:: Buzzwords

03/08/18: The Missing Links

Deborah Levy and Olivia Laing in conversation. * Olivia Laing and Ali Smith in conversation. * David Hayden on the women who influenced his writing. * On Eugene Thacker‘s Infinite Resignation. * For Saul Leiter, “simply looking at the world was enough”. * Lauren Elkin on the new motherhood books. * How auto is autofiction? * Amy Liptrot on her pregnancy: “Thinking can be overwhelming – this unexpected baby changes everything and the mysteries of life are happening inside my body – and I just need to be a wild beast, a physical being using my senses”. * The strange brilliance of Gerald Murnane. * More Gerald Murnane. * Glen Matlock’s London. * On Schopenhauer. * On Heidegger. * Remember the Offbeat Generation? * Glenn Branca RIP. * The New York Times on the late Glenn Branca: “Many of his works are meant to be performed at high volumes, partly so that the overtones of his amplified guitars would linger and pile up, creating a phantom layer of harmony beyond what the musicians were playing, and partly as a purely tactile element, meant to both envelop and physically shake his listeners”. * The Quietus on Glenn Branca. * The Guardian, Rolling Stone and Libération on Glenn Branca. * The Situationists and May 68. * “You are fucking cosmic.” Congratulation to Charlotte Amelia Poe. * Irmin Schmidt of Can interviewed. * Nuit Chris Marker. * Patricia Lockwood on Rachel Cusk‘s trilogy: “The step down isn’t there. Reality ruptures”. * Rachel Kushner, Spinoza with lipstick. * Rachel Kushner interviewed in Interview. * Back to the literary future with Michael Caines. * Brian Dillon on In the Dark Room. * Brian Dillon at Shakespeare and Company. * Brian Dillon on female essayists. * Edmund White on Arthur Cravan. * On Modernism’s belatedness. * An interview with Andrew Latimer of Little Island Press: “Your favourite qualities in a person? The propensity for self-effacement”. * The great Viv Albertine interviewed: “Now, everyone has gone to music school and they all play brilliantly and you think, Why are they even playing live? It’s all so bloody middle class now”. * Viv Albertine on Front Row. * Geoff Dyer on Garry Winogrand. * Geoff Dyer interview. * Geoff Dyer on “the dental equivalent of the end of history”. * Chris Power on book reviews. * Blyth Power. * Our very own Eley Williams interviewed in The White Review. * Tony White on Little Atoms (Resonance FM) and on the Guardian‘s books podcast. * On lost books. * The collected writing of Robert Smithson. * Juliet Jacques, Jonathan Coe and Jennifer Hodgson on British experimental fiction. * Ann Quin reading from Three. * Jennifer Hodgson on Ann Quin, plus an interview here. * Jennifer Hodgson on Quin’s Berg. * Jonathan Coe (quoting Stewart Home!) on Ann Quin. * Josie Mitchell on Ann Quin. * Deborah Levy on Ziggy Stardust: “In my view, Bowie was a great writer. He has influenced me more than Tolstoy ever will do”. * Joanna Walsh on literary necrophilia in the 21st century. * Joanna Walsh on Front Row. * Joanna Walsh on Monocle 24. * Claire-Louise Bennett in Le Monde. * Lauren Elkin on the women of surrealism: “in gazing too much at these women, we avoid looking directly at their art”. * Georges Perec‘s Les lieux d’une fugue (film, 1979). * Marguerite Duras on translation. * Unpublished Roland Barthes! * Nicholas Blincoe on Nick Land. * The story of David Bowie on BBC6 Music. * Mark Stewart interviewed by Mark Fisher. * ITV News commemorates punk’s 40th anniversary. * Regarding the em dash. * Will Self: Years ago, I said [novel-writing] would become a conservatoire form, like easel painting or the symphony, but I didn’t quite understand how all of these kids in creative writing programs, and their constant focus-grouping, would create a new form that’s halfway between hobbyism and literature. It’s an occupation for wealthy Western youth who are marking time. Because there are more writers than readers now, it’s decoupled from any conversation. It’s like a great internal rumination”. * Will Self on Walbersick. * 3:AM‘s Tristan Foster on Gerald Murnane: “In Gerald Murnane’s infamous archives, the reclusive Australian writer has files titled ‘I give up writing fiction — again!’, ‘(Yet again) why I stopped writing’, and ‘Should I tell Literature to get fucked?’” * Emmett Stinson on Gerald Murnane. * The New York Times on Gerald Murnane. *  They were the mods, they were the mods, they were, they were, they were the mods. * On Raymond Radiguet. *

25/07/18: Throbbing Gristle


Throbbing Gristle announce the second phase of their ongoing reissues with Mute. 14 September 2018 will see remastered editions of Journey Through a Body (on silver vinyl and CD) and Mission of Dead Souls (on white vinyl and CD) available, while Heathen Earth will be re-released on blue vinyl and as a 2CD set.

The releases follow the 40th anniversary release of The Second Annual Report, as well as new editions of 20 Jazz Funk Greats and The Taste Of TG: A Beginner’s Guide to Throbbing Gristle.

JOURNEY THROUGH A BODY (1982, Industrial Records), widely referred to as Throbbing Gristle’s most haunting work, was recorded as a piece of radio art for Italian National Radio RAI, Rome in March 1981. Following Robert Wyatt’s recommendation, RAI originally commissioned Cosey Fanni Tutti to create a sound work based on the theme of ‘A Journey Through the Body’. This went on to become a Throbbing Gristle project – first broadcast by the RAI, Journey Through a Body was the band’s final studio recording prior to 2004’s reactivation of the band.

Recorded in five days, a day per body section, the tracks were not pre-planned and nothing was re-recorded or added to after the track’s initial recording, instead each track was mixed immediately. “What’s most noticeable about the album, as a sonic experience is the openness to acoustic instrumentation on display.” (The Vinyl Factory) and Journey Through a Body stands as a perfect testament to Throbbing Gristle’s artistic ethos. Unavailable on vinyl since 1983, Journey Through a Body will be released on silver vinyl with a foil-blocked cover featuring photos from the session. The album is also available on all digital platforms for the first time, and on CD after being long out of print.

MISSION OF DEAD SOULS (1981, Industrial Records) documents the final performance, before Throbbing Gristle’s original disbanding (the band reactivated in 2004 before their final performance in 2010). Recorded at the Kezar Pavillion, San Francisco on 29 May 1981, the album “proves that TG’s assault never lacked talent or skill.” – AllMusic. The album has been unavailable on vinyl since the early 1990s, and is here presented on limited edition white vinyl, recreating the original sleeve with the addition of silver ink, with a new inner sleeve including photographs and a passage by Jon Savage.

A public statement by Throbbing Gristle stating ‘This Mission Is Terminated’ was released following Mission of Dead Souls, and the legacy of the band began to solidify with its influence on generations of artists to come. The album is also available on all digital platforms for the first time, and on CD after being long out of print.

HEATHEN EARTH, originally released in 1980 (Industrial Records), is a live document of a performance by Throbbing Gristle to a small and invited audience on 16 February 1980.

Described by The Quietus as “more cohesive and marshaled” than any of their other live recordings, the album is a testament to a band at the height of their creative powers, recorded just over a year before Throbbing Gristle disbanded and terminated the mission.

Heathen Earth will be released on 2CD and as a limited edition blue vinyl in a gatefold sleeve, echoing, for the first time since its original release, the first pressing of the album (the initial blue pressing was an edition of only 750 copies, before the album was repressed on black vinyl). The vinyl also contains an eight-page 12” booklet entitled ‘Industrial News’ dedicated to the Heathen Earth and includes an unseen photographic print from the performance. The album comes with a digital copy of 11 bonus tracks, including live recordings from 1980 and 7” versions of ‘Subhuman’ and ‘Adrenalin’.

Throbbing Gristle are Chris Carter, Peter ‘Sleazy’ Christopherson (who sadly passed away on 25 November 2010), Cosey Fanni Tutti and Genesis Breyer P-Orridge, their impact on music, culture and the arts is immeasurable and still felt today.

20/07/18: Taxidermy Tour: Behind the Scenes and Private Collection


We are very excited to announce a special taxidermy tour this September with opportunities to view rarely seen Walter Potter tableaux as well as private collections, historic mansions and 19th century museums–front and back stage. The tour will be organized and led by Dr Pat Morris, taxidermy historian and foremost collector of the work of eccentric Victorian taxidermist Walter Potter.

We will also pay several visits to Dr Morris’ home, where we will see rarely seen Walter Potter pieces including one of his most famous tableaux, The Death and Burial of Cock Robin (1861) (above and bottom center) along with pieces by Hermann Ploucquet (bottom right), Rowland Ward and Peter Spicer; thousands of documents and photographs; and copies of all the books on taxidermy published in Britain (some not even in the British Library!) and a selection of works from other countries.

You will find more information below; Space is limited to only 9 people. If you are interested, please email us at morbidanatomy [a] gmail.com before July 26. More detailed information, booking form and request for a deposit will be mailed to you with a deadline of mid August to confirm your participation.Taxidermy Tour: Behind the Scenes and Private Collection Taxidermy Tour with Dr Pat Morris, Taxidermy history expert and author of Walter Potter’s Curious World of Taxidermy
September 3-9, 2018
London and environs
$2000-$2200 (Exact number given when we determine the number of attendees; Includes hotels, transportation within the UK, museum admissions, and some meals. Attendees will be responsible for their own airfare to and from London.)
Trip limited to 9 plus 3 staff members.
Please email us at morbidanatomy [a] gmail.com before July 26 if you might be interested in joining. More detailed information, booking form and request for a deposit will be mailed to you with a deadline of mid August to confirm your participation.

Please join us this September for an exclusive taxidermy tour featuring rarely seen Walter Potter pieces as well as private collections, historic mansions and 19th century museums–front and back stage–led by Dr Pat Morris, taxidermy historian and foremost collector of the work of eccentric Victorian taxidermist Walter Potter. He will be assisted by Joanna Ebenstein, creator of Morbid Anatomy and co-author and lead photographer on Walter Potter’s Curious World of Taxidermy, and Laetitia Barbier, Morbid Anatomy head librarian.

On this trip. we’ll pay several visits Dr Morris’ home, where we will see rarely seen Walter Potter pieces, including one of his most famous tableaux, The Death and Burial of Cock Robin (1861). We will also see the tableau A Friend in Need is a Friend Indeed; Potter’s stuffed pet cat and dog, and his first piece of taxidermy, a canary along with rare archival materials, books, magic lantern slides, and ephemera related to the Potter Museum.

The Morris Collection also contains pieces by around 150 taxidermists, including Hermann Ploucquet, whose anthropomorphic pieces delighted Queen Victoria and probably inspired a young Potter. There are also pieces by British taxidermists Rowland Ward and Peter Spicer; thousands of documents and photographs; and copies of all the books on taxidermy published in Britain (some not even in the British Library!) and a selection of works from other countries.

We will also visit the home of professional taxidermist Barry Williams, which houses his personal extensive collection of historic specimens. We will see him at work, and join him for afternoon tea while we enjoy a tour of his collection.

The trip will also feature special guided tours by Dr Morris of the UK’s most historic and fascinating natural history collections, such as Tring Natural History Museum, opened in 1892 to make available to the public the private collation of rich eccentric Lionel Walter Rothschild; The Booth Museum of Natural History, founded in 1874 and featuring pioneering ‘habitat group’ displays from the 19th century; The Horniman Museum, founded to showcase the Frederick John Horniman personal collection ‘illustrating natural history and the arts and handicrafts of various peoples of the world’ from around 1860 (with a visit to the Museum’s store to see the beautiful Hart collection of British birds); The Grant Museum of Zoology, one of the oldest natural history collections in the UK famous for its jar of moles and rare specimens such as a qyuagga skeleton, preserved Tazmanian Tigers, and dodo bones; the London Natural History Museum a 19th century ‘cathedral to nature’ housing its infamous hummingbird cabinet; The Viktor Wynd Museum of Curiosities, Fine Art and Natural History, which presents the world displayed through wonder enclosed within a tiny space, inspired by the pre-enlightenment origins of the museum as Wunderkabinett; and The Saffron Walden Museum with a small natural history collection dating to 1832 and ‘Wallace’ a famous lion. There will also be a stop off to experience “human taxidermy” in the form of the auto-icon of Jeremy Bentham.

There will also be special guided tours of two magnificent National Trust historic mansions: Calke Abbey; this is a huge mansion originally built in the 12th century as an Augustinian priory and housing a varied collection of stuffed birds, mammals, fossils, and other natural history oddities gathered by a succession of the eccentric owners who lived there over the centuries and Audley End House, a mansion built in the early 17th century and housing the second largest display of historic country house taxidermy open to the public in Britain including many spectacular ornamental bird case

Some evenings may be devoted to talks by Dr Morris on topics such as ‘historical taxidermy’ and the massive Van Ingen factory in India illustrated by pieces from Dr Morris’ collection.

16/07/18: Doclisboa’ 18

Doclisboa’18 Presents its Retrospective and Focus: Luis Ospina and Sailing the Euphrates, Travelling the Time of the World

At 10:30pm, on July 27thDoclisboa – International Film Festival will present a preview of its 2018 retrospective and special focus sections, through an open-air screening at the Cinemateca Portuguesa – one of the venues of the festival. A double bill of The Vampires of Poverty (Colombia, 1978, Luis Ospina, Carlos Mayolo, 27 min) and A Flood in Baath Country (France, Syria, 2003, Omar Amiralay, 48 min) will provide a first exploration of these programmes, in anticipation of October’s festival.

Retrospective – Luis Ospina

“What interests me most is to investigate what is a documentary in itself, to question the mechanisms that cinema – and documentary in particular – has for transmitting the truth or lies.” Luis Ospina

This year, Doclisboa dedicates its auteur retrospective to director Luis Ospina, one of the most important names of Colombian cinema. His acute and playful vision of his country, his strong passion for cinema and his commitment to preserving the past, marks him as one the most important figures in the recent history of Latin American film. This will be the first ever complete European retrospective dedicated to Luis Ospina’s work, and will feature the world premiere of his latest film, the short Selfish (2018). In this programme, we will present several restored films. The retrospective will be complemented by the director’s carte blanche selection, offering further surprises, discoveries and insights into Ospina’s work and influences.

Focus: “Sailing the Euphrates, Travelling the Time of the World”

The focus Sailing the Euphrates, Travelling the Time of the World offers an additional special programme for the 2018 Festival, presenting a key for the understanding of our day and age through the cinema and history of this complex geographical region.

Doclisboa proposes to present and narrate the complexity of this area – devastated by multiple conflicts over the past 20 years – through films made before the wars and upheavals of our contemporary period. These historical works of cinema’s recent past will manifest a context and frame for the contested present of the region, through a diversity of cinematographic languages and a variety and multiplicity of films and authors – from Armenia, Turkey, Kurdistan, Syria and Iraq.

Please find HERE a Press Kit featuring more information about these two programmes and the films to be screened.  

This year, Doclisboa – International Film Festival celebrates its 16th edition, and will take place in Lisbon from 18 to 28 October.

Images for download:

15/07/18: From Hell – In Colour

Jack is back — and this time, the blood is red.

“My all-time favorite graphic novel … an immense, majestic work about the Jack the Ripper murders, the dark Victorian world they happened in, and the birth of the 20th century.” — Warren Ellis, Entertainment Weekly

Experience FROM HELL as never before: fully restored and in color for the first time!

Five unsolved murders. Two of the greatest creators in the history of comics. One sprawling conspiracy, one metropolis on the brink of the twentieth century, and one bloody-minded Ripper ushering London into the modern age of terror. The award-winning bestseller FROM HELL, often ranked among the greatest graphic novels of all time, takes on haunting new dimensions in FROM HELL: Master Edition, enhanced with impressionistic hues by Eddie Campbell himself. — a 64-page, full-color, prestige-format comic book (with spine & 3” French flaps) (6 5/8” x 10 1/8”), $7.99 (US)

This volume contains the Prologue, Chapters 1 and 2, and all the original annotations.

Co-Published by Top Shelf Productions (US) and Knockabout (UK).

14/07/18: Glory Days

Here’s a picture (courtesy of Andrew Stevens) of Subway Sect (1980 Club Left line-up) live in London today. Lest we forget, the band took part in 3:AM Magazine‘s first event, which took place at the Horse Hospital on 26 July 2003 between 6 and 11.30 pm. There were readings and talks by Steve Aylett, Nicholas Blincoe, Billy Childish, Kerri Sharp, Mitzi Szereto, Matt Thorne, Paul Tickell, Tommy Udo, Marina Warner and the late Steven Wells, plus performances by Billy Childish, Kazuko Hohki, Subway Sect and Richard Strange.

: The Events at the Bonner Hofgarten: A Letter to a German Friend


Yitzhak Melamed (Johns Hopkins), interviewed here at 3:AM as part of the End Times series, was attacked by a racist and then the Bonn police during a recent visit to give a lecture. The anti-semitic attack in Bonn reminds us of the depressing and worrying fact that that anti-Semitism is alive and well. Courtesy of Leiter Reports, Yitzhak’s letter to a friend outlines the nasty events.

‘In the past two days I have been approached by various German news media requesting my description of the events that took place at the Bonner Hofgarten on July 11th. I cannot answer all of these requests as I have work to do and family to look after. Instead, let me provide a brief and precise description of the course of events on that day. Let me also note that I am deeply troubled by the description of the events in the Bonn Police statement of July 12. The report is replete with flat and groundless lies aiming at covering both the brutality and inefficiency of the Bonn police on July 11th (I will explain these grave charges shortly).

I had been invited to give a Keynote Lecture at Bonn University’s prestigious summer school in classical German philosophy. Regrettably, I could come for only two and half days due to family commitments, and I was scheduled to give my talk on Wed. June 11 at 18:00. I had spent the morning of that day working on my research, and at 12:30 I met Dr. Lina Steiner (Bonn University), my former colleague and a close friend of both my spouse and I. Lina showed me the nice schloss and then she wished to show me the town (though I visit German universities quite frequently, I had never been to Bonn before). It was sometime after 14:00 that we crossed the street and entered the Bonner Hofgartens. Shortly thereafter, a stocky man about 1.60 meters tall approached us and asked me “Bist Du Jude?” and then, added that he is Palestinian. I started saying that I have sympathy for the plight of the Palestinians and deeply regret the current depressing state of Islamic-Jewish relations, when the person (realizing that I am a foreigner) started shouting in English: “I fuck Jews. I fuck Jews.” Realizing where this conversation is going Dr. Steiner and I passed to the other side and moved away from the person who then followed us with his persistent curses. Then, he tried to throw away my yarlmulka (Kippa) shouting in German that in Germany I am not allowed to wear a yarmulka. I took my yalmulka from the ground and put it back on my head. The guy got angrier: “No. You are not allowed to have the yarmulka here” (that’s my recollection of his shouts in German). He then shouted several times: “Kein Juden in Deutschland”, and threw my yalmulka for the second time. I picked it up and put it on my head. “You don’t listen to me” he shouted, and threw my yarmulka for the third time. I picked it up and put it on my head. He pushed me, and then we moved aside.

As this was happening, Lina asked bypassers to call the police, and a few of them made the phone call (there were quite a few people around). The attacker, at that point, went to the nearby lawn and started walking in circles. After about five minutes he came back to us. He pushed me and then I tried to kick him in the groin so that he would leave us. I didn’t hit, but he was deterred and went again to the green, walking in circles. I asked Lina where the police is. Then the attacker came for the third time. He pushed again, cursed, and I tried (and failed) to kick his groin. Then, we heard the siren of the police. It was at least 20 minutes after we asked to call the police (there were many passers-by around who could attest). The attacker moved slowly, then once the police car was about to park he started running away.

The police moved slowly and the attacker was about to get out of my eyesight. He was about 400 meters ahead of me, and after some hesitation I started running after him, so that I could still point the police in his direction (the area was populated, and the attacker took off his shirt, so it was clear he was about to disappear from eyesight). After three hundred meters I saw a pair of policemen running from the opposite direction, passing the attacker, and running… toward me. I didn’t have much time to wonder, as almost immediately four or five policemen with heavy guard jumped over me (two from the front, and two or three from the back). They pushed my head into the ground, and then while I was totally incapacitated and barely able to breath (not to mention move a finger), they started punching my face. After a few dozen punches, I started shouting in English that I was the wrong person. They put handcuffs on my hands, behind my back, and after a few dozen additional punches to my face while I am shouting that I’m the wrong person, they finally moved from my back. I was now able to breath. I asked them to open my bag and reach for my identifying documents. My glasses were broken. My watch torn, and then after another 5 or 10 minutes they realized they made an error. One of the policemen came, took off my handcuffs, and told me that they captured person who attacked us. Then the same policemen shouted at me in a didactic tone (in English): “Don’t get in trouble with the German Police!.” This was more than enough. I told the policeman sardonically, “I am no longer afraid of the German police. The German police murdered my grandfather. They murdered my grandmother. They murdered my uncle, and they murdered my aunt. All in one day in September 1942. So, alas, I am not afraid of them anymore.” The policeman was baffled. I asked him for his name, and he refused to answer. I asked again, and again got no answer. Later, I was able to write down the identifying number on his police vest which I still have with me.

The policemen asked me and Dr. Steiner to accompany them to the police station in order to give testimony. As we entered the station I saw that my face was bleeding. I told Dr. Steiner that I probably look quite funny. In the police station, the policemen asked both me and Dr. Steiner to give a testimony. I asked to file a complaint against the policemen who have beaten me, and then, for the next hour and a half, the policemen were trying to convince me not to file the complaint. They apologized and said this was a mistake, and I answered that this may indeed have been a mistake, but even if it were so, dozens of punches to my face – while I was incapacitated – were nothing short of pure brutality. Then, one of the policemen tried convincing me that I “touched his hand” and that they jumped on me only in a reaction to that. I told him this is a flat lie. He told me that it was perhaps an instinct of mine of which I was not aware, and I answered that this too is a cheap and flat lie, as the four or five policemen who jumped on me were 2 meters away from me before they jumped on me, and there was no bodily contact between me and any of the policemen before they attacked me. This surreal conversation in which they continued to try to convince me that by virtue of some reflex or instinct I touched the hand of one of the policemen and that this was the justification for the beating, ran for quite a long time. Then, they began insinuating that if I press charges against them, they will accuse me of resisting arrest. I told them that I am asking to file a complaint. As my face was bleeding throughout the conversation, no one offered me first aid or anything of the kind (they told me that I can go to the hospital). Eventually, an order came from the higher authorities that since the case is considered a hate-crime, I should provide testimony before the unit of “political crimes”. We went then to the other police station. There the interrogator was much more courteous. As he approached me, he asked: “this is what this bandit did to you?” and I answered: “No sir. I have to tell you the truth. This is what the German police did to me.” He covered his face with his hand and said: “Oh no.” He then went to speak with his supervisors, returned, took my testimony. He asked me if I wish to file a complaint against the police. I told him that I have nothing personal against any of the policemen, and that I have no plans for any future interaction with the Bonn police. Nevertheless, I thought it is in his interest as a German citizen to eradicate police brutality, especially when it is directed again foreigners and minorities. Though I could not read the text as my glasses were lost, the interrogator filled the complaint in my name, and I signed it. He then gave me a ride to the hotel. I quickly went up, washed the blood from my face and body, and then went to give my lecture (though 45 minutes late).

I could not sleep that night as my body was wounded and I could not find any position which was not painful. I was supposed to take the 8:15 am train to Frankfurt airport and then finally fly home. I woke up at 6:30 AM by a phone call from the Bonn police, telling me that the president of the police would like to meet me, and asking whether she could come to the hotel at 7:15. I agreed. The president came to apologize. I told her human errors can happen, but that the savage punching by the police was not an error, as I was completely incapacitated and barely able to breath at the time. She told me the policemen deserve a due process to which I immediately agreed. We departed as friends, or so it seemed to me at the time, for as I was flying home I started receiving messages from friends about the police report on the incident (issued on the morning of the 12th), and the first reports in the German media which appeared just as a “cut-and-paste” adaptations from the police report. Both the police reports and its metastatic news items explained that the president of the police apologized (which I interpreted as a clear and insincere political move), that I had resisted arrest, and that, consequently, the police “had” to punch me, as a courtesy of their style of education (see, for example, the report in Deutsche Welle). Well, you can now judge for yourselves. Try (if you can) resisting arrest either when you are not in any bodily contact with the police, or, alternatively, when 5 policemen are on your back and you are barely able to breath (we, philosophers, take ourselves as experts in thought-experiments. Yet, the Bonn police seems to be capable of even squaring the circle). At the end of the day, my friend, it is your society and your police. As I said, I have no plans for any further encounters with the Bonn police. Police brutality is one of the sickest aspects of current American society. It is racist and it is vile. You may think things are different in Germany. I very much doubt it. The only reason why the president of the Bonn police came to “apologize” to me is because I am a professor at Johns Hopkins University. If I were any of the underdogs of German society, no one would care about it (and obviously no one would believe the complainant).

As the sunset goes down on this Friday in Baltimore, I would only like to wish you Shabbat Shalom my friend, and please, don’t forget to listen to the modern “foreigner, orphan and widow [גר, יתום ואלמנה]”, even when they complain about being abused by the authorities. For they may well be right.


Yitzhak Yohanan Melamed

Baltimore, July 13th, 2018’


LIVEWIRE is a monthly tour of shows, exhibitions and events around town. Expect performance art, politically engaged art, photography, poetry, and magic. By @JanaAstanov.


DATA SPELL curated by Bianca Boragi & Jamie Martinez
Opening reception Friday July 6th from 6-9pm until July 29th
The Border Space Project, 56 Bogart Street 1st FL BK, NY 11206

Data Spell features the work of artists born into an ahistorical era in which time is received in cut digital micro slices, allowing spells cast through performance or technology to resolve or ameliorate issues of memory, history, migration, and identity. Like something being unpacked; the real in the illusion disrupting reality.

A group exhibition featuring artworks across mediums by Carlos Franco @francocnarf , Tatiana Istomina @t.istomina , Raza Kazmi @razakazmi , Ilana Savdie @ilana_savdie and Masha Vlasova @__miss__mash__ .

FB invite: https://www.facebook.com/theborderprojectspace/


Young American by Marie Tomanova
June 28 – August 10, 2018

Czech Center New York at the Bohemian National Hall
321 E 73rd Street, New York, NY 10021

As the cumulative show of the Czech Center New York’s New Bohemia Exhibition series that celebrates the vital and dynamic connections between the Czech Republic and the United States, particularly in honor of the 100 Year Anniversary of the Czech Republic, Marie Tomanova’s Young American does not directly problematize what it means to be an American today, but celebrates the freedom and identity of the idea of an “America” still rife with dreams and possibilities, hope and freedom.

Website link: http://new-york.czechcentres.cz/program/event-details/marie-tomanova-young-american/


Tuesday, July 10 at 6 PM – 9 PM until July 26th
Westbeth Gallery, 55 Bethune St, New York, NY 10014

The Whitney Museum of American Art staff show.

FB invite: https://www.facebook.com/events/265872667296862/


Photo Arantxa Araujo

Radical Bodies in Performance
July 12
6–9:30 pm Arantxa Araujo
6:30–9:30 pm Francheska Alcántara
7–7:30 pm Ray Ferreira
8:30–9:10 pm Jennif(f)er Tamayo
July 19
7–8 pm Marsha Parrilla
8–8:30 pm Joiri Minaya
7:30–9:30 pm Alicia Grullon
8:30–9:30 pm Linda LaBeija
Brooklyn Museum

Immerse yourself in new and recent work by contemporary Latinx artists as they respond to themes in our exhibition Radical Women: Latin American Art, 1960–1985. Our three-day series Cuerpxs Radicales (taking place July 5, 12, and 19) showcases female-identified and gender-nonconforming Latinx artists in the greater NYC area who are exploding rigid notions of femininity. Featuring performance, visual art, literature, music, and everything in between

FB event: https://www.facebook.com/events/319850295212869/


Photo Qinza Najm

EMINENT DOMAIN: A Flash Feminist Art Exhibition
Thursday July 12, 6-10pm
Women in the Arts Panel – Sisterhood & Sustainability Saturday July 14, 1-3pm
former Robert Miller space 524 West 26th St. in West Chelsea

Alexandra Arts and ART511 Magazine is pleased to announce EMINENT DOMAIN, a 3-day flash exhibition of intersectional feminist art featuring artworks of over 90 radical feminist artists from around the world. Opening Thursday, July 12th, with an opening reception art party from 6-10 p.m. with performances by ULTRACULTURAL OTHERS High Prieztezz Or Nah & UNDAKOVA, Kelly Shaw Willman, Leyla Daze, Anne Sherwood Pundyk, Leopoldo Bloom, Jade de LaFleur “PSYCHOpop,” Victoria Gibson, Qinza Najm, Carol Scavotto, Elena Kendall-Aranda.

facebook event: https://www.facebook.com/events/2281071491910965/


The Feeling is Mutual at Local Project
July 13 – July 27
Local Project Art Space 11-27th 44th Rd, Long Island City, NY 11101

The Feeling is Mutual is an ongoing group exhibition that examines the concept of family values through photography-based media. Each artist photographs within his or her own family, be they biological or chosen. There is an emotional investment in portraying the subject because of their intimate relationship. The result of this investment shows in the mutual affinity one can sense and see in the work. more info at www.thefeelingismutual.us

Facebook event: https://www.facebook.com/events/226226604860472/


DREAM BEAT Cancer: Partial Solar Eclipse
Friday July 13, 2018 6-10pm
DE CONSTRUKT 41 Seabring St., Redhook

This month’s event falling on a partial eclipse in Cancer, as the moon stands between the Sun and the Earth, we’re exploring the potential of the eclipse as an astrological “wild card” from the Universe offering a dramatic opportunity to bring to light areas in our life that demand change, growth, transition and evolution. Doors close at 8pm to hold sacred space


Facebook event: https://www.facebook.com/events/497549647328326/


An Art Exhibition for the New Cigar Factory LIC
Closing Party performance evening with Paper Tales by Jana Astanov
Thursday, July 19th, 5 – 9pm
Cigar Factory LIC, 9-20 35th Avenue, Queens, New York 11106

Independent Curators, Krista Scenna, of Brooklyn’s Ground Floor Gallery and Carolina Peñafiel, of Local Project in Queens, are thrilled to welcome the historic Cigar Factory back to Long Island City with a new generation of makers: New York City’s talented emerging artists.

Facebook event: https://www.facebook.com/events/630282420665885/



29/06/18: Noumena: Initiation

NOUMENA: INITIATION curated by Jana Astanov

Sat June 30th 6-9PM LIC-A (Long Island City Artists)
The Plaxall Gallery 5-25 46th Ave, Long Island City 11101

Noumena: Initiation, the Local Project Art Space Event in NYC (June 30th 2018, hosted by Long Island City Artists), invites the public to the evening of Performance Art exploring magic and shamanism. Featured artists: Jaguar Mary X, Claire Zakiewicz + Siw Laurent, Megwyn White, Prieztezz Or Nah + Undakova, and Greem Jellyfish.

Since the 90s of XXc philosophers and art historians were looking for a term to describe the era after postmodernism, and while the term “anthropocene” became one of them, in terms of cultural production we are experiencing a new type of romanticism: return to feminine, mysticism, magic, nature and spirituality. The occult and magical are re-appearing throughout different art mediums possibly as an answer to our increasingly materialistic world.

As a response to this shift of paradigms, a performance art series themed Magic and Shamanism encompasses works focused on ritual, shamanic traditions (including healing and shapeshifting), paganism, witchcraft, occult, esoteric teachings, folk magic, as well as astrology, magical intents, narratives derived from mythology and religions, magical and symbolic languages such as grimoires and sigils.

Plato described the role of an artist as the one who translates the meanings of the cosmic consciousness for the rest of us. In a similar manner the Shaman or Shamanese, are the go-between medium, revealing the will of the divine and connecting the tribe with its vital force. Today’s artists can be perceived as traditional shamans possessing the power of accelerating humanity’s evolution in consciousness.

In pre-Kantian philosophy Platonic Ideas and Forms are described as NOUMENA, and phenomena are things displaying themselves to the senses.

In this event NOUMENA: INITIATION we invite you to explore the IDEAL somehow unknowable world with a group of performance artists whose work carries on shamanic traditions.

Artists bios:

Jaguar Mary is a performance artist, glossolalia vocalist, lmmaker and hoop dancer. Her specific concerns, and the directives that have driven her art practice, engage black feminist discourse, questions of history, and now, ritual performance and practice in art as tools to help us out of our world crisis. Jaguar Mary aka Jocelyn Taylor is an alumni of the Whitney Independent Study Program and has shown internationally, at the Johannesburg and Havana Biennials, and in galleries in Venezuela, Canada, France, the Netherlands and Dietch Projects in New York. She’s also collaborated with feminist artists Annie Sprinkle, Yvonne Rainer, Cheryl Dunye and others.


Katie Cercone “High Prieztezz Or Nah” is a visionary artist, scribe, priestess and spiritual gangsta hailing from the blessed coast. Katie’s transformational work lies under a sacred canopy of co-created ritual and magic to align with higher consciousness. Cercone has participated in exhibitions at the Brooklyn Museum, Bronx Museum, Whitney Museum, Dallas Contemporary, Momenta Art, C24 Gallery, Changjiang Museum of Contemporary Art, Dodge Gallery and Aljira Center for Contemporary Art. Her work has been featured in Dazed, MILK, Interview, Japan Times, Huffington Post, Bitch Magazine, Hysteria, ART PAPERS, ART 21, PAPER, Art Fag City, Washington Post, Art Net TV among others. A uniquely interdisciplinary artist, she is co-leader of the radical queer transnational feminist Go! Push Pops collective and creative director of ULTRACULTURAL OTHERS: Urban Mystery Skool. A known pioneer with her partner UNDAKOVA, the two lead seasonal HIP HOP YOGA RETREATS in the magical jungle of Thailand, turn up at high vibration sacred arts festivals worldwide host a new moon wellness ritual.


David Williams a.k.a. U.N.D.A.K.O.V.A. (Universe. Naturally. Delivers. All. Knowledge. Of. Vitality. Automatically.) has been awakening audiences with his insightful and knowledge-infused hip hop for over twenty years. Urban monk and teaching artist, his seasoned background in yoga and meditation has allowed him to develop a yoga hip hop curriculum for urban youth. UNDAKOVA believes self-love and artistic expression are the ultimate tools for empowering communities. LEARN MORE


Claire Zakiewicz has been living between New York and London since 2013. She explores relationships between sound, drawing and the human body. She has appeared as an actor, sound designer, performance artist for numerous productions. She has developed choreography for her own pieces and has exhibited her paintings and video works regularly across the globe. Her works have been shown at Tate Tanks and Tate Modern (London) for the exhibitions Tweet Me Up, and Label curated by Tracey Moberly. Over the past two decades Claire has performed and/or exhibited in the UK, USA, Italy and Norway. Her work has been broadcast on Resonance FM’s Late Lute Breakfast show. She has undertaken residencies at The Mothership, PointB Worklodge and Bill Young’s Dance studio (New York) and at USF (Bergen). Zakiewicz studied Fine Art at Chelsea College of Art, London and Anglia Ruskin University, Cambridge as an undergraduate before completing a research-based Masters of Fine Art degree where she explored the physical and metaphorical relationships between sound and sound and drawing at Sir John Cass School of Art, London.

Siw Laurent is a French-Norwegian interdisciplinary artist producing artwork through theatre, film, performance art, installation and music. She is the Performance Consultant and Artistic Advisor in the global field of Nature Connection and Ecotherapy at the University of Southeast Norway, Performing Arts Coordinator at NOoSPHERE Arts and permanent artist in residence at the Mothership NYC. She has written, produced and performed work in Norway and NYC since 2013 and is the founder of Active Body Listening, a practice based on psychoanalysis for holistic evolution and artistic expression, through which she performs Norse shamanic work artistically and therapeutically. Her works have been hosted by performance art festivals and venues such as Itinerant  Performance Art Festival, Neo-Domesticity Performance Art Festival at Glasshouse Art Gallery, Suffragettes Performance Art Festival at Rosekill, Grace Exhibition Space, Mothership NYC, HB Studios, Kværnerbyen Scene Oslo Norway and Villa Villplukk Oslo, Norway, among others.


Megwyn White graduated with a BFA in acting from the Tisch School of the arts where she also graduated with the Departmental Award from the Experimental Theatre Wing. She has performed with Big Dance Theatre, Sonneblauma Danz Theatre, and Rudy Perez Dance Company, and WISE. She has also worked with directors Tim Robbins, Steve Wangh, and has taught acting with senior faculty such as Raina Von Waldenburg at ETW.  She has been highly influenced by physical performance techniques such as the work of Jerzy Grotowski’s plastiques and dynamic yoga. She has used the last 18 years of her life to explore the somatic realms through bodywork, studies in yoga, meditation, and music. Her somatic healing work is called Haptic Body, a technique which explores unlocking the connections of expression within the body through tapping into the nervous system, and voice. Her work has been featured in Cosmo, Sensient Magazine, the Sex and Medicine Summit. Her focus in the realm of performance art is to activate awareness through embodiment using ritual as a tool for connecting with spirit and the potentials within the human form.


Greem Jellyfish’s experimental electro house music reflects her cross-cultural identity as a Korean living in New York. Even as she travels globally, her identity is hybrid, never fixed. She adopted the surname “Jellyfish,” because she comes from a mixed family of many names, often feeling as an outsider and a misfit. She finds freedom in the symbol of a deep sea creature that roams about, fluidly, transient, its very form made from the same water in which it lives.


About the curator:

Jana Astanov is a multidisciplinary artist, curator and a poet born in Poland and currently living in New York. Her work includes photography, poetry, performance and new media. She has written three collections of poetry: Antidivine, Northern Grimoire and Sublunar. Jana’s twitter @JanaAstanov


22/06/18: Letter to the Author of the Letter to the Father

Letter to the Author of the Letter to the Father

Letter to the Author of the Letter to the Father, the debut short fiction collection by 3:AM Magazine co-editor-in-chief Tristan Foster, is forthcoming from Melbourne-based publisher Transmission Press.

From the publisher:

Eels, snakes, artists, photos, writers, sprinters, dead men, thieves, possums, sphinxes, whales, fathers, mothers, children, neighbours, lovers, churches, rivers, oceans, devils, heroes, stones, fur, fish, skin, blood.

Astrologers and mandarins. Delhi and Parramatta, Byzantium and Cappadocia.

The texts in this collection hunt down the lost and the dead, tracing their paths from small apartments in the suburbs of Sydney to Malpensa Airport in Milan, bearing witness to what they get up to when our backs are turned.

By turns strange, beautiful and beguiling, Letter To The Author of the Letter to the Father is an outstanding collection of short fictions from one of Australia’s most exciting new voices.

See Daniel Davis Wood’s review in The Collagist.