alcramer [Alfredo Cramerotti]

MOSTYN new exhibition season, opening Sat 9 October 2021 – “Jacqueline de Jong: The Ultimate Kiss” and “Anathemata” feat. Antonin Artaud, Martin Bladh, Pierre Guyotat, Paul-Alexandre Islas, David Jones, Sarah Kane, James Richards, Karolina Urbaniak

Posted in nEws and rEleases by alcramer on October 8, 2021

Jacqueline de Jong: The Ultimate Kiss

Opens 9 October 2021 9 October – 6 February 2022

Jacqueline de Jong is considered one of the crucial artistic figures of the post-war avant-garde. This exhibition is the first institutional solo presentation of her work in the UK. Throughout her career spanning half a century, de Jong has developed a unique painterly practice. Expressive in style, her work exhibits uninhibited eroticism, violence and humour. In parallel to her work as a painter, she was editor of The Situationist Times (1962-1967) and a member of the Situationist International during her early years in Paris in the 1960s.

Jacqueline de Jong was born in 1939 in Hengelo, The Netherlands. She lives and works in Amsterdam, The Netherlands.

The Ultimate Kiss is curated by Juliette Desorgues (Curator of Visual Arts, MOSTYN) and organised in collaboration with WIELS, Brussels where the exhibition was presented by Devrim Bayar (Curator, WIELS) and Xander Karskens (Director, De Ateliers) (May 1 – August 15, 2021). The exhibition will travel to the Kunstmuseum Ravensburg, Germany in 2022.

The exhibition is kindly supported by: The Mondriaan Fund, The Dutch Embassy, London, The Tyrer Charitable Trust, Dürst Britt & Mayhew, Gallery, The Hague and Pippy Houldsworth Gallery, London.

An exhibition catalogue Jacqueline de Jong: The Ultimate Kiss, featuring texts by Devrim Bayar, Juliette Desorgues, Alison Gingeras, Xander Karskens and Niña Weijers, and published by Fonds Mercator, is available to purchase from the MOSTYN Shop or is available to order online.


Opens 9 October 2021 9 October – 6 February 2022

Antonin Artaud, Martin Bladh, Pierre Guyotat, Paul-Alexandre Islas, David Jones, Sarah Kane, James Richards, Karolina Urbaniak

Curated by Pierre-Alexandre Mateos and Charles Teyssou  

Anathemata is a display that interrogates the tradition of epic poetry within a tetrad of 20th century avant-garde artists; David Jones, Antonin Artaud, Sarah Kane and Pierre Guyotat. These four artists are presented alongside contemporary artists Martin Bladh, Paul-Alexandre Islas, James Richards and Karolina Urbaniak through a display of manuscripts, drawings and videos.

The exhibition title is borrowed from David Jones’s eponymous poem published in 1952. A British poet and artist of Welsh descent, Jones is considered a leading figure within modernist poetry along with James Joyce and T. S. Eliot. His poem, The Anathemata, investigates the importance of mythology within the history of humanity from a modernist perspective. Written in the aftermath of the Second World War and  interweaving Welsh and English late medieval sources, it defends the importance of epic narratives, fables and myths against the desacralising effect of modernism. Considered Jones’ seminal work, The Anathemata narrates the thought processes of a cambrophile over the span of roughly seven seconds at an English Catholic Mass. Using Old, Middle and Early-Modern English, Welsh, and Latin, The Anathemata questions the importance of past mythology within human history – from the Iron Age in Cornwall and Tudor London to Penda’s Mercia and the Welsh “Otherworld” – in a highly allusive and nonlinear fashion. In this text, Jones also stresses the importance of the artist as an inventor and bearer of myths.

Antonin Artaud is a French artist considered one of the major figures of early 20th century avant-garde. His texts revolve around transcendence, mysticism, drugs, and extreme corporeal experiment. Like Jones, a large part of Artaud’s writing practice challenged and gathered different languages (French, Latin, Arabic), myths and temporalities (from Ancient Greek to Aztec and Early Christian civilisations). Both were concerned with the idea of the impending apocalypse. In his Letters from Ireland which he wrote while in exile in Dublin, he details an imagined forthcoming apocalypse, and plans his own role within it as « the revealed one ». Also on display are several of his magic spells, intended to curse his enemies and to protect his friends from Paris’ forthcoming incineration and the Antichrist’s appearance at the Deux Magots café, an important meeting point for artists and writers in Paris in the post-war era. Artaud’s depictions of the human body as dismembered, surrounded by flying nails, translated the agonies of his physical as well as psychical life. Indeed, between June 1943 and 1944, Artaud was subjected several times to electroshock therapy in Rodez (France). Cast aside from his community and finishing his life in an asylum, Artaud was in a sense the subject of an anathemata. In Artaud’s work, the body experiences a form of disfiguration, it is “outside the figure of being”. Caught between life and death, the visible and the invisible, it is ultimately traced by the lines of forces drawn from the electromagnetic spectrum. 

Pierre Guyotat was a preeminent French artist who died in 2020. Like David Jones, he was a poet interested in the epic format, the fragmentation of words, and the use of heterogeneous languages from various historical periods and geographies. Similarly to Jones, he was a soldier. He was enlisted in the Algerian war, an experience that inspired him to write Tomb for 500,000 Soldiers. Written in 1967, this book was censored and, in a way, anathematised. Composed of seven songs, it can be perceived as a cataclysmic incantation. Moreover, he is maybe one of the last mythical figures of the French literary scene that could be affiliated with poets such as the Marquis de Sade, Arthur Rimbaud or Artaud. Guyotat works with a mutant language, inhabited by bodies, animals and ghosts. He incorporates and carries in each of his works the cursed part of humanity. His visions are dazzling, the body triturated, wounded, exalted, entangled, seen in its convulsive materiality. Words and bodies function as apparitions in constant metamorphosis.

Sarah Kane is a renowned British dramaturge whose radical conception of theater has been compared to Artaud’s Theatre of Cruelty. While her plays examine human atrocities such as cannibalism, sexual violence and war abjections, her mise en scène is devoid of any affectation. Her subjects are stripped to the bone, laid bare like a cadaver. Her first play, Blasted, which opened at the Royal Court Theater Upstairs on 12th January 1995, presents a brutal vision of war-torn society through a series of violent acts. The title could also echo the avant-garde poetry magazine founded by Wyndham Lewis, Blast, which presented ideas about art that are close to those of Sarah Kane: injecting reality directly into people’s heart. Like David Jones, she considered history as a palimpsest of myths and rituals that could be found in one of the most popular epic spectacles of her time, football. She saw in the matches played by Manchester United the representation of a myth in which the Gods fought for possession of the sun.

Martin Bladh and Karolina Urbaniak are artists, photographers, multimedia players and founders of the publishing house Infinity Land Press. Along with Stephen Barber, they have participated in the dissemination of authors such as Antonin Artaud within the British cultural scene through their work as publishers. Established in 2013, Infinity Land Press is self-described as a “realm deeply steeped in pathological obsessions, extreme desires, and private aesthetic visions”. For the exhibition, they will notably present On The New Revelations of Being, a video based on Antonin Artaud’s apocalyptic manifesto from 1937. It envisions the end of the world and the death of God through a series of cataclysmic occurrences of Artaudian cruelty. 

Artist James Richards is known for working across moving image, sound and installation. A newly commissioned work, Phrasing, based on precedent research and developed through 80 slides, is exhibited for the first time as part of the display. Cutting and recombining images from various sources such as radiographies, comics, and medieval engraving, he digs into what could be called a modern epic. His use of X-Rays acts as an inner search, an opening of bodies and objects, an effraction of envelopes that deals with the secret of interiority. In that sense, his quest finds echoes in the introspective voices of Jones, Artaud, Guyotat and Kane and becomes a receptacle for the tumults and hubbubs of the world.

Finally, Paul-Alexandre Islas, is an artist, musician and Artaud’s reader who notably questions the violent dimension of art, its personal cost and the legitimacy of the people who allow themselves to practice it. Similarly to Artaud, Islas doesn’t have superstition about the already written poetry. If poetry is already written, let it be destroyed. 

From Jones’ lecture of Arthurian legends to Islas’ contemporary incantations, the exhibition Anathemata tries through myths, violence, desire, war, and the superhuman devotions that are found in the works presented, to bring forth a spectacle capable of stirring up the forces that are boiling within them.

Photo: Martin Bladh, After Rembrandt’s The Blinding of Samson, 1636, 2014. Courtesy of the artist.

Expanded Violences by Brumaria

Posted in nEws and rEleases, shortEssays/cortiSaggi [English/Italian] by alcramer on September 27, 2010

Expanded Violences is a project realized in the framework of Manifesta 8, The European Biennial of Contemporary Art.


Expanded  Violences

Throughout the past two years in Brumaria, we have been working on and over multifocal-terrorism art-war relations. A product of this has been a series of forays— Art and Terrorism, Iconoclasm-Iconolatry, and now Expanded Violences— which, by means of different formats—research projects, exhibition projects, artistic work, seminars and publications—have permitted us to affirm the amplitude of these topics and the conceptual, thematic, and discursive gaps that today persist in the art institution both in the Spanish region and in the world of global art.

We understand that we neither want nor are able to isolate contemporary art from the world in which it is produced, commercialized, or museumized, especially if we keep in mind the present characteristics of armed conflict and if we affirm that we live in a state of permanent war. Although in the past war (the institutionalized phase of violence) defined itself as a conflict among sovereign nation-states, given that in the last few decades this sovereign authority of the nation-state has been decaying in favour of the emergency of a supranational sovereignty, the nature and the conditions of both war and political violence in our present times have necessarily and considerably changed, leaving behind the memory of the defeated, the humiliated, the offended…the murdered. In our current environment war is a global phenomenon. We live in a state of ubiquitous, brutal, and permanent “civil war”: a new and monstrous state of exception.

Expanded Violences focuses its attention on a triangulation between violence as representation strategically administered by power, the operation by which mass media and the use of art form a critical vertex of this multiple dialectic. If it seems obvious that there exists interdependence between political and economic power and the strategic operations used in mass media, the role of art is not so clear in this context.

• Theodor W. Adorno & Max Horkheimer • Aeschylus • Giorgio Agamben • Louis Althusser • Anonymus (Deuteronomy) • Aristotle • Antonin Artaud • Graco Babeuf • Alain Badiou • Jean Baudrillard • Walter Benjamín • Ursula Biemann • Bertlolt Brecht • Pierre Bourdieu • Gustavo Bueno • Stokely Carmichael • Pedro Casaldáliga • Paul Celan • The Clash • Leonard Cohen • Alfredo Cramerotti • Noam Chomsky • Mike Davis • Guy Debord • Gilles Deleuze & Felix Guattari • Jacques Derrida • Terry Eagleton • Albert Einstein • Friedrich Engels • Euripides • Frantz Fanon • Michel Foucault • Sigmund Freud • Mohandas Karamchand Gandhi • Jean-Luc Godard • Antonio Gramsci • Peter Handke • G. W. F. Hegel • Jimi Hendrix • Eric Hobsbawm • Homer • Dolores Ibárruri • Peter Kropotkin • Jacques Lacan • Lao Tse • Sylvain Lazarus • Maurizio Lazzarato • Vladimir Ilyich Lenin • Robert Linhart • Lucretius • Rosa Luxemburg • Jean-François Lyotard • Malcolm X • Mao Zedong • Nicolò Machiavelli • Filippo Tommaso Marinetti • Karl Marx • Vladimir Mayakovsky • Mario Moretti • Muhammed • Jean Luc Nancy • Nawal El Saadawi • Antonio Negri • Friedrich Nietzsche • Anton Pannekoek • Cesare Pavese • Fernando Pessoa • Plato • Nicos Poulantzas • Khaled Ramadan • Jacques Rancière • Wilhelm Reich • RETORT • Los Reyes Católicos • Arthur Rimbaud • Maximilien Robespierre • Martha Rosler • Louis de Saint-Just • Saint Augustine • Saint Matthew • Saint Paul • Jean-Paul Sartre • Carl Schmitt • William Shakespeare • The Smiths • Sophocles • Susan Sontag • Baruch Spinoza • Hito Steyerl • Tacitus • Leon Trotsky • Tristan Tzara • Ramón María del Valle-Inclán • Víctor Hugo • Virgil • Paul Virilio • Paolo Virno • Oswald Wiener • Jean Ziegler • Slavoj Zizek • Joseba Zulaika •
With a foreword by Alejandro Arozamena, Darío Corbeira & Daniel Patrick Rodríguez
Brumaria works #1

– Double installation with moving images, sound and temperature.
– Two publications in English and Spanish.
– A seminar.

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