Το οδοντοφόρο αιδοίο (vagina dentata) και η πατροκτονία

Το οδοντοφόρο αιδοίο (vagina dentata) και η πατροκτονία  

 

 

Τέχνη στο συγκείμενο (Art in context ) 

Η σχολή του Slapstick/ Slapstick School

ΑΣΚΤ -Χειμερινό εξάμηνο/ Εαρινό εξάμηνο

Αμφιθέατρο νέας βιβλιοθήκης,  Πειραιώς 256

Κωστής Βελώνης

 

 

Βιβλιογραφία/ σημειώσεις / films/ performances

 

 

 

Abraham, Nicolas & Torok, Maria. «Το χαμένο αντικείμενο –Εγώ. Σημειώσεις για την ενδοκρυπτική ταύτιση.» Εκ των υστέρων, τεύχος 15 (2007) :175-195.    

 

Alvarez, Ana Cecilia. “Bend it Like Benglis.” The Critical Inquiry, 20 Oct. 2014. 

https://thenewinquiry.com/bend-it-like-benglis/

Barthes, Roland. Μυθολογίες –Μάθημα.  Mτφρ. Καίτη Χατζηδήμου. Αθήνα: εκδ. Ράππα, 2007.

 

Βελώνης, Κωστής. “Η γλυπτική της επιθυμίας.”Αυγή της Κυριακής, 31 Μαιου 2015 

http://avgi-anagnoseis.blogspot.gr/2015/05/blog-post_9.html#more

 

Briony, Fer. “Objects beyond Objecthood.” Oxford Art Journal, Vol. 22, No. 2, Louise Bourgeois (1999) : 27-36. https://www.jstor.org/stable/1360633


Butler, Judith.  Σώματα με σημασία. Eπιμ. Αθηνά Αθανασίου, μτφρ. Παναγία  Μαρκέτου, Αθήνα : Εκδόσεις  Εκκρεμές, 2008.  

Cixous, Helene. Το γέλιο της Μέδουσας. Eπιμ.-εισ. Δήμητρα Γεωργιάδου, μτφρ. Γωγώ Κατσούλη, Τζένη Κουντούρη Τσιάμη, Ειρήνη Σπανοπούλου, Αθήνα : Τοποβόρος, 2018.

Creed, Barbara.  «To τερατώδες- θηλυκό» στο Cixous, Helene, Το γέλιο της Μέδουσας. Eπιμ.-εισ. Δήμητρα Γεωργιάδου, μτφρ. Γωγώ Κατσούλη, Τζένη Κουντούρη Τσιάμη, Ειρήνη Σπανοπούλου, Αθήνα : Τοποβόρος, 2018.

 

Creed, Barbara. «Orgasmology : What Does the Orgasm Want?” Feminist Formations, Volume 28, Issue 2, (Summer 2016): 144-151. https://doi.org/10.1353/ff.2016.0033 

 

Clair, Jean. Meduse. Contribution a une anthropologie des arts du visual.  Paris: Editions Gallimard, 1989.


 

 

Dali, Salvador. “Declaration of the independence of imagination and the rights of man to his own madness.”(1939)

https://collections.vam.ac.uk/item/O1309656/declaration-of-the-independence-of-dali-salvador/

 

Eidelpes, Rosa.  “Roger Caillois’ Biology of Myth and the Myth of Biology.” Anthropology & Materialism,  21 (2014). https://journals.openedition.org/am/84

 

Feldman, Max L. “Heads-Off”,  Spike Art Magazine, July. 21. 7. 2020

https://www.spikeartmagazine.com/?q=articles/soshiro-matsubara-croy-nielsen-vienna

 

 

Gomes, Elisa.  "MARIA – Don’t Forget I Come from the Tropics", 

https://www.youtube.com/watch?time_continue=107&v=d7VIt017IDg&feature=emb_title

 

Green, André. Η ιδιωτική τρέλα, ψυχανάλυση των οριακών περιπτώσεων.  Mτφρ. Θάλεια Λογαρίδη,  επιμ. Κλαίρη Συνοδινού, Σπύρος Μητροσύλης, Αθήνα : Καστανιώτη, 2002.

 

Hamilton, John T., “The Luxury of Self-destruction: Flirting with Mimesis with Roger Caillois." Flirtations: Rhetoric and Aesthetics This Side of Seduction, a Poetics and Theory/ Comparative Literature Workshop, Draper Program, New York University, March 3, 2012. 

https://dash.harvard.edu/handle/1/14065783

 

Hancock, Caroline. “Medusa in Ecstasy” in Lynda Benglis. Eπιμ. Franck Gautherot, Caroline Hancock, Kim Seungduk, Franck Gautherot, Dijon : Presses du réel, 2009.

http://www.carolinehancock.com/carolineHancock/pdf/Lynda_Benglis.pdf

 

Henriques, Martha. “The vibrator: from medical tool to revolutionary sex toy.” BBC Future, 8th November (2018). 

https://www.bbc.com/future/article/20181107-the-history-of-the-vibrator

 

Didi-Huberman, Georges. “The Order of Material: Plasticities, malaises, survivals”.  In Sculpture and Psychoanalysis. Μτφρ. J, Matlock, επιμ.  B. Taylor.  Routledge, 2016.  

 

Didi-Huberman, Georges. “Die Ordung des Materials. Plastizitat, Unbehagen, Nachleben”,  Vortrage aus dem Warburg-Haus, III, Berlin : Akademie Verlag, 1999.

 

Freud, Sigmund. «Το κεφάλι της Μέδουσας» στο Κείμενα για την ψυχοσεξουαλική ζωή. Mτφρ.  Ανδρέας Βασιλιάς, Αθήνα : Ανατολικός, 2018. 

 

Jagose, Annamarie. Orgasmology, Durham, NC:  Duke University Press, 2013.


Kachur, Lewis. Displaying the Marvelous, Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations. Cambridge, Massachusetts: MIT Press, 2001.

 

Koehler, Sezin.  “Pussy Bites Back: Vagina Dentata Myths From Around the World.”

https://www.vice.com/en_us/article/payq79/pussy-bites-back-vagina-dentata-myths-from-around-the-world

 

Klein, Melanie. “A contribution to the psychogenesis of manic-depressive states.” International  Journal of Psychoanalysis, 16 (1935): 145-174. 

 

https://www.sas.upenn.edu/~cavitch/pdf-library/Klein_Contribution.pdf

 

Laplanche, J. & Pontalis, J.-B. Λεξιλόγιο της ψυχανάλυσης.  Mτφρ. Β. Καψαμπέλης, Λ. Χαλκούση, Α. Σκουλήκα, Π. Αλούπης. Αθήνα: Κέδρος, 1986.

http://www.preder.net/r/geriadur/enmoned.php?dic=6&ent=918

 

Lippard, Lucy R. “Eccentric Abstraction”. New York : Fishbach Gallery (1966); reprinted in Art International, vol. 10, 20 November (1966). 

https://monoskop.org/File:Lippard_Lucy_R_1966_1971_Eccentric_Abstraction.pdf

Lurie, Susan. “The Construction of the "Castrated Woman." Discourse Vol. 4 Winter, (1981-2): 52-74.

https://www.jstor.org/stable/44000262?seq=1

 

Malabou, Catherine. “What Should We Do with Plasticity.” An interview with   Benjamin Dalton. Paragraph 42:2(2019): 238-254. 

https://euppublishing.com/doi/full/10.3366/para.2019.0301

 

Markus, Daniel. “On the art of Hannah Wilke.” Art Forum, January 16, 2022.

https://www.artforum.com/print/202201/daniel-marcus-on-the-art-of-hannah-wilke-87445

 

Martyris, Nina. “Luncheon In Fur: The Surrealist Teacup That Stirred The Art World.” February 9, 2016.

https://www.npr.org/sections/thesalt/2016/02/09/466061492/luncheon-in-fur-the-surrealist-tea-cup-that-stirred-the-art-world?t=1578851213115

 

Middleman, Rachel. “Rethinking Vaginal Iconology with Hannah Wilke's Sculpture.” Art Journal 72:4 (2013) : 34-45.

https://www.jstor.org/stable/pdf/43188632.pdf

 

Mignon, Nixon. “
Eating Words.”  Oxford Art Journal, Vol. 22, No. 2, (1999) : 57-70.https://www.jstor.org/stable/pdf/1360635.pdf

Plath, Sylvia. Άριελ. Μτφρ. Ελένη Ηλιοπούλου, Κατερίνα  Ηλιοπούλου. Αθήνα : Μελάνι, 2012.

 http://i-mourmoura.blogspot.com/2013/03/blog-post_9033.html

 

Pollock, Griselda.  "Feminism and Modernism" in Framing Feminism: Art and the Women's Movement, 1980-1985. Επιμ. Rozsika Parker, Griselda Pollock. London: Pandora, 1987. 

 

Sayej, Nadja. “Sexologist Annie Sprinkle Isn't Covering Anything Up." Interview Magazine, September 30, 2019.

https://www.interviewmagazine.com/culture/annie-sprinkle-show-tell-new-exhibition

 

 

Schaffner, Ingrid. Salvador Dali`s Dream of Venus: The Surrealist Funhouse from the 1939 World`s Fair, New York: Princeton Architectural Press, 2002.

 

 

Sprinkle, Annie M. “A Public Cervix Announcement.”

http://anniesprinkle.org/a-public-cervix-anouncement/

 

 

Stein, Sadie. “My fair lady.” The Paris Review, Feb 17, 2015.

https://www.theparisreview.org/blog/2015/02/17/my-fair-lady/

 

 

Vo, Anh. “Can Pornography Be Feminist?” Cult Plastic, June 4, 2017.

 

https://cultplastic.com/2017/06/04/pornography-and-feminism/

 

 

 

Films/Performances

 

Dali's Dream of Venus 1939 World's Fair 

https://www.youtube.com/watch?v=g9jcL-qjqi4

https://www.youtube.com/watch?v=-yhWxQnvoSo

https://www.youtube.com/watch?v=xy9dnakh5L4

Elisabeth Sussman discusses the artist Eva Hesse’s rope Sculpture, No Tile, 1970.

https://www.youtube.com/watch?v=LklUuaUxX4k

 

Eva Hesse: “Life doesn’t last; art doesn’t last”  -sfmoma https://www.sfmoma.org/watch/eva-hesse-life-doesnt-last-art-doesnt-last/

 

Louise Bourgeois – 'I Transform Hate Into Love' | TateShots

https://www.tate.org.uk/art/artists/louise-bourgeois-2351/art-louise-bourgeois

 

Aliens, dir. By James Cameron (1986) - Trailer

https://www.youtube.com/watch?v=z0IXOUFYMt0

Aliens 1986 Final Ellen Ripley vs Xenomorph Queen

https://www.youtube.com/watch?v=DqA8Z5gjNWw

The Brood, dir. by David Cronenberg, 1979

https://www.youtube.com/watch?v=CNYfCMY2zHg

 

Teeth, dir. by Mitchell Lichtenstein, 2007

https://www.youtube.com/watch?v=yH8yuld4DUE

 

Lynda Benglis at the Walker, Eric Crosby

 

https://walkerart.org/collections/publications/art-expanded/adhesive-products/#/introduction

 

https://walkerart.org/collections/publications/art-expanded/adhesive-products/#/working_in_space

 

Marcel Duchamp

Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage . . . (Given: 1. The Waterfall, 2. The Illuminating Gas . . . ) 1946-66 Marcel Duchamp Philadelphia Museum Of Art

https://www.youtube.com/watch?v=dAlzBx24_vM

 

Marcel Duchamp, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) by  Lara Kuykendall 
https://smarthistory.org/duchamp-largeglass/

 

 

Sculptures between comedy and drama: Kostis Velonis at Monitor

Sculptures between comedy and drama: Kostis Velonis at Monitor

  Matteo Bergamini

Bricks, pieces of wood, plaster, forms made of clay, cement, ceramics – all impoverished materials in the works of Greek artist Kostis Velonis (Athens, 1968), in his first solo show in Portugal, at Galeria Monitor, Lisbon.

Slapstick Masonry is the title of the show, designed to create a series of “object-subjects” whose identity belongs to theatre – or rather to that “comedy based on deliberate clumsy actions and embarrassing events” (slapstick), also known as commedia dell’arte.

Kostis is inspired by instruments that generate noise, used throughout the history of theatre; the artist builds items and mechanisms that, when propelled, simulate an action – for example, a slap. In this way, the works become a kind of living tools: objects with a soul.

These artefacts correspond to a double identity. On the one hand they have the form of sculptures, on the other we see in them the mechanisms behind the use of function: sounds and rattles.

But there are also “celibate machines” lying on Monitor’s gallery floor. Here, as in the plays, not all objects fulfil their purpose. Many of them are described by Kostis as “stumbling products”, i.e., useless. They show the frustration and failures that artists, actors, writers face during the conception of the work and the course of their career.

Before our eyes, Kostis presents the metaphorical result of infinite “torn pieces”, like Backstage: a plastic bucket filled with cement, paper tape, paint and plaster to the brim.

About Backstage, the show has yet another reference to the world of theatre, openly said by the artist: “I used Monitor’s floor as a stage, a scenography”, says Kostis. He could not have made a better choice: the red and white squares of the Monitor’s ground floor are the perfect proscenium to represent this collection of objects, which seemingly want to achieve their independence, that is, they seek to free themselves from their role.

As we approach the sculptures, we must see them thoroughly, giving our imagination time to understand them: they all have an “unstable, fleeting narrative”. They are the results of a path taken by a “staggering sleepwalker”.

Although all the materials seem cohesive, here is an apparent crack: these are the Kostis sculptures – simultaneously union and division; all that is right and wrong in the obscure survey of art. It’s an antagonism of victories and defeats of human tension, always between comedy and drama.

Slapstick Masonry, by Kostis Velonis, is at Monitor – Lisbon until March 19

https://umbigomagazine.com/en/blog/2022/03/03/esculturas-entre-a-comedia-e-o-drama-kostis-velonis-na-monitor/#

True Love Leaves No Traces

The galerist is hosting a group exhibition titled ‘True Love Leaves No Traces’ that Burcu Fikretoğlu took over his curatorial work between 8 February-19 March 2022. The exhibition, hospitality and the problem is not in the context of the relationship between a word, customs, property and hierarchy; on the contrary, what comes unauthorized and unexpected; unconditionally, with all the risks it brings with it, watch all that he will leave An approach that forms the basis of accepting rle; allowing the stranger to touch the unknown is to be discussed as the only way to exist together. •

Galerist is happy to present the group exhibition ‘True Love Leaves No Traces,’ curated by Burcu Fikretoğlu, on display from February 8th to March 19th, 2022. The exhibition approaches the questions and issues associated with hospitality not within an axis of tradition and ownership or in the context of hierarchy, but instead through an unconditional acceptance for the uninvited and unexpected, taking into account all the risks and acknowledging the traces they will leave; the exhibition evaluates the approach of allowing contact with the unknown as the sole method of coexistence.

Image Credit: Anri Sala, If and Only If, 2018, Single channel HD video and discrete 4.0 surround sound installation, color, Duration: 9:47

Courtesy of Marian Goodman Gallery and Galerie Chantal Crousel 

#trueloveleavesnotraces

#silvabingaz #clairedenis #alfredojaar #ismeneking #arianapapademetropoulos #neclaruzgar #anrisala #kikismith#stefaniastrouza #haletenger #kostisvelonis #galerist

 

 

 

 

 

 

Slapstick Masonry

Midnight Rambler, 2021  

Wood, concrete, clay, modelling clay, acrylic paint, pencil, gesso    

 35 cm x 46 cm x 40 cm 

 

 

  

The slapstick or, as originally referred to in the Italian commedia dell’arte, the batacchio, was used as a theatrical prop consisted of two thin wooden planks that produced a 'slapping' sound when one comedian would slap another. The slapping gesture on the face would become synchronized with the sound of two thin planks slapping each other thus transforming an inanimate, soulless object into an animated sound-producing prop. If movement is a necessary condition for any living organism (Latin for anima) the thin slapstick boards here obtain an animated, living role. In the world of physical comedies, this movement is driven by the logic of action and reaction, while the sound is dry and noisy. Sculpturally speaking, the straight long narrow boards-slats with the strong blows, do not have the plasticity of other shapes. But from a technical point of view, they present animistic characteristics since they produce sound and have an open and close structure. The theatrical batacchio, the only one of its kind in this specific type of theatre, therefore impersonates a function which is acted twice; on stage and backstage.  

 

In the exhibition 'Slapstick Masonry', the batacchio is appropriated through a series of large-scale slapstick sculptures accompanied by other more sculptural and lyrical works that pay tribute to conditions that lead to stumbling events and changeable situations, as much so as in American silent film comedies. These sculptures are reminiscent of clumsy, fleeting narratives similar to a staggering sleepwalker, a shaky scaffolding or a couple splitting up. In other cases, the sculptures portray ideas with seemingly opposite relationships. One work describes the mechanism of thought based on the rotating functions of a circus, while another compares the genius persona of Luci Ball to a rough catapult throwing balls and boulders. “Buster Keaton Daydreaming” is embedded in two stones that look to the south. In another, a pile of bricks and other materials, reveal the contradictory emergence of flowers through dense masonry. The slapping batacchio is revealed to us, not only as a hidden, multi-functioning, performative prop but primarily as a liberated albeit clumsy object that causes blunders in its attempt to become autonomous. 

Slapstick Masonry  

Opening Thursday 3rd of February @monitorgallery in Lisbon 

 6-9 pm  

https://www.monitoronline.org/lisbon/  

#slapstick #masonry #slapstickmasonry#kostisvelonis #sculpture #performingarts #midnightrambler #prefabricated #house #batacchio #monitorgallery #monitorlisbon #lisbon  

 

Η στάχτη

 

#ΜίλτοςΣαχτούρης 

Slapstick and the Soviet avant-garde: an interview with Owen Hatherley

In the aftermath of the Russian Revolution, the Soviet avant –garde looked to Hollywood. Rob Sharp discuss this unlikely story with Owen Hatherley  

 Soviet artists the Stenberg Brothers' poster for SEP, featuring a "Daily News building-style tower".RS: Was there an equivalent of biomechanics in the west?

Buster Keaton drives away his newly built house in One Week (1920). Owen Hatherley's engaging and provocative The Chaplin Machine, his latest book, is an erudite historical investigation into how, in the aftermath of the Russian Revolution, the Soviet avant-garde looked to Hollywood film, including the work of Charlie Chaplin, Buster Keaton and Harold Lloyd. They saw not just slapstick comedy, but something that spoke to their own sensibilities over work, aesthetics and performance.

At a similar time, they also drew on the writings of industrial theorist Frederick Taylor – attempting to improve workers' performance using scientific principles – and Henry Ford. "As a rule, these are treated as rather separate phenomena," writes Hatherley, of these two cultural themes. Though so ideologically different, the Soviets could see elements of the US that they could admire in both ideas, striving to pull together "Americanism in technology, Bolshevism in politics [and] slapstick in everyday life".  

As with any cultural message, the tale was distorted in the telling. Hatherley's work, adapted from his doctoral thesis, tells how many in the USSR saw the US as a "gigantic act of collective dreaming," more akin to their own ideals than no doubt it was. 

By moving through cinema, design, architecture, and politics he succeeds in uniting these two poles, rewriting conventional understanding of both modernism and this unique point in Soviet history. Hatherley explained to openDemocracy some of the book's key ideas. 

Rob Sharp: To what extent did serendipity and miscommunication play a role in Soviet appropriation of US filmmaking aesthetics in the contexts you describe?

Owen Hatherley: I don't know about serendipity, but miscommunication was endemic. This is at the start of a mass media age. But it's still just beginning. You have mass distribution of Hollywood films but other than that the dissemination of American culture was fairly rudimentary. 

The most interesting versions of American culture are always those which get it wrong. The Beatles are more interesting than Johnny Halliday. The direct reproduction of the American archetype is always pretty tedious, and you can see that in British music. The ways in which it's endlessly got American music wrong have been interesting. You could make an analogy between that and cinema and theatre in the USSR, and the way they interpreted American cinema.

One thing filmmakers were well aware of was what they did and didn't want from American film. They liked fast cutting, they liked action, special effects, all things which lots of art cinema people think are ghastly. The slow take world that now passes for artistic ambition would have been utter anathema to these people. Eisenstein would have hated Béla Tarr with a fucking passion. They would have thought Michael Bay was better than Béla Tarr, I can say that for certain.

Eisenstein would have hated Béla Tarr with a fucking passion. They would have thought Michael Bay was better than Béla Tarr, I can say that for certain.

They also didn't like the politics, the explicit racist politics of Birth of a Nation or the more subtle confederate politics of Buster Keaton's The General. They saw that and didn't like it. They didn’t like happy endings and didn't like stars. One of the big changes in 1930s Soviet cinema – roughly between 1930 and 1934 – is a shift towards those American things. Big budgets, musicals, happy endings, stars. They are not necessarily bad films, but they accept much more of American cinema.

But if you look at something like at the acceptance of Taylorism, which is really at the heart of the book in many ways, I don't think they knew to what degree they misunderstood it. There's a wonderful anecdote. One of the American painter and engraver Louis Lozowick going to the USSR and Russians asking: "Do you have biomechanics over there?" And him replying: "No, what are you talking about?" All of these things they thought of as American, the actual American was telling them: "No, this is you". There is also a great story about an emissary from the Ford Motor Company being shown a biomechanics troupe and him saying: "This has nothing to do with what we're doing." And they thought it did. People like Meyerhold, Eisenstein, they really thought this was in the continuum of scientific management. And for actual scientific management, it was meaningless.  

OH: Perhaps  athletics, aerobics. The fact that aerobics doesn't happen until the 1970s is probably telling. It's very difficult to explain what biomechanics was. Especially since we don't have any film footage of the Meyerhold theatre. The nearest we have is the acting style in the early Eisenstein films or the films of Kozintsev and Trauberg. It's a very strange thing which on the one hand is circus-like, which aspires to be mechanized and industrial, but also quite aerobic. And of course it had a huge theoretical justification which went into it, which one is at liberty to find convincing or not convincing. I don't find it particularly convincing.

RS: So it was just a form of performance?

OH: You can also link it to Eisenstein's theories about the Montage of Attractions. And people forget that attractions part. This is circus attractions, that's what he's talking about. If you watched people doing these things it was meant to have this shocking affect which Eisentstein reckons the Montage of Attractions has. I don't know if it's plausible.

RS: What would be a good contemporary equivalent of what the Soviets were doing in appropriating these aesthetics?

OH: One of the weird things about Soviet cinema in the 1920s is it's one of the few examples anywhere of the state sponsored avant-garde. The people they were corresponding with were in France and Germany. Hans Richter was trying to scrape the budget together to make a 20-minute short. Eisenstein was given massive resources and a cast of thousands. That ability to do things on that scale is really unique in the twentieth century. Like many things about the Soviet avant-garde it's unique and probably unrepeatable. Or unrepeatable without the kind of political upheaval seen in the aftermath of 1917. But scaling it down somewhat I do think that music has several examples of that kind of misunderstanding.

More :

https://www.opendemocracy.net/en/slapstick-and-soviet-avant-garde/  

 

Άσπρη φιγούρα

Αλέκος Φασιανός, Άσπρη φιγούρα, Λάδι σε μουσαμά, 58,5 x 43,5 cm, 1960

#AlekosFassianos #Fassianos #figures #painting #φασιανός

Mirskontsa (Worldbackwards)

 

Natalia Goncharova, cover for Mirskontsa (Worldbackwards) 
Authors: Aleksei Kruchenykh, Velimir Khlebnikov, Moscow, 1912

#NataliaGoncharova #lithographs#Mirskontsa #illustratedbook#AlekseiKruchenykh#VelimirKhlebnikov #Zaum #poetry #book#Handmadebook