lundi 26 septembre 2016

Cobra 1948-1951. P. Jean-Michel Place 1980.  In-4° cartonnage illustré de l'éditeur, dos de toile orangée, non paginé.
Réimpression de la collection complète de la revue Cobra 1948-1951.
N° 1 à 7,
N°8-9 (inédit),
N° 10
- Petit Cobra N°1 à 4
- Tout Petit Cobra N° 1 à 5 et nombreux documents.
Abondante iconographie en noir et en couleurs, dans et H.T. Agréable exemplaire.
180€ !!!

dimanche 25 septembre 2016

Reintegration at a higher level is not a certainty, though. Whether or not one is in fact able to reintegrate depends on what Dabrowski called the “third factor”—an inner force, largely inborn, that impels people to become more self-determined and to control their behaviors by their inner belief/value matrix, rather than by societal conventions or even their own biological needs. This third factor allows people to live their lives consciously and deliberately, acting in accordance with their own personal values. The dynamic of the third factor drives people toward introspection, self-education, and self-development, and it allows them to reintegrate themselves at a higher level so that they can transcend their surroundings in a highly moral and altruistic fashion. Some individuals, however, may disintegrate and fail to reintegrate at a higher level, or they may stay at the same level as before

Bas Jan Ader, Primary Time (detail), 1974

Śri Kṛṣṇa conceals the garments of bathing gopis
Pahari, circa A.D. 1800
The poetic work of Ewa Partum consisted in scattering single alphabet letters into a non-artistic space: be it the open air, sea, or an underpass. This gesture led to the deconstruction of a language whereupon grammatical, syntactic and semantic structures were used to determine certain patterns of an artistic statement. Her poems were shaped by coincidence, which made their language more open and process-orientated. The confrontation with the elements associated with femininity (water, wind) made it possible to face the patriarchal patterns rooted in the language.

Marcel Mariën 
Les 4 Vérités du Surréalisme, 1972 
Allan Kaprow

Rudolf Schwarzkogler

revue Phantomas
Paul Bourgoignie est mort, à l'âge de quatre-vingts ans, comme il avait vécu: discrètement. Il appartenait pourtant au groupe Phantomas, constitué par «les sept types en or», avec les frères Piqueray, Théodore Koenig, Pierre Puttemans, François Jacquemin et Marcel Havrenne.
Ce groupe, qui se situait dans le prolongement du surréalisme et du dadaïsme - on peut dire cela à condition de ne pas oublier combien les étiquettes sont réductrices - a longtemps publié une revue à travers laquelle des personnalités différentes manifestaient leur joie d'écrire dans une grande liberté créatrice

En 1959, les spectateurs du film de Marcel Mariën, L'imitation du Cinéma, purent apercevoir, entre les apparitions de Tom Outt en Jésus-Christ ou de Wout Hoeboer en mendiant aveugle, une assez bonne imitation de Sigmund Freud. Très brève (et unique) prestation de Paul Bourgoignie.

 Bruxelles, 17 Mai 1947 - les Surréalistes Révolutionnaires
Paul Bourgoignie, Achille Chavóe, Christian Dotremont, Marcel Havrenne, 
René Magritte, Marcel Mariën, Paul Nougé et Louis Scutenaire.
Filming of GW Pabst’s Don Quixote, Haute-Provence, 1933
Hugo Bart Huges (also Hughes) (April 23, 1934 – August 30, 2004) was a Dutch librarian and proponent of trepanation. He attended medical school at the University of Amsterdam, but was refused a degree due to his advocacy of marijuana use. In 1964 he published "The Mechanism of Brainbloodvolume ('BBV')" (also known as "Homo Sapiens Correctus") a scroll in which he proposed that trepanation could be used to enhance brain functionality by balancing the proportion of blood and cerebral spinal fluid. Hughes believed that, when mankind began to walk upright, our brains drained of blood and that trepanation allowed the blood to better flow in and out of the brain, causing a permanent "high". Using a foot-operated electric dentist drill, Huges drilled a hole in his skull on 6 January 1965. He also published "Trepanation: A Cure for Psychosis" in which he expanded upon his theory as well as an autobiography, The Book With The Hole, in 1972.

vendredi 23 septembre 2016

Give up the whole idea of putting on a show for audiences. A happening is not a show - leave the show for theater people and discotheques. A happening is a game with a high, a ritual no church would want because there is no religion for sale. A happening is for those who happen in this world, who don’t want to stand off and just look. If you happen, you can’t be outside peeking in. You’ve got to be involved physically. Without an audience you can be off on the move using all kinds of environments, mixing in the supermarket world, never worrying what those out there in the seats are thinking. And you can spread your action all around the globe whenever you want.  Traditional art is like college education and drugs: it’s fed to people who have to sit on their butts for longer and longer amounts of time to get the point, and the point is that there’s lots of actions somewhere else, which all the smart people prefer to just think about. But happeners have a plan and go ahead and carry it out. To use an old expression, they don’t merely dig the scene, they make it.

Allan Kaprow,  How to Make a Happening
Vivre sa vie, consciemment, était une notion contraignante pour moi. Toutefois, lorsqu'on vit sa vie consciemment, elle devient assez étrange – faire attention transforme ce à quoi nous faisons attention.

Allan Kaprow, Performer la vie, 1979

We know that no one ever seizes power with the intention of relinquishing it. Power is not a means; it is an end. One does not establish a dictatorship in order to safeguard a revolution; one makes the revolution in order to establish the dictatorship. The object of persecution is persecution. The object of torture is torture. The object of power is power. Now you begin to understand me.

George Orwell, 1984