Gallery Preview

Cirxus London Performance

FoolishPeople, whom a vfew of you will have come across if you followed the links around the full circle of the “Elements” podcasts have just made an announcement. kkompatriotss in the kkontinuum that is kkoagulaa, FoolishPeople, one of whom is our very own eemersonn are set to begin a run of their latest piece of Weaponized Art in London on May 25. We are excited about this and urge all who can make it to enter the experience of Cirxus.

Come back often in the coming weeks, as we share the art and design process for “Aurum Nostrum No0n Est Aurum Vulgi”. We will have news on this release shortly.

CIRXUS

25th May – 13th June 2009

Starting time:
8.30pm & 9.15pm
STUDIO K

Written and directed by John Harrigan
1957- Seascale, the North of England. Cirxus is an old English circus lost in the shadows of the smoke stacks of Calder Hall, the world’s first commercial nuclear power station. FoolishPeople will use mythology, shamanism, music and dance to bring the darkness of an atomic circus to life. The performance will allow audience members to step into the world of an old English circus lost in the 1950s, explore its sideshows and meet extraordinary characters from the past and future.
Athalia the ballerina waits in the ring for Loudon the Clown to return with directions to the Black Pool, the mythic site of the Home Sweet Home, the final show of the season. Join her as she begins a bizarre and wondrous search for Loudon through the irradiated secrets of Cirxus, where she must face the macabre atomic menagerie, haunted by circus animals and navigate her way through the maze of strange, hallucinogenic sideshows on the other side of time. Immerse yourself in the world of Cirxus, where theatric arcana and Atomic fallout irradiate the sawdust arenas of our inner worlds.
Presented by FoolishPeople
Written and Directed by John Harrigan

Creative Team
John Harrigan
Lucy Allin
Victoria Karlsson
P. Emerson Williams
Claire Tregellas
Tereza Kamenicka
This is a promenade performance in Arcola’s new industrial space, Studio K. Cirxus is based on fact: the German Bremen University confirmed that radioactive contamination by Americium-241 found in some soil samples taken by Greenpeace 11.5 km south of Sellafield, were 400 times higher than those taken 11 km from Chernobyl. 51 years on, the villagers of Seascale still live with the ramifications of the accident at Pile 1 of the Windscale Works Atomic Energy Factory.
Cirxus will be FoolishPeople’s first London performance run since the critically acclaimed Dead Language at the Institute of Contemporary Arts in 2007.
TICKET INFORMATION:
• Ticket Prices £14/£10
• Tuesdays ‘PAY WHAT YOU CAN’ (subject to availability)
• Free tickets are available for under 26s under the Night Less Ordinary Free Ticket Scheme Monday-Thursday evenings for the first 2 weeks (please ring box office more information) PLEASE NOTE:
• No concessions on Fridays and Saturdays
• Proof will be required for concessions
• All tickets are NON-REFUNDABLE

Cirxus Image by P. Emerson Willliams.

kkoagulaa: Art At the End of the World

Like rabbits in the headlights curators, heads of art institutions and high earning artists find themselves under the wheels of cataclysm. In this they joined ranks with financial experts, journalists and politicians in being caught unaware of the approach of the inevitable. Sources of funding are drying up for large scale exhibitions and when the artist has the means to pay for 100kg of gold bricks, he may find the gold purchased frozen as part of an SEC investigation.

Art as a means of winning the artist favor by flattering the ruling class is nothing new, nor is “transgressive” art acting as a pressure release valve for disaffection, nor art as an accessory to power and glamorous lives. In the will to join that privileged table of the powerful, and the implied promise of that possibility for all being the central theme of popular culture and marketing, the treadmill driving all that grinds down the human spirit is kept moving by those who have least to gain from it. One may ask what we need the art that has dominated the international press and aspirations in the past 20-30 years when we have the fashion industry who have always and always do glamor and fuel aspiration better than art ever can.

The economies of western nations have been removed from their foundations stone by stone and thrown upon quicksand. The illusion of stability and growth wa achieved by adding to the pile at a reate greater than the pile was sinking into the ground. Now we’ve tossed in the last of the structure and are standing on the quickly dampening furniture and drapes.

The last depression ushered in a period of pure fantasy and grand spectacles, this one may bring an end to the international art equivalent or we may see a revival of the ghost of Busby Berkeley. It could be said that it’s early days yet, but it’s later than anyone is admitting. In the US, the apparent desparation of PBS, that mainstay for arts coverage has degenerated into repeated airings of Yanni, Celtic Woman, Il Divo and seminars with the Rich Dad guy. In Central Florida, these programs are repeated ad nauseum accompanied by fundraising breaks at least once a month, if not every other week. The viewers contributions pay for three hour long commercials for tours of the abovementioned soul-sucking anti-musicians. The avenues of cultural broadcasting and coverage can’t afford to aim as high as middle-brow anymore. In going down that road, they are eliminating their reason for being and asking that the plug be pulled when the time comes. And last year the ICA replaced the finance director with an ex hedge fund manager. Talk about taking arsenic as an antidote for cyanide.

Is it any wonder people are trading photos of modern ruins and creating active communities to share and discuss abandoned places and pohotos thereof? Is it a perverse solace being found in the frightful catharsis a gallery of grotequeries brings or is a yearning for somthing other than what is on offer from the status quo? Could this phenomenon be a wish for escape from stifling order that mark post-production economy, manufactured desire and the standardization of life that civilization has degenerated to in the Anglo-American world?

We saw this economic crisis coming Art as we know it is finished proclaimed Jonathan Jones on his blog a headline that was met with a chorus of «about bleeding time»:

The economic collapse is hitting the art world in some surreal ways. Gagosian Gallery in Los Angeles has just had to postpone a planned exhibition, by the maverick performance and conceptual artist Chris Burden, that involves the use of 100kg of gold bricks. Gagosian purchased these – wow! How much does 100kg of gold bricks even cost? – from a company called Stanford Coins and Bullion. This company is a subsidiary of Stanford Financial Group, that is, it’s part of the empire of Texas financier Allen Stanford who is now at the centre of a massive fraud investigation. Now, announces Gagosian, “the gallery’s gold has been frozen while the SEC investigates Stanford.”

Now, this is delicious! Well, the very cream of the econimic crap escaped with trillions, as they always have. As a realtor said to me during the recession of the -90’s, you know, the one bred in the farmyard of the Other Bush? The high end is always there. The overextended yuppie may be losing hir house and expensive car, but those who pulled the levers that unleashe this flood are white water rafting on the crest of the wave and will be buying up dead assets with your money. It has all been done proclaim pomo artists and theoriticians, but the scale and scope of the swindle is ever more spectacular. It may all have been done, but not in art, for it springs from chaos and chaos is infinite. We’ve had our imaginations hijacked and our lives have been mapped out for us, but the lo0nger and more pervasive standardization of society, economy and culture becomes, the longer this standardization is carried out, the more harrowing will our witnessing the chaos denied flooding our streets, crashing over our plans, our medicated, mediated minds and edifices be. This is the time when creation is not only possible, it is inevitable, all-powerful and sacred. It’s time to make something for ourselves.

chaos2

Welcome to Year Zero.

kkoagulaa – podkkast – Aurum Nostrum I

solve et coagula
dissolve and coagulate
separate and join together
solve or solutio – the breaking down of elements
coagula – their coming together
in the process of transmuting base metal into gold
or arriving at the philosopher’s stone

kkoagulaa vs. Altermodern

Refer to the earlier post: (The Avant-Garde Will Eat Itself, or on a clear day you can see Jörmungandr choking on his own tail)

And let’s talk about this.

Avant-garde (pronounced /ɑvɑ̃ gɑʁd/) in French means “front guard”, “advance guard”, or “vanguard”.[1]experimentalart and culture. The term is commonly used in French, English, and German to refer to people or works that are or innovative, particularly with respect to art and culture.

Banks Violette (born 1973, Ithaca, New York) is an artist based in New York.

Death metal, ritual murder and teenage suicide are starting points for Banks Violette. His work is notable for combining references to excess from youth culture with minimalist form, often using glossy black and ghostly white materials. Citing examples where musical lyrics become instigating factors to real-life violence, Violette refers to an over-identification with fiction, where fantasy and reality are blurred.

Hmmm… The Market As Performance Art, Art As Commodity, taste makers seeking for a raison d’etre, journo’s and commentators whipping themselves into a froth. Case in point: Altermodern: Tate Triennial 2009, an event, a declaration and a curator that have the art press twisting themselves inside out. Postmodernism has died a thousand deaths, but we do wait for curators at large institutions in visionary and creative stasis to tell us when the nightmare is over before we accept it.

This connects with an article I posted to Alterati.com around the wild and wooly entertainment spectacular that was the 2008 US election. Admittedly, I held the thing together with spit and duct tape, but those protest didn’t turn out to be more than the prisoner’s last meal before execution, did they? A couple day of noise and the livestock went back to their pens and accepted whatever was handed to them as slops.

What is this all about?

Well, what is presented by living artists at such edifices as the Tate is art sanctioned by the moneyed classes, it either confirms or showcases their control and soothes their sensibilities, or is “edgy” and “provocative” in the same way the jesters filled that function at court. The middle-class identified are often thrown a bone to keep them coming, and to move them to pledge to institutions in the US. (“Middle-class identified includes the actual middle class, but also those who are not middle class financially. There are those groups of low wage earners who don’t get their hands dirty in their work who are encouraged to identify as  middle class to keep them on the hamster wheel, as well as retail management proxies who kept the appearance of financial comfort by buying into the credit ponzi scheme which has been the illusion of prosperity from Reagan up to the recent bank and credit collapse.)

Through a hollowing out of the body of art as a vital and living force juxtaposed the harrowing evil that is represented by Thomas Kinkade on one side with “pile of sticks in the corner” art and “chocolate sauce enema while whistling Dixie” performances on the other. Of course, the hip and precious have been delighting in a sort of representative painting in the guise of a very Satanic flavor of kitsch in the last few years. (wink, wink, aren’t we clever and detatched…)

We’re happy to see so many people discussing art this past week, but will this conversation lead to anything meaningful? The herd of artists and institution is about to be thinned through the loss of carreerists, speculators and glamour-chasing poseurs to whatever will give them money and attention, wait and see.

Excellent.

What we present here is our answer to the Altermodern Manifesto with the kkoagulaa manifesto, which preceded the grand Altermodern declaration by many months and which we declare to be more revolutionary, more comprehensive and a million times more relevant, for it was screamed from the wilderness.

And next up will be our answer to Jonathan Jones’ wailing cry that:

Art as we know it is finished

A new modernity is emerging, reconfigured to an age of globalisation – understood in its economic, political and cultural aspects: an altermodern culture

Increased communication, travel and migration are affecting the way we live

Our daily lives consist of journeys in a chaotic and teeming universe

Multiculturalism and identity is being overtaken by creolisation: Artists are now starting from a globalised state of culture

This new universalism is based on translations, subtitling and generalised dubbing

Today’s art explores the bonds that text and image, time and space, weave between themselves

Artists are responding to a new globalised perception. They traverse a cultural landscape saturated with signs and create new pathways between multiple formats of expression and communication.

The Tate Triennial 2009 at Tate Britain presents a collective discussion around this premise that postmodernism is coming to an end, and we are experiencing the emergence of a global altermodernity.

Nicolas Bourriaud
Altermodern – Tate Triennial 2009
at Tate Britain
4 February – 26 April 2009

thee kkoagulaa manifestoooo (Alpha Test)

This statement will evolve as we evolve, as you respond and remix it, as worlds collapse and return…

###

This manifesto is a living document, constantly evolving, part of the process of art itself. kkoagulaa is a living, constantly evolving entity, a shout from the mountaintop proclaiming the primacy of the act of creation.

All life is a collage of every form that has been engaged in a dance with the chaos that calls forth new forms. Order dissolves into chaos and then collapses into a higher form of order. This holds true for galaxies, ecosystems, empires and civilizations. The Universe, society, culture manifests in eternal change, and so should music and art.

The artifacts of kkoagulaa too are not so many calcified forms, but moments of the process of discovery captured. In a time when the business and cultural role of music and art is becoming increasingly destabilized, a quickening of chaotic activity ends up opening up new possibilities. This period of chaos before new structures coalesce into the next orthodoxy, before a possible return to and strengthening of corporate hegemony, the creative community has an opportunity to stretch out beyond safe art and safe social functions.

Better still, we see an opportunity to include everyone when we talk about the creative community. Not in theory, not as a fluffy bromide to flatter an “audience” or a way to make “customers” feel included in something when they’re nothing but another resource to be exploited. Art exists for you to shape it, hijack it and remake, remix, reiterate and even reject it. It is for you to inspire thought, critical thinking, re-consideration.

You are part of kkoagulaa. Your grandma is a node of kkoagulaa. Your cat is integral to kkoagulaa. Art is commentary on society and culture, whether it is intended to or not. We have been sold a notion that art is something the majority is to sit back and passively observe, if art plays a role in daily life at all. It is vital that you reject that notion. Throw it out, public, go on, take the next step.

kkoagulaa declares that society, culture and all actions in space-time are examples of art, and by extension magic, the continued creation of the Universe. All life, all processes, all art and the Universe is partially finished. Nothing will be done until the Universe collapses in on itself. And even then, the process begins anew.

You create the patterns you see in everything you behold, hear, touch and think about. You create the meaning of a work of art. By looking at it, listening to it, reflecting on it, you complete the creative act. should you take that symphony, piece of writing or painting and add your own touch, cut it up and recombine the elements, you bring the process further.

###

Further Reading:

http://www.frieze.com/issue/article/tate_triennial_2009/

http://www.frieze.com/blog/entry/altercritics/

http://stewarthomesociety.org/blog/?p=550

http://moot-blog.blogspot.com/2009/02/altermodern.html

http://www.alterati.com/blog/?p=2093

http://imomus.livejournal.com/440487.html

http://imomus.livejournal.com/440637.html

http://imomus.livejournal.com/441059.html

http://imomus.livejournal.com/441132.html

solve et coagula

since the earliest times, philosophers have been searching for the underlying patterns of order. we find it in spiritual development, we find it in psychotherapy and we find it, yes, even in quantum physics. in the latter understanding, there is a well known duality of wave and particle (light exists as a wave and a particle at the same time, modern physics tells us). a wave has no limits, it spreads everywhere and we can’t measure it. in the moment we try to measure it, or to interact with it consciously, it disappears everywhere except at the point of observation i.e measurement. on that point it changes into a particle which has particular characteristics. but long before quantum physics, alchemy pointed to its most important operation: solve et coagula. “solve” or “solutio” refers to the breaking down of elements and “coagula” refers to their coming together. in the process of transmuting base metal into gold or arriving at the philosopher’s stone, this contained both literal and hidden meaning. esoterically, “solve” referred to the dissolving of hardened positions, negative states of body and mind, thereby dissolving and vanishing negative energetic charge. “coagula” referred to the coagulation of dispersed elements into an integrated whole, representing the new synthesis. solve et coagula expresses transmutation from base to a finer state, the perpetual goal of spiritual growth and human evolution. thus in the widest meaning of the term, solve means dissolve, disperse, dilute. coagulate, by definition, is “to gather or form into a mass or group”. so, the real meaning of these three words (“solve et coagula”) is the formula that the alchemists used to effect this transformation. it could be described as a process where something is broken down to its elements, a process which produces energy that compels reconstitution in a purer form. the same meaning we find in the well known scientific terms: analysis and synthesis. first break something down into its parts and then make a new, better or more acceptable whole. a result of this process is the release of energy. even in some particular occult systems we find this realization. for example in thelema, a. crowley speaks of the duality of nuit and hadit. nuit is the “goddess of the infinite space” (meaning the wave) and hadit is the point (which means the particle).

from somewhere on the net. lost the link a long time ago…

– ccernn

baphomet

look at his (or her?) arms!

baphomet

– ccernn