Isotopica

Todays detour starts at the setting up of the unfunfair at beaconsfield gallery in lambeth, an intervention in the large arch space, a test bed, and a quick show of this years studio works

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Franz Anton Mesmer (May 23, 1734 – March 5, 1815) sometimes incorrectly referred to as Friedrich Anton Mesmer, was a German physician with an interest in astronomy, who theorised that there was a natural energetic transference that occurred between all animated and inanimate objects that he called magnétisme animal (animal magnetism)[1] and other spiritual forces often grouped together as mesmerism. Mesmerism is considered to be a form of vitalism and shares features with other vitalist theories that also emphasize the movement of life "energy" through distinct channels in the body. In 1843 James Braid, a Scottish physician proposed the term hypnosis for a technique derived from magnetism but more limited in its claimed effects, and also different in its conception. Mesmer's name is the root of the English verb "mesmerize".

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episodes above are

1 the visit to phlight

2 the trip to leeds

CHANCE: A THROW OF THE DICE

Leeds MA Art and Design have worked with the artist and broadcaster Simon Tyszko. His practice is an example of how spoken transmission (radio broadcast), and object making (specifically the installation of objects) also adjust our experience to the living-space of art, co-extensive in public and private realms; unseen, or unheard; and how we compose our experience through chance encounters to revisit an event.

The panel will ask how chance is to be anticipated, put into play, and it might define an encounter with an object’s undecideable and transitory character. A Throw of the Dice Un coup de dés jamais n’abolira le hazard - (A throw of the dice will never abolish chance) Stephane Mallarmé The concept A throw of the Dice derives from a project that has looked at how Stephane Mallarmé composed the poem Un coup de dés over a hundred years ago in 1897 which anticipated, by the ‘logic’ of chance, a kernel of mathematical truth. Art is a performative signifier that placed onus on the spectator and reader as creator and interpreter of a work. What is chance, but an event that deters all predictable outcomes? Where does the contemporary artist, designer or curator locate chance as part of a practice?

The relation of chance to visibility/invisibility is one that is raised through the public space of performance and dialogue. Since Mallarmé’s work resounded in how it ‘sounded’ differently through repeated readings and how words slipped across signification to mean other things at other imagined times, the poem is evocative of figures and yet also constituted as a precise technology of musical arrangements and visual metaphors. We have invited speakers who are artists who are also practitioners in the fields of music, journalism, and criticism to discuss the power of chance operating outside the official cultural signs of the ‘voice’ by multiple readings of the text. This becomes very apparent in rereading the work Un coup de dés. It is on this basis that the MA participants have developed responses to present a constellation of new works under the umbrella of Un coup de dés that interrogate avant garde practice, as a constant need for repetition in the ‘throwing the dice’. It is precisely why, we ask, the avant-garde cannot take place, or throw the dice, once and for all times, ‘but must be permanently repeated to resist permanent historical change and chronic lack of time.’ Boris Groys ‘At the beginning of his Lectures on Aesthetics, Hegel asserted that in his time, art was already a thing of the past. Hegel believed that, in the time of modernity, art could no longer manifest anything true about the world as it is. But avant-garde art has shown that art still has something to say about the modern world: it can demonstrate its transitory character, its lack of time; and to transcend this lack of time through a weak minimal gesture requires very little time—or even no time at all. Boris Groys, The Weak Universalism e-flux journal 2010

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Talk

A panel discussion with Peter Fillingham, artist, curator and academic, Nooshin Farhid, artist and curator currently lecturing at Central St Martins, University of the Arts, London; Colm Lally, Artist and Director of Event Gallery; Giorgio Sadotti, artist; Peter Suchin, artist and critic for Art Monthly, Frieze; Simon Tyszko, artist and broadcaster for Resonance Radio FM; Dr Cecilia Wee, Lecturer in Communications at Royal College of Art, musicologist, and broadcaster for Resonance Radio FM; and Elizabeth Wright, artist and Pathway Leader in 3D at Central St Martins,

What a treat for me.......

Isotopica at 3pm – Stuart Brisley, Godfather of British Performance Art

May 7th, 2013

Cultural sonic detours with artist Simon Tyszko in Isotopica at 3pm. Today: the eternal and subversive Godfather of British Performance Art, Stuart Brisley. Picking from over five decades of works and actions at the very edges of contemporary art, Simon discusses topics ranging from Stuart’s blacklisting by the British Council, setting fire to the outside of Tate Britain, and Agitation Propaganda. [Repeated Sunday 6am.]

At 3pm in Istopica, artist Simon Tyszko considers madness, using interviews, field recordings and sonic collage in a programme which promises to be very dark. Note: some listeners may find the graphic descriptions of the hazards of drug usage disturbing.

Indeed! Considering my own dalliance with curious mental health (addiction, depression, the vapours), this is first in an occasional series on the human psyche.

scorpion brand heroin ready to go

the foulest legacy

Born: October 13, 1925, Grantham

Died: April 8, 2013, London

t he solution

After neoliberalism:

analysing the present

Stuart Hall, Doreen Massey

and Michael Rustin

The founding editors of

Soundings

set out the framing

analysis for our online manifesto.

W

ith the banking crisis and the credit crunch of 2007-8, and their

economic repercussions around the globe, the system of neoliberalism,

or global free-market capitalism, that has come to dominate the world

in the three decades since 1980, has imploded. As the scale of toxic debt became

evident, credit and inter-bank lending dried up, spending slowed, output declined

and unemployment rose. The system’s vastly inflated financial sectors, which

speculate in assets largely unrelated to the real economy of goods and services,

precipitated an economic crisis whose catastrophic consequences are still unfolding.

We believe that mainstream political debate simply does not recognise the

depth of this crisis, nor the consequent need for radical rethinking. The economic

model that has underpinned the social and political settlement of the last three

decades is unravelling, but the broader political and social consensus apparently

remains in place. We therefore offer this analysis as a contribution to the debate,

in the hope that it will help people on the left think more about how we can shift

the parameters of the debate, from one concerning small palliative and restorative

measures, to one which opens the way for moving towards a new political era and

new understandings of what constitutes the good society.

1

For three decades, the neoliberal system has been generating vast profits

9

After neoliberalism: analysing the present

for multi-nationals, investment institutions and venture capitalists, and huge

accumulations of wealth for the new global super-rich, while grossly increasing

the gap between rich and poor and deepening inequalities of income, health and

life chances within and between countries, on a scale not seen since before the

second world war. In North America and Western Europe - hitherto dynamos of

the global economic system - rates of

growth are now lower than during the early

post-war decades, when there was a more even balance of power between the social

classes. There has been a steep decline in manufacturing and a hot-house expansion

of financial services and the service economy; and a massive shift of power and

resources from public to private, from state to market. ‘The market’ has become the

model of social relations, exchange value the only value. Western governments have

shown themselves weak and indecisive in responding to the environmental crisis,

climate change and the threat to sustainable life on the planet, and have refused to

address the issues in other than their own - market - terms.

Likewise, the financial crisis has been used by many Western governments as a

means of further entrenching the neoliberal model. They have adopted swingeing

‘austerity measures’ which, they claim, is the only way of reducing the deficits

This weeks Isotopica features a wide ranging and difficult to edit (so much wonderful material) discussion with kinetic/science art/multidisciplinary artist Liliane Lijn.

American born, of Russian diaspora parentage Lijn, studied archaeology at the Sorbonne and Art History at the Ecole du Louvre, in Paris. At the same time Lijn began to draw and paint, (although she didn’t attend art school), whilst taking part in meetings of the Surrealist group, where she met the French writer, poet and theorist André Breton.

The writers and poets William Burroughs, Gregory Corso, Sinclair Beiles and Brion Gysin were in the same circle as Lijn, and their book on ‘cut-ups’ entitled Minutes to Go had previously been launched at the Librairie Anglaise in 1960.

We discuss her works and life touching on projects that include Chemin De Fer (The Power Game 1970-present day), Prisms, working with NASA scientists and much in between. this just may be part one of two...

Liliane's website is at www.lilianelijn.com

The Power Game   1970

The card game originally called Keys consists of 52 playing cards with a printed word on each side.

First performed in 1974 at the International Festival for Democracy in Chile, Royal College of Art, London in collaboration with Alistair Mackintosh.

Once again again the nineteen sixties radiates out from way back when, to mysteriously move things around in my present day.

speaking with heather jansch for the first time since 1966 when she was the number one girlfiend in the hazy psychodrama that was the short and glamorous life of my brother stefan tyszko, who, dying in a car crash in 1969, left me with curious fragments, the pieces of a labyrinthine puzzle, a truly magical mystery tour, our new conversations bringing more pieces into view, and as ever, the story deepens..

using techniques from the new disciplines of hauntology (developed from a beautiful mispronunciation and misunderstanding of ontology) we dance around a sixties theme with a rethinking of a tony palmer documentary on the new age of pop(all my loving) made in 1968

heather jansch (sewell) photgraphed by my brother stefan in portobello road in 1967

A Fine treat with friend and comrade in (artistic) arms

Mr Bob Kingdom.

Bob is the one man show,

he conceives, he researches, he writes, he presents and performs,

holding the stage in an intense and intimate audience with his chosen study.

In todays episode we wander around his thoughts and meander through reminiscence, while he sports the Duke Of Windsor's Haircut, a delight, im sure you will agree.

Just Who Is Bob Kingdom.Seen here in my studio, bob appears as a West Coast Hitman

 

Bob Kingdom Seen Here As Dylan Thomas Having An Impossible Chat With Quentin Chrisp (Betty Bourne)

Bob Kingdom As The Duke Of Windsor

Bob Kingdom as J.Edgar.Hoover Himself

A private view, some public thoughts, in joe strummer underpass 'it's so right' or did he say bright?

i was there, i worked as a roady with the clash, small fry, i sold drugs to topper, i once overdosed on white thai heroin in his flat, grinned when i eventually came to, 'that's so right' i thought!

Got caught doing 100+ miles an hour on the westway above this (subway) gallery space, very early 80's, bleached white hair, half an ounce of cocaine in my pants, no tax, no mot, 60 miles above the speed limit, a dark blue rusting 4.2 liter jaguar saloon xj6, a very loud hawaiian shirt, mirror shades. 'naughty boy' i mouthed the words as the police pulled along side at the now legal 50mph, my legs shook like trifled jelly, 'wanker' they mouthed as they shot off for tea......

a dudley sutton lino cut at the opening of which we recorded young josh trying to sell his art

white heroin stamp