Weekend links 616

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Illustration by Virgil Finlay for The Face in the Abyss by A. Merritt; Famous Fantastic Mysteries, October 1940.

• “The pier was completely outside of the gallery system, which David loved of course. People were just working on the walls, nothing was for sale, nothing could really be bought, although people were coming in and trying to chip things off the walls.” Cynthia Carr on the love letters and legacy of David Wojnarowicz.

• “In pursuit of Pure Form, the Polish artist known as “Witkacy” would consume peyote, cocaine, and other intoxicants before creating pastel portraits.” Juliette Bretan on the artful intoxications of Stanislaw Ignacy Witkiewicz.

• Kino Kyiv: Christopher Silvester compiles a list of notable Ukrainian films. I’ve not seen all of these but Shadows of Our Forgotten Ancestors is a great favourite.

Onscreen for nearly the entire runtime, [Laura Dern] pulls off the remarkable feat of being in total control of a scenario organized by undermining her identity, obliterating her characterization, and so scrambling the distinction between Nikki and Susan that one eventually comes to view Inland Empire not as a maze to exit, a puzzle to solve, an ouroboros to gawk at, but rather as both a generalized treatise on the enigma of acting and a very specific, exquisitely perverse mash note to one of Lynch’s most formidable collaborators.

Nathan Lee on Laura Dern, David Lynch and Inland Empire. I’ve always thought Dern’s exceptional performance might have been recognised more widely if Lynch hadn’t filmed most of it on low-grade video.

• New music: Golden Air by Sun’s Signature, a new project from Elizabeth Fraser and Damon Reece.

• Miranda Remington explores The Strange World of…Stomu Yamash’ta.

• Steven Heller’s font of the month is Boucan.

• At Dennis Cooper’s: Labyrinthine.

Labyrinth (2010) by Chrome Hoof | Labyrinths (2018) by Jonathan Fitoussi / Clemens Hourrière | The Seventh Labyrinth (2019) by Pye Corner Audio

Michel Henricot, 1936–2022

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Deux Personnages (1974).

Jan of JKK Fine Arts was in touch this week to inform me that the French artist Michel Henricot died in February, a month before the opening of an exhibition of his work organised by JKK Fine Arts for the International Cultural Centre in Cracow, Poland.

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Le Voyageur IV (1996).

I first encountered Henricot’s work in the pages of OMNI magazine where he was one of several featured artists who can be grouped together as “fantastic realists”—Ernst Fuchs, Mati Klarwein, HR Giger, Robert Venosa, Rudolf Hausner, De Es Schwertberger—although the label wouldn’t have necessarily been agreed to by any of them apart from Fuchs and Hausner, both of whom were members of the Vienna School of Fantastic Realism in the 1960s. Henricot’s sombre and obsessive figure studies were a good fit for the magazine, with the science fiction context lending his paintings suggestions of the futuristic or alien that might otherwise be absent in the empty space of an art gallery.

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The artist photographed by Jan K. Kapera.

Despite such a high-profile showcase Henricot’s work has never been as visible as his more famous contemporaries so I’m grateful to Jan for supplying additional information, including the artist’s actual birth date, 8th July, 1936, rather than the erroneous dates found all over the internet. Henricot was friends with Leonor Fini, an artist whose work was also preoccupied with the human figure, often just as stylised and set against featureless monochrome backgrounds. Like Henricot, Fini’s art gets tagged as Surrealist even though her own obsessive paintings evolved away from any particular school. Henricot’s Les Promeneuses (1954) was definitely reaching for a Dalínean/Delvaux-like quality, but if his mature work belongs anywhere it’s with that small collection of French artists who don’t comprise any defined movement but who share a taste for the fantastic, the strange and the inexplicable: Sibylle Ruppert, Jean-Marie Poumeyrol, Jean-Pierre Ugarte, Gérard Trignac, Erik Desmazières, Jean-Paul Faccon, Pierre Clayette, Raymond Bertrand, Roland Cat, Gilles Rimbault, Jean-Michel Mathieux-Marie, and others. If I was given the opportunity to put together an art show for a French gallery (or even the Pompidou Centre…), these are some of the artists I’d choose.

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Le Silence (1979).

Henricot will be running at the International Cultural Centre, Cracow, until the end of April.

Elsewhere on { feuilleton }
The fantastic art archive

Previously on { feuilleton }
Saint Sebastian in NYC
The art of Michel Henricot

Splendid Suns

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I answered a few interview questions recently for Shunga Gallery, a site concerned with the erotic side of Japanese prints, and with contemporary practitioners who work in a similar areas. (All NSFW, needless to say.) I’m not really an erotic artist but Marijn has selected a few examples of my artwork that contain prominent erections, going back to the badly-proportioned drawing of the Great God Pan that I did in 1986 for my late friend, Ed, when he was part of a Dutch music & performance group, Abrahadabra. The drawing appeared in the zine of the same name, and later provoked mild disapproval from the organisers of a video festival in Den Haag where Ed and friends were using it as a flyer to promote their activities. Also at Shunga Gallery are a few pages from the rebarbative Reverbstorm, a book that’s the darkest and nastiest thing I’ll ever do. Some of that artwork provoked a rather more serious form of disapproval, as I explain in the interview.

Continue reading “Splendid Suns”

Weekend links 615

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Tesla does the Astro. Hunter Dukes at Public Domain Review examines the promotion of Nikola Tesla’s ideas via this famous photograph.

• Coming soon from Side Real Press: Kokain—The Modern Revue, a magazine produced in Vienna that ran for five issues during 1925. “Original copies are so rare that it scarcely appears in any of the literature relating to the Weimar period and its contents have remained almost entirely ignored and certainly untranslated. Until now.”

• “Magritte had gotten this far in life by refusing to obey anyone, and in a way his disobedience proved that he understood Surrealism better than the leader of the Surrealists.” Jackson Arn reviewing Magritte: A Life by Alex Danchev.

• “Go as far into your dream as possible and find your own unique voice.” Meredith Monk (again) talking to Elizabeth Aubrey.

• Coming soon from Strange Attractor: City of the Beast: The London of Aleister Crowley by Phil Baker.

• At Spoon & Tamago: The natural world springs to life in kirie paintings by Tamami Kubota.

Antonia Mufarech on why sunflowers are Ukraine’s national flower.

• At Dennis Cooper’s: Etienne-Louis Boullée’s unbuildable tombs.

• Mix of the week: I Can’t Go For That by The Ephemeral Man.

• New music: Triumph Of The Oak by The Lord.

• RIP Philip Jeck.

Tesla (1997) by Jimi Tenor | Tesla (2011) by They Might Be Giants | Tesla Coil (2016) by Xhei

Gustav Meyrink’s Orchids

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The orchids that concern us here are the “sonderbare geschichten”, or strange stories, which comprise Gustav Meyrink’s first story collection from 1905. I’ve not read any of these so can’t vouch for the strangeness quotient but they inspired their illustrator to provide an accompanying collection of head and tail pieces throughout the book, many of which would have been grotesque enough to find a place in Der Orchideengarten magazine a decade later. The illustrator is unfortunately uncredited so if anyone can identify the individual from the monogram (“JT”…?) please leave a comment. The illustrator is Ignatius Taschner. Thanks to Lutz for the identification!

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Continue reading “Gustav Meyrink’s Orchids”