The art of Gregorio Prieto, 1897–1992

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Predicadors del be i del mal (c. 1928–1930).

My thanks to Will at 50 Watts for sending these experimental photos by Spanish artists Eduardo Chicharro (1873–1949) and Gregorio Prieto, neither of whose work I’d looked at before. Prieto is of most interest here (that’s him in photo five with the metalwork wrapped around his head) for the homoerotic quality of his other work, a quality which no doubt explains why some of these pictures set the gaydar bells ringing. I thought that Javier at Bajo el Signo de Libra might have featured Prieto already but it seems not.

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Iluita (c. 1928–1930).

The photos are from Les avantguardes fotografiques a espanya, 1925–1945. The superimposed images are reminiscent of those that Emil Cadoo was producing in the 1950s albeit with more of a deliberate Surrealist flavour; the ruins and Classical references are also a feature of Prieto’s paintings, some of which can be seen here. (Also a coloured print of the first photo above.) The homoerotics is most evident in his line drawings, some of which can be seen here. His reclining youths and embracing sailors look rather Cocteau-like but they probably owe more to the etchings of Picasso’s Vollard Suite which were being produced around the same period. There’s more Picasso-esque Prieto at Flickr including a drawing dedicated to Lorca.

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Metamorfosi (c. 1928–1930).

Continue reading “The art of Gregorio Prieto, 1897–1992”

Frantisek Drtikol’s Salomés

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Salomé (c. 1919).

Frantisek Drtikol (1883–1961) was a Czech artist and photographer whose nude studies frequently borrowed fin de siècle themes. Salomé was a subject he returned to on many occasions with different models. In other hands this might be a pretext for showing naked flesh but Drtikol’s work goes beyond mere soft porn with his female figures (and the occasional males) juxtaposed against abstract shapes and shadows, giving them the appearance of Art Deco figurines. There’s a foretaste of that development in the strip of white in the picture below. See more of his earlier work here.

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Salomé (c. 1920).

Elsewhere on { feuilleton }
The Salomé archive

Weekend links 134

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Technological mandala 02 (The beginning) (2012) by Leonardo Ulian.

• The Yellow Magic Orchestra really were the Japanese equivalent of Kraftwerk in 1978. I’d not seen this video for Firecracker before. Same goes for the Technopolis and Rydeen videos. Related: YMO’s synth programmer, Hideki Matsutake, showing off his modular Moog on a Japanese TV show.

Sra is the final book in the Aedena Cycle by Moebius. It’s never been translated into English but Quenched Consciousness has just finished posting the entire book in an unofficial translation.

• “It’s better to have a small amount of good comics, than a big amount of mediocre comics.” Dutch comic artist Joost Swarte interviewed.

• From 2007: The Strange Lovecraftian Statuary of Puerto Vallarta (Thanks, Ian.) Related: More art by Alejandro Colunga.

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A novelty mechanical clock barometer in the form of a steam engine (c. 1885).

The MR-808: a room-size TR-808 drum machine by Moritz Simon Geist with real instruments played by robot hands.

• “Shoot us and dig the grave; otherwise we’re staying.” The women living in Chernobyl’s toxic wasteland.

Hotel Room Portraits 1999–2012 by Richard Renaldi, a new photo exhibition at Wessel + O’Connor.

Lane’s Telescopic View of the Opening of the Great Exhibition, 1851.

• “I’m the target market, and I don’t like it!” A Creative Catharsis.

Brian Eno’s new ambient album, Lux, is released on Monday.

Collages by Sergei Parajanov.

Techno City (1984) by Cybotron | Techno Primitiv (1985) by Chris & Cosey | Techno Dread (2008) by 2562.

Reverbstorm in print

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A couple of months ago I was starting to wonder whether I’d ever see this book printed, the production process became so tortuously drawn out. But Reverbstorm is finally in print and looking exactly the way I intended with black boards, black endpapers and black ink on the page edges. The latter proved to be a costly extra which explains why it’s an uncommon effect.

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More important than the book design is that the printing of the artwork is excellent, with rich blacks and pin-sharp detail throughout. You’d think that printing black-and-white pages was a fairly straightforward business but the first set of proofs were pretty disastrous, the ink bleeding over the edges of many panels and detail elsewhere being blacked in. A combination of copious cross-hatching, spattered ink and—on later pages—brush shading and monochrome painting proved to be too much when the A3 artwork was reduced to half its size. This was particularly galling since these pages had never been properly printed since they were drawn: the original comics looked glossy enough but were all produced by back-street printers who didn’t bother too much about quality, and even made mistakes. They were a necessary evil at a time when other Savoy books had been refused by printers who objected to the material they contained. The relief at finally seeing the series completed and printed to this standard is considerable.

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However, I’m afraid would-be purchasers still have a slight wait before they can buy a copy. The official publication date will now be early February but copies will be available to buy from the first week in January after distribution details have been finalised. I tried to persuade Savoy to relent on this and let a few copies go out prematurely but that won’t be happening. Sorry to anyone who’s been waiting since April (!) for the book but the decision is out of my hands. I believe it’ll be worth the wait. This is a better book than The Haunter of the Dark, and the best (and last) thing I’ll do in the comics medium. Next up is Axiom, a different world entirely. More about that later.

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Previously on { feuilleton }
Reverbstorm update
James Joyce in Reverbstorm
A Reverbstorm jukebox
Reverbstorm: Bauhaus Horror
Reverbstorm: an introduction and preview

European Rendezvous by CTI

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A final post about the releases on Cabaret Voltaire’s Doublevision label. European Rendezvous (1984) was a follow-up to the Elemental 7 release by Chris & Cosey with the pair performing again under their Creative Technology Institute name. As with the earlier release the visuals are a collaboration with John Lacey while the music was recorded live during their 1983 tour of Europe. Once again, I knew this from the soundtrack album (also on Doublevision) and didn’t get to see the video which has never been reissued. Visually this is further impressionistic layering of images à la Elemental 7 but with greater emphasis on Chris & Cosey themselves. Musically, I always preferred the earlier CTI release which worked perfectly well without the visuals so it’s interesting to see that the visuals for European Rendezvous help music which lacks the finesse of their studio recordings. The fifty-minute tape is rounded off with a promo video for October (Love Song).

The YouTube version of European Rendezvous is in great condition compared to some of the other things I’ve been linking to; here’s hoping someone eventually uploads a complete copy of TV Wipeout. Most of the other Doublevision video releases including Tuxedomoon’s Ghost Sonata, Einstürzende Neubauten’s Halber Mensch and Cabaret Voltaire’s Johnny YesNo have since been reissued on DVD.

Previously on { feuilleton }
TV Wipeout
Seven Songs by 23 Skidoo
Elemental 7 by CTI