Anatomy of Norbiton

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I nearly called this post “Topology of a phantom city” after Alain Robbe-Grillet (and Paul Schütze) but was concerned that might confuse matters. On the other hand, such a title is probably pompous, elitist and obscure enough for the subject in question. Today’s post is necessarily brief since the trouble I keep having with my net connection has recurred this week (rain in the wires) so doing anything at all online is difficult.

Toby Ferris was in touch recently to alert me to the existence of Anatomy of Norbiton which he describes as “a website/work in progress dedicated to the propagation of what can only be described as the (fairly unsuccessful) cult of the Failed Life.” I’d already been pointed to this by Mr BibliOdyssey, and having enjoyed what I saw was surprised it hasn’t been receiving more notice elsewhere. As to the question of what Norbiton is, the inhabitants provide their own description:

The citizens of NORBITON: IDEAL CITY are lazy, idle, negligent, feckless, unrepentant, useless, parasitical. We are false. We are pompous, elitist, obscure, self-indulgent, fat, ugly and old. We are not living life to the full, not making the most of ourselves, not going the extra mile, not putting ourselves on the line. In the great Factory of the World, we are the muck in the kiln, the impurity in the ore, the pollution in the earth, the by-product, the waste, the clutter, the extended tea break, the poor working practice. We are the enemy of self-reliance, productivity, efficiency; of the rewards of labour, the solidarity of the working poor, and the communion of saints.

Sounds to me like Blackpool if it was moved fifty miles inland and deprived of its Pleasure Beach. Or is that merely a description of Blackburn? If you read one of the growing number of Norbiton essays you can decide for yourself how much the place resembles (or doesn’t) somewhere you know but try not to think about. It’s witty and it’s clever and it will reward your attention.

Land art

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Spiral Jetty.

Reading this story about an ownership dispute over Robert Smithson’s Spiral Jetty in Utah had me searching out his celebrated artwork on Google Maps. It’s easy to find since Google have many of the well-known pieces of 1970s land art marked on their satellite views. Having found Smithson’s construction I went looking for a few more.

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City.

Less easy to find, since it’s not marked and the artist forbids visitors, is Michael Heizer’s enormous and enigmatic City, an earthwork complex he’s been constructing in the Nevada desert since the early 70s. From the air it looks like a secret military base, the art area being the diagonal arrangement of structures on this view while the squares to the right are the artist’s home. I’ve been fascinated by this creation ever since a part of it, Complex One, was featured in Robert Hughes’s The Shock of the New, not least for Hughes’s assertion that these remote works impel an act of pilgrimage on any would-be visitors. This page has more about City and some of the few photos which have been released of its structures. See also A Sculptor’s Colossus of the Desert and Art’s Last, Lonely Cowboy.

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Roden Crater.

Equally remote, and for the time being inaccessible to the public, is James Turrell’s Roden Crater in Arizona, an extinct volcano which Turrell has been converting into an enormous viewing space for astronomical events and the transitory effects of natural light. This was begun in 1978 and seems like it may actually get finished, unlike Heizer’s construction site. This NYT article discusses the work’s history while Paul Schütze has recent photos of site details as well as a free download of some of the music he’s composed for the interior.

Continue reading “Land art”

Design as virus 13: Tsunehisa Kimura

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Waterfall by Tsunehisa Kimura.

Continuing an occasional series. Japanese artist Tsunehisa Kimura (1928–2008) was initially inspired by the polemical graphics of John Heartfield to create his own photomontages, a painstaking collage technique now rendered obsolete by Photoshop. Kimura’s work exchanges Heartfield’s satire for an overt and frequently apocalyptic Surrealism, as in his most visible piece, Waterfall. The copy above is one of a number of pictures reproduced by Geoff Manaugh at BLDGBLOG from a 1979 Kimura collection, Visual Scandals by Photomontage.

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Design by Anne-Louise Falson & Paul Schütze.

I was first startled by Waterfall in 1996 when Paul Schütze released his Site Anubis album, the product of a “virtual group” comprised of musicians recording in different studios around the world:

The musicians comprising Phantom City—the name, incidentally, originating from the book title Topology of a Phantom City by French novelist Alain Robbe-Grillet—never met for the recording of Site Anubis, as each one recorded in a different studio in a different country: guitarist Raoul Björkenheim in Helsinki, bass- and contra-bass clarinetist Alex Buess in a Basel studio, soprano saxophonist Lol Coxhill in London, bassist Bill Laswell at Green Point Studio in Brooklyn, New York, trombonist Julian Priester in Seattle, drummer Dirk Wachtelaer in Brussels, and Schütze himself in London and Basel. Incredibly, Laswell had only Schütze’s electronic backing track to respond to. Wachtelaer had Laswell and Schütze to play against, Björkenheim had drums and bass,—in short, certain players had more information than others.

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Kimura’s picture is an ideal accompaniment to this excellent album, especially when you note a Ballard reference in the titles (not the first in Schütze’s oevre), and read the scene-setting piece of fiction on the CD insert, an explanation of the album title:

That morning a report came in from an unmarked helicopter somewhere over the city. The waters were subsiding and the smoke from a thousand fires had begun to drift inland revealing an impossible new structure. Towering some eight hundred feet over the gleaming devastation of the streets, its base occupying an entire city block, was a colossal black basalt figure. The body was male and human, – the head, which stared expectantly toward the boiling western horizon, was the head of a jackal. From the air it was clear that the pattern of destruction on the ground was radial and that the massive figure was sited precisely at its centre.

Continue reading “Design as virus 13: Tsunehisa Kimura”

Weekend links 3

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It’s a curious feeling when a drawing which is nearly 26 years old makes it out into the world. The image above is the cover of a new 7″ single release, Dominion of Avyaktam by metal band Orator, the picture being something I drew in 1984 entitled Mahakala after the Tibetan deity which it depicts. The inspiration was the cover of another recording, a Nonesuch Explorer album, Tibetan Buddhism – Tantras Of Gyütö: Mahakala, and also the track Mahakala by 23 Skidoo from their 1983 album The Culling is Coming. The skull is drawn from a real one I was given. Looking at this today none of the elements seem to work together—and the landscape stuff looks like a lazy way of filling in space—but it’s nice to see it find a home. Dominion of Avyaktam is out now on the Legion of Death label.

• Surprise of the week: two books I’ve worked on were nominated for Nebula Awards, Jeff VanderMeer’s Finch, and Kage Baker’s The Hotel Under the Sand whose interior I designed.

• More music: a recording of Paul Schütze’s Third Site played live in 1999 (with Clive Bell, Raoul Björkenheim, Simon Hopkins & Thomas Köner’s voice) is now available as a free download on his website. More Schütze: Paul Schütze & Simon Hopkins playing a set at the Horbar in Hamburg on December 28, 2009.

• The incredible pinscreen animations of Alexander Alexeieff and Claire Parker are finally available on DVD. Also new to DVD, Alan Bennett at the BBC, a four-disc set of some of his TV plays including a particular favourite of mine, his Kafkaesque drama The Insurance Man.

• More Ghost Box business: Jon Brooks aka The Advisory Circle has a blog. And Ghost Box’s Jim Jupp was interviewed recently by Peter Bebergal at Mystery Theater. Related (forgot to mention this last week): The ASDA Mix, a great mixtape of spooky retro weirdness by Moon Wiring Club available for free at The Wire.

The trailer for Mellodrama, a documentary about the Mellotron by Dianna Dillworth.

• The Parajanov Festival will be screening some of the director’s films in London and Bristol.

• Lots of weird and wonderful exhibits at the ~Wunderkammer~.

A=P=P=A=R=I=T=I=O=N

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A=P=P=A=R=I=T=I=O=N is a collaboration between artist Cerith Wyn Evans and Throbbing Gristle, the once notorious Industrial music act now enjoying a resurgence of activity and attention. Evans and TG have an earlier connection via Derek Jarman, for whom Evans worked as an assistant. Given how much I enjoy seeing mirrors used in art, I’m very taken with these, and knowing that they function as drifting speakers transmitting specially recorded TG audio makes them doubly interesting. The mirrors-plus-audio aspect is reminiscent of Josiah McElheny’s recent Island Universes with Paul Schütze but that’s not to imply any influence, both artists have been following their individual paths for some time.

The title of this work comes from a poem by Stephan Mallarmé (1842–1898), a poet closely associated with the Symbolists. Looking at an English translation, the piece ends with the line “a snow of white bouquets of perfumed stars”; that final, impossible flourish—perfumed stars—is a very Symbolist touch. Claude Debussy, who took the title of his Prélude à l’après-midi d’un faune from Mallarmé, set Apparition to music in 1884.

A=P=P=A=R=I=T=I=O=N can be seen at Tramway, Glasgow until September 27, 2009.

A=P=P=A=R=I=T=I=O=N test run on Chris Carter’s Flickr pages.

Previously on { feuilleton }
In the Shadow of the Sun by Derek Jarman
The art of Josiah McElheny