Since 2002, Montreal’s annual Expozine has brought thousands of visitors together for two days in November for Canada’s largest zine fair. Expozine’s 2013 edition took place this past weekend in the basement of the Église St-Enfant Jésus church, exhibiting small run publications from zines to books with diverse content ranging from left wing literature to graphic art, poetry,photography, art theory, and countless others.
We were in attendance and are happy to present to you our favorite publications below in no particular order.
Jurgen Maelfeyt, Breasts, 2013
Published by Art Paper Editions, Jurgen Maelfeyt’s Breasts presents 32 pages of just that – breasts. An edition of 250, the pages in Breasts consist of uncensored, grainy black-and-white photos of female breasts. Cropped from the rest of the body, Maelfeyt’s images confront the viewer directly, creating a voyeuristic relationship between the viewer and the photographs. This results in a certain level of objectification, where one must evaluate his or her own gaze in relation to the breasts, while simultaneously illustrating the natural beauty of the female form.
eil, Jon Estwards, 2013
eil by Montreal-based photographer Jon Estwards consists of 24 colour pages of Polaroid and 35mm photographs. Many of the images in the zine display Estward’s self-taught fibre process, which gives the images an organic feeling – bridging the gap between those depicted in the images and the natural settings they are photographed in.
Alexandre Lemire, “– – – IS – – WAS”, 2013
Published in an edition of 40, the opening page of Alexandre Lemire’s “– – – IS – – WAS” states “TURNED FROM AN IS TO A WAS BEFORE HE EVEN HIT THE GROUND.” The title of the zine seems to suggested a shortened and cryptic form of this quotation. Like the title, Lemire’s photographs are equally mysterious. Printed entirely in colour, Lemire’s photographs consistently display and reference the human presence in the urban landscape, while at the same time, are entirely devoid of people.
Tomé Duarte, Nome de Doenca Rara, 2012
Tomé Duarte’s 2012 zine Nome De Doenca Rara displays what is perhaps the epitome of the homemade zine aesthetic – raw, no nonsense, black-and-white xeroxed pages. Published in an edition of 100, Duarte’s zine consists of 35mm photographs, collage, drawing, Polaroid photos, and contact sheet scans. With content ranging from photos of a dead body in a casket to various instances of nudity, Nome De Doenca Rara presents a gritty slice of life through this Porto-based photographer’s point of view.
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There it is. I have shown it to you. It has been done. It is being done. And because it can be done, it will be done.
—Kirk Varnedoe, Pictures of Nothing
“The show is over.” Or is it? This exhibition is about abstraction and the end of painting, often proposed but never concluded. Christopher Wool’s statement in paintings, drawings and billboards, taken from Vasily Rozanov’s nineteenth century definition of nihilism, contains sufficient irony to suggest that painting itself, the spectacle that surrounds it, and the ultimate questions it poses about life and death, are never quite over.
The negation of painting emerged in Europe after WWII in Francis Picabia’s last paintings, Lucio Fontana’s punctured and slashed Concetto spaziale paintings, Yves Klein’s Fire-Color works, and Piero Manzoni’s quest for neutral materiality in the Achromes. When first exhibited in 1953, Robert Rauschenberg’s White Paintings—monochromatic panel paintings—were unprecedented in their deceptive blankness. These works anticipated diverse interpretations of the neutral picture plane. Gerhard Richter’s paintings of the 1970s in shades of grey project a removed, indifferent power. Richard Serra’s Left Corner Horizontal (1977), a dense black expanse of oilstick on linen, produces a physical and spatial void that appears impenetrable.
A shared spirit of negation is evident in the anarchic actions that fueled the urban Punk movement, epitomized by Steven Parrino’s physical attacks on the canvas and Kim Gordon’s evanescent wreaths. In Parrino’s Untitled (1992), the anarchist symbol is sprayed in black engine enamel on white vellum. Ed Ruscha’s hermetic painted wordplay reaches cinematic finality with The End paintings, begun in the early 1980s. The silhouettes of Hourglass #4 (1987) and End (1993) are set against grey-spectrum horizons that evoke transitions of time and space.
Seeking new ways to negate or efface the picture plane, artists such as Douglas Gordon, Mark Grotjahn, Wade Guyton, Adam McEwen, Albert Oehlen, Richard Prince, and Rudolf Stingel represent sustained challenges to the limits of painting, both real and imagined. (via)
WADE GUYTON Untitled, 2011 Epson UltraChrome inkjet on linen
ED RUSCHA End, 1993 Acrylic on canvas
ALBERT OEHLEN Untitled, 2008 Oil paint and collage on canvas
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Christian Ferretti’s Grillz – Interview Magazine
An ancient Chinese word has made a recent resurgence across the world thanks to the increasingly open nature of communication of internet users. The word, tuhao, whose most appropriate English parallel would be a kind of “nouveu niche‘ (ironically itself adopted), is being utilized to characterize an extreme monetary decadence to the detriment of social sophistication – tacky glamour.
In a society driven by a complex network of social standards and cultural conventions, the word accumulated negative connotations up to its fading in the 30s, where it came to reflect an aggressive dominance by those in power. Now, coming to mean the acquisition of wealth within one’s own generation, or faster, tied to an implication of coming from poverty or at least a lower social position, the word is being used as a means of cultural sabotage by those less affluent who have used the internet as a platform to incite a kind of linguistic ammunition.
Kim Kardashian in CR Fashion Book
The resurgence apparently originates through the Chinese speaking video gamers who re-appropriated the word in the context of their virtual world to describe how characters in games are rewarded with ‘bling’, projecting onto the word a specific and widely negative representation of the actions of the newly wealthy class.
Now used on average 1 million times a day across social media, having had such a huge impact that the word’s inclusion in next year’s release of the Oxford English Dictionary is being discussed, its widespread use opens up a wider discussion, not just about language, but the future of culture. This almost instant global communication allowing for the development of a shared culture as a result of our knowledge surpassing our individual means, and when these cultural influences have the ability to infiltrate every societal level in any given locality.
Gold tuhao iphone
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Sublime Frequencies will be presenting Hisham Mayet’s film Vodoun Gods on the Slave Coast next month at London’s Cafe Oto. Hisham Mayet’s exploration of West African possession ceremonies continues in Benin. The cradle and birthplace of Voodoo, Benin was formerly known as the Slave Coast, and most of the slave industry was exported from its shores. Voodoo worship is integral to the every day lives of the people of Benin. This film, shot in 2010 during the country’s rich Vodoun celebrations, is an impressionistic lens on the myriad ceremonies that this rich and diverse culture has to offer. Showcasing intimate observations of a variety of Voodoo ceremonies: The cult of Sakpata (god of pestilence and healing), Egoun dramas shrouded in magisterial costumes and the secret police of the Zangbeto nightwatchmen, among other highlights. This will be the premiere screening of this visual feast.
Mayet will be premiering this brand new film as well as discussing his methodology and that of Sublime Frequencies, a label he founded with Alan and Richard Bishop in 2003. Highlights will include stories of his experiences with the now legendary clutch of Saharan guitar groups (Group Doueh, Bombino, Inerane) he came upon in the region, as well as sharing his many adventures travelling and documenting possession ceremonies in the Sahel for the last 10 years.
You can find out more and book tickets here.
Wednesday 11 December 2013
Door Times : 8pm
18 – 22 Ashwin street
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Throughout history, geometry has been employed symbolically in religious architecture to cause spiritual effect. Sacred Geometry, specifically the circle and the square, was used prevalently in Italian High Renaissance architecture to designate a house of God. Yet attempts by the architects of the era to build churches in pure sacred form were thwarted by the functional requirements of the church. What would have been the spiritual effect of these places of worship, and was the church intentionally curtailing the power a sacred geometrical space could wield?
Italian architect Donato Bramante (1444-1514), Papal Architect for Pope Julius II, is known to have shared many ideas about geometry and construction with Leonardo DaVinci while both were working in Milan at the end of the 15th century. Both men were highly influenced by ancient Greece and Rome, specifically the writer Vitruvius, prescriber of proportion, and the work of Leon Battista Alberti, a writer and architect who preceded Bramante and Leonardo.
Leonardo’s drawing of the Vitruvian Man demonstrates the Greek sacred mathematical influence while illustrating the Christian ideal of man created in the image of God. The Vitruvian Man was the diagram, instructing builders of religious architecture that the ideal sacred form was to be a circle or square. Thus through its architectural form, a building became the house of God. This diagram however, has no real mention of the experiential effect of a worshipper praying inside of that building.
Bramante’s buildings in Milan show Vitruvian influence, especially in plan. The use of sacred geometry is not pure; instead composites of circles and squares overlap to form the church plans. The spatial conglomeration of the composite creates its own effect, but it is surely not the same as it would be if it were pure sacred geometry.
The sacred diagram is exemplified in Bramante’s Tempietto, a commemorative martyrium in the courtyard of The Church of San Pietro in Montorio in Rome, from approximately 1502. The Tempietto is perfectly circular in plan and the proportions of the dome in elevation hold both the sacred square and circle. The Tempietto is the purest example of sacred geometry of the High Renaissance, even though it is only a small commemorative structure, not a church, diminishing the potential spiritual effect.
Bramante additionally designed a spiral connecting stair for the Pope on Vatican grounds in 1512. The stair plan is arranged in the same sacred circle as the Tempietto, but the elevation is pulled into a helix. Traveling that many stories alone via a tightly enclosed, spirally ramp would seemingly promote meditative contemplation. Could the circumambulatory journey cause a God connection for the user and how related to Bramante’s use of the pure sacred circular form is that effect?
Bramante and Julius II began to design the reconstruction of St. Peter’s Basilica in sacred symmetry. The square plan considers how processions had become an integral part of Catholic worship at the time, the form of the Basilica divides into quadrants separated by four processional naves to form a Greek Cross in plan. The central meeting point of the naves forms a circle, where a dome would have enclosed and elevated the space. This plan is as egalitarian as it is sacred, yet the processional requirement of the church, like in the Basilica being replaced, demanded more focus on the Pope-led ceremony. With the addition of an axial nave to the design long after Bramante’s death in the end of the 16th century, the reconstruction of St. Peter’s Basilica exists today as yet another composite.
Here the power of church’s influence, masked in the pragmatism of a ritual, conflicted with the Basilica becoming a veritable expression of God, according to the Vitruvian diagram. Had the Basilica been rebuilt with non-composite sacred geometry, the architecture could have focused less on the Papal ceremony and more on the individual God connection through the pure form. The final non-sacred arrangement of the Basilica surfaces deep questions about whether or not there is holistic energy embodied within pure geometry that would affect the individual spiritually. Yet this would mean an end to the requirement of the Pope’s leadership in order to spiritually connect to God, perhaps even questioning whether a Basilica, sacred in geometry or not, was even required for prayer.
List of Figures
Figure 01: Spatial organization and pilaster location according to Serlio’s Plan of the Tempietto. Brusci, Arnaldo. Bramante. Thames and Hudson, London 1973. Page 241.
Figure 02: The Circular Temple According to Vitruvius. + Temple of Tivoli. Vitruvius. Ten Books on Architecture.
Figure 03: Alberti, Leon Battista. San Sebastiano Church, Mantua. Plans. 1460.
Figure 04: MS 2037 folio 5. Leonardo da Vinci. Codex Ashburnham.
Figure 05: Bramante’s proposed site plans for the Tempietto. Brusci, Arnaldo. Bramante. Thames and Hudson, London 1973. Page 238.
Figure 06: Tempietto Plan and Elevation Diagram. Fletcher, Rachel. www.infinitemeasure.com.
Figure 07: Paul Marie Letarouilly: cross sections and plans of Bramante’s spiral staircase, in Le Vatican et la basilique de Saint-Pierre de Rome, Paris 1882, II.
Figure 08: Sketch for the urban planning of St. Peter’s, attributed to Bramante (Firenze, Uffizi, Arch. 104) and project development of the urban planning of St. Peters, attributed to perhaps Bramante and Peruzzi (Upperville, USA, coll. Mellon.).
Figure 09: Plan Drawing of four architect’s projects for St. Peter’s Basilica: (A) Bramante, 1506; (B) Peruzzi, ca. 1520; (C) Antonio da Sangallo the Younger; (D) Michaelangelo, 1546.
Figure 10: St. Peter’s Dome from Bramante’s design (S. Serlio, Lib. III, c. 66r-v).
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Today marks the passing since ManWoman’s death a year ago. To commemorate this November the 13th has been declared ‘Reclaim the Swastika Day’. A Facebook event for this occasion has described today as:
‘A worldwide event on the first anniversary of ManWoman’s passing – the 13th of November 2013 – to spread knowledge and appreciation of the gentle swastika.
Open shops and give away tattoos, scars and/or brandings of Swastikas for free and use this opportunity to educate people about the origins and true meaning of the Swastika.
For artist and people who like to join this event please confirm here in which way you want to participate
Please note that “Learn to love the Swastika” is a group compiled of tattooists, body modifiers, designers, writers and Swastika educators. There is absolutely no religion or worship involved – only cultural awareness. ‘
Alex Binnie will be hand poking swastika’s in memory of ManWoman from 12pm at Into You in London tomorrow where you can find out more information here.
All images have been taken from the Facebook event page which have been added by various Facebook members from about the world. You can join the event here where you can find out about other events to commemorate this day from all around the world.
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I’ve known for a while that my aunt, Marcia Tucker, was extremely active in theorizing tattoos in the 1970s. I (obviously) wasn’t alive then, but I remember her showing me some of her tattoos when I was little: a snake coiled around an egg on her ankle and a vine wrapped around her torso, to name two. I recently happened upon a bunch of tattoo slides from 1975, all shot by my dad, Warren Silverman, of Marcia hanging out in tattoo shops with a bunch of close-ups of eagle chest pieces, dragons cascading down backs and legs, and tons of archival flash. I’m hoping to delve more fully into the family archives soon, but until then, here is a scan of an article Marcia wrote for Artforum in 1981 about the state of tattooing. Some lines feel a bit dated 35 years later, but the publication of a piece of tattooing in a “fine art” magazine, looking back, seems very prescient. Some mainstream publications are only now beginning to catch on…
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