Kidney Stones of the Soul

Thomas Hirschhorn: Resistance-Subjecter (2011) 

Gladstone Gallery, NY and Brussels

According to folk psychologist James Hillman, there are psychic crystallizations formed by material experience and memories which potentially cause blockages in the unconscious. 

I suppose we might think of these as kidney stones of the soul; equally discomforting, though perhaps far more hazardous to the health and well-being of the individual if they can't find a way to dissolve these deposits and release the energy they contain in a positive manner. 

Ultimately, if you don't learn how to piss the past away then you run the risk of ever-increased calcification; that is to say, if you obsessively keep looking back upon a life gone by, then, like Lot's wife, you'll turn into a pillar of salt - and that's never pleasant.    

All of which brings us to Thomas Hirschhorn's terrifying sculpture entitled Resistance-Subjecter (2011), in which a group of mannequins - bodies violently exploded or eaten away from within as evidenced by gaping wounds and cavities - are in a process of becoming-mineral.     

I'm aware that the politically-engaged and philosophically-informed Hirschhorn has his own very clear ideas concerning his work. As a Marxist, he's obviously concerned with what he would think of as the hard reality of things and this piece could, for example, be read in these terms. 

But, for me, this work is more than that and more than simply a rather banal reflection on the objectification and commodification of the human being within consumer capitalism as one critic suggests; more too than merely a warning about the corrosive effect of the gaze. 

Rather, it's a reminder to drink plenty of water and never allow tiny elements of the self to harden too much: love that which melts into innocence and forgetfulness; hate that which solidifies and endures.      

Notes: 

The above work by Thomas Hirschhorn can be viewed as part of The Human Factor: The Figure in Contemporary Sculpture, an exhibition curated by Ralph Rugoff at the Hayward Gallery, London (17 June - 14 September).

Thanks to Dr. Simon A. Thomas for the insight into James Hillman. 

 

These are a Few of My Favourite Things: Pop Singles (Top 40)

I have spoken elsewhere on the political and philosophical importance of lists, but we should not overlook the pleasure aspect: quite simply, lists make happy; they are fun (if sometimes tricky) to write and fun to read. 

So, here's a list of some of my favourite singles, assembled not in order of preference nor following a critical assessment of artistic value, but alphabetically by the name of the singer, group, or producer that I associate most closely with the track. 

For compiling lists should not be simply another excuse to exercise judgement and construct hierarchies. I love all of these records - not equally, but in any order that one might choose to play them and the only logic that links them is the fact that they continue to give pleasure and make me want to sing, dance, fuck, cry, or start a revolution. 

Six further points to note concerning the selection:

(1) I've chosen only records that were released from 1972 onwards; i.e. from the year when I bought my first 7" single: The Osmonds, Crazy Horses. Obviously, there's a bias towards songs from this and the following decade, but I've included one or two more recent tracks and I'm certainly not of the view that things were better when I was young than they are now - musically or in any way. 

(2) I've chosen only one single by any one artist. Obviously I could list several by those artists of whom I am especially fond, but I didn't want to do that.

(3) I have also limited the list to a top forty, which invariably means that some favourite songs and some favourite artists are absent.

(4) Although there are different genres of music represented on this chart (such as punk, disco and rap), I don't see why anyone would object to them all being referred to ultimately as forms of pop. I have no time for snobbery in this area. 

(5) The dates refer to the year of release as a single and not year of composition, or first appearance on an album.

(6) Finally, all these songs (with accompanying videos) can be found on YouTube if interested. Enjoy!


Abba, The Winner Takes It All (1980)
Adam and the Ants, Stand and Deliver (1981) 
Alex Guadino, ft. Crystal Waters, Destination Calabria (2007) 
Beyoncé, ft. Jay-Z, Crazy in Love (2003)
Black Eyed Peas, Pump It (2005)
Bow Wow Wow, C-30, C-60, C-90 - Go! (1980) 
Britney Spears, If U Seek Amy (2009)
The Creatures, Right Now (1983)
The Cure, Why Can't I Be You? (1987)
David Bowie, Life on Mars (1973)
Dead Kennedys, Holiday in Cambodia (1980)
Donna Summer, I Feel Love (1977)
The Darkness, I Believe in a Thing Called Love (2003)
Eminem, The Real Slim Shady (2000)
Fat Les, Vindaloo (1998)
Fugees, Ready or Not (1996)
Gary Glitter, I Love You Love Me Love (1973)
Iggy Azalea, Pussy (2011) 
Joy Division, Love Will Tear Us Apart (1980)
Kate Bush, Hounds of Love (1986)
Killing Joke, Adorations (1986)
Lady Gaga, Bad Romance (2009)
Malcolm McLaren, Double Dutch (1983)
Nirvana, Smells Like Teen Spirit (1991)
The Osmonds, Crazy Horses (1972)
Public Image Ltd., Memories (1979)
Queen, Bohemian Rhapsody (1975)
Regina Spektor, Us (2004)
Sex Gang Children, Sebastiane (1983)
Sex Pistols, Anarchy in the UK (1976)
Slade, Cum on Feel the Noize (1973)
Soft Cell, Say Hello, Wave Goodbye (1982)
Sparks, This Town Ain't Big Enough For Both Of Us (1974)
The Specials, Ghost Town (1981)
Suzi Quatro, Devil Gate Drive (1974) 
Sweet, Block Buster (1973)
t.A.T.u., All the Things She Said, (2002)
The Undertones, My Perfect Cousin (1980)
Underworld, Born Slippy (1995)
X-Ray Spex, Identity (1978)

Who's That Girl?

Paul MacCarthy: That Girl (T.G. Awake), 2012-13

Photo: Copyright © Hauser and Wirth, 2014

If any artwork has ever solicited (and problematized) the viewer's gaze in a more challenging and slightly unnerving manner than Paul MacCarthy's That Girl (T.G. Awake) then, if I'm honest, I'm not sure I want to see it. 

Although not billed as the main attraction of the current Hayward exhibition on contemporary figurative sculpture, MacCarthy's hyperreal and clone-like figures - three silicone versions of the same girl sitting naked, legs apart, on glass-topped trestle tables - are nevertheless the stars of the show and, I think, deservedly so.

For whilst there might be issues of cynical exploitation and rather lazy porno-sensationalism, one ultimately comes away wanting to know more about the young woman who so courageously dared to expose herself in this manner and submit to the intensive, intimate, and extremely messy modelling process (as documented in the accompanying video T.G. Elyse (2011)).  

And this desire to name and to provide a personal history or biography - to effectively bring a dead object to life - is to experience what obsessed and tormented Pygmalion. Thus, in this way, MacCarthy achieves something extraordinary; he allows us to directly share in the primal (erotic) fantasy of art and to feel what he feels, not simply see what he sees.    

Notes: 

The above work by Paul MacCarthy can be viewed as part of The Human Factor: The Figure in Contemporary Sculpture, an exhibition curated by Ralph Rugoff at the Hayward Gallery, London (17 June - 7 September 2014).

That Girl is Elyse Poppers; a twenty-something American actress who has effectively become a muse to MacCarthy, having appeared in two of his films - Rebel Dabble Babble (2012) and WS (2013) - as well as in the work discussed above.  

The Little Dancer: Armed and Dangerous

Yinka Shonibare MBE: Girl Ballerina (2007) 

 Photo © Yinka Shonibare MBE / Courtesy James Cohan Gallery, NY 

and Stephen Friedman Gallery, London

Most people instantly recognise Degas's sculpture of The Little Dancer Aged-Fourteen (1880-81) with her hands held politely (somewhat nervously) behind her back as if tied; eyes closed and face lifted as though waiting to receive an unwelcome kiss from an ardent male admirer.

Originally sculpted in wax and fitted with a bodice, a tutu, and a pair of ballet shoes - not to mention a wig of real human hair tied with a ribbon - la petite danseuse was first cast in bronze in 1922, four years after the artist's death.

Since then, the numerous reproductions displayed in museums and galleries around the world have enchanted - or troubled, depending upon your perspective - generations of viewers and she has become an established figure not only in the image-repertoire of modern cultural history, but also in the popular and pornographic imagination; everyone loves her and Degas makes back stage johnnies of us all complicit in child prostitution, paedophilia and art.     

This pervy aspect of the sculpture has long been recognised. Indeed, when first shown in Paris at the Sixth Impressionist Exhibition, the majority of critics were outraged; one described the Little Dancer as a fleur du mal who blossomed with precocious depravity and had a face which betrayed a wicked character, marked by the hateful promise of every vice; a promise that doubtless many of these hypocrites wished to hold her to.     

Certainly neither they nor anyone since has ever done much to free, as it were, the Little Dancer from the sexually objectifying gaze of the knowing male voyeur or would-be rapist, or to provide her with the means by which she might defend herself and accomplish her own liberty. Until, that is, two London-based artists, Ryan Gander and Yinka Shonibare MBE, decided to revisit and rework this piece each in a very wonderful manner by assigning independent and rebellious agency to the young girl.  

In Gander's work Come up on different streets, they both were streets of shame Or Absinth blurs my thoughts, I think we should be moving on (2009),  Degas's dancer has abandoned her plinth and escaped any glass display case that might have previously been used to imprison her and made her way to the window which she peers out of standing on tiptoes. She is thus, in the words of Ralph Rugoff, Director of the Hayward Gallery, "transformed from an object of desire into a figure enacting its own desires to explore the surrounding world".

In the earlier I don't blame you, or, When we made love you used to cry and I love you like the stars above and I'll love you 'til I die (2008), his bronze ballerina is seen taking a crafty cigarette break, having again stepped down from the pedestal on which in her earlier incarnation she stood for over eighty years, bored out of her mind. 
  
As much as I like these pieces by Gander, I have to express a preference ultimately for Shonibare's work entitled Girl Ballerina (2007), pictured above. Life-sized, as opposed to Degas's dancer who was diminished in stature, and looking tanned of skin and colourful of dress, there are two startling aspects to the sculpture.

Most immediately noticeable is the fact that she's headless, which, speaking from an acephalic philosophical perspective informed by Georges Bataille, is always a good sign; a girl who has escaped from her head finds herself unaware of prohibition and she makes others laugh with revolutionary joy due to the fact that she perfectly combines innocence with criminal irresponsibility.

This brings us to the second startling aspect; the fact that she holds a large gun behind her back and has her finger on the trigger - ready to shoot anyone who would violate her sovereignty or think of her as easy prey. Shonibare's ballerina does not passively conform to male desire or acquiesce in her own subordination; she is not a sexual naif, but more of a sex pistol: bang, bang she'll shoot you down ...


Notes: 

The above works by Ryan Gander and Yinka Shonibare MBE can be viewed as part of The Human Factor: The Figure in Contemporary Sculpture, an exhibition curated by Ralph Rugoff at the Hayward Gallery, London (17 June - 7 September 2014). 

The quotation from Ralph Rugoff is taken from his introductory essay to the book that accompanies the exhibition, The Human Factor, (Hayward Publishing, 2014), p. 12. 

Edwige Fenech (Queen of Italian Cinema)

According to her fans - of whom there are many, including Quentin Tarantino - Edwige Fenech is la piu bella donna del mondo and I wouldn't wish to dispute for one moment her obviously strong claim on this title, even if it remains highly contestable.

Born in French Algeria on Christmas Eve, 1948, to a Maltese father and a Sicilian mother, Miss Fenech made her name in the Italian film industry. Although she performed in various movies, she will be forever associated with the spaghetti sex comedies made in the 1970s, such as Ubalda, All Naked and Warm (dir. Mariano Laurenti, 1972) which established the commedia sexy all'italiana as a distinct genre.  

Miss Fenech also regularly starred in works of Italian pulp fiction or giallo during this period, including the Edgar Allan Poe inspired Your Vice Is a Locked Room and Only I Have the Key (dir. Sergio Martin, 1972).

Such works combined elements of the crime thriller with the horror film in a distinctly Italian manner, providing plenty of opportunity not only for excessive and often gruesome violence, but also a liberal exposure of female flesh. Typically, the plots would involve a psycho stalking and slaying numerous young women - usually when naked in the bathroom, or scantily clad in the bedroom. If a supernatural element could also be worked into the story then so much the better.       

Despite these rather trashy, somewhat sensational and heavily stylized elements, the films were often extremely well made with imaginative camerawork and daringly expressive soundtracks. And whilst clearly influenced by American film making and popular culture, they in turn influenced a generation of Hollywood directors; Tarantino again comes to mind as an obvious example and it's nice to note that Miss Fenech accepted the latter's personal offer as producer to appear briefly in Eli Roth's torture porn epic of 2007, Hostel Part II, as an art teacher. 

One hopes that Edwige will continue to grace the silver screen for many years to come, as she does our dreams, our memories, and our fantasies. 

On the Militant Virginity of Joan of Arc

A very beautiful digital painting of Joan of Arc 

by Mathie Ustern on deviant-art.com 

Beginning with True Love Waits in 1993 and the Silver Ring Thing in 1995, there have been any number of virginity pledge programmes impacting (for better or for worse) upon the sex lives of millions of young women all over the world. 

Mostly this has been an American phenomenon initiated by conservative Christian organizations and churches in the United States who fetishize a notion of moral purity which, strangely, can be compromised by what a girl may choose to do with her vagina in an extra-marital context.  

Obviously, this is not something I would support.

However, I am interested in the idea of what might be characterized as a militant form of virginity; i.e. one in which it is not female chastity which is the major concern per se, but female autonomy; one in which the girl does not pledge herself to daddy, to God, and a future husband, but rather commits to her own empowerment, demanding full rights over her own body (socially and politically as well sexually); one in which she gets to wield a sword like Joan of Arc, and not simply wear a wedding band.

As Andrea Dworkin points out, for women inspired by her legend, Joan is a hero "luminous with genius and courage, an emblem of possibility and potentiality consistently forbidden, obliterated, or denied by the rigid tyranny of sex-role imperatives or the outright humiliation of second-class citizenship".

And central to this was her virginity; she chose to make war, not love; to be free, not screwed into place.

That is to say, her virginity was not intended to signify her purity, or preciousness as a sexual commodity to be traded. Rather, it was "a self-conscious and militant repudiation of the common lot of the female with its intrinsic low status, which, then as now, appeared to have something to do with being fucked".

Dworkin continues:

"Joan wanted to be virtuous in the old sense, before the Christians got hold of it: virtuous meant brave, valiant. She incarnated virtue in its original meaning: strength or manliness. Her virginity was an essential element of her virility, her autonomy, her rebelliousness and intransigent self-definition. Virginity was freedom from the real meaning of being female; it was not just another style of being female. ... Unlike the feminine virgins who accepted the social subordination while exempting themselves from the sex on which it was premised, Joan rejected the status and the sex as one thing ... She refused to be fucked and she refused civil insignificance: and it was one refusal ... Her virginity was a radical renunciation of a civil worthlessness rooted in real sexual practice."

If I were a thirteen-year-old girl today, I like to think that I would have a poster of Joan of Arc above my bed rather than Miley Cyrus or Justin Bieber and be proud of my virginity - not as something puerile and determined by men who secretly lust to take it, but as something active and indicative of resistance to all forms of phallocratic tyranny.


Note: The lines quoted from Andrea Dworkin can be found in Intercourse, (Basic Books, 2007), on pp. 104-06. 

Like a Virgin: Madame B. and Lady C.

Illustration of Gustave Flaubert and Mme. Bovary

from online arts and culture magazine Salon

http://www.salon.com/2005/08/21/flaubert/   

According to Andrea Dworkin, the modern era of rebellious married women who seek freedom via adultery and sexually transgressive acts begins with Madame Bovary (1856): she is the first in a long line of female characters for whom heroism consists in taking a lover and experiencing a genuine orgasm; i.e. in being fucked and fucked good.

But, somewhat paradoxically, Emma Bovary also redefines virginity as well as heroic rebellion. For according to Flaubert, a woman who has not been overwhelmed by sexual passion, not broken the law in order to be carnal - who has been fucked by a husband, but never been truly touched or transformed by her experiences in the marital bedroom - remains essentially a virgin and a type of slave who leads an unfulfilled life of domestic boredom and impoverished fantasy.

Of course, poor Emma's story ends tragically; she mistakes illicit romance for action in the real and wider social world and fucking becomes for her a "suicidal substitute for freedom", as Dworkin rightly notes. This, however, has not prevented a long line of writers finding inspiration in her sorry tale and inventing their own virgin wives whose only hope lies in what Lawrence describes as a phallic hunting out and which involves anal as well as vaginal penetration by the male.

In fact, it might be argued that Lawrence's Lady Chatterley's Lover is the ultimate example of this phallocentric and phallocratic fantasy in which a woman, if she is to be liberated, must be repeatedly stripped and penetrated (or pierced, as Lawrence writes - as if it were a knife or sword rather than a penis forcefully entering and occupying her body). 

Connie risks her life, but she is happy to die a poignant, marvellous death just so long as she is fucked; the one thing she really wants regardless of consequences and despite the fact that during her night of sensual passion she is almost unwilling, a little frightened, and obliged to be but a passive thing. 

It's over eighty-five years since Lawrence wrote his last and most notorious novel, but the model of female sexuality based upon a metaphysical virginity which he helped shape is one which continues to grip the pornographic imagination and continues to exercise a real effect over the lives of real women as an obscene form of categorical imperative.

As Dworkin writes: "no matter how much [women] have fucked ... no matter with what intensity or obsession or commitment or conviction (believing that sex is freedom) or passion or promiscuous abandon", it's never enough; these dumb bitches never learn! And so they must keep consenting to penetration, being desirable, looking hot (the pressure to do so being exerted across an ever greater age-range; from pre-pubescent girls to post-menopausal grandmothers).

Surely it's time to notice that whilst more girls and women are freer than ever to get fucked, they are still unable to share "a whole range of feelings, express a whole range of ideas, address [their] own experience with an honesty that is not pleasing to men, ask questions that discomfit and antagonize men in their dominance".      

And surely it's time to admit - without denying the great beauty and brilliance of their work - that dead male novelists, poets, and philosophers might not be best placed to help us all move forward into a world after the orgy.


Notes

See Andrea Dworkin, Intercourse, (Basic Books, 2007). The lines quoted are on pp. 140, 151 and in the 1995 Preface, pp. xxxiii-iv.

See also D. H. Lawrence, Lady Chatterley's Lover, ed. Michael Squires, (Cambridge University Press, 1993), chapter sixteen. The italicized words are Lawrence's own.   

    

The Museum of Failed Products

 The Museum of Failed Products: Photo by Kelly K. Jones 

The Guardian, 15 June 2012

According to Oliver Burkeman, the vast majority of new consumer products - like new lifeforms - are destined to fail; to quickly and somewhat mysteriously be withdrawn from sale and so to vanish forever from the supermarket shelves back into the capitalist void.    

Or, more accurately, these thousands upon thousands of things - ranging from non-perishable food items and household goods to toiletries and innovations in pet care - find themselves stored for all eternity on the grey metal shelves of what has become known as the Museum of Failed Products. 

Operated by GfK and based in a business park outside the city of Ann Arbor in Michigan, the Museum of Failed Products is a place which at first makes you want to laugh and then, as the full horror of so much waste and failure hits home, makes you want to cry.

The Japanese have a phrase - mono no aware - which captures this bittersweet feeling, referring as it does to the pathos of things; i.e. to what we experience when confronted by the transient and tragicomic nature of existence and the futility of all human effort in the face of this.      

We can keep inventing, keep producing, and keep marketing new goods, but, ultimately, we too will end up being assigned a place on the shelves of the Museum of Failed Species. For just as the marketplace can do without yoghurt shampoo or breakfast cola, so too can the universe do without us.


Link: Oliver Burkeman's article in The Guardian that inspired this post can be found at: 
http://www.theguardian.com/lifeandstyle/2012/jun/15/happiness-is-being-a-loser-burkeman

My thanks to Simon Thomas for initially bringing this article to my attention. 

Aly Buttons: On Her Lumpiness and Loveliness

Photo by Nina Lin (2011)

Not all young women can be stick thin like fashion models. But this doesn't mean that they can't be beautiful. 

This is a realization that alternative fashion and lolita lifestyle blogger Aly Buttons (aka Miss Lumpy) happily arrived at following a period during which, like many girls, she hated and starved her body in an attempt to conform to an ideal shape.     

The post in which she writes about this - about how her self-loathing gave way to self-acceptance - is open and honest, even if it's not entirely convincing (one suspects, for example, that she'd still like to drop a dress size if possible) and even if there are some things that one might find troubling as a feminist (her obvious need for male validation and boyfriend approval). 

    

Still, I don't want to be harsh or judgemental here; particularly with reference to this latter point. Perhaps we all need to see ourselves reflected in the adoring eyes of a lover and not just in our bedroom mirrors or as selfies on the screens of our i-Phones before we can truly feel beautiful and desirable. 

Maybe the fact that we're never absolutely self-contained or completely independent - that we need one another - is what makes us human. And this includes needing others to compliment us on our looks (our faces, our hair, our smiles, our make-up, our bodies, our clothes, our shoes, etc).

And so, Miss Lumpy, let me reassure you that there is no form of beauty more poignant than that which you model so wonderfully. The complex sweetness of your features - including the lily-white complexion and well-defined contours of your mouth - eclipse the most perfectly assembled of conventional faces. You have transformed your life into a work of art and a miracle of heroic survival. 

Yours is a beauty born of resistance to "so many physical and mental corsets, so many constraints, crushing denials, absurd restrictions, dogmas, heartbreaks, such sadism and asphyxiation, such conspiracies of silence and humiliation", that it signals a daring revolt into style. And for this, I admire you hugely - lumps and all.
           

Note: quotation from Amélie Nothomb, Fear and Trembling, trans. Adriana Hunter (Faber and Faber, 2004), p. 66.

Link: http://www.herlumpiness.com/2010/06/lumpy-gets-personal.html

These are a Few of My Favourite Things: Novels

I have spoken elsewhere on the political and philosophical importance of lists, but we should not overlook the pleasure aspect: quite simply, lists make happy; they are fun to write and fun to read.

So, here's a list of my thirteen favourite novels - assembled not in order of preference nor following a critical assessment of literary value, but alphabetically by author name. For compiling lists should not be simply another excuse to exercise judgement and construct hierarchies. I love all of these books, not equally, but in any order that one might care to suggest and the only logic that links them is the fact that they have continually given amorous pleasure. 

Two final points to note: Firstly, I've selected only a single title by any one author. Obviously I could list several by those writers, such as Lawrence, of whom I am especially fond, but I didn't want to do that. Secondly, I have given the titles of non-English books in translation, but shown the publication date for the original text.  

Kobo Abe, The Woman in the Dunes, (1962)

J. G. Ballard, Crash, (1973)

Georges Bataille, The Story of the Eye, (1928)

Emily Brontë, Wuthering Heights, (1847)

Nathaniel Hawthorne, The Scarlet Letter, (1850)

Michel Houellebecq, The Possibility of an Island, (2005)

D. H. Lawrence, Women in Love (1920)

Clarice Lispector, The Hour of the Star, (1977)

Henry Miller, Tropic of Cancer, (1934)

Vladimir Nabokov, Lolita, (1955)

Amélie Nothomb, The Book of Proper Names, (2002)

Leopold von Sacher-Masoch, Venus in Furs, (1870)  

Oscar Wilde, The Picture of Dorian Gray, (1890)