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Peter Christopherson Photography & The Art of John Balance Collected

Look at it this way / In ten years’ time / Who’ll care? / Who’ll even remember?

Coil, The Dreamer Is Still Asleep

Coil’s John Balance died ten years ago today, bringing an end to two decades of a project that, in its earliest stages, was his own solo musical venture. Ten years on, Coil and Balance have hardly been forgotten: in addition to Coil’s continuing influence in the music world, Jeremy Reed & Karolina Urbaniak recently announced Altered Balance: A Tribute to Coil, a memorial volume whose publication is followed this week by two Coil-related art books from Timeless Editions:

Peter Christopherson: Photography

The legendary unpublished photographic work of Peter Christopherson. The b/w photos featured in the book run the gamut from personal fetishes to social commentary on 1970s UK, portraits of bands, friends and strangers. There are both snapshots and highly staged scenarios. Approximately 95% of this material is published here for the first time ever. Foreword by Claus Laufenburg and a short personal reminiscence by Thighpaulsandra. B/W hardbound, 27 x 33.5 cm, 284 pages.

Bright Lights And Cats With No Mouths: The Art of John Balance Collected

The first ever extensive overview of art (drawings, paintings and sketches) created by John Balance. The artworks featured in the book are both finished elaborate hallucinatory pieces as well as quick sketches with a good sprinkling of Balance’s often underestimated humour. Homages to idols and inspirations next to idiosyncratic magical dreamscapes executed in a wide variety of styles and mediums Compiled by Liam Thomas and Thighpaulsandra. With text by Val Denham and Jeremy Reed. Full colour throughout. 29 x 29 cm, 248 pages.

Both books are limited editions, and given the obsessive nature of Coil collectors they’ll probably sell out very quickly. Both volumes are significant, albeit for very different reasons. Peter Christopherson had a long career as a photographer, famously as one-third of the Hipgnosis design partnership, but outside his professional work, and publicity shots for Throbbing Gristle, Psychic TV and Coil, his personal work was always more alluded to than seen. One of the Hipgnosis books mentions his involvement with a group who staged realistic accident and trauma scenes for medical workers but little of this material has been seen until now. Elsewhere in the collection there are shots that resemble some of those that did surface occasionally, also some recurrent obsessions: thuggish youths, violent death, urban dereliction and male bodies. Still no sign of the photos of the Sex Pistols that (we’re told) Malcolm McLaren deemed too heavy.

The John Balance book fascinates simply for showing work that was even more hidden, and hardly alluded to at all. John and I did talk about his artistic endeavours once during our sporadic communications—the 3D scenes on the Musick To Play In The Dark albums were his creations using some PC program whose name I forget—but there was never a hint that he’d produced so much. The publisher sent me a link to their preview pages (here & here) so a few samples follow.

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Leonor Fini: comment vivre sans chat

“How to live without a cat” is the translation but this short television film is in French so the rest is a mystery unless you can understand the language. As with the Max Ernst film, language isn’t much of an issue when you have an opportunity to see La Fini and her many moggies. Leonor Fini was an obsessive cat owner and cat painter, and she could also look pretty feline herself on occasion. (A piece of typically Surrealist apocrypha has it that the pupils of her eyes were cat-like until she was 4 years old.) The Fini website lists a number of European documentaries about the artist and her work but most remain frustratingly elusive. This one is an official release to YouTube from the Ina.fr archives. At the end of the film there’s a shot of the painting below; Fini’s cats are always very self-possessed.

Sunday Afternoon (1980) by Leonor Fini.

Previously on { feuilleton }
• Angels of Anarchy: Women Artists and Surrealism
• The art of Leonor Fini, 1907–1996
• Surrealist women

MCMLXX

Data 70, a typeface by Bob Newman.

The presence of electronic artists Data 70 in the Spatial mix at the weekend had me thinking about the preponderance of cultural items that were given “70” as a suffix in the 1960s or in the year 1970. The air of futuristic optimism in the 60s drew attention to the birth of a new decade in a manner that hadn’t really happened before, and certainly didn’t happen for 1980 by which time the optimism had been sunk by a decade of political and fuel crises, and the end of the space race.

Data 70 take their name from the “futuristic” computer-like typeface designed by Bob Newman in 1970. Newman’s typeface wasn’t the first of the Space Age designs—Colin Brignall’s Countdown appeared in 1965—but Data 70 was everywhere in the 1970s. Data 70 (the group) dedicated a piece of music to Newman.

A few more 70s follow. These are only the ones I’ve been able to remember or stumble across so I’m sure there are more. And note: to qualify for this micro-category something has to be named “70” only where the suffix signifies modernity or the future, no Expo 70 (the world’s fair in Osaka) or anything annual that happened to be labelled 70 as part of a series.

Boccaccio 70 (1962).

The label might imply the future but the predominant tone of these entries is sex. Boccaccio 70 set things in motion by updating the Decameron to modern Italy. Despite the claims of the poster, anthology films are nothing new, and this one has four stories directed by Vittorio De Sica, Federico Fellini, Mario Monicelli and Luchino Visconti. Italo Calvino was one of the writers.

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Maximiliana oder die widerrechtliche Ausübung der Astronomie

The title of this 10-minute film translates as Maximiliana or the Illegal Practice of Astronomy which is also the name of an art book created by Max Ernst in 1964. The film was a collaboration between Ernst and filmmaker Peter Schamoni, the subject being German astronomer and lithographer Ernst Wilhelm Leberecht Tempel (1821–1889). Tempel’s astronomy was “illegal” because he was regarded as an amateur by other astronomers which meant he was denied permission to name his discoveries. Maximiliana was the name Tempel and physicist Carl August von Steinheil decided on for an asteroid that Tempel discovered in 1861. This was deemed unacceptable so the asteriod was given the name Cybele instead (now 65 Cybele).

Some of this is related in Schamoni’s film but you’ll need an understanding of German to appreciate the detail. The film is worth a look for other reasons, notably some shots of Ernst filling sheets of paper with the curious hieroglyphs that cover the surfaces of some of his later paintings. These hieroglyphs also feature in the Tempel book, and one of them appears in the film as an animated figure. Peter Schamoni made a number of art films including an excellent feature-length documentary about Max Ernst in 1991. That’s also on YouTube but untranslated so you’ll need some good German (and French) to appreciate it.

Previously on { feuilleton }
• Max and Dorothea
• Dreams That Money Can Buy
• La femme 100 têtes by Eric Duvivier

Weekend links 233

Alchemical Stone (2014) by Daniel Lasso Casas. Via full fathom five.

• “I am unsure if this reality is an everyday one. We don’t know if the universe belongs to a realist genre or a fantastic one, because if, as idealists believe, everything is a dream, then what we call reality is essentially oneiric.” Jorge Luis Borges in 1984 in conversation with Argentinian poet and essayist Osvaldo Ferrari.

• “I am transgender, so ‘he’ is not appropriate and ‘she’ is problematic. I’m what I think of as pure transgender.” Antony Hegarty talks to Cian Traynor about Turning, a new DVD and album project.

• Unearthing Forgotten Horrors 2014 is a weekend festival of rural weirdness at the Star and Shadow Cinema, Newcastle-upon-Tyne.

Henry Darger, one of the most celebrated examples of an outsider artist (see: Vivian Girls), has been uniformly ignored by the literary firmament. Despite the success of his artwork, none of his fiction manuscripts have seen print. The language of literature is the language of privilege, in which even the stories of the working class are regularly clad in a bourgeois prose. The language of literature cannot be extricated from its white, genteel roots. Those of us without access to education are welcome to practice, but we must come in from the cold, adopt the house language. We must be civilized, scrubbed clean. Naiveté has no place in the colosseum of words.

Ravi Mangla on Coming in from the Cold: Outsider Art in Literature

• Carel de Nerée tot Babberich en Henri van Booven, a collection of Beardsley-like drawings by a neglected Dutch artist.

• Forever Butt is a new collection of the best of recent issues of BUTT magazine, still the best print mag for gay men.

• Anne Billson’s guide to Brussels, another European city I’d like to visit some day.

• At BibliOdyssey: Schönschreibmeister, a calligraphy master’s album.

• Third Ear Band live (and in colour!) on French TV in 1970.

• Mix of the week: Secret Thirteen mix 132 by Spatial.

• The Internet Archive now has an Internet Arcade.

• Crazy Cat Lady Clothing

• The Pattern Library

• Stone Circle (1969) by Third Ear Band | Sacred Stones (1992) by Sheila Chandra | Stoned Circular I (1996) by Coil