Augustin Rebetez gives answers to questions that are as quirky and idiosyncratic as his films.
The Swiss conceptual photographic artist and film-maker describes himself as “a sad child full energy.” I don’t know whether he is sad or not, but his work is certainly full of energy and boundless imagination. I was particularly impressed with his stop animation film The Dinner of the Lonely Man, which he tells me was made “With my hands” over “Some nights.”
It is a beautifully eerie, funny, Lynchean dream, that tells the story of “The painting of Ulf, the old owner of a house in Norway who was living there alone.” Now you know.
This isn’t his only film, “The others who exist already are more epileptic that this one,” and his work has been exhibited and screened across the world.
Augustin’s only aim when making art or films is: “I try to be honest and to present good stuff.” He certainly does that, and in an amusing and highly original way.
He is currently working on “Some stuff, one new film which is called maison.” Check out more from the highly talented Mr. Rebetez here.
Dangerous Minds reader Chris Bickel says, “This is a picture of me with Mary Woronov taken just last weekend. When I asked her if I could get a picture of her handing me a Pepsi, she knew instantly what I was referring to.”
Poet Adrienne Rich was a pioneering feminist and alchemist. Her alchemical compounds were composed of vowels and consonants. She showed us that words, spun from a revolutionary tongue, point the direction while embodying the essence of the destination. The poem arrives at itself with the immediacy of sunlight striking glass.
In this fascinating but (far too) short clip, Alan Moore gives an introduction to the work of artist Austin Osman Spare (1886-1956), who he describes as “one of the most over-looked figures in British art history”. The obituaries for Spare’s death remarked “England had lost one of its best ever nude study artist.” Nearly sixty years after his death, little is known about the artist outside of knowledgeable and specialist circles.
But Spare wasn’t only an incredible artist, as Moore points out, he was also “possibly the greatest English magician of the twentieth century.”
“I think that Magic offers the artist a new way of looking at their consciousness, and of looking at where they get their ideas from.”
Spare was an artistic prodigy, who was the youngest exhibitor at the Royal Academy, London. At the same time, he was developing his own esoteric beliefs, which brought him into contact with Aleister Crowley, and a relationship of sorts began, with Spare contributing illustrations to Crowley’s magazine Equinox. However, the friendship foundered and Spare alluded to Crowley in his book The Book of Pleasure:
“Others praise ceremonial Magic, and are supposed to suffer much Ecstasy! Our asylums are crowded, the stage is over-run! Is it by symbolising we become the symbolised? Were I to crown myself King, should I be King? Rather should I be an object of disgust or pity. These Magicians, whose insincerity is their safety, are but the unemployed dandies of the Brothels.”
Yet Spare did not give up on magic completely, rather he began his own particular mix of “repressed magic”, which fed directly into his art work. Spare became known for his “automatic drawing” - allowing himself to act as a medium to spirits to guide his pencil, creating inter-twined images of figures and faces on a page.
There are many different stories (some more incredible than others) about Spare and his involvement with magic and the spirit world. He was said to have the power of divination and premonition, and could accurately predict events long before they took place. He was also know for his dialog with “spirits” and “demons”, and after a fire at his studio, he fell under a mysterious ailment which left him unable to paint for 5 years.
Spare’s work had some odd admirers, in particular Adolf Hitler, who asked him to paint his portrait. Spare refused believing Hitler to be evil, and if he were a Superman, Spare was claimed to have said in reply, then he would prefer to live as an animal.
Here’s a clip from Acid Delirio Dei Sensi (Acid, Delirium Of The Senses), a very obscure acid exploitation film directed by Giuseppe Maria Scotese. Italian language bootlegs on DVD are available of this over-the-top psychedelic mindbender. I’ve yet to find one with English subtitles.
While few people have actually seen the film, poster art for Acid Delirio Dei Sensi is coveted among collectors. I own two, which I purchased 20 years ago before they became priceless.