Category Archives: subversion

Happy birthday Piero Simondo!

Piero Simondo is a founder of the Situationist International. He turns 80 today.

1957 Guy Debord photographed by Ralph Rumney, with Piero Simondo at Cosio d'Arroscia, Italy

1957: Piero Simondo and Guy Debord photographed by Ralph Rumney at Cosio d’Arroscia, Italy. [1]

Situazionisti

The founders of the Situationist International at Cosio d’Arroscia, in April 1957[3]. From left to right; Giuseppe Pinot-Gallizio, Piero Simondo, Elena Verrone, Michele Bernstein, Guy Debord, Asger Jorn and Walter Olmo.

Sholem Stein has recently noted that Situationist practices continue to influence underground street artists such as gHOSTbOY, Banksy, Borf, and Mudwig, whose artistic interventions and subversive practice can be seen on advertising hoardings, street signs and walls throughout Europe and The United States. The aforementioned use stencil graffiti.

Why this curious and debased love?

Waloli detail by you.

From Waloli, our reporter in Tokyo

Waloli: Today marks the 50th anniversary of the first American over-the-counter publication of Russian-born author Nabokov‘s Lolita. When Nabokov’s “dirty book” hit the streets of the USA, it sold 100,000 copies in three weeks, an immediate success that would allow the 60-year-old scholar and novelist the freedom to resign from teaching.

Pretty much everything about that book has been said, but I think many of you have not seen this interview conducted by Pierre Berton and Lionel Trilling for the Canadian Broadcasting Corporation now at YouTube[1][2].

The interview was filmed on November 26, 1958 at The Rockefeller Center studios in New York City. It was Nabokov’s first television interview. The subject was Lolita, covering some of the questions addressed in Nabokov’s 1958 afterword. Most answers were read from index cards.

Pierre Berton:

“Let´s get out the more specific point: Why did you choose this rather odd, and, something that has never been done before, this curious and debased love?”

Nabokov:

“Well, on the whole, it flooded me all kinds of interesting possibilities I am not so much interested in the philosophy of the book, as I am in weaving the thing in a certain way, in those intergradation and interweavings of certain themes and subthemes, for instance the systematic line of Mr. Quilty, whom Humbert will kill, does kill …”

The Lolita or nymphet trope has since entered popular consciousness and never left it, especially in Japan, where it evolved into the Gothic Lolita. Most recently British art critic James Putnam curated “Viva Lolita” which featured work from Turkish artist Nazif Topçuoğlu [3]. Here[4] are three of Topçuoğlu’s photos at Wurzelstock[5].

The Lolita trope, in all its manifestations, from Balthus to Trevor Brown, is IoEA #32.

Thank you Waloli, back to the studio.

Most of the evening was spent on

Most of the evening was spent on researching JRMS interview[1] with Gilbert Alter-Gilbert:

Genealogy of the Cruel Tale by you.

Gilbert Albert-Gilbert’s Genealogy of the Cruel Tale from Bakunin v.6, 1997) [1]

and especially Gilbert‘s intriguing “Genealogy of the Cruel Tale“[2] a perfect example of the kind of thematic literary criticism I’m rather fond of. The chart reminds of the aestheticization of violence and cruelty in general, of which Nietzsche said:

“One ought to learn anew about cruelty,” said Nietzsche (Beyond Good and Evil, 229), “and open one’s eyes. Almost everything that we call ‘higher culture‘ is based upon the spiritualizing and intensifying of cruelty….”

For your pleasure, here is the wikified version (information is scarce on the 20th century authors mentioned):

Overview

Genealogy of the Cruel Tale is a chart by American intellectual Gilbert Alter-Gilbert documenting the origins of the cruel tale, which begins etymologically with Auguste Villiers de l’Isle-Adam‘s Contes cruels anthology and has content- and style-wise similarities with cult fiction and horror fiction, Dark Romanticism and the roman frénétique, black humor, transgressive fiction, grotesque literature and folk tales. Sholem Stein says that it is a continuation of the research done by Breton in Anthology of Black Humor. Texts such as Walter Scott‘s On the Supernatural in Fictitious Composition, Lovecraft‘s Supernatural Horror in Literature, Mario Praz‘s Romantic Agony and Todorov’s The Fantastic: A Structural Approach to a Literary Genre also come to mind. Notably absent is Sade.

Taxonomy

Disney’s self-disneyfication

Does he not remind you of The Tramp?

WALL-E[1] is an American satire of polluted environments, human obesity, and retail corporate domination.

In a future world, people have been Cocacolonized, Disneyficated, McDonaldized and Walmarted. Robots come to their help. Reverse dystopia comes to mind.

The film is very benevolent, it’s Disney after all. But it’s a treat, a real treat. Watch out for the 2001 allusion. Also, hints of Silent Running[2].

Plants in space.

WALL-E is World Cinema Classic #55, Silent Running #56

Staying with corporate domination and consumerism, “(I Can’t Get No) Satisfaction“[3] (Devo‘s version here, slightly more danceable) is World Music Classic # 58.

It must be spent, willingly or not, gloriously or catastrophically

Furthering my research on Georges Bataille‘s general economy[1], helped by Valter‘s kind comment, it occured to me that the Marxian notion of surplus product is very similar to Bataille’s excess. The two notions and can only lead to wasteful spending such as luxury or war.

Thus, we read on page 21 of volume 1 of The Accursed Share:

“The living organism, in a situation determined by the play of energy on the surface of the globe, ordinarily receives more energy than is necessary for maintaining life; the excess energy (wealth) can be used for the growth of a system (e.g., an organism); if the system can no longer grow, or if the excess cannot be completely absorbed in its growth, it must necessarily be lost without profit; it must be spent, willingly or not, gloriously or catastrophically” (v. 1 p. 21).

If the “excess energy” or “surplus product” is spent “gloriously”, we call it luxury, if spent “catastrophically”, it is war. Notions that connect are pure war by French philosopher Paul Virilio and the military-industrial complex.

While researching The Accursed Share, I also happened on the blog with the same name[3] by Nick Srnicek and Kieran Aarons, which features two astounding photos, a shot of Cairo with the Pyramids as backdrop [4] by unknown (credits anyone?) and a photo[5] by German-born photographer Michael Wolf belonging to his “densities” project.

Jello Biafra @50

Happy birthday Jello Biafra, former lead singer of the Dead Kennedys. In the late 1980s, the band was embroiled in an obscenity trial in the US over the 1985 Frankenchrist album, which included a “biomannerist” poster with art that depicted penises, “Penis Landscape“[1] by H. R. Giger, a work in the same vein as jahsonic fave Yoshifumi Hayashi.

Interviewed by Jools Holland:

[Youtube=http://www.youtube.com/watch?v=iVrTW7AUkoM]

Marquis de Sade @268

Today is Marquis de Sade‘s 268th birthday. Was he our first postmodernist? The man who showed us that words are not necessarily representations of reality. That one can construct limits of text only. The first modernist too: by transgressing all rules, showed us that there are rules. Above all the Marquis has proven a tough act to follow. One can divide modernity in pre- and post-Sadean. Anyone wishing to transgress (in words, not in deeds) has only one reference, the Marquis himself. The only possible answer to his antics are incorporating his sensibility without following his monomania.

David Locher writes[1] in “Postmodernism as Neo-Dada”

“At the heart of postmodernism lies the assumption that most of the things that we take for granted are, in fact, simply illusions. Reality is not reflected within text, only text is reflected within text. There is no Truth beyond the experience of the text, and meaning is created every time the text is experienced. An author does not place meaning in the text, and his/her interpretation of the text is no more valid than any other (Baudrillard 1981; 1988; Connor 1989; Lyotard 1984). In other words, meaning is arbitrary, relative, and subjective. Language is, in its own way, reality. What we refer to as reality is not knowable, and we live in the illusion that we are in touch with it. The age in which concepts have a relation to reality is over (Baudrillard and Debrix 1995). Knowledge is only validated when it is referred to by second-level discourse (Lyotard 1984).”

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.

Erutarettil, or, Treasures from the Antwerp library

I went to the Permeke library in the center of Antwerp yesterday evening and loaned these:

Two of these books I had already loaned, the work by Rachleff, which is excellent, and the sublime Sade / Surreal, which I’ve mentioned before here. Sade/Surreal is a pricey book (a French bookseller currently wants more than 300 EUR for it, but a German vendor is currently letting it go for less than 40 Euros, which is a bargain, if you have deep pockets, consider buying it for me as a present). For the last hour of so, I’ve been updating my wiki with the names found on the opening and closing pages of the book (pictured below), which reads like a who’s who of Sadean thought, a summa sadeica, as it were.

Sade Surreal inside page

Opening and closing page of Sade/Surreal

There were only a couple of names I could not identify, any help is welcome: Retz (either Gilles de Rais, or the cardinal with the same name, Young (perhaps Mr. Young of Night Thoughts?), de Saint Martin, Bertrand (probably Aloysius Bertrand ?) and Constant (Constantin Meunier?). The rest is indentified.

Also in the same book is the engraving below, which I find lovely, like a cake-building or a building of collapsing blubbery wet clay.

Tomb of Pompeii by Jean-Baptiste Tierce, 1766

Tomb of Pompeii by Jean-Baptiste Tierce, 1766

Unreason vs. reason

Cults_of_Unreason_1974

Adorable seventies graphic design on the book depicted above.

Of course, the classic illustration of unreason is:

The Sleep of Reason Produces Monstersis a 1799 print by Goya from the Caprichos series. It is the image the sleeping artist surrounded by the winged ghoulies and beasties unleashed by unreason.

The Sleep of Reason Produces Monsters is a 1799 print by Goya from the Caprichos series. It is the image the sleeping artist surrounded by the winged ghoulies and beasties unleashed by unreason.

Unreason on the whole is a subject of innumerable greater interest than reason. As such, I’ll take the counter-enlightenment over the enlightenment any day. Conceded, there were interesting aspects of the enlightenment, ignored by history, such as the enlightenment of Thérèse Philosophe. See Robert Darnton’s The Forbidden Best-Sellers of Pre-Revolutionary France.