Bloody II

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Andrei Molodkin The White House Filled With the Blood of U.S. Citizens, 2020
‘Amid the final days of the Trump administration, Russian-born conceptual artist Andrei Molodkin has projected a video of his political artwork, White House Filled with the Blood of U.S. Citizens, onto the Trump Hotel in Washington, DC. In the large-scale video, blood is seen flooding through an acrylic model of the building.

‘As the title suggests, this (real) blood was donated by US citizens – more specifically, volunteers at the American Church in Paris, France, where Molodkin is based. “The use of human blood is required to interrogate the existing political system,” the artist explains in a statement. “The White House is the symbolic heart of ‘Western’ democracy, and here we see it as it is, fueled by the blood of its citizens.”’

 

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Buryanyk Vasylyna Tears That Solidify and Blood That Doesn’t Clot, 2020
1700х1200х1300 mm, glass, metal, blood, fabric

 

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Sun Yuan and Peng Yu Body Link, 2000
‘The conceptual artists Sun Yuan and Peng Yu transfused one hundred centiliters of their own blood into a medical specimen of abdominally conjoined fetal twins. In photographs taken during the show, the artists sit on either side of a table with blood tubing connecting their arms to the mouths of the twins where it overflows, drenching the bodies.’

 

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Casey Koyczan Residential Values, 2014
Performance Painting, Red + White + Black paint on canvas, Hockey Pucks

 

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Mac Blondie Untitled, 2014
‘A French tumblr artist taking the name of Mac Blondie has taken the idea of art to the next level in his latest art series by punching a brick wall covered with a canvas with his bare hands. The entire process took five minutes while the artist punched the canvas 569 times.’

 

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Pete Doherty Bilo Ireland Blood, 2007
Artist’s blood on on wove paper

 

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Adel Abdessemed Forbidden Colours, 2018
‘Forbidden Colours reflect our current world flooded with fake news. These abstract canvases play with the ambiguity of blood, even though they are painted with a liquid used in cinema to simulate wounds or death in a hyperrealistic way. Adel Abdessemed takes us into a world of simulation and illusion, in the age of manipulated images or photoshopped photographs that seem more real than reality itself.’

 

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Shary Boyle Flesh and Blood, 2012
Porcelain, enamel, glaze and glass beads

 

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Tameka Norris Untitled, 2012
‘She cuts her tongue with the single stroke of a knife blade and drags it deliberately along the gallery wall, replacing brush and paint with her mouth and bodily fluids. Tameka Norris’s untitled performance tests not only the artist’s ability to tolerate pain but also the audience’s ability to bear witness to pain.’

 

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Mary Coble Blood Script, 2008
‘Artist Mary Coble was lying face down on a table in the Conner Contemporary Art booth at the Pulse Fair in New York. A tattoo artist moved a buzzing needle over her flesh, drawing blood, as people strolled past clutching gallery brochures and occasionally paused to watch. Coble is a tough-looking gal with a buzz haircut but I thought she was going to bite her own forearm off in agony. In Coble’s performance, Blood Script, the artist had hate speech inklessly tattooed on her body in ornate script. An assistant pressed paper against Coble’s bleeding flesh and made prints of the ugly epithets. Yikes. The performance and the spectators’ reactions could be a metaphor for any number of things and you could also view it as a sensationalistic attention-getting stunt. I never made up my mind about it because I really couldn’t bear to nonchalantly stand and watch somebody purposely endure that kind of pain just for art.’

 

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Poppy Koning Guts Over Fear, 2016
‘Meet ‘Guts Over Fear’ the painting that contains my own blood. What can I say? I adore blood and I’m not the only one. Yeah, I like blood, fake blood mostly. Yes, I drew my own blood for my painting. And yes, it’s absolutely beautiful, the painting, but also blood. The intense red shade, the structure is has, the passion that speaks from the color.. ah, perfection.’

 

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‘After multidisciplinary Singaporean contemporary artist S. Chandrasekaran was denied an opportunity to perform an element of his Singapore Biennale work Unwalked Boundaries by the organisers, the 57-year-old performed a dramatic blood oath ceremony this afternoon (Oct 28) during his artist talk segment, expressing his disappointment and declaring that he will not perform again until he was allowed to perform this particular piece. “I’m making a blood oath today, that I will never perform in Singapore until this is performed. And every day I will mark my skin, a scar, until I (get to) perform. This is my oath.”’

Videos and more here

 

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Maxime André Taccardi Untitled, 2012
‘Musician, artist, teacher and husband, Maxime André Taccardi has dedicated his last years to a whole new level of artist introspection and self-enlightenment, starting as the creator of paints made with his own blood, passing through the creation and reflections of our own decadence as humans, he has invented even music that can transport you to realms far beyond and over the understanding of the common human race.’

 

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Nick van Woert Reappear, 2012
fiberglass statue, polyurethane, steel

 

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Marianna Simnett Blood, 2015
‘Isabel undergoes surgery to remove two turbinate bones from her nose. This procedure eerily restages a horrifically botched operation carried out on Emma Eckstein, a patient of Sigmund Freud. Isabel’s suffering induces vivid dreams involving a visit to a remote village in northern Albania. In that archaic land of blood feuds and strict codes of honour a woman is regarded as ‘a sack made to endure’. Isabel’s ambiguous mentor, who became a sworn virgin to escape such a fate, tends to the child’s swollen nose while back at home Isabel’s schoolfriends, masquerading as her rejected turbinate bones, torment and chastise her. Both predicaments are fraught; after experiencing an epic nosebleed, Isabel is horrified at what is happening and finds herself again in Albania, endlessly sleepwalking.’

Watch it here

 

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Oleg Vdovenko Stork, 2019
2D-3D artist from Saint Petersburg, Russia

 

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Wang Jie Illusionary Space Writing I & II, 2013
acrylic on acrylic

 

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Shintaro Kago Untitled, 1998
ink and pencil on paper

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Rebecca Belmore Various, 2002 – 2008
‘Belmore’s symbolic wounding, entrapment, and exposure of her body in attempted solidarity with those whose bodies have been destroyed make poignant a chasm that cannot be bridged. Her alternately narcissistic and self-abusive performances thus operate in critical dialogue not only with the demands upon artists of aboriginal backgrounds to somehow be representative “aboriginal artists” but also with the polemics of the presentation of the female body.’

Fringe

Blood on the Snow

Fountain

 

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‘In Naruto Fanon the Genjutsu: Blood Release is a technique of Muketsu’s that enhances his already significant prowess within Genjutsu. By making contact with an enemy through one of the plethora of weapons he has available through his manipulation over blood, Muketsu can impart his own blood into an opponent. This leaves a small quantity of chakra within an opponent’s body. In doing so, Muketsu is able to subsequently direct his own chakra into an opponent’s brain with much more ease as a result of some chakra already being present to accelerate and empower the Genjutsu being cast.’

 

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‘Ruby “Juice” Martinez is a 29-year-old local artist who has a gory, but not unusual, twist on creating art: using her own blood as paint. The blood the artist uses is pulled directly from her veins using a syringe, which is then placed in a two-ounce container with an anticoagulant that she eventually discovered. “You can add as much blood on one layer, but you won’t get much shading out of it until you let it dry and let new blood absorb into the canvas,” Martinez said. “Although the blood does have an anticoagulant, my time is still limited so I try to work at a fast pace.” The blood is applied through various tools, such as paint brushes and sponges, in order to apply texture, and finger-painting for backgrounds. “One thing I love about El Paso (is that) the art community is very supportive of each other,” said Martinez who was searching somewhere to keep her art after finding out she would be moving to Alaska.’

 

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Teresa Margolles Lemas (Mottos), 2009
Fabric impregnated with blood gathered from the places where murders took place in Mexico.

 

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Kristian von Hornsleth Hornsleth’s Head, 2019
Sculpture

 

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Jordan Eagles Blood Equality Illuminations, 2017
‘Blood Equality Illuminations unites 59 voluntary human blood donations from the MSM (men who have sex with men) community. The donations came from two groups – the first from nine individuals, each with unique life experiences and perspectives, highlighting the repercussions of the ban and the importance of full equality, and the second group combined blood from a community of 50 PrEP (Pre-exposure prophylaxis – a daily pill proven to be 99.9% effective in preventing HIV transmission. For Blood Equality Illuminations this blood was scanned and printed as digital composites and then projected onto surfaces to create an immersive installation. Through the projection you can ‘step into’ the blood – blood which could have been used medically and given to someone in need by way of a selfless act.’

 

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Kim Morgan Blood Cluster, 2015
Glass, metal, lightbulbs, wire, blood

 

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Catherine Opie Self-Portrait/Cutting, 1993
‘In Self Portrait/Cutting, the artist depicts herself life-size from the waist up, in front of a baroquely elaborate backdrop. Yet she is shirtless and faces away from the camera, revealing a drawing, still bleeding, that has been scratched into her back; her own skin has been used as a canvas. The cutting depicts in childlike glyphs a tranquil scene of lesbian home life, but the drawing’s tender and sympathetic tone is disrupted by the raw, visceral means through which it was created, undermining any possibility of interpreting the scene as a simple, unfettered image of domestic normalcy.’

 

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Louie Cordero My We, 2011
‘The work of Filipino artist Louie Cordero embodies contemporary Manila culture by mixing together indigenous traditions, spanish catholicism and american pop culture. His cast fiberglass figures are graphically and fantastically impaled with as many ‘first-world’ cast off objects as could be found. Blending visceral gore with seductive color and highly refined technique, Cordero’s work draws on the aesthetics of b-movie horror films, heavy metal music, comics, local stories, street life and various mythologies offering a highly personal, idiosyncratic take on a chaotic world.’

 

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Basse Stittgen Record and Player, 2017
‘The slaughterhouse industry is one of the most resource intensive in the world, yet it remains almost invisible – this disconnection makes it difficult to create a common ground to talk about the ethics of production and consumption. The work offers a platform for confrontation and reflection regarding our relation towards animals. All the objects are made 100% from discarded cowblood.’

 

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Tim Noble & Sue Webster Bloody Haemorrhaging Narcissus, 2009
Red silicone rubber, steel, wood, light projector

 

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Jonathan Schipper Raining Blood, 2010
‘The band Slayer’s song Raining Blood is translated to player piano reel. A classical reproduction sculpture reconfigured and modified with pneumatics to allow for movement. A hand built reader reads the song and the controls the gyrations of the figure.’

 

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Imran Qureshi Blessings on the Land of My Love, 2011
gouache and gold leaf on wasli paper

 

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‘BBDO Russia Group has been creating art from ‘post-bite’ mosquitoes that have been squashed, to promote Glorix mosquito repellent. The process involves firstly slapping a mosquito just after it has bitten and is therefore full of blood. An artist then paints a portrait using the ‘splatted’ blood.’

 

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Gina Pane Psyche, 1974
‘French artist Gina Pane was a founder and leading member of Art Corporel, the Body Art Movement in France during the 1970s, and throughout all of her work she uses the body as a site for exploring ideas around discomfort, experience and empathy. She is best known for personally inflicted physical suffering. In the performance of Psyche in 1974, she stood in front of a mirror where she used a razor blade to make incisions onto her face and navel. The cuts below her eyebrows caused her to blood to trickle down the face like scarlet tears.’

 

 

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p.s. Hey. ** Dominik, Hi!!! I’m not sure because even thinking about it freaks me out so much that I can’t even analyse it, ha ha. I know more than a few people who share that fear of yours, and it’s true I have a deathly fear of the idea of being out in the middle of the ocean in the water at the foot/bottom of a huge ship, so I shudder along with you. Thank your Love of yesterday for his benevolence. I am reliving a fantasy of my youth of eating an entire wedding cake by myself. Wedding cakes, at least in the US, are literally 98% sugar. Love helping me choose what to read from ‘I Wished’ at a LGBTQ bookstore event on Thursday that won’t piss off the attendees because that’s happened to me at LGBTQ bookstore events many times before, G. ** Conrad, Hi, Conrad! I do sometimes miss comments when they appear while I’m doing the p.s, sorry. I’m very happy that the Akerman film was a find for you. Thank you for the two music tips! I’ll get right on them. Right, I need to do the Mego Part 2 gig, thanks for reminding me. There are going to be three big Mego tribute live gigs in Paris, I think later this year, at the Pompidou, Gaite Lyrique, and I forget the third venue. Thank you about ‘Jerk’. And for the BJA documentary tip. I didn’t know about that. I would so love to have my blog remixed, wow. It would be hard to do, what with my poor archiving skills. I’ve never been in parc de la Courneuve. How can that be? It looks super serene and inviting. I love your films list, of course. Breer! Lockhart! Etc. There are definitely ones on yours that should have been on mine. It’s possible I was at that same Benning screening. The host did make sheepish remarks right before the screening started that I didn’t understand. And, yeah, counterproductive. So good to see you, my friend! ** David Ehrenstein, Macron is worse than a subpar politician, his policies are often dreadful, but that doesn’t lessen the huge relief at escaping Le Pen, of course. ** Misanthrope, Me too. I don’t know how I keep finding new stuff all the time either. It’s weird. Btw, I have a little, or not so little, blast from the past coming up for you tomorrow. Well, I guess your dickishness is balanced out by the fact that you like some really crappy stuff, ha ha. Actually, Le Pen did try to focus on things people here care about here in her campaign, which is why she did as well as she did, but she didn’t make enough people believe her racism and homophobia and love of authoritarianism, etc. was actually in her past, which is why she lost. ** Svartvit, Hi, Svartvit. Thanks for coming back! Oh, cool. About the museum work having an excitement factor. I think the people I’ve known who’ve worked in museums in some capacity have said the same, if I’m remembering right. When I was growing up in SoCal, a lot of my friends had summer jobs working at Disneyland, and, to a one, that ended up ruining their appreciation of amusement parks forever, so I’m glad it’s not like that. I’ll look up Voorlinden. I hope the Gormley exhibition is a pleasure to install, and, of course, see. Thanks a lot! Take care ’til hopefully next time. ** _Black_Acrylic, I would so love to go to a really extravagant, old school, visually over the top rave. Sigh. Yeah, I’ve never bought anything more substantial than a car in my life, but I can imagine. I hope the paperwork is rapidly finite. ** Okay. Today you get a sequel to a post from a few years ago called Bloody, not that anyone out there has been on the edge of their seat waiting for Bloody II, but here’s hoping it’s a surprise hit. See you tomorrow.