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‘Is There Life After Sex?’: New Art Exhibition and Salon from Anne Pigalle
01.28.2013
08:20 pm
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The fabulous chanteuse Anne Pigalle returns with a new exhibition of artwork, Is There Life After Sex?, which will be on show at Natalie Galustian Rare Books, 22 Cecil Court, London, from February 1st-21st.

Following on from the great success of Miss Pigalle’s last exhibition (at the Michael Hoppen Gallery), Is There Life After Sex? is a must-see show which will continue her discourse on relationships and the important role of sexuality in our lives.

Miss Pigalle will also be holding one of her legendary Salons, on February 14th, where Anne will perform a choice selection from her acclaimed erotic poems L’Ame Erotique. For those who wish to experience something new, important and very special, I suggest they go along to see the Last Chanteuse Ms. Anne Pigalle. Check here for details
 
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Previously on Dangerous Minds

‘L’Amerotica’: The Return of the Brilliant Anne Pigalle


Anne Pigalle: Performing at David Lynch’s Club Silencio


 
Bonus video of Anne PIgalle, after the jump…
 

READ ON
Posted by Paul Gallagher
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01.28.2013
08:20 pm
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A Natural Woman: Carole King ‘In Concert,’ 1971
01.28.2013
11:43 am
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(I posted this once before, but the video was pulled off YouTube just a couple of hours later. In light of the Joni Mitchell post last week being so popular, here it is again.)

Singer-songwriter Carole King’s first solo record, 1970’s Writer, was a commercial flop, but the following year, her Tapestry album captured the public’s attention, worldwide. Tapestry‘s laid-back, folksy, very feminine-centered compositions—something still quite “new” then, Joni Mitchell was also breaking big around this same time—saw the record become an immediate chart success. The lead-off single from the album, “It’s Too Late”/“I Feel The Earth Move” was number 1 on the Billboard charts for five weeks. The confessional Tapestry was nominated for four Grammy awards and King was given statues for Album of the Year, Best Female Pop Vocal Performance, Record of the Year (“It’s Too Late”) and Song of the Year (“You’ve Got a Friend”).

Tapestry went on to become one of the top-selling record albums in history. In fact, with well over 25 million copies sold worldwide, 10 million in the US alone, the album was the first to be certified “diamond.” Its sales tallies have been bested only by Michael Jackson’s Thriller.

Its chart run, holding down the #1 rank for an incredible fifteen weeks was the record for a female solo artist for over 40 years until Tapestry was surpassed by Adele’s worldwide blockbuster 21 in 2012. All in all Tapestry has been on the Billboard Top 200 for over 300 weeks between 1971 and 2011.

I’ve actually purchased Tapestry on three formats over the years on vinyl, CD and then twice on two different SACD releases (I’m forever searching for the best version of something). It’s one of the most essential albums I own. How could anyone not like Carole King???

In 1971, Carole King taped an amazing live studio set—more or less “unplugged” before such a concept existed—for the BBC’s In Concert series, with James Taylor on acoustic guitar.

Set list: “I Feel the Earth Move,” “(You Make Me Feel) Like a Natural Woman,” “So Far Away,” “It’s Too Late,” “Smackwater Jack,” “Will You Still Love Me Tomorrow?” and “Up on the Roof.”

I was absolutely floored by the quality of this set. I hope you will be, too.
 

Posted by Richard Metzger
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01.28.2013
11:43 am
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Shishani: Award-winning Soul artist releases video for her new LGBTI Equality anthem ‘Minority’
01.25.2013
08:11 pm
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The excellent blog Spectra Speaks reports that award-winning African artist Shishani, has just released a video for her new LGBTI Equality anthem “Minority”.

Award-winning acoustic soul artist, Shishani, has just released the music video for her latest single titled, “Minority”, a catchy, upbeat, acoustic track that calls for freedom and equality for all people despite perceived differences.

Shishani got her big break when she performed at the 2011 Namibian Annual Music Awards in the capital city of Windhoek, where it’s still illegal to be gay. And though, she says, she’s made no real attempts to hide her sexuality, she hasn’t come out as an “out lesbian artist” till now.

“I wanted people to get to know my music,” she says, “Sexuality doesn’t matter. It’s like pasta — asking if you prefer spaghetti or macaroni. It just doesn’t matter… I’m an artist first, before being a gay artist.”

Nambia is one of several African countries where Homosexuality is illegal, and “LGBTI people risk harassment and violence due to a strong culture of stigma in part reignited by religious leaders and government officials.”

As an African musician who identifies as being a part of the LGBTI community, the lyrics of “Minority” no doubt challenge the infamous meme “Homosexuality is unAfrican.” But, Shishan insists, her song is about much more than being gay.

“In Namibia, it also makes a difference what ethnicity you are. “Minority” argues for equal rights for all people regardless of their cultural backgrounds, economic status, sexuality, religion,” she says, “There is so much systemic discrimination against people, for so many reasons.”

The release of “Minority” is timely; January is the month in which outspoken Ugandan LGBT activist, David Kato was bludgeoned to death in an anti-gay attack three years ago, sparking an outcry from fellow African human rights activists. January is also the month in which people in the U.S.–perhaps even all over the world–celebrate Dr. Martin Luther King, Jr., a powerful civil rights leader and icon. His call for freedom and equality of all people has been taken up by activists all over the world, including Shishani, whose lyrics echo his principles of love and unity.

“Homophobia all over the world comes from the same place; colonialism, apartheid, racial segregation. All our struggles are connected.”

Read the interview with Shishani at Spectra Speaks.

Follow Spectra Speaks on Twitter. Shishani on Facebook.
 

 
With thanks to the wonderful June Millington
 

Posted by Paul Gallagher
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01.25.2013
08:11 pm
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Notes From The Niallist: is Transgate another nail in the coffin of oldstream media?
01.18.2013
02:23 pm
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Writer Paris Lees, image via lastofthecleanbohemians
 
“Transgate”, the recent controversy surrounding writers Suzanne Moore and Julie Burchill’s comments about transgendered people online and in the print media, may seem like a bit of a storm in a teacup to those who have not been directly affected by the issues.

But it could be a decisive moment, not just for transgender awareness, but also how people view the “oldstream” media (in the UK at least) and in turn how social media can shape and express changes in public opinions exponentially quicker, and much more powerfully, than print and television can. 

That’s one of the very interesting topics of conversation in a Google Hangout-filmed debate posted by Channel 4 News yesterday, titled Transsexual people and the online age of outrage. It features writer Paris Lees, of META magazine and this well read Vice article, Sarah Savage of Channel 4’s My Transexual Summer, and experts on social media and transgender-issues.

Transgate certainly seems, as is mentioned in the video, a tipping point in public aware of the transgender community and the struggles faced by its members. I certainly don’t remember this much debate around a trans issue in my lifetime, and if there’s any heartening aspect to this whole shameful debacle, it’s that the backlash suggests trans people now have more allies than ever before.

But aside from drawing attention to the hateful attitudes certain persons, columnists, and even schools of feminism display towards people on the trans spectrum, this whole issue has made it that much clearer to the public just how valuable our opinions (and our freedom to express them) are to oldstream media. More and more, the cries of “freedom of speech!” and “anti-censorship” employed by columnists and news institutions over the last week are beginning to translate to the general public as “freedom for us to tell you how it is!”

This is particularly evident when commenters try to repost quotes from the Burchill article itself in the comments sections under certain op-ed pieces decrying the removal of her article only to see the quotes themselves removed. It has happened to me, and it has happened to others, and it makes a mockery of any kind of claim to “free speech”. Why should a writer of such low caliber as Julie Burchill be allowed to make statements about a social group, when members of the public are blocked from doing so?

It’s quite simply a PR disaster for print journalism.

This comes at a time when the Levenson Enquiry is trying to establish whether an independent regulator is needed for the British press. As people are getting their news from online sources much more these days, and thus beginning to doubt the role (and agendas) of mainstream news outlets, journalists are unlikely to be able to whip up enough outrage—real or “manufactured”, a frankly hypocritical term journalists LOVE to use about any controversy that they themselves did not stir up—to make people give a damn.

And let’s be clear about one thing, this is NOT an issue of “censorship”, a claim that’s getting bleated over and over in various echo chambers. If the offensive article was really “censored”, then how come it’s so easy to find on another major, mainstream news platform? I thought “censored” meant it would be gone for good? Or only available through a leaks site? Not on the site of the Daily Telegraph, surely?

This quote from Harry Giles very neatly explains the difference between “censorship” and “editorial policy”:

“… the columnists get it wrong … most call the Observer’s decision “censorship”, without expanding what they mean by that. This makes it seem as if the Observer’s decision were equal with a government passing a law against a speech or a type of speech. Government censorship prevents all speech of a certain kind, or an instance of speech, from happening in a country. Newspaper censorship – another word for which is “editorial policy” – says “we do not think this kind of speech should happen in our house”. Granted, because newspapers have a particular important role in a free speech society, they should be more careful about restrictions in their editorial policy than I would about restrictions on my Facebook wall.”

That is part of an excellent blog post by Giles, called Julie Burchill, Newspapers and Freedom of Speech, that dissects Transgate in a cool, calm and steadfastly philosophical fashion. It’s one of the best analyses I have read about the whole matter, and avoids being confrontational, or emotional (which is pretty hard, considering the language used by both Burchill and Moore.) I highly recommend it.

And for more enlightened discussion of Transgate and the mainstream media’s reaction to the “Twitter storm” here is the Channel 4 News discussion:

Transsexual people and the online age of outrage
 

 

Posted by Niall O'Conghaile
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01.18.2013
02:23 pm
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In Response to Transgate: Elizabeth Veldon makes record label for gender variant and trans artists
01.17.2013
11:07 am
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Noise Artist, Elizabeth Veldon has announced that her record label Black Circle will only promote gender variant and trans artists, who will use the label as a place to air their views, for the foreseeable future. Veldon has told Dangerous Minds that her actions are in response to the recent transphobic articles in the British national press.

‘I am doing this in reaction against the surge in anti-trans articles published in the UK press. This began with Suzanne Moore refusing to apologize for a rather silly comment in the New Statesman, and instead throwing transphobic abuse at anyone who criticised her. She was then given a chance to make transphobic comments in the Guardian.

‘The Observer (the Sunday Guardian) then published an article by Julie Burchill, so full of hate speech that the public reaction against it forced the Observer to withdraw the article.

‘The apology the Observer put in place spoke of ‘causing offence’ but did not recognise that hate speech causes violence, causes hate.

‘This was followed by the Daily Telegraph republishing the article and the Independent publishing several articles defending Burchill and claiming that gender variant people complaining about her article where “a mob,” “bullies,” and “over sensitive.”

‘In addition Caitlin Moran, and the editors of the New Statesman, the Spectator and Vanity Fair have all came out to demand an oppressed minority to respect ‘bullies.’

‘In addition to this many cis gender (that is non trans) people commentating on the stories have sought to tell us what is and is not offensive to us.’

Black Circle is recognized as an important independent Noise and Avant Garde label, with a strong commitment to politics and activism. It also has ‘a policy of not giving a forum to people using hate speech, racist, sexist, homophobic, abelist or agist language.’

Veldon believes that by making Black Circle a focus for discussion on issues of gender, identity and sex, will help educate the public.

‘The intention is to allow those actually effected by this hate speech to have a voice which exists outside of the sound and fury of the comment boards of national newspapers, who would use our outrage to increase click rates and therefore to sell more advertising space.

‘I want to allow the voices of an oppressed minority to be heard, to allow us to contribute to this discussion in our own space and hopefully to educate some people.’

Black Circle have [square], Ars Sonor, Guillotine Munter and Pee-Tura and Elizabeth Veldon ready to release new work over the next few weeks.

The first release will be Elizabeth Veldon’s “A Prayer, A Benediction, A Curse”, which will be available as a digital download and limited edition tape. Veldon has also released “The Ever Present Fear Of Violence (For Julie Burchill)”.

Black Circle will also be releasing a zine, containing writing by all those involved with the releases.

More information from Black Circle here.
 

 
Previously on Dangerous Minds

Transgate: Liberal paper’s hateful editorial opens up ‘free speech’ floodgate


 

Posted by Paul Gallagher
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01.17.2013
11:07 am
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Transgate: Liberal paper’s hateful editorial opens up ‘free speech’ floodgate
01.14.2013
12:46 pm
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Yesterday British writer Julie Burchill published an opinion piece on the website of the Guardian Media Group that was a very open attack on the transgender community. She called them “bedwetters in bad wigs,” “shims”(!) and a whole host of other disgraceful terms. The full story is at Queerty.

While I take it she’s a nobody in the States, Burchill is well-known in the UK media for being a self-defined “feminist” who lashes out semi-regularly, and who constantly rabbits on about being “working class” even though her class status changed many, many years ago. Her transmisogynist article has created quite the media storm over here, and with good reason. Her bigoted words left readers agape, for all the wrong reasons, and have opened up a huge debate around feminism and discrimination, and in particular discrimination by certain types of feminists. 

Today I went on The Guardian’s “Comment Is Free” website and published a comment which took her exact words and swapped the gender of some of the people involved. Instead of referring to transgender people, I made the general beef to seem as if it is about women and feminism. I simply swapped out some words and terms, like a “Mad-Lib.”

To my surprise, the comment was deleted by The Guardian website’s moderators. For what exact reason, I don’t know, but it has left me bewildered.

Surely if they saw fit to publish Burchill’s original piece, they shouldn’t have had a problem with mine? After all, THEY ARE PRETTY MUCH THE EXACT SAME ARTICLE.

Personally, I don’t want to give any oxygen of publicity to this frankly terrible, woefully self-important writer, but if you really want to read what she has written, it’s here. Knock yourself out. In the meantime though, and for all the people who have been asking what the reaction would be if the article were aimed at another minority group, this is my original “Mad-Lib” of the piece.

Yes, this is offensive. To be clear, I do not stand behind or advocate any of the views published below. It’s satire. However, the original article was not, and was published on one of the biggest national news forums in Britain.

[...] I was incredulous to read that my friend was being monstered on Twitter, to the extent that he had quit it, for supposedly picking on a minority – women. Though I imagine it to be something akin to being savaged by a dead sheep, as Denis Healey had it of Geoffrey Howe, I nevertheless felt indignant that a man of such style and substance should be driven from his chosen mode of time-wasting by a bunch of chicks in slutty clothing.

To my mind – I have given cool-headed consideration to the matter – a gaggle of women telling Simon Moore how to write looks a lot like how I’d imagine the Black and White Minstrels telling Usain Bolt how to run would look. That rude and ridic.

Here’s what happened. In a book of essays called “Rad, The Whassup Anthology” Si contributed a piece about men’s anger. He wrote that, among other things, men were angry about “being criticised for not having the perfect bottom – that of a Scottish night bus driver”. Rather than join him in decrying the idea that every bloke should aim to think like an oven-ready heart attack, the very vociferous women’s lobby and their grim groupies picked on the messenger instead.

I must say that my only experience of the women’s lobby thus far was hearing about the vile way they have persecuted another of my friends, the veteran men’s rights and partner-ownership activist Jake Barrington – picketing events where he is speaking about such issues as the decriminalising of child labour just because he refuses to accept that their menopause is the most pressing problem that men – real and pussy-whipped – are facing right now.

Similarly, Simon’s original piece was about the real horror of the bigger picture – how the savagery of a few old hags is having real, ruinous effects on the lives of the weakest members of our society, many of whom happen to be men. The reaction of the women’s lobby reminded me very much of those wretched inner-city kids who shoot another inner-city kid dead in a fast-food shop for not showing them enough “Pokemon cards”. Ignore the real enemy – they’re strong and will need real effort and organisation to fight. How much easier to lash out at those who are conveniently close to hand!

But they’d rather argue over semantics. To be fair, after having their fannies all dried up (see what I did there?) by endless decades in academia, it’s all most of them are fit to do. Educated beyond all common sense and honesty, it was a hoot to see the screaming tarts accuse Si of male privilege; it may have been this that made him finally respond in the subsequent salty language he employed to answer his Twitter critics: “People can just fuck off really. Stick a pad up their kludge and be more ableist than me. Good for them.”

He, the other JB and I are part of the minority of men of working-class origin to make it in the female-dominated lesbian porn industry and I think this partly contributes to the stand-off with the hos. (I know that’s a wrong word, but having recently discovered that their lot describe men as ‘Bros’ – sounds like crow, dross, Bromley; all nasty stuff – they’re lucky I’m not calling them bitches. Or cunts.) We know that everything we have we got for ourselves. We have no family money, no safety net. And we are damned if we are going to be accused of being privileged by a bunch of dolly slags in fuck-me pumps.

It’s been noted before that cyberspace, though supposedly all new and shiny, is plagued by the age-old boredom of women telling men to shut-up and threatening them with all kinds of nastiness if they persist in saying what they feel.

The women’s lobby is now saying that it wasn’t so much the initial piece as Simon’s refusal to apologise when told to that “made” them drive him from Twitter. Presumably he is meant to do this in the name of solidarity and the “struggle”, though I find it very hard to imagine this mob struggling with anything apart from the English language and the concept of free speech.

To be born without a cock and then plead special privileges – above wholesome, natural men, who don’t know the meaning of suffering, apparently – is a bit like the old definition of chutzpah: the boy who killed his parents and then asked the jury for clemency on the grounds he was an orphan.

Bitches, hos, whatever you’re calling yourselves these days – don’t threaten or bully us lowly wholesome, decent men, I warn you. We may not have as two lovely big bouncing PhDs like you, but we’ve experienced a lifetime of pissing standing up and female admonishment and many of us are now staring Viagra and the middle-age spread straight in the face – and still not flinching. Trust me, you ain’t seen nothing yet. You really won’t like us when we’re angry.

So what do you think? Were The Guardian* website moderators right to remove this comment? If so, shouldn’t they also remove Burchill’s original article?

Thankfully, an awful lot of people have shared their disgust at Burchill’s bigotted nonsense, coming as it does from a supposedly “respectabe” liberal news outlet. The Guardian themselves published a retort from noted trans writer Roz Kaveney, and some brilliant replies have been published by Paris Lees (via Diva magazine) and Ruth Pearce (via the Lesbilicious blog).

Most interestingly of all, the right-wing paper The Telegraph (commonly known as “The Torygraph”) have published a thoughtful and inspiring response. Wait a minute, are the British press playing switcheroo with their political allegiances?!

*The Guardian is at serious pains to distance itself from the article, claiming it was published by the Guardian Media Group’s Sunday title The Observer, and not The Guardian newspaper itself. They now need to distance themselves from Julie Burchill full stop.

UPDATE:

The Guardian has withdrawn Burchill’s article and issued this statement:

We have decided to withdraw from publication the Julie Burchill comment piece ‘Transsexuals should cut it out’. The piece was an attempt to explore contentious issues within what had become a highly-charged debate. The Observer is a paper which prides itself on ventilating difficult debates and airing challenging views. On this occasion we got it wrong and in light of the hurt and offence caused I apologise and have made the decision to withdraw the piece. The Observer Readers’ Editor will report on these issues at greater length.

Posted by Niall O'Conghaile
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01.14.2013
12:46 pm
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‘Shadow Play’ and ‘Happy Homes’: Powerful new work by artist Sig Waller
01.12.2013
04:10 pm
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Artist Sig Waller has been very busy with 2 excellent new projects, Shadow Play and Happy Homes, both of which will form part of a new exhibition to be held later this month.

Sig’s latest work has been inspired by a 1950s book called “Happy Homes”, which is described on its frontispiece as “an indispensable guide to housewives and home lovers everywhere.”

Sig has sabotaged the book’s illustrations creating a humorous and pointed critique of the prescribed roles for women within the home. Shadow Play presents an unsettling cartoon figure manipulating a 1950’s housewife (excitedly frothing at the mouth with toothpaste?) through a series of household chores. While Happy Homes is bleaker and more critically of the enforced relationships between women and home, where objects objects and electrical goods take on a controlling, religious, almost sexual and menacing quality, with the figures isolated in darkened voids on blood soaked floors. The images are like stills from a David Lynch movie, but far more potent and disturbing, each creating their own narrative that leaves the viewer unsettled.

Shadow Play will form part of an exhibition called Happy Homes, which will feature work by Sig Waller and Chris Shaw Hughes. Here’s the blurb:

Family life tends to be portrayed as blissful, idyllic and safe, but reality often tells a different story.

In this show, Hughes and Waller explore the dark circumference of the family circle, exposing the crumbling façade and the unseen stories behind the saccharine smiles that stare out at us from family albums or media and advertising photography. What lies beneath this apparent perfection?

‘Happy Homes’ explores these boundaries, the everyday secrets that families seek to contain and withhold. Found imagery is given new meaning, reality is warped and altered – or is it?

They say “the camera never lies”, but the power of the photographed image lies in its ability to conceal or to contain both truth and falsehood. On closer inspection, the ordinary almost always becomes extraordinary.

Happy Homes opens on January 25th-February 17th, 2013, at Krefeld, 35 Blumen eV - Blumenstrasse 35 47799 Krefeld. More details here.

Shadow Play and Happy Homes on the Sig Waller site and on Facebook and Tumblr.
 
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Previously on Dangerous Minds

Beautiful Fevered Dreams: The Art of Sig Waller


Sig Waller: ‘Our capacity for cruelty and suffering is timeless, as is our ability to look away’


 
More of Sig Waller’s ‘Happy Homes’, after the jump….
 

READ ON
Posted by Paul Gallagher
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01.12.2013
04:10 pm
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Punk pussy power: Nina Hagen ‘masturbates’ on Austrian TV, 1979
12.19.2012
10:44 am
Topics:
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On August 9 1979, German punk diva Nina Hagen caused what was dubbed “the scandal of the year” on the Austrian youth culture TV talkshow Club2 when she demonstrated several optimal positions for female masturbation.

The (fully-clothed, sorry!) action takes place towards the very end, just after the hour and 28-minute mark, when she gets into a heated argument about female orgasms with one of the guests. I don’t speak German, but it’s pretty clear for all to see who loses the debate and it’s not Nina!

The guy sitting next to her is Ferdinand Karmelk, the father of her daughter, German actress Cosma Hagen. The duo perform a sort of unplugged version of NunSexMonkRock‘s “Future is Now,” here.

The host of the show was was obliged to step down over the incident.
 

 
Previously on Dangerous Minds
Pre-punk Nina Hagen in East Germany, 1974

Posted by Richard Metzger
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12.19.2012
10:44 am
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Beautiful Fevered Dreams: The Art of Sig Waller
11.20.2012
06:48 pm
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When the artist Sig Waller was a child, she experienced intense fever hallucinations. It possibly explains something about her paintings, which are beautiful, brightly colored, fluid, dreamlike, visions of reality. I find her work addictive, and am drawn back, time and again to certain paintings - paintings which seem as if she has made real some fragment of my dreams.

Waller’s first major exhibition was in 1996, and since then she has exhibited her paintings across the world. Her work is fabulous, intense, politicized yet often darkly amusing. There is a great intelligence at work here, which can be seen in such varied series as: Dreamlands (1999-2001) a series of channel-hopping images taken form television; Hotel Romantica (2002), sensuous paintings based on a pack of nude playing cards, which was stowed away on the Apollo 12 spacecraft during its November 1969 voyage to the moon; All That Is Solid Melts Into Air (2011) a series of paintings examining different forms of protest; which ties in with Burning Desire (2102) a series of paintings based on mobile ‘phone photographs of the Tottenham riots in 2011.

Sig (originally “S.I.G.” or “Spectrum is Green” from Captain Scarlett and the Mysterions) Waller divides her time between Brighton and Berlin, and is about to start an artist’s residency in Italy. I contacted Sig to find out more about her life, her inspiration and her childhood.

Sig Waller: ‘I grew up mainly on the Gower Peninsula near Swansea, Wales. My parents were foreign intellectuals - my father an American historian who dressed like a tramp and my mother an obsessively Francophile, German psychologist. Our house had no TV or telephone; pop music was banned, as were cinema visits. The only contact my sister and I had with popular culture was via comic books and story cassettes sent from Germany. We spent a lot of time at our grandparent’s house in the Saarland and I grew up bi-lingual with my mother’s French-influenced regional dialect as my first language.

‘My mother was horrified by life in South Wales and tried to create her own “Little Germany” within the walls of our house. This resulted in me reading Gothic tales in old German script dressed in Bavarian costume while my classmates wore t-shirts and watched Top of the Pops.

‘When I was 8 there was a period when I experienced some quite intense fever hallucinations. At the same time, I had Hauff’s dark tales swirling around in my head and this came to form the root of my fascination with the macabre and the grotesque. Stories such as “The Tale of the Hacked-off Hand” or “The Tale of the Ghost Ship” are still with me today.

‘One of my most formative childhood experiences was that of alienation. If a kid is different, the other kids will point and I got used to being pointed at. Later things changed and my parents got hip, dragging us to experimental theater performances and art movies. I remember the day I told them I wanted a record and their dumbfounded reaction. Prior to this, I’d been secretly listening to music on a small transistor radio in bed. Surprisingly, my mother entered into the spirit of things and started buying Brian Eno records and taking us to the ICA. At around this time I began to dye my hair and decided that it was okay to be different.

‘When I was little I wanted to be a clown or an artist. I loved Charlie Chaplin and Laurel and Hardy and was fascinated by the idea of the circus but as I was also quiet and shy I must have decided that art was the better option. I spent hours studying reproductions of paintings and imagining my future life as an artist. I didn’t think I was very good at drawing but held onto my fantasy and at around age 13 something strange happened and suddenly I could draw. I then spent most of my adolescence listening to obscure music, drawing and nurturing my teenage melancholia.

‘My first truly artistic (and coincidentally also comic) act took place in the baby cot, where I – left unattended – picked up one of my baby-poos and using it as a colouring stick, expressively daubed at the bars of my confinement. This event has been recounted to me on many occasions, usually in the presence of a new boyfriend, so it must be true.

Paul Gallagher: Tell me about Art College?

Sig Waller: ‘I was barely 18 when I moved to London to study Art and Art History at Goldsmiths. Back then the art college was at the Millard building in Camberwell and that place had an incredible atmosphere. I remember one afternoon, a guy came into the bar with a pistol and yelled, ‘Everybody get their hands up,’ and everyone just ignored him, it was that kind of place. People were generally too busy polishing their egos to notice the guy with the gun.

‘I started going to warehouse and squat parties and halfway through my first year at college I began living in squats. I continued with this life for the next 7 years and this gave rise to my interest in protest and rebellion.

‘While at college I began to paint with oils and use elements of my clothing in my work. I would walk around with slogans pinned to my back and these would eventually make their way into my paintings. One of my jackets became part of a painting too – I wore some very strange outfits; I guess it was a kind of performance I was engaged in, though it was more organic than contrived.

‘After college, I stopped painting and started making hats and other fluffy rubbish and selling these through markets and designer shops. I also did a Photo / Video foundation course, worked on music videos and animation and wrote a few film scripts.’

Paul Gallagher: From college, you moved to berlin, why and what happened?

Sig Waller: ‘I’d been fascinated by Berlin for years, its new wave and industrial music scene excited me and so many things seemed to be happening there. I first went to Berlin in 1989, just after The Wall came down and was there over the New Year, which was an incredibly intense experience. In 1995 my friend Volker Sieben invited me to live in his run down studio complex in Brunnenstrasse in Berlin-Mitte, so I packed my bags and drove there with a car full of fake fur, which I was going to turn into stuff to sell.

‘In 1996, I moved into a place on Reinhardstrasse, which was a stone’s throw away from the Reichstag. A new project space called C4 opened round the corner and in early 1998 I curated Blut & Blumen (Blood and Flowers) there. This marked a turning point for me as I began to revisit my childhood dream of being an artist. Some months later, I had a solo show at the Tacheles and painted my first oil paintings in 10 years.

‘In late 1998 I moved back to Brunnenstrasse, which is where I painted my extensive Dreamlands TV-zapping series which I showed as part of the Z2000 Festival in Berlin and also in New York in 2001. The flat on Brunnenstrasse was documented in a book called Berlin Interiors: East meets West.’

Paul Gallagher: What inspires you?

Sig Waller: ‘Dark things inspire me. And things that make me laugh. I find the combination of dark and funny particularly inspirational but I am also interested in art history and cultural theory; junk and found materials; chance encounters; future studies and science fiction; fairy tales, horror and the paranormal; expressionist cinema, cult movies and television; and obviously books and the internet are an endless source of inspiration, as are conversations with artists and friends…

‘Some of my work may appear to be quite militant, this is because I find a lot of political issues quite infuriating, so in a way my work is also a form of personal anger management and these more radical pieces are an expression of some of that rage.

‘Right now I’m feeling inspired by needle-crafting grandmothers everywhere, by all the people who spend hours making stuff in their living rooms, by my son’s infallible sense of humor, by the encouragement of others and by the many great and wonderful artists I’ve stumbled across over the years whose time has yet to come.

‘I’m also still a fan of Kippenberger, his work resonates to this day and a lot of the art I’ve seen in the past 20 years is simply imitation Kippenberger.

Out of the exhibitions I’ve visited recently, I found the Deller show at the Hayward the most engaging. Art can be political, but on some level it should also be enjoyable.
 
sig_waller_on_the_road
 
More from Sig Waller’s life and art, after the jump…
 
Previously on Dangerous Minds

S.I.G. Waller: ‘Our capacity for cruelty and suffering is timeless, as is our ability to look away’


 

READ ON
Posted by Paul Gallagher
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11.20.2012
06:48 pm
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NPR’s ‘This American Life’ host, Ira Glass instructs teenage girls on balloon animals and blow jobs
10.25.2012
09:25 pm
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Ira Glass
Lock up your daughters, Ira Glass will lead them astray
 
Did some one commission a video tailor-made to rouse the moral panic of my conservative grandpa? Let’s see: liberal arts darling National Public Radio? Yup. The acknowledgment of teen sex? Check. Balloon animals (or really, any artistic pursuit that isn’t portraiture of dead Europeans)? May god have mercy on our souls!.

The video is from Rookie, a culture blog (and now book) by and for teenage girls. Rookie regularly creates these awesome videos of adults answering teen girls’ questions with a gentle candor, including regular segment, “Ask a Grown Man,” and the companion “Ask a Grown Woman.”

It’s strangely hypnotic though, to watch a man listen and speak to teenage girls with such frankness and sympathy. It’s generally at the teen years when men become uncomfortable with girls, either due to seemingly volatile changes or the insinuation of impropriety that looms so heavily in our culture.

I’m reminded of when the protagonist of the 90s teen drama, “My So-Called Life” laments the growing distance between her and her father, saying, “My breasts have come between us.” Or in the Virgin Suicides, when the patriarch of a gaggle of daughters becomes nervous and distant as puberty appears to transform them into strange, mercurial, unrecognizable creatures.

Regardless, it’s refreshing, sweet, and honest to hear a dude tell a teen girl her crush doesn’t like her, but that it’s ok, and that blow-jobs really don’t need an elaborate introduction. I mean, I literally can’t remember a time when I thought they did, but I know blow-job etiquette was a mystery at some point, and god bless the godless liberal media informing the youth of today!
 

 

Posted by Amber Frost
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10.25.2012
09:25 pm
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