Colonial Surfer - STNC is a project about the contemporary globalized world and power structures within the surf industry and its realm. Surfing is not just a sport but also culture, producer and distributor. In current discussions you hear about the post-colonial but the situation today is better described as neo-colonial. Surfers do travel a lot and sometimes to places unknown to other tourists. The way surfers behave and represent themselves in the adventures search of perfect waves has a lot in common with ancient colonizers and their roles. To surf maintain and conserve already existing structures. History.

Editor: Kristoffer Svenberg

Thursday, October 24, 2019

The Rising Seas Wetsuit


Our coastlines are under siege from the impacts of pollution, ocean acidification, climate change and fossil fuels. Rising sea levels and increasingly powerful storms have had a devastating effect on our shorelines and are putting our beaches and local surf spots at risk.
With these harsh environmental realities in mind, we’ve teamed up with the Surfrider Foundation to create a wetsuit that addresses these threats head on. Designed with insights from their leading environmental scientists and studies, we are proud to introduce the revolutionary Vissla Rising Seas wetsuit.
The Rising Seas wetsuit features our most advanced technical attributes that meet our The intention: to protect and inform surfers of the presence of harmful bacteria, viruses, algae blooms, oil spills and high levels of run-off pollution in the water that might affect the outcome of their surf session."


A wetsuit we never want to make a reality...

Monday, September 30, 2019


SCREENSHOT. Actual wallpaper pic on the Christian surf organization Walking on Waters site in 2008. I’m asking: What about representation? The world belongs to? Walking on water were a missionary organization from 1995-2018.

Monday, September 9, 2019

My position does not differ

I find myself operating through a white European gaze that is intended to get criticized and discussed in the project. This is partly through how I document my surroundings with camera, photography, and video. My gaze and perspective are inherited and constructed through experience and underlying structural history. I place myself in situations that, in problematic ways, produce, or make visible, some of these blameworthy hierarchical cultural structures.

In some ways, my position does not differ much in this project from roles that anthropologists historically have got a lot of targeted criticism for. But I bind and tie myself up, suspend myself, regarding representational issues. I view and consider the surfer, the gaze of the surfer and a context through myself acting in a performance. No matter how I turn this in context, I do this from an outside perspective, but at the same time, especially from what I represent, from the inside. I'm not an active Christian at all, but from a global perspective, regarding representation, I am. But is Christian religion the crucial point of departure in this work? I have chosen research material out of my own representation and role. 

We all live our lives in contexts made up of different ideologies. If we don´t agree on that, it shows nothing but that we are unable to see. The ideologies that affect us most are those we take so much for granted, that we cannot read or reveal them ourselves. We have no tools or possibilities to defend ourselves against those ideologies.

Thursday, August 29, 2019

SECULAR SURFACE - Surfing The Nations / TEXT

In 1936, Walter Benjamin wrote the classic and often referenced text The Work of Art in the Age of Mechanical Reproduction. Boris Groys has more recent written Religion in the age of digital reproduction (2009).
The philosopher and the artist Groys writes, among other things, that religion and conspiracy theories are two things that really benefit from the Internet and the network community. He believes that the spread and rise of these have increased significantly with our digitized era. Religion is facing a renaissance through digital social media. New forms of religion and religiosity are being developed.

The Internet in its structure benefits private, unconditional and sovereign freedom before scientific, conditional, institutional freedom, or sharing of legitimized viewpoints and perspectives. It is the unconditional and not proven information that can more easily and without resistance spread through the Internet. I also want to point out that this goes on in the market-liberal economy. It is information that in a superficial way fits easier within different situations, this is because it’s not regulated and therefore becomes more fast-formulated. It becomes competitive in spite of its major shortcomings, and Groys’ declares it as survival of the fittest in accordance with a Darwinist perspective. It finds favorable positions, diversity of positions, precisely through how it is not anchored and thus can move unlimitedly. 


During the prayer meeting, I placed a camera next to me and pressed the record button. It captures sound while standing and filming sneakily. Some minutes later, we do a prayer in which we pray for getting blessed with photographs and video material that will spread our message.


The reason for my work as a missionary for Surfing The Nations is that I see it as a performance work part of my art practice. There is nobody in place who knows about my intentions. My role could possibly be described in other ways than an artist. I'm there as a surfer. I'm there as a missionary. I'm there as an anthropologist. I'm there as a tourist. I'm there as a journalist. At the same time, none of these roles are true.


When I’m leaving the church and the area I feel a bit bestial. I write bestial (a beast) here with a link to how artists work with a context in real life, and then symbolically cannibalize on it to talk about something else. It’s a consumption of meaning, consumption of the environment and the people in order to be used as a representation. A violence that is close to hand within photographic and recording techniques. During our fairly personal conversation, I had placed a sound recorder switched on in a textile bag. Did I lie to this priest, I ask myself then? The priest who even may have baptized me at exactly on this spot in Onsala.

Honesty is honored within Christianity. You shall be true to yourself and you must be true to God. Within surf culture, it is important to be genuine and authentic. You are supposed to do things for real. Otherwise, you're just a poser.



Monday, August 19, 2019

Surf-DNA & bloodlines in Gagosian gallery. Why?

Why is one of the largest and fancier galleries in the world doing an exhibition on a surf family?

Why is Gagosian doing an exhibition with #fletcherDNA as the hashtag and the overall title: The Fletcher Family – A Lifetime in Surf? The exhibition is on Madison Avenue in New York. Vice Magazine has been writing this about the skateboarder Greyson Fletcher who is the youngest guy in the family: ”Greyson is more than just a skater, he´s the fourth generation of a bloodline that has produced some of the most influential surfers ever. ” I´m questioning. What does this have to do with art at all? Is this art?; Four generations of great surfers in a family.

When I saw the surf film Last Name First from 2010, I got into similar thoughts on how being a great surfer is rather about situation, circumstances, environment, and privileges than about the DNA and bloodlines. Last Name First is a surf-film only featuring professional surfers who are brothers. I don’t believe that some people are natural-born surfers. And to do an art-exhibition with that as a score focusing on family and #fletcherDNA is something I find strange, conservative & also very problematic. As well it is superficial and lacks criticality.

You need to be in a situation that allows you to spend a lot of time surfing waves instead of doing other things to become a professional surfer. I dare to say that being a surfer is a matter of class. And I would say that the surf scene is taking place in similar upper-class environments like golf, sailing, and art.

You can make art out of surfing as a subject or material. You can do art out of any material and subject, but to be a great surfer is about being a great surfer. To say that it´s the same thing as being a great artist is naive.

The practice of the artist . . . is no different than that of the surfer, who inscribes his or her self in the ocean—a bigger canvas could not be engaged, defining their humanity in the most personal way, using themselves to draw their lifelines through the massive fleeting freedom of that power. The power and majesty of the sea—Herbie shared that with me and with my family as well as his own.

—Julian Schnabel

Wave surfing is originally a Polynesian sport and tradition with its first historical beginning in Hawaii. It’s being told that Hawaiians themselves mainly described and focused on surfing as an art form integrated into their culture. In addition, some who tell the story says that the first and most surfers were women. When missionaries from Scotland and Germany arrived in Hawaii in 1821, they banned and downplayed a number of Polynesian traditions and cultural practices. This also included wave surfing. The number of active surfers were limited to very few and surfing as an art form was about to completely die out.

Surfing as a cultural phenomenon back then was something different from how it is today. In the contemporary situation surfing is more mainstream, an ideal and something commercial more globally. To say that surfing is automatically art within the contemporary art-scene is conservative.

A Lifetime in surf is a celebration of a book with the same title about the Fletcher family. It is written by Dibi Fletcher, and with no further explanation is Dibi Fletcher being called the matriarch of surfing´s first family by her Husband Herbie and media. Mentioned about the book is also surfing as a counterculture from 1950s until today. How surfing has the possibility of both being viewed upon as counterculture and mainstream culture at the same time is interesting and something of a mystery. No matter how popular surfing is surfers consider themselves alternative and counterculture. I haven't read the book yet but will do soon.

Surfing is great fun and amazing! But it is not art just like that. And it’s not about bloodlines or DNA.

Great surf spots!

1. Green/yellow, Dutch Empire. 2. Red, Portugese Empire.

Monday, September 17, 2018

I < 3 Arak Bali

Bali has not got more expensive for tourists. Bali has got more segregated. Places are getting gentrified and taken over by smoothie bowls (yoga, golf, surfing). And expensive global spirits are replacing the local Arak. The fort-like resorts and gated communities are popping up here and there. The Balinese are still poor. Estimated 85% of the tourism economy in Bali is non-Balinese owned. The parties on cheap Arak were open for everyone (with a few bars and clubs as an exception). The new standard of clubs in Bali with luxury spirits and expensive beer are without the locals and only for the most privileged and rich.

This picture is photographed on the Tolak Reklamasi demonstration in Denpasar 25 August 2018.

Wednesday, September 5, 2018


I work on a project in Arugam Bay, Sri Lanka, that is a distant and exotic place for me. Through the project, I intentionally intend to be in a colonial gaze. At the same time, it’s a gaze that’s already my own. From a global perspective, I already represent the role I now consider myself to play.

I'm in a role as a missionary in an American Christian surf organization. I do this as an art performance. Nobody on site knows that I see my participation as something related to my art practice. I perform a role in a group that I'm critical of. I'm carrying a camera with me and I am photographing a lot. The others in the group do also carry around cameras. Many photographs and video clips are being shot in an environment that is very exotic to us. A difference is that I am primarily interested in targeting ourselves. When days and weeks pass, the situation becomes more known to me. At the same time, I probably exoticize and generalize the missionary role in an unfair manner. And maybe I also over-identify me with the research subject. I make a series of overthrows and break the rules in ways that are more and less typical of anthropologists throughout history.

After being away for 2 months and 2 weeks, I've returned home to the Swedish summer via airplanes, airports and airport buses. I'm in Mälarhöjden where I live in a collective with friends. We share a garden villa in a neighborhood with a lot of quite old but very nice villas. My room is still occupied since I've hired it temporarily to an exchange student. I do now make the living room into my sleeping area. I´m laying down on a pile of mattresses that really are too soft in combination with each other. I'm so tired that I don't make an effort to separate them.

The days are very hot in Arugam Bay. The place is located on the southeastern side of the island of Sri Lanka. Strong sunlight is shining through the window. We are as missionaries visiting a welcoming Sri Lankan family.

As I look around, I wonder how the picture on the wall looks so familiar. There is something with the color scale. The various shades of green that are broken up by some reddish and brown. A bookshelf is placed in the spartan-decorated room. It's very similar to a shelf in our collective in Sweden. And just as it stands. I'm getting a nice curious smile on my lips when I see that it also contains the book The Aesthetics of Resistance by Peter Weiss. On the wall is a Mona Lisa poster mounted on a wooden board. The same as we have in our collective in Mälarhöjden! It's also worn in an almost identical way. The feeling in the body is overwhelming. I'm rising up out of the several layers of mattresses. I reach for the camera to start photographing the room. I focus, and when I press the shutter button, the perspective changes.

Bali - indonesia "All We Do is Surf"

War is over - Obey

Bali - Indonesia "War is over - Obey"

Sunday, September 2, 2018

Tolak Reklamasi - Denpasar Bali 25 August 2018 - For Bali

The Balinese Tolak Reklamasi movement is protesting the exploitation of Bali by huge international companies. They are not completely against all tourism or a group that only thinks The Balinese or Hindus is the right. There are people from other areas and other religious views supporting and participating in Tolak Reklamasi (Reject the reclamation). It is a people´s movement. The main goal is to stop The Benoa Bay exploitation. Reject the reclamation of The Benoa Bay.

There is now a plan for a 3 billion dollar tourism project in The Benoa Bay area. That is about building artificial islands with resorts for rich people. This will also include huge harbors for cruising ships. This reclamation will destroy a natural area of mangrove trees and has far worse environment causes in Bali overall.

There have been fishermen in a more smaller scale harbor in this area. They have been refusing to move from there. Then the stories about this are different depending on whom you talk to. But what is for sure is that some days ago around 40 ships got burnt in a fire disaster. And this is right in the spot where the building of this mega-tourism complex should go on. In all the media I’ve been reading, internationally, about this fire disaster, the only explanation I get is that Bali has to pour safety for fires and that the boats have been to close to each other in the harbor.

Some locals have other versions. One version is that people, or the government, with interest in this exploitation project, has burnt the ships. A friend of mine send me the same kind of article as the ones I already read recently about this incident, but with a date from 2017. The causes of the fire that year, as with this year fire, are not solved. Just some thoughts are presented about that it could be about electricity. In 2017 it was only three boats that got on fire thanks to helping from 15 fire engines and two boats deployed to the scene. In 2018 the fire was more massive and it went extremely fast. 40 ships got gulped in the fire this time. It might be an electrical short circuit that caused the fire. But this is widely discussed.

”The negative aspects of unrestricted tourist development have been highlighted by the Bali Tolak Reklamasi movement, including unregulated mining of limestone and coral for hotel and airport construction, coastal erosion, plastic waste, sewage pollution, and water source diversions from the Subak water irrigation system towards areas that no longer have existing water tables.”

”…estimated 85 percent of the tourism economy in Bali is non-Balinese owned, and the tourism industry accounts for 65 percent of Bali’s water consumption.”

Thursday, May 24, 2018

Surfers are queer

The movies, pictures, commercials, and beaches of surfing are full of well-trained male bodies. It's also common with male nude torsos that meet in grabbing arms and encouraging hugs or intimate handshakes. To imagine and view surfing as a homoerotic culture is easy since it's mostly about men who socialize primarily with other men.

It's obvious that contemporary surfing is a sport that is dominated and leads by a larger number of white men. And there are clear differences in how men and women do get represented in pictures. If you do an Internet search for images on the word surfer, and then categorize them, the point is clear.
In the photos of male surfers, which are the most, there is a lot more focus on performance, muscles and the activity. For sure there are also some women heroines in this sport. For example female surfers deep in tubes on large massive waves such as legendary Teahupoo in Tahiti. There are a lot of really great women surfers. But the most of the pictures on girls do rather focus in other ways.

In the surf-films that are produced for inspiration (porn), there are sometimes sequences of women that get cut in during ongoing movie streams of male heroic surfers and their bodies in ongoing activities. A focus on how those women are surfing waves is rare. Instead, it is quite common with images that are filmed in secret from spying perspectives. Images that often are zoom views on girls breast and butts in bikinis. 
And this is an ugly abuse since those girls get filmed when they have no clue that they are getting captured, or know about their upcoming appearance in those films. Images that are edited into the screenplay in such a rude way that you do get to wonder about how things are? What is this really about? Although these images are highly doubtful and wrong to spread further they are in movies sponsored by large multinational surf companies.

- Look at us! We are surfers bonding with other guys, but we are definitely heterosexual men. Don’t think about us as gays. Cause we do have evidence!

Another speaking example in the same line is the far-reaching campaign that has been going on for several years by the shoe and clothing brand reef. In the marketing, they have been sending out large quantities of powerful images on male surfers in spectacular or ideal positions on great waves. In those commercial pics there are edited images of girls next to the men. In those pictures, the surfers names and autographs are written in proud ways. And the women's names are written as well. But the only thing we see of the women is their backside. They don’t even twist their head so we can see their eyes or faces. Present in the images is their butts. Pictures of fit shaped naked asses. Alongside with the men on the waves, this is the women performance.

The title of this post is: Surfers are queer. When I say queer I refer to a queer theoretical perspective on identity and gender that somehow explains that those roles are made up of constructions. For example in such a way as the famous theorist Judith Butler is focusing on sexuality as a cultural construction. This is then in a perspective on how our gender-roles relate to each other in forming (performative) matters. The surfing culture and its roles are created by how individuals mimic and imitate each other, as well as how surfers get influenced by the sport's repeating commercials, marketing and else.

A queer theory perspective is about that identity and gender is an act that has to be rehearsed, much like a script, and we as the surfers/actors make this script a reality over and over again by performing these actions. From this point of view, with a focus on those parameters, you can clearly say that the surf-culture, in repetition and by how it is constructed in obvious ways is something that is about acting.

“Life does not come with a script, so quit acting.”; is written as a tagline on a surfers twitter account STNC follows. The point in this text is rather that life certainly comes with scripts. Those scripts are sometimes forced into our behavior by ideals and social norms. I would like to say that it is rather about changing those scripts for how we play than stop playing. Since we are all playing and there is no essential true way. 

A good change for the surf culture would be about creating room for a greater diversity and generate a more inclusive, welcoming and equal culture. Right now the surf culture is a dominant, strongly normative, heteronormative and a white male culture. This is a very narrow construction.

Wednesday, March 28, 2018

A backpack get placed on Charles de Gaulle airport in France as a deliberate act and an attack.

Charles de Gaulle is one of Europe’s most supervised airports. A person puts down and leaves a backpack in the airport. Before leaving, the person photographs the bag. This action shows the surveillance cameras that everything is intentional and that the backpack is not forgotten. The bag is closed and locked with a padlock in the zipper opening. This means that it can not be easily opened. The backpack is meant as an attack in the airport.

Studies of art, photography, postcolonial theory and my own experience of traveling as a tourist in Asia are behind my decision to perform the action. I am convinced that the action is worth doing for a number of important reasons. Placing the bag like this at Charles de Gaulle airport can scare, shock and hurt individuals. A part of the airport may be blocked by the security guards and people on their way to or from their flights might be disturbed. The ethical problem of exposing other people to my actions is included in my calculations.
I justify the action with theories of how the system itself is so much more violent, wrong and destructive.

"For security reasons, baggage left unattended will be removed and destroyed."

The contents of the backpack are pictures. These images consist of scanned material from travel brochures and travel commercials printed on photo paper and then cropped to 10x15cm format. Nothing but a large number of these pictures lies in the bag. The selection is made to represent a typical representation of the world through a European travel commercial perspective. The backpack contains something that the tourism industry generates. Images that constitute the current world order.

The security system, the structure, and the strictly disciplined architecture are tangible. I’m up in this with intentions about it as art. Flying with the bag containing only pictures is part of a performance work. Passing the bag through the X-ray machine at the airport worries me. Perhaps I will face suspicion and questions. I’m afraid to be remembered, or that security staff should notice this as something strange so that I can later be linked to the Charles de Gaulle airport attack and seized as a terrorist.

The Backpack

Wednesday, March 7, 2018

Drive-by shooting - It's a matter of a power relation.

From a discussion on STNC Facebook page:

Drive-by shooting - It's a matter of a power relation.

EP: Hmm... I'd like to understand that thought. Does it parallel with the aboriginal thought that photographs steal your soul?

STNC: It's about the position and role. Who is mobile and free and who is getting frozen solid. Anyone who can move more freely, such as a surfer who travels the world, has the advantage in matters of representation when holding the camera. From such a free-floating position, it is easier to control the representation of the 'other', the influence of photography and the performative power. It is also very much about his/her own identity by consuming the environment as an "aesthetic surface." The power lies in the ability for geographical movement but manifests itself through pictures and stories. Whose stories are told through these images and why? What is the purpose of the image photographed from this tuktuk ride? In general it is very often photographs that manifest the photographer's role and identity.

EP: Yes, agreed. Just as in quantum physics the presence of the observer alters the outcome of the atom's movement.

STNC: Yes, that’s a way of putting it. But somehow that is also problematic. Since we need to find ways of getting everyone able to be observers alike. Not just the free traveling surfer. In Surfers are The New Colonialists I am observing the surfer and the surfers gaze. I do this to find ways of challenging very unequal perspectives.

Thursday, September 7, 2017

Open Letter - Feel free...

In Europe from the 1600's to the early 1800’s traveling as "leisure" changed its form from a previous focus mainly on opportunities for conversation and discussion into then becoming more of an eyewitness observation. This development can be linked to the romanticism and its interest in landscapes and worshiper of recreation and personal enjoyment. Later in history photography made a strong entry, and traveling found its conceptual position as tourism. Travelling did then become picture. The project Colonial Surfer - STNC is about to seek out and generate a problematizing discourse within the globalized surf culture.

In 2010 I worked as a missionary for a Christian surf organization. I did this as a form of critical 
role-play and as an art performance. The organizations name is Surfing The Nations and has its base of operations on Oahu, Hawaii. The same place as the colonizing English missionaries discouraged and forbade wave surfing in the 1800s. Surfing The Nations is an American organization but with a surprising over-representation of Swedes. STN:s (not to mistake for STNC) main focus is to bring people into religious conversion within what they call the 10/40 window. Countries that are located 10°-40° north of the Antarctic Circle. Countries like Bangladesh, Sri Lanka, Indonesia, India and more.

I perform as a “modern” Christian missionary in Sri Lanka. There is no one on site who knows anything about the intentions of my actions connected to my art practice. And my role could very well be described in other ways than an artist. I am there as a surfer. I am there as a missionary. I am there as an anthropologist. I am there as a tourist. I am there as a journalist. While none of these roles are completely true.

I am part of the same problematic situation as other tourists in the area. I get up in a particular group and my actions can be seen as anthropologists fieldwork, or as a researching and investigative journalist. But I am not there in the first place looking for something as a journalistic scoop. I see symbolic importance in my role as an artist in this. And I do use the missionary role to demonstrate the neo-colonial political charge. 

A strong reason for why I am working with the surf culture as a subject is because of its in the contemporary very idealized position. Surfers role are extremely romanticized while the general consensus is that surf culture is an apolitical movement. That is something I don’t agree with. And because of constructed idealization and romanticism about surf culture, it gets difficult to tackle and problematize.

I usually bring those words into discussions: The less political you feel, the more political you are. What I mean is that the norm is the most political since it constantly, everyday influences us to who we are and will be. And the things that are as normalized as we can’t even see them affect us a lot. Surf culture is not, in a certain "western" context, a contemporary subculture, but rather a strong dominating male norm culture.

When I bring cultures around surfing into an art context I do put a (deconstructive) queer theory perspective on them. I am obviously playing a kind of role when I act as a missionary. But to me, it seems in Sri Lanka like the others in the ministry group are playing their roles as well. And the local residents of Arugam Bay, Sri Lanka are playing their part to do businesses with our rich and privileged traveling group. I see this as a problematic unfair identity game of power and resources.

Feel free to invite STNC to organize seminars and discussions!

Best regards, Kristoffer Svenberg STNC.

Contact: info[at]


Happy Memes

Wednesday, September 6, 2017

Saturday, October 29, 2016

By the temptation to analyze he sinks.

The surfer, “the horizontal man,” looks for meaning on the surface, more precisely in the series of waves that form the surface—one after the other after the other, now left, now right, higher and lower. As Baricco puts it:

If you believe that meaning comes in sequences and takes the form of a trajectory through a number of different points, then what you really care about is movement: the real possibility to move from one point to another fast enough to prevent the overall shape from vanishing. Now what is the source of this movement, and what keeps it going? Your curiosity, of course, and your desire for experience. But these aren’t enough, believe me. This movement is also propelled by the points through which it passes … [The surfer] has a chance to build real sequences of experience only if at each stop along his journey he gets another push. Still, they’re not really stops, but systems of passage that generate acceleration.

Unsurprisingly, if the diver is the person who reads Proust, Baricco writes, the surfer is the person browsing the internet.

More importantly, by introducing the figure of the surfer, Baricco develops Jameson’s notion of depthlessness from an experiential register to a modality of engagement. In order to stay above water, after all, the surfer needs to develop the skills that keep him on his board. One of these skills, one similar to Deleuze and Guattari’s concept of the rhizome, is to perceive the ocean as a “trajectory” rather than either a territory (implying a mapping) or a telos(suggesting direction). (Indeed, Deleuze himself introduces the figure of the surfer in his “Postscript on the Societies of Control.”) Here the surfer stays on his board by choosing one wave after the other, regardless of the corals he scratches with the tip of his board or the direction the waves take him in. He literally lets the waves carry him—he “lives in the moment.” The second skill is the ability to constantly keep moving. If the surfer slows down or is momentarily stopped “by the temptation to analyze,” as Baricco puts it, he sinks.

He must progress, advance, experiencing each wave not on its own terms but as the medium, the catalyst for the next encounter, which is to say that each experience is experienced not in and of itself but in anticipation of the next experience, the next wave. What Baricco suggests, thus, is that the experiential registers of depth and depthlessness prescribe different modes of engagement: in the former you focus on one point in particular whilst in the latter you let your eyes scan over the surface; in the first you look for the special, in the second for the spectacular: the next wave, the next thrill. Though Baricco’s metaphor of the surfer is both limiting and reductive and certainly does not define all art from the eighties and nineties, it manages to put into words a sentiment often shared between certain artistic traditions and their audiences: the act of looking for a hint, not of what lies beneath, but rather of what lies ahead of us—the spectacle, the thrill, the controversy, the next wave we can ride and then the next, and the next.

By invoking the figure of the surfer, someone whose concern is not only to stand on the water but to avoid falling into it, going under, this duality is made manifest: to speak about depthlessness is to speak about the extinction of depth, not its nonexistence.

To return to Jameson’s case studies, Van Gogh’s A Pair of Boots implies another mode of engagement than Warhol’s Diamond Dust Shoes: in the former we are invited to look for traces of an experience; in the latter what we are left to see are points for discussion.

Vincent van Gogh’s A Pair of Boots (1887), Jameson wrote, expressed both, through its “hallucinatory” use of color, the artist’s “realm of the senses” and, through its use of “raw materials,” a world “of agricultural misery, of stark rural poverty, … backbreaking peasant toil, a world reduced to its most brutal and menaced, primitive marginalized state.”5 The painting, in other words,conveyed individual ideas, sensibilities, and social realities which continued beyond its borders. In contrast, Andy Warhol’sDiamond Dust Shoes (1980) communicated neither an authorial voice, nor a personal attitude or affect, nor a sense of the world it supposedly represented. The black-and-white photograph, with its shiny, isolated aesthetic, Jameson suggested, could allude to glamour magazines just as well as to a memory of the artist’s mother, to shoes left over from Auschwitz or the remains of a dance hall fire. If Van Gogh’s painting of peasant shoes pulled the viewer into another world of poverty and misery, Warhol’s photo of pumps pushed the spectator out back into his own.6 As Warhol himself is alleged to have said: “If you want to know all about Andy Warhol, just look at the surface: of my paintings and films and me, and there I am. There’s nothing behind it.”

Extract from: The New “Depthiness” -  Timotheus Vermeulen

Friday, August 12, 2016


Thursday 11 August 2016

"The mayor of Cannes has banned the wearing of burkinis - full body swimsuits - on the beaches of the French Riviera resort famous for its annual film festival, officials said on Thursday."
- The Telegraph

Sunday 14 August 2016

"A second resort town on the French Riviera has announced a ban on full-body swimsuits - or 'burkinis' - at its beaches. (...) Anyone found breaching the order, in place until the end of August, faces a €38 (£32) fine."
-Sky News





Surfers who are staying and living on beaches with their neighboring regions are in some ways akin to The Occupy Movement. Yes, I mean the one that started in New York - Occupy Wallstreet, which then spread around the world. Surf culture has an even further and wider dissemination. And I can aesthetically from a rather romantic perspective compare it with the world's global occupy protest movement. However, there is a substantial difference. The surf culture is occupying in favor of capitalism and globalization. It doesn’t protest or work against unequal structures. The movement is rather about surfing on these unequal structures. 

In comparison, if we take a basis of a tourism industry in a fairly unexploited tourist site, but still populated by surfers. Surfers often live in tents and bungalows when there aren’t any hotels near the break. In these “camp” sites there are no protest banners or political placards like at the Occupy movements spots. Rather there are surfboards lined up in different ways. You can see advertisements for various small eateries and restaurants. And the area is flagged, here and there, with global surf company commercials. It is an advertisement that often tends to be very stereotypical, sexist and American, European "normative". 

The restaurants and places to stay are in the early stages mostly locally owned. But when the tourism exploitation by poor areas increases, it begins to attract international rich companies. Hotels and restaurants from the USA, Japan, European areas and Australia are then dominating a lot of the popular spots for surfers. And it goes as far as that places are getting fenced and proclaimed: Private.

It’s not rare that people express dissatisfaction with this kind of exploitation. But at the same time, it is almost seen as natural and inevitable. To get the best access to the surf than at these sites, surfers do pay to stay at the expensive hotels. I'm not at all opposed or against that those areas develop and become richer. I am critical on how the power relation is between tourists, wealthy businesses, and the local citizens. These areas get colonized by the tourism and surf industry. It is a massive and dominant cultural imperialism that finds its way through a traveling surf, “backpacker” culture to "remote" parts of the earth. 

Surf culture is today by no means a subculture with challenging perspectives on the world order. It is rather part of the norm, an ideal and a standard culture in the market economy. It is used in advertising for just about everything possible. Such as fast food, soda, beer, communication, training, sweets and whatever. It reaches a wide audience and it is no more norm breaker alternate-radical than IKEA. 

When we travel as surfers, we must ask ourselves about who we are, how we are privileged and how we impact the places we go to. And it's not about that we are supposed to spread stories in those areas about how we as great good tourists are helping or giving something back. The root of the problem is about how we are dominantly speaking, spreading our stories and culture. Thereby we get other voices and perspectives silenced and shut. This wave of dominance needs to be broken to create a better more equal world. And it has to be done through challenging and breaking free from colonial power structures and chains that extends far back into history. 

Saturday, August 1, 2015

Hang Loose! Enjoy Poverty! Please!

What does the sign that this guy is doing in the picture mean? A positive way of reading could be to say that this guy is breaking the surface in the image. A image of him as a poor. But the one in control here is the one who’s behind the camera.
And this is rather a sign that says Hello in a more specific way.
It’s a surfers sign. And in this case it's about the surface. Being above or under the surface.

A young kid  doing the hang loose sign from his perfect position as a poor.

Traditional. As used in the Hawaiian Islands, "Hang Loose or "Shocka" is used as a non verbal expression; or greeting. To tell the receipiant, that every thing will be OK, Relax, Stop looking at me w/ that stern look on your face. / from Urban Dictionary