INDUSTRIAL EVIDENCE #1 - APRIL 19, 2009 (COACHELLA FESTIVAL, CA)

Persuasion
Throbbing Gristle during their last US invasion tour

and a special thanks to ZManBarzel for this material

FOR INDUSTRIAL PEOPLE

Throbbing Gristle plan first US tour dates since 1981.

According to the history of the band, these will be TG first live appearances ever.
4/16/09 Masonic Temple, NYC
4/19/09 Coachella Indio, CA
4/21/09 Ucla, LOS ANGELES (*)
4/23/09 Grand Regency Ballroom, SAN FRANCISCO
4/25/09 Epiphany Episcopal Church, CHICAGO

(*) "In the Shadow of the Sun", soundtrack performance only.

To mark these special occasions, TG will play 2 set events in New York and Chicago. The performances begin with a new live soundtrack to Derek Jarman’s alchemical film “In The Shadow Of The Sun” (1980) followed by a second set of material from across TG’s history.

More details, HERE.

...the gristle is throbbing (without need of viagra) !

NEXT (TG @ PARIS)

Details, HERE.

ANGEL

Kris Canavan by Manuel Vason

ANIMALS

I Like America and America Likes Me, 1974
performance


Joseph Beuys

Beuys’s most famous Action took place in May 1974, when he spent three days in a room with a coyote. After flying into New York, he was swathed in felt and loaded into an ambulance, then driven to the gallery where the Action took place, without having once touched American soil. As Beuys later explained: ‘I wanted to isolate myself, insulate myself, see nothing of America other than the coyote.’ The title of the work is filled with irony. Beuys opposed American military actions in Vietnam, and his work as an artist was a challenge to the hegemony of American art.

Beuys’s felt blankets, walking stick and gloves became sculptural props throughout the Action. In addition, fifty new copies of the Wall Street Journal were introduced each day, which the coyote acknowledged by urinating on them. Beuys regularly performed the same series of actions with his eyes continuously fixed on the coyote. At other times he would rest or gather the felt around him to suggest the figure of a shepherd with his crook. The coyote’s behaviour shifted throughout the three days, becoming cautious, detached, aggressive and sometimes companionable. At the end of the Action, Beuys was again wrapped in felt and returned to the airport.

MODERN SHAMANIC EXPERIENCE

24th type of ambiguity #98

16th type of ambiguity #117

12th type of ambiguity #3

11th type of ambiguity #26

10th type of ambiguity #7

5th type of ambiguity #15

4th type of ambiguity #11

2d type of ambiguity #22


1st type of ambiguity #2

all photographies by Thierry Kupferschmid

Thierry Kupferschmid is born in 1970 at Lausanne (Switzerland) and he lives at Lausanne and New-York (USA).
His artwork (drawings, paintings, photographies, performances) explores the borders between human beings and natural elements (mineral, vegetal, animal), and btw it asks about what is exactly the human conditions. Like a modern shaman, he tries to change and to mute anger, frustrations and desires into creative energies.

VANITY CASE

Ninja Independance Day, 1999


Slava Mogutin

PROGRAMME

Guy Debord, 1953

FLUIDS

the cum pieces, 1994-1995

Matthias Herrman

LEAP INTO THE VOID

« with the void, total empowerment »
Albert Camus to Yves Klein
1958

Cession de Zone de Sensibilité Immatérielle - Rituel
Juillet 1962, Paris.
Sur l’île de la Cité, Yves Klein organise la cession d’oeuvres strictement mentales réalisées –un espace céleste saturé de bleu invisible- sous forme de zones de sensibilité picturale immatérielle échangées dan le cadre d’actions symboliques contre de l’or pur avec le nouveau propriétaire. Yves Klein remet alors un recu portant la mention de l’échange et jette l’or à la Seine.
Yves Klein affirme : pour que la valeur fondamentale immatérielle de la zone lui appartienne définitivement et fasse corps avec lui, le propriétaire doit brûler solennellement son reçu.
Il ne restait plus qu’au collectionneur qu’à s’exécuter.





“Following the Ritual Rules for the Transfer of areas of Immaterial Pictorial Sensibility, in 1962, a buyer could purchase a space saturated with invisible blue in exchange for pure gold. If the buyer decided to stop at this point, then Yves Klein would keep the gold and the buyer would received a special receipt that resembled a bank cheque. To fully “authenticate” the transferral and receive a zone of immateriality, however, the buyer would have to burn the receipt while Klein, in the presence of a director of an art museum, a well-known art dealer, or an art critic, and two other witnesses, would throw half the gold into a place from which it could not be retrieved, such as a river or an ocean. Only then would the “…fundamental value of the zone definitively belong [to the buyer] and become embodied by him…” The destruction of the receipt as a legal contract and the useless expenditure of pure gold left the buyer in possession of nothing but burning desire and his own body as a spatial zone.”