Author: DC (Page 986 of 1103)

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only, 20
for reasons i will not explain under any circumstances i offer my cock and balls for cbt, torture, cutting, fire, ball rupturing and busting, penectomy, castration ……

i cant keep jacking off 3 times a day to the idea and i need to make it a reality.

 

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Slave2plastic, 24
Slave who worships plastic. Salve who lives for plastic. My whole life is dominated by plastic. Plastic is my Master. So what are your plans for today?

 

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Lowlifecunt, 24
Born a faggot. Exists as a faggot. Serves dominant superiors as a faggot. Will die a faggot.

Lowlifecunt has served black mixed-race middle eastern asian and white straight bi and gay teen middle-aged and elderly dominant men.

Faggot has no thoughts, ideas, or opinions. You will not be the same once you own me. Contact me soon though. The offers to own me are pouring in!

Comments

Valentino – Jul 13, 2017
It could be argued that choosing to wear your hair in dreadlocks and piercing your face is evidence of thought, ideas, and even of an opinion.

 

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JamesPadded, 20
I wear diapers because of medical issues/incontinence after a car accident last year.

If your into boys who wet themselves then we’ll get on haha.

Maybe older maybe younger.

Not keen on sweat, which a lot for people seem to like here on this website.

Not a transsexual but will wear stuff if made to and provided with stuff.

I think men with casts are hot.

 

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i_wonder, 23
Hi, now a new profile.
Now I’m much better
Now perfect sex
No passive problem

 

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puppy4ever, 19
I’m a str8 male on the outside, but inside, underneath I’m gay and only attracted to males wearing dog costumes :)) Does any dog male want 2 own a human :)) I want 2b ur mans best friend 😛 Also would be nice 2 have a human brother :)) Willing to hang out also ;>

Comments

GREAT_DANE – Jul 8, 2017
He is passive his ass and good good, he have a very good human ass and very hard to satisfy.

CanineHouse – Jul 3, 2017
His ass is a pleasure to sniff and work with.

Fido-67 – Jun 27, 2017
her dog lovin’ ass is … humm, delicious, without enema

 

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mimii, 18
j ai 14 ans et je cherche une relation sérieuse avec des monstres ente 14 à 17

Guestbook

purline – Jul 20, 2017
j’ai 14 ans et je suis un monstre et vous êtes mignon mais je n’embrasse pas les grenouilles, désolé mimii.

 

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CreatingPerfection, 22
Everyone can be muscular. But, my ambition is to be so perfect! I want to build so aesthetic and ripped body, like never seen before! Own me, follow my progress in close detail, be the only witness and responsible for creating perfection!

 

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DeadBoyWalking, 21
Misunderstood but still trying, looking for people who’ll get me.

Likes: Very very very dark shit, ask me
Dislikes: People who see bad shit happening that has nothing to do with them and call the police
Ultimately: No fucks left to give, can I help you?

Comments

Most_szbad – June 29, 2017
you could’ve been a star

Anonymous – Jun 23, 2017
I am very difficult to please but he did’n give up and finally succeeded, which I appreciate very much.

 

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fuckit, 18
I enjoy getting fisted and fisting my own ass and think it’s time I felt a man’s whole arm in there. I’m Chinese if it matters.

*You’ll need to pay me a little money or, for example, jewelry instead of money.

Comments

Soccer1817 – Jul 11, 2017
Warning: He neglects to mention that he’s 5’1″. I’m 6’2″. I measured my arm against his bod and my fist would have ended up in his mouth.

bigpunchbuilder – Jul 4, 2017
My name and is Bashscript or just Bash. Alpha cocky dom. Yeah, cocky as hell. I know. I don’t need your words to praise me. Coz words nothing to compare with my body. I can punch you hole far as my shoulder with full speed, non stop for hours. Better if you prepare yourself with chems. I can make you go up to heaven when you uncontrollably piss and cum when my muscular fist and arms get deep into your hungry hole. If you are cumdump pig who are craving for getting bred after I fist your body into a train tunnel, then you are perfect. My pigs no cry, just crave for more. You’re hot, my hand is clenched and arm is trembling at the sight of your ass, but you’re a little soft. If you’ve gained even three pounds since you took those photos, you can only dream of having me fist you.

 

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youyouyou, 24
Hey. I’m Al. I love balloons, I love helium – and most importantly – those two things put together.

I’ve got on fine without a Master but I want to try new things.

But don’t get funny ideas about my ass. It might look like a balloon but it’s not. Big difference.

If you’ve come across the balloon thing before and you’re not sure about it, I can help.

 

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Leaving_human, 18
Lets It Begin…. Been thinking to it for long time and ready to be sn*ffed

And one last point, You sn**ff me But Not mean You cant be cruel to me, I just human, I got a feeling

And please We will have a good time…. Just sn*ff me

Comments

dash12281991 – July 8, 2017
How about a compromise? I’m into boys playing dead, being played around with, sucked, fondled, caressed, posed, humped, licked, etc. while they’re “dead”. I don’t actually want you to be dead though lol

Anonymous – Jul 2, 2017
please someone talk him out of it, i fucked this boy, he’s worth saving.

Ger_Man – June 20, 2017
first of all, FAKE. second of all, just for the sake of argument, what would cruelty- and meanness-free snuffing involve because that’s a concept that’s difficult to get my head around?

 

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SmallSlave, 19
I’m a dwarf.

Comments

YAMIKAMI – Jul 19, 2017
Dead inside.

 

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DirtyBastard, 24
I am a bastard who has everything to do with himself.

Slim, willing, resilient and rattly anyway.

I lick you all body, also your feet and armpits, tail, eggs and ass anyway, even if you were not grad under the shower. You can fuck me, blow you from me, fist me, spit me and also piss on and even attach and if you like it really violently beat also.

Everything secret. If you have chems in extremely large quantity I don’t have problem with nothing.

Comments

Anonymous – Apr 12, 2017
Bring your knife he is a disposable and execute

Anonymous – May 15, 2017
he looks like watercolour paiting.

DirtyBastard (Owner) – Feb 13, 2017
Don’t contact me for the next month.

Anonymous – Feb 1, 2017
Yesterday DirtyBastard had the privilege to meet me. I arrived to a very warm welcome. First impression he was fuckable enough but unremarkable in looks, a twink you would “settle for” “in a pinch”. I was a little anxious at first because we had agreed to do some very heavy things and he seemed so average that I wasn’t sure if I could go through with it all, but I quickly started feeding him drugs and poppering him up and he turned beautifully wasted and pathetic. We decided to see if we could find someone to join us. He showed me some photos of doms who had done numbers on him before. Within 20 minutes this monster called Clay arrived at the door. Throughout what became our very depraved encounter Clay helped me sex DirtyBastard up from limb from limb with this reckless savagery that was just the inspiration I needed.

 

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jellyboy, 19
japanese slave owned by ukranian backpacker will be traveling with him to berlin tomorrow and would like help to try to escape from him.

we go to the opera on saturday where i can excuse myself to go to the toilet and that could be the time it can happen. we will need to hide until wednesday when he returns to ukraine because he will try to kill us both.

if all good will arrive to berlin tomorrow night.

 

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Hucow, 22
I’m Alex, a young farmer who loves the great outdoors and working outside in all weathers. The area of farming I am in is dairy.

Absolutely adore cows and love giving the cows lots of cuddles.

I am also a Hucow and have been for many years. I adore love the headspace that being a hucow puts me in, I feel completely at ease with everything and relaxed. When I become a hucow it’s one hundred percent authentic, and I can only Moo. The breed of cow I am is Holstein Friesian, and my hucow name is Jess. Have a cow patterned rubber catsuit, rubber cow ears and rubber cow tail.

Well educated and polite and I enjoy a good conversation.

Comments

The_Smith – Jul 17, 2017
you got some real fucking issues buddy

Tsar – Jul 17, 2017
What the…….

MeatAbstract – Jul 17, 2017
Hey man I ain’t judging you. This is just….unexpected. To each their own. In any case I’d love to eat you if somebody else does the dirty work.

Downward – Jul 16, 2017
Why do people always expect acceptance on this website? Go kill yourself you ugly hoe, go get cancer.

The_Smith – Jul 16, 2017
i feel sorry for your parents

Eraserhead – Jul 15, 2017
I SAID I WOULD ONLY ALLOW MYSELF 1 MEAN COMMENT EVERY 5 DAYS stop testing me

Eraserhead – Jul 15, 2017
I’m against feeding cows antifreeze but in this case… wheres its bowl

 

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VeryHighLevel, 20
WEAK
WEAKER
WEAKEST
that I Am
boy FUCKED UP BIG TIME
Im in 18 years old , and also im not Sprotman my ass size is small and soft !
Im soft Asthetic boy and i like to broke my asshole , You never have try somting like ME !

 

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Underwear-Swimwear, 21
I honestly don’t know how to start these kinds of things but I’m new to this and am looking for a master to train me? Introvert, looking for someone to take lead, experimental but to a point? If that makes sense?

I’m going for long term, but would start short term first? I mean, I want to know what your into also and see from there. And idk if subs can make demands or not but I always want to cuddle afterwards?… if that’s okay?

No youngers. No ‘5-minutes-fucks’. No Asian. No girly guys. No public. No Festivals, saunas and other shits. No cyber sex. No scars, I have enough. No ‘hot sex’. I’ve lost too much time just having sex already and I hate it.

I’m get pretty weird once I open up to you (I mean who isn’t?)

 

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NolimitspainpigDRUGme, 22
World the time come to push the button. Your finger is on the button. Push the button.

I’ve always been messed up, it takes some real violent dirty shit to get me off. I want a psychotic fucker to take advantage of that.

LIMITS
1. Don’t make me sick. Meaning don’t give me some incurable disease. Curable disease is ok. “Gonna puke” sick is ok.
2. Don’t blow my cover. Like most people I do this secretly. There are people who would literally kill me if they found out. So don’t take sneaky pictures.
3. I’m 76% sure I don’t want to bleed.
4. I like to shout a lot also.

Comments

pomped – Jul 19, 2017
Well what to say other than I love the form of a boy. Desires are to transfer imagination into reality. I wont crack a mirror when I look in to see wicked sister. Just need you.

Now_Kris – Jul 3, 2017
I FUCK ONLY WHIT COOL PEOPLE YOU ARE NOT

 

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horriblehuman, 20
PLEASE TAKE 1 MINIT AND READ MY PROFILE THANK YOU VERY MUCH

Hello all together I would like to ask for help, I have vouched for a friend of me with I together have grown up and now has 97.200 Euros owe mine has live lost my work and now I am homeless I am old 20 years and would like to have mine rebuild and, please, around help I would be glad if they could give me a small help all the same how many I am to me certainly we create it and I can have mine again construct it she(it) does to me sorry if I has bothered or has wasted their(her) time thanks very much I wish you all sincerely all the best you are my last chance
IBAN: DE88300700240022113500
BIC : DEUTDEDBDUE

 

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Blahblahblahblah_hole, 18
I mostly created this cause I was told somebody was using my pictures but turns out this is actually a cool site.

 

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GabrielVent, 21
Hi Guys Im an escort who’s slipping over here into the dark world for business purposes. For 1000 pounds I’ll give you the best experience you’ve ever had or will ever have in your lives, up to absolutely anything. Don’t be proud, just fork the money over and take anything you want from me, from whatever you like in bed no matter what to anything you want/expect from me when Im standing on two legs. I never say no, I never disappoint, I will not contradict you. Thats a spoiler.

Comments

topxxldominant – Jul 5, 2017
He only looks attractive when you stand at the exact angle from which the photographer took that picture.

 

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MeatHole, 22
I never feel truly alive outside of when being used like fuck meat. Do anything, say anything, stuff anything in me, I won’t stop you.

I warn you I am apparently very high maintenance. Almost every guy who’s fucked me said my ass was worth the baggage, but not a single one of them has ever returned my calls afterwards.

I was messaged by a Master (KingGeorge) before who really got to me mentally and emotionally. If that was you please message me again I’ve changed my mind.

Recently found out I am POZ.

Comments

AlessandroAndrea – Jul 22, 2017
;_;

KingGeorge1000 – Jul 21, 2017
Hey you all bitches , now I own this cunt , this slave piece of shit I’m KING GEORGE and that’s my name it will always need to address me by that or it face straight punishment get that cunt …. my way is to order and it is as a bitch cunt piece shit is to obey I got no mercy yes I mean that so it don’t try playing have mercy oh master I’m gonna whip that damn face and ass into ribbons .. as my slave Bitch it live by my rules and it die by it because that’s what guides it for a better life it got no life I will give it the fuckin life it deserve now I make it cry under my powers and say to me master I don’t wanna live I wanna die as you bitch yes that’s what I will make it because that’s what I need to do to fulfill its long lasting dreams … it only live for a master who will give it life and death , I now make its life a living hell as its master and remember it got no life till I give it the life it deserve .thanks for reading.

AlessandroAndrea – Jul 19, 2017
Jerry, go back on your meds! You know how you get when you aren’t. You know this is NOT YOU!

 

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IntensiveBoy, 20
Intensive Boy, Masculine yet Subtle, Creative Person with Brains, chasing & burning the moment, feeling & intensity rather than just sex.

Involved someone, passionate, very stylish & intensive, very oversexualised & loving sex.
Creative but with manners and knowledge. Someone with brains.

Someone to play with your imagination and someone to influence & be driven.
Someone which really burns, every time he gets the feeling, and he always gets the feeling.

Someone with A LOT of feelings. Someone gentle, but also very very rough, if the feeling drives the moment.

Someone creative, talented & really extraordinary. I like to FEEL & EXPERIENCE.

Every time I’m faced with a decision, I close my e

Comments

Jaffa01 – Jul 1, 2017
Erik, please come back to Zurich very quickly. What are you doing in Austria?

xEcho – Jun 28, 2017
Broken hearted Master. Just looking to have some quality chats with you. Going through a hard time at the moment. I feel like every slave I look at I’m trying to find him in them. By him I mean the slave who has my broken heart. I’m scared because it’s never hurt so much. When I had him my biggest fear was losing him, now he’s gone I’m scared I won’t find another slave that will ever make me feel what he made me feel. Life is scary… The depressive spiral is in full force. I’m not sure about anything at the moment.

 

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alexikovalev, 22
Adopted from Smolensk, Russia when I was about a year and a half years old. Adoption was a sham and I have been sold for sex ever since (twenty years). I never had school and having sex with men is all I know how to do and not having sex is the only fun I have in life. Ideally I seek a master who is not attracted to me.

 

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imcrazy, 18
I am literally only using gay sites for sex and that is it. I want you to pin me down and shove a penis pump in my ass and the suck my insides out. I want you to double fist me until I fun. I want you to tie me up and use extra strong clamps on my nipples and the spray me with a high pressure hose. I want to do cbt until I have to urine through a tube in my kidneys. I want kicking punching and slapping to my head until my brain is no good and I think very stupid like a frog. Idle you’re about that violent sex, then hit me up. If not, bye.

Comments

T0praghav – Jul 8, 2017
HI FIRST I INFORM YOU LOTS OF PEOPLE IS USING YOUR FACE SO DONT GO ANYWARE I AM REDY TO PLAY YOUR FACE LOTS OF SMOOCHING KISSING

imcrazy (Owner) – Jul 6, 2017
Youre no fun

Samb11 – July 6, 2017
No one who looks like the boy in those pix would ever want what you say you want done to you. How gullible do you think we are? If you’re actually ugly, put it out there. You’ll find takers, maybe even me if the age is accurate. If you’re some kind of twisted mindfucking master, good job because knowing I can’t actually destroy the boy in those pix is fucking torture.

imcrazy (Owner) – Jul 4, 2017
Why not

Anonymous – Jul 4, 2017
Why?

 

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Gogo_Boy, 18
Basically I’m a severe, uncontrollable vampire freak. I’m addicted to them. Always been obsessed since the age I can remember and I have always wanted to be one. At the moment I’m still human but really wanna find one to turn me into one. Because I’m so desperate to be a real life vampire.
If you want something in return, I’ll give my virginity to whoever agrees to do this. This exchange has worth to my eyes, if it doesn’t to yours, please reconsider. It goes without saying that you can bite my neck too.
Please do not pretend to be a real vampire if you are not and make me lose my virginity for nothing and in return I won’t make taking my virginity boring.
Yes, I am aware that only my word testifies of my virginity. I am a honest person. Contact me by message. I can send close up pictures of the virgin ass.

Comments

Nowman – Jul 21, 2017
Hello Go_GoBoy, I am a vampire. I only speak Russian using a translator.
I will be in your city from 12 to 17 October.
About your transformation I agree in advance because in your city there will not be time to go on the Internet.

 

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submissiveandstuff, 23
“A damned queen of the underworld ! The first woman of Jesus named Lilith, who had escaped from the heaven in order to make the hell chaotic by giving birth to every demon, while she would slave to no one. Except for Lucifer. Yesss, she needs her own Lucifer. Is she insane ? I wouldn’t say so. She just knows what she wants, and she only wants what she gets !” – a small part of my latest project – a novel.

HELLO I AM YAROSLAV STRANGE BELARUSIAN BOY, I AM NOVELIST AND WHEN I HAVE TIME I DO SLAVERY WITH SEX.

My pictures are genuine , they were not taken on Halloween ,
I am the same boy who will open the door.

 

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loserROBERT, 19
I will be moving to Eugene next summer. I am just stationing my profile in the area for now.

I am not going to lie, I am + and detectable, no meds. Ironically, not one to give my ass away easily until that happened. Thought I was straight or bi, in fact. But shit happened and I incorporated it. Now everything starts as insatiable rapist vs slut bottom first with me. If it evolves more than a rape, I won’t stop it.

Book Currently Reading:
Mein Kampf-I mean, who isn’t interested in what the most ultimate top man in history has to say for himself?

 

 

*

p.s. Hey. ** Jamie, Hi, Jamie! Wait, you get your wifi back today, don’t you? Am I dreaming? I’m good, I’m fine. And you? Reading is good. The One Direction movie, ha ha, wow. Is there one? Oh, it’s a concert-centric thing, isn’t it? What do I know? What was the horror in the cinema? Yeah, we had to do a logline for both of our films. I think each of them were three sentences. Like a haiku. It’s a weird, difficult form of advertising-mets-cliffhanger or something. Did you sort yours? My weekend was just me lolling around doing random things and making blog posts and reading a little and kind of an almost nothing-filled pleasantry. Bluray love, Dennis ** David Ehrenstein, Thank you, sir. Well, we continually look for opportunities to do Gisele’s work in the States, but it is hard. Places just don’t have the dough to import the work, or not the dough to import work that isn’t ‘big name’. ** Tosh Berman, Hi, T. Oh, cool, thanks! How I met Gisele: It was 2003. I was living in LA. I was invited to do a reading and lecture in Lyon. Gisele, who was doing a residency in Lyon, heard about the event. She wrote to me, said she liked my books, sent along DVDs of her work, and asked if I would consider staying a few extra days after the event and try to collaborate on a dance/theater piece. I liked what was on the DVD, so I said, Sure. We spent three or four days working together (also with Peter Rehberg and three performers), and, by the end of that, we had essentially made what ended up being ‘I Apologize’. It went so well and was such a pleasure that we’ve been collaborating ever since. I think she read my books in English, but I’m not entirely sure. Well, I certainly agree that moving here is easily among the best things I’ve ever done. It’s been amazing, and it just keeps being more amazing. Thank you a lot, Tosh! ** Steve Erickson, Hi. Oh, okay, I understand. I think the vast majority of the films I’m drawn to and see aren’t soaked in politics. That’s a difference, I guess. Well, I’m glad you found an almost suitable computer substitute, emphasis on the ‘almost’. Hang in there, or maybe I mean I hope it does. I don’t think I’ve ever prepared a response to a possible question in advance, no. I do try to think about the possible problems that people could have with my work and analyze what I do and why I do it in a general way, which I guess ends up being preparative. Usually it’s more a matter of being better prepared the second time a difficult question is asked. Zac and I were interviewed before and during the film shoot for a forthcoming article about the making of ‘PGL’, and there were questions around the film’s relationship or not to suicide bombing/ISIS and the atmosphere in post-Bataclan Paris. And now I realize that will probably will be a regular and prominent question we get asked. So I am occasionally dwelling in thoughts related to how to explain the film’s careful and complicated lack of relationship to those seemingly obvious identifiers. ** Bill, Hey hey. Cool, and, yes, Belmer is a massive favorite of and influence on Gisele and her work. What is the language called python? That’s probably too huge a question? How is the new Jodorowsky? ** H, Hi. Oh, gosh, thank you! Cool if you can go to the Remains event. I’m very curious to hear what it is/was. No, I don’t think there’s any reason to look back at ‘Guide’ before. If I was in NYC, I’d take your poetry book collection, but … don’t you want to keep them? ** Dóra Grőber, Hi, Dóra! It seems like Gisele’s work would/will get to where you are. It seems like it might have already in the past? I’m not sure, I’ll ask her. Oh, the dark one-person show was irritating to me, I think, because, one, he talked incessantly in this weird/fake voice, and, two, because his talking fast and using that voice made it very difficult to understand what he was saying because of my low-level French comprehension. My weekend was kind of like yours, I think, except without the family encounter. I feel like I didn’t do anything, but I obviously did. Nearly all of my friends are away from Paris right now because Parisians always go away during late July and early-to-mid August, so it’s very quiet. But I have thoughts of finding something fun to do in the exterior today. And what did you make of today? ** Misanthrope, In fact I was there when you met Dame Vienne. She’s not a ‘punch in the face’ type, as far as I know. In her fantasies, oh, very possibly. Oh, shit, your co-worker died. I’m so sorry to hear that, George. That’s very tough. God, death sucks. Death sucks so much that it makes Trump seem like a bauble. I’m with Steve: finish the novel and ship it to FSG. Good lord about that giant headache and fever. Man, when are you seeing the doctor? You never said what ultimately happened with that. Get checked! ** Wolf, Wolf the Emma-ncipator! Do you see what I did there? Uh, this week has been okay. Pretty low-key. Late summer in Paris. Tourists everywhere acting like they own the place. Parisians browning on distant beaches. You can rant to me when I see you if you still have that bee in your bonnet. Your last paragraph was the best chunk of prose I’ve read in ages, and I’ve read some pretty hot prose within those ages. I find your current life really poetic. I know, I know, don’t hit me, I just do. Counting the days and sub-days ’til you guys are here walking there rues. Love, me. ** _Black_Acrylic, Howdy, Ben. Oh, right, you saw ‘The Pyre’! I remember. Man, I wish that piece wasn’t so in mothballs, but we made a way too expensive-to-mount piece at the absolutely worst time economically. If you remember the boy in it, Leon, Gisele just told me two days that he’s 6 feet tall now! Okay, that interview with Donna does sounds a whole lot more encouraging and hopeful. Very good. Really hope she can point you at some exciting wheels and help grease them. ** Okay. Yeah, it’s the end of the month, and the slaves are back to remind you that your rent payment is due tomorrow. And to do their usual thing too. See you tomorrow.

 

‘The day before, Gisèle Vienne was in Charleville-Mézières, at the World Puppet Festival, where The Ventriloquists Convention was played for the ninth and tenth time since its creation in August at the Puppentheater in Halle (see opposite). A play “that will surprise the spectators who follow my work,” she said straight away. No dancers as often in her stagings, but nine actors and nine puppets, and ventriloquism. And even a pinch of humor. “I’m not the queen of humor, I rather have the reputation of creating dark rooms,” she warns as well. These themes of predilection have actually not left the plateau: it talks about suicide, death, violence, strange sexual practices and various fantasies.

‘Ventriloquism does not come from nowhere. Jerk (2007), re-enactment of the crimes perpetrated by the American serial killer Dean Corl (aka “Candy Man”), ended on a virtuoso ventriloquism scene. Jonathan Capedevielle, his fetish actor, forgot the puppets of children martyred to interpret the six voices. Passionately eclectic, in search of all the blind spots that link the word to the body, Gisèle Vienne has seized in its own way this technique decommissioned and relegated to pure and hard entertainment: “It is a kind of acoustic magic trick. ”

‘Everything seems to inflame her. Almost a contrario of her wise and classical appearance, Gisèle Vienne speaks with animation of her work, of the textual power of Dennis Cooper, the American writer who accompanies her since 2004, of the love of the game of Jonathan Capdevielle, Necessity of the “unproductive expenditure” (from the cult of the accursed Part of Bataille) of the living spectacle. Blurring the tracks, Gisèle Vienne finds herself in all fields at once, even if she claims the choreography in which she founded her company in 1999.

‘A startling start has shaken it. “I was 23 when I started doing choreography in my productions. At 24 years old, I make a piece that packs everyone; At 25 and a half, I was beheaded. ” She nearly flinched. But there is an extraordinary energy in this frail artist, who transforms the macabre and perverse thoughts into aesthetic and sensitive weapons. A phenomenal spring, between fragility and steel. She remembers a show on France Culture, a dozen years ago. A child psychiatrist explained that one could be alarmed by children who had suicidal thoughts, but that one should not necessarily see it as an evil but as a driving force for action and creation. “For my first plays, I said to myself:” If it is not good, I commit suicide. “Like a joker. Death did not scare me. Not being scared gave me a lot of freedom. ”

‘One could find her bravado, but Gisèle Vienne plays her soul. This is the case when she created I Apologize, in 2005, with Dennis Cooper and electronic music composer Peter Rehberg. The play will be even given in diptych with A young, beautiful blonde girl at the Festival of Avignon, in the chapel of the White penitents. A turning point in her journey, she temporarily left the choreographic register in which she had ended up enthusiastically. Judged provocative with her beaten dolls covered with false blood, she again saw the tales of “pornographic” , “shocking” , “violent” that won this turn.

‘Since then, Gisèle Vienne has further refined her remarks, and does not always understand the outraged reactions. Clinically, on stage, there is never anything to whip a cat. This is true of the visible. Less of the invisible, essential touchstone of his work. It handles the power of suggestion, the one that leaves room for the mind of the spectator to put there what he feels. “I use strong fantastic stimuli, signs that make me react physically and intellectually.” She rolled her effects, weaving her canvas in precision, in lace, the enemy of artistic blur and improvisation. “I have to force the line because I like intense works. We also need to have a dialogue with inappropriate thoughts, immoral thoughts. ”

‘Her creativity seems to come from a broad synthesis of crosses. “One of the big activities at home was the construction of the doll house.” Her mother, a former student of Oskar Kokoschka at the Beaux-Arts in Vienna, initiated her and her girlfriend , the visual artist Vidya Gastaldon, to the pleasures of drawing, modeling. His taste for the theater comes perhaps from the “hysterical fever” that both of them lived when they spent the afternoon realizing costumes, accessories and sets.

‘Harpist from the age of 6 years, she spent her vacation in Austria with a grandfather musician and watercolorist who sent her to his sculptor of religious statues and to peasants to repeat his instrument. Born in philosophy, she opted for the Ensam contest in Charleville, renouncing that of Normale Sup. The puppeteers who interest her then, are the visual artists. “I’ve always been excited about moving sculpture, Paul McCarthy’s exhibitions, Mike Kelley, Hans Bellmer. For me, all this was puppetry! ” Despite or because of its atypical profile, Charleville welcomes it with open arms. By pure coincidence, she was born there in 1976, lived there only until the age of 3 years. The discovery of the bunraku, the traditional Japanese puppet theater, is a shock. May Be, by Maguy Marin, opens the way to choreography in connection with the puppet.

‘”At 39, I hope to start,” she laughs, thinking about the next twenty or forty years. And she ends the whirlwind confiding, with sparkling eyes, that next week she ” will teach [her] goddaughter Lotte, aged 5, to put on a wig.”‘ — Frédérique Roussel, Liberation

 

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Stills

 

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Further

Gisele Vienne Site
Compagnie Gisèle Vienne @ Facebook
GISÈLE VIENNE, LA FEMME ET LES PANTINS
Interview with the choreographer, visual artist, and puppeteer, Gisèle Vienne
Gisèle Vienne, ou quand la danse se fait magie noire
Gisèle Vienne, une artiste qui pèse ses maux
Les ventriloques, ces artistes suspects, mis en lumière par Gisèle Vienne
Gisèle Vienne: «Je voudrais que le spectateur ait l’impression de découvrir un nouveau pays»
The ambiguous world of today’s ventriloquists
Gisele Vienne: 10 Songs that Saved Your Life
ENTRETIEN AVEC GISÈLE VIENNE
Jerk, la bombe de Gisèle Vienne
Podcast: Gisele Vienne & Dennis Cooper on ‘Bookworm’

 

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Teenage Hallucination (Centre Pompidou, 2012)
In 2012, Gisele Vienne and I co-curated a three month-long festival at the Centre Pompidou as part of their annual event ‘Nouveau Festival’. Teenage Hallucination involved a large, unique exhibition of Gisele’s visual art and sculptures, a presentation of our installation work ‘Last Spring: A Prequel’, a group exhibition of works by 17 artists entitled ‘Read Into My Black Holes’, live performances by writers, musicians, and performers, a film and lecture series, a performance of my/Ishmael Houston-Jones/ Chris Cochrane’s dance piece ‘Them’, and a live concert featuring Fennesz, Bill Orcutt, and Florian Hecker.

 

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Extras

Giséle Vienne & Dennis Cooper: Come Early Conversation

Alain Robbe-Grillet par Gisèle Vienne – Blow up

Memory Marathon 2012: Dennis Cooper, Gisèle Vienne & KTL (Stephen O’Malley and Peter Rehberg)

Interview décalée #3 Gisèle Vienne (French)

 

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Jonathan Capdevielle

 

Performer, actor, dancer, singer, and director Jonathan Capdevielle has been the central performer in the vast majority of Gisele Vienne’s works beginning with her first piece, Showroomdummies (2001). He is the sole star of perhaps Vienne’s best known and most successful work Jerk, in which he gives a legendarily brilliant performance, and which has toured internationally. He has also performed in the works of many of France’s most daring theater directors, and, in 2014, co-starred in Patric Chia’s feature film Boys Like Us. In recent years, he has also begun creating and usually performing in his own works including Adishatz/Adieu (2014) and Saga (2015).

JC prepares for and speaks about ‘Jerk’ (French)

‘Adishatz/Adieu’ (Excerpts)

‘Saga’ (Excerpts with interview, French)

 

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Interview

 

The Dance Enthusiast: Bonjour, Gisèle! You’re not the first puppeteer or choreographer I’ve interviewed, though certainly the first puppeteer-choreographer! While both art forms clearly involve movement, can you think of any other similarities between the two that escape the naked eye?

Gisèle Vienne: What led me to study puppetry was my strong interest in visual art and movement. What I’d imagined, in theory, was that puppetry would be the space where both worlds intersect. I saw puppetry as a branch of theater. In reality, I find the rules of puppetry actually closer to choreography. Both have a lot to do with rhythm and music and placing bodies or objects in space.

TDE: In Kindertotenlieder, the performers will share the stage with robots and puppets. Do these figurines fulfill a larger role than serving as mere props?

GV: Although they are technically props, the audience watches human-shaped objects in a totally different way. Kindertotenlieder brings you from the object to the animated object to the unanimated body to the animated body. All the dolls are human-sized and have the same outfits as the performers, so you see them as one group. It creates a theater that is very much about distorted perception.

The dolls represent characters who could be there but they also represent missing characters — they’re ambivalent. They look very much like 21st Century kids attending a Black Metal concert.

TDE: Why Black Metal?

GV: Black Metal concerts can be challenging because they are violent and loud, but people attend them because they are stimulating. It’s this experience that we’re trying to create. I like to stimulate the audience in a very jubilatory way. Sometimes I like to compare it to extreme sports!

I am also very touched by the type of tough clothes worn by super-emotional… romantic teenagers, which are a kind of costume saying something about their fantasies in this difficult world.

TDE: Sounds a bit goth!

GV: Totally. There is a new generation of *‘Lolita’ in the West Coast – androgynous, confused, beautiful, and dark characters. (*note Lolita is a fashion subculture with early roots in Japan..check out more by clicking the ‘Lolita’ link)

Kindertotenlieder is about the different ways societies organize the staging of our anxieties. So I wanted to present three types of ceremonies: a pagan Austrian ceremony, a funeral, and a Black Metal concert. I thought it’d be very interesting to parallel these theatrical representations of horror, death and blood.

TDE: The set for Kindertotenlieder is truly magnifique – beautiful and dreamy complete with falling snow. However, the underlying theme of work is somewhat maleficent. Kindertotenlieder is a study of death’s representation and the associated feeling of dread. Meanwhile, the stage serves as a setting to resuscitate the dead. Is this a chilling performance?

GV: I don’t think it’s scary; it’s more ‘uncanny.’ We are basically narrating the return of a ghost in dialogue with a boy. The dolls, the topic of death and life, the movements that are present yet ghostly… It’s strange.

The strangest feature comes from the music. We’re working with some very strong rhythmical distortions. The music puts the audience in a strange state, and that is the most confusing.

TDE: The performance draws inspiration from a pre-Christian Alpine tradition involving “perchten,” spirits indebted to a pagan goddess revered in South Germanic countries. What sparked your interest in this custom?

GV: I’m half-Austrian, so it’s something I’ve known since childhood. Almost equivalent to Halloween, it’s the time for haunting. The “Perchtenlauf” or “Perchten walk” happens around New Years. I was always at my grandmother’s in Austria for Christmas, so I would basically spend New Years there. As a child, I was super scared of them. So I guess I was super impressed!

TDE: Googling the “perchten” gave me nightmares! Tell me about creating the beast-like costumes and masks for your show.

GV: The “perchten” costumes are made out of sheep fur and acquired from a guy in Austria. Meanwhile, I commissioned the masks from a friend of my grandfather, a sculptor who specializes in “perchten” masks. So they are purely traditional costumes!

TDE: Describe some of the movements you choreographed for Kindertotenlieder.

GV: What’s interesting about Kindertotenlieder is that you have a range of movements that go from stillness to artificial body movement such as the video effect: slow motion. It can be very robotic, but it can be very fluid too. We go to the whole range.

 

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13 of Gisele Vienne’s 14 works

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w/ Etienne Bideau-Rey Showroomdummies (2001, 2009)
Music: Pita (Peter Rehberg). ‘Showroomdummies probes the border between animate and inanimate, as well as the relationship between real life and its representation. With this show, our aim is to highlight the chaos that a living body can trigger when it grazes the inanimate, and the passion it can ignite through its mere and unique presence, which can be at once immobile and provocative. Drawing on the character of Wanda von Dunajew from L. von Sacher-Masoch’s novel “Venus in Furs”, we are interested in the unsettling eroticism that can emerge from outer appearance and immobility. The body-language is chiefly shaped by the turmoil-dynamics that arises from eroticism and repulsion in face of inertia. The inertia of the figure portrayed by Wanda von Dunajew is expressed, in part, through her icy character. The Wanda figure exudes an unsettling ambiguity caused by her intimacy with both the mannequin and death. She disrupts and endures her environment; she is willingly manipulated by her director-lover, while acting out the role of manipulator.’ — Gisele Vienne

Excerpt

Excerpt

 

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w/ Etienne Bideau-Rey Stéréotypie (2003)
Music: Peter Rehberg. ‘Stéréotypie. Art de stéréotyper. Atelier où l’on stéréotype… » De ShowRoomDummies, leur précédent spectacle, le groupe D.A.C.M. reprend la mise en doute du fantasme de perfection plastique, la gestuelle de marionnettes et la confrontation à des mannequins.’ — mouvement.net

 

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I Apologize (2004)
Words & Voice: Dennis Cooper. Music: Peter Rehberg. ‘Giselle Vienne’s first collaboration with iconic writer Dennis Cooper, I Apologize is a perfect marriage of dance, text, puppetry, music and sheer intelligence. A young man (Jonathan Capdevielle) paces listlessly on a brightly lit white stage among a large number of blood spattered plywood packing cases. He opens one and fetches out life-like mannequins of 12-year-old girls dressed in a fetishistic schoolgirl outfits. Dennis Cooper’s voice reads out a description of marital violence. Peter Rehberg’s soundtrack – a kind of distillation of terror into noise – builds to an appalling pitch of intensity. Anja Rötterkamp dressed in the same short skirt and heavy fringe as the schoolgirl dolls and wearing vertiginous shiny black S&M heels circles the stage, her movements suggesting permutations of violent sex; climbing the towers of packing crates, crawling on all fours, spreading and closing her legs with agonising slow-motion deliberation, arching her back as if in continual agony and ecstasy. Her counterpoint, Jean-Luc Verna – shaved head, red contact lenses, metal teeth and a body covered in tattoos – looks utterly terrifying and satanic. His stage presence, however, is strangely graceful, striking poses that quote Nijinsky combined with moments of jerky, intricate nightclub-dancing; at once menacing and magnificent.’ — Postcards from the Gods

Excerpts

 

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Une Belle Enfant Blonde (2005)
Words: Dennis Cooper & Catherine Robbe-Grillet. Music: Peter Rehberg. ‘Une belle enfant blonde / A young, beautiful blonde girl is the continuation of I Apologize. This new work, based on the link between fantasy and death, as the variations of an accident reconstruction, which question a univocal representation of reality and are part of an ambiguous slip between reality and fantasies. These shows both revolve around the relationship between natural and artificial bodies and the idea of disturbing strangeness. A young, beautiful blonde girl evolves, first linearly, from the concept of a crime, in the presence of an audience made of articulated dolls resembling young girls of around twelve years of age. The reconstruction of this crime, in which performers, dolls and absentees are neither entirely real nor ghost-like, disturbs the natural order of the narration of the crime. The characters all have their own experience, which makes them question their relationship with fantasy and the confusion that can arise – or not – with reality. This is a complex and infinite representation of a fantasy and the way it is repeated and modified. Several variations arise from the research done on the representation of an event and the expression of obsession and void. This show presents the relationship between three people, in which internal deviances appear all the more clearly as they manifest themselves in a rigid and organised environment.’ — Gisele Vienne

 

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Kindertotenlieder (2007)
Words & Voice: Dennis Cooper. Music: KTL (Stephen O’Malley & Peter Rehberg). ‘Welcome to the nightmare factory of French theatre maker, performance and doll artist Gisèle Vienne! In “Kindertotenlieder”, a hyper-aestheticised performance-installation of a winter landscape, constructed from fantasies, obsessions and fears, she takes us on a journey into an emotional maze blurring the boundaries between reality and fiction. The plot alone defies standardised ideas on morality and sexuality: A group of teenagers get together for a death ritual in the form of a black metal concert. One of them is watching his own funeral; the other, his friend, is his murderer. Based on this plot, a trip with an indefinite outcome starts to unravel, subsequently showing the murder, in the form of a loop, from three different perspectives: from the perspective of the victim, the murderer and, ultimately, from the perspective of society. Gisèle Vienne’s installation toys with the black romanticism of an Alpine winter landscape. The perfect breeding ground for the birth of the uncanny in our imagination, of the eerie blend of something that is equally familiar and strange. Apart from the levels of past and future, all other parameters also begin to falter: The characters of the teenagers are constantly replaced by different performers, thus also changing their sexes. The game of deception even goes so far that they are during some parts played by dolls and robots: The choreography of movements is based on the constant change of a character from performer to performer, but also from human beings to still or moving artificial bodies. Artificial bodies pretend to be natural ones, while performing humans lead us to believe that they are actually machines. Life and death have ultimately become questions of perspective and definition in the teenagers’ dream world which, highly sexualised and emotionalised, is characterised by suicidal fantasies and a longing for death. In the further course of the excessive loss of a possible boundary between fiction and reality, the teenage funeral ritual turns into a death metal gig. The live soundtrack of Peter Rehberg and Stephen O’Malley (Kindertotenlieder is the beginning of the creation their band KTL) also acts in this world of images and symbols of pagan, Alpine Perchten culture and its contemporary equivalent in a strange, artificial “black” teenage subculture. The two masters of noise will create a hypnotic maelstrom that comes across like an enchanted, post-rock-like version of black metal.’ — Contemporary Performance

Excerpts

Excerpt

Excerpt

 

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Jerk (2008)
Words: Dennis Cooper. Music: Peter Rehberg. ‘Jerk is an imaginary reconstruction of the crimes perpetrated by American serial killer Dean Corll who, with the help of teenagers David Brooks and Wayne Henley, killed more than twenty boys in the state of Texas during the mid-1970s. The show sees David Brooks serving his life sentence. In prison, he learns the art of puppetry and writes a show that reconstructs the murders committed, performing it for a class of psychology students from a local university. Based on a novel written by Dennis Cooper and performed by Jonathan Capdevielle, the performance utilizes and masters, in a mesmerizing yet disturbing way, specific tools and skills drawn from puppetry and ventriloquism. The performance was presented for the first time in March 2008 and since then has toured all over the world, bringing Gisèle Vienne recognition as one of the most influential choreographer of her generation.’ — Flash Art

Excerpt (English)

Excerpt (French)

Excerpt (Spanish)

GV talks about ‘Jerk’ (English)

 

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Eternelle Idole (2009)
Music: Stephen O’Malley. ‘Eternelle Idole stages a 21-year-old figure skater whose teenage looks evoke the ghost of a murdered Lolita. A skating rink is one of those emotionally charged sites that, during adolescence, often impact our common experience. The awkward entanglement of feelings is emblematic of adolescence and indicative of transitory periods. This show has Aurore Ponomarenko in the role of a professional figure skater, wearing a cosmonaut costume that bears more resemblance to Japanese cosplay costumes than to a real cosmonaut outfit. This sublimated character might even be the ghost of a skater who once performed the role of a young female cosmonaut for a competition. Our recollection of this
character prompts us to reinterpret and idealize her, so that the memory is transformed into an image. By evoking adolescence, Eternelle Idole explores the link between acute fragility and sheer willpower, between a teenager and athletic prowess. Eternelle Idole elicits the fluctuation that happens between an individual’s fragility and aspirations. In this sense, characters performed in the realm of figure skating can compellingly embody the beauty of these intermediary spaces.’ — Gisele Vienne

 

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This Is How You Will Disappear (2010)
Words: Dennis Cooper. Music: KTL. Fog sculpture: Fujiko Nakaya. ‘In This is how you will disappear, the French theatre-maker Gisèle Vienne appears to be bringing the work of David Lynch, Alain Robbe-Grillet or Lewis Carroll to the stage. She is working on the boundary between dream and reality, and between appearance and reality. Nothing is what it seems, and everything is bursting with symbolism. The stage is transformed into a mystical forest of high trees, impenetrable wisps of mist amongst which fly birds of prey, and where three figures confront one another. They are three archetypes of the ideals of beauty found in pop culture: the tyrannical trainer represents discipline and authority, a young athlete represents physical beauty and the cool rock star to some extent already symbolises decline, as in the cases of Kurt Cobain and Goethe’s Werther. Vienne examines aesthetics and beauty, but in so doing inevitably also finds chaos, disorder and the dark side of the wood. On the basis of Nietzsche’s philosophy, she moves back and forth between inspired Dionysian splendour and the order and perfection of Apollonian beauty.’ — KAAI Theater

Excerpts

Gisele Vienne talks about ‘TIHYWD’

 

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Last Spring: A Prequel (2011)
Words: Dennis Cooper. Voice: Jonathan Capdevielle. Music: KTL. ‘In 2011, Gisèle Vienne and Dennis Cooper created LAST SPRING: A Prequel, a theatrical installation articulated with LAST SPRING: (subtitle in progress) both part of a vast ongoing work entitled LAST SPRING. Both installations, conceived autonomously, will pave the way for the project’s identity. It is therefore crucial to develop both branches right from the start, in order to establish the work’s direction. LAST SPRING: A Prequel stages a teenager performed by an animated ventriloquist doll who is engaged in a schizophrenic dialogue with a glove puppet. This teenager evokes our second project, LAST SPRING: (subtitle in progress), an indeterminate space that exists either in the past, present or future, depending on when the installation takes place. In the installation LAST SPRING: A Prequel, the teenager obsessively tried to sketch the blueprint for the subsequent space, which is configured like a game. He also divulges the space’s architecture through the very structure of the text he is uttering, and thus ends up trapped in his own dialogue. This phony smooth-talker covertly provides us with clues about the main thrust of the game, while overtly revealing the psychosis that grips him.’ — NYT

Excerpts & interview with Gisele Vienne

 

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The Pyre (2013)
Book: Dennis Cooper. Music: KTL. ‘Whereas only two seasons ago Vienne transformed the Kaaitheater stage into a large forest with real trees (This is how you will disappear), now she has opted for one big light installation, a moving set of LED lamps. Like a metropolis at night. In this setting we see two mute characters, a dancer (Anja Rötgerkamp) and a boy. A mother and son? They are part of a story written by Dennis Cooper. A story that is the third part of the performance, a part to read after the performance or to take home with you in the form of a novel. In The Pyre (the title refers to an ancient burning ritual) expression develops into abstract dance, a tableau vivant and a theatrical narration. A fascinating game that challenges our senses and sense of meaning, also thanks to the fascinating soundscape by her loyal musical partners KTL (Stephen O’Malley and Peter Rehberg).’ — KAAI Theater

Excerpts

GV talks about ‘The Pyre’ (French)

 

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Brando (2014)
Music: Scott Walker & Sunn0))). ‘Scott Walker and the members of Sunn O))) know the depths of darkness, and in their own ways wrest the sublime from it with violence and grace. In 2009, the latter (a drone-doom metal duo of the loudest pedigree) approached the ’60s pop icon turned avant composer and asked him to contribute vocals to the Monoliths & Dimensions track “Alice.” The timing wasn’t right, but it planted the seeds for what would become Soused, an inspired pairing that matches Walker’s spellbinding compositions and harrowing voice with Sunn O)))’s metallic abyss. For both artists, “Brando” is an unlikely yet perfect introduction to Soused. Imagine the scene: A crooner in crushed velvet opens the stage with dramatic synth strings and a riff that abstracts “Sweet Child O’ Mine.” The familiar, Sunn O)))-level feedback soon enters, but under the direction of Walker, it’s restrained in the face of the ridiculousness that’s just occurred. “Brando” comes with a stirring short film directed by French artist and choreographer Gisèle Vienne, who’s collaborated with Sunn O)))’s Stephen O’Malley on a number of performances. A teenage boy with tousled hair stares into the distance and locks himself in a dark room, dancer Anja Röttgerkamp (playing his mother, perhaps) moves with ache and acute horror in a cliffside house, and after long shots of fog blanketing the countryside, French actress Catherine Robbe-Grillet — a dominatrix and author of the 1957 sadomasochistic erotic novel L’Image — happens upon a scene of unknown violence. It’s bewildering, fraught with terror that’s unspoken. Vienne and the band chose not to comment on the meaning of the film, but it does visually echo Walker’s recent interview with The Quietus: “It’s a song of unfulfilled longing. A song of masochistic longing,” inspired by the actor Marlon Brando’s tendency “to get beaten up in the films he’s in.”‘ — NPR

 

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The Ventriloquists Convention (2015)
Words: Dennis Cooper. ‘Ventriloquists and their dummies give us an ambiguous feeling. Just watch films like The Great Gabbo by James Cruze, The Unholy Three by Tod Browning or Magic by Richard Attenborough. Gisèle Vienne enjoys taking advantage of this feeling. It is impossible to categorise her work. As a choreographer, stage designer, artist and puppeteer she conjures up fascinating dream worlds where words are hardly spoken, or not at all. In this new production however, there is a lot of talking – but it is not so clear by whom. Vienne stages a fictional reconstruction of the largest annual gathering of ventriloquists in Kentucky. You can hear conversations between the dummies and between their ventriloquists. A disembodied voice joins in the discussions. A suspicion of the outside world plays a central role here. A polyphony of around 30 voices, performed by nine puppeteers and their dummies, draws you into a tangle of complex psychologies.’ — KAAI Theater

Trailer

Interview w/ GV and excerpts

 

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Crowd (2017)
Narrative: Dennis Cooper. DJ: Peter Rehberg. ‘Evolving out of reflections on violence and the relationship that we can maintain with it, this project focuses on the various ways that a particular community can deal with (or not deal with) the way in which it is expressed. Drawing on different kinds of celebrations and rites, religious or secular, from the most archaic to the most contemporary, we intend to develop a piece that analyzes one potential model. By doing so, we will examine the need for violence as an integral part of civilized society as well as the possible and/or necessary venues for its expression. This project is in line with our existing body of work, which for many years has dealt with issues connected to violence and its representation. The context that we are taking as an example is a party spontaneously organized by a group of young people in 21st-century Europe. The intensity of the music and the excitement that brings these people together in this place create a situation conducive to a kind of emotional roller-coaster, or more precisely, a large number of interrelated upheavals. We are working with Dennis Cooper in devising a subtext for the 15 young people onstage, interpreted mainly through dance, in a piece where popular dance style is the main activity of the group and where no dialogue will be audible. The subtext offers as many stories as there are persons onstage, and the movements of each individual convey several simultaneous narratives, as do those of the group as a whole. The interrelationships and the articulation of the individual emotions that each person on stage experiences and those produced collectively by the group itself will be meticulously observed by the audience. Within the context of this dance party, the various expressions of violence will escalate. The central issue will be to reach an understanding as to which kinds of violence come into play, their necessity, their impact and the way in which the group and the party will stimulate them, handle them, integrate them, and reduce them – or not. This escalation of actions arouses an excitement that will stimulate the most diverse range of emotions. It is the sheer number and the ambiguity of the emotions themselves that will be depicted and thoroughly analyzed, both those that generate the violence and those that the violence generates. I am attempting to look at violence in its multifarious aspects – through a range of intensities and examples of the way in which it is expressed. The pleasures, the desires and the erotic tensions generated by these types of situations are the central elements of this piece; they determine the behaviors of the persons onstage. The relationship of these emotions to violence forms the central axis around which this group revolves. In complex ways, it is the exhilarating and potentially liberating aspect of violence that we will for the most part observe in this piece.’ — Gisele Vienne

GV talks about ‘Crowd’ (French)

 

 

*

p.s. Hey. ** Dóra Grőber, Hi! My pleasure, Dóra. She’s really great. So, so good to hear about your amazing visit with Anita. That sounds blissful. And your ‘free-style’ role playing re: your writing sounds fascinating and very cool. What an exciting way to build your writing, and how great that you have someone like-minded to do it with. Hooray! As for me, here, I’m just working randomly still. Last night I went to see this performance with today’s blog star Gisele. Kind of a super dark one-person show by a young guy who’s famous in France as a magician and is trying to making strange performances using his magic skills as a kind of … basis or something. It was kind of irritating, but very impressive. Otherwise, I had to gather some on-set images of our film to give to New York Magazine because they’re about to publish a piece about the making of ‘PGL’, so I did that with Michael/Kiddiepunk and hung out with him, Bene, and kiddo Milo at the same time. It was nice. What’s the plan re: your weekend? My weekend plans are still pretty vague, but I’m sure stuff will come up. Have a great two days! ** David Ehrenstein, Hi, thank you, I agree, of course. Oh, cool, now I can read your thoughts and opinion on Hockney in detail! Everyone, don’t let your weekend pass by without reading Mr. Ehrenstein’s take and thoughts on David Hockney. Head over here. ** Will VanDenBerg, Hi, Will! Thank you for coming here! I didn’t know about that current issue of Music and Literature, but I will scour Paris this weekend in hopes of finding a copy. Thank you very much that alert. A pleasure to get to speak/type with you. Please feel very free to come in for any reason anytime. Take care. ** Steevee, Hi. I never go to see movies for eye candy. Is that weird? Ha ha. So sorry t hear about your forced separation from your computer. If you can manage to enjoy the non-hooked-up-ness, please do. I personally don’t think your reviews are overly political or anything like that. You’re rightfully and helpfully writing from the perspective you have, and I know I learn a lot from your words in general and reviews, so that criticism seems just seems biased or something? That said, I do take great exception to your declaration that ‘we live in times when cinema is soaked in politics, and writing the kind of auteurist formal analysis my friend prefers seems like writing some kind of weird and alienated missive from an ivory tower right now’. Seriously? Maybe among your crowd, but not in the world I live in and pay attention to. Current cinema isn’t ‘soaked in politics’ in my opinion. It’s coming from all kinds of places with all kinds of intents and purposes just as it always has been. It’s some receptionists who are bent on soaking all cinema in politics. I mean, where does that statement leave this blog? I do long, serious posts about cinema, books, art, etc. without a political/social justice-based filter. I really don’t think I’m making this blog from an ivory tower. I think this trending idea that those who don’t analyze art without their own politics squarely on board are less clear-eyed or out of touch or elitist is absurd. I don’t think you or your reviews or comments are ‘woke’, but I do kind of think that declaration is. ** _Black_Acrylic, Hey hey, Ben. While I would say you could start anywhere with Quin, I would also say that ‘Berg’ might be the best way to start if you can get yourself a copy. Excellent about your successful driving lesson. Braking is a toughie. But then you’ll suddenly nail it, and you’ll be like a ballet dancer standing on his tiptoes. How does your weekend look, or, I guess, how did it look? ** Alistair, Hi, Alistair! So great that your book is getting such good advanced press. I’m good. I’m enjoying my mostly time off from the film, yes. Just catching on my neglected other things and putting my mind to ideas for our next film. Quite pleasant. Mm, I don’t think the NYC event I’m reading at via Skype for is going to be streaming, or at least no one has told me that it was. I do think I was told it’s being pro-videoed and that the doc will, or might, end up on youtube or Vimeo or somewhere at some point. Yes, yes, send me stuff, anything you want, so I can make the post! Word doc plus jpegs as email attachments is best. I’m already very excited to make the post, and of course, speaking of ‘post’, get your novel so I can dig and dive in! My new email is: denniscooper72@outlook.com. I haven’t read Kim Gordon’s book yet for no good reason at all. I should and will finally. Have a super great Venice-based and further flung weekend! xo, Dennis. ** MANCY, Hi, S. Oh, gosh, thank you. I did try to get intricate to some degree with the ‘Tunnel’ thing, although not enough for me to think of it as a work. But maybe I’ll rethink that. That’s super awesome of you to say, maestro, about it and about the gif work generally. Really, that means really a lot. I’m awfully glad that the mind-hampering day job has left you enough cells (brain) to work on a zine. If I were a man of power in the world where power makes a difference, I would make sure you got a gigantic, day job-murdering MacArthur Grant. ** Misanthrope, Hi, G. Pondering is the best. I can’t wait until pondering becomes trendy and au courant again. That ‘no news is good news’ thing is such a weird thing to say because it’s all about the people who dealing with someone ill and not about the ill person. But I guess that makes sense. That is an interesting story, which I greatly appreciate. Your ex-boyfriend was one of those hair trigger-jealous types. It’s a hard life being obsessively eagle-eyed for even the flimsiest evidence of partner indiscretions. Cool that you and Jullion are reconnecting and that you got to an understanding place with your ex. Gosh, it was like an urban fairytale, that story. Nice, man. Have the sweetest weekend! ** Okay. I realized to my surprise the other day that I have never made a full post/Day about my longtime collaborator and boss and friend, the great Gisele Vienne. Really strange. But I have now corrected that inexplicable problem. And, if you like, you can learn probably more of what there is to know about Gisele and her work than you had known until today, should you feel so inclined. In any case, I will see you bright and early on Monday.