Trois photos d’Annie-Ève Dumontier, 9 août MMX (St-Henri, Montréal P.Q.)
Commémoration de l’anniversaire de la publication du Refus Global? Nouvelle lune?
Nouvelle lune : ‘Réajustement à la vie, des nouvelles possibilités, une naissance, un nouveau ton qui est donné ou l’être a réellement besoin de changement. Correspond à une rupture avec le passé. Il y a un appétit intense d’une nouvelle vie. Commence sous le signe de la confiance. Le degré et la maison natale dans laquelle tombe cette constellation est une indication du nouveau but’.
The New Museum will present “Brion Gysin: Dream Machine,” the first US retrospective of the work of the painter, performer, poet, and writer Brion Gysin (born 1916, Taplow, UK–died 1986, Paris). Working simultaneously in a variety of mediums, Gysin was an irrepressible inventor, serial collaborator, and subversive spirit whose considerable innovations continue to influence musicians and writers, as well as visual and new media artists today. The exhibition will include over 300 drawings, books, paintings, photo-collages, films, slide projections, and sound works, as well as an original Dreamachine—a kinetic light sculpture that utilizes the flicker effect to induce visions when experienced with closed eyes. “Brion Gysin: Dream Machine” is curated by Laura Hoptman, Kraus Family Senior Curator, and will be on view in the New Museum’s second floor gallery.
“An exhibition of an artist who died more than twenty years ago represents an approach to the notion of the new that is somewhat different from the Museum’s standard—one that emphasizes relevance and fresh information over chronology, and brings to the fore a relatively neglected yet very influential innovator who continues to have a strong impact on artists working today,” said Laura Hoptman.
In 1959, Gysin created the Cut-Up Method, in which words and phrases were literally cut up into pieces and then rearranged to untether them from their received meanings and reveal new ones. His Cut-Up experiments, which he shared with his lifelong friend and collaborator William S. Burroughs, culminated in Burroughs and Gysin’s The Third Mind, a book-length collage manifesto on the Cut-Up Method and its uses. Transferring this notion to experimenting with tape-recorded poems manipulated by a computer algorithm, Gysin created sound poetry and was among the earliest users of the computer in art. At the same creative moment, Gysin conceived of the Dreamachine. During the ’60s, ’70s, and ’80s, Gysin would continue his collaborations, and prove to be a mentor for myriad artists, poets, and musicians, from John Giorno to Brian Jones, to David Bowie and Patti Smith, to Genesis Breyer P-Orridge and Keith Haring, among many others.
“Brion Gysin: Dream Machine” will be accompanied by an illustrated catalogue co-published with Hugh Merrell, Ltd., featuring essays by Laura Hoptman; John Geiger, literary scholar and author of the definitive Gysin biography; Gerard Audinet, Chief Curator of the Musée d’art moderne de la ville de Paris, which houses Gysin’s artistic estate; James Grauerholz, Gysin’s friend and literary executor; as well as appreciations by contemporary artists, musicians, and poets including George Condo, Paul Elliman, Ugo Rondinone, Rirkrit Tiravanija, Cerith Wyn Evans, Shannon Ebner, Trisha Donnelly, and Sue de Beer.
Plus d’information ici.
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Aussi à lire
The Unknown Loved by the Knowns, Randy Kennedy, The New York Times (21 juin 2010)
… ‘But now the New Museum of Contemporary Art has gathered the widely scattered pieces of Gysin’s strange, necromantic career and is working to haul him up from the underground once and for all with “Dream Machine,” the first retrospective of his art in the United States. The show, which opens July 7, will include more than 300 paintings, drawings, photo-collages and films, along with an original version of the Dreamachine, the spinning, light-emitting, trance-inducing kinetic sculpture that Gysin helped design with a computer programmer, Ian Sommerville, in 1960 that has become his most famous work. (The exhibition’s catalog includes a paper foldout and instructions to build your own Dreamachine, provided you can locate your old turntable.)’ …
Littérature Apocryphe
Photographies de Annie-Ève Dumontier, Gil Nault & Étienne Dionne.
Soft Cover, 7” x 7”, 80 pages (Couleur & NB) enfin disponible ici.
On a profité de notre visite chez l’Homme Mort à NYC la semaine dernière pour y laisser une (minuscule) trace de notre passage … au PS1
(19 mai 2010) ‘Kenneth Anger
Avoir été jeunes et excités on aurait essayé le Washington Square, on a plutôt opté pour Mott Street …
Trois photos (36×36) d’Annie-Ève Dumontier, célébration de Pâques MMX, sous les échangeurs de l’autoroute Ville-Marie, Montréal P.Q.
+ Plus de photos ici.
Puisqu’on est dans le black metal … Léger survol de l’artiste Banks Violette, né en 1973 à Ithaca, New York.
‘I’m interested in a visual language that’s over-determined, exhausted, or just over-burdened by meaning. The heavy-handed one-to-one of ‘black-equals-wrong’ is incredibly interesting to me — less as something that has a meaning in itself, but more in how those visual codes can somehow become reanimated. That’s constant throughout my work. All those images are like zombies — they’re stripped of vitality, yet sometimes they get life back in them … And, like zombies, usually something goes wrong when they wake up again’. – Banks Violette
‘For his first solo museum exhibition at the Whitney Museum of American Art in New York (May 2005), Violette erected a life-sized recreation of a burned-out church on a black stage, inspired by an image from the cover of a black metal record and surrounded by a 5.1 surround score composed by Thorns Ltd consisting of a varied backdrop of ambiances. According to Violette, the inspiration of the piece was a series of instances of arson committed by rival metal enthusiasts in Norway, which culminated in the 1993 knife murder of Øystein Aarseth, guitarist of the black metal band Mayhem by Varg Vikernes of the band Burzum’.
Sunn O))) – Oracle (2007)
Artwork by Banks Violette
‘ORAKULUM (Track B1) was originally composed for a live performance collaboration with the New York sculptor Banks Violette at the Maureen Paley Gallery in London, June of 06. Violette created sculptural representation of SUNN O)))s entire backline in cast resin and salt, including amplifier stacks, instruments, effects & accompaniments. In addition, black laquered stage platforms and sound panels were created as a basis for the groups actual backline setup, and a selection of drawings were presented within the context. The result of this performance and collaboration, which was conducted in a sealed gallery space, was intended to generate a feeling of absence, loss and a phantom of what once was’.
Né le 17 avril 1940 à St. Thomas, Ontario. Il habite et travaille à Sainte-Angèle-de-Monnoir, Québec.
“J’ai comme souci de travailler le plan horizontal, le plan du sol, de l’intégrer comme une partie de l’œuvre. On a l’impression que mes sculptures en émergent ou qu’elles y sombrent. Le sol n’est plus un espace neutre : c’est l’espace que la sculpture et le spectateur partagent.” – Roland Poulin, 2000
‘Le sculpteur Roland Poulin conjugue le figuratif et l’abstrait dans des œuvres qui sondent les thèmes de la vie, de l’amour, de la mort et de la spiritualité. Des formes représentant des tombes, des tables et des autels sont mises en place dans des compositions qui intègrent l’espace vide. L’horizontalité et l’apesanteur caractérisent le travail de Poulin qui fait appel au béton, au bois et au bronze.
Roland Poulin grandit principalement à Montréal où sa découverte d’un tableau de Borduas l’inspire. Après l’obtention de son diplôme de l’École des beaux-arts de Montréal en 1969, Poulin travaille comme assistant de Mario Merola. Au début de sa carrière, il est influencé par le mouvement de la dématérialisation, mais sent bientôt le désir de représenter le poids par des matériaux lourds : d’abord le béton, puis le bois et le bronze. En 1972, un voyage en Allemagne lui permet un contact formateur avec les artistes minimalistes américains. Plus tard, il fréquente les cimetières de Nouvelle-Angleterre et de Paris, et visite l’exposition des sarcophages de l’Égypte ancienne à New York. Il trouve dans ces monuments des formes sculpturales, des espaces vides et une présence humaine muette qui inspire ses sculptures tardives.
Les premières sculptures en béton de Poulin comprennent En. Ses œuvres ultérieures en bois, comme Sombre, illustrent son intérêt grandissant pour les tombes et la nuit. Ses pièces plus récentes, comme Seuils, sont de plus en plus spirituelles et sensuelles’.
Plus d’informations sur le travail de Roland Poulin ici et ici.
Présenté dans le cadre d’une expo en 2002 appelée ‘Sacré Cerveau’ (Québec) si ma mémoire est bonne.
L’idée fait penser au ‘Prayer Boot’ de Dylan Mortimer déjà publié ici, à l’exception que celui-ci te masse gentiment les organes génitaux (Pendant que tu regardes une réflexion de ton image, projetée à l’infini) …
Cooke-Sasseville avaient aussi participés au ‘booklet’ de l’album Crawlin’ Kingsnake (de Mi Amore) à l’époque … Ils exposent actuellement leur ‘petit gâteau d’or‘ à la galerie Art Mûr jusqu’au 24 avril … Le délire de pierres précieuses rappele un peu le crâne de Damien Hirst ‘For the Love of God’ (Ils en parlent justement dans le VOIR 18 mars 2010).
