Marisa Olson
Since the beginning
Works in Brooklyn, New York United States of America

ARTBASE (7)
PORTFOLIO (3)
BIO
Marisa Olson is an artist, writer, and media theorist. Her interdisciplinary work has been exhibited at the Venice Biennale, Centre Pompidou, Tate(s) Modern + Liverpool, the Nam June Paik Art Center, British Film Institute, Sundance Film Festival, PERFORMA Biennial; commissioned and collected by the Whitney Museum, Museum of Modern Art, Houston Center for Photography, Experimental Television Center, and PS122; and reviewed in Artforum, Art21, the NY Times, Liberation, Folha de Sao Paolo, the Village Voice, and elsewhere.

Olson has served as Editor & Curator at Rhizome, the inaugural curator at Zero1, and Associate Director at SF Camerawork. She's contributed to many major journals & books and this year Cocom Press published Arte Postinternet, a Spanish translation of her texts on Postinternet Art, a movement she framed in 2006. In 2015 LINK Editions will publish a retrospective anthology of over a decade of her writings on contemporary art which have helped establish a vocabulary for the criticism of new media. Meanwhile, she has also curated programs at the Guggenheim, New Museum, SFMOMA, White Columns, Artists Space, and Bitforms Gallery. She has served on Advisory Boards for Ars Electronica, Transmediale, ISEA, the International Academy of Digital Arts & Sciences, Creative Capital, the Getty Foundation, the Rockefeller Foundation, the Kennedy Center, and the Tribeca Film Festival.

Olson studied Fine Art at Goldsmiths, History of Consciousness at UC Santa Cruz, and Rhetoric & Film Studies at UC Berkeley. She has recently been a visiting artist at Yale, SAIC, Oberlin, and VCU; a Visiting Critic at Brown; and Visiting Faculty at Bard College's Milton Avery Graduate School of the Arts and Ox-Bow. She previously taught at NYU's Tisch School of the Arts' new media graduate program (ITP) and was Assistant Professor of New Media at SUNY-Purchase's School of Film & Media Studies. She was recently an Artist-in-Residence at Eyebeam & is currently Visiting Critic at RISD.

Collectible After All: Christiane Paul on net art at the Whitney Museum


The Whitney Museum artport has been an important institutional presence in net art and new media since its launch in 2002. Created and curated by Christiane Paul, artport features online commissions as well as documentation of new media artworks from the museum's exhibitions and collections. This year, artport as a whole was made an official part of the Whitney Museum collection; to mark this occasion, participating artist Marisa Olson interviewed Paul about the program's history and evolution over thirteen years.

 Douglas Davis, image from The World's First Collaborative Sentence (1994).

Collections like artport are a rare and valuable window onto a field of practice that, in some senses, was borne out of not being taken seriously. From mid-80s Eastern European game crackers to late-90s net artists, the first people working online were often isolated, by default or design, and were certainly marginalized by the art world, where few curators knew of their existence and fewer took them seriously, advocated for them, or worked to theorize and articulate the art historical precedents and currents flowing through the work. Help me fast-forward to the beginning of this century at one of the most important international art museums. Many of the US museums that funded new media projects did so with dot-com infusions that dried-up after 2000. Artport officially launched in 2001; the same year, you curated a section devoted to net art in the Whitney Biennial. What was the behind-the-scenes sequence of events that led to artport's founding?

I think artport's inception was emblematic of a wave of interest in net art in the US around the turn of the century and in the early 2000s. This more committed involvement with the art form interestingly coincided with or came shortly after the dot com bubble, which inflated from 1997–2000, had its climax on March 10, 2000 when NASDAQ peaked, and burst pretty much the next day. Net art, however, remained a very active practice and started appearing on the radar of more US art institutions. To some extent, their interest may have been sparked by European exhibitions that had begun to respond to the effects of the web on artistic practice earlier on. In 1997, Documenta X had already included web projects (that year the Documenta website was also famously "stolen"—that is, copied and archived—by Vuk Cosic in the project Documenta: done) and Net Condition, which took place at ZKM in 1999/2000, further acknowledged the importance of art on the web.

US museums increasingly began to take notice. Steve Dietz, who had started the Walker Art Center's New Media Initiatives early on, in 1996, was curating the online art Gallery 9 and digital art study collection. Jon Ippolito, in his role as Associate Curator of Media Arts at the Guggenheim, was commissioning net art in the early 2000s and in 2002, Benjamin Weil, with Joseph Rosa, unveiled a new version of SFMOMA's E-space, which had been created in 2000. This was the institutional netscape in which I created artport in 2001, since I felt that the Whitney, which had for the first time included net art in its 2000 Biennial, also needed a portal to online art. The original artport was much more of a satellite site and less integrated into whitney.org than it is now. Artist Yael Kanarek redesigned the site not too long after its initial launch and created version 1.1. Artport in its early days was sponsored by a backend storage company in New Jersey, which was then bought by HP, so HP appeared as the official sponsor. I think it is notable that sponsorship at that point did not come from a new tech company but a brand name that presumably wanted to appear more cutting edge.


booomerrranganggboobooomerranrang: Nancy Holt's networked video


Nancy Holt, Boomerang (1974), still from video.

In her time on this planet, Nancy Holt came to be known as a great American Land Artist, and certainly her brilliant installations, like Utah's Sun Tunnels and collaborations with her partner Robert Smithson and their peers, are profoundly significant, but it was her work in film & video that has had the greatest personal impact on me.

I somehow didn't see Boomerang, her 1974 video performance usually credited to her collaborator Richard Serra, until I was a Ph.D. student in Linda Williams's Phenomenology of Film seminar at UC Berkeley's Rhetoric program, but the time delay was more than made up for by the work's formative resonance. In the video, made during Serra's residency at a Texas television station, a young Holt is seen sitting in an anchor's chair before a staid blue background. Despite brief station ID graphic overlays and one minute of silence in the midst of the ten-minute piece (announced as audio trouble and reminding viewers of the work's live TV origin), the work is in many ways sound-centric.


Sound and Image in Electronic Harmony


semiconductor_nanowebbers.jpg
Image: Semiconductor: Ruth Jarman and Joseph Gerhardt, 200 Nanowebbers, 2005

On Saturday, April 11th, New York's School of Visual Arts will co-present the 2009 Visual Music Marathon with the New York Digital Salon and Northeastern University. Promising genre-bending work from fifteen countries, the lineup crams 120 works by new media artists and digital composers into 12 hours. If it's true, as is often said, that MTV killed the attention spans of Generations X and Y, this six-minute-per-piece average ought to suit most festivalgoers' minds, and the resultant shuffling on and off stage will surely be a spectacle in its own rite. In all seriousness, this annual event is a highlight of New York's already thriving electronic music scene and promises many a treat for your eyes and ears. The illustrious organizers behind the marathon know their visual music history and want to remind readers that, "The roots of the genre date back more than two hundred years to the ocular harpsichords and color-music scales of the 18th century," and "the current art form came to fruition following the emergence of film and video in the 20th century." The remarkable ten dozen artists participating in this one-day event will bring us work incorporating such diverse materials as hand-processed film, algorithmically-generated video, visual interpretations of music, and some good old fashioned music-music. From luminaries like Oskar Fischinger, Hans Richter, and Steina Vasulka to emerging artists Joe Tekippe and Chiaki Watanabe, the program will be another star on the map that claims NYC as fertile territory for sonic exploration. - Marisa Olson

READ ON »


Tagalicious


Picture-1.jpg

The National Museum of Contemporary Art (EMST) in Athens, Greece, has committed itself to curating a number of recent exhibitions of internet art. Their current show, "Tag Ties and Affective Spies," features contributions from both net vets and emerging surfers, including Christophe Bruno, Gregory Chatonsky, Paolo Cirio, JODI, Jonathan Harris and Sep Kamvar, Les Liens Invisibles, Personal Cinema and The Erasers, Ramsay Stirling, and Wayne Clements. The online exhibition takes an antagonistic approach to Web 2.0, citing a constant balance "between order and chaos, democracy and adhocracy." Curator Daphne Dragona raises the question of whether the social web is a preexisting platform on which people connect, or whether it is indeed constructed in the act of uploading, tagging, and disclosing previously private information about ourselves on sites like Flickr, YouTube, and Facebook. Dragona asks whether we are truly connecting and interacting, or merely broadcasting. While her curatorial statement doesn't address the issue directly, the show's title hints at the level of self-surveillance in play on these sites. Accordingly, many of the selected works take a critical, if not DIY, approach to the internet. The collective Les Liens Invisibles tends to create works that make an ironic mash-up of the often divergent mantras of tactical media, culture jamming, surrealism, and situationism. In their Subvertr, they encourage Flickr users to "subverTag" their posted images, creating an intentional disassociation between an image's content and its interpretion, with the aim of "breaking the strict rules of significance that characterize the mainstream collective imaginary..." JODI's work, Del.icio.us/ winning information (2008) exploits the limited stylistic parameters of the social bookmarking site. Using ASCII and Unicode page titles to form visual marks, a cryptic tag vocabulary, and a recursive taxonomy, their fun-to-follow site critiques the broader content of the web ...

READ ON »


Reappearance of the Undead


agatha_appears_lialina.gif

In 1997, internet art hall-of-famer Olia Lialina made a "net drama" called Agatha Appears that was written for Netscape 3 and 4 in HTML 3.2. One of the main features of the interactive narrative was the travel of the eponymous avatar across the internet. Let's just say the girl got around. But the magical illusion of the piece was that she appeared to stay still, even when links in the narrative were clicked and the viewer's address bar indicated movement to another server. But in time, both the browser and code in which the story was written became defunct and the piece unraveled as the sites previously hosting the links and files upon which Agatha was dependent disappeared or cleaned house. Such a scenario is common to early internet art (and will no doubt continue to plague the field), as ours is an upgrade culture constantly driving towards new tools, platforms, and codes. Many have debated whether to let older works whither or how it might be possible to update these works, making them compatible with new systems. For those who are interested, some of the best research on the subject has been performed by the folks affiliated with the Variable Media Initiative. Meanwhile, luddites and neophiles alike are now in luck because Agatha Appears has just undergone rejuvenation. Ela Wysocka, a restorer working at Budapest's Center for Culture & Communication Foundation has worked to overcome the sound problems, code incompatibilities, and file corruption and disappearance issues, and she's written a fascinating report about the process, here. And new collaborating hosts have jumped in line to bring the piece back to life, so that like a black and white boyfriend coming home from war, Agatha now offers us a shiny new webring as a token of ...

READ ON »



Discussions (281) Opportunities (10) Events (4) Jobs (0)
DISCUSSION

Critical condition (LA Times)


From today's LA Times, an article on the every-debated "status" ofcriticism, given blogs, anti-intellectualism, etc...
Critical conditionOnce almighty arbiters of American taste, critics find their power atebb tide. Is it a dark time for the arts, or the dawn of a new age? By Scott Timberg, Times Staff Writer
In the 1950 movie "All About Eve," the theater critic is a dapper,cynical charmer with the Old World moniker Addison DeWitt. He's nohero, but his wry assessments can make or break a production.Characters repeat his phrases throughout the film, in both scornfuland reverent tones.
Almost a half-century later, the television show "The Critic"presented an animated schlemiel, paunchy and balding, voiced by thenerdy comic endomorph Jon Lovitz. This character's influence on theworld in which he lives is nonexistent: His impact comes down toserving as the butt of jokes.
Does the 1994-95 series tell us something about the way Americans viewthose who make cultural judgments for a living? In the decade sincethat show's run, many critics report, they've gotten even lessrespect. Or ceased to matter entirely.
"You gets arts journalists together these days," says Doug McLennan,editor of Arts Journal.com and a longtime Seattle music writer, "andit's what they talk about: their declining influence. They say FrankRich was the last critic who could close a show." Most remember whenTime and Newsweek had full rosters of arts critics.
What happened? Besides the Internet and its rash of blogs, suspectedculprits include the culture of celebrity, anti-intellectual populism,stingy newspaper owners and what some critics say is a loss ofvitality or visibility in their art forms. While many lament thesituation, some think the decentralization of authority means the arts

DISCUSSION

C5 Landscape Initiatives at Camerawork


The C5 Landscape Initiative exhibition opens Tuesday, May 24, at SF
Camerawork, and is open through June 25. In conjunction with the
exhibition, the Whitney Artport has commissioned a GPS Media Player
from the artists, which also goes online at the end of the month. The
exhibition is accompanied by an issue of Camerawork: A Journal of
Photographic Arts, featuring essays by curator Marisa S. Olson, Steve
Dietz, Christiane Paul, Marc Tuters, and others.

More information is below and online, at http://www.sfcamerawork.org.

The C5 Landscape Initiative

San Francisco Camerawork presents The C5 Landscape Initiative, an
exhibition featuring work by C5 Corporation, a new media collective
based in San Jose, California. The Landscape Initiative is the
culmination of three years of research and documentation of C5's
performative expeditions into the landscape through Geographic
Information Systems (GIS) and big data analyses. C5 is interested in
how people interact with data, and how data influences the way we
interact with our environment.

The exhibition will include media installations that blend innovative
uses of digital technologies to explore, navigate and map the
landscape on both sides of the globe. Presented through work generated
by database software developed by C5, this exhibition features digital
photographic prints, fabricated sculptural objects, 3D visualizations
and digital video. The exhibition will allow viewers to interact with
C5's expeditions, while exploring our relationships to the land in a
data driven world.

The C5 Landscape Initiative will present three bodies of work. The
Analogous Landscape: Rim of Fire tracks the ascent of volcanic
mountains along the Pacific Rim of Fire by two teams of C5
artists/researchers. The images generated are the results of their
2003 climbs of Mt. Shasta in California and their 2004 climb of Mt.
Fuji, Japan. The installation at Camerawork will explore the
relationships between these sites through computer graphic mapping of
the topographies and GPS navigation of the two mountains, as well as
documentation of the climbing experiences and processes of the
artists. It also will feature topographic 3-D sculptural models
fabricated in aluminum using the data collected through Digital
Elevation Mapping (DEM) visualization tools.

The Perfect View considers the attributes of "sublime" landscapes.
Using the latitude and longitude coordinates of locations submitted by
the geo-caching community, C5 went on a 13,000-mile motorcycle trek
around the U.S., moving from location to location, documenting the
sites visited. The exhibition will include photographs of seven sites
juxtaposed with their corresponding computer rendered topographies and
satellite images.

Throughout the world there are paths of significant historical,
cultural and strategic implication. One such intriguing path is the
Great Wall of China. The objective of The Other Path, the third
installation of The Landscape Initiative, is to locate and describe
the corresponding "other" of this significant path in the California
landscape. GPS data collected during C5's trek of the Great Wall was
used to help search matching data patterns collected on the China trek
to the most similar data model in the terrain in California. The
installation at Camerawork will include computer visualizations of the
path search, and photo/video documentation projected onto topographic
maps of China and California etched in glass.

The C5 GPS Media Player on the Whitney Museum of American Art:
Through a collaboration with the Whitney Museum's Artport site,
http://artport.whitney.org you will be able to access The C5 Landscape
Initiative GPS Media Player. The GPS Media Player creates an
implicit timeline and meta narratives for each of the Landscape
Initiative projects. It provides a means of documenting the projects
from their point of common inception, data and process.

C5 artists include: Steve Durie, Bruce Gardner, Amul Goswamy, Matt
Mays, Joel Slayton, Brett Stalbaum, Jack Toolin and Geri Wittig.

C5 Landscape Initiatives is curated by Marisa S. Olson with
organizational support from San Francisco Camerawork. Special thanks
to Steve Dietz, Christiane Paul, and Alexander Lloyd.

SF Camerawork is located at 1246 Folsom Street, San Francisco, CA
Gallery Hours: 12-5 pm, Tuesday-Saturday
Gallery Admission is free.

DISCUSSION

Sonic Interventions Conference Report


Conference Report:Sonic Interventions: Pushing the Boundaries of Cultural AnalysisAmsterdam School for Cultural Analysis, Universiteit von Amsterdamby Marisa S. Olson
The Sonic Interventions Conference was described by its organizers,the Amsterdam School for Cultural Analysis, as an interdisciplinaryconference "dedicated to exploring the cultural practices, aesthetics,technologies, and ways of conceptualizing sound, noise, and silence."
One might imagine that this is an enormous topic, just as enormous asattempting to categorize something as pervasive as light, with whichsound is frequently lumped. Taking the example of a panel discussionon the radio, consider the differences between discussing the radio indomestic life in the 1920s and the entire cultural history of thepolice radio. Interesting connections emerged and, yet, there was notenough time to address them in a single panel. And, of course, theseare just fractional aspects of radio history, and of sound, writlarge.
The conference was driven by a large number of such concurrent panelsessions, which tended to foreclose the possibility of any twoconference-goers having a "common experience," or of a consistentdiscourse emerging. The organizers also asked speakers to limit theirpresentations to ten minutes, rather than the standard twenty, inorder to be more conducive to conversation among the thinly-spreadaudience.
Despite the structural obstacles and the broad topic, SonicInterventions managed to play host to a number of interestingpresentations. Though a wide net was cast in the call for proposals,inviting artists and engineers to contribute, in addition to thetypical range of academic papers, the program ultimately skewed in thedirection of the academy. Sonic Interventions, then, became anopportunity to survey some of the more interesting contemporaryhumanities research related to sound.
Keynote speaker Douglas Kahn was among the better-known soundtheorists present and his opening talk provided an art historicalbackdrop for the next four days of discussion. In lieu of discussingsound art, proper, Kahn actually discussed artistic research intostates of soundlessness. In a reprise of his catalogue essay for theSon et Lumiere show at the Pompidou, Kahn discussed John Cage's andJames Turrell's notions of "silence," and perception in general.Discussing the former's visit to an anechoic chamber and the latter'semulation of such a space, Kahn began to outline a phenomenology ofcorporeal sound; one concerned with the difference between perceivingthe sounds of the body (of the blood flow, or even of thought) asinterior or exterior events

DISCUSSION

Fwd: Art group to use internet to monitor Venice Biennale installation


Interesting. Note Robert Storr's comment, below. It's
given no context, but I'm interested in the "problem"
that et al is addressing...

--- e-Flux <info@mailer.e-flux.com> wrote:
> Date: Mon, 09 May 2005 14:19:47 -0400
> From: e-Flux <info@mailer.e-flux.com>
> Subject: Art group to use internet to monitor Venice
> Biennale installation
> To: marisa@marisaolson.com
>
> New Zealand Pavilion Venice Biennale 2005
>
>
>
>
> Vernissage 8 -11 June 2005
> Venice Biennale: 12 June - 6 November 2005
> http://www.thefundamentalpractice.org
> Commissioner Gregory Burke
>
> Curator Natasha Conland
> Contact info@thefundamentalpractice.org
>
> Et al.

DISCUSSION

Fwd: Social Construction opening at Southern Exposure Friday, May 13 7-9pm


This is sure to be an interesting show.

--- Scott Snibbe <scott@snibbe.com> wrote:
>
> Social Construction
>
> Featuring:
>
> Barbara Bartos
> c a l c (tOmi Scheiderbauer, Teresa Alonso Novo,
> Luks Brunner and Malex
> Spiegel) in close collaboration with Johannes Gees
> John Knuth
> Vitaly Komar (former Komar & Melamid Art Studio)
> Leah Modigliani
> Philip Ross
> Lee Walton
>
> Curated by Abner Nolan and Scott Snibbe
>
> Exhibition Dates: May 13 - June 18, 2005
>
> Southern Exposure
> 401 Alabama Street
> San Francisco, CA 94110
> 415-863-2141
> w <http://www.soex.org> ww.soex.org
>
> Curators Walk -through: Friday, May 13, 6:30pm
>
> Opening Reception: Friday, May 13, 7pm - 9pm
>
> Southern Exposure presents Social Construction
> curated by Abner Nolan and
> Scott Snibbe as part of our May/June 2005
> programming. This exhibition runs
> from Friday, May 13 thru Saturday, June 18, 2005. A
> curators walk-through
> will be held on Friday, May 13th at 6:30pm with an
> opening reception from 7
> PM - 9 PM.
>
> Social Construction features works in which the
> finished piece is
> substantially or entirely created by other
> organisms, highlighting the
> interdependence of artist, medium and society. These
> works show that human
> creation has its roots in an unconscious connection
> to our environment that
> expands beyond the boundaries of our history, our
> culture, and our senses of
> originality and self. Curated by Abner Nolan and
> Scott Snibbe, the
> exhibition features work by Barbara Bartos, c a l c
> (tOmi Scheiderbauer,
> Teresa Alonso Novo, Luks Brunner and Malex Spiegel)
> in close collaboration
> with Johannes Gees, John Knuth, Vitaly Komar (former
> Komar & Melamid Art
> Studio), Leah Modigliani, Philip Ross, and Lee
> Walton.
>
>
> <http://soex.org/images/bartosweb.jpg>
> Barbara Bartos, Philospher's Stone
>
> San Francisco-based Barbara Bartos will exhibit
> Philosopher's Stone, a
> sculptural installation dependent upon a community
> of bees. The
> installation consists of two hollow polyurethane
> forms in the shape of human
> brains that become the home for two beehives. Bartos
> draws a comparison
> between a beehive and the human brain, suggesting
> that individual bees
> function relative to the hive as individual cells in
> a brain.
>
>
> c a l c (tOmi Scheiderbauer, Teresa Alonso Novo,
> Luks Brunner and Malex
> Spiegel) in close collaboration with Johannes Gees
> present Communimage, a
> virtual collective artwork that is composed of
> 24,000 images contributed by
> approximately 2,000 individuals from 84 countries.
> The individual images
> are quilted together to form a visual global
> "polylogue" that is rooted in
> the utopian ideals of Internet art.
>
>
> <http://soex.org/images/communimage%20web.jpg>
> c a l c with Johannes Gees, Communimage
>
>
>
> <http://soex.org/images/knuthweb.jpg>
> John Knuth, Paintings
>
>
> Los Angeles-based artist John Knuth relies on an
> army of flies to produce
> his series of watercolor paintings. Knuth creates
> built environments for
> thousands of flies that digest watercolor paint and
> deposit small spots of
> color on white canvases. The resulting compositions
> are strikingly
> beautiful, and reflect a futile attempt to control a
> biological entity.
>
>
>
> Russian artist Vitaly Komar (former Komar & Melamid
> Art Studio) presents
> sculptures and drawings from the Eco-labor-ation
> project, in which the
> artist collaborated with beavers and termites. Komar
> placed 2 x 4 ready-made
> pieces of wood in natural habitats, allowing them to
> be transformed into
> beaver dams and termite towers. Komar intends the
> resulting works to
> symbolize the ecological co-existence of different
> forms of life and
> creativity.
>
>
> <http://soex.org/images/komarweb.jpg>
> Vitaly Komar (former Komar & Melamid Art Studio),
> Eco-labor-ation with
> beavers
>
>
> <http://soex.org/images/modiglianiweb.jpg>
>
> Leah Modigliani, Acquisition
>
> Leah Modigliani is an Oakland based artist whose
> project Acquisition
> explores issues of authorship and the art economy.
> She has photographed the
> exterior of Bay Area contemporary art collectors'
> homes and then
> commissioned artists in China to create new
> paintings based on these
> photographic images. By outsourcing her labor,
> Modigliani is able to produce
> artwork with a greater profit margin. The artist
> will use the profit
> generated by this project to secure the down payment
> for a home in the Bay
> Area, making herself complicit in the operations of
> our global economy.
>
>
> San Francisco-based sculptor Phil Ross presents
> three artworks that explore
> the relationship between measuring time and the life
> of plants. This project
> is inspired by the practice of studying growth rings
> on trees as a means of
> telling time. Ross reconfigures this relationship in
> his sculpture, Junior
> Return, a hydroponic plant whose existence is
> regulated by a clock. Every
> sixty seconds, a pump injects a pulse of air into
> the plant's environment.
> Ross creates a scenario in which human time engulfs
> and replaces a plant's
> natural growth processes.
>
> <http://soex.org/images/rossweb.jpg>
> Phil Ross, Junior Return
>
>
> <http://soex.org/images/waltonweb.jpg>
> Lee Walton, Red Ball: Manhattan
>
> Lee Walton is New York based conceptual artist whose
> projects and
> performances involve human interaction, humor, and
> an intermingling of rules
> and chance. In his online project, Red Ball:
> Manhattan, Walton will place a
> little red ball in successively specific locations
> in New York City based on
> the votes of visitors to his website. The work will
> culminate in the final
> precise placement of the ball at a location
> collectively determined by the
> community. The project will be accessible from the
> artist's website:
> www.leewalton.com.
>
>
>
> For more information and images, contact Courtney
> Fink or Kristen
> Evangelista at 415/863-2141 or email
> director@soex.org or programs@soex.org.
> Southern Exposure is located at 401 Alabama at 17th
> Street in San Francisco.
> Gallery hours are 11 AM to 5 PM, Tuesday through
> Saturday. Gallery
> admission is FREE.
>
>
>

__________________________________
Do you Yahoo!?
Yahoo! Mail - Helps protect you from nasty viruses.
http://promotions.yahoo.com/new_mail