vendredi 30 avril 2010


Charles Avery, 'Untitled (The Eternity Chamber)', 2007
Pencil and gouache on card, 100 x 70cm

An exhibition by one of the most creative and thought-provoking Scottish artists of the last decade invites you on an expedition to an imaginary island. The Islanders: An Introduction is the latest instalment in an epic four year project to describe life on an island created by the artist Charles Avery. Using texts, drawings, installations and sculpture Avery has detailed the landscape, customs, and culture of his island, creating a challenging space for philosophical inquiry.
The Islanders: An Introduction will bring together the project so far, including several new works which will be shown in Scotland for the first time. Among these will be a large-scale sculptural installation, which was purchased by the National Galleries of Scotland in 2007. This sculpture depicts one of the most striking features of Avery’s invented world - a motley group of deities,
who live on a wasteland called The Plane of the Gods. This is the Island’s most popular tourist attraction and is home to the erect and threatening August Snakes. Visitors to the exhibition will also discover mysterious landscapes such as the Eternal Forest, where the mythical beast the Noumenon is rumoured to live. Other exhibits include a large taxidermy sculpture of a fearsome Ridable, a magnificent specimen of the islands wildlife and the bitterly disgusting, but ruinously addictive gin-soaked pickled eggs which are sold in the island’s marketplace.
Inspired by his upbringing on the island of Mull - and by time spent in Rome, and Hackney Avery’s work has its roots in figures as diverse as William Blake, Joseph Beuys, Joseph Kosuth, Jorge Luis Borges, Ludwig Wittgenstein and P.G. Wodehouse. Once complete, Avery plans for his Island project to be encapsulated in several large, leather-bound encyclopaedic volumes.
Charles Avery was born in Oban in 1973 and is based in London. In 2007, he was selected with five other artists to represent Scotland at the 52nd Venice Biennale, as part of the Scotland and Venice exhibition. In 2003 he was one of four finalists in the Award for Italian Art, shown in that year’s Venice Biennale. He has recently been selected for the forthcoming TATE Triennial in 2009. Following its exhibition at the Scottish National Gallery of Modern Art, The Islanders: An Introduction will tour to Museum Boijmans van Beuningen, Rotterdam.

mercredi 21 avril 2010

The KLF, To the north pole with the king of imaginary pop

The creative partnership of Bill Drummond (alias King Boy D, Time Boy) and
Jimmy Cauty (alias Rockman Rock, Lord Rock), mainly appreciated for their
ground breaking dance music from 1987-92, under the names 'The Justified
Ancients of Mu Mu' ('The JAMs'), 'The Timelords', 'The Kopyright Liberation
Front' ('The KLF'), 'The Forever Ancients Liberation Loophole' ('The FALL'),
and post-1992 as 'The K Foundation' and 'The One World Orchestra'. They have
also produced other groups, including their sometime backing singers 'Disco
2000', and re-mixed tracks by 'Depeche Mode' and 'The Pet Shop Boys'. Cauty
was also a founder member of 'The Orb' which he left, taking some tracks
with him which were released under the name 'Space'. After producing
critically acclaimed work, utilising cheap sampling technology to its
fullest, yet not selling many records (albeit interrupted by a freak novelty
world-wide No. 1), they finally found fame in the emerging UK rave scene,
and released a string of world-wide hit singles in the 90's, selling more
singles than any other band in 1991.

They have also branched out into other forms: they published a book 'The
Manual' and planned but never published at least two others and a graphic
novel, filmed a motion picture 'The White Room' which has yet to be shown,
released an 'ambient video' and planned at least two art exhibitions but
never staged them. They are also infamous for various anarchic situationist
'pranks' or 'happenings' which include billboard defacements, a crop circle
hoax, a pagan midsummer's ritual ('The Rites Of Mu', see question 4.002), a
BRIT Awards protest involving a dead sheep and buckets of blood (see 4.004),
a string of strange full-page mainstream press adverts, staging an
alternative art award for the worst artist of the year (see 4.005), and they
also burned a MILLION POUNDS (see 4.006) and subsequently toured the film of
the burning round the U.K. Bearing in mind the wilfully perverse way they
conducted their career, the group they share the most comparisons with would
probably be The Residents.

But what are the KLF about? One may well ask. This author believes that this
is no easy question and any answer he can give will be far too simplistic
for what is a very complex concept. On one level the KLF was about a duo of
music business veterans who initially used their knowledge and experience to
utilise cheap sampling technology later leading to commercial success and
acclaim. But then they also conducted this part of their careers in such a
way that it challenged the traditional models of the music-business, and
even rebelled against them. To anyone wanting more, this author can only
suggest they read ALL the material in this FAQ, and examine the WHOLE of the
ftp archive and ALL other related literature and material (including the
music itself) and then come to their own conclusions.

The letters 'KLF' stood for many things, which changed many times throughout
their life-span. The first documented occurrence is in 1987, when the
moniker 'Kopyright Liberation Front' was mentioned on their record
releases. But over the years up to the 1992 retirement, they always got
asked this question in interviews and were always making up new names. One
much-quoted line is "We're on a quest to find out what it means. When we
find out, we can stop what we're doing now." Various examples of these names
are: 'Kings of the Low(er) Frequency', 'Kool Low Frequency', 'Keep Looking
Forward', 'Kevin Likes Fruit' and so on, but the usually accepted definition
is 'The Kopyright Liberation Front'. [Nb. this has 24 letters, but if you
spell it Kopyrite, then there's 23!!]

The next question is how did this name come about. The Justified Ancients of
Mu Mu came from the Illuminatus books, and possibly to some extent the name
KLF was influenced by these as well. Over recent years there've been a
number of organisations using an acronym ending -Liberation Front. In the
1960's was the NLF - National Liberation Front - the North Vietnamese
resistance to the USA supported by 'hippies' in the US. In the 1980's was
the ALF - Animal Liberation Front - British radicals who became famous for
freeing animals from experimental labs. There's also the Kasmiri Liberation
Front. Then in Illuminatus! there's the ELF - Erisian Liberation Front -
leading the forces of chaos against order. So it could follow that for
sampling in the 80's and 90's there's the KLF - Kopyright Liberation Front -
Freeing Mu(sic) from copyright laws and using past sounds as much as you
want. There are many other ..LF's too, but I reckon those are the important
ones that led to Bill'n'Jimi choosing the name KLF.

Finally, Jamm!n adds: why Kopyright in KLF was spelt with a K... Well, there
are three reasons I can think of, all/some/none of which may relate to the
real reasons:
1. CLF sounds considerably less cool.
2. The letter K has many mystical connections. Too many to list here, but it
is linked to certain grams in I Ching and Tarot amongst others. KLF aren't
the only band to spot this; for example mystic-guru-wannabes Kula Shaker
with their album "K". "K" was also the letter used to mark barrels of the
strongest brewed drink available, and hence is now the brand name of an 8.4%
abv cider. Decide the relevance of that for yourself.
3. Kopyright has been used in Discordian circles for some time to draw
attention to the complete absence of Copyright. The standard rubric is
something like:
Kopyright (k) 3163 Gold & Appel Transfers, Inc.
All rites reversed. Reprint what you like.
The use of K here of course has the additional relevance that it is the
first letter of kallisti, and hence a common Erisian symbol is the golden
apple with just a K on it. >>> bad wisdom
>>> Kalevala records

le faux site du faux label finlandais (la "bande son" du bouquin Bad Wisdom):

la "discographie" du faux label:

jeudi 8 avril 2010

Le rituel du serpent : Art et anthropologie d’Aby Warburg

Jean Lacoste, la Quinzaine littéraire, mai 2003, numéro 854.

La situation semble empruntée à Kafka : en 1923, l’historien d’art Aby Warburg, soigné depuis cinq ans pour de graves troubles mentaux à la clinique de Bellevue à Kreuzligen, sur la rive suisse du lac de Constance, doit présenter une conférence scientifique au personnel et aux patients pour montrer qu’il a recouvré la santé mentale : cette conférence, véritable rite de passage, est la condition de sa sortie. Les éditions Macula publient, dans un même volume, avec une intelligente iconographie, le texte de la conférence de Warburg, accompagné d’une introduction de Joseph Leo Koerner et d’essais de Fritz Saxl et de Benedetta Cestelli Guidi.

Aby Warburg souffrait, selon les termes d’une lettre à Freud du directeur de la clinique, Ludwig Binswanger, d’une « grave psychose », accompagnée d’angoisse, d’obsessions et de « manœuvres défensives » ; il choisit pour sa conférence un thème à la fois exotique et manifestement en rapport avec sa propre situation psychique : la manière dont des Indiens Pueblos d’Amérique du Nord, les Hopis, maîtrisent collectivement, par l’impressionnant « rituel du serpent », une peur immémoriale, et croient dominer les forces de la nature par le jeu de la pensée symbolique. Dans la situation elle-même angoissante dans laquelle il se trouve, Aby Warburg cherche le matériel de sa conférence non dans son domaine habituel, l’histoire de l’art, la Renaissance en Occident, mais dans les souvenirs d’un voyage qu’il a fait 27 ans auparavant aux Etats-Unis. Warburg, qui est issu d’une grande famille de banquiers juifs de Hambourg et entretient des relations difficiles avec le judaïsme et son refus traditionnel des images, éprouve en même temps une profonde aversion pour l’histoire de l’art esthétisante et formaliste de l’époque : pour fuir ces conflits, il entreprend en 1895-1896 un long périple aux Etats-Unis, de New York à la côte Ouest, au cours duquel il passe quelque temps à l’ouest de Santa Fe et du Rio Grande, chez les Pueblos du Nouveau-Mexique et ceux de l’Arizona, les Hopis. Il rapporte de ce voyage des poteries à la subtile ornementation symbolique, dont il fera don au musée ethnographique de Hambourg, des photographies fascinantes, où on le voit, « banquier cow-boy », à côté de danseurs ornés de plumes, et surtout une conviction : l’art et l’anthropologie s’éclairent réciproquement. En fait, Aby Warburg, dans son voyage du printemps 1896, n’a pas véritablement assisté au rituel au cours duquel les Hopis dansent en tenant un serpent à sonnette vivant dans leur bouche. Il a assisté à d’autres cérémonies au cours desquelles il est fait usage de masques, comme médiateurs démoniques, dont les fameuses poupées katcina, qui figuraient en bonne place dans la collection d’André Breton, sont l’énigmatique reproduction. C’est au cœur de l’été, en août, quand la culture du maïs est menacée par la sécheresse et dépend des pluies d’orage que les Hopis, lors de « festivités paysannes », pratiquent la danse des serpents. Le serpent, en effet, est comme l’éclair, zigzaguant, il est l’éclair, et manipuler l’animal dangereux est une manière de maîtriser les forces naturelles dont dépend l’existence même de ces Indiens agriculteurs et sédentaires. En obligeant le serpent à participer à la cérémonie, sans le sacrifier, en surmontant la peur qu’il inspire, on influe sur le cours de la nature, dans un étrange, instable et pourtant efficace mélange de magie rituelle et de finalité pratique. Entre la main, et la pensée, entre le geste et l’intellect, il y a place pour le symbole qui permet de surmonter la terreur que suscitent les phénomènes naturels incompréhensibles et les périls de l’immédiat environnement. Les Hopis - c’est-à-dire, dans leur langue, « les Pacifiques » - se placent ainsi à mi-chemin entre les sacrifices sanglants pratiqués par d’autres ethnies nomades, pour la même fin, et la « sérénité » que procurent les religions du salut.

La suite ici :