La veglia eterna




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From Ivan Cenzi – Carlo Vannini: La veglia eterna. Catacombe dei Cappuccini di Palermo

: libri.it







Breyer P-Orridge & Pierre Molinier




 

BREYER P-ORRIDGE & PIERRE MOLINIER


September 5 – October 12, 2014


INVISIBLE-EXPORTS

89 Eldridge Street – New York


invisible-exports.com





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Genesis Breyer P-Orridge, Untitled (self-poortrait), 2004

Genesis Breyer P-Orridge, Untitled (self-poortrait), 2004

from artforum.com


Pierre Molinier, Méditation vampirique, circa 1967

Pierre Molinier, Méditation vampirique, circa 1967





“Oh, those Greeks! They knew how to live. What is required for that is to stop courageously at the surface, the fold, the skin, to adore appearances, to believe in forms, tones, words, in the whole Olympus of appearance. Those Greeks were superficial – out of profundity.” —Friederich Nietzsche

““And eroticism is capable of helping to in the discovery of that new world?” “More than that! It is identical with it, it’s progress itself.”” —Emmanuelle Arsan

INVISIBLE-EXPORTS is proud to present an exhibition of work by BREYER P-ORRIDGE & Pierre Molinier.

* * *

“Here lies Pierre Molinier,” reads the epitaph of the mercurial transgressive titan of 20th century underground art. “This was a man without morality.”

Molinier (1900-1976) was a postwar artistic renegade born into belle époque France, a shape-shifting and iconoclastic self-fetishist, too bold and strange and self-directed an artistic visionary to fit perfectly at home among even the Surrealists, who were his closest radical ilk and his most sympathetic admirers. As a young artist, Molinier established himself as a painter of landscapes, but moved quickly to daring erotic collage and ultimately embarked on a now-legendary project of photomontage self-portraits of himself as a transvestite. They are a mesmerizing series of theatrical images exploring a labyrinthine, refracted identity, many involving dolls, dildos, and prosthetic limbs as “props,” that used Molinier’s own body as central malleable medium for a whole new range of expressive gestures that remain riveting and brave today, and inspired much later figures from Cindy Sherman to Ron Athey. In a retrospective assessment, the Independent called him “a transvestite Baudelaire who rather than words, chooses as his medium the corset, the mask and the chain.”

Genesis BREYER P-ORRIDGE (then known as Neil Megson) first encountered Molinier as a schoolboy in a book about surrealism, which was given as an award for “initiative” by the oppressive English public school that s/he attended on a scholarship. S/he has resisted and ruthlessly dismantled the strictures and brutal complacencies of that institution wherever s/he has encountered them in the fifty years since. One of the most rigorous and relentless agents of the postwar Anglo-American vanguard, BREYER P-ORRIDGE has interrogated the meaning and substance of identity in a peerless half-century program of willful reincarnation and shape-shifting. Embracing the body as not simply the vessel but the site of the avant-garde impulse, BREYER P-ORRIDGE has reinvented and reintroduced he/rself again and again—as Fluxus pioneer, groundbreaking performance artist, inventor of industrial music, “wrecker of civilization,” and, most recently, as pandrogyne, in a romantic project of identity and gender merging with her now-late “other half”, Lady Jaye (with whom s/he continues to collaborate as “BREYER P-ORRIDGE”, embodying both Genesis P-Orridge and Lady Jaye Breyer). In each “body of work” — COUM Transmissions, Throbbing Gristle, ruthless collage work and mail art, Pandrogeny —BREYER P-ORRIDGE, a living legend of the Anglo-American underground, reminds us that what is dangerous and what is important are never far apart—and that, when you believe something, integrity demands that you live by it too. That principle of true and total devotion to one’s own irresolvable impulses s/he discovered in Molinier—and the thread of influence that connects them can seem a sort of parable of the secret and often accidental ways that radicals and visionaries pass principles down the generations, like samizdat-in-a-bottle tossed into the sea for some malcontent in need to discover on some other shore, where he might be unable to live without it. And where it might seem to hold the key, even, to the evolution of humanity… [continue reading]







From the “Photothèque imaginaire de Shuji Terayama, les gens de la famille Chien Dieu”



: ubu.com/historical/terayama





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Lam Qua (from the Peter Parker’s Lam Qua Paintings Collection)



more images and informations: cushing.med.yale.edu


wikipedia.org





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From the upcoming Freeman’s Auction Sale




freemansauction.com



Diane Arbus, Untiled, 1970c

Diane Arbus, Untiled, 1970c



Irving Penn, Sculptor's model, 1950

Irving Penn, Sculptor’s model, 1950



Inge Morath, Vitrine, Valladolid, 1960

Inge Morath, Vitrine, Valladolid, 1960



Joel-Peter Witkin, Art Deco Lamp, 1986

Joel-Peter Witkin, Art Deco Lamp, 1986



Patrick Morin, Brigitte Bardot between shots for "Vie Privée", 1961

Patrick Morin, Brigitte Bardot between shots for “Vie Privée”, 1961



Kati Horna, Puppet

Kati Horna, Puppet



Unknown photographer, Gerald Chapman,

Unknown photographer, Gerald Chapman,








Katayama Mari (片山真理)


shell-kashime.com



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my legs


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pink shoes


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in my room


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my new legs


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oil works


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high heels


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smoking area


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yellow room






Donato Epiro (Live)








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