective” experience, much

Just watched the new video, jarring isn't really the word I want. However disorienting is close, with hints of haunting. As it stands, four disparate elements are converging in the piece, the Narrator, the Toast, the Cat, and the Sound Track. The Cat and the Toast are the true subjects which the Narrator is compelling the viewer to insert a mutually defined context for. Visually, the Cat and the Toast are the dialogue, in a mannered call and response structure, not unlike a Greek choir or even gospel music. This dialogue is an abbreviated syncopation, a symbolic texture at counter point to the lilting strands of orchestral melody provided in the soundtracks sweet lament. The Narrator is a non entity, a mere tool, a Charlie Brown cypher used to fashion the appropriate distance between the Cat and the Toast. The Narrator, this set of hands that moves like the Cat with persistence, and unlike the Toast, unhindered by the brevity of looking. These hands are manipulative. They effec

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