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title: ARTHUR MAGAZINE ARCHIVE

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one word phrases repeated minimum three times

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B tags

FOR LEONORA CARRINGTON

ARTHUR: What was your initial personal attraction to the story?

LAUREL:

DAVID:

DAVID

LAUREL

Eliza Swann [E.S.]:

Frank Haines [F.H.]:

E. S.:

F.H.:

E.S.:

Frank Haines

Eliza Swann

C & D: Two guys who will remain pseudonymous reason together about new records

Sunn O))) & Boris

White Magic

U tags

The Spiritual Journey of Alejandro Jodorowsky

Recently Discovered Musical and Sundry Delights

C & D

Black Hole White Magic

I tags

This poem by Peter Lamborn Wilson was published as a letter to the editor in the final issue of Arthur, No. 31 (Oct 2008). It was in response to the piece by Alejandro Jodorowsky in the previous issue, an excerpt from his newly translated memoirs, The Spiritual Journey of Alejandro Jodorowsky, detailing his informal apprenticeship to Leonora Carrington in Mexico City in the late ’50s…

The Spiritual Journey of Alejandro Jodorowsky

Originally published in Arthur Magazine No. 9 (March 2004) (available from The Arthur Store. This film has been held up for commercial release since 2004. There is a Kickstarter campaign to get it cleared for release here: http://www.kickstarter.com/projects/orchide-detroit/mc5-a-true-testimonial

ARTHUR: What was your initial personal attraction to the story?

How do you hope that will impact on the audience? What do you think the film’s ‘message’ is?

Considering the state of our nation, is the MC5 story more relevant than ever, or is it more like some quaint vestige of a bygone era called ‘the sixties’?

Can there ever be a legitimately revolutionary band again? Can there ever be another youth revolution? In a way it’s almost like it’s been set up by the media and the culture so that it can’t ever happen.

What happened with Elektra Records? Danny Fields signs the MC5 and The Stooges at this big ‘signing party,’ and then they were dropped six months later. What do you think the label expected from them when they signed them?

Let’s talk about the White Panthers. I feel like their history is full of contradictions. Some people say, ‘Oh, it was just a joke, it was the MC5 fan club,’ yet Wayne Kramer denies this. Even the name of the organization – is it true that there was a guy named Panther White?

Do you think that they needed John Sinclair to survive?

Eliza Swann [E.S.]: Since we’ve been talking about the properties of darkness, let’s begin at the beginning. Darkness represents the Absolute Unmanifest. In mythology this is often represented by primordial waters and the formlessness that precedes form. How does the concept of the Unmanifest figure into your art practice? What catalyzes your urge to make forms? How do you reconcile form and formlessness in your practice?

E. S.: Restriction and definition are necessary for the act of creation to occur out of primordial ooze. Your work with grids hints at a Platonic geometric conceptualization of matter—a way to use limitation and restriction to understand the living world.

E. S.: I wouldn’t say “powerlessness” as much as “surrender” in the case of The Hanged Man. There is a great deal of power in surrender – the trust in the “bringing together” even when you are in the “tearing apart” space. Jesus, one of our more famous Hanged Men, at the end of the crucifixion scene said “Into thy hands I commend my spirit”, words of surrender.

E. S.: Exorcism! Absolutely! I had always approached that subject in a Jungian, metaphorical, psychological (disbelieving) way until I began working with intense energy healers who did a lot of very literal exorcisms. I just watched a beautiful documentary by Margaret Mead from the 1930s called “Trance and Dance in Bali”. The dancers enact the struggle between “fear of death” and “the living” and become possessed by spirits during their frenzy – they begin to plunge daggers into their chests without leaving a scratch.

E. S.: In Jung’s opinion the first step toward individuation, or self-realization, is confronting the shadow aspect of the self. In his opinion the key to surviving the descent into darkness, repressed areas of the psyche, and unconsciousness is to remain aware of the shadow without identifying with it. He also saw the shadow self as the seat of creativity. In what way does your shadow self figure into your practice at this moment?

Infinite Jest

E. S.:I completely agree with you about the occult/psychology nexus . People often ask me how to learn the Tarot – I usually direct them to M. Scott Peck’s “The Road Less Travelled” and Annie Besant’s “Man and His Bodies” – basically two psychology textbooks. In any “occult” study the “key” or “philosopher’s stone” appears from within – not from an external study of symbology. Meditation is also a phenomenal tool for understanding – in every aspect.

E.S.: In some of your recent performances and photographs, there is an abundance of liquid, pouring, and paint ooze baptisms happening. Water is often associated with darkness and unconsciousness and floods figure heavily in mythologies surrounding cleansing and purging – as in the great flood which destroys the face of the earth and the recedes, leaving one pure human being. What is being transformed during these pigment baptisms?

Wire

E. S.: I am so glad you mentioned the “terror/sublime” dance – I love the quote by Edmund Burke “Whatever is fitted in any sort to excite the ideas of pain, and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror, is a source of the sublime.” While I definitely thought of you upon seeing Hermann Nitsch’s “60. Painting Action//60. Malaktion,” your drips and pouring also remind me of my Kundalini studies in India. I was warned before beginning that the work could lead to madness if not handled properly – in a sense being “dragged into the woods.” After a day of intense and difficult meditation a common symptom was the sensation of nectar dripping down the top of the head into the spinal cord. In your performance at P.S. 1 when you dropped to your knees to have paint poured over the crown of your head I thought “A- HA.” The sublime.

E. S.: Since we are largely talking about the properties of darkness tell me about “Noiry” from your performance duo “Blanko and Noiry.” I am also curious about the addition of “gray.” The dynamic seemed to shift from Father and Son to Father, Son, and Holy Ghost.

E. S.: Tell me about your musical selections for Blanko and Noiry and how you came to work with Chris Kachulis.

E. S.: How does your performance art relate to ritual magic, and what other popular modes of performance do you draw from?

E. S.: St. John of the Cross wrote “The Dark Night of the Soul” describing the despair that occurs at many stages along the spiritual path – does this figure in to your investigations right now?

E. S.: One of the primary functions of a shaman is the passage through underworlds and shadow realms to obtain knowledge and healing for people. One could argue that heavy metal bands perform this same function. Can the artist also heal in this way?

E. S.: The philosopher Gurdijieff breaks art into subjective and objective. Subjective art is compared to vomiting – the artist feels better after relieving himself of nausea, and the audience is left to look at the vomit. Objective art illuminates “the peak and the valley both”, and encompasses the breadth of human experience objectively. I think artists can certainly be curative for the collective psyche. The ideas of Yves Klein, Linda Mary Montano, Jack Smith, and on and on and on have certainly changed my approach to living for the better. Genesis Breyer P. Orridge’s Pandrogyny work is moving culture to a broader place of understanding. As for objects themselves having healing power—I guess that depends on how you view physical matter and the space in between. Having seen a great Sphinx rising out of the sand in Giza I am lead to believe that they can.

Originally published in Arthur No. 30

cannot

Originally published in Arthur No. 28 (March 2008)

Originally published in Arthur No. 25 (Winter 2006)

White Magic: Meanwhile, outside the city gates…

Reviewed:

Altar

Dat Rosa Mel Apibus

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H1

ARTHUR MAGAZINE ARCHIVE

H2

THIS IS THE END

Arthur Radio Transmission #40 w/ LOWER DENS

I WONDER WHAT HE’S DOING NOW?

Thanks for all the poetry.

*References upon request.

What a Long Strange Trip It Actually Was – R.I.P. Augustus “Bear’” Owsley Stanley III

GREAT DARKNESS NATIONAL PARK by Maria Sputnik & Van Choojitarom

“FOR LEONORA CARRINGTON” BY PETER LAMBORN WILSON (Arthur No. 31, Oct. 2008)

“HIGH FIVE: Detroit’s visionary MC5 receive a film tribute that aims to rewrite rock history” by Steffie Nelson (Arthur No. 9/March 2004)

“The abyss is something to be looked into, but not the only thing”: Artist FRANK HAINES, in conversation with Eliza Swann

EDDIE DEAN: Recently Discovered Musical and Sundry Delights (Arthur No. 30/July 2008)

C & D: Two guys who will remain pseudonymous reason together about new records, plus Stephen Malkmus talks golf courses, McCain (Arthur No. 28/Mar. 2008)

BLACK HOLE WHITE MAGIC by Chris Ziegler (Arthur No. 25/Winter 2006)

H3

THIS IS THE END

Arthur Radio Transmission #40 w/ LOWER DENS

I WONDER WHAT HE’S DOING NOW?

Thanks for all the poetry.

*References upon request.

What a Long Strange Trip It Actually Was – R.I.P. Augustus “Bear’” Owsley Stanley III

GREAT DARKNESS NATIONAL PARK by Maria Sputnik & Van Choojitarom

“FOR LEONORA CARRINGTON” BY PETER LAMBORN WILSON (Arthur No. 31, Oct. 2008)

“HIGH FIVE: Detroit’s visionary MC5 receive a film tribute that aims to rewrite rock history” by Steffie Nelson (Arthur No. 9/March 2004)

“The abyss is something to be looked into, but not the only thing”: Artist FRANK HAINES, in conversation with Eliza Swann

EDDIE DEAN: Recently Discovered Musical and Sundry Delights (Arthur No. 30/July 2008)

C & D: Two guys who will remain pseudonymous reason together about new records, plus Stephen Malkmus talks golf courses, McCain (Arthur No. 28/Mar. 2008)

BLACK HOLE WHITE MAGIC by Chris Ziegler (Arthur No. 25/Winter 2006)

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Experience

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