Christian Pacheco Quijano’s lucha libre art

kimballlll Christian Pacheco Quijano’s lucha libre art Christian Pacheco Quijano

Principe de Seda- means Silk Prince. Is that perhaps because the Christian Pacheco Quijano mask is made from silk? At first it looked like a painting, but then we read it stating it was a digital illustration. That explains the highly detailed patterns on the close up to the right.

From The Citrus Report

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The Crazy Christian’s Guide to the Coachella Music Festival

The good people at ‘Christ Wire’ have given us either a) proof that Crazy Christians are completely self-deprecatingly hilarious or b) some of the more insane Christian rhetoric out there. Either way, we’re avoiding Coachella this year, but mainly because the lineup sucks and not necessarily because our “daughters are going to be gang raped” and forced to dress like “$2 harlots”. Full article here

Some of the highlights from the article:

Coachella is a concert event for neo hippies, naked beer drinkers and drug addicts. Each year the event grows in numbers and so do its cases of rape, murder and cases of teenage runways. No were else are so many drugs taken, orgies performed and victimaztion of America’s young daughters.

The article’s author on what actually happens at Coachella:

Drugs, rape and music. What a perfect combination! The festival is a huge mask to make it seem like it is about music, but it is only about sex. Boys use drugs to make girls pass out or to make them not have the ability to fight back while they are performing a gang rape on them. The music is to cover up any type of screams or cries for help.

And some shocking statistics that we can only assume must be true because they’re on the internet:  The Crazy Christians Guide to the Coachella Music Festival wire tyson bowers III music festival coachella christian christ wire 1 The Crazy Christians Guide to the Coachella Music Festival wire tyson bowers III music festival coachella christian christ wire

From The Citrus Report

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“Looking at Music 3.0″ @ MoMA

In their third installment of their “Looking at Music” series at the Museum of Modern Art, they have recently opened “Looking at Music 3.0.” This particular series looks at NYC in the 1980s and ’90s, which would mean there is a lot on the topic of hip-hop, graffiti, and all sorts of street culture.

Here is the full rundown from MoMA:

Looking at Music 3.0, the third in a series of exhibitions exploring the influence of music on contemporary art practices, focuses on New York in the 1980s and 1990s. In this dynamic period, imaginative forms of street art spread across the five boroughs, articulating the counter-culture tenor of the times. As the city transitioned from bankruptcy to solvency, graffiti, media, and performance artists took advantage of low rents and collaborated on ad hoc works shown in alternative spaces and underground clubs. Appropriation, also known as remixing, thrived. Approximately 70 works from a wide range of artists and musicians will be on view, including works by the Beastie Boys, Kathleen Hanna and Le Tigre, Keith Haring, Christian Marclay, Steven Parrino, Run DMC, and Joanie 4 Jackie, a video chain letter founded by Miranda July.

From The Citrus Report

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A great question: What happens to unused Rangers World Series gear?

Posted from The Citrus Report

Sure, the World Series ended a week ago today with a complete ass-kick by the Giants in 5 games, but there is a question that needs to be answered: What happens to all the unused Texas Rangers World Series clothing and gear? FastCompany has an answer: “Much of the Rangers clothing printed ahead of time for the World Series will go to kids in developing countries, thanks to the charity World Vision. The Christian nonprofit has been working with sports leagues for years to donate unused gear to needy rural communities.”

Talk about kicking a country when its down. Hey, you are Third World, you get the gear that celebrates “Nothing Happened.” You live in a small village that plays cricket, well shit, here you go with some clothing of a team that lost it all, much like the resources that have been stolen from you by the Western World.

That is kind of sad. Those kids are definitely fear the beard types, they want a Brian Wilson tee, not some Cliff Lee rent-a-player gear.

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Citrus Daily Catholic News: Vatican says The Simpsons are Catholic

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Well that sort of changes things. In the Vatican propaganda machine,  L’Osservatore Romano, they insist the Simpsons are true Catholics. “The Simpsons are among the few TV programmes for children in which Christian faith, religion, and questions about God are recurrent themes… Few people know it, and he does everything he can to hide it, but it is true: Homer J Simpson is a Catholic.”

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Waris Ahluwalia has a pop-up tea shop

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If you are in New York City this weekend, head on over to Waris Ahluwalia’s pop-up tea room in New York City, open for only ten days. You know him from Wes Anderson films, may as well get to know him for 10 days because of tea. Waris, who does jewelry design and has his own brand, issued the House of Waris Design Challenge–the winner being Swiss architect, Christian Wassmann, took over a temporary pop-up space under the New York City High Line and created the House of Waris Tea Room.

More here.

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How dope was the Dream Team? This video is a reminder

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The original Dream Team, 1992, Barcelona, Spain, Olympics, are heading to the Hall of Fame this Friday, with Michael Jordan, Pippen, Drexler, Magic, Bird, Barkley, Malone, Ewing, Mr Robinson, Stockton, Mullin, and good ol’ Christian Laettner with Coach Chuck Daly all going to the Hall. Nice one, and this video proves how dope they were….

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David Choe’s “Dirty Hands” documentary gets great review in SF Chronicle, now playing in San Francisco

David Choe’s “Dirty Hands” documentary gets great review in SF Chronicle, now playing in San Francisco” posted from: The Citrus Report | Art, Culture, News, Graffiti, Music, Street Art, Clothing, Politics, Reviews

Looks like San Francisco likes David Choe. Dirty Hands got a really good review from the SF Chronicle this weekend, with a really good line from the reviewer, “You feel engaged. Bored. Exhilarated. Offended. Illuminated. Disoriented. All in the same minute.”

And this one is good too, “All in all, Choe’s self-indulgent, adolescent exploits make for a fascinating, if somewhat jumbled, journey. It’s not every day that you run into a street artist, petty thief, porn illustrator, lesbian fiction ghost writer, world traveler, graphic novelist, muralist, sex addict and born-again Christian, all rolled into one.

Kim set out to make a renegade film about a renegade genius. And that he did.”

Go see the movie at the Roxie Theater this week.

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"they carry their severed heads so they can rim their own asses"

The reviews are in !!!! and it’s obvious everyone is in love with this cinematic masterpiece and having the best time at the movies ever! go see the movie everyone is talking about
Only in theaters in los angeles for less than a week!!!!
Dirty Hands: The Art and Life of David Choe
April 30th through May 6th
Laemmle’s Sunset 5
8000 Sunset Blvd. West Hollywood, 90046

see what all the critics are raving about!
“David Choe is clearly an asshole.— Choe is not the most verbally compelling subject. His over reliance on profanity and a fundamentally slacker dude based lexicon make many of his commentary sections unfocused and repetitive.—– Consequently, much of the lighting and sound is spotty, and some captions — done in an especially difficult to read font — dissolve before they can be fully digested.”

“San Francisco-based distributor Upper Playground shouldn’t expect much coin from this one, since its appeal is limited to art vampires and graffiti bombers who’ll just illegally download the movie anyway. — It looks like it should be screened in a basement littered with empty beer cans and ornate bongs.—- And there’s video of Choe punching himself in the nose so he could use his blood as paint. It’s all quite renegade, in that self-aggrandizing, subcultural way.”–

“Choe’s humor can be sly, but his expletive-rich ramblings often put the viewer on the wrong end of a one-way conversation. The film spends far too much time on his relationship woes.— The resulting documentary is alternately illuminating and dull, energetic and repetitive. Fans of Choe’s work — stylized, vibrant, ornate and vulgar — will appreciate the inside look at the self-described man-child, but his struggles to grow up are more tiresome than compelling.”-LA TIMES

“Dirty Hands deftly segues between Choe’s personal and professional adventures, weaving together his family background, steadily ascending career, sexual addictions, criminal behavior, mental illness and fledgling attempts at becoming a born-again Christian to create a complex and open-ended portrait. Though nowhere as singular an achievement as Terry Zwigoff’s Crumb, the agreeably rough-and-tumble Dirty Hands recalls that documentary’s willingness to explore its subject’s less-savory personal qualities to question how those traits both feed and undermine his distinctive art.– If Exit Through the Gift Shop is a witty, subversive satire on the rock star–ification of underground graffiti artists, Dirty Hands is a sober, loving snapshot of one troubled soul within that milieu.”—LA WEEKLY

“it may not attract crowds of admirers, let alone the art establishment. Prospects for Dirty Hands are limited.— director Kim doesn’t give us enough of a reason to see Choe as any more than a fratboy-style prankster, particularly since his post-jail persona does not seem that different from his earlier incarnation. (He still swears profusely, simulates urinating in public with his buddies, and draws pornographic pictures using nude female models posing in degrading positions.)—- Sadly, neither before nor after prison does Choe make an overt political statement or even a Duchampian critique of the elitist excesses of today’s art scene. Though Choe leavens his jaded, monotone detachment with tongue-in-cheek winks and nods, it is hard to ascertain his true position, which might be his own postmodernist ploy. But except for a colleague’s remarks about the unabashed sexism in Choe’s writings and pictures, Kim’s film is entirely reverential (the director is a childhood friend). Even Terry Zwigoff’s equally intimate Crumb (1994) maintained a more detached tone about the troubled pornographer-cartoonist, Robert Crumb.—–Despite an eyeful of some challenging artworks and an earful of interesting stories about the man behind them, Choe’s movie portrait produces only modest results.”-FILM JOURNAL

“If you just happened to walk into the pop-up art gallery in Beverly Hills where David Choe’s “street art” is currently on display, it would be hard to sense the street cred behind the artwork. The spray-painted human figures, akin to George Condo’s lycanthropic orgies, carry their severed heads so they can rim their own asses and turn fellatio into a masturbatory practice,—Dirty Hands contextualizes Choe’s work, which could be seen as gratuitous transgressiveness, turning him into an unsettling hybrid character/icon of what is terrific and terrible about what we have come to call the American Dream: the genius American artist on prescription medication so he doesn’t go to jail before making it to his gallery opening.— In the course of Dirty Hands, which took eight years to make, Choe plasters graffiti whales throughout Los Angeles, punches himself in the face to use his blood as ink, cuts Christian crosses onto his forearms to guiltily prevent himself from shoplifting, is jailed in Tokyo for three months, buys a slave or two in Congo, and makes the case for an anti-academic, stream-of-consciousness, museum-without-walls art that feels so refreshing it’s easy to ignore its political implications. But as with any kind of passionately irrational project, it easily breaks down when perceived through a non-egotistical lens. And as much as Choe’s art claims to be about people who “don’t give a fuck about art,” it’s mostly about his Peter Pan/Robin Hood self (the forever child-like Choe steals from the rich to give to the poor, which, in this case, is himself). Yes, one can ask how else may a poor Korean-American kid from the ghetto take ownership of his city but by defacing the very architecture that makes Choe’s story a barely possible exception. But his spray paint turns out to be better at becoming personal profit than achieving something beyond angry sloganeering.”—Slant magazine

“This is an imperfect documentary of an imperfect man and in that sense, they seem perfectly fit for one another.” – chasingchan