A journal by artist and designer John Coulthart.
The Elephant Celebes (1921) by Max Ernst.
Happy new year. 02021? Read this.
Desert Sunset (1921) by George Elbert Burr.
The Great Tower (1921) by Giorgio de Chirico.
Evening Glow at Yanaka (1921) by Kawase Hasui.
Construction (1921) by Gustavs Klucis.
Three Musicians (1921) by Pablo Picasso.
Illustration by Willy Pogány for The Golden Fleece and the Heroes Who Lived Before Achilles (1921) by Padraic Colum.
Sketch of Figural Movement for Dance (1921) by Oskar Schlemmer.
Manifold (2015), a painting by Samantha Keely Smith which will appear in April on the cover of Life Metal, a new album by Sunn O))).
• At Expanding Mind: Professor and queer historian Heather Lukes talks with Erik Davis about Silver Lake riots, gay bikers, house ball scenes, the nostalgia for repression, and the joys and challenges of working on the online archive The Grit and Glamour of Queer LA Subculture.
• A Stroke of Ingenious: Chatting Fear and Fantasy with Darius Hinks. Also this week, Darius Hinks’ The Ingenious (for which I created the cover art) was featured in a Barnes & Noble list of seven attractive (if hazardous) fantastic cities.
• “From the late ’60s and through the ’70s broadcasters invested in home-grown kids’ television, and much of it was decidedly weird.” Paul Walsh on the vanished, thought-provoking strangeness of British TV.
That late surrealism still needs rescuing by curators and critics is perhaps not a sign of its defeat but of the breadth and pervasiveness of its triumph. Could we have Pablo Picasso or Jackson Pollock without surrealism? What about David Lynch, JG Ballard or Angela Carter? As an influence, it’s easy to give [Dorothy Tanning] a crucial place in the canon of feminist art. Louise Bourgeois was born just a year later than Tanning but only started to sew after Tanning had exhibited her first sculptures.
Lara Fiegel on the weird, wild world of Dorothea Tanning
• After its own death / Walking in a spiral towards the house by Nivhek, a new album from Liz Harris (Grouper) “recorded using Mellotron, guitar, field recordings, tapes, and broken FX pedals”.
• At Dangerous Minds: Michael Rother (Neu!/Harmonia) on the forthcoming reissue of his solo albums from the 1970s.
• Clesse by Clesse, another pseudonymous musical project by Jon Brooks (The Advisory Council et al).
• After Dark: The art of life at night—and in new lights by Francine Prose.
• Elena Lazic on where to begin with Gaspar Noé.
• Mix of the week: Headlands by David Colohan.
• Steven Heller‘s confessions of a letterhead.
• RIP Albert Finney.
• Void (2009) by Monolake | Void (2013) by Emptyset | Void (2014) by The Bug feat. Liz Harris
• It won’t be out until late January—and then in the UK only—but the blu-ray premiere of The Mystery of Picasso (1956) by Henri-Georges Clouzot was announced this week. The initial run of the discs (there’s also a DVD) will include a booklet containing my essay about the film, something I was very pleased and honoured to be asked to write. Clouzot’s remarkable study of Picasso drawing and painting for the camera was made immediately after his masterwork, The Wages of Fear (also newly available on UK blu-ray), and this new edition will include two short extras, one of which, A Visit to Picasso (1949) by Paul Haesaerts, is an excellent precursor/companion to the main feature. More on this subject later.
• At the Internet Archive: an almost complete run of The Twilight Zone Magazine (1981–1989). While masquerading as a TV-series spin-off, TZ under the editorship of TED Klein was an excellent periodical devoted to horror and dark fantasy. In addition to running original fiction by major authors (Stephen King was a regular), the magazine contained features about older writers such as Lovecraft and Machen along with book reviews by Thomas Disch, film reviews by Gahan Wilson, interviews and more.
• “Bram Stoker was gay,” says Tom Cardamone in a review of Something in the Blood: The Untold Story of Bram Stoker, the Man Who Wrote Dracula by David J. Skal. I’ve not read Skal’s book so can’t comment on its claims but his earlier Hollywood Gothic (about Dracula on page and screen) includes some discussion of “sexual ambiguity” in Stoker’s work.
• Mixes of the week: FACT mix 625 by Elena Colombi, Secret Thirteen Mix 235 by Rhys Fulber, and XLR8R Podcast 514 by Tommaso Cappellato.
• Help, Help, The Globolinks! is a previously unreleased electronic soundtrack by Suzanne Ciani, out next week.
• La Région Centrale (1971), Michael Snow’s epic of landscape gyrations in two parts, here and here.
• Alexander Calder and the Optimism of Modernism: Jed Perl in Conversation with Morgan Meis.
• Illustrations by Lynd Ward for The Haunted Omnibus (1935) edited by Alexander Laing.
• Daniel Dylan Wray on the gay-porn music of disco pioneer Patrick Cowley.
• It’s that man again (and his drawings): Ernst Haeckel: the art of evolution.
• At Dennis Cooper’s: Steve Erickson presents A Black Psychedelia Primer.
• Bootsy Collins‘ favourite albums.
• Picasso (1948) by Coleman Hawkins | Pablo Picasso (1976) by The Modern Lovers | Picasso Suite pt. 1 (1993) by David Murray Octet
Cabaret Voltaire #1 (1916). Cover by Hans Arp.
Richard H. Kirk’s announcement that he’ll be performing at the Berlin Atonal festival as Cabaret Voltaire caused some raising of eyebrows recently, although if Stephen Mallinder isn’t involved I won’t be getting too excited myself. The last few releases under the Cabaret Voltaire name were credited to Kirk/Mallinder but from Plasticity (1992) on they don’t sound very different to Kirk’s solo releases from the same period. That’s not to say the music suffers but you have to wonder why the group name is being perpetuated if there’s nothing unique attached to it.
Dune, parole in libertà by Filippo Marinetti.
The group, old or new, will be the first thing that comes to mind for most people when they hear the name Cabaret Voltaire, something that might have surprised Hugo Ball who founded the original Cabaret Voltaire in Zurich almost a century ago. Cabaret Voltaire (the group) named themselves after Ball’s project, their intentions in the mid-1970s being similarly Dadaist. Early Cabs performances were more audience provocations than anything to do with entertainment; the music came later, and only after several years of very uncommercial tape experimentation, some of which can be heard on Methodology ’74–’78: Attic Tapes (2003). Thanks to Switzerland staying out of the war the original Cabaret didn’t get wrecked by bombs or destroyed by the Nazis, and is still active today. Ball also published a Cabaret Voltaire journal, two pages of which can be seen here. If this doesn’t look very dramatic to our eyes it needs to be remembered that everyone who first saw it would have been born in the 19th century so the contents would have seemed a lot more radical. A slim publication but with a formidable list of contributors: Guillaume Apollinaire, Hans Arp, Blaise Cendrars, Wassily Kandinsky, Filippo Marinetti, Amedeo Modigliani, Pablo Picasso, Tristan Tzara and others.
Also at Ubuweb (where else?) there are several recordings of Hugo Ball’s Dada poetry including a recital of Karawane by (of all people) Marie Osmond. Who knew there was a connection between the Osmonds and Cabaret Voltaire?
Previously on { feuilleton }
• Cabaret Voltaire on La Edad de Oro, 1983
• Doublevision Presents Cabaret Voltaire
• Just the ticket: Cabaret Voltaire
• TV Wipeout
• The Crackdown by Cabaret Voltaire
Guernica by Pablo Picasso (1937).
• The legacy of Guernica (the event)
• Echoes of Guernica (the painting)