“Got you. You're mine now. For the rest of the day, week, month, year, life. Have you guessed who I am? Sometimes I think you have. Sometimes when you're standing in a crowd I feel those sultry, dark eyes of yours stop on me. Are you too afraid to come up to me and let me know how you feel? I want to moan and writhe with you and I want to go up to you and kiss your mouth and pull you to me and say "I love you I love you I love you" while stripping. I want you so bad it stings. I want to kill the ugly girls that you're always with. Do you really like those boring, naive, coy, calculating girls or is it just for sex? The seeds of love have taken hold, and if we won't burn together, I'll burn alone.”
Showing posts with label Brief 1: My idea Of Fun DC. Show all posts
Showing posts with label Brief 1: My idea Of Fun DC. Show all posts
Thursday, 15 March 2012
“Life is like a typographical error: we're constantly writing and rewriting things over each other.”
― Bret Easton Ellis
― Bret Easton Ellis
Tuesday, 6 March 2012
Writings of the Vienna Actionists : Atlas Press (1999) ISBN: 1900565102
The Art Of Destruction - Stephen Barber: Creation Books (2004) ISBN: 1840680970
Film As A Subversive Art : Amos Vogel : DAP (2006) ISBN: 1933045272
La Scène Des Profondeurs - Otto Muehl (French and German Language)
Lettres A Erika - Otto Muehl (French And German Language)
Lettres De Prison - Otto Muehl (French And German Language)
Sortir Du Bourbier (Otto Muehl Autobiography) - Otto Muehl (French And German Language)
GI: What is your relationship with David Bowie? Your name and artwork appeared in the inner sleeve and liner notes for his Outside CD.
HN: I was on a panel of judges for an Outside Art Festival that his company had put together. David Bowie, myself and Christoph Ruecker, a VP at BMG Entertainment International, looked over all the work. David and I agreed on a piece by a young Philippine man, Joseph Lee Alviar, called Destruction of Man.
As always, the killing in the Aktion was quick, performed by professional butchers under veterinary control, but that has done nothing to silence Nitsch's detractors. Brigitte Bardot, the actress turned animal-rights activist (and friend to the French far right), condemned the man's work as a "satanic spectacle," flying to Austria the week before theSix-Day Play to appeal to the people and government to boycott the show.
"All are invited to drink. A mass intoxication is imperative, an all-embracing intoxication of the participants is ordained, unrestrained drinking takes place, day and night, in vineyards and cellars. Slaughter of a pig. GRAPES, FRUIT and TOMATOES, ANIMAL LUNGS, FLESH and INTESTINES are trampled on in ecstasy. People trample in SLAUGHTERED ANIMAL CARCASSES FILLED WITH INTESTINES, in troughs full of blood and wine. Extreme noise from the orchestras. Slaughtering of the bull, slaughtering of two pigs. Disembowelment."
Günter Brus
Günter Brus (born September 27, 1938, Ardning, Styria, Austria) is a controverisialAustrian painter, performance artist, graphic artist and writer.
He was the co-founder in 1964 of Viennese Actionism (German: Wiener Aktionismus) together with Otto Muehl, Hermann Nitsch and Rudolf Schwarzkogler. His aggressively presented actionism intentionally disregarded conventions and taboos with the intent of shocking the viewer. Sentenced to 6 months in prison after the "Kunst und Revolution" event at the University of Vienna in 1968, he fled to Berlin with his family and returned to Austria in 1976. Brus urinated into a glass then proceeded to cover his body in his own excrement, and ended the piece by drinking his own urine. During the performance Brus also sang the Austrian National Anthem while masturbating. Brus ended the piece by vomiting and was subsequently arrested. Through this piece and his other performance works, Brus hoped to reveal the still fascist essence of the nation. Brus also was editor of the "Schastrommel" (author's edition) from 1969 on. In his "Bild-Dichtungen" he achieves a synthesis between poetry and painting. He was involved into the NO!Art movement.
Brus was awarded the Grand Austrian State Prize in 1997. Most of his works are shocking and controversial. The Joanneum now houses a permanent gallery, called the Bruseum, featuring the work of Brus and fellow Viennese Actionists.
Brus urinated into a glass then proceeded to
cover his body in his own excrement, and
ended the piece by drinking his own urine.
During the performance Brus also sang the
Austrian National Anthem while masturbating
cover his body in his own excrement, and
ended the piece by drinking his own urine.
During the performance Brus also sang the
Austrian National Anthem while masturbating
Otto Muehl
Otto Muehl (born June 16, 1925, at Grodnau, Mariasdorf, Burgenland, Austria) is an Austrian artist, who is best known as one of the co-founders as well as a main participant of Viennese Actionism. In 1972 he founded the Friedrichshof Commune that existed for several years before falling apart in the 1990s. In 1991, Muehl was convicted of sexual crimes involving adolescents, and sentenced to 7 years imprisonment. He was released in 1997, after serving six and a half years, and set up a smaller commune in Portugal. After his release, he also published his memoirs from the prison (Aus dem Gefängnis).
Confusion with Meat is Theatre
I think that when I explain to people what this project is about they get confused in thinking that I'm against everybody being disgusting.
Viennese Actionism
The term Viennese Actionism describes a short and violent movement in 20th century art that can be regarded as part of the many independent efforts of the 1960s to develop "action art" (Fluxus, Happening, Performance, Body Art, etc.). Its main participants wereGünter Brus, Otto Mühl, Hermann Nitsch and Rudolf Schwarzkogler. As "actionists", they were active between 1960 and 1971. Most have continued their artistic work independently from the early 1970s onwards.
Documentation of the work of these four artists suggests that there was no consciously developed sense of a movement or any cultivation of membership status in an "actionist" group. Rather, this name was one applied to various collaborative configurations among these four artists. Malcolm Green has quoted Hermann Nitsch's comment, "Vienna Actionism never was a group. A number of artists reacted to particular situations that they all encountered, within a particular time period, and with similar means and results."
The work of the Actionists developed concurrently with—but largely independently from—other avant garde movements of the era who shared an interest in rejecting object-based or otherwise commodifiable art practices. The practice of staging precisely scored "Actions" in controlled environments or before audiences bears similarities to the Fluxus concept of enacting an "event score" and is a forerunner toPerformance Art.
The work of the Viennese Actionists is probably best remembered for the wilful transgressiveness of its naked bodies, destructiveness and violence. Often, brief jail terms were served by participants for violations of decency laws, and their works were targets of moral outrage. In June 1968 Günter Brus began serving a six-month prison sentence for the crime of "degrading symbols of the state", and later fled Austria to avoid a second arrest. Otto Mühl served a one-month prison term after his participation in a public event, "Art and Revolution" in 1968. After his "Piss Action" before a Munich audience, Mühl became a fugitive from the West German police. Hermann Nitsch served a two week prison term in 1965 after his participation with Rudolph Schwarzkogler in the Festival of Psycho-Physical Naturalism. The "Destruction in Art Symposium", held in London in 1966, marked the first encounter between members of Fluxus and Actionists. It was a landmark of international recognition for the work of Brus, Mühl and Nitsch.
While the nature and content of each artist's work differed, there are distinct aesthetic and thematic threads connecting the Actions of Brus, Mühl, Nitsch and Schwarzkogler. Use of the body as both surface and site of art-making seems to have been a common point of origin for the Actionists in their earliest departures from conventional art practices in the late 50s and early 60s. Brus' "Hand Painting Head Painting" action of 1964, Mühl and Nitsch's "Degradation of a Female Body, Degradation of A Venus" of 1963 are characterized by their efforts to reconceive human bodies as surfaces for the production of art. The trajectories of the Actionists' work suggests more than just a precedent to later performance art and body art, rather, a drive toward a totalizing art-practice is inherent in their refusing to be confined within conventional ideas of painting, theatre and sculpture. Mühl's 1964 "Material Action Manifesto" offers some theoretical framework for understanding this:
...material action is painting that has spread beyond the picture surface. The human body, a laid table or a room becomes the picture surface. Time is added to the dimension of the body and space.
Monday, 27 February 2012
anatomy of disgust
its protagonists become sexually aroused by staging and participating in real car-crashes. The novel was written in a highly-sensationalized manner.
Seduction/disgust
This author is beyond psychiatric help. Do Not Publish.
I began to understand the sexual excitements of the car-crash for myself when I first met Vaughan shortly after coming out of hospital. I had been admitted with multiple fractures to my legs after my car had hit the central reservation of the Western Avenue and hit a saloon travelling in the opposite direction, instantly propelling the driver through the windscreen and into the path of a lorry which crushed his torso under its wheels, leaving his wife catatonic by the wayside.
Seduction/disgust
This author is beyond psychiatric help. Do Not Publish.
The book explores themes such as the transformation of human psychology by modern technology, and consumer culture's fascination with celebrities and technological commodities. The human characters in the novel are cold and passionless, unable to become sexually excited unless some kind of technology is involved (typically architecture and cars). The gruesome damage inflicted on car-crash victims is not seen as shocking, but as the liberation of new sexual possibilities that have yet to be explored, such as in one scene where a man and a woman have sex in a car that was involved in an accident, but rather than havevaginal sex, he penetrates a wound on her thigh that she received in the crash.
Finally, the book asks why we, as an enlightened society, accept such a “perverse technology” – that kills a vast number of people yearly – as such an integral part of our culture.
Ballard writes in the foreword: “Do we see, in the car-crash, the portents of a nightmare marriage between technology, and our own sexuality? … Is there some deviant logic unfolding here, more powerful than that provided by reason?”
“After having … been constantly bombarded by road-safety propaganda, it was almost a relief to find myself in a real accident.”
“Trying to exhaust himself, Vaughan devised an endless almanac of terrifying wounds and insane collisions: The lungs of elderly men punctured by door-handles; the chests of young women impaled on steering-columns; the cheek of handsome youths torn on the chromium latches of quarter-lights. To Vaughan, these wounds formed the key to a new sexuality, born from a perverse technology. The images of these wounds hung in the gallery of his mind, like exhibits in the museum of a slaughterhouse.”
I began to understand the sexual excitements of the car-crash for myself when I first met Vaughan shortly after coming out of hospital. I had been admitted with multiple fractures to my legs after my car had hit the central reservation of the Western Avenue and hit a saloon travelling in the opposite direction, instantly propelling the driver through the windscreen and into the path of a lorry which crushed his torso under its wheels, leaving his wife catatonic by the wayside.
Monday, 6 February 2012
inspired by sylvia
Sylvia's Death
for Sylvia Plath
O Sylvia, Sylvia,
with a dead box of stones and spoons,
with a dead box of stones and spoons,
with two children, two meteors
wandering loose in a tiny playroom,
wandering loose in a tiny playroom,
with your mouth into the sheet,
into the roofbeam, into the dumb prayer,
into the roofbeam, into the dumb prayer,
(Sylvia, Sylvia
where did you go
after you wrote me
from Devonshire
about rasing potatoes
and keeping bees?)
where did you go
after you wrote me
from Devonshire
about rasing potatoes
and keeping bees?)
what did you stand by,
just how did you lie down into?
just how did you lie down into?
Thief --
how did you crawl into,
how did you crawl into,
crawl down alone
into the death I wanted so badly and for so long,
into the death I wanted so badly and for so long,
the death we said we both outgrew,
the one we wore on our skinny breasts,
the one we wore on our skinny breasts,
the one we talked of so often each time
we downed three extra dry martinis in Boston,
we downed three extra dry martinis in Boston,
the death that talked of analysts and cures,
the death that talked like brides with plots,
the death that talked like brides with plots,
the death we drank to,
the motives and the quiet deed?
the motives and the quiet deed?
(In Boston
the dying
ride in cabs,
yes death again,
that ride home
with our boy.)
the dying
ride in cabs,
yes death again,
that ride home
with our boy.)
O Sylvia, I remember the sleepy drummer
who beat on our eyes with an old story,
who beat on our eyes with an old story,
how we wanted to let him come
like a sadist or a New York fairy
like a sadist or a New York fairy
to do his job,
a necessity, a window in a wall or a crib,
a necessity, a window in a wall or a crib,
and since that time he waited
under our heart, our cupboard,
under our heart, our cupboard,
and I see now that we store him up
year after year, old suicides
year after year, old suicides
and I know at the news of your death
a terrible taste for it, like salt,
a terrible taste for it, like salt,
(And me,
me too.
And now, Sylvia,
you again
with death again,
that ride home
with our boy.)
me too.
And now, Sylvia,
you again
with death again,
that ride home
with our boy.)
And I say only
with my arms stretched out into that stone place,
with my arms stretched out into that stone place,
what is your death
but an old belonging,
but an old belonging,
a mole that fell out
of one of your poems?
of one of your poems?
(O friend,
while the moon's bad,
and the king's gone,
and the queen's at her wit's end
the bar fly ought to sing!)
while the moon's bad,
and the king's gone,
and the queen's at her wit's end
the bar fly ought to sing!)
O tiny mother,
you too!
O funny duchess!
O blonde thing!
you too!
O funny duchess!
O blonde thing!
Wanting to Die
Since you ask, most days I cannot remember.I walk in my clothing, unmarked by that voyage.
Then the most unnameable lust returns.
Even then I have nothing against life.
I know well the grass blades you mention
the furniture you have placed under the sun.
But suicides have a special language.
Like carpenters they want to know which tools.
They never ask why build.
Twice I have so simply declared myself
have possessed the enemy, eaten the enemy,
have taken on his craft, his magic.
In this way, heavy and thoughtful,
warmer than oil or water,
I have rested, drooling at the mouth-hole.
I did not think of my body at needle point.
Even the cornea and the leftover urine were gone.
Suicides have already betrayed the body.
Still-born, they don't always die,
but dazzled, they can't forget a drug so sweet
that even children would look on and smile.
To thrust all that life under your tongue! --
that, all by itself, becomes a passion.
Death's a sad bone; bruised, you'd say,
and yet she waits for me, year and year,
to so delicately undo an old would,
to empty my breath from its bad prison.
Balanced there, suicides sometimes meet,
raging at the fruit, a pumped-up moon,
leaving the bread they mistook for a kiss,
leaving the page of a book carelessly open,
something unsaid, the phone off the hook
and the look, whatever it was, an infection.
February 3, 1964
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