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Showing posts with label Performance. Show all posts
Showing posts with label Performance. Show all posts

Thursday, November 13, 2025

Outer and Inner Space (1966)


Outer and Inner Space is a 16mm film of Edie Sedgwick sitting in front of a television monitor on which is playing a prerecorded videotape of herself. On the videotape, Edie is positioned on the left side of the frame, facing right; she is talking to an unseen person off-screen to our right.

Outer and Inner Space is a groundbreaking multimedia document. Edie Sedgwick appears to have a conversation with herself. Time is compressed into the moment and we read a face in four parts which seems to be communicating with itself.

"As spectacularly beautiful as it is a fascinating spectacle, Warhol’s spatially dynamic and dramatically lit film-and-video portrait of Sedgwick, Outer and Inner Space, 1965, is perhaps his most brilliant articulation of the schism between private self and public image, as well as a further exploration of the serial imagery in his paintings. Shot during the summer of 1965, publicly screened in 1966, and recently rescued from oblivion, this was his first double-screen film—The Chelsea Girls would follow in September 1966—and his initial foray into video. Given the chance by Norelco to experiment with a prototype home-video recorder, Warhol used the camera to create a half-hour portrait of Sedgwick (as well as other Factory denizens). He then shot two thirty-three-minute 16 mm reels of the actress sitting in front of a television playing her videotaped image. In the final product, the two reels are shown side by side." ArtForum

Sunday, December 10, 2023

Nothing Can Turn Into A Void – An Art Apart: People Like Us

Nothing Can Turn Into A Void – An Art Apart: People Like Us from Vicki WFMU on Vimeo.


British artist Vicki Bennett takes you on a roller coaster-ride with her art project People Like Us. In performances, videos, collages and music, her amazing editing techniques and sense of humor leave you flabbergasted and enthusiastic at the same time. People Like Us is like free-zone where appropriation meets alchemy, humor meets social critique and the boundless imagination meets reality (so called).

Sunday, September 17, 2023

BBC Arena | Delia Derbyshire: The Myths and the Legendary Tapes


Delia Derbyshire: The Myths And Legendary Tapes is an experimental documentary about the composer, mathematician and Radiophonic Workshop pioneer. Directed by and starring Caroline Catz, the film traces Derbyshire's life and work through a combination of archive footage and dramatisation, interspersed with Cosey Fanni Tutti's new interpretations of Derbyshire's archive material (the 'Legendary Tapes' of the title).

Sunday, January 29, 2023

The P-Orridge family (and guests) at Beck Road London 1985

The P-Orridge family (and guests) at Beck Road London 1985 from Thee MediaShaman on Vimeo.


"It teaches that mind is the sovereign power of the universe, and that when its forces are properly concentrated upon any particular object, the true nature of that object will be revealed. Instead of using" How To Be A Yogi by Swâmi Abhedânanda
[1902] p. 66
Genesis P-Orridge at home speaking about culture, art, magick and revolution. Say what you want about Genesis, (self-absorbed, demanding, greedy, attention seeker, martyr syndrome, opportunist and performance junkie?), they were not stupid. The ideas and actions were forerunners and templates for millions of people who woke up and saw through the consumption and lies of post-Industrial culture.

This was filmed at 50 Beck Road, in the poorest East-London district Hackney, winter 1984/85. An italian film-crew makes a spontaneous visit to the family and home of UK-avantgarde musician and industrial music pioneer Genesis P-Orridge. Throbbing Gristle had split up and Genesis and Sleazy aka Peter Christopherson were committed to their new band-project Psychic TV and launching the Temple Ov Psychick Youth as a worldwide network system.

This unedited open talk interview-documentary includes Gen's beautiful wife Paula - highly pregnant with her second daughter Genesse - and friends discussing society and (po-)culture, religion, art, fear, media- manipulation, the heroin-boom and Dr. Margaret Patterson who treated drug addiction using electric stimulation aka "neuro-electric therapy", as well as war and existentialism during England's Thatcher aera ... and how it feels as a young family.

Participants and guests were Monte Cazazza, co-founder of the Industrial Records music label from the US who phrased the slogan "Industrial Music for Industrial People", as well as Hilmar Örn Hilmarsson, Jym Daly and Dorothy Max Prior, who released her song 'I Confess' (1980) on industrial records. youtube.com/watch?v=35ONE_dc2pQ

The original of this privat recording got confiscated when Scotland Yard raided the family's home in Brighton (1991) due to absurd accusations made in UK-tabloid newspapers and a 100 % fabricated one hour TV documentary (Channel 4, Dispatches). The Orridge's and their kid were touring through Nepal at that time and went into exile to the United States (California), where the father of Wyona Rider, US-publisher Michael Horowitz, helped them to settle down.

The VHS-tape was copied and archived by Boris Hiesserer aka. Eden 123, founder of the Pyromania Arts Foundation, a former german access point to the TOPY.

Tuesday, April 07, 2020

Einsturzende Neubauten - Halber Mensch (1986, full film remastered)


The ruins have been prepared for us by master artists. Civilisation has granted us enough pause to consider its making. The rhythm of your heart, breath and organs are the beginnings of music. Where there was once nature, there is now the silence of cement, or the scream of steel and the bone shaking clang of iron, electricity and skin.

Halber Mensch (or 1/2 Mensch; English: Half Man) is the third studio album by German industrial band Einstürzende Neubauten. It was released on 2 September 1985, through record label Some Bizzare Records.

Halber Mensch (also known as 1/2 Mensch) is a 1986 film by Japanese director Sogo Ishii with German band Einstürzende Neubauten. It was originally released on VHS, and re-released on DVD in 2005. The film's title comes from the album of the same name.

The one-hour film documents Einstürzende Neubauten's visit to Japan in 1985. It includes concert footage along with scenes of the band performing in an industrial building. Several songs from the "Halber Mensch" album are presented as music videos, some with accompanying Butoh dancers.

Monday, March 23, 2020

The Ballad of Genesis and Lady Jaye (2011)

THE BALLAD OF GENESIS AND LADY JAYE from Epicentre Films on Vimeo.

Genesis P-Orridge died on March 14 in New York. Genesis led a life of spectacle, philosophy and professionally challenging the norms of middle class bourgeois culture. The work of Genesis represents an important bridge between the counter culture of the 1960s and the ubiquitous mediation of culture in the present day cyber society. The work of Genesis is almost a road map of the shift from counter culture to resistance, whereby the idea of 'alternative' was swept up by mass consumption and distribution models and made into a form of identity. This formation of identity according to the market is something that Genesis fell into, and seemed to be relying upon in the challenge to conservative definition of gender. The resistance to conservative gender norms shifted Genesis back towards the idea of marginal, counter or revolutionary.

In this film Genesis and his lover, Lady Jaye, express their deep bond by melding their identities through plastic surgery.

Thursday, November 02, 2017

BBC Imagine David Bowie Cracked Actor [ 2013]


To mark David Bowie's comeback album and a new exhibition, Alan Yentob looks back at his legendary 1975 documentary, Cracked Actor. The film follows Bowie during the Diamond Dogs tour of 1974. The film has become one of the classic rock documentaries of all time, remaining an enduring influence on generations of Bowie fans.

Thursday, February 16, 2017

Lives of Performers (Yvonne Rainer, 1972)


Lives of Performers, the first feature film by the choreographer, cofounder of the Judson Dance Theater, and author of 1965’s “No Manifesto.”

In her transition from dance to film, Rainer said yes: “Having survived my various physical and psychic traumas”—including a suicide attempt in 1971—“and emboldened by the women’s movement, I felt entitled to struggle with an entirely new lexicon. The language of specific emotional experience . . . promised all the ambivalent pleasures and terrors of the experiences themselves: seduction, passion, rage, betrayal, grief, and joy.”

Yet that surfeit of emotion is presented austerely and disjunctively in Lives of Performers, parenthetically labeled “a melodrama” by an opening title card. Indeed, the film revolves around a love triangle, a standard setup of the genre, focusing on a man involved with two women. These romantic entanglements, however, are delineated only after a prologue of sorts, featuring Rainer leading a rehearsal of Walk, She Said, a dance that includes the four main “protagonists” in the film: John Erdman, Valda Setterfield, Shirley Soffer, and Fernando Torm. (Of this quartet, only Setterfield, a member of Merce Cunningham’s troupe from 1964 to 1974, had previous professional dance experience.)

Over this footage, we hear Rainer’s directives: “Foot open, gaze goes to the window, gaze goes to closet.” The audio, save for a few instances, is almost entirely offscreen. Though the performers deliver their lines, as Rainer does, without inflection, their voices are distinct, a mix of accents from the UK (Setterfield), Chile (Torm), and Kings County (Soffer); the few sentences in a buttery French intonation are uttered by Babette Mangolte, the redoubtable cinematographer with whom Rainer would make two more films. (The same year that Lives of Performers was made, Mangolte began another important collaboration in New York, shooting Chantal Akerman’s La Chambre and Hotel Monterey.) We hear the pages of the script being turned, further estranging us from this spartan soap opera about a man who “can’t make up his mind”—though this distancing device never dilutes our fascination with the intensely private moments, sourced from dreams, perhaps from letters or diaries, presented on-screen.

Sunday, September 11, 2016

Kusama's Self-Obliteration (Jud Yalkut, 1967)


Yayoi Kusama's film Self-Obliteration documents a distinct period in the Japanese artist's work. The 1960s represent a period for Kusama where she is working and living in New York surrounded by the popular avant-garde of the time. Happenings, performance art, improvised and experimental music and the developing psychedelic consciousness are what define the film Self-Obliteration. These elements are added to Kusama's own philosophy of overcoming the boundaries and burdens of self-identity.

The film Self-Obliteration joins Kenneth Anger's Invocation of the My Demon Brother and Ira Cohen's Invasion of the Thunderbolt Pagoda as a classic psychedelic visual document from the 1960s.




“‘Obliterate you personality with polka dots,’ exhorts Kasuma at her strip-and-paint exhibition, which she calls ‘naked happenings.’ ‘Become one with eternity. Become part of your environment. Take off your clothes. Forget yourself. Make love. Self-destruction is the only way to peace…’Kusama is prepared to obliterate any country that indulges in war games, particularly Australia."



Sunday, February 02, 2014

The Legend of Leigh Bowery (2002)


82 min, color, sound

This documentary explores the life and times of Australian artist / designer / performer / provocateur Leigh Bowery. He designed costumes and performed with the enfante terrible of British dance Michael Clark, designed one of a kind outrageous costumes and creations for himself, ran one of the most outrageous clubs of 1980s London club scene Taboo (later immortalized in Boy George's Broadway musical, and was the muse of the great British painter Lucian Freud. The film includes interviews with Damien Hirst, Bella Freud, Cerith Wyn Evans, Boy George (who talks mainly about himself), and his widow Nicola Bowery. The sound score is by Richard Torrey, who performed with Bowery in their band Minty.



In 1993 Leigh Bowery formed the band Minty with friend and former 1980s knitwear designer Richard Torry, Nicola Bateman and Matthew Glammore. Their single "Useless Man" "Boot licking, tit tweaking useless man..." which was remixed by The Grid along with their twisted onstage scatological performances caused The Sun to describe them as the "sickest band in the world", of which Bowery was very proud.

Tuesday, February 26, 2013

Stelarc - Meat, Metal and Code: The Cadaver, the Comatose and the Chimera



Stelarc is a Performance Artist and holds the Chair in Performance Art at the School of Arts, Brunel University, London. Stelarc speaks on mixed and augmented realities and our biological bodies at the Screen Media seminar: http://www.crassh.cam.ac.uk/events/2251/

Abstract: We are increasingly expected to perform in Mixed and Augmented Realities. We are no longer merely biological bodies but increasingly accelerated by our machines and enhanced by our instruments. And we have to manage data in virtual systems. We have become extended operational systems, performing beyond the boundaries of our skin and beyond the local space we inhabit. As well as Circulating Flesh it is now an age of Fractal and Phantom Flesh.

Sunday, July 15, 2012

Stelarc - Psycho Cyber (1996), The Man with Three Ears (2009)

More info: http://www.v2.nl/archive/people/stelarc/ The Documentary 'Stelarc Psycho Cyber' was made in the year 1996 and directed and produced by Mic Gruchy.It is a comprehensive one hour documentary of the 30 year body of work of Australian electronic media and performance artist Stelarc.


STELARC: THE MAN WITH THREE EARS by saigonick

An interesting summary of Stelarc's most influencial works presented in the form of a short documentary, augmented by comments of Stelarc himself. The film also gives an idea of his approach to the body and his works in general, as well as his perspective on the future.

Tuesday, September 13, 2011

THUG

This is Thug, Black Eye record launch, Piccadilly Hotel, Kings Cross, Sydney, June 2nd 1987. Thug consisted of Tex (Greg) Perkins (Beasts of Bourbon) Lachlan McLeod (Salamander Jim) & Peter Read (Leather Moustache). Prior to becoming a live act, THUG were initially a home recording project using electronic gear gleaned from Peter Read’s flat mate (who had amassed a collection of gismos). Thug was also a dramatic career change for Perkins who had previously been known as the front man for grunge pioneers The Beasts of Bourbon & swamp-tinged Salamander Jim. In comparison, Thug was confrontational, experimental, electronically-charged; whose live act upon being translated to the stage could be easily deemed pre-multimedia with an assortment of theatrics, improvisation, dancers and super 8/video loops. The finale of these shows resembled a contact sport involving all participants mock brawling and piling on top of each other. I was a fan but never saw them play, being 18 and living in Queensland at the time. Thug put the art into pub rock in Australia.

Other times the audience would get involved or get some special attention themselves. Like the gig when THUG showered an entire audience in flour when the act played a Goth club (a venue Thug were never booked at again). Thug’s debut was the ‘Dad / Thug’ 7” (also referred to as ‘Fuck Your Dad’ BLACK4) which would go onto cement Black Eye as the most demented Australian label, period. It also featured a gimmicky campaign reminiscent of Stiff Records.

Fighting was Thug's bag, the obligatory end-of-show rumble becoming the spirited finale of every performance in the band's short life between 1986-88. On one occasion at The Site in Victoria Street, Kings Cross, Tex Perkins (for the singer was he) announced that he and Thug were getting tired of the barney at the end of every show and demanded that “you kids down the front” take over the duty and “fight amongst yourselves this time”. Which they did, even Tex watching on in astonishment at the low-level bloodbath he'd so easily orchestrated. And it was the toe-tapping Sneaky Leather Man that invariably saw some strange fellow in leather take the stage for no responsible reason, leaving at song's end having achieved very little.

"..I ran into (Tex) Perkins just on the street one day. We hadn’t seen each other for like six or eight months, and in that time he had relocated to the Gunnery. Well, he said he was involved in doing this thing; he was at a loss to describe it. He was referring to THUG amongst other things so I rolled long to the Piccadilly Hotel with a couple of friends and, nothing could prepare us for what we saw. I think THUG was on stage and off in about eighteen minutes it was just like amazing. Only visual footage and some strong photographs can really totally capture what THUG were about. And also on the same night I think it might have been Lubricated Goat and might’ve been No More Bandicoots or something like that too. But it was quite clear this was something different and it wasn’t called Black Eye at that point, I don’t know when we decided to call it Black Eye; we knew that somehow it has to be documented and well, vinyl records were the medium of the day. Rather than video footage. yep we started a label, it was the basket case son of Red Eye…” - JOHN FOY (Founder of Redeye Records 2003
For more on an amazing time for music in Sydney here (includes 18 tracks of crackling madness for download and lots of links)

Friday, July 01, 2011

Pink Floyd: Live at Pompeii 1971

Pink Floyd - Live In Pompeii Original 1972 (Analog Enhanced) from lphanners on Vimeo.


Conceived by the French director Adrian Maben as "an anti-Woodstock film," Pink Floyd: Live at Pompeii was shot in October 1971 in a vacant, 2,000-year-old amphitheater--a venue chosen to accentuate the grandeur and spaciousness of the band's Meddle-era music. Maben's cut goes to great lengths to lend the film a more contemporary feel, but it's the earlier version that makes this disc such a gem, being more focused on the music and more wholistic in vision. The anamorphic, 16:9 director's cut interweaves the Pompeii performances with fascinating but distracting interviews and music snippets filmed later (mostly during the recording of Dark Side of the Moon). The movie was originally prepared in a 4:3 aspect ratio, however, and the widescreen version crops perfectly framed images like the nine-square mosaic of drummer Nick Mason in "One of These Days." The original offers plenty of closeups of fingers on frets and keys, with shots that are often luxuriously long in duration. And the picture quality from Pompeii is revelatory: outstandingly sharp and clear, rich in subtle grades of light and color.

You can buy the entire package with lots of extras here.

Product Description
1 Echoes (Part 1)
2 Careful With That Axe ...
3 A Saucerful Of Secrets
4 Us And Them
5 One Of These Days I'm ...
6 Mademoiselle Nobs
7 Brain Damage
8 Set The Controls For T...
9 Echoes (Part 2)
10 Interview With Adrian ...
11 Introduction
12 Echoes (Part 1)
13 Careful With That Axe ...
14 A Saucerful Of Secrets
15 One Of These Days I'm ...
16 Set The Controls For T...
17 Mademoiselle Nobs
18 Echoes (Part 2)

Tuesday, May 11, 2010

Didge on the Sea of Galilee



A magical night on the sea of Galilee, when this amazing didge player "yoram Sivan" combined his show with these 2 Amazon fire girls

Thursday, April 01, 2010

ALTERED STATES: Art of Zhang Huan 张洹



Zhang Huan (Chinese: 張洹, born 1965 in Anyang, Henan Province, China) is a Chinese artist based in Shanghai and New York. He made his BA at the He Nan University in Kai Fengin (1988) and his MA at the China Central Academy of Fine Arts in Beijing (1993). He is primarily a performance artist but also makes photographs and sculpture.

Monday, January 11, 2010

Dangerous Minds: Genesis Breyer P-Orridge

Genesis Breyer P-Orridge: Thee Psychick Bible from DANGEROUS MINDS on Vimeo.


Two-part, in-depth conversation with Genesis Breyer P-Orridge on the occasion of the publication of Thee Psychick Bible, a compendium of Gen's writing on magick.

metzger/gbpoII from DANGEROUS MINDS on Vimeo.


Part Two

Thursday, November 05, 2009

GamelaTron

The Gamelatron at Galapagos Art Space from Zemi17 on Vimeo.



Modeled after traditional Balinese and Javanese gamelan orchestras, the GamelaTron is an amalgamation of traditional instruments with a suite of percussive sound makers. MIDI sequences control 117 robotic striking mechanisms that produce intricately woven and rhythmic sound. Performances follow an arc similar to classic Indonesian gatherings, where stories from great epics, such as the Ramayana, are told and settings given in words that are continued in music.

Tuesday, September 01, 2009

Genesis P-Orridge



At 59, of Throbbing Gristle, Psychic TV and Thee Majesty finally seems to have found peace.

Thursday, March 19, 2009

Sally Golding



Film Performance. London. 25 July 2008.