A selection of the photographs of Jean Baudrillard—THE CONSPIRACY OF ART: PART I—is now on view at Château Shatto.
“It is not true that we need to believe in our own existence to live… Our consciousness is never in fact the echo of our own reality, of our existence in ‘real time,’ but rather the echo in delayed time, the dispersion screen of the subject and its identity. We are only distinguishable from ourselves in sleep, unconsciousness, and death. This consciousness, which is something altogether different than belief, comes more spontaneously from challenging reality, from siding with objective illusion than from objective reality. This challenge is more vital for our survival and for the survival of the species than the belief in reality and existence, which are spiritual consolations for use in another world.” — JeanBaudrillard*
1206 Maple Avenue, Suite 1030, downtown Los Angeles.
*Jean Baudrillard, La Pensée radicale (Paris: Sens & Tonka, 1994); “Radical Thought,” in TheConspiracy of Art, edited by Sylvère Lotringer and translated by Ames Hodges (New York: Semiotext(e), 2005), 162–177.
From top: Jean Baudrillard, St. Clément II, 1988, front and reverse; Baudrillard.
“In 1983, BenNeill moved from Ohio to New York City. What was going on at the time in music was a very free improvisatory kind of style, a way of fusing different elements together through oppositions and similarities. The result was rather superficial. Ben was more interested in isolating some elements in order to produce a kind of deep resonance keeping each element separate, unexpected, untimely, a kind of creative chaos, in which the pieces clashed and resonated in the distance without ever being pinned down logically. It was the aesthetic of the collage. This is what attracted Ben to David Wojnarowicz’s work.
“With David you always got the feeling that the pieces weren’t randomly chosen; they made some kind of underlying structure that held the pieces together. There was something in his visual work that Ben was trying to do in a musical sense, putting together styles from different historical periods and contemporary forms, but always with the idea of creating some kind of larger by-product. It was very profound. So he called up David and he suggested that they do a collaborative piece at the Kitchen with him. And this was ITSOFOMO [In the Shadow of ForwardMotion].
“In 1946 Antonin Artaud recorded a radio version of his famous text To Have Done with theJudgment of God. Directed by Artaud himself, this remarkable recording set shrieks and drumbeats inspired by the Tarahumara Indians against Artaud’s reading of a text about the mid-century American technology of war. War in a test tube, as the Virus of the Invisible, a destruction that is accomplished without bodily contact, spreading as seamlessly as the dream-transmission of primitive plagues.
“Fifty years later we are plagued by the invisible violence of a technology so accelerated that human life has come to a standstill. A globe cut up into cities of dead time. The texts that Wojnarowicz reads are an antidote to abstraction. Passionate, grounded, and dead precise, these texts violently reclaim the body by forcing us to experience the visceral reality of space and time. Set against Neill’s delicate, composed mutantrumpet, percussion, interactive electronics, and South American ethno-music, ITSOFOMO‘s forward motion becomes a battle to reclaim the organism of life.” — Sylvére Lotringer*
This weekend, Wojnarowicz and Neill’s multimedia performance piece ITSOFOMO will be restaged and performed by Neill and Don Yallech at KW Berlin.
Following a screening of DAVID WOJNAROWICZ—A CONVERSATION WITH SYLVÈRE LOTRINGER AND MARION SCEMAMA, Lotringer and AmyScholder will join Hedi ElKholti for a conversation about Scemama’s film and Wojnarowicz’s life and work.*
The film intercuts footage from Lotringer‘s extensive 1989 interview with Wojnarowicz—itself filmed by Scemama—with documents from the artist’s estate and papers, and Scemama’s personal archives.
On the opening weekend of Pierre Guyotat and Christoph von Weyhe’s exhibition SCENES AND STAGES, The Box presents a conversation with the artists, followed by the panel PIERRE GUYOTAT IN LOS ANGELES with SylvèreLotringer, Paul McCarthy, Ariana Reines, and NouraWedell.
PIERRE GUYOTAT AND CHRISTOPH VON WEYHE IN CONVERSATION
PIERRE GUYOTAT IN LOS ANGELES panel
Sunday, February 3, from 1 pm to 4 pm.
805 Traction Avenue, downtown Los Angeles.
From top: Pierre Guyotat, Untitled, pen and colored pencil on graph paper; Christophvon Weyhe, 7.3.2009, 2009, acrylic on canvas, photograph by Laurence Godart; PierreGuyotat, Untitled, 2017, pen, colored pencil, gouache, pastel, graphite on paper. Images courtesy the artists and The Box.