Iraq War Memorial featuring the Death of Prince Harry, the Martyr of Maysan Province, 2007
bronze sculpture, Union Jack flag and flowers
A sculpture of a dead and mutilated Prince Harry is set to stun the British public.
The artwork, which features the second-in-line to the Windsor throne laid out on a slab with pennies on his eyes and his ears cut off, will be unveiled at the Bridge Art Fair at the Trafalgar Hotel in London next Thursday.
The memorial features 'Harry' laid out in front of the Union Jack with his head resting on a Bible and a bloodied Welsh flag in his hands while his gun remains holstered.
The statue is earless because militia leaders threatened to send him back to Britain without them: bronze castings of the ears will also be displayed and are set to be auctioned on eBay.
Incorruptible Flesh, 2007
"Life has always taken place in a tumult without apparent cohesion, but it only finds its grandeur and its reality in ecstasy and in ecstatic love."
"Man goes constantly in fear of himself. His erotic urges terrify him."
Ron Athey continues to explore the relationships between death and desire, sexuality and politics. After the incredible performance at Nancy (Self Obliteration : Double Bill with Dominic Johnson. Read the french review by Marie Lechner, Liberation, HERE) during Souterrain Porte IV Festival, this amazing modern queer shaman will offer us a new part ov 'Ecstatic' performances' serie at the Abode Of Chaos (Lyon) invited by Thierry Ehrmann, the 13th october.
we filled our pockets with dry leaves
by Jonsi Birgisson & Alex Somers
Jonsi Birgisson (Sigur Ros) has started with his friend, Alex Somers, a new side project called Riceboy Sleeps. It's more an multi-art project than a band. They have put together a book tittled Riceboy Sleeps, forty-eight pages ov poetical and melancholic images. They feature their precious work @ Gertrude Contemporary Art Space at Melbourne (oct.12 / nov.10).
News of the Wolf (I), 2007
"Beasley's work addresses the question of time: what is worth photographing, what should be remembered in the future ? (...) By choosing the unexpected, undervalued and overlooked, she questions the value of the objective, obsessive archiving of our contemporary society in an attempt to fight amnesia. Combining a documentary look with fictional writing and studio ‘portraits' of object, Beasley succeeds in making the viewer pause and, among other things, reflect upon our mechanisms of memory and melancholia."
by Roos Gortzak
...and the Beasley's labyrinth, HERE.
A 18:00, trois spectateurs invités arrivèrent dans mon atelier. L'espace ne faisaient que 5 m sur 8 et était bien éclairé par la lumière naturelle. Ne portant aucun vêtement, je suis arrrivé d'une petite pièce du fond. Deux assistants ont posé sur chacune de mes épaules deux plaques de verre rectangulaire de 1,90 m. Les plaques descendaient sur le sol à angle droit. Les assistants les ont aspergées d'essence. En reculant, ils ont jeté des allumettes pour enflammer l'essence. Après quelques secodnes, j'ai fait un bond en avant en laissant le verre s'écraser au sol. Je suis retourné ensuite vers la petite pièce du fond.
At 6 pm, three invited spectators came to my studio. The room was fifteen by twenty-five feet and well lit by natural light. Wearing no clothes, I entered the space from a small room at the back. Two assistants lifted onto each shoulder one end of six foot sheets of plate glass. The sheets sloped onto the floor at right angles from my body. The assistants poured gasoline down the sheets of glass. Stepping back, they threw matches to ignite the gasoline. After a few seconds, I jumped up, sending the burning glass crashing to the floor. I walked into the back room.
graphite on paper
begun in 1998, untitled sequence of drawings is a (hypothetically) endless series. Each identical in size and medium, and returning continually to variations on the same themes. The drawings are intented to work as a whole from which continual rearrangements, regroupings, episodes and subsets can be formed.
hanging rubberman #4 (2002)
all artworks by Monica Majoli.
Born in 1963, lives in Los Angeles (California)
Monica Majoli's figurative paintings from the early 1990s to the present have depicted scenes of sexual fetishism— painstakingly actuated self-portraits with dildos or claustrophobically populated representations of S&M encounters between men. But she focuses less on the transcription of physical experience than on the suggestion of its most obdurate, if ineffable, psychological aspects and ramifications. Investigating themes and rituals of identity, intimacy, and mortality, Majoli's work is both a site for catharsis and an admission of its irresolution.
from 2006 Whitney Biennal's catalogue