ZAZ ZETOUN MIND

JULES PASCIN

2012-02-10T12:45:00.000+01:00

Jules Pascin (Bulgarian-born French & American painter, 1885-1930)

http://fr.wikipedia.org/wiki/Julius_Mordecai_Pincas
Jules Pascin from Miguel Angel on Vimeo.

Jules Pascin at work in his last atelier (3 villa des Camélias), Paris, Spring 1930

Lucy Vidil y su mascota tortuga.

Esposa del artista plástico Per Krohg, amante del también pintor Pascin, “La bella Lucy” fue una de las mayores musas de Montparnasse, siendo retratada por casi todos los artistas de su época, Modigliani, Foujita, Picasso y muchos otros, se pelearon por contratar sus servicios. Se cuenta que en 1923, en el Salón de Arte oficial, sólo 4 cuadros no eran basados en ella.

Vivió un momento trágico, ya que Pascin, al no poder dejarla, se suicidó ahorcándose a la portuguesa, es decir, atando una cuerda al pomo de la puerta, y halando hasta morir. Luego abrió una galería y vivió en relativa paz, hasta que murió. Curiosamente, manejó las obras de su marido (se divorciarían poco después)y su amante en su galería sin problemas.

Junto con Kiki de Montparnasse, Lucy Vidil personificó el aire de una París romántica, moderna, que ya declinaba: la gran fiesta de Montparnasse estaba por terminar, nunca más se bailó, se folló, se fumó, se creó y se disfrutó la vida como en la década de 1920.

Pascin fin du printemps 1830

Pascin à la maison Lespinasse avec, Rolla, Julie et Lucy

Pierre Marseille, Pascin et les modèles

RENÉ DAUMAL – ROGER GILBERT-LECOMTE Chronique de la vie sexuelle (fragment)

2012-02-08T17:29:00.000+01:00

Qu'il soit bien entendu que nousn'entendons pas attacher à cette chronique

aucunevaleur de documentation plus ou moins scientifique. S 'il fautparler de valeur, qu'il s'agisse ici d'une valeur de scandale.

III.- P. aimait pour son plaisir physique de vastes mises en scène.

Au milieu d'une chambre il se faisait enchaîner à plat ventre surun divan.

Autour, devaient défiler des hommes en uniformes divers, defacteurs, de pompiers, d'agents de police.

Atour de rôle, en passant devant lui, ils le giflaient deux fois.

Puis entraient au galop de jeunes garçons costumés en grooms etlorsque eux aussi le giflaient la séance était terminée.

VI.- A Paris-Plage, en 1927. O. offrait à une femme de rencontre unetrès belle paire de chaussures neuves.

Elle devait les mettre à ses pieds pour la première fois sur laplage, à marée montante.

O. interdit à la femme de se reculer quand la mer approche – Elleest debout, immobile, sur le sable – Quand la première vaguemouille et abîme les chaussures encore intactes et n'ayant jamaisservi, O. s'agite et enfonce ses ongles dans la paume de ses mains.

(Le Grand Jeu n°2, printemps 1929)

Lac de Bidot, Fonsorbes le 07 février 2012

2012-02-07T16:28:00.002+01:00

VALENTINE PENROSE « Herbe à la lune » (fragment)

2012-02-06T16:17:00.000+01:00

Valentine Penrose en Inde 1934 photographiée par Roland Penrose

A la légère de leurs grands anges deliberté matés

aimer brûlot affamé

entre l'aimant et l'aimé

Les prénoms sur l'eau de voyance

se portant et se rapportant leurs cœursmineurs

à la santé du bonheur du jour du tiendu mien.

Tranchant des rasoirs éclat desmiroirs beauté de l'ivoire

miroirs d'amour et d'oubli

la belle dormant tenant

la porte

les échanges contents dans son cœurbleu et rouge

géante aux vieux pluriels et à ceuxqu'elle rêve

les tiroirs des tiroirs les miroirs desmiroirs.

Donnez-moi l'épée de paradis.

(Herbe à la lune, Paris,Éditions G.L.M. 1935)

Jour de neige impasse de la pensée...

2012-02-05T16:10:00.001+01:00

Ruth White - the Cat

2012-02-02T17:57:00.000+01:00

Jagannath Baladeva Subhadra

2012-02-01T13:26:00.002+01:00

La Vallee (Obscured by clouds) Barbet SCHROEDER

2012-01-30T17:52:00.002+01:00

1971 durée 114'

Réalisation et scénario de Barbet SCHROEDER

Co-scénariste Paul GEGAUFF

Directeur de la photographie Nestor ALMENDROS

Musique des THE PINK FLOYD

Montage de Denise de Casabianca

avec

Bulle Ogier
Valérie Lagrange
Jean-Pierre Kalfon, Jérôme Beauvarlet, Monique Giraudy, Michael Goutard

Sortie le 06 juillet 1972

Résumé

A la recherche d'objets exotiques, Viviane, l'épouse du consul de France à Melbourne, accompagne un groupe lors d'une expédition dans la brousse afin d'y découvrir une vallée inconnue.

Fascinée par Gaétan, le chef, Viviane devient sa maîtresse et ensemble, ils s'initient aux rites indigènes.

La Vallee - Part 1 of 2

The extremely rare 1973 Barbet Schroeder followup to MORE, with another classic soundtrack by Pink Floyd (aka "Obscured By Clouds"). Starring Bulle Ogier as a woman who goes to Papau New Guinea to find an allegedly hidden valley. For mature audiences due to adult themes and some native violence. In French with English subtitles.

La Vallee - Part 2 of 2

Tracey Emin

2012-01-29T17:27:00.000+01:00

Tracey Emin, Exorcism of the Last Painting I Ever Made 1996

Tracey Emin - Tent - Everyone I have ever slept with Although at times obscured by the artist's celebrity, the art of Tracey Emin is serious and focussed, challenging and at times startlingly beautiful. In this film, she speaks frankly about her career, the craft of her immensely varied work, and the immediate, personal themes with which she engages: autobiography, memory, desire, and identity.Many of her best-known works, including Everyone I Have Ever Slept With 1963-1995 (1995) and My Bed (1998), are illustrated and discussed, as is a wide selection of drawings, prints, paintings, neons, appliqué blankets and installations."I always say if I didn't make art, I'd probably be dead," she reflects. "But let's be more realistic about that. If I didn't make art and I'd done well in life, then I might have gone into retail. I would probably be the person in the shop that would be always organising the displays, and always making the noticeboard look nice in the canteen, stuff like that. I'm a genuinely creative person."Please note that this video contains explicit images and adult language featured in artworks by Tracey Emin.theEYE is an excellent introduction to contemporary artists and their works and provides an ideal resource for a wide range of audiences, including galleries, museums and colleges, as well as individual art-lover.

In 1996, Tracey Emin lived in a locked room in a gallery for fourteen days, with nothing but a lot of empty canvases and art materials, in an attempt to reconcile herself with paintings. Viewed through a series of wide-angle lenses embedded in the walls, Emin could be watched, stark naked, shaking off her painting demons. Starting by making images like the artists she really admired (i.e. Egon Schiele, Edvard Munch, Yves Klein), Emin’s two-week art-therapy session resulted in a massive outpouring of autobiographical images, and the discovery of a style all her own. The room was extracted in its entirety, and now exists as an installation work.

Sometimes I feel beautiful - Tracey Emin

Louise Bourgeois and Tracey Emin, 2010. Portrait by Brigitte Cornand

Louise Bourgeois & Tracey Emin Exhibition
http://www.artlyst.com takes a virtual tour of the Louise Bourgeois & Tracey Emin Exhibition at the Hauser & Wirth Gallery in London. Narrated by Juliette Goddard The exhibition runs until 12 March 2011. Who are the Artists and where are the Exhibitions everyone's talking about in London? Check out ArtLyst.com

Tracey Emin. Exorcism of the Last Painting I Ever Made (detail), 1996. Installation details of 14 paintings from a total of 97 works.

Tracey Emin - From The Week of Hell ‘94

And so I kissed you, one of 16 works produced collaboratively by Tracey Emin and Louise Bourgeois in the Do Not Abandon Me exhibition. Photograph: Christopher Burke

Eliane Radigue - Transamorem-Transmortem [excerpt]

2012-01-26T17:24:00.000+01:00

A Page of Madness (Teinosuke Kingusa, 1926)

2012-01-24T11:26:00.001+01:00

http://en.wikipedia.org/wiki/A_Page_of_Madness

KHU - Seek Light and Light will find

2012-01-23T13:08:00.002+01:00

Muzik KHU
Graphiks Hell Acimoy
Video Meee
Recorded live in the temple of KHU on June 21st, 1988
http://www.myspace.com/pertesnoires

Photos retrouvées, KHU 1988, HELL ACIMOY, MEEE

Angélica Liddell

2012-01-21T14:43:00.000+01:00

http://www.angelicaliddell.com

Presentación Angélica Liddell
Angélica Liddell habla de su trabajo. Imágenes de "Te haré invencible con mi derrota" y "La casa de la fuerza".

Angelica Liddell "TE HARÉ INVENCIBLE CON MI DERROTA" (fragmento)

Yo no soy bonita, de Angélica Liddell

La Casa de la Fuerza

"La Casa de la fuerza (La Maison de la force)", extraits vidéo

JOYCE MANSOUR – UN POEME INEDIT

2012-01-18T14:51:00.001+01:00

à G.M.

Miroir à la dérive

Voltigeante crinière dans l'œil de latempête

Agonie d'un amour défunt

Vert le visage ensablé

Blanches les méduses

Dans le tohu-bohu tétanique des draps

Des poissons gloutons célèbrent

L'équinoxe d'automne

Les yeux du mort percent

Mensonges simagrées paupières

Vitraux en éventail

Feuillage de Chine

Rouge la salive de celui qui meurtempalé

Sur l'épieu de la haine

Bleue la monture de l'homosexualitéféminine

Rêve d'argile et de pieds bandés

Ecroulez vasques coulez fontaines

Le suicide est la réponse de l'oiseau

A la cage

Corne de brume dans le thorax

De la Mère

Joyce Mansour sous un masque de coquillages photo de Marion-Valentine

PAUL ELUARD - VALENTINE HUGO

2012-01-14T15:11:00.000+01:00

L'heureexacte

àValentine Hugo

L'heure exacte marque larage Et la spirale de lanières qui s'écroule

Aux dents de singe Au seuil des plaies au seuil du baume

Vingt-quatre couchers desoleil

Sur un horizon ridicule Mal funèbre mal d'encre

Vingt-quatre couchers deprovince Caché par des doigts purs

Aux joues exquises La glaise de l'automne alourdit le feuillage

Ont fini de délibérer Le cheval arrivé ne dépassera pas

La corde pour se pendre

Et mille lieues de fuite àdébrider L'horloge enfarinée dit l'heure du départ

Rayon maigre innocent Mais elle est arrêtée.

Undroit de regard enfin

sur le poème

Sur la placegrandie d'une seule ombre centrale et où les lampes et les arbressautent le mur de la lumière, dix doigts transparents travaillent,Montreurs d'images, des plus anciennes : l'Enchantement, auxnouvelles qui sont la Grâce, ils perçoivent l'inconnu sous la formeamie du connu. Ici, nulle convention pour nous faire fuir cettecomplicité protectrice. Chaque part du connu, nous la rangeâmes oùelle est. Elle nous apprend que nous fûmes en ordre, et que nousaurions pu rester délimités, isolés, perdus. Mais nous imaginâmesl'inconnu. Notre idéal pris corps.

Agiles, fines et fortes, les mains de Valentine Hugoretrouvent l'objet des mots, non orgueilleux, mais ambitieux :décrire, inventer, décrire l'objet, dont on ne peut douter, écumetoujours neuve, premier sortilège. Un droit de regard enfin sur lepoème . Naïf effort de la sincérité, de la conscience dansun domaine où le mensonge, même vain, s'anéantit ! Et puisvoir sans effort.

Sur la terre et sur l'eau, parmi les nuages et sur lavitre, nous avons admiré, sans les comprendre, ces souhaits, cessceaux éphémères de mousse, d'herbe, de ramilles, de givre dontValentine Hugo frappe la boule d'or pur qui s'en va rouler dans lesplaines du papier.

(Extrait de Paul Eluard "Voir" Editions "TroisCollines" 1948 )

PAUL KLEE poème de PAUL ELUARD

2012-01-11T11:58:00.000+01:00

Sur la pente fatale, le voyageurprofite

De la faveur du jour, verglas et sanscailloux,

Et les yeux bleus d'amour, découvre sasaison

Qui porte à tous les doigts de grandsastres en bague.

Sur la plage la mer a laissé sesoreilles

Et le sable creusé la place d'un beaucrime,

Le supplice est plus dur aux bourreauxqu'aux victimes,

Les couteaux sont des signes et lesballes des larmes.

(Extrait de Paul Eluard "Voir" Editions "TroisCollines" 1948 )

Ernst Fuchs

2012-01-08T16:47:00.000+01:00

Ernst Fuchs (born February 13, 1930) is an Austrian visionary painter, draftsman, printmaker, sculptor, architect, stage designer, composer, poet, singer and one of the founders of the Vienna School of Fantastic Realism. In 1972 he acquired the derelict Otto Wagner Villa in Hütteldorf, which he restored and transformed. The villa was inaugurated as the Ernst Fuchs Museum in 1988.

He studied sculpture with Emmy Steinbock (1943), attended the St. Anna Painting School where he studied under Professor Fröhlich (1944), and entered the Academy of Fine Arts in Vienna (1945) where he began his studies under Professor Robin C. Anderson, later moving to the class of Albert Paris von Gütersloh.

At the Academy he met Arik Brauer, Rudolf Hausner, Wolfgang Hutter, and Anton Lehmden, together with whom he later founded what has become known as the Vienna School of Fantastic Realism. He was also a founding member of the Art-Club (1946), as well as the Hundsgruppe, set up in opposition to it in 1951, together with Friedensreich Hundertwasser and Arnulf Rainer.

His work of this period was influenced by the art of Gustav Klimt and Egon Schiele and then by Max Pechstein, Heinrich Campendonck, Edvard Munch, Henry Moore and Pablo Picasso. During this time, seeking to achieve the vivid lighting effects achieved by such Old Masters as Albrecht Altdorfer, Albrecht Dürer, Matthias Grünewald and Martin Schongauer, he revived and adopted the mischtechnik (mixed technique) of painting. In the mischtechnik, egg tempera is used to build up volume, and is then glazed with oil paints mixed with resin, producing a jewel-like effect.

Between 1950 and 1961, Fuchs lived mostly in Paris, and made a number of journeys to the United States and Israel. His favourite reading material at the time was the sermons of Meister Eckhart. He also studied the symbolism of the alchemists and read Jung's Alchemy and Psychology. His favourite examples at the time were the mannerists, especially Jacques Callot, and he was also very much influenced by Jan Van Eyck and Jean Fouquet. In 1958 he founded the Galerie Fuchs-Fischoff in Vienna to promote and support the younger painters of the Fantastic Realism school. Together with Friedensreich Hundertwasser and Arnulf Rainer, he founded the Pintorarium.

In 1956 he converted to Roman Catholicism (his mother had had him baptized during the war in order to save him from being sent to a concentration camp). In 1957 he entered the Dormition Abbey on Mount Zion where he began work on his monumental Last Supper and devoted himself to producing small sized paintings on religious themes such as Moses and the Burning Bush, culminating in a commission to paint three altar paintings on parchment, the cycle of the Mysteries of the Holy Rosary (1958--61), for the Rosenkranzkirche in Hetzendorf, Vienna. He also deals with contemporary issues in his masterpiece of this period, Psalm 69 (1949--60). (Fuchs, 1978, p. 53).

He returned to Vienna in 1961 and had a vision of what he called the verschollener Stil (The Hidden Prime of Styles), the theory of which he set forth in his inspired and grandiose book Architectura Caelestis: Die Bilder des verschollenen Stils (Salzburg, 1966). He also produced several important cycles of prints, such as Unicorn (1950--52), Samson (1960--64), Esther (1964-7) and Sphinx (1966-7; all illustrated in Weis). In 1972 he acquired the derelict Otto Wagner Villa in Hütteldorf, which he restored and transformed. The villa was inaugurated as the Ernst Fuchs Museum in 1988. From 1970 on, he embarked on numerous sculptural projects such as Queen Esther (h. 2.63 m, 1972), located at the entrance to the museum, and also mounted on the radiator cap of the Cadillac at the entrance to the Dalí Museum in Figueres, Catalonia, Spain.

From 1974 he became involved in designing stage sets and costumes for the operas of Mozart and Richard Wagner including Die Zauberflöte, Parsifal, and Lohengrin. He took a stab at industrial design in the 1970s with a 500-piece run of the upscale Suomi tableware by Timo Sarpaneva that Fuchs decorated for the German Rosenthal porcelain maker's Studio Linie.

In 1993 Fuchs was given a retrospective exhibition at the State Russian Museum in St. Petersburg, one of the first Western artists so honored.

Ernst Fuchs continues to inspire, and has many exponents and disciples including H.R. Giger, Mark Ryden, Robert Venosa, Michael Hussar, Mati Klarwein, Zdzislaw Beksinski, and De Es Schwertberger. A new generation of students includes Andrew Gonzalez, Amanda Sage, Antonio Roybal, Victor Safonkin, and Oleg A. Korolev.

An end of sky... (collage)

2012-01-07T16:42:00.001+01:00

Instrumentos musicales prehispánicos

2012-01-06T13:14:00.000+01:00

DEMOSTRACIÓN DE INSTRUMENTOS MUSICALES PREHISPÁNICOS
El investigador Dimitri Manga interpreta los sonidos originales de la música andina prehispánica empleando réplicas hechas a partir de algunos de los instrumentos de la colección del Museo Nacional de Arqueología, Antropología e Historia del Perú que actualmente dispone de alrededor de 2000 piezas, solo en lo que a instrumentos musicales se refiere, Arte y tecnología andina en pleno uso.

Pierre Bettencourt, Jacques Prévert, Max Ernst...

2012-01-03T13:38:00.002+01:00

Personnage de Pierre Bettencourt, ardoise, coquilles d'escargots, pattes de langoustes, plumes...

Collage de Jacque Prévert pour un conte de fée 1963

"Le limaçon de chambre" collage de Max Ernst 1921

Christian Vander / Offering 22 Février 1990 - La Cigale - Cosmos Afiieh

2011-12-31T17:14:00.001+01:00

Cosmos Afiieh 1

Cosmos Afiieh 2

Les bois noirs...

2011-12-28T20:34:00.000+01:00

Forêt de Bouconne le 28.12.2011

Some books...

2011-12-27T19:17:00.001+01:00

Charlotte Moorman and Neo dada 1961

2011-12-23T18:27:00.000+01:00

Deep in the forest II... Bouconne 231211

2011-12-23T18:17:00.000+01:00

Deep in the forest... Bouconne 221211

2011-12-22T22:50:00.000+01:00

Pandit Pran Nath - 21 VIII 76 NYC Raga Malkauns

2011-12-21T13:35:00.001+01:00

Pandit Pran Nath, La Monte Young, Marian Zazeela

Recorded by Tom Duffy at Big Apple Recording Studios,
Ltd., New York City, August 21, 1976

La naissance du cosmos

2011-12-21T12:41:00.001+01:00

La naissance du cosmos. Provient d'une page de manuscrit enluminé. Rajasthan environ 18ème siècle. Gouache sur papier rehaussée d'or.

Chemins stellaires

2011-12-21T12:38:00.002+01:00

Chemins stellaires, Rajasthan environ 18ème siècle. Gouache sur papier.

Anne Brigman

2011-12-19T13:07:00.001+01:00

Anne Brigman at a retouching easel in her studio. circa 1915.

Anne Wardrope (Nott) Brigman (1869-1950) was an American photographer and one of the original members of the Photo-Secession movement in America. Her most famous images were taken between 1900 and 1920, and depict nude women in primordial, naturalistic contexts.
Brigman's photographs frequently focused on the female nude, dramatically situated in natural landscapes or trees. Many of her photos were taken in the Sierra Nevada Mountains in carefully selected locations and featuring elaborately staged poses. Brigman often featured herself as the subject of her images. After shooting the photographs, she would extensively touch up the negatives with paints, pencil, or superimposition.
Brigman's deliberately counter-cultural images suggested bohemianism and female liberation. Her work challenged the establishment's cultural norms and defied convention, instead embracing pagan antiquity. The raw emotional intensity and barbaric strength of her photos contrasted with the carefully calculated and composed images of Stieglitz and other modern photographers.

http://en.wikipedia.org/wiki/Anne_Brigman

The Water Nixie- 1914

The Source 1907

The Bubble 1907

Storm Tree, 1915

The Dryad, 1905

Incantation

The Heart of the Storm, negative, 1902; print, 1914

Delia Derbyshire - "Falling", from The Dreams (1964)

2011-12-17T22:27:00.000+01:00

This is a sound collage poem by Delia Derbyshire, from the 5-piece suite "The Dreams" (1964), composed in collaboration with Barry Bermange, who recorded the "dream narations" later spliced and collaged in accordance to a theme: "Running", "Falling", "Land", "Sea" and "Colour".

Sätty (Wilfried Podriech)

2011-12-14T12:02:00.000+01:00

Sätty (Wilfried Podriech) was born in Bremen, Germany, in 1939. As a child he played in the ruins of the city, which was heavily bombed during World War Two. After three years of apprenticeship in mechanical engineering, he worked in Canada, then moved to San Francisco in 1961. For a few years he worked as a steward on the Pacific cruise ships of the Matson Line, and later as a heating and ventilating systems designer.
In San Francisco he lived in North Beach, and associated with artists and bohemians of the Beat Generation. Since childhood he had demonstrated artistic potential. In 1966, inspired by the openness and creativity of San Francisco's emergent Hippie culture, he began making pictorial collages. Some of these were sold as poster size prints, which were then very popular. He became a prolific artist, concerned with fine technique and with expression of the broadest range of human experience. He intended his art to engage the imagination and counteract the pernicious stimulus-response programming of media advertising.
Sätty created many colorful artworks and lithographic prints, and hundreds of black and white collages. During the 1970s many were used as illustrations in both the counter culture and establishment periodicals. He produced two collage books, The Cosmic Bicycle and Time Zone, a pictorial allegory. He created illustrations for the comprehensive treatise, The Annotated Dracula and for The Illustrated Edgar Allan Poe, a book of stories he selected. During the late 1970s until his death in 1982, he produced numerous collages inspired by events in San Francisco's often dramatic, unruly history, from the Gold Rush to the 1890s. Many of these occasionally bizarre images have recently been published in Visions of Frisco, by Regent Press, Berkeley.
In a review of Sätty's art, S.F. Chronicle art critic Thomas Albright stated, "His work evidenced his Germanic roots with a somber, dreamlike realm of utopian, surrealist fantasy spiced by disarming accents of the bizarre and grotesque." His art has been exhibited in many galleries and museums, including the San Francisco Museum of Modern Art; the Museum of Modern Art, New York; the Boston Museum of Fine Arts; the National Museum of Art, Belgrade; and the National Museum, Warsaw.

Dracula (Illustrated by Sätty)

Collage Illustration by Wilfried Sätty Podriech taken from The Annotated Dracula book,

illustration from ”The Annotated Dracula” by Wilfried “Sätty”

Illustration from The Pit and the Pendulum by Edgar Allan Poe.

Le sexe et la folie

2011-12-12T12:58:00.001+01:00

Anonyme : Les deux gargouilles, XVe siècle. Cathédrale de Zamora y Lonja de Valencia

(Érotique de l'Espagne, Xavier Domingo, J.J. Pauvert Éditeur, 1966)

Novembre à Erdeven (Mégalithes)

2011-12-02T22:58:00.000+01:00

Twilight in Suscinio

2011-12-01T18:54:00.000+01:00

PIERRE SCHAEFFER OUIJA BOARD

2011-11-30T17:39:00.000+01:00

PIERRE SCHAEFFER was a French composer, writer, broadcaster, engineer, musicologist and acoustician of the 20th century. His innovative work and in both the sciences —particularly communications and acoustics— and the various arts of music, literature and radio presentation after the end of World War II, as well as his anti-nuclear activism and cultural criticism garnered him a wide array of appraisal in his lifetime.

Angel Fish

2011-11-28T18:53:00.002+01:00

Theresa Byrnes

2011-11-10T22:15:00.003+01:00

http://www.theresabyrnes.com
Theresa Byrnes Videos

09.15.2009, Australian painter and performer Theresa Byrnes performed Nest in Williamsburg, Brooklyn. Very impressive, this performance shows her last painting series making process. Edit and most of the pictures by Emmanuel Germond, who was also Theresa Assistant.

NEST: 2009 Theresa Byrnes performance from emmanuel germond on Vimeo.

Theresa Byrnes, Nest, performance, photo Greg Weight

Theresa Byrnes The Artist - Documentary

THERESA BYRNES - MEASURE OF MAN
Leonardo Davinci's anatomical drawing THE VITRUVIAN MAN heralded the age where the perfection of man was central to all things and encouraged progress and excellence in the individual and in society. The assertion of the centrality of the human soul in the order of creation is an idea I challenge.

Eliane Radigue - Trilogie de la Mort

2011-11-09T12:53:00.000+01:00

Trilogy of Death, inspired by the tibetian book of the dead (Bardo Thodol)

Eliane Radigue - Trilogie de la Mort - Part1: Kyema (Part 1/4)

Eliane Radigue - Trilogie de la Mort - Part1: Kyema (Part 2/4)

Eliane Radigue - Trilogie de la Mort - Part1: Kyema (Part 3/4)

Eliane Radigue - Trilogie de la Mort - Part1: Kyema (Part 4/4)

RAMAKRISHNA & KALI

2011-11-07T16:35:00.003+01:00

« Un jour, j'étais en proie à une intolérable angoisse. Il mesemblait qu'on me tordait le cœur comme un linge mouillé... Lasouffrance me déchirait. A l'idée que je n'aurai pas dans ma vie labénédiction de cette vision divine, une frénésie terrible mesaisit. Je pensai : Si cela doit être ainsi, assez de cettevie !... La grande épée pendait, dans le sanctuaire de Kâli.Mon regard tomba sur elle ; et j'eus le cerveau traversé d'unéclair. - Elle !... « Elle m'aidera à mettre fin... »Je me précipitai. Je l'empoigne, comme un fou... Et voici !...La pièce, avec toutes ses portes et fenêtres, le temple, touts'évanouit. Il me sembla que plus rien n'existait. Et, à la place,je perçus un océan d'esprit, sans limites, éblouissant. De quelquepart que je tournasse les yeux, aussi loin que je regardais, jevoyais arriver d'énormes vagues de cet océan luisant. Elles seprécipitaient furieusement sur moi, avec un bruit formidable, commepour m'avaler. En un instant, elles furent sur moi, elless'écroulèrent, elles m'engouffrèrent. Roulé par elles, jesuffoquai. Je perdis toute ma conscience naturelle, et je tombai...Comment passèrent ce jour et le suivant, je ne le sais point.Au-dedans de moi roulait un océan de joie ineffable. Et jusqu'aufond, j'étais conscient de la présence de la Divine Mère... »

(Extrait de Romain Rolland, "La vie de Ramakrishna", EditionsRobert Laffont 1973, collection "Les grands initiés".)

Arnold Böcklin

2011-11-04T20:41:00.001+01:00

Arnold Böcklin - Selbstporträt mit fiedelndem Tod (1872)

(1827-1901)
Pintor suizo que perteneció al circulo de los Neoclásicos-romano-germanos. Comenzó pintando paisajes al modo romántico tradicional, escenas bucólicas y luminosas, influenciado por su visita a Italia entre 1890 y 1897.
Más adelante, su pintura evolucionó hacia una mayor voluptuosidad, sobre todo en las figuras, que pasan, de formar parte de una vista general, como motivo casi anecdótico, a ser parte central de la composición en temas mitológicos y alegóricos.
La proyección del arte de Böcklin, nos acerca a la Pintura Simbolista, que recoge ese espíritu mágico y casi irreal, para representar los valores fundamentales del ser humano.

La música que se escucha en el video pertenece a Sergei Vasilyevich Rachmaninoff (1873-1943) Se titula The isle of the dead Opus 29) Este se inspiró en el cuadro de Böckln para su creación.Los historiadores del arte siempre han encontrado dificultades para clasificar este original, orgulloso, un poco excéntrico pintor que, como Da Vinci, experimentó en su jardín el vuelo con humanos. También hizo de algunos de sus cuadros varias versiones. Él le desagradaba dar títulos a sus cuadros y declaró que él pintaba con el fin de hacer soñar."Así como es la poesía la tarea de expresar los sentimientos, la pintura debe provocar también. Una imagen debe dar al espectador la mayor cantidad de alimentos para la reflexión como un poema y debe hacer el mismo tipo de impresión como una pieza de música"

http://fr.wikipedia.org/wiki/Arnold_Böcklin

Arnold Böcklin Der Krieg (1896)

Arnold Böcklin - Die Meeresbrandung. 1883

Arnold Böcklin, La Chapelle, c. 1880

Faun Whistling to a Blackbird (1875) by Arnold Böcklin

Medusa

Silence of the Forest by Arnold Böcklin

Miwa Yanagi

2011-10-30T18:33:00.001+01:00

Miwa Yanagi - Fairy Tale “Greta” 2004

http://www.yanagimiwa.net

Miwa Yanagi was born in Kobe City. Education : Kyoto City University of Arts. She lives in Kyoto.
''These black and white photos of fairy tales look more like fairy tales do in my head than anything I've ever seen before'' (Neil Gaiman)

Fairy Tale (Photographs by Miwa Yanagi)
Fairy Tale

The White Dove by Miwa Yanagi

CHARLES DUITS

2011-10-27T15:41:00.001+02:00

Biographie et informations
Nationalité : France
Né à : Neuilly-sur-Seine , le 30/10/1925
Mort le : 04/04/1991

Biographie :

Charles Duits est un peintre et écrivain français lié au surréalisme, poète, romancier de science-fiction et de romans érotiques.

Pendant la Seconde Guerre mondiale, il rencontre à New York André Breton, rencontre déterminante de part et d'autre. En 1969, il publie chez Denoël André Breton a-t-il dit passe, titre emprunté au dernier vers du poème de Breton Tournesol. Ce livre contient le récit de sa relation littéraire et humaine (aux moments de grâce et aussi d'orage et de rupture) avec Breton à New York et à Paris, jusqu'à la mort de Breton.

Il fréquente aussi Gurdjieff et approche le peyotl, drogue « sacrée », pour accroître, selon lui, la lucidité portée sur le monde et offrir des « visions » plus réelles, qu'il a soin de distinguer des « hallucinations » trompeuses.

CHARLES DUITS « LES ETRANGERES »

UNE JEUNE FEMME

Equivalence adoptive de mourir, dictonde tombes

Dissemblable au soleil mais parfoisnuit

Lamentablement mignonne

Penchée sur l'encolure d'un quartz(voici la chute

Contre-entité parmi les pins quehantent un sable, une eau)

Muette si changer puisque tordue parl'inutile volte-face

Macération qu'impose un souci

De presque ou de souvent

Au vent oui même

Comme elle cillerait sifflerait àl'allusion d'une mouette

tournée

Blanche depuis les lanternes

MASTURBATRICE

Voici que pétallique à la faille dupresque, mais mûre

Comme une ride

Si tes pieds brillent dans l'exhalaisondes sépulcres

Hors du frais berceau

Tu heurtes, sous des toisons

La cuiller renversée et charnelle, quebombent tes

fadeurs

Quelle nictation ô dédale du geste etquelles

Taupes ailées ces mains dans un soircouleur de rouille

Tes ongles incolores brûlent

Ces sommets de cônes tout piquetés depores

Du creux de l'aisselle, soudain

Une blêmeur lavant son flanc

Haletante bien que rieuse les genouxjoints

insidieusement elle tente

Chance ou néant

Les cheveux soulevés par le vent

Vers un récent démon moulé dans lessueurs mais qui

hoquète encore

Elle baisse la langue

Enferme le moineau dans la boîteivoirine

Et l'interrogation pèse, magnétique

O chue avec une indolente ondulation,elle

Malaxe la si tendre turgescence

(Quel crâne eût porté sans se rompreen ses cavernes

Pareille négation du Jeu, pareil

Renversement sur des prés irisés)

L'autre, en aval, aux cils de l'orifice

Nasse de tension où, vaine strideur,geint le poulpe

double

PREMIERE QUESTION

Nuptiales si leur charmillefléchissait, quelles ornières

Sommeillent, sinon la même crècheépaisse d'azalées

Quand y songe l'enfant ?

VULVE

Quand bien même l'ornement

Duplicité voluptueuse de faillir

Aurait discrètement du sein del'harmonie

Effacé

Le méandre angélique

Une obliquité de rêve enveloppant desa gangue dorée

Ou veloutant le cœur même

De l'aurore

Y règne

Comme si l'ombre

Ancestrale au doute secrètement gagnée

Consentait

DEUXIEME QUESTION

On a jeté la cosse du silence.

Est-ce l'asile où luisent, adoucis,

Leurs châles bleus ?

LES ETRANGERES

pour F.A. Jamme

Devant séduire àson ambiguïté la volute

De qui ne cède unedouceur que pour accueillir le

songe

Et la soustraire

En un soupirsoyeusement

Aux splendeurs quile constellent,

Il concerte

Que sollicite à lafaveur de quel artifice et grâce

A leur parole

Un grand Jeu pâle,alors que son avare

Et sibyllin démonconsacre de l'aisance une ironie

Anciennementfameuse

Angoisse et délices

Mêlées, comme un lacis dispense une saveur ou la

dissipe

Qu'il élabore lesuperbe feu seul

Qui rafraîchitcomme l'azur

Ou nuitamment

Sa lampe

Impose à latendresse obscure de leur phrase

Une virgule delumière

( Extrait de« Fruit sortant de l'abîme »

Editions « Lebois d'Orion, 1993)

PLANTES DIVINATOIRES ET CHAMPIGNONS HALLUCINOGÈNES

Magazine consacré aux plantes divinatoires et champignons hallucinogènes avec les interviews de Charles DUITS, écrivain : son expérience du Peyotl en 1956 à Antibes. Conséquences de cette expérience sur sa propre personne. La tradition "peyotlique" et l'attitude des indiens mexicains face à cette plante (Interview par René de SOLIER, 9'00"). Extrait de "Les Portes de la perception" d'Aldous HUXLEY, lu par Roger BLIN. (Passage sur la Mescaline) + musique. (11'00) Interview d'Aldous HUXLEY sur son intérêt pour les expériences faites avec la Mescaline. (Interview par Georges SADOUL, enregistrée à Marseille, date non précisée sans doute 1951).

GÉNÉRIQUE
réalisateur:
Barbier, Pierre
auteur de l'oeuvre pré-existante:
Huxley, Aldous
journaliste:
Sadoul, Georges
interprète:
Blin, Roger
participant:
Duits, Charles
présentateur:
Solier, René de

After the rain...

2011-10-25T22:31:00.001+02:00

Forêt de Bouconne ... 251011

RUINS MAKE FLESH

2011-10-23T18:48:00.000+02:00

Collage by Zaz Zetoun Mind

ZAZ ZETOUN MIND - " Voodoo Vortex "

2011-10-23T18:46:00.000+02:00

PAUL ELUARD : "L'ORAGE D'UNE ROBE QUI S'ABAT..."

2011-10-20T15:56:00.000+02:00

L'orage d'une robe qui s'abat
Puis un corps simple sans nuages
Ainsi venez me dire tous vos charmes
Vous qui avez eu votre part de bonheur
Et qui pleurez souvent le sort sinistre de celui qui vous a rendue si heureuse

Vous qui n'avez pas envie de raisonner
Vous qui n'avez pas su faire un homme
Sans en aimer un autre

Dans les espaces de marées d'un corps qui se dévêt
A la mamelle du crépuscule ressemblant
L'oeil fait la chaîne sur les dunes négligées
Où les fontaines tiennent dans leurs griffes des mains nues

Vestiges du front nu joues pâles sous les cils de l'horizon
Une larme fusée fiancée au passé
Savoir que la lumière fut fertile
Des hirondelles enfantines prennent la terre pour le ciel

La chambre noire où tous les cailloux du froid sont à vif
Ne dis pas que tu n'as pas peur
Ton regard est à la hauteur de mon épaule
Tu es trop belle pour prêcher la chasteté

Dans la chambre noire où le blé même
Naît de la gourmandise

Reste immobile
Et tu es seule.

(1933, La rose publique)

Sur des gros plans de photos de nus de femme et des photos de femme de Man Ray, lecture du poème de Paul Eluard "L'orage d'une robe qui s'abat..."

Dziga Vertov, Man With A Movie Camera

2011-10-15T15:06:00.000+02:00

Dziga Vertov by Dziga Vertov. This film is famous for the range of cinematic techniques Vertov invents, deploys or develops, such as double exposure, fast motion, slow motion, freeze frames, jump cuts, split screens, Dutch angles, extreme close-ups, tracking shots, footage played backwards, animations, and a self-reflexive style(at one point it features a split screen tracking shot; the sides have opposite Dutch angles). "Man with a Movie Camera" is the fourth album by The Cinematic Orchestra. It is the soundtrack to a re-released version of the (then ground-breaking) 1929 silent documentary film, Man with a Movie Camera from Russian director Dziga Vertov.

http://fr.wikipedia.org/wiki/Dziga_Vertov

Ménilmontant (1926, Dimitri Kirsanoff)

2011-10-12T13:53:00.000+02:00

Film muet, noir & blanc, 28 minutes. Réalisé par Dimitri Kirsanoff.
Avec Nadia Sibirskaïa, Yolande Beaulieu, Guy Belmont, Jean Pasquier.

Kirsanoff's best known work is Ménilmontant (1926), which takes its name from the Paris neighborhood of the same name. The film is a silent, but does not contain any intertitles. It begins with a flurry of quick close-up shots depicting the axe murder of the parents of the protagonists, two girls.[1] As young women, they are portrayed by Nadia Sibirskaïa, Kirsanoff's first wife, and Yolande Beaulieu; their mutual love interest is played by Guy Belmont.[4] The film uses many other techniques that were relatively new at the time, including double exposure.

Director: Dimitri Kirsanoff
Writer: Dimitri Kirsanoff
Stars: Nadia Sibirskaïa, Yolande Beaulieu and Guy Belmont

Vieille croûte...

2011-10-09T18:21:00.001+02:00

Paul Eluard à Félix Labisse

2011-10-07T12:54:00.001+02:00

Félix Labisse

Chronique

Le ventre gros de printemps

c'est une femme qui naît

Sous le poids du soleil vert

Les nuages disparaissent

Dans leur eau pure les bêtes

Fendent les herbes du ciel

La femme à levé la tête

Et ses songes la dévoilent

Le chemin de son sourire

Passe par ses seins d'oiseau

Que guettent les bêtes tendres.

L'abc de la récitante

Je compte sur mesyeux un et deux dira-t-elle

Pour voir ce quedoit voir l'affalée que je suis

Couchée et nue etchaude au pied du haut miroir

Et mouillée commeun nouveau-né je me pourlèche

Je compte sur mesdoigts un deux trois dira-t-elle

La multiplicationde mes soupirs profonds

Le sac de mesdésirs s'entrouvre sur le lit

et j'ai le pleinsoleil dedans avec mon rouge

Je compte sur monsexe et mes fesses pour tendre

Un piège au plusprudent et à la plus prudente

J'ai du goût pourchacun mais je me tiens en moi

Tapie commel'alcool dans la main d'un ivrogne

Mes aspects sontvariés j'ai du poil j'ai des plumes

et l'écorce d'unarbre augmente ma peau brune

J'ai de la terreau creux de ma main et je me love

comme un fleuvesans eau où les baigneurs se noient

Mes talent sontnombreux je sais singer la bête

Et m'allégerd'aurore tout comme une alouette

Je sais fairepleurer les plus indifférents

Et rire bêtementceux qui se croient malins

J'ai des griffesdes crocs j'ai des lèvres d'écaille

Et des lèvres desoie et de miel et de glu

Pour enroberl'azur et sa salive fade

Ma langue sur lesbords de la chair se dévoue

Je caresse mesfruits débordants de science

Qui donc pourraitrégner hors de mon cœur total

Je sais tout etj'apprends à oublier je tresse

Une énormecouronne à mon ventre à mon sang.

Félix Labisse - La visiteuse - 1944 -

( Extrait de Paul Eluard "Voir" Editions "Trois Collines" 1948 )

JANINE ANTONI

2011-10-06T16:20:00.000+02:00

Janine Antoni, ‘Touch’ (2002)

Janine Antoni was born in Freeport, Bahamas in 1964. She received her BA from Sarah Lawrence College in New York, and earned her MFA from the Rhode Island School of Design in 1989. Antoni’s work blurs the distinction between performance art and sculpture. Transforming everyday activities such as eating, bathing, and sleeping into ways of making art, Antoni’s primary tool for making sculpture has always been her own body. She has chiseled cubes of lard and chocolate with her teeth, washed away the faces of soap busts made in her own likeness, and used the brainwave signals recorded while she dreamed at night as a pattern for weaving a blanket the following morning. In the video, “Touch,” Antoni appears to perform the impossible act of walking on the surface of water. She accomplished this magician’s trick, however, not through divine intervention, but only after months of training to balance on a tightrope that she then strung at the exact height of the horizon line. Balance is a key component in the related piece, “Moor,” where the artist taught herself how to make a rope out of unusual and often personal materials donated by friends and relatives. By learning to twist the materials together so that they formed a rope that was neither too loose nor too tight, Antoni created an enduring life-line that united a disparate group of people into a unified whole. Antoni has had major exhibitions of her work at the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, S.I.T.E. Santa Fe, and the Irish Museum of Modern Art, Dublin. The recipient of several prestigious awards including a John D. and Catherine T. MacArthur Fellowship in 1998 and the Larry Aldrich Foundation Award in 1999, Janine Antoni currently resides in New York.

Loving Care

More HERE

(“I soaked my hair in dye and mopped the floor with it”) - Janine Antoni, 1992 performance art at the Anthony D’Offay Gallery in London.

Janine Antoni - Conduit
My brother told me stories about Anne Bonnet, an Irish-American woman who masqueraded as a male pirate in the Caribbean during the 18th century. One of the ways Bonnet deflected suspicion about her double identity was by using a ceramic apparatus that enabled her to urinate standing up. As a young girl, I was fascinated with the idea of Anne Bonnet’s device. Recently, I encountered commercially made objects designed exactly for this purpose that brought back this memory. I couldn’t resist the complex implications of such an object. Like Anne Bonnet, I, too, wanted to live out the fantasy triggered by the use of this object. My fantasy, like most, took me to an unlikely place. Such is the unexpected journey of the unconscious.So here’s the leap: What if the apparatus for peeing while standing up was a gargoyle? And what if I actually cast this apparatus as a sculpture and used it to pee off of a landmark building in New York City ?

Janine Antoni - Conduit

Spent eight days and nights on this performance piece
she tracked her REM patterns as she slept in the bed for which she transferred the patterns into a blanket she was weaving for the bed the loom extends across the entire room.

Janine Antoni, “Slumber”

2038 by Janine Antoni

Saddle by Janine Antoni

DIOSA DE LA NADA

2011-10-03T17:57:00.000+02:00

Collage / Cadavre Exquis (papiers collés)
by Cerkita Zünd & Zaz Zetoun Mind

Diosa de la Nada © Cerkita Zünd / Zaz Zetoun Mind

« La lente componction des faibles

2011-09-29T19:09:00.000+02:00

Ils vivent de la vie des cadavres
Mettre sur ma porte
« toi qui entre ici
abandonne tout espoir
de n'être pas
ce que tu es »
ou bien « Ici on vit nu
                           ou nus
                           ou nue ».

                                     Laure

Colette Peignot (Laure)

CRISTINA GARCIA RODERO

2011-09-27T19:06:00.003+02:00

Cristina Garcia Rodero Culto a Maria Lionza

A MAGNIFICENT PHOTO ESSAY BY CRISTINA GARCIA RODERO

I want to speak about the human being,
the dualities and contradictions of life;
The old traditions and the new rituals,
the natural and the supernatural,
religious and pagan,
pain and pleasure,
humans and gods,
spirit and body,
water and earth,
life and death.

- Cristina Garcia Rodero

MARIA LIONZA, FOTOS DE CRISTINA GARCÍA RODERO

CRISTINA GARCÍA RODERO EXPOSICIÓN DE FOTOS,
MARIA LIONZA LA DIOSA DE LOS OJOS DE AGUA

Brainwashed Eye : Nurse With Wound

2011-09-26T18:09:00.000+02:00

Steven Stapleton at his farm/house

La Femme Qui Se Poudre (The Woman Who Powders Herself) Patrick Bokanowski, 1972

2011-09-24T13:06:00.000+02:00

Something of a hybrid between Jean Cocteau and Jan Svankmajer in its gothic expressionism and artful grotesquerie crossed with the metric precision of Kurt Kren's more clinical materialaktion films that experiment with the plasticity of surfaces (most notably, in the deformed figures that recall the disfiguration and self-mutilation of Kren's short film, 10/65: Selbstverstümmelung), Bokanowski's earliest film, La Femme qui se poudre (The Woman Who Powders Herself) is, as the title implies, an evocation of concealment and unmasking, where the mundane act of a Victorian-era woman's ritualistic application of cosmetic powder seemingly opens the window - or perhaps, Pandora's Box - into underlying human anxieties of physical beauty, youth, desirability, and objectification. Reflecting the superficiality of societal notions of beauty through the alienness of landscape and the ephemeral riddle of true identity through epic, soul-searching journeys and faceless phantoms that emerge from thin air before vanishing from view, the terrifying images break apart and eventually disintegrate into irresolvable fragments of haunted memory within the course of the increasingly abstract film, as the waking dream descends ever further into the realm of nightmare and the deepest recesses of the subconscious, unraveling the veil of human vanity to reveal amorphous shadows cast by empty souls.

Directed by Patrick Bokanowski.
Credited cast: Jean-Jacques Choul, Jacques Delbosc d'Auzon, Claus-Dieter Reents, Nadine Roussial.
Original Music by Michèle Bokanowski.
Film Editing by Patrick Bokanowski & Renée Richard.
Other crew: Christian Daninos .... collaborator.

FLOR GARDUÑO

2011-09-22T17:53:00.000+02:00

http://www.florgarduno.com

BOUCONNE 210911

2011-09-21T18:14:00.001+02:00

MAX ERNST

2011-09-20T23:01:00.002+02:00

Max Ernst and Dorothea Tanning with the ciment Capricorne sculpture, Sedona, Arizona, 1948

Documentaire sur le peintre surréaliste

<

The Forest (La forêt), 1927–28. Oil on canvas, 37 78 x 51 inches (96.3 x 129.5 cm)

La Tentation de saint Antoine, 1945, Max Ernst.

Max Ernst -The Antipope 1942

Après la pluie...Bouconne

2011-09-18T22:11:00.000+02:00

Miru Kim

2011-09-15T19:00:00.000+02:00

Miru Kim is an artist, photographer, illustrator, and arts events coordinator, who has explored, documented, and photographed various urban settings such as abandoned subway stations, tunnels, the Croton aqueduct, Paris catacombs, factories, hospitals, and shipyards. Kim’s Naked City Spleen series of photographs include images of herself nude in these settings. For her new series, called The Pig That Therefore I Am, she has visited industrial hog farms and immersed herself amongst the pigs.

Kim was born in Stoneham, Massachusetts in 1981 but was raised in Seoul, Korea. She moved back to Massachusetts in 1995 to attend Phillips Academy in Andover and moved to New York City in 1999 to attend Columbia University. In 2006, she received an MFA in painting from Pratt Institute.

Kim was featured in Esquier’s 2007 Best and Brightest issue

The Financial Times of London included Kim in an article titled “We’ll climb that bridge when we get to it” about “urban explorers,” people who scale bridges and roam subway tunnels, storm drains, derelict factories, sewers, steam vents and other forbidden city infrastructure.

Documents Abandoned City Ruis

Mud Bath for Thick Skin, Miru Kim, Lódz Biennale 2010

On the recommendation of Richard Vine (Art in America), I was invited to participate in the Fokus Lódz Biennale 2010 (September 11–October 10) in Lódz, Poland. More than fifty artists around the world were invited to create works along Piotrkowska Street, the main commercial street considered to be the longest boulevard in Europe. One of the main venues along the street was an abandoned concert hall, with a main stage area and many rooms where artists created site-specific installations. In that building I discovered a basement, and staged a performance piece for the opening day of the Biennale. I named it The Mudbath for Thick Skin. The original idea was to do the piece much longer than 6 hours, but the basement was extremely cold, so the physical challenge, which was much beyond the mental one, became a time limitation for health reasons. The mud in the performance was taken from one of smaller local farms, which are now becoming obsolete due to large industrial farms. One could only watch the performance through a peephole on a wooden door that was bolted shut.

The main part of my work at the Biennale was a public installation on Piotrkowska Street, on the corner of the very busy intersection with Zielona Street. An image from the series "The Pig That Therefore I Am" was mounted on a commercial lightbox display of 3.75 meters by 2.5 meters

Mud Bath for Thick Skin, Miru Kim, Lódz Biennale 2010 from Miru Kim on Vimeo.

Blind Door (Trailer)In 2008, I collaborated with a film director, Isidore Roussel, to make Blind Door, a 11-minute film shot in 16 mm black-and-white. The full length film is only available as a limited-edition DVD (edition of 100).Cinematography: Sean WilliamsOrginal Music Score: Andrew NahemEditing: Miao Wang

Blind Door (Trailer) from Miru Kim on Vimeo.

Istanbul, Istanbul (Trailer)With a generous sponsorship of Samsung Turkey, I was able to spend five weeks in Istanbul in March and April 2010, to create a photography and video installation at SODA gallery. I photographed some rarely visited ruins in and around Istanbul, and printed eleven new images as a part of the larger Naked City Spleen series. Video was installed in a separate room from the main exhibition hall, and it could be seen only through a square opening on a wall. The wanderings in the city were mapped out in an unconventional way, and I created a large window display of the neighborhoods, in the spirit of Situanionist maps

Istanbul, Istanbul (Trailer) from Miru Kim on Vimeo.

http://www.mirukim.com

Hans Richter Dadascope 1961

2011-09-15T11:53:00.001+02:00

Hans Richter Dadascope 1961 part 1

Hans Richter Dadascope 1961 part 2

Hans Richter Dadascope 1961 part 3

Antony Balch - Ghosts at No. 9 (Paris)

2011-09-14T14:33:00.001+02:00

1963-1972, UK, 45' 7", Color / Black & White
Cinematography: Antony Balch
Cast: William S. Burroughs, Brion Gysin

Goddess (1960) - Satyajit Ray

2011-09-13T13:12:00.001+02:00

La Déesse (Devi) est un film indien de Satyajit Ray réalisé en 1960.
Doyamorjee est la jeune bru d’un noble du Bengale, Kalindar. Après un rêve il voit en elle la réincarnation de la déesse Kali et, malgré les réticences de son fils, lui voue une vénération démesurée. Devenue objet de culte, la jeune fille est astreinte à une vie religieuse. Jusqu’à ce que la destinée reprenne ses droits.

Dayamayee (Sharmila Tagore) is happily married to Umaprasad (Soumitra Chatterjee - The World of Apu), the son of an upper-class family in 19th Century Bengal. This changes when a vision convinces her father-in-law (Chabbi Biswas) that she is the Goddess Kali returned to earth. He coaxes Dayamayee to fulfill her role as a living deity and transforms the house into a temple for her worship. The new Goddess is soon visited by the poor and sick from across the land. Shaken by their suffering, she performs her divine duty out of human compassion. But inevitably her plight as a woman made Goddess wears her down; the incense burnt as offering makes her suffocate and takes hold of her sanity.

Satyajit Ray's keen vision and lyrical approach to narrative makes Goddess a deeply enigmatic film, simultaneously uncertain and curious in the face of the supernatural. In its initial release, the film raised the ire of religious leaders across India. Despite the controversy, it won the President's Gold Medal. It also received a nomination for the Palme d'Or at Cannes, six years after Pather Panchali received a special award at the same festival, cementing Ray's international repute.

Bears all the hallmarks of Ray's best work: gracefulness, exquisite pacing and composition, love for his characters and a deep regard for the power of silence to tell a story -- San Francisco Chronicle

Ray's study of the destructive power of superstition is typically compassionate...Intelligent and moving -- Total Film

Goddess (1960) - Satyajit Ray - Clip 1

Goddess (1960) - Satyajit Ray - Clip 2

Goddess (1960) - Satyajit Ray - Clip 3

In this scene Doyamoyee (Sharmila Tagore) slowly begins to believe she's the reincarnation of the Hindu goddess Kali. The people of the rural Bengal village come to her for healing as a man sings a devotional prayer about her.

Lune 100911

2011-09-11T14:59:00.000+02:00

Herbert List

2011-09-09T17:42:00.000+02:00

Anna Magnani, 1956

Herbert List (Hamburg 1903 - Munich 1975), born in Germany, was a classically educated artist who combined a love of the photographic medium with his fascination with surrealism and classicism. From the 1930's to the 1950's List, a multilinguist and world traveler created a stunningly personal and beautiful body of work.

Herbert List 'told' Italy to the world through his intense black and white pictures between years 1940 and 1950. In that time he spoke about forms, bodies, matter: a earthly metaphysics with which he succeeded, in every photograph, in revealing truths hidden in the perfect forms of classical art as well as in a thorax lying under the sun, in the rough hands of a porter of Termini Railway Station, in the narrow alleys of Trastevere or in the Ligurian coast. It's the naked, real life, that at first rises and then crush, leaving us breathless.

Italy (1940-1950) by Herbert List (I / 2)

Italy (1940-1950) by Herbert List (II / 2)
&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/br&amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Florence, 1939

Victor Brauner Plan

2011-09-07T17:18:00.000+02:00

Plan
plan de plan
L'exposition
Plan

à la Galerie
Alexandre Jolas
196, Boulevard Saint-Germain
dès le 12 janvier, 1966

When my thoughts take form

2011-09-06T13:05:00.000+02:00

This project was filmed by the muddy riverside of Deptford.

The work is inspired by the ideas of primordial instinctive knowledge,

butoh dance and the concept of malleable gender. Idea and concept:

by Karolin Bertilsson and Sarah Armstrong -

both Scandinavian choreographers and professional contemporary dancers.

Tarkovsky polaroids and Meredith Monk's music

2011-09-02T18:35:00.000+02:00

Andreï Tarkovski

Meredith Monk

Radovan Ivsic et Toyen - LE PUITS DANS LA TOUR

2011-09-01T18:40:00.000+02:00

                                                    IV

     Distraite, elle s'assit à même l'écorce nue et rugueuse d'un chêne. Debout, il lui fit, non sans quelques réticences, la première confidence :
     - Ce soir-là, il y a longtemps, l'orage était dans l'air. Je maudissais les rafales
de vent qui troublaient les voluptueuses formes des nuages, auxquels le soleil descendant dans sa gaine de montagnes donnait la couleur de chair, lorsque d'un flanc vaporeux sortit l'interminable fil des grues se dirigeant vers les ombres du Nord. A cet instant-là, je crus connaître la grande migration : la terrifiante aile, assoiffée des lointains, me poussa au milieu du corps et, pris de frayeur, j'y apposai la ligne de vie et la ligne de cœur ainsi.
     En lui prenant la main, il fit de ses doigts un anneau de tendresse. Elle sentit avec chaque fuseau l'inépuisable richesse du corail vif et s'égara tellement qu'elle entendit à peine ce qu'il ajouta :
     - Il y a aussi le palais rose, inaccessible presque, derrière tes dents.

                                                                  V

     Dans le noir, il s'éloigna d'elle et, devenant le spectre lunulé de son corps, s'assit en face du bouquet des lèvres, il parlait s'en prêter attention à sa voix où mûrissait le rubicond épi de maïs et sans se demander si elle l'écoutait.
     - tel le la dans le lit labile de l'alcool.
     Il ressentit une si grande félicité en prononçant ces dernières paroles qu'il ne découvrit pas immédiatement pourquoi il les avait dites.
     - C'est le I qui fait jouir l'habitant de ma bouche.
Et comme pour savoir gré à sa langue de lui avoir indiqué un horizon nouveau, il la mena vers la fragrance de la table étroite afin de lui faire connaître le vertigineux goût de la fraise nocturne.
     - Dans l'hinterland de la luette, il y a le lin, il y a le Nil – soupira t-elle, sombrant.

                 (Texte de Radovan Ivsic, pointes sèches de Toyen.
                   Extrait de la revue « L'Archibras » n° 1, avril 1967)

JEAN DELVILLE

2011-08-29T15:58:00.002+02:00

Jean Delville (January 19, 1867 -- 1953) was a Belgian symbolist painter, writer, and occultist. He founded the Salon d'Art Idealiste, which is considered the Belgian equivalent to the Parisian Rose & Cross Salon and the Pre-Raphaelite movement in London. During the last decades of the 19th century, many people in the West reacted to the materialism and hypocrisy of the period by developing an interest in esoteric, occult and spiritual subjects. The enthusiasm for these ideas reached its peak during the 1890s, the decade when the Belgian painter and writer Jean Delville was at the height of his powers. Delville was born in the Belgian town of Louvain in 1867. He lived most of his life in Brussels, but also spent some years in Paris, Rome, Glasgow and London. He began his training at the Brussels Academy of Fine Arts when he was twelve, continuing there until 1889, and winning a number of top prizes. He began exhibiting professionally at the age of twenty, and later taught at the Academies of Fine Arts in Glasgow and Brussels. In addition to painting, Delville also expressed his ideas in numerous written texts.
"Understood in its metaphysical sense, Beauty is one of the manifestations of the Absolute Being. Emanating from the harmonious rays of the Divine plan, it crosses the intellectual plane to shine once again across the natural plane, where it darkens into matter." (Jean Delville)

Medusa

L'école de Platon

LE FRISSON DU SPHINX

Au pays des Huros, Rhamsès etSésostris,

mais au temps des Latins et quand larouge Rome

dressait de bronze et d'or sesempereurs flétris,

c'est l'heure où l'infini planète ducœur de l'homme,

Pareil à l'orbe élu des grands nimbessacrés

dont la tête des saints futurs doitêtre ceinte,

la lune en fleur sourit ses rêveséthérés

dans l'encens sidéral frôlant laterre sainte.

Au loin des sables bleus du bibliquedésert,

couché dans son secret et sabéatitude,

le monstre égyptien, de son œilentr'ouvert,

fixe l'éternité parmi la solitude.

Nul souffle dans la nuit. Mais,parfois, obstiné,

le hurlement lointain d'un vieux fauvequi rôde

et renifle à longs traits, versl'horizon tourné,

les tragiques relents du grand crimed'Hérode.

(Jean Delville 1897)

Portrait of Madame Stuart Merrill, Mysteriosa

Satan's Treasures (The Art of Jean Delville)

Satan's Treasures

Orpheus

The Idol of Perversity (1891 - Jean Delville)

The turned tree

2011-08-29T15:47:00.000+02:00

Agujetas, Cantaor (Dominique Abel, 1999)

2011-08-27T21:52:00.001+02:00

Dirección: Dominique Abel. Intérpretes: Agujetas: cante.Moraíto Chico: guitarra.

Sinopsis: Documental sobre el cantaor flamenco Agujetas de Jerez.Contiene varias actuaciones inéditas (con la guitarra de Moraíto), material de archivo y numerosas declaraciones del cantaor. Un respetuoso retrato de la música y la personalidad de Agujetas.

"Agujetas, Cantaor". Documental. Reseña.
"Me levanto con dolor de cabeza porque todas las noches sueño el cante".
"No sé dónde nací, no tengo papeles... No hay edad... uno puede tener 200 años, lo que hace falta es que esto haga así parriba y tire la sábana, ¡tonta!"Situada al otro lado de la cámara, imaginamos el rubor de la modelo francesa Dominique Abel, enamorada de esos rasgos tallados en roca y esa voz con aristas desde que se vino a vivir a España, desde que lo vio cantar por primera vez. Vuelve el Romanticismo (con cierto grado de morbo): Dominique Abel abandonó París por el flamenco, para estudiar baile en Madrid sin dejar sus actividades como modelo; sobre ellas ha publicado un libro, y de flamenco un vídeo alrededor de su iniciador en lo jondo, su chamán castigador, alrededor de esa voz con cicatrices, la del flamenco de venas abiertas. Un vídeo en blanco y negro con color reservado sólo para un último primer plano con Agujetas serio, meditando sobre la candela.

En la película-documental canta unos martinetes, grabados en su casa martillo en mano, que en el disco-complemento (de seis cortes) se extiende hasta los 17 minutos. El resto de los cantes se registraron en una venta de Chipiona sacando su salvaje imprevisible, desencajado, junto a Moraíto.
Agujetas: flamenco en vinagre. Bien conservado y malencarado. Es un cantaor de máximas flamencas, duras como su martinete neanderthal. Una de cal brillante: "Me levanto con dolor de cabeza porque todas las noches sueño el cante". Otra de arena tabicada: "Una persona que sepa leer y escribir no puede cantar flamenco, porque pierde la buena pronunciación".

http://www.dominiqueabel.com

ROGER GILBERT-LECOMTE

2011-08-26T20:22:00.002+02:00

LA TEMPÊTE DES CYGNES

LA CONQUÊTE DES SIGNES

Lorsque les bleus Enfants trop naïfs vont se perdre

Aux chimériques bras d'une idole imbécile

Aux cornes d'un trois-mâts maléfique & fossile

Pour abriter leur cœur de soleil dans la cendre

Souvent, ayant caressés les fleurs autochtones

Trop longtemps au départ, ils vieillissent avant

D'avoir brûlé leurs doigts au moindre galhauban,

et vont se momifier au sel noir de l'Automne

Car ils n'ont pas connu les dangers que prépare

Au cœur trop pur le culte illusoire du blanc

Le blanc pourrit dans l'œuf lorsqu'il est ovipare

Pourrissent les couleurs comme pourrit le blanc

Le soleil qui se lève a besoin de béquilles,

L'horizon se contourne au son d'un scrofuleux,

Les rois boivent sans soif des alcools sulfureux

Mais nous avons caché le tonnerre en nos quilles.

Noirs comme des culs

Dahoméens appartenant aux sarcophages

Où dorment les Obis de plumes revêtus

Blancs comme la rage

Et les fruits pourrissent dans leurs mains d'or velu

Ont l'odeur de destin que nous avons voulu.

(Extrait des « Oeuvres complètes » tome II

de Roger Gilbert-Lecomte,

Éditions Gallimard 1977)

Bernice Kolko

2011-08-23T13:09:00.000+02:00

Kahlo by Kolko

Bernice Kolko, was born in Poland and emigrated to the United States with her family at the end of the first World War. In 1932 she began her photographic career during a trip to Vienna, Austria where she worked with the celebrated Rudolph Koppitz. In 1934, upon her return to the United States, she settled in New York and had an exhibition at the gallery of the RKO radio station at Rockefeller Center. She participated with the Works Project Administration Project, an undertaking that gave great impetus to the arts after the Great Depression.
At the beginning of the Second World War, Kolko enlisted in the American Army and worked as a photographer. At the end of the war, she traveled to Los Angeles and worked with Man Ray; her experimental projects of that period include superimposed and solarized images, as well as work with abstract shapes. When she arrived in Mexico City in 1951, she had already had her work shown at several exhibitions, and received immediate media attention.
During the first year of her stay, she began a friendship with Diego Rivera and Frida Kahlo, the Siqueiros and the Chavez Morado family; she began a photographic project that dealt with Mexican artists and intellectuals of the time. Diego Rivera wrote:
"Her photographs have seemed to me to possess the highest technical quality, sensibility, curiosity and excellent taste. She chooses what is essential and which best expresses the subjects she chooses; her works are truly notable. In my opinion hers is the work of a great artist" .
Kolko traveled throughout the country, creating a trove of thousands of images while always calibrating intellectual and artistic work. Out of those trips her project Mujeres de México—Women of Mexico—was born.
Sophia Vackimes, Curator

Frida Kahlo in her garden at Coyoacán, 1952

FRIDA KAHLO Traveling Exhibit
&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;lt;br&amp;amp;gt;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp;&amp;amp;amp;nbsp; &amp;amp;lt;br&amp;amp;gt;

THE DIARY OF FRIDA KAHLO, AN INTIMATE SELF-PORTRAIT

1 January 1953
xxxx 1953, Winter
Bernice Kolko
I think she
is a great art-
ist. She photographs re-
ality admir-
ably. (she is not a
Communist) An
American
citizen - Hungarian Jew
She says she is for
peace, but ........?

'The Fall of the House of Usher' (1928)

2011-08-21T16:56:00.000+02:00

by James Sibley Watson & Melville Webber

Cast: Herbert Stern, Hildegarde Watson, Melville Webber

Script: James Sibley Watson, Melville Webber, Edward Estlin Cummings

Music: Martin Marks

American avant-garde cinema arose in the 1920s when inspired amateurs schooled in other arts turned to film. 'The Fall of the House of Usher' is the most renowned and technically accomplished work of these pioneers.

The two collaborators, James Sibley Watson, Jr., and Melville Webber, came to filmmaking from diverse, revealing backgrounds. Watson received his medical doctorate in 1923 and published the influential U.S. literary journal 'The Dial' throughout the 1920s. Among frequent contributors to 'The Dial' was poet e.e. cummings, who wrote an early scenario for this film (as well as for Watson's unfinished 'The Dinner Party', 1925). Webber was an art historian at the University of Rochester, in New York, specializing in medieval frescoes. He designed and painted the striking sets in a barn behind Watson's Rochester home. The team's only other released film, 'Lot in Sodom' (1933), carries further Usher's hints of forbidden desire, from incest into the homoerotic. After World War II, Watson brought his medical and filmmaking interests together into a strange series of comic X-ray films.

'The Dial' also published groundbreaking reappraisals of Edgar Allan Poe. The two filmmakers claimed that they chose to adopt Poe's 'The Fall of the House of Usher' because neither had read it in years and so would not be chained to its plotline. Be that as it may, it is hard to make much sense of their film without recalling the outlines of Poe's story, its atmosphere of mental disorder, and its unrelenting Gothic imagery: In a decaying castle surrounded by a dank, mirrored lake live the morbidly nervous Roderick Usher and his sickly twin sister, Madeline. Their tale is told and dimly comprehended by the unnamed narrator, a boyhood friend whom Roderick has summoned. When Madeline soon dies — or seems to die — they entomb her body. On a stormy night, "cracking and ripping" sounds and a "shriek" from below convince the panicky Roderick that "We have put her living into the tomb!" The shrouded, emaciated figure of Madeline appears at the door of Roderick's book-strewn study, falls upon him, "and in her violent and now final death-agonies, bore him to the floor a corpse". The aghast narrator has time only to flee the castle before it begins to crumble. By the light of the moon, he watches it sink forever into "the deep and dark tarn at my feet".

The film was made without written intertitles, and additional difficulties for the viewer arise from the filmmakers' modern interpretation of the story. Twentieth-century literary critics have argued that Poe's tale acts out the fears and desires of a single consciousness. The film similarly conflates the two men and the twin siblings and destabilizes the "house" of Usher both as physical building and family tree. The obsessive images are collapsing staircases and floating coffins.

'The Fall of the House of Usher' combines European influences with something home crafted. Watson had seen the German expressionist film 'The Cabinet of Dr. Caligari' more than once during its 1921 New York City run. Not only do Usher's impossibly angled sets draw from that film, but the top-hatted, cloaked "traveler" (played in expressionist makeup by Webber) seems to echo the figure of Dr. Caligari himself. Less obvious now is the French influence. Whereas Caligari expressed a madman's consciousness through set design and stylized acting alone, French experimental filmmaking of the twenties typically represented disturbed mental states through elaborate camera tricks and optical distortions. Indeed, such a style animates the more celebrated 1928 version of Poe's story, Jean Epstein's feature-length 'La Chute de la maison Usher'.

In an article of the same year titled "An Amateur Studio Picture", Watson argued that such European modernist styles could carry a filmmaker only so far. He proposed returning to the "old tricks" of the camera, even to Hollywood studio techniques, but using them selectively to craft a personal vision that was proudly "amateur". With its sophisticated camera effects and superimpositions accomplished on Watson's handcrafted optical printer, 'The Fall of the House of Usher' challenges Hollywood on its own terms.
http://en.wikipedia.org/wiki/James_Sibley_Watson

Andreï Tarkovsky - Zerkalo (The Mirror)

2011-08-21T16:28:00.003+02:00

1975, USSR.

Inside the Mirror (Andrei Tarkovsky)

Α & Ω

2011-08-21T12:44:00.000+02:00

Collage papiers, Cadavre Exquis
réalisé avec Cerkita Zünd

Teatro sin fin - Alejandro Jodorowsky Roland Topor Fernando Arrabal the panic movement.

2011-08-19T19:05:00.001+02:00

Edgar Allan Poe, S. H. de Roos "THE CITY AND THE SEA" (édition clandestine)

2011-08-17T18:20:00.000+02:00

THE CITY AND THE SEA
This edition, composed in "Ergmont"-type with "Erasmus"
initials both designed by S. H. de Roos, has been
printed in secret in the office of The "Busy
Bee", somewhere in occupied Holland. The
edition is limited to 500 numbered
copie on Dutch handmade
paper.

The city and the sea

Annabel Lee

The conqueror worm

The raven

The sleeper

The bells

Nahui Olin

2011-08-17T12:11:00.000+02:00

Carmen Mondragón o Nahui Olin (8 de julio de 1893 - 23 de enero de 1978) fue una poetisa y pintora mexicana, nació y murió en la Ciudad de México.
Junto a Dolores Del Rio, Guadalupe Marín, Antonieta Rivas Mercado, María Tereza Montoya, Frida Kahlo, Tina Modotti, Lupe Vélez y María Izquierdo, Mondragón formó parte de ese grupo de talentosas mujeres que durante las décadas de los 1920 y 1930 produjo uno de los períodos más activos y fascinantes de la cultura y el arte en México.
Hija del general Manuel Mondragón, recibió una educación privilegiada en México y Francia. Todos sus contemporáneos describieron su hipnótica y erótica belleza, la cual puede ser fácilmente constatada por las muchas fotografías que de ella existen.
Casó con el militar y pintor Manuel Rodríguez Lozano, y vivió con él en Francia y España por ocho años, pero a la larga la bisexualidad de Rodríguez Lozano implicó el fin del matrimonio, pues hay razones para creer que Mondragón era ninfómana. También se dice que ella asesinó al hijo de ambos, lo que causó la separación de la pareja.
De regreso en México Mondragón se sumerge en la vida artística del país, desayuna con José Vasconcelos y cena con Xavier Villaurrutia platicando del "Ulises", el teatro que habían fundado Rivas Mercado, Salvador Novo y el mismo Villaurrutia. También posó para Diego Rivera. Poco tiempo después inició una intensa y tormentosa relación con el pintor Gerardo Murillo, también conocido como Dr. Átl, el cual la bautizó con el nombre de Nahui Ollin, símbolo de renovación azteca. La relación terminó con la misma intensidad con la que inició, salvo que al final el odio logró desplazar al amor.
Si bien varias de sus pinturas y poemas no carecen de talento, Carmen Mondragón debe su celebridad más a su biografía que a sus trabajos. Fue la primera mujer que usó una minifalda en México y siempre gozó y exhaltó su sexualidad. En Hollywood posó desnuda para el fotógrafo Edward Weston, en lo que es quizás la mejor serie de retratos del estadunidense.
A los cuarenta años Mondragón, luego de tener y abandonar a varios amantes, se retira de la vida pública. Las siguientes décadas las pasaría en el centro de la ciudad, siguiendo una vida modesta, sola y rodeada de gatos. Hacia el final de su vida su lucidez se deterioró.
Al igual que con Frida Kahlo, en México existe un reciente y renovado interés por la vida y obra de la hermosa Nahui Olin.

The Night Life of Trees

2011-08-16T00:02:00.000+02:00

"Everyone knew that holy spirits live in the Sembar tree. As night falls, its daytime visitors depart - bees, a bird, and two chameleons."

"The Night Life of Trees was conceived when Tara brought Gond artists down to Chennai to work with them; the Gond live in the northern state of Madhya Pradesh, 600 kilometres from the city of Bhopal. 'We noticed there was a tree in every story they told -- ask them to draw a person, they draw a person under a tree. Ask them for a river, they draw a river running past a tree. Ask them for a bird, and it's a bird sitting in a tree.' "
'The Night Life of Trees', Tara Books
Art: Bhajju Shyam, Durga Bai and Ram Singh Urveti.
Design: Gita Wolf and Rathna Ramanathan.

Arthur Rimbaud - Patti Smith - Lizzy Mercier Descloux

2011-08-12T14:59:00.004+02:00

Lizzy Mercier Descloux & Patti Smith

Matinée d'ivresse
O mon Bien ! O mon Beau ! Fanfare atroce où je ne trébuche point ! Chevalet féerique ! Hourra pour l'oeuvre inouïe et pour le corps merveilleux, pour la première fois ! Cela commença sous les rires des enfants, cela finira par eux. Ce poison va rester dans toutes nos veines même quand, la fanfare tournant, nous serons rendus à l'ancienne inharmonie. O maintenant, nous si digne de ces tortures ! rassemblons fervemment cette promesse surhumaine faite à notre corps et à notre âme créés: cette promesse, cette démence ! L'élégance, la science, la violence ! On nous a promis d'enterrer dans l'ombre l'arbre du bien et du mal, de déporter les honnêtetés tyranniques, afin que nous amenions notre très pur amour. Cela commença par quelques dégoûts et cela finit, - ne pouvant nous saisir sur-le-champ de cette éternité, - cela finit par une débandade de parfums.

Rire des enfants, discrétion des esclaves, austérité des vierges, horreur des figures et des objets d'ici, sacrés soyez-vous par le souvenir de cette veille. Cela commençait par toute la rustrerie, voici que cela finit par des anges de flamme et de glace.

Petite veille d'ivresse, sainte ! quand ce ne serait que pour le masque dont tu as gratifié. Nous t'affirmons, méthode ! Nous n'oublions pas que tu as glorifié hier chacun de nos âges. Nous avons foi au poison. Nous savons donner notre vie tout entière tous les jours.

Voici le temps des Assassins.

/////

Morning of Drunkenness
O my Good! O my Beautiful! Appalling fanfare where I do not falter! rack of enchantmants! Hurrah for the wonderful work and for the marvelous body, for the first time! It began in the midst of children's laughter, with their laughter will it end. This poison will remain in all our veins even when, the fanfare turning, we shall be given back to the old disharmony. O now may we, so worthy of these tortures! fervently take up the superhuman promise made to our created body and soul: that promise, that madness! Elegance, science, violence! They promised to bury in darkness the tree of good and evil, to deport tyrannic respectability so that we might bring hither our very pure love. It began with a certain disgust and it ends, - unable to grasp this eternity, - it ends in a riot of perfumes.

Laughter of children, discretion of slaves, austerity of virgins, loathing of faces and objects here, holy be all of you in memory of this vigil. It began with every sort of boorishness, behold it ends with angels of flame and ice.

Little drunken vigil, holy! if only because of the mask you have bestowed on us. We pronounce you, method! We shall not forget that yesterday you glorified each one of our ages. We have faith in the poison. We know how to give our whole life every day.

Now is the time of the Assassins.

© Arthur Rimbaud

Arthur Rimbaud par Paul Verlaine

Lizzy Mercier Descloux reads Matinée d'ivresse by Arthur Rimbaud and Patti Smith reads the english translation (slightly different from the one provided here).

Patti Smith & Lizzy Mercier Descloux

Arthur Rimbaud - Drunken Morning (Morning High)
Recited by Patti Smith (English translation) and Lizzy Mercier Descloux (Original French poem)

Philippe Rahmy - Hajime Sawatari

2011-08-10T19:17:00.003+02:00

Hajime Sawatari

The body remains
videolivre, réécriture vidéo de "Demeure le corps",
Cheyne Editeur 2007 Philippe Rahmy

Hajime Sawatari

Hajime Sawatari Pics : http://www.we-find-wildness.com/2010/07/hajime-sawatari
Philippe Rahmy : http://remue.net

Le coeur de l'oeil noir

2011-08-09T18:33:00.002+02:00

battu en neige
jusqu'au plomb de l'être

Collage papiers, plumes / Cadavre Exquis
réalisé avec Cerkita Zünd

Le vieux chêne

2011-08-04T18:56:00.001+02:00

Miroslav Tichý

2011-08-03T18:59:00.000+02:00

http://fr.wikipedia.org/wiki/Miroslav_Tichý

Secret Life

2011-08-02T19:24:00.001+02:00

by Artstudio Reynolds
Germany 2008

http://www.reynold-reynolds.com

Synopsis:
Secret Life is the first of the Secrets Trilogy; a cycle exploring the imperceptible conditions that frame life and is followed by Secret Machine (2009) and Six Easy Pieces (2010)

Secret Life portrays a woman trapped in an apartment with a life of its own. Transcending the narrative horizons of human desire, the film visits upon us a glimpse of a shared and sacred reality. A work that defies the ultimate metaphysical taboos of temporality by combining novel technique with intrepid philosophical vision; and daring to present that which is seldom, if ever, portrayed in any artistic medium.
Impossibilities are made possible through Reynolds’ signature aesthetic, a lens that can fill one with reverence for the mundane.
Have you ever wondered what time sees, experiences? Without mortal assumptions about time, the occupant of the apartment is no longer limited even to unique location, but here, seen through the eye of time, space itself is now become alive. Without the context of space and time, the woman’s mind collapses and neglects the organization of her experience, leaving her only with sensations. The viewer may ask: Is it her mind or is it time itself that creates the uncontrolled and uncontrollable environment? The work suggests that all living things are endowed with consciousness, meaning all living things have awareness. While the space increases in its activity, the woman becomes an ever more passive element in her world. She moves at a mechanical speed and her mind is like a clock whose hands pin the events of her life to the tapestry of time, all the while, the truth is transcendentally reflected in the mechanical eye of the camera. Her thoughts escape her and come to life, growing like the plants that inhabit the space around her: living, searching, feeling, breathing and dying.

Derek Jarman's Garden

2011-07-31T13:05:00.003+02:00

The garden of late film director Derek Jarman (1942-94) at Prospect Cottage, Dungeness, Kent. August 2008.Soundtrack: "Cracking Codes" by Paul A Jackson.
© Paul A Jackson 2009

Derek Jarman at his home, Prospect Cottage, in Dungeness, Kent.

The Garden Derek Jarman (1990)
A nearly wordless visual narrative intercuts two main stories and a couple of minor ones. A woman, perhaps the Madonna, brings forth her baby to a crowd of intrusive paparazzi; she tries to flee them. Two men who are lovers marry and are arrested by the powers that be. The men are mocked and pilloried, tarred, feathered, and beaten. Loose in this contemporary world of electrical-power transmission lines is also Jesus. The elements, particularly fire and water, content with political power, which is intolerant and murderous. Director:Derek JarmanStars:Tilda Swinton, Johnny Mills and Philip MacDonald

Magma 1975-09-24 Théâtre du Taur Toulouse + autre

2011-07-30T18:55:00.000+02:00

- Klaus Blasquiz / vocals & percussion
- Stella Vander / vocals
- Didier Lockwood / violin
- Gabriel Federow / guitar
- Benoit Widemann / keyboards
- Patrick Gauthier / keyboards
- Bernard Paganotti / bass
- Christian Vander / drums