Lucifer – Page 7 – { feuilleton }

Weekend links 100

How to become a mermaid and dissolve into sea foam in just seven surgical operations (2010) by Carla Bedini.

• D.I.Y. Magic was a regular feature in the late Arthur Magazine that’s now become a book by Anthony Alvarado: “Think of it as jail-breaking the iPhone of your mind. Teaching it to do things that its basic programming was never set up for. Advanced self-psychology.” A first edition letterpress silver foil cover is limited to 1000 copies. | More magic: Jimmy Page’s unused soundtrack for Kenneth Anger’s Lucifer’s Rising finally gets an official release on March 20th.

• Julia Holter‘s tremendous new album, Ekstasis, has been rocking my world this week. She’s interviewed at FACT where you can also hear the opening track, Marienbad, which receives extra points for being derived from that film. And there’s more: Ritual Music, a live performance at Sea & Space Gallery in Los Angeles, and Fur Felix, a film by Eric Fensler.

• Brute Ornament, an exhibition of new work by Seher Shah and Kamrooz Aram opens at the Green Art Gallery, Dubai, on Monday. While the UAE is out of reach for most of us, the gallery site has samples of the work on display.

• This week’s mixtape arrives courtesy of BUTT magazine: Rock Bottom Mix by Cesar Padilla, a blend of acid, glam, grunge, punk, surf and stoner rock. Elsewhere, Richard Norris lists his 20 favourite UK psychedelic records.

• the name is BURROUGHS ? Expanded Media at ZKM, the Center for Art and Media in Karlsruhe, is a comprehensive exhibition presenting for the first time in Germany the artistic output of William Burroughs.

• Boneland by Alan Garner will be published in August, a new novel that concludes a narrative thread begun with The Weirdstone of Brisingamen in 1960.

• Coming soon (so to speak) on BFI DVD, The Erotic Films of Peter de Rome, more gay obscurities receiving quality attention.

• The Northampton Chronicle reports on Alan Moore’s forthcoming novel about the town, Jerusalem.

• Susan Cain is playing my tune (again): Why the world needs introverts.

• Techniques of terror: Carl Dreyer‘s Danish Gothic dissected.

• NASA has the latest map of Everything.

• The male sex toy revolution.

• Lucifer Rising Sessions (1972) by Bobby Beausoleil.

William Burroughs interviews

With William Burroughs: A Report from the Bunker (1982) by Victor Bockris. Design by Neville Brody.

If it’s interviews you want, some of the most entertaining are in Victor Bockris’s collection of conversations between El Hombre Invisible and the various New York notables ferried round to sit at Burroughs’ table in his Bowery Bunker. The British edition published by Vermilion was always preferrable for its Neville Brody cover design beside which the US original looks very dull indeed. The encyclopedic Burroughs site Reality Studio has copious lists of earlier Burroughs interviews. They also note the occasions when he put on his journalist hat and went out to interview someone equally famous, usually at the behest of a music magazine. A couple of those pieces are online thanks to the diligence of various fans.

Diamond Dogs (1974), a blend of Lou Reed, George Orwell and William Burroughs.

One such is the 1974 interview with David Bowie for Rolling Stone in which Bowie discusses Burroughs as an influence while Burroughs informs the singer that the heroes of his latest novel, The Wild Boys, favour the Bowie knife as a weapon:

Bowie: Nova Express really reminded me of Ziggy Stardust, which I am going to be putting into a theatrical performance. Forty scenes are in it and it would be nice if the characters and actors learned the scenes and we all shuffled them around in a hat the afternoon of the performance and just performed it as the scenes come out. I got this all from you Bill… so it would change every night.

A year later Burroughs got together with Jimmy Page for Crawdaddy magazine where the discussion circles around some of the same subjects, notably the writer’s obsession with sound as a weapon. There’s also this comment from Burroughs which is the kind of thing that always gets my neurons firing:

Antony Balch and I collaborated on a film called Cut-Ups, in which the film was cut into segments and rearranged at random. Nicolas Roeg and Donald Cammell saw a screening of the film not long before they made Performance.

Roeg later directed Bowie, of course, and is one of the dinner guests in With William Burroughs, while Jimmy Page and Donald Cammell both appear in Kenneth Anger’s Lucifer Rising. The connections go round and round… Read the whole piece in a post I made a few years ago at the late, lamented Arthur magazine site.

Elsewhere on { feuilleton }
• The William Burroughs archive

Ricardo Bellver’s El Ángel Caido

This Luciferian statue by Spanish sculptor Ricardo Bellver (1845–1924) was drawn to my attention in the comments a while back and I thought it about time it had a post of its own. Statues of Satan/Lucifer or fallen angels are usually depicted at the mercy of Saint Michael’s feet and sword, it’s unusual to see such a work where the forces of Heaven are implied rather than shown. It’s even more unusual to have such a figure on display in a public park, as Bellver’s is.

The sculpture … of great dramatism and originality, obtained the First Medal at the Spanish National Fine Arts Exhibition in 1878, and the same year was cast in bronze for the third Paris World’s Fair. Later on, the Prado Museum donated it to the City of Madrid, and in 1885 it was installed in a square with the same name in the Retiro Park (the largest one in Madrid).

The writhing serpents are probably a nod to the Laocoön and manage to impose modesty as well as evoke an erotic frisson, a familiar ambiguity as I’ve noted before. Wikimedia Commons has a lot more photos while Flickr has even more here and here.

Previously on { feuilleton }
• Melancholy Lucifers
• Angelo Colarossi and son
• Dark Angel
• Men with snakes
• Angels 4: Fallen angels

Melancholy Lucifers

Satan (1833).

I always enjoy it when a search for a piece of information about an artist leads to works you hadn’t come across before. Today it was a quest for the identity of the Satan statue above, created, as it turns out, by French sculptor Jean-Jacques Feuchère (1807–1852). The Louvre site has another view of what seems to have been a popular work, produced in a range of bronzes.

I did actually know the artist’s name a few years ago since I’d used the statue as a starting point for the Satan figure on the cover of Cradle of Filth’s Lovecraft & Witch Hearts in 2002. One function of postings such as this is that it allows me to make a note of details which otherwise might flee the memory. Here Feuchère’s statue was combined with some squid tentacles and seated on an elaborate Gothic throne which is mostly obscured by the band’s name. (See a larger version sans lettering here.)

Continue reading “Melancholy Lucifers”

Kenneth Anger on DVD again

Nearly two years after their American release, and not a moment too soon, the films which comprise Kenneth Anger‘s superb Magick Lantern Cycle turn up at last in the UK. Good to see these being produced by the BFI, their previous collections of shorts by the Brothers Quay and Jan Švankmajer are distinguished by quality transfers, great packaging and very thorough documentation. Surprising, then, that the box art of the BFI set is rather naff-looking compared to the Fantoma releases. On the plus side, those of us in Region 2 receive the additional extra of an Anger documentary by Elio Gelminis. The BFI is also making these films available for the first time on Blu-ray. Now I’m hoping they might get round to doing a decent job with all the films of Sergei Parajanov, especially that cult favourite of mine, Shadows of Our Forgotten Ancestors.

Renowned as the author of the scandalous best-selling book Hollywood Babylon, Kenneth Anger is a legend in this own time. The mythology that has grown around him has many sources, from his involvement with the occult, astrology and the pop world of Mick Jagger, Marianne Faithfull and Jimmy Page, to the announcement of his own death in the pages of the Village Voice, and the destruction, loss and banning of his films. At the heart of all this mythology is a filmmaker of prodigious talent, whose skill and imagination create films of great visual force, influencing filmmakers such as Martin Scorsese, David Lynch and RW Fassbinder.

Disc one:
* Fireworks (1947)
* Puce Moment (1949)
* Rabbit’s Moon (1950/1971, the rarely seen 16mins version)
* Eaux d’Artifice (1953)
* Inauguration of the Pleasure Dome (1954)
* Scorpio Rising (1964)
* Kustom Kar Kommandos (1965)
* Invocation of My Demon Brother (1969)
* Rabbit’s Moon (1979 version)
* Lucifer Rising (1981)

Disc two:
* Anger Me (2006) – Elio Gelminis documentary on Kenneth Anger

Extras
* Newly recorded commentaries by Kenneth Anger
* The Man We Want to Hang (2002) – Anger’s film on the paintings of Aleister Crowley

Previously on { feuilleton }
• Mouse Heaven by Kenneth Anger
• The Man We Want to Hang by Kenneth Anger
• Relighting the Magick Lantern
• Jan Švankmajer: The Complete Short Films
• Kenneth Anger on DVD…finally
• The Brothers Quay on DVD