Category Archives: aesthetics

Hauntology’s preoccupation with the aesthetics of death in a post-9/11 world

Both Sam Shackleton‘s “Hypno Angel”[1] and Kode9 and Spaceape‘s “9 Samurai”[2] feature references to Chopin‘s Funeral March[3]. The first quite literally at 3:12 in the track, the latter throughout the recording.

Both tracks are in the dubstep genre, dubstep is related to hauntology. Both these two recording exemplify hauntology’s preoccupation with the aesthetics of death in a post-9/11 world. Musical hauntologists are advised to read the music sections in the as of yet untranslated French book Principles of an aesthetics of death, with its references to the “Funereal” outings of Mozart, Beethoven, Chopin (“Funeral March“) and Schubert (Death and the Maiden [4]).

In the hauntosphere, Esotika has a post on hauntology and John Maus.[5]

Beyond the critical theory babble, “Hypno Angel” and “9 Samurai” are excellent dub music recordings.

If Hitler Had Been a Hippy

If Hitler Had Been a Hippy How Happy we Would Be[1][2] is a 2008 series of paintings by Jake and Dinos Chapman which deface orginal paintings by Adolf Hitler. The Chapmans previously used a similar ploy on work by Goya (Insult to Injury).

At the end of May 2008 the White Cube Gallery exhibited the 20 authenticated watercolours and oils painted by Adolf Hitler, which the brothers have defaced with hippie motifs. Jake Chapman described most of the dictator’s works as ‘awful landscapes‘ which they had ‘prettified‘.

On a general level, if Rome was the art world capital from the Renaissance to the 1850s, Paris from the 1850s until WWII, a title which Paris lost to New York after the war; could it possibly be that London, with artists such as Emin, Hirst and the Chapmans, is the current art world capital? I don’t see any other country but the UK coming with consistently exciting work.

I urge you

[Youtube=http://www.youtube.com/watch?v=MbGUr97tIDs&]

Early animation by the Chiodo brothers (of Killer Klowns from Outer Space)

“I urge you, learn to see ‘bad’ films; they are sometimes sublime”. —Ado Kyrou, Le Surréalisme au cinéma, p. 276

Bad films are not only sublime, they learn you about the techniques of filmmaking, all the things we take for granted, the inner workings of concepts such as credibility in acting, continuity editing are exposed in watching and studying bad films.

I found the clip above while researching Elihu Vedder‘s painting The Roc’s Egg (1868) which is said to have furnished Ray Harryhausen with inspiration for The Seventh Voyage of Sinbad.

The only version of the Roc’s Egg painting I found was this one, by Robert Swain Gifford

I couldn’t find Vedder’s painting.

Update: I found the Edder version, clearly inferior to Gifford’s. I’ll give you both so you be the judge.

The Roc's Egg by Vedder

Vedder’s version of the Roc’s egg

The Roc's Egg (1874) by Robert Swain Gifford
Gifford’s version of the Roc’s egg

The energy of art

No-Stop City, Interior Landscape, 1969

No-Stop City, Interior Landscape, 1969 by Archizoom Associati

It was American experimental musician Rhys Chatham who first pointed out that the energy of art is always equal (except in periods of extreme hardship such as famine and war, where production tapers off), but has at the same time the tendency to displace itself. In music for example, the energy in the 1950s was in rock and roll, in the 1980s it was to be found in house music and techno.

The energy in international design in the late 1960s and early 1970s was clearly to be found in Italy. Displayed above is No-Stop City, a “radical design” architectural project by Archizoom Associati first introduced to the public in 1969. It is a critique of the ideology of architectural modernism, of which Archizoom felt that it had reached its limits. The artistic discourse of that era was buzzing with the term neo avant-garde, in a period that corresponds with Late Modernism or early postmodern art. The term neo avant-garde was rejected by many, but the term can be interpreted to refer to a second wave of avant-garde art such as Abstract Expressionism, Pop Art, Nouveau Réalisme and Fluxus.

If you want to read up on this period, please consult the following excellent volume:

The Hot House (1984) – Andrea Branzi [Amazon.com] [FR] [DE] [UK]

Prices in Amazon Europe are around 40€, in America starting from 12USD, a bargain.

 

World cinema classics #39

[Youtube=http://www.youtube.com/watch?v=j6Xgn63o7UU]

Erotissimo is a 1968 French–Italian film directed by Gérard Pirès. Its theme is a satire on the use of sex in advertising and sexual objectification of women. I’ve mentioned this film before and posted a different trailer, but this trailer is superb, good rhythm, extremely funny (sorry French only!), nice score and stunning visuals.

Previous “World Cinema Classics” and in the Wiki format here.

Art history revisionism

Grotesque Head (c. 1480-1510) by Leonardo da Vinci, clearly the inspiration for The Ugly Duchess
Grotesque Head (c. 1480–1510) by Leonardo da Vinci,
clearly the inspiration for The Ugly Duchess
The Ugly Duchess by Quentin Matsys

The Ugly Duchess (1525-30) by Quentin Matsys

In my previous post I argued for a revisionist approach to art history, favoring discarded art historical movements related to the grotesque and the fantastic. I called for a start of art history with the work of Bosch rather than Da Vinci. I realized when writing it that I sort of short-changed da Vinci since the latter has also made many lesser-known works including several grotesques [1] and caricatures[2]. See the book Leonardo Da Vinci: The Divine and the Grotesque by Martin Clayton.

The reason I short-changed da Vinci is that he is much better known for “mainstream” works such as the Mona Lisa and Vitruvian Man. While researching da Vinci’s relation to the grotesque I came up with Grotesque Head, a powerful caricature which is clearly the inspiration for Quentin Matsys‘s The Ugly Duchess. Enjoy.

Introducing Praxis

[Amazon.com]
[FR] [DE] [UK]

It’s actually strange that I’ve never actively come across this band besides of having heard of them. I am a big fan of Bill Laswell and all P-Funkiana, both are canonical to my encyclopedic work. Praxis introduces a whole collective of adventurous culture, from cutting edge music to exciting graphics, rebellious texts and tetsuoesque performances (is the life-size doll by Rammellzee?).

[Youtube=http://www.youtube.com/watch?v=KUL_gcHv0EA]

“Animal Behavior” (1992) from the Transmutation (Mutatis Mutandis) album.

Praxis is the name of an ever-changing Bill Laswell musical project. Praxis combines elements of different musical genres such as funk, jazz, hip-hop and heavy metal into highly improvised music. First appearing in 1992 with the critically acclaimed Transmutation (Mutatis Mutandis), Buckethead, Bill Laswell, Bernie Worrell and Brain have defined the direction of the band over the last 15 years.

Transmutation (Mutatis Mutandis) is the first album by Bill Laswell‘s everchanging “supergroup” Praxis. This first album features Buckethead on guitar, Bootsy Collins on bass and vocals, Brain on drums, Bernie Worrell on keyboards and DJ AF Next Man Flip on turntables and mixer.

Transmutation features a wide range of musical styles, all mixed together to make a very diverse and unique album. Styles such as heavy metal, funk, hip hop, ambient, jazz and blues are blended together to form a strange style of avant-garde, with extended guitar and keyboard solos, and highly improvised passages.

The artwork is by James Koehnline, photography by Thi-Linh Le and liner notes by Hakim Bey.

 

Icons of erotic art #17

Sensuality (1891) - Franz von Stuck

Sensuality (1891) – Franz von Stuck

Although a mediocre painter at best and deservedly one of the minor figures in European fin de siècle Symbolism, there are two paintings by Franz Von Stuck that I like: Salome, which I “exhibited” here, and Sensuality (pictured above) . In Sensuality, the image of the serpent as phallus is left in little doubt and shows an enormous python-like creature passing between the legs of a nude woman. The serpent’s head rests on the woman’s right shoulder; both the serpent and the woman gaze at the viewer. There are obvious connections to the tentacle eroticism trope.

Previous entries in Icons of Erotic Art here, and in a Wiki format here.

A reappraisal of Amélie

I had seen Le Fabuleux Destin d’Amélie Poulain in the winter of 2001 when it came out in theatres in Belgium and had not taken to it because of its faux happiness and its European hollywoodity. I’ve seen it again today and I think it is time for a reappraisal. This clever film shows a unique understanding of visual and auditory culture. It is told by an omniscient narrator* in an extremely writerly and accomplished style.**

The visuals and the score from Yann Tiersen are virtually symbiotic. One peep show scene features music from French house musician Alex Gopher‘s “The Child” (1999) (“them that’s got, shall get”). I wanted to give you the Kenny Dope remix (the one actually featured in Amélie). In stead, here Youtube is a slower version with many intrusive voices but interesting visuals (animation made out of typography by Antoine Bardou-Jacquet). If you badly need the Kenny Dope remix, buy Beats & Pieces vol. 2 on the highly recommended series out on BBE Records.

*On the omniscient narrator, see scenes in the recent film Stranger Than Fiction in which Dustin Hoffman teaches a whole seminar on the omniscient narrator phrase par excellence “little did he know”, illustrating the excesses of literary theory.

** Films such as Reconstruction (which I liked immensely) owe a lot to the Ameliesque aesthetic.