hello.
this is a photo of a show at landmark in bergen, norway put on by bit teatregarden.
don't forget. facebook sucks but hopefully you don't

xoxo
sherry

hi. we are back on facebook.
we do not support facebooks politics but we realize it is a great tool however we will copy all of our contacts from now on as well as keep duplicates of all photos. if you posted photos on our old wall please re post on our new wall cause sadly we lost everything.

luv ya
and don't forget to check sherry out at santos oct 26th in new york city.

http://jilliancyork.com/2010/04/08/on-facebook-deactivations/

On Facebook Deactivations

Update/note: Since writing this a few hours ago, I’ve been flooded by e-mails from Facebook users who have also experienced this. Those users include gay rights activists, Jewish activists, activists for a free Palestine, and activists against the Venezuelan regime (among others). Clearly this is happening to many users across the board. I will follow up with more “case studies” soon.

Over the course of the past week, I’ve gotten reports from a number of people whose personal Facebook pages have been removed or deleted from the Facebook platform. At first, it was a male friend in Morocco. Then a female, Moroccan friend in Boston. Then an Indian woman in the UK. And then even more.

Once I investigated a bit further and spoke to each of them, I discovered what each of them have in common: All of them are critical of Islam (some are atheists, others ex-Muslims, still others reformers) and post frequently articles and status updates about the religion.

And then someone told me that a group was created on Facebook (in Arabic) for the sole purpose of reporting, and thus having removed, Facebook profiles of atheist Arabs. The group, which appears to have also been removed, was entitled “Facebook pesticide” and its sole purpose was to “identity Atheists / Agnostic / anti-religion in the Arab world and specifically in Tunisia …” Once identified, the group members would then attempt to report such users.

Of course it’s problematic that there’s a group of people seeking to destroy the online identities of users of a certain group, but that’s not the issue I’m going to address in this blog post. Instead, I will address why Facebook’s strategy toward dealing with situations like this is so problematic:

1. The Facebook platform makes it all too easy for users to get other users’ accounts removed. Any user can report another user by the simple click of a button. Facebook has not spoken publicly about how this process works, but my suspicion is that when a number of users report the same user, their profile is automatically disabled. What happens next I can only speculate about, but from accounts I’ve received, Facebook does not contact users, rather, users may write to “disabled@facebook.com” to request their account be reinstated. Sometimes it happens, other times it doesn’t.

our facebook pages have been disabled. both. so we are going to attempt to use our blog pages (there are 2) to communicate with all you people. ps. we luv you and have some wonderful photos from norway to share with you. here is a nice review of our cinderella show at issue project room.
I saw Ann Liv Young for the first time on Saturday night in Cinderella, and here are a few reflections:- For me, the best part of Cinderella was how Cinderella/Sherry/Ann's provocations managed to make the audience the source of the performance's content and mythology. This was more true of her verbal interactions with individual audience members than the well-publicized poop, which in the end became (again, for me) part of the background. That's not to say it was gratuitous, far from it - it actually succeeded in creating a special bond between the audience. I'd suggest this falls in the category of performance events that are impossible to understand unless you were there, and open to the experience (as soon as you try and describe them, they become laughable, which isn't at all the effect they have in real time).- the most affecting part of the performance for me was later on when Cinderella/Sherry/Ann, after a rough early verbal encounter, re-engaged with a man who had been somewhat critical of the performance, and managed to draw out his inner quest to emerge from the shadow of his father - a dramatic situation that has resonated with us since the time of Oedipus and before. Then, a female friend who had crossed the space to comfort the man who was bravely opening up before us was then confronted by Cinderella/Sherry/Ann in her turn. It turned out that the woman friend was shortly to be married in circumstances which, under the laser sharp scrutiny of our hostess, she appeared to be alternately ecstatic and defensive about. In these two quests - the man in a mortal struggle to break free of his father, the woman blanching at the enormity of her pending sacred union - I found more mythological resonance than in dozens of performances I've seen previously.- If I were to hazard a guess at the message of the performance I saw, it was "work hard to be yourself, freedom must be earned but you must be free." Which I found rather refreshing in a time when so many around us seem intent on telling us what to think, and there's a real danger of losing ourselves if we listen without questioning. It's also quintessentially American.@ Diane from Santa Fe- The New York Times is not the best place to look if you want to understand what she's about. The paper made an editorial decision years ago to concentrate its available resources on an uptown and film/media centric point of view. As a result, the NYT now lacks a viable context for truly throwing light on downtown artists like Ann Liv Young - who, moreover, makes the affirmation of the power of the individual over the power of institutions like the New York Times an essential element of her performance. While I understand why the Times did this - and continue to appreciate and enjoy insights from the likes of Tommassini and Kimmelman - Macauley really does not strike me as the right choice of reviewer for this artist.

EMAIL I JUST RECEIVED.

anyone care to respond???

Dear Ann:

Hey there – I’m writing a news column about the upcoming performance at PS1 and the controversy surrounding the “Brooklyn is Burning” event. Basically, a number of people have contacted me with the complaint that the voice of the other artist involved in the dispute, Georgia Sagri, has been completely left out of the coverage. It is actually quite baffling that Claudia La Rocco has written at least twice about the “Brooklyn is Burning” performance, both times interviewing you, but not attempted to interview Sagri.

So, I’m putting together a news piece that involves Georgia’s account, and I wanted to get your response to some of the things that she, and others, say about the debate that has grown out of it:

1) One complaint is that your account has consistently exaggerated and sensationalized the charge of “censorship.” Since the performance was deliberately about created an unpredictable situation, and no one was informed in advance about what was going to occur, it really seems that PS1 simply had no idea what was going on. Doesn’t it cheapen the notion of “censorship” to claim that an un-premeditated freak-out in a potentially volatile situation that literally involved splashing blood and urine is “censorship”?

2) The other complaint, of course, has to do with your treatment of the other artist. Do you feel any responsibility to Georgia Sagri? It really does seem that her voice has been lost in the sensation provoked by your piece, which, after all, is inseparable from publicly insulting and ridiculing her art, in the context of a supposedly safe space. Here are some samples of what people have written to me along these lines:

“Between consenting adults, anything is permissible, but in this particular case it wasn't fair play, Georgia hadn't been warned, she was cornered and made vulnerable in a public situation.”

And

“To insult a fellow artist who's unaware of your intention as a way to levy an attack against an institution is a cowardly strategy and furthermore has nothing to do with institutional critique. It doesn't really directly attack the person or institution in power does it? To then take that attack after the fact and create a body of work out of it is just exploitative.”

Finally, a question about the upcoming Steiner performance. Sagri forwarded me the invitation you had sent her – which she was actually quite mad about in itself. The fact that you are offering that she participate in an event moderated by the “persona” that attacked her seems like a provocation, and also rather insensitive to the damage that the negative press surrounding the “Brooklyn is Burning” event might have to done her career. How can it be taken as anything other than an invitation to be once again ridiculed in public?

Thanks for any thoughts!

Ben Davis

Associate Editor

Artnet Magazine ^®

don't forget. this friday and saturday here in new york city i will be gracing the public with my fabulous presence. june 4 and 5 8pm 10$ donation 177 livingston street. downtown brooklyn at triple canopy. order your tickets at canopycanopycanopy.com WE LUV YOU. there will be music, food, (candy), tee shirts, me, all to buy!

good day young ones!

hi. this is sherry here. we're doing some construction on this site so please forgive us and please remember that we all need a little reconstruction sometimes.
take this time now, to look in the mirror and see how you can re construct.
can you take off some of that foundation?
can you clean under those nails?
can you take some padding out of your bra. wait a minute. this sounds more like de constructing.
so let's do this. let's deconstruct together. go ahead. try it.
take sometime to notice if you've wiped well enough, if you eaten enough, if you've had that daily dose of sex you need EVERYDAY!


today is de construct day. do you have one wall in your house you can tear down? rip apart?
great! now, time to put it back together! lets get creative here.
let's do this together! put on some great loud music and let's get to it.
let's use some bright, vivid, bold colors and RE DO. re make.


love to you all.
sherry.