Slideshow
THE DEADLY ART OF SURVIVAL + NEW YORK CITY HIP HOP CONVENTION
Before Charlie Ahearn shot his seminal hip-hop film Wild Style in 1982, he was directly exposed to the bourgeoning hip-hop, break-dancing and graffiti movement, while shooting his super-8 martial arts epic The Deadly Art of Survival around the projects (next door to his apartment) in the Lower East Side in 1979. It stars Nathan Ingram, a true to life martial arts hero, who in this movie. Before Charlie Ahearn shot his seminal hip-hop film Wild Style in 1982, he was directly exposed to the burgeoning hip-hop, break-dancing and graffiti movement, while shooting his super-8 martial arts epic The Deadly Art of Survival around the projects, next door to his apartment, in the Lower East Side in 1979. It stars Nathan Ingram, a true to life martial arts hero, who in this movie version. The Deadly Art of Decoying Deer. 10 Tips guaranteed to draw big bucks like a magnet.
- The Deadly Art of Survival (1979) 1h 17min Action, Drama A martial art instructor struggles against drug dealers operating from a rival karate school called the disco dojo.
- Deadly Art of Survival (DVD NEW) Label: Brink Format: DVD-STANDARD Region: 0 Release Date: 20 Nov 2007 Video Format: NTSC No. Of Discs: 1 UPC: 29 While we aim to supply accurate product information, it is sourced by manufacturers, suppliers and marketplace sellers, and has not been provided by Overstock.
Friday, October 12
THE DEADLY ART OF SURVIVAL
(1979, Charlie Ahearn) Black belt teacher Nathan Ingram stars in Ahearn’s Super — duper low budget — 8 ghetto disco chopsocky, The Deadly Art of Survival, a written-on-the-fly ridiculously improbable (yet lovable) cut ‘n’ paste of a now-totally vanished Lower East Side. With an evil karate school called Handsome Harry’s Disco Dojo (its slogan: “Martial Arts With Style”!), the zaniest sex scene of any film — in any gauge — south of 14th St., and two ninjas crawling around at a house party, there’s a trove of quirky shots by Ahearn and artist Beth B.: high-rise rooftops overlooking the FDR Drive, a Brooklyn Bridge bowed through a fish-eye lens, a schizo handheld fight scene and at least one scene from the POV of a cat! Shot on weekends over a year and half (1977-78) in the Smith Projects, with most of the film’s budget going to “buying pizza for the kids,” it features a cameo by artist Kiki Smith and a freshly painted Howard the Duck graf mural by LEE. Digital. Approx. 76 min.
NEW YORK CITY HIP HOP CONVENTION
The Deadly Art Of Survival
(1980, Charlie Ahearn) From hip hop chronicler Ahearn, quite possibly the first-ever video document of hip hop music. Digital. Approx. 15 min.
DEADLY CUTS TO THE ARTS: THE ART OF SURVIVAL, RESISTANCE OR FIGHT?
by Lanfranco Aceti
Art-Athina – International Contemporary Art Fair
Faliro Pavilion (Taekwondo)
Hellenic Olympic Properties
2 Moraitini str., 175 61 Palaio Faliro
Athens, Greece
Sunday May 19, 2013, from 15:00 to 16:00
Chaired by: Artemis Potamianou
Curator & Co-ordinator for Art Athina 2013: Contemporaries & Platform Project
A talk by Lanfranco Aceti The founder and Director of MoCC, chaired by Artemis Potamianou, at the Art-Athina – International Contemporary Art Fair that will provide an overview of the Museum of Contemporary Cuts (MoCC) and its new initiative, Deadly Cuts to the Arts.
Abstract
As the art community continues to see a slew of cuts across artistic fields and across countries, it becomes clearer that the financial crisis is not abating. Cities in Europe – even within Northern European countries – have been hit hard by failed investments in financial schemes and funds that continue to reveal their rigged structures and malpractices within both the banking and political systems.
The consequence is that cuts across the art world, historically considered by the system as superfluous and unnecessary, are now happening in conjunction with cuts to essential public services such as health and education. This culture of cuts and budget severity is implemented largely on the lowest strata of society, sparing those who have contributed the most to create the current status of economic disarray and social turmoil.
Cities and regional governments try to rescue their budgets by eliminating expenditures for cultural events, branding as useless the cultural lives of entire cities and regions, or by branding as leeches those who have worked and toiled for years and are now being deprived of essential services.
In the context of the public support to the arts, public funds have traditionally assisted the cultural development of artistic practices and models that would have not survived in a private competition system and have, on the long term, helped to create thriving communities.
This year sees numerous talks and art organizations presenting and debating topics on the current economic crisis. Nevertheless some of the most pertinent questions that should be addressed are: Is the current capitalistic framework and its economics a form of violence? What should the response be from the art world to economic violence? Is survival a good enough strategy and what kind of legacy will it leave? Or should we be looking at more active forms of resistance? Should the advocacy of social fight and economic re-distribution be part of the economic approach of artistic practices? Or should we just ignore the whole problem and blissfully bathe in a ‘simulated’ concern for current social realities?
The Deadly Art Of Survival Movie
The talk – in conjunction with an international online survey titled Deadly Cuts to the Arts http://museumofcontemporarycuts.org/deadly-cuts-to-the-arts/ – will explore the contemporary issues that artists and cultural creators face in order to develop an analysis that moves beyond some of the more institutionalized experiences and discourses on contemporary social failures.