DC's

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Alias Kill All Artists, 2019
‘Every piece will be delivered with one pair of protective gloves made out of cotton and a certificate of authenticity singed by the artist and gallery owner. The certificate ensures originality and limitation of the series. Artworks will be unframed.’

 

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Sturtevant Kill (wallpaper), 2003
‘Sturtevant’s repetitions of Andy Warhol’s ‘Marilyn’ against her ‘Kill’ wallpaper (based on the Quentin Tarantino film Kill Bill, 2003).’

 

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Chenchenchen The Mercy of Not Killing 2.0, 2018
‘In The Mercy of Not Killing 2.0, an unsettling performance piece by 30-year-old Chinese conceptual artist Chenchenchen (CCC), 10 construction workers hang by their hands from a 111-foot-tall tower in the Chinese city of Wuxi. The workers wriggle and shift desperately as they try to maintain their grip and keep from plummeting—presumably—to their death. In a video of this performance, captured by drone, as a camera hovers above the dangling men, we see that they are actually connected by rope. Thus, if one person falls, they all fall.’

 

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Tim Silver Untitled (Oneirophrenia), 2015-2016
‘silver’s ‘oneirophrenia’ series is made from atypical sculptural materials that resist immutability and instead strive towards mutation and modification. for this body of work, the artist has filled busts with raw bread dough which, as it rises, breaks through the figures’ plaster skin.’

 

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Uwe Lausen Kill the colour, 1967
‘In only nine years of art production, autodidact Uwe Lausen created a provocative and stylistically hybrid body of paintings that translate the tensions and contradictions inherent in postwar Germany. From 1960, in reaction to the middle-class milieu where he grew up and the socio-political context of West Germany, Lausen developed a personal vocabulary. His exploration of the human figure is haunted by the cohabitation of younger and older generations, the latter held responsible for Third Reich politics. His paintings conflate many influences, from Francis Bacon to British pop artists Peter Blake and Allen Jones. Close to the SPUR group of artists based in Munich, Lausen lived in Hans-Peter Zimmer’s studio and met the revolutionary Situationist International group in Paris in 1961, taking part in their activities until his eviction in 1965. In an effort to reflect on and extract from the socio-cultural and political establishment of his time, Lausen created a singular pictorial language marked by his resolutely rebellious character and experimentation with drugs.’

 

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Carsten Höller Killing Children III (Kinderfalle), 1993
‘Höller came to fame in 1990-93 with an exhibition of devices for catching and killing children; one, for instance, was a swing fixed to the roof edge of a high-rise building. Was he really such a paedophobe? ‘Well, now I have a daughter I’ve changed my mind! I never hated children, but I hated the idea of making children, the whole reproductive process. There’s no freedom if you cannot get rid of the biological machinery that makes us decide to do this thing and not that thing. I thought very much about how you could break that chain. I was determined and convinced that I would not have children.’

 

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Joseph Delappe Elegy: GTA USA Gun Homicides, 2018
‘Joseph Delappe’s new project – developed in collaboration with Albert Elwin (coding) and James Wood (consultant), Elegy: GTA USA Gun Homicides, is a self-playing version of Grand Theft Auto V that – starting each midnight CST (Central Standard Time) – reenacts/ recounts/ represents the entire body count to date from January 1st 2018 in-game. In other words, the project visualizes real life gun-related homicides in the United States of America though the filter of a video game. (As NRA fanatics love to say, “Guns don’t kill people, video games do.”) Each daily update represents – in a graphic, literal way – the body count reported by a gun violence website. The next day, the program scrapes the new data and starts again, in a perverse Groundhog Day-sort of way, while “God Bless America” – both the original version by Irving Berlin (1918) as well as Kate Smith’s iteration (1938) – plays in the background.’

 

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Hema Upadhyay Killing Site, 2008
‘Baroda born and Mumbai based Hema Upadhyay uses photography and sculptural installations to explore notions of personal identity, dislocation, nostalgia and gender. Upadhyay’s work Killing Site draws on the theme of migration and human displacement across Asia. The top of the work is based on Mumbai’s dilapidated shanty towns, here appearing upside down and protruding out like a canopy over Upadhyay’s decorated montage.’

 

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littlewhitehead It All Depends On One’s Fantasies As A Child, 2008
Sculpture, Plaster, wax, foam, hair, clothes, binbags, rubbish

 

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Nicholas Galanin Inert, 2009
‘By combining two pre-taxidermied wolves into one, artist Nicholas Galanin has created a startling piece. Called Inert, it was made for a traveling group exhibition that deals with humanity’s impact on the environment. “The inability to progress or move forward was the basic concept,” he tells us. “It was created so that we could focus on those that are “affected by societies’ sprawl. Inert deserves to be seen in person; it generates a strong emotional response, viewers have cried.“’

 

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Walter Richard Sickert L’Affaire de Camden Town, 1909
‘It is said that we are a great literary nation but we really don’t care about literature, we like films and we like a good murder. If there is not a murder about every day they put one in. They have put in every murder which has occurred during the past ten years again, even the Camden Town murder. Not that I am against that because I once painted a whole series about the Camden Town murder, and after all murder is as good a subject as any other.’ — Walter Sickert

 

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Mark Flood Various, 2012
‘Many significant events took place in the United States in 1992. Jeffrey Dahmer was sentenced to life in prison, Jay Leno took over as the host of The Tonight Show, Southern California bore the brunt of many major earthquakes, and hurricanes hit the tropics of Hawaii and Florida. Additionally, Bill Clinton defeated incumbent George Bush in the presidential election, breaking a 12-year Republican grip on the White House. Just a few months before the election, protesters flooded the Republican National Conven- tion, brandishing signs of protest. Among them was Mark Flood, supplying the crowd with signs of his own making.’

 

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Stine Marie Jacobsen Do you have time to kill me today?, 2007
‘An important aspect of Stine Marie Jacobsen’s artistic praxis is challenging the stereotypical behavior of female and male actors. In the video Do you have time to kill me today? shot in L.A., the artist acts the part of a blonde driver who is constantly attacked by an elderly man (in reality her neighbor) from the backseat. However she is oblivious to his – clearly staged – attempts to cut her throat. She keeps driving and the fake blood just drips down her throat.’

 

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Jon Sasaki Improvised Travel Adapters, 2018 ->
‘Improvised Travel Adapters documents an ongoing series of temporary sculptures comprised of repurposed objects, jury-rigged to serve as adapters for international electric sockets. Well-intentioned warnings placed in hotel rooms urging travellers to avoid using multiple devices at once are scorned as Sasaki engineers travel adapters by jamming safety pins, paper clips, or nail files between a plug and a socket. Through this flirtation with failure – and possible fatal electric shock – Sasaki evokes the disorientation of arriving somewhere new and being confronted with the need to improvise and make do, heightened by our intense dependence on electronic devices.’

 

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Eugenio Merino For the Love of Gold, 2009
‘A statue of British artist Damien Hirst pointing a gun at his head has caused a stir at the 28th Madrid International Contemporary Art Fair, known as ARCO. Sculptor Eugenio Merino’s piece puts Hirst in a suicidal pose with blood pouring from a bullet wound to his head. It was unveiled at ARCO’s launch over the weekend. “If he killed himself, then the value of his art would increase a lot.” Called For the Love of Gold, the work of parody was produced over a two-month period and refers to Hirst’s For the Love of God — a diamond-encrusted platinum skull that was reportedly sold in the summer of 2007 for more than $100 million to a group of investors. The life-size silicone sculpture uses real human hair and glass eyes. Hirst is posed on his knees with a Colt 45 in his right hand pressed against his temple wearing a skull T-shirt.’

 

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Forensic Architecture The Killing of Mark Duggan, 2020
‘On 4 August 2011, Mark Duggan was shot to death by police in Tottenham, north London, after undercover officers forced the minicab in which he was travelling to pull over.

‘As the vehicle came to a stop, Duggan opened the rear door, and leapt out. Within seconds, an advancing officer known only by his codename, V53, had fired twice. The first shot passed through Duggan’s arm, and struck a second officer, known as W42, in his underarm radio. The second, fatal shot hit Duggan in his chest.

‘V53 would later tell investigators that he saw a gun in Duggan’s hand, and felt his life to be in danger. Duggan was being monitored by Operation Trident, a controversial unit of the Metropolitan Police focused on gun crime in London’s Black communities; firearms officers had followed him from a nearby meeting, at which he had reportedly collected a gun. But following the shooting, the gun in question was found around seven metres away from where Duggan had been shot, on a nearby patch of grass. But no officers reported that they saw Duggan throw the gun, or make any kind of throwing motion.’

 

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Alexander Mir Various, 1988 – 1997
‘In research for the show at the Mary Boone gallery in September-October 2007, three assistants and myself spent months in the NYC Public Library copying 10,000 covers of two tabloids – the outcome of their combined cover stories of 15 years. From these, I selected around 200 that were particularly poignant, or which formed an ongoing narrative, but most importantly, that made me smile with recognition.’ — AM

 

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Jake Francis Chum, 2019
‘Yes he’s real, and no I didn’t kill him…stop asking.’

 

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John Wayne Gacy Sex Skull, 1980
‘John Wayne Gacy used to dress up as pogo the clown and work at fund-raising events, hospitals and kids birthdays. Ted Bundy would seduce women with his charisma and charm or Dennis Rader, also known as BTK, who was the president of the congregation council of his church and a cub scout leader. Many forms of art are inspired by the infamous serial killers of history, depicting an extreme way of life only understandable by the actual killers themselves. After exploring these sociopaths and trying to understand the way they think, makes the art they make themselves- art that comes from a mind of a certain thinking pattern, or a lack of emotion- much more intriguing and fascinating. Gacy after being arrested and charged with 33 murders and was sentenced to death. While he was in prison he started painting as a hobby and later for a way of income. Many people bought the paintings who are interested in his life or horrified by what he had done, also many people bought the paintings only to destroy them.’

 

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Biquini Wax Orca, 2019
‘Using the 1993 ‘Free Willy’ film which starred an orca whale, known in Mexico as Keiko, the name of the real whale, they look back to try to grasp what underlies issues that Mexico and the US face today. Daniel Aguilar Ruvalcaba, a member of the Biquini Wax Collective says that in Willy-Keiko’s fate they saw a mirror of the Mexican economy. “After it was liberalised, it couldn’t survive”.’

 

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Unknown Slave Killer Club, mid-19th century
‘Also referred to as a war club, the head is a large elongated rectangular stone that is inserted into a carved wooden handle. The handle has three faces, one on the top and the second and third on either side of the ax head. These faces have three rows of hair in small “ponytails” protruding from the ridge above the eyebrows. One of the hair “ponytails” has been cut off, leaving a stump of frayed hair sticking up on the proper left top side of the face. The underside of the handle has a carved seal and midway along the handle is a filled break. The club is painted black with white and red accents. There are inlayed areas of abalone shell around the base of the handle, the sides of the head, and in the eyes and teeth of the faces.’

 

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Cady Noland Oozewald, 1989
‘Take Lee Harvey Oswald. In Oozewald, Noland transforms his image—that photo in which Dallas nightclub owner Jack Ruby’s fatal gunshots find their target—into a larger-than-life silkscreen printed on an aluminum sheet held upright by a metal stand; the portrait bears eight large holes, an American flag stuffed in Oswald’s grimace, the expression by which we best know him.’

 

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Krzysztof Wodiczko Abraham Lincoln: War Veteran Projection, 2012
‘For thirty two days, voices of veterans of the Vietnam, Iraq and Afghanistan wars animated a bronze commemorative statue of Abraham Lincoln that has stood silently in Union Square Park since 1870. The memories and feelings of ordinary Americans spoke through Lincoln as part of an outdoor public art installation by Krzysztof Wodiczko, an artist renowned for his large-scale light projections on architectural facades and monuments.’

 

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Luis Jiménez Mustang, 2006

 

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Bai Yiluo Civilization, 2007
‘Made from terracotta, classical busts pose as emperors and slaves, pierced through and defined by agricultural tools, a life force and bane.’

 

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Bjarne Melgaard Kill Me Before I Do It Myself, 2001
Installation with 5 sculptures in cold cast bronze. Height 122, 113, 100, 92 and 45 cm. 4 watercolours on paper 76 x 56 cm each, signed Melgaard and dated 2001. Boxes, plastic needles, string with glass bottle, jewellry etc. Live performance by Frost.

 

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Richard Kern You Killed Me First (1985)
‘A young woman rebels against her family’s petty bourgeois respectability, conservatism and religiosity. Main cast: Lung Leg, David Wojnarowicz, Karen Finley.’

 

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Bita Fayyazi Road Kill (1997)
‘In 1997, Fayyazi set up 150 terracotta dogs on a stretch of empty road near Tehran. Lying prostrate as though crushed or run-over, they formed part of an installation project (created with Mostafa Dashti), appropriately titled Road Kill. The dogs were consequently buried in a mass grave — over which a high-rise has now been built — and the process was documented on video.’

 

*

p.s. Hey. ** Adem Berbic, What do you think your magnetism to cis male brain writers is all about? Good it sounds like re: the reading. Emotional triggering is usually a good sign. I do think it’s kind of key to consider carefully if 1st or 3rd tense is more functional. I’ve ended up using the 1st mostly, but when I use the 3rd I realise it can be a cleaner entrance and more flexible and powerful. ** _Black_Acrylic, Yes, and hopefully RFK Jr.’s fascist idiocy won’t bring it back. ** Carsten, I think mostly because she didn’t write a huge amount. Plus misogyny of course. Yes, vis-a-vis her quote, that’s why I avoid parties and art openings and family gatherings like veritable plagues. For better or worse. I prefer silence to attacking. An uncomfortable silence can be more effective, I think, for me. Harder for whoever pisses you off to immediately reject. Uh, when I saw Cage’s confused, paranoid face, I said, ‘Oh, I’m friends with (name of my actor friend).’ He nodded nervously then walked away. Ethiopian food: Here’s a description: ‘ … characteristically consists of vegetable and often very spicy meat or vegan dishes. This is usually in the form of wat, a thick stew, served on top of injera, a large sourdough flatbread, which is about 50 centimeters (20 inches) in diameter and made out of fermented teff flour. Ethiopians usually eat with their right hands, using pieces of injera to pick up bites of entrées and side dishes.’ You can google images. It’s insanely delicious. ** cmr, Cool, glad she got to you. I think I have a bead on ‘Eros + Massacre’. Today is supposed to be the heatwave’s dying breath, and I’m counting on that. Thanks. More soon. Big Tuesday by whatever means it takes to be big. ** John Christopher, Hey there, good to see you! That Blanchot is my all-time favorite novel, so please accept my encouragement. You good, what’s going on? ** Diesel Clementine, Being a non-french speaker or at reader in bookshops here can be very demoralising. Oh, um, recommendations … I always recommend Musée de la Chasse et de la Nature. I’ve lately been recommending the tour of Serge Gainsbourg’s house, which is surprisingly fun and kind of creepy. After8 Books. I’ll write to you today, and we can figure it out. Enjoy absorbing everything. ** laura w., Ideally once readers are lured into an unknown writer by their famous associations, the famous associations fade away. Unfortunately in Laure’s case, she probably didn’t write enough for that to ever happen. Hm, no, I don’t think I have a cozy movie. Maybe ‘The Wizard of Oz’ because I watched it hundreds of times when I was a kid. Maybe cozy music? ** Uday, Oh, shit, the sickness, but oh, boy, you’re better. Orientation already? Oh, it is August. As I said the other day, my apartment looks like a gallery between shows, and that kind of works. But if I only had a room, it wouldn’t. Okay. About ‘The Sluts’, that’s the million dollar question. Bret Ellis says it’s my ‘Star Wars’, as you may know. It’s not one of my favorites among my novels. My guess is that the internet setting is Zeitgeist-y. The visceral, titillating content (it and ‘Frisk’ have been my ‘big books’). And probably because it’s the only novel of mine that has a plot, and people sure do like plots. There’s my guess. Pancakes would be lovely. Sure, on the guest-post, whatever you want. I hope Orientation oriented you. ** HaRpEr //, Sugar daddies do seem to have important place in the hierarchy. I know of ‘Alix’s Journal’, but I’ve never read it. Have meant to. If I find a copy or scan or pdf or something, I’ll let you know. ** DonW, You made it to Annecy! Just as Paris starts to become externally pleasant. But that pleasantry should hang around for your return. 80% humidity! It was 60% humidity here yesterday, and I was a very moist slug. Try to have all the fun that there has on offer. ** Thom, Her complete works fit into a coat pocket, so it shouldn’t be too hard to get her totality onboard. Sacramento, I’ve never been there weirdly being a mostly lifelong Californian. I have heard about that river. I never read ‘LotF’. Just saw the movie when young. The old 60s version. It seemed very transgressive to a kid. It might’ve even started me on my path, come to think of it. I don’t like anything about the ‘Frisk’ film. Apart from the Coil/Lee Ranaldo score. Parker Posey is funny in it, but her character should never have existed. Anyway, … Thank you about that sentence, man. Aw. Have a blast. Tick, tick, tick until tomorrow. ** Joe, Hi, Joe! Oh, cool. Leiris … I like Leiris. He’s not among my very favorites. Other of his books that I remember liking a fair amount are ‘The Ribbon at Olympia’s Throat’ and ‘Aurora’. I hope you’re doing great at the high end. ** Okay. Well, yeah, there’s your thematic post for today right up above. See you tomorrow.

 

‘No one has ever struck me as so intractable
and pure, nor more definitely sovereign.’
— Georges Bataille

‘One of the most vehement existences [that]
ever lived, one of the most conflicted. Eager
for affection and for disaster, oscillating
between extreme audacity and the most
dreadful anguish, as inconceivable on a
scale of real beings as a mythical being, she
tore herself on the thorns with which she
surrounded herself until becoming nothing
but a wound, never allowing herself to be
confined by anything or anyone.’
— Michel Leiris

 

Colette Peignot (1903 – 1938) was a French author who wrote under the pseudonym Laure. She was a revolutionary poet, masochist Catholic rich girl, & world traveler. Toward the end of her life she became the lover of French writer Georges Bataille. She was a prominent member of Bataille’s secret society Acéphale, and his novel Blue of Noon is based on events in their relationship. Her writings and her real life story were remarkable in their violence and intensity, and her relationships with Bataille and Michel Leiris clearly influenced their works. Laure succumbed to tuberculosis at the age of thirty-five. For Laure’s funeral, her mother wanted a priest, but Bataille refused and threatened to shoot him at the altar. Her works were published posthumously against the will of her brother, Charles Peignot, by his nephew, the poet Jerome Peignot (who thought of Colette as a “diagonal mother”). Peignot’s work was a major inspiration for the American author Kathy Acker, whose early work Persian Poems is a cut-up and plagiarzing of Laure’s writing. Peignot’s love affair with Bataille also forms the central narrative conceit of Acker’s novel My Mother: Demonology. Perhaps most significantly, Peignot’s death inspired and is the subject of the great French author and philosopher Maurice Blanchot’s most significant novel, Death Sentence.

 

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A brief biography (in French)

Laure’s Facebook Fan Page

Laure: The Collected Writings (City Lights Books)

Colette Peignot: A Laura for Our Times

@ Wikipedia

 

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This complete collection of Laure (Colette) Peignot’s writings published for the first time in English includes “Story of a Little Girl,” about the Catholic priest who sexually molested her sister; “The Sacred,” a collection of poems and fragments on mysticism and eroticism; notes on her association with contr-attaque and acephale, and her involvement with the Spanish civil war and the early years of the Soviet Union; a compendium of correspondence with her beloved sister-in-law and tortured love letters to Bataille; and an essay by Bataille about Laure’s death of tuberculosis at the age of thirty-five.

 

Laure’s Fragments of a Notebook (1937)

Avoid contact with all people in whom there is no possible resonance with what touches you most deeply and toward whom you have obligations of “kindness,” of politeness. Since these obligations engage me strongly as soon as I find myself in the presence of such people and engage me through an ill-fated habit of patience and good-will, which in fact becomes will for humiliation (sometimes abject). Imagine a musician in an orchestra playing off-key because his neighbor is doing so, to be nice.

Flee — literally flee — those with whom you can exchange only absurd remarks about others who are just like them and whom you have seen the previous night exchanging the same remarks, or equally vain gossip, about the very person you are talking to. There are certain people who end up frequenting and even calling friends those they denigrate constantly. I hate “goodness” and “kindness,” which have only led me to humiliation.

Keep silent as before. It’s better.

Contempt for those whose conversation boils down to all that I hate and flee: to a certain spirit of vulgarity and pettiness. Farce is what they feel comfortable with. I cringe before certain laughter and smiles drawn forth on this terrain. Sometimes a laugh is enough to cause me to have, not aversion toward, but distrust of a human being. There is a point at which polite distrust is worse than aversion because it is more reserved, but I can’t confine myself to this, and everything in me shouts, screams aversion.

Lack of reserve and moral propriety shocks me all the time, due to certain nervous (physical) reactions I can neither hold back nor hide. Those who broaden the horizon, those who narrow it.

How I prefer a true whore.

Do not get stuck where the essential is lost, where everything turns vulgar, base, and petty. Through my own fault, through a will for humiliation. A feeling of abjection. “Defeated ahead of time.” So from now on “dust to dust” resembles dust. At those moments it is physically impossible to be clear and frank. Shame and false shame.

Easy: to accuse others of being superficial = brilliant = alive.

Return to simple beings, to childlike reactions, a difficult return.

from a letter from Laure to Georges Bataille (1935)

‘I believe in our life together . . . I believe in it the way I believe in everything that brought us together: in the most profound depths of your darkness and of mine. I revealed everything about myself to you. Now that it gives you pleasure to laugh at it, to soil it –– this leaves me as far away from anger as it is possible to be. Scatter, spoil, destroy, throw to the dogs all that you want: you will never affect me again. I will never be where you think you find me, where you think you’ve finally caught me in a chokehold that makes you come . . . As for me I am beyond words, I have seen too much, known too much, experienced too much for appearance to take on form. You can do anything you want, I will not be hurt.’

 

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Based loosely on the relationship between Colette Peignot and Georges Bataille, Kathy Acker’s novel My Mother: Demonology is the powerful story of a woman’s struggle with the contradictory impulses for love and solitude. At the dawn of her adult life, Laure becomes involved in a passionate and all-consuming love affair with her companion, B. But this ultimately leaves her dissatisfied, as she acknowledges her need to establish an identity independent of her relationship with him. Yearning to better understand herself, Laure embarks on a journey of self-discovery, an odyssey that takes her into the territory of her past, into memories and fantasies of childhood, into wildness and witchcraft, into a world where the power of dreams can transcend the legacies of the past and confront the dilemmas of the present.

Kathy Acker: ‘My Mother: Demonology started out as my fascination with Laure’s work and with Bataille, and with wondering what that generation, two generations ago, was thinking. I was amazed reading her work that the same preoccupations I have are there too. The work Bataille and Laure were doing in the ’30s was model-building from the ground up. Neither the democratic nor the post-Leninist model was usable, so they turned to anthropological work and started looking into myth and sacrifice to come up with a new ground for a new social model. Whereas Breton settled for Stalinism after psychoanalysis, Bataille and Laure were looking for something else, where irrationality would not be just a matter of mental functions, and sexuality would be something more than just the repressed. We’re in a similar situation today with regard to Russian communism and democracy. In her search, Laure also looked consciously as a woman, which greatly interested me. So it was by chance (in other words by some determination that doesn’t have a name yet) that in the course of working through Laure’s texts I became interested in witchcraft. And this started my novel. The witchcraft material presented another history of women, or another history–one not written by and about dominant men.’ — (from an interview by Lawrence Rickels)

from My Mother, Demonology (1995)

I had to return home.

I didn’t want to escape my parents becuase I hated them but because I was wild. Wild children are honest. My mother wanted to command me to the point that I no longer existed. My father was so gentle, he didn’t exist. I remained uneducated or wild because I was imprisoned by my mother and had no father.

My body was all I had.

A a a I don’t know what language is. One one one one I shall never learn to count.

I remained selfish. There was only my mother and me.

Selfishness and curiosity are conjoint. I’d do anything to find out about my body, investigatged the stenches arising out of trenches and armpits, the tastes in every hole. No one taught me regret. I was wild to make my body’s imaginings actual.

And I knew that I couldn’t escape from my parents because I was female, not yet eighteen years old. Even if there waws work for a female minor, my parents, my educators, and my society had taught me I was powerless and needed either parents or a man to survfive. I couldn’t fight the whole world; I only hated.

So in order to escape my parents I needed a man. After I had escaped, I could and would hate the man who was imprisoning me. And after that, I would be anxious to annihilate my hatred, my double bind.

This personal and political state was the only one they had taught me. I’m always in the wrong so I’m a freak. I’m always destroying everything including myself, which is what I want to do.

Red was the color of wildness and of what is as yet unknown.

As my body, which my mother refused to recognize and thusn didn’t control, grew, it grew into sexuality. As if sexuality can occur without touching. Masturbated not only before I knew what the word masturbation meant, but before I could come. Physical time became a movement toward orgasm. I became sexually wilder. I wanted a man to help me escape my parents but not for sexual reasons. I didn’t need another sexual object. Mine was my own skin.

Longing equaled skin. Skin didn’t belong to anyone in my kingdom of untouchability.

I hadn’t decided to be a person. I was almost refusing to become a person, because the moment I was, I would have to be lonely. Conjunction with the entirety of the universe is one way to avoid suffering.”

 

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Maurice Blanchot’s great novel Death Sentence recounts the horrific drawn out death of writer Colette Laure Peignot, a close friend of Blanchot’s and the lover of his colleague the writer Georges Bataille. In the novel, the main character Anne recalls a correspondence she’d had with J., who, in her delirium on her deathbed, had visions of a rose incapable of wilting, “a perfect rose”. Anne imagines on her deathbed that she is being offered immortal or “artificial roses”. In this way, as well as in innumerable other cases within Blanchot’s novel, Anne’s death mirrors the death of Peignot, who famously uttered in her last breath, “la rose”.

 

from Death Sentence (1948)

She had fallen asleep, her face wet with tears. Far from being spoiled by it, her youth seemed dazzling: only the very young and healthy can bear such a flood of tears that way; her youth made such an extraordinary impression on me that I completely forgot her illness, her awakening and the danger she was still in. A little later, however, her expression changed. Almost under my eyes, the tears had dried and the tear stains had disappeared; she became severe, and her slightly raised lips showed the contraction of her jaw and her tightly clenched teeth, and gave her a rather mean and suspicious look: her hand moved in mine to free itself, I wanted to release it, but she seized me again right away with a savage quickness in which there was nothing human. When the nurse came to talk to me–in a low voice and about nothing important–J. immediately awoke and said in a cold way, “I have my secrets with her too.” She went back to sleep at once.
—-… As I listened without pause to her slight breathing, faced by the silence of the night, I felt extremely helpless and miserable just because of the miracle that I had brought about. Then for the first time, I had a thought that came back to me later and in the end won out. While I was still in that state of mind–it must have been about three o’clock–J. woke up without moving at all–that is, she looked at me. That look was very human: I don’t mean affectionate or kind, since it was neither; but it wasn’t cold or marked by the forces of this night. It seemed to understand me profoundly; that is why I found it terribly friendly, though it was at the same time terribly sad. “Well,” she said, “you’ve made a fine mess of things.” She looked at me again without smiling at all, as she might have smiled, as I afterwards hoped she had, but I think my expression did not invite a smile. Besides, that look did not last very long.
—-Even though her eyelids were lowered, I am convinced that from then on she lay awake; she lay awake because the danger was too great, or for some other reason; but she purposefully kept herself at the edge of consciousness, manifesting a calm, and an alertness in that calm, that was very unlike her tension of a short time before. What proved to me that she was not asleep — though she was unaware of what went on around her because something else held her interest — was that a little later she remembered what had happened nearly an hour before: the nurse, not sure whether or not she was asleep, had leaned over her and suggested she have another shot, a suggestion which she did not seem to be at all aware of. But a little later she said to the nurse, “No, no shot this evening,” and repeated insistently, “No more shots.” Words, which I have all the time in the world to remember now. Then she turned slightly towards the nurse and said in a tranquil tone, “Now then, take a good look at death,” and pointed her finger at me. She said this in a very tranquil and almost friendly way, but without smiling.

 

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‘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.’
— Georges Bataille

 

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LAURE – Redécouverte en fragments (France Culture, 1977)

LAURE – Lecture de fragments choisis (France Culture, 1998)

Laure, LE SACRÉ

 

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my life will never be where you think you can find it–too bad for me
―- Laure

‘Despite the publication of her writings some 35 years ago, woman author and political activist Colette Peignot (1903-1938)–also known as Laure, “la sainte de l’ abime” – remains an obscure figure of the French avant-garde. The reasons for this are many; among them was her early death from tuberculosis at 35 and her relatively scant number of publications. Indeed, the greater part of her work might never have seen the light of day had it not been for her more visible friends, many of whom were among the most prominent French intellectuals of the inter-war period. In addition to Michel Leiris and Georges Bataille, who prepared her writings for posthumous publication, she was friend to philosopher-activist Simone Weil and intimate with Boris Souvarine of Le Cercle communiste democratique. Like them, she was politically engaged in the tumultuous interwar years, rejecting republicanism, Catholicism, fascism, and Stalinist Russia. In response to the growing fascist threat in the early 30s, she embraced Trotskyism and turned to anti-Stalinist Russia for political cause and inspiration, befriending these progressive contemporaries and sharing their political engagement. Her fervent dedication to the worker’s cause motivated her to learn Russian, visit the U.S.S.R., join Souvarine’s anti-Stalinist group, and write for many preeminent leftist journals, including Le Travailleur communiste syndical et cooperatif, La Critique sociale (in which Bataille published his famous “La Notion de depense”) and, later, Bataille’s own political journal Contre-attaque. Her fidelities to the politics of the French left would wane in the mid-1930s, however, when she would embrace an even more radical, if not entirely unwieldy position strongly influenced by her friends–principally Bataille–and her reading of William Blake, D.A.F. de Sade, and Friedrich Nietzsche. To be sure, she was not alone in this departure from normative politics; 1930s France fomented with diffuse and complex political attitudes of all kinds. The Spanish Civil War and the failure of the Front populaire in 1937 further intensified this trend. Figures like Louis Aragon called for the “crusade of poetry and art” while others like Georges Bernanos championed a gallic antifascist Catholicism. Disenchanted with the failures of both the Right and Left, many like Laure sought out a radically new politics beyond both sides of the political spectrum. Perhaps the earliest traces of this transformation are to be found in her highly revealing self-chosen pseudonym, “Claude d’Araxe,” which derives from a memorable phrase taken from the Virgil’s Aneid, Book VIII, later placed atop a private letter to paramour Bataille: “Pontem indlgnatus Araxes” (“Araxes, indignant of bridges”). The Araxes, dividing Iran and Turkey on the one side and the former Soviet Union on the other, is a legendarily rapid and vehement river, one that historically confounded all attempts to build a bridge over it. That Laure used this as a pseudonym in her political writings no doubt recalls the country that she admired, but it also illustrates a general virulence, rebelliousness, and recalcitrance, an obstinate refusal of all things stagnant, a denial of established limits, and an impassioned assent to transgress them. Her contempt for fixity–l’emmerdement d’etre fixe as she once termed it–is ironically quite fixed throughout her writing, actions, and thought from this period. Her polities were by no means exempt from this contempt; ultimately, they adhered neither to an orthodox Marxism nor to the more coherent agenda of Souvarine and le Cercle communists democratique. If her early political revolt first found its home in the more established communist movement, it would later resist this very movement, taking the form not of organized coalition or political essay, but of poetry, aphorism, and fragmentary flights of the pen. These fervent yet ultimately unallied political beliefs made her a remarkable albeit enigmatic figure to her fellow leftist contemporaries.’ — Sean E. Connolly

 

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Georges Bataille & Laure, 1948

 

 

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p.s. Hey. ** _Black_Acrylic, Hi. What’s not to like about ‘The Devil Wears Prada’? I think your faculties are fully functional. ** cmr, Hi! I’m sorry I’m taking so long to write back to you. My usual slowness has been compounded by heatwave-related bleariness, but I will. No, I don’t think I have seen ‘Eros + Massacre’. Huh. Okay, I’ll shortlist it and seek to locate it. As you probably know, Paris (and me too) would kill or worse for some rain, but I can vaguely remember what it was like to miss clear skies. Take care. ** Thom, California, where and why? And why not too, of course. To answer your question, oh my god, if only the ‘Frisk’ film had been directed by Haneke. In other words, very cogent thought there. The heat started lessening a bit technically over the weekend, but it’s so humid that it didn’t make much difference. Wednesday is when we’re supposed to start our delayed descent into fall, but I’ll believe it when it happens. Have a great trip down south. ** i🌙, Whoa! I haven’t seen you in way too long. Very cool. Very interesting about your return to womanhood. You sound really good, so it sounds like happy news. I mean seemingly relocating, dating, … so nice. I’ve been my usual okay, mostly quite okay. Film stuff a lot. That’s an imaginative AL spam scam thing. I am constantly getting ‘We are important people who loved your book ‘(fill in the blank’) and want to feature it on our very popular ‘fill in the blank’ project and make you famous.’ Yours is infinitely more interesting. So good to see you, pal. Please hang out whenever you feel like it. xo. ** Bill, Christopher Nolan could learn a billion things or two. Whenever I’ve been blown away by Butoh it’s really because it’s so pinpointed that you can see the stress of the human body’s inability to be completely cooperative. So, yeah. ** Ian, Hi, Ian! Wow, so nice to see you! It’s been yonks. Wonderful, congrats about the new kiddo. That must be a lot. I haven’t managed to stay cool to my satisfaction, but I’m still alive. You too obviously. Life is long but not as long as one had once hoped. Take care. All the extremely best! ** Diesel Clementine, So you’re here. It’s supposed to become quite civilised outdoors on Wednesday, and you missed the onslaught. Thanks for finishing the ‘Thread’. Oh, yeah, I remember it was a news story at least here in France that the Seagram Murals went to London. I think it was like pulling teeth to get them moved? Yes, coffee, when’s good? Are we hooked up on Instagram or something, or do you have my email. Let’s sort it. I think when coolness arrives I’ll just return to the usual outdoors portion of my day to day and go see stuff. I’m not sure. I’m still in the wary that it’ll happen phase. Welcome, welcome! What are your to-do’s? ** Carsten, One time I was walking into my neighborhood health food store, and out walked Nicholas Cage. A friend of mine was co-starring in a movie with him that was being filmed in Greece, and my friend was already there, and, without thinking, when I saw Cage, I said, ‘Aren’t you supposed to be in Greece?’ And his face filled with confusion and paranoia, which, he being Nicholas Cage, looked very comical. Favorite living filmmakers? Hm, totally off the top of my head, James Benning, Andersson, Malick, Pedro Costa, Ryan Trecartin (if he counts), and maybe in a pinch Harmony Korine, Guy Maddin, Wes Anderson? I’m sure I’m forgetting people. Nice: the Senegalese experience. Reminds me that I need to re-hit my favorite Ethiopian restaurant asap. ** laura w, I haven’t listened to ‘Illinois’ yet, but it’s cued up. He did the soundtrack to ‘CMbYN’? Eeek. I only made it through a very short stretch of that film, so I don’t remember its sonic background. Is there a Pixar or Disney or something animated movie where the lead protagonist is a guinea pig? That seems like it would make all the difference. ** HaRpEr //, I’ve had a number of gay guy friends over the years whose fetish was dumb guys. Or, if they couldn’t find a ‘hot’ dumb guy then a ‘hot’ ‘lower class’ guy. Super gross, although I guess fetishes should be a free zone. So weird that Delaney wrote ‘Hogg’ so early on. There was absolutely nothing like it in American lit at that time. It made Burroughs seem like a milk-fed puppy as people used to say. ** Okay. Today’s post concerns the legendary and fascinating and very non-prolific ‘Laure’. See what you think. See you tomorrow.