*From Maurice Tuchman’s ‘The Spiritual in Art – Abstract Painting 1890-1985’ describing Frantisek Kupka’s translation of his visionary experiences into visual form.
Frantisek Kupka 1871-1957
Gary Lachman spoke recently at The Black Light Exhibition, an event sponsored by The Center for Contemporary Culture Barcelona.
Lachman, whose presentation begins at about the 5:30 mark in the above video, briefly covers a history of the relationship between art and the occult. He speaks for roughly 35 minutes tracing the roots of this phenomenon from paleolithic cave paintings to the varied works of William Blake to the secret Gnostic paintings of Hilma af Klint and to the expressions of contemporary artists such as the filmmaker Alejandro Jodorowsky, which is then followed by a Q and A session.
This exhibition stood on the shoulders of another exhibition curated by Maurice Tuchman in the 1980’s in Los Angeles, ‘The Spiritual in Art: Abstract Painting 1890-1985’.
Tuchman in the introduction to the wonderful book published in conjunction with this event states,
“Abstract art remains misunderstood by the majority of the viewing public. Most people, in fact, consider it meaningless. Yet around 1910, when groups of artists moved away from representational art toward abstraction, preferring symbolic color to natural color, signs to perceived reality, ideas to direct observation, there was never an outright dismissal of meaning. Instead artists made an effort to draw upon deeper and more varied levels of meaning, the most pervasive of which was the spiritual.”
The cover of the accompanying publication for The Black Light Exhibition
From the CCCB site,
“Esoteric traditions can be traced back to the very origins of civilization, having served at different times to structure philosophical, linguistic, scientific or spiritual ideas. Despite their importance for the development of twentieth-century art, they tend to be ignored or disparaged these days due to the dominance of rationalistic thinking and the difficulty of talking about these subjects in clear, direct language.
In recent years, however, many artists have taken a renewed interest in subjects such as alchemy, secret societies, theosophy and anthroposophy, the esoteric strands in major religions, oriental philosophies, magic, psychedelia and drug-use, universal symbols and myths, the Fourth Way formulated by the Armenian mystic Georges Gurdjieff, etc., generating an interest in these fields that had not existed since the counterculture of the sixties and seventies.
According to the writer Enrique Juncosa, curator of this exhibition, this interest may be due to the fact that we are, once again, living in a restless and unsatisfied world, worried about new colonial wars, fundamentalist terrorism, serious ecological crisis and nationalist populism, just as in the sixties and seventies people feared an imminent and devastating nuclear catastrophe. Furthermore, much of today’s mainstream art is actually rather boring due to its complete lack of mystery and negation of any kind of poetization or interpretation of our experience of it.””
Photo by Asa Lunden
Photo from a 2013 Exhibition of works by the Swedish mystic Hilma af Klint who as Lachman describes in his presentation is probably the first Abstract artist, predating Wassily Kandinsky
“[N]obody is willing to invest money in poetry. But film will continue existing thanks to the resistance of…poets. You can be sure that cinema history is made of films that recreate the inner world of their artist, and not the movies we see today and that I hope will not continue to please the public for much longer. Since the beginning, cinema has been in a difficult situation. To make movies, you need money. To write poetry, all you need is some paper and pencil. I bow to those directors who keep trying, with what they have, to make their own movies. We have seen that these films have a specific, personal rhythm.”
The Worlds of
An intelligent Sci-Fi film adapted from an intelligent 1st book in a trilogy from a ‘New Weird Fiction‘ writer Jeff VanderMeer – Annihilation creates a world with echoes from previous Sci-Fi cinematic masterpieces.
It is a film that asks to be experienced first before engaging in an ongoing interpretation. And like all good art it opens up the viewer to many different possible meanings and layers that will certainly require multiple viewings to absorb everything that is being presented.
Mysteriously disturbing, haunting, frightening at times, yet exhilarating and ultimately profound, unfolding like a dream – it can be seen at once as a psychological, biological, existential, and metaphysical question of our existence on this planet along with other myriad life-forms. And ultimately it frames that question with regards to what is our place in this universe.
It deserves to be seen in a theater to experience the full force of its mastery. It won’t be around in theaters for long as the studio underestimated its appeal, so see it soon if you are in the U.S and Canada if you can.
“The Russian Revolution. The Spanish Republic. The Paris Commune. The Ukrainian revolution. The Mexican Revolution. From the late 19th century until World War II, anarchists played a key role in these events and in social movements that would shape the world we live in.
Yet these contributions are largely forgotten. Anarchists were considered so dangerous that forces of the state slaughtered them by the thousands, while they were betrayed, arrested, and killed by their erstwhile revolutionary allies.
Anarchy is often used as a synonym for chaos and destruction – with anarchists seen as black-clad nihilists fomenting violence at peaceful protests. But NO GODS NO MASTERS reveals the far more complex history of a viable social system and the men and women who devoted themselves to making it a reality.
NO GODS NO MASTERS is a sympathetic history of a century of anarchist thought and practice, featuring leading historians and essayists, dramatic archival footage, and lively commentary that keeps the subject engaging. Divided into sections each based on key events, NO GODS NO MASTERS is a comprehensive yet accessible introduction to the multi-faceted global anarchist movement – once a mass force that sought not to seize political power, but to utterly destroy it.”
Part 1: The Passion for Destruction (1840–1906)
“This episode of NO GODS NO MASTERS shows how anarchism emerged from the horrendous social conditions facing workers at a time when industrialization was, paradoxically, providing better hygiene and social standards – for some. In an era in which the life expectancy of workers was 30 years—most of those spent in misery—it is no surprise that new approaches would arise.
Tracing the history of early anarchist thought from Pierre-Joseph Proudhon, who declared that property is theft, to Mikhail Bakunin, who advocated violent revolution to destroy the state completely, THE PASSION FOR DESTRUCTION provides a look at both the theoretical and practical origins of the movement.
Anarchists played a role in the revolutionary Paris Commune of 1871, which was crushed with an unprecedented brutality that saw the deaths of as many as 20,000 people. It was the kind of response anarchists would soon face whenever they succeeded in wresting power from authority.
Anarchists issued a formal declaration of principals following their first international, held in St-Imier, Switzerland, in 1872, advocating free speech, free thought, equality for all, atheism, internationalism, and an end to political parties.
THE PASSION FOR DESTRUCTION follows the expansion of the anarchist movement from Europe to America, where it grew, fueled by disillusioned immigrants. Anarchists would spread their influence through general strikes – a form of action they developed – and collective action within the trade union movement, which was concerned with much more far-reaching change than working conditions. The film also offers an in-depth look at the Haymarket Affair, which saw four anarchists wrongfully hanged for a bomb that went off during a demonstration against police violence, and which would deeply influence anarchist activists such as Emma Goldman.
But even as anarchist-influenced revolts would spread through much of the world, the movement faced a sharp division between those advocating “propaganda of the deed” (bombings and other violent acts that would serve as a catalyst for revolution) and those who favoured the more incremental gains of syndicalism.”
Part 2: Land and Freedom (1907–1921)
“By the early 20th century, anarchists in France were a powerful enough constituency to draw the French president to an event. In England, they were considered so dangerous that when they occupied a London building, it took the full force of heavy artillery and 800 police officers (some under the eye of Winston Churchill) to dislodge them.
LAND AND FREEDOM looks at differing strains within the anarchist movement during the peak of its popularity – when it seemed, for a time, that the dream of anarchist revolution might come to pass. This was an era of social ferment and experimentation, including communal living, nudism and gender equality; educational reform designed to usher in the development of “the new man”; the resurgence of propaganda of the deed in the guise of violent robberies and shootouts with police; and the participation of anarchists in revolutions from Mexico to Russia.
Anarchism waned in Europe during the years leading up to WWI, but the 1910 Mexican Revolution took up the torch, and drew the support of anarchists and anti-authoritarians including the thinkers and activists Peter Kropotkin, Emma Goldman, and Joe Hill of the International Workers of the World. But despite the early gains of the Zapatistas, they would be betrayed and slaughtered by their allies. Anarchists who participated in the 1917 Russian Revolution suffered the same fate. Happy to have their support in toppling the government, the communists then suppressed them with what Trotsky called “an iron broom.”
While it seemed that the dream of an anarchist revolution was within grasp, World War I would put an end to popular revolt, as young men went to the front. A movement that had once seemed poised to take over the world was now severely weakened.”
Part 3: In Memory of the Vanquished (1922–1945)
“This episode of NO GODS NO MASTERS opens with the United States during the Depression, and the galvanizing role of the conviction and execution of Sacco and Vanzetti. It was a period during which anarchists were characterized as bomb-throwers, drunkards, and Bolsheviks. And in a country that saw trade unionism and any fight for workers’ rights as an existential threat, anarchists could not be tolerated. Indeed, the government and police sometimes teamed up with organized crime to fight them.
It’s not as though the propaganda was without basis: anarchists, including the strain of thought to which Nicola Sacco and Bartolomeo Vanzetti belonged, had committed a series of bombings in the US. Indeed, to protest their arrest, the world’s first car bomb was detonated on Wall Street, killing 38 people. Communists saw the pair as martyrs, and fought for their release, in a calculated attempt to win over anarchist sympathizers.
IN MEMORY OF THE VANQUISHED traces the appropriation of anarchism by communists, and of anarchist symbolism by fascists in France, Italy, and Spain, and takes an in-depth look at the Spanish Revolution of 1936, which was heavily anarchist in Catalonia. Remarkable newsreel footage from Barcelona shows smoothly functioning life in a city run largely on anarchist principles, with collectively run arts organizations and companies, and without bureaucracies and bosses. But this too, would not last, as anarchists paradoxically entered the republican government in order to face Franco’s fascists. The anarchist militias would end up being absorbed into the republican troops.
With the defeat of the Spanish Republic, and squeezed between Stalinists, fascists, and capitalists, anarchists found themselves in disarray, with nowhere to turn politically as the Second World War loomed. The anarchist movement seemed doomed. But was it?
The three episodes of NO GODS NO MASTERS offer an in-depth historical perspective on the anarchist movement, but also make implicit links to the present. Anarchism arose in a period of inequality and social unrest. The words “war on terror” were first applied to the late 19th-century fight against anarchists. Despite the diversity of thought among anarchists, the popular perception has remained remarkably static from opponents on both left and right – seeing them largely as violent nihilists. NO GODS NO MASTERS goes a long way towards rectifying that view, and raises the question of whether anarchist thought could appeal to a new generation of activists too.”
Art by Matt Melanson
There is a new podcast in town, Weird Studies, hosted by Phil Ford and J.F. Martel –
As they describe it,
“Weird Studies” is a scholarly field that doesn’t and can’t exist.
The Weird is that which resists any settled explanation or frame of reference. It is the bulging file labelled “other/misc.” in our mental filing cabinet, full of supernatural entities, magical synchronicities, and occult rites. But it also appears when a work of art breaks in on our habits of perception and ordinary things become uncanny. The Weird is easiest to define as whatever lies on the further side of a line between what we can easily accept from our world and what we cannot. And it defines an attitude towards whatever lies on that side of the line: a willingness to remain suspended between explanations and abide in strangeness.”
In this episode the two connect the dots and discuss those connections and surrounding pathways into the origin of contemporary existential fear and how it manifests in recent works such as David Lynch and Mark Frosts’ ‘Twin Peaks – The Return’.
Along the way their map include signposts from Philip K. Dick, Norman Mailer, Stanley Kubrick, Carl Jung, William Burroughs, Guy Debord, H.P. Lovecraft and many others.
A fascinating and thought provoking look into the abyss, to synchronous expressions of art, and the implications for modern life as we live under the shadow of the mushroom cloud.
“I wish to paint in such a manner as if I were photographing dreams”
“In the medieval tradition, Beksinski seems to believe art to be a forewarning about the fragility of the flesh– whatever pleasures we know are doomed to perish– thus, his paintings manage to evoke at once the process of decay and the ongoing struggle for life. They hold within them a secret poetry, stained with blood and rust.”
― Guillermo del Toro