Some say Swiss-born performance artist Milo Moiré is a provocateur without a point, a nudist more suitable for Instagram than the art world. Her critics have denounced her work as vacuous, devoid of meaning. As with much performance art, people ask if her work even qualifies as art. Is it pointless exhibitionism or is she trying to convey something meaningful?
Of course, we could ask that question about many performance artists, but in Milo Moiré’s case, it’s relevant. Another relevant question: how do her performances, and reactions to them, reflect the world in the second decade of the 21st century? (more…)
It always rains ashes when the city’s on fire. Another weekend when the sky’s falling. Someone somewhere screams. Standing in a dark room, I wrap my fingers around my lower teeth, yank my hand to distend my jaw, and scream.
The smell of sulphur fills the air and threatens to gag me, but I keep pulling down on my jaw, screaming.
Darkness no longer soothes me. It’s artificial—the absence of light, not the absence of everything.
Oceans above and eyeballs below: the slant of the horizon twists and sways. Nothing forgotten, nothing forgiven. The detriment of the darkness settles on the hands of gloom. Night cracks. Fright moans. Terror settles into the white gold, a diamond-crusted experience.
Daulton sits on a windowsill staring at the sky, all loose and soiled, cracked and broken. Fear and anxiety courses through him. Trees in the distance rattle and crack, and the oceans churn and spit out waves that break and collapse onto the starry evening. (more…)
Psychopath, madman, degenerate, depraved, rapist, monster—you can find dozens of adjectives to describe Marquis de Sade, and most fit. The man responsible for the words “sadism” and “sadist” lived a deplorable live filled with violence and depravity. As a consequence of his actions—and writings—he spent a bulk of his life in prison.
His books manage to shock readers even today. They’re appalling, disgusting, philosophical, tedious, interesting, thought-provoking, and grotesque. But they’re not without merit and they’ve found a peculiar place in the western canon.
Earlier editions of his books, hidden in libraries and owned by elite members with certain sexual proclivities, included fascinating and grotesque illustrations. Below are a few examples. Enjoy. Or not. (more…)
Born in 1979 and currently living in Tehran, Iran, artist Afarin Sajedi creates haunting yet vivid surreal works. She often depicts close-ups of people—usually women, usually strange. Sometimes her subjects speak to you. At other times they seem to possess secrets they’re unwilling to reveal. (more…)
“If we consume the product as product, we consume its meaning through advertising. Let us imagine for a moment modern cities stripped of all their signs, with walls bare like a guiltless conscience. And then GARAP appears. This single expression, GARAP is inscribed on all the walls: pure signifier, without a signified, signifying itself. Signified despite itself, it is consumed as sign. Advertising, like GARAP, is mass society, which, with the aid of an arbitrary and systematic sign, induces receptivity, mobilizes consciousness, and reconstitutes itself in the very process as the collective. Through advertising mass society and consumer society continuously ratify themselves.” —Jean Baudrillard, The System of Objects
After deciding to write this short piece on the twentieth century painter Francis Bacon, I promptly stopped by the local used bookstore (semi-famous for its relatively extensive “Art Books” section) to see if I could nab a hard copy of Bacon’s work in order avoid the hassle of switching back and forth between Google and Microsoft Word every time I wanted to consider a particular piece (a real hassle, as I’m sure you can imagine). The book I selected was Luigi Ficacci’s Bacon.
It’s a good little introductory overview, focusing primarily on eleven of Bacon’s most popular paintings while including reproductions of his “lesser” works interspersed throughout the text. Ficacci thankfully focuses on the art itself rather than Bacon’s biography, which, as Ficacci himself notes, is easily accessible elsewhere (there is, in fact, a fantastic BBC documentary on YouTube that amply discusses the more salient aspects of Bacon’s biography. It’s free and well-executed. You can watch it below. My purpose here, however, is not to follow or outline Ficacci’s analysis of Bacon’s work (although it is quite interesting and worthy of a read). Ficacci’s thoughts do, however, provide a good point of departure for my own analysis of Bacon’s painting. (more…)