Sacrement, la grâce sacramentelle de la pénitence, novembre MMX. Six photographies 6′x6′ posées sous le pont de train 93C de la ville de Québec.
‘La Commémoraison des morts, appelée aussi jour des Morts, a été instituée pour obtenir de Dieu qu’il délivre ou soulage les âmes du purgatoire’.
Photos Étienne Dionne
‘We follow photographer Sarah Sudhoff as she works on her series titled At the Hour of Our Death. In the series Sudhoff creates large-scale color photographs of stained fabrics from trauma scenes and discusses the invisibility of death in our culture. Learn more about the filmmakers at walleyfilms.com. Learn more about the artist at sarahsudhoff.com‘.
Couverture bricollée (Gil Nault & Amanita Bloom) à partir d’illusrations de Fritz Eichenberg, celles réalisées pour ‘Wuthering Heights‘ d’Emily Brontë et pour ‘Jane Eyre‘ de Charlotte Brontë.
Étienne et Dominic (d’Amanita Bloom) ont ensuite composé le mobilier à partir de fragments des gravures d’Eichenberg.
Chauds remerciements additionnels à l’endroit d’Annie-Ève Dumontier, Christian Ouellet et Olivier Maguire, l’étoile du match. L’album est paru mardi dernier sur l’étiquette Machette Records. Nos salutations à toute l’équipe.
Amanita Bloom Myspace
Amanita Bloom Facebook
Machette Records
Puisqu’on parle beaucoup de l’Oratoire et du Frère André ces jours-ci …
Faites un tour sur la montagne sacrée : sacreemontagne.onf.ca
Sacrée montagne – Le peintre de l’Oratoire
Gilbert Duclos et Hélène de Billy, 2010, 3 min 38 s
Le peintre André Bergeron nous présente une série de toiles inspirées des corneilles du mont Royal. Père de Sainte-Croix, il est également l’auteur des fresques du musée de l’oratoire Saint-Joseph.
Sacrée montagne – Les hommes de pierre
Gilbert Duclos et Hélène de Billy, 2010, 3 min 29 s
Au cimetière Mont-Royal, le graveur de pierres tombales, Gilles Brunet, transmet un savoir-faire qu’il a hérité de ses ancêtres. Mais les temps ont changé depuis celui où l’on gravait à la main et dans le marbre les dates encadrant nos vies.
Aislinn Leggett ‘Reverend Grandpapa Ben Lemay’
À lire et à voir ici.
Voir aussi son travail dans ‘The Last Sacrifice of Rite’ publié plus tôt cette année.
Mabon is upon us, sweet Autumn Equinox. A time of hope and balance, and of harvesting our crops …
Préparation de l’édition MMX de l’exposition ‘Sacrement, la grâce sacramentelle de la pénitence‘ à venir en novembre dans la ville de Québec.
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.
***
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.
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’.
"The production of nervous force is directly connected with the diet of an individual, and its refining depends on the very purity of this diet, allied to appropriate breathing exercises.
The diet most calculated to act effectively on the nervous force is that which contains the least quantity of animal matter; therefore the Pythagorean diet, in this connection, is the most suitable.
...
The main object was to avoid introducing into the organism what Descartes called 'animal spirits'. Thus, all animals that had to serve for the nourishment of the priests were slaughtered according to special rites, they were not murdered, as is the case nowadays".
