DC's

The blog of author Dennis Cooper

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30 machines: Self High Five Machine, The Laff-Box, Cloaca Professional, Ice Cream Cone Maker, Jaquet Droz’ Machine à Ecrire le Temps, Flamethrower Organ, Schaufelradbagger 258, Scrambler, my Sparkfun Antimov 2010 contest entry, The Euphonia, Conspiring Machine, Crack Pipe Vending Machine, The Thread Wrapping Machine, Philip K. Dick android portrait, STYN, Sewing Machine Orchestra, Sweeping Spirals, The Bowlingual, Machine with Roller Chain, Globe Presser, Elegy: GTA USA Gun Homicides, The Hydraulophone, The Saint AKMA 3000 ml, une machine bizarre, The Malling-Hansen Writing Ball, The Drumssette, Darwin-Coxe Machine, The Bread-in-a-Can Vending Machine, Automatic stick incense making machine, The Dodge Embalming Machine

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Turkish artist Deniz Ozuygur created The Self High Five Machine to reflect on the symbol of popularity and acceptance during her grade school days. The two arms are made from rubber casts of her own right arm—one anchored to the wall and the other slowly spinning on a motor that completes a full rotation once per minute. Observers of Ozuygur’s creation would watch in suspense as the rotating arm approached its height, only to be let down when the two arms missed. However, people stayed, hopeful that the two arms would eventually connect to make a good high five. It never happened.’ — atlas obscura

 

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The Laff-Box was created by Charles Douglass, a sound engineer for CBS studios in the early 1950’s, to enhance the audience response for both radio and television programs. Early on, Mr. Douglass saw the need for sound enhancement to make jokes and other lines more affective in recorded productions. The box seemingly ahead of its time with technology and ingenuity. Is about the size of todays standard dishwasher, with wheels for easy transport and numerous tapes with a keyboard that he used to select certain sounds and laughs. With a foot pedal he could control the length and increase or fade out of the tape recorded laughter.’ — Live Leak

 

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‘What is it? It’s a machine you feed normal human food, and it goes through its stomachs and gets shitted out the other end. So how does Cloaca Professional work? In much the same way as we all do. It is fed and maintained at body temperature while food travels through a kind of mechanical and chemical assembly line involving ‘organs’, enzymes necessary for digestion, farting and a smelly solid end product. Cloaca is a work of art that produces works of art.’ — Museum of Old and New Art

 

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The Ice Cream Cone Maker

 

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‘The Jaquet Droz’ Machine à Ecrire le Temps is a complex structure that artistically shows how complex the innards of a watch could be. In fact, to tell time, a lot of complex machinery has to be involved and this particular Horological machine conveys that complex message in this manner. Machine à écrire le temps apparently was not intended to look like the “Android” or any other common device that is famous right now. It was built as a philosophical contemplation about time itself. It has more than 1,200 watch parts, 84 ball bearings and 50 belts. If you put a sheet of paper at the designated place, it writes the time in pencil, 4 digits at a time.’ — walyou.com

 

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‘So yeah, It all started with the idea, WOULDNT IT BE GOOD TO BUILD A FLAMETHROWER ORGAN. Not even knowing if it would work. It took 2 weeks to put together, at the beginning i had no idea about anything to do with gas at all! but after a quick search on the internet and a mess around with a whistle and an old camping stove i was all set! Initially i planned to get an old church organ off eBay (they go for next to nothing!) but i did some tests with a single organ pipe and because of their makeup of tin/lead. IT MELTED. So i got out some blunt files and a hack saw and made some pipes out of copper! so yeah……. thats the flamethrower organ for you! the keyboard is a midi keyboard controlled by an arduino mega, its just an organ keybed which are great cus each key has a seperate wire. connecting to a common bus, none of those button matrix mallarkies.’ — lmnc

 

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Schaufelradbagger 258, the world’s largest excavator, is seen working in the Tagebau Hambach, a large open-pit mine in Niederzier and Elsdorf, North-Rhine Westphalia, Germany.’ — collaged

 

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‘With this project, I connected a gas generator and air compressor to buckets of paint and secured them onto the seat of a Scrambler amusement park ride. Once the ride was in motion, paint sprayed out of the seat onto an enormous vinyl tarp placed underneath. The result is a series of 60 x 60 foot Spirograph designs which recorded the hidden patterns created by the ride as it turned.’ — Rosemarie Fiore

 

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‘This is my Sparkfun Antimov 2010 contest entry. It’s a teddy bear birthday party. The robot attempts to cut the cake but fails. The clown and bear were supposed to point and laugh at him but it looks like my cheap Chinese servos failed too soon. The robot then shoots the bear with his laser, lighting the bear’s hat on fire. He shoots the clown next and then the laser malfunctions, lighting everything else on fire. In the end, the robot kills himself by jumping into the fire on the table.’ — Dennis Brunner

 

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The Euphonia consisted of a bizarre-looking head that spoke in a “weird, ghostly monotone” voice and was manipulated with foot pedals and a keyboard. By pumping air with the bellows and manipulating a series of plates, chambers, and other apparatus, including an artificial tongue, the operator could make it speak any European language. It was even able to sing the anthem God Save the Queen. The Euphonia was invented in 1845 by Joseph Faber, a German immigrant. While the Euphonia amazed people, there was resistance to it, perhaps because its ability to imitate a human speaker incited fear of replacement by the machine. It is not that the machine promises eternal speech after the speaker’s death, but rather the death of the speaker in favor of the artificial speech. The Euphonia failed to preserve the human, causing it to fall out of favor and to be replaced by the phonograph, which records and projects the human, and the telephone which transfers and connects the human.’ — collaged

 

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Conspiring Machine (2007) is a kinetic sculpture by Norwegian artist Kristoffer Myskja. It appears to be like a classic mechanical music box. The cylinder and cogs are there, and spikes touch levers as the machine does its ‘work’. Levers turn switches, triggering small electronic components to play sounds through two speakers. Each speaker plays combinations of consonants and vowels, in two different voices, giving the impression of conversation between two characters. The consonant-vowel combinations are the most common in every language, so the machine constructs a kind of neutral language. You will perceive it almost as words, but never actually understand what it is talking about.’ — Galleri K

 

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‘Town of Brookhaven officials and Suffolk County police are trying to figure out who placed three Crack Pipe Vending Machines, dubbed as pen vending machines, in Coram and Medford. The town received complaints about the machines over the weekend. Two of them — one of which had partially destroyed by community members — have been removed. The blue and white vending machines, which featured the words “Sketch Pens” on the outside in black and red font, were mounted in cement into the ground and would dispense a small glass tube and a filter. Included was the top of a pen, which could be put into the glass tube to form a pen, along with an ink tube. The “pens” cost $2 each, and the machines would accept the payment in the form of eight quarters.’ — abc7ny

 

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The Thread Wrapping Machine is a tool to join different types of material with only a glue-coated thread to bind the objects. No screws or nails are used to join the different components of the furniture. By using this construction method, materials such as wood, steel, or plastic can be joined to form objects and constructed spaces. I wanted to create an externalised joint that would enable me to combine a big range of different materials that normally would require very time-consuming methods of joining them together, and at the same time, to create a decorative pattern formed by the different colours of the thread.’ — Anton Alvarez

 

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‘The android portrait of Philip K. Dick–an intelligent, evolving robotic recreation of the sci-fi writer who authored VALIS, Do Androids Dream of Electric Sheep, UBIK, and many other masterworks. By ressurecting PKD as an android, we seek to realize genius-level AI with compassion and creativity. While we have a long way to go, even the early versions of the robot have made strong leaps forward towards this goal, resulting in an AAAI award for the AI systems, breakthrough abilities in robotic conversations and human-robot interaction, and world renown. The first version was built in 2005 by Hanson Robotics. Unfortunately later that year the robot was lost in transit to a Google Tech Talk, and the project remained dormant for 3 years thereafter.’ — Hanson Robotics

 

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‘Dutch graphic designer Sam van Doorn has modified a pinball machine so that it uses lithographic ink to make prints. Calling his machine STYN, the device makes messy modern art on poster board with six flippers and the ball. van Doorn doesn’t call the resulting works art, rather he thinks of them as design pieces which are the product of “fun and play.” The modified pinball machine was a part of van Doorn’s graduation project. The machine itself will be appearing at different parties where people can use it to make their own designs, but posters are also available for sale in van Doorn’s website.’ — theverge.com

 

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‘What can a sewing machine do besides sew? In Sewing Machine Orchestra, Montreal composer Martin Messier sets up his own musical factory with a handful of old Singer sewing machines from the ‘50’s, ‘60’s and ‘70’s. As a new media artist, Messier uses everyday utilitarian objects to create electronic music with an unconventional twist. Rather than focus on one medium in particular, he grounds his practice in experimentation and electro-accoustic music, inviting the spectator to become a sonic explorer. “I’m interested in objects that can be manipulated and which have a sonic potential. When I came across the Singer sewing machine, I realized right away that it had that sonic potential,” says Messier, who is a member of the Montreal digital arts collective Perte de Signal.’ — thecreatorsproject.com

 

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Sweeping Spirals is part of series of suspended installations by Canadian artist Jean-Pierre Gauthier in which geometric forms (instants angulaires) break up and reassemble in an unpredictable manner. The work is also related to a set of works the artist created around the theme of house cleaning. In Sweeping Spirals, two brooms situated on the opposite ends of a set of interconnected broomsticks take on the shape of a long spiral. Each spiral segment seems to act on its own and the perfect form is only rarely reestablished. In fact, motors pull strings attached to the joints between the segments, creating jerky movements that manipulate them like a big marionette. Moreover, now and then the brooms rub against the floor and push a bit of debris without ever really collecting it.’ — FILE

 

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The first version of this device appeared back in 2002. Now a new version of the Bowlingual comes into attention. The device is able to analyze a dog’s bark and figure out its emotion. The device will only be available for the dog lovers living in Japan. According to the company the Bowlingual is able to understand six of the dog’s basic emotions. The first model included a microphone attached to a dog’s neck and a special handheld unit that was used to read the data and transmitted it from the microphone to the display. The latest version features a more compact unit that includes a speech synthesizer. The latter audibly informs the person about the things their dog tries to say. Just like the first model, this one shows all data on the screen of the handheld unit.’ — infoniac

 

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‘Like a recycling fountain, Arthur Ganson’s Machine with Roller Chain presents the random play of dribbling, puddling, snaking metal chains. Ganson reveals something of the tinkering-scientific way he works when he tells of his first pass at Machine with Roller Chain. Initially envisioning the lumpy chain falling, blob-like, into the middle of a cradling arc, Ganson said he discovered that a curvature simply caused the chain to “glump to one side and turn around and around. It was completely boring.” He decided to bend each side of the arc up into flanges.’ — sculpture.org

 

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‘The world is flat when the process of making a globe begins. Highly detailed and informative artwork prepared by a staff of researchers and cartographers is printed on sheets of cardboard. The Southern Hemisphere is printed on one sheet, and the Northern Hemisphere is reproduced on a second sheet of cardboard. Gores, or tapering triangles, are then diecut into the printed sheets by a specialized machine; the half globe with cut gores looks like a pinwheel or a banana peel with a pole at the center and the parts of the peel forming segments of the world. The artwork is designed and the gores are located in such a way that adjacent segments will match correctly when joined. The cardboard hemispheres are then subjected to heat and pressure in a forming press to shape them into half spheres. The forming press works much like a curling iron and heats each hemisphere to about 300° F (148.9° C) for 90 seconds. In the joining process, the two halves are glued together to produce the round ball, and Equator tape is placed to cover the seam.’ — ba-bamail

 

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‘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. 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.’ — Game Scenes

 

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The Hydraulophone is similar to an organ. It uses a constant stream of water, in conjunction with the player’s hands, to make notes.’ — The Capitol Theatre

 

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‘Unlike conventional coffee makers, the Saint AKMA 3000 ml does not boil water, relying instead on the forces of gravity for its cold-brew method: Water travels carefully from the upper glass orb down to the second tier, which houses flasks of ground coffee, and eventually journeys to the final level where the java mixture awaits. Patience is the way of this technique, as the entire process requires several hours. Dutch Lab suggests setting up the AKAM overnight for sunrise gratification. This decadent transparence grants liberties to each drinker, who can adjust the water-to-coffee ratio via calibrated valves, and enjoy a less acidic brew.’ — robbreport

 

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‘chloé la pro fait des vidéos. une machine bizarre. ajouter un commentaire si vous savez ce que c’est.’

 

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‘During his final decade, Friedrich Nietzsche’s worsening constitution continued to plague the philosopher. In addition to having suffered from incapacitating indigestion, insomnia, and migraines for much of his life, the 1880s brought about a dramatic deterioration in Nietzsche’s eyesight, with a doctor noting that his “right eye could only perceive mistaken and distorted images.” Nietzsche himself declared that writing and reading for more than twenty minutes had grown excessively painful. With his intellectual output reaching its peak during this period, Nietzsche required a device that would let him write while making minimal demands on his vision. The Malling-Hansen Writing Ball seemed to fit the bill: the writing ball was the closest thing to a 19th century laptop. The first commercially-produced typewriter, the writing ball was the 1865 creation of Danish inventor Rasmus Malling-Hansen, and was shown at the 1878 Paris Universal Exhibition to journalistic acclaim.’ — open culture

 

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The Drumssette was built by Mike Walters in 2010. The Drumssette is a Tascam four track cassette recorder that I turned into a programmable drum machine. A cassette with four tracks of repeating drum sounds can be mapped into a 16 step rhythm using the 64 switches on the interface. The audio on the cassette tape also clocks the sequencer.’ — Mystery Circuits

 

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‘This unpleasant piece of equipment, the Darwin-Coxe Machine, was used to swing mental illness patients back and forth until they remained quiet. This machine was used in Vienna, Austria, in the early part of the 20th century.’ — Medical Plastics News

 

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The Bread-in-a-Can Vending Machine; ‘There are many kinds of vending machine in Japan. This video shows bread can vending machine. There were chocolate bread, strawberry bread, milk bread, caramel bread. I bought a caramel bread.’ — japanesestuffchannel

 

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Automatic stick incense making machine with small size, simple operation, computer control, easy maintenance and low failure rate, save labor, high productivity. The produces incense easy to dry. It can produce a variety of specifications of Buddhist Incense, the production branch 220-280 per minute. Made of high quality incense, incense surface is smooth, incense head and tail neat appearance. Anyone who has not been trained can handle this machine. The machine is with character of high working efficiency, easy operation.’ — FR

 

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The Dodge Embalming Machine is a breakthrough in the control offered to the embalmer, when injecting arterial fluid into the deceased. With unique features, the Dodge APC Embalming machine can be relied upon to produce consistently excellent penetration and distribution of embalming fluid. Using the machine is simple and we would recommend taking a few moments to become familiar with its operating features. The Dodge Embalming machine with APC is designed to control the flow rate of embalming fluid and automatically adjust the pressure to ensure the rate of flow is maintained. The machine also offers both direct and pulsating injection. The machine features two gauges to show the level of fluid in the tank as well as the rate of flow. there is also a dial on the front of the machine to adjust the rate of flow.’ — shepherds.ie

 

 

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p.s. Hey. Heads up: I’ve had a tooth ache for a few days and last night the pain went nuclear to the point where I have an emergency dental appointment in a couple of hours, all of which is to say I’m doing this p.s. through pain and painkillers, so it might really suck. My apologies. ** Dominik, Hi!!! Oh, shit, my overly hungry blog. I’m glad you liked his work, and thank you for the love. Hm, Think I’d like ‘Gaby und Luciano’ for some reason. His paintings are so huge, I think I’ll have to fasten it to my ceiling. Due my pain, I’m going be selfish and wish me and you and whoever else needs it love like a dentist with wizard-like healing powers and a reasonable fee, G. ** Ferdinand, Hi. My book doesn’t come out until September so I’d be pretty shocked if it was sale all the way over here before then. What I do this weekend will depend on what the dentist does to my mouth and how I survive it, I guess. Getting ready for my trip in any case. Thanks about the interview. I hope your weekend is very pain free. ** Misanthrope, Good. Uh, I guess it nails that you’re a fiction writer. Hope you guys come to the big P, obviously. Oh, right, it’s 4th of July weekend, I forgot. BBQ and stuff? Fireworks? Hope it all boats your float. ** _Black_Acrylic, Hi. I’ve never seen one in person myself. I should check the museums around here. ** Jamie, Hi, Jamie. Thank you again. I might be able to recommend Disneyland books, but my head, and, consequently, memory is too battened down by pain at the moment, so let me get this stupid mouth of mine righted, and then I’ll assign it a relevant book title hunt. Like I said above, my weekend plans have thrown into question by my tooth’s rebellion, so it’ll depend on whether the dentist can fix it and leave me mobile and functioning at the same time. If so, see friends, work on the sound aspect of our new film with Puce Mary, eat nachos, and, in any case, run lots of  pre-trip errands. I’ll let you know. Did you get to the cinema, and what did you see? Have an amazing coupla days in any case. Love, me. ** Steve Erickson, Hi. No, we fly to Orlando first for a 3/4 day amusement park blow out and then on to LA. I’m not sure if we’ll travel otherwise. It’ll depend on what needs to be done re: the new film work/prep. I’m intrigued by the sound of ‘Siberia’. I’ll see if I can find it. I thought soap2day was dead, but it seems to have changed addresses and formatting or something, on my end at least? ** David Ehrenstein, Thanks for the info. ** Dalton, Hi. There are pictures of Patti Smith posing with those paintings and comically mimicking her poses in them, so I would assume she’s down with the results. Best of luck finishing the writing thing. Cheerleading vibes from me. Yeah, I think DFW is easily one of the greatest American writers of recent generations. His sentences are so genius they drive me nuts. I didn’t know him like a best friend or anything, but he certainly never seemed pathetic or annoying. I don’t know where that author got that from. He was very humble and thoughtful, very generous and, obviously, extremely smart. I liked him a lot. I can’t remember any downside to him personally at all. Glad you liked the post. I hope you have a really great weekend! ** Right. I’m giving you a bunch of machines to theoretically delight in or something, and I hope you will. And I will see you on Monday, and hopefully not while in pain.

Galerie Dennis Cooper presents … Franz Gertsch

 

‘Little known on these shores, Franz Gertsch’s paintings are considered landmarks in his native Switzerland’s postwar art scene. The Swiss Institute’s “Polyfocal Allover” centered on a series of acrylic paintings the artist (b. 1930) made in the 1970s that portray countercultural youths who belonged to a commune in Lucerne. Gertsch bases his paintings on photographs he projects onto his canvases. While the examples in this show can be considered forerunners of photorealism, they also resist the strict verisimilitude associated with that tendency, revealing more painterly dimensions. Thus, they might more accurately be called “hyperrealistic.”

‘Artists Luciano Castelli and Urs Lüthi were among the members of the commune, and figure prominently in the series. Portrait of Urs Lüthi (1970)—the earliest painting on view—shows Lüthi up close, wearing sunglasses indoors and looking wholly distracted or disaffected. In this and other images we find the “polyfocal” effect referred to in the exhibition title, for Gertsch retained the different degrees of focus brought by the mechanics of photographic reproduction (which are alluded to by the camera placed on a table behind Lüthi). Certain zones of the paintings crystallize into vivid focus, while others appear somewhat more blurred. At Luciano’s House (1973), a scene showing young women in a cluttered room, the curtain and floorboards are far crisper and clearer than the righthand figure’s fur collar, which slips into an almost painterly flourish toward the bottom. In a similar vein, Luciano I (1976) shows Castelli seated at a table strewn with dirty plates and glasses, all distinctly delineated, while an inexplicable blue splotch on the tablecloth directs attention to the brushstrokes apparent elsewhere.

‘With the sitter’s sidelong glance and a door cracked open at left, Luciano I also hints at some sort of elliptical narrative, undermining the notion of cold, perfunctory documentation and evoking a vaguely anecdotal air. What, to take another instance, should we make of the butterfly that appears in At Luciano’s House? Is it perched on the room’s wall, or is it instead a fanciful element thrust into this otherwise ordinary scene? Perhaps more striking than the painting’s realism is the extent to which it—like Portrait of Urs Lüthi and Luciano I—anticipates the kind of imagery Nan Goldin would capture in the 1980s. Given Swiss bourgeois propriety, these individuals’ embrace of rock and roll, American-style dress, and play with gender roles was all the more transgressive. Indeed, Castelli, Lüthi, and their crew featured prominently in “Transformer: Aspects of Travesty,” a groundbreaking 1974 exhibition in Lucerne, curated by art historian Jean-Christophe Ammann, that explored the connections between cross-dressing in rock music and tendencies in contemporary art.

‘Before taking up painting, Gertsch had created a number of children’s books. He conceived the stories—fairy tales featuring subjects ranging from a bear who wants to be a boy to a large walking teapot—himself, and produced spare woodcut prints to illustrate them, a few of which were on display here. Since then, Gertsch has made woodcuts employing his characteristically hefty scale. The exhibition included not only a handful of woodcut portraits of a woman named Natascha, but the massive plates involved in their making. Gertsch dyed one of the plates a silvery teal, so as to better conceive of how the excisions from the wood would translate into representations of light and shading. Another print, a 1991 example from a series called “Schwarzwasser” (Black Water), focuses on the whorls and ripples of a body of water. Given the image’s large scale and tight framing, the viewer is placed directly over the shimmering surface, which, displaying the same sort of dynamic seen in the paintings, flickers between realistic liquescent eddies and flecks of pure form.’ — Ara H. Merjian

 

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Further

Museum Franz Gertsch
museumfranzgertsch @ instagram
Franz Gertsch @ Gagosian
Franz Gertsch Retrospective
Franz Gertsch @ Arthur
Book: ‘Franz Gertsch: Looking Back’
Frances Richard on Franz Gertsch
Franz Gertsch @ Louis K. Meisel Gallery
Book: ‘Franz Gertsch: Polyfocal Allover’
Book: ‘Franz Gertsch: The Seventies’
Franz Gertsch in den Siebzigern
Interview mit Franz Gertsch
The Hyperrealistic Works of Franz Gertsch

 

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Extras


Hochgeladen am 24.05.2011 Franz Gertsch arbeitet in seinem Atelier an «Winter»

Watch it here


#SpotlightOn: Franz Gertsch, Medici, 1971/72


Aufbau der Ausstellung Franz Gertsch die Schenkung


Franz Gertsch au Kunsthaus de Zurich

 

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Frances Richard on Franz Gertsch’s Patti Smith Paintngs

 

In 1977, after the albums Horses and Radio Ethiopia but before Easter and Wave, Patti Smith came to Cologne to perform at the adventurous Galerie Veith Turske. Franz Gertsch was a forty-seven-year-old Photorealist painter then. Like many fans before and since, from avant-gardists to punk-rock teenagers, he had fallen in love with the magnetic butch-sylph portrait of Smith by Robert Mapplethorpe on the cover of Horses, and he came to the show to shoot his own pictures. He used a flash that annoyed the diva, and she crumpled a piece of paper and threw it at him—a storied moment captured in the painting Patti Smith II, 1978, one of a series of five large canvases made between 1978 and 1979. Skinny, equine, lank-haired, lithe, Gertsch’s Smith squats to fiddle with her amp; leans forward into a tangle of microphones; grimaces gorgeously at the implied camera. She wears an oversize white T-shirt, a checked black vest, black boots, and sparkly red leggings. She looks like a hardcore Magdalene, a slumming empress; she out-Jaggers Jagger. No one who has ever sung along to “Pissing in a River” could help exulting in such images.

But how do the paintings resonate now, some twenty-five years later? The Smith cycle was accompanied by the comparably sized Selbstbildnis (Self-Portrait), 1980, which positioned Gertsch, in button-down shirt and sport coat, as an onlooker—impresario, voyeur—vis-à-vis his own rendering of her performance, thus completing a composite “situation portrait” of European art-world hipness at the end of the ’70s. In an adjoining gallery, meanwhile, hung three preternaturally detailed large-scale woodcuts of landscapes from the late ’80s and early ’90s. Together, the two groups of works established a pair of axes along which to graph Gertsch’s consistent interests over the course of the last quarter century. Moving between painting and printmaking (axis 1) and portraiture and landscape (axis 2), he has maintained an investment in the Photorealist image and its simultaneous citation and monumentalization of the photographic instant. At the same time, he has preserved a fascination with likenesses of particular people and specific locales that paradoxically serve to empty out or seal off such particularity in favor of shimmering and impeccable art surfaces, testaments to the power of the master’s eye and hand.

Such strategic emptying is, of course, the stock-in-trade of Photorealist painting, and such artist-model/subject-object relations are among the core preoccupations of painting in general. Thus the Smith scenes—which celebrate not only a named person and place, a moment in the past explicitly predicated on Smith’s fame and consequent desirability, but also Gertsch’s interaction with that fame, his implicit realization of that desire—were presented here as glam history painting, updates in the art-historical tradition of the “painting of modern life.” Smith was Gertsch’s Olympia, sneering at him but performing for him, presenting for the eager (but never satisfied) viewer a larger-than-life scene of sexy power and creative dynamism. The paired portraits of the singer’s and the artist’s younger selves became a cultural landscape, and this effect was underlined by their juxtaposition with the dappled forests and rippling waters of the woodcut pastorals Rüschegg, 1988–89, Schwarzwasser I, 1990–91, and Pestwurz, 1993. Abstracted, embellished, pure, the green-shaded woodland, blue-toned pool, and ocher-tinted leaves offered viewers a different kind of fairyland—not the irrecoverable chic of art-rock performance in 1977, but a timeless vision of hushed and perfect nature.

It’s in these juxtapositions that the awkwardness of looking at the “Patti Smith” series in 2004 arises. Gertsch could not have known, in 1979, that Smith would take a ten-year break from recording to raise her children with Fred “Sonic” Smith or that Gone Again (1996) would reestablish her niche stardom. He could not have promised that Photorealism would remain a compelling pursuit for him or anyone else. This work, in other words, was not made to look like a scrapbook proving Gertsch’s back-in-the-day participation in Smith’s enduring avant street-cred or contextualizing his own evolution into a blue-chip artist who makes flawlessly beautiful, delightfully theorized, and formally consistent collectibles. Nevertheless, the combination of such factors meant that this show, with its retrospective bent, read rather like Gertsch’s self-presentation as a male artist in the grand style—spinning a variation on the old nature/culture dyad, watching appraisingly from the corner as the muse exercises herself, fixing her temporal beauty in the amber of his authorship. The paintings Patti Smith I through V present a charismatic persona but add little to our understanding of that charisma—such “neutral” or quasi-photographic reportage is, of course, largely their point. But the pressure of time elapsed since the pictures’ moment of origin, the parting of ways in the careers of the two artists, and—most important—the grandiloquence of Gertsch’s painterliness itself combine to make his use of Smith’s image feel subtly opportunistic after the fact. The famous Horses portrait helped to create Patti Smith’s mystique; the Gertsch portraits serve to historicize it. Perhaps the paintings’ true but obscured subject is the persuasive, persistent zeitgeist-conscious aestheticism instituted by Robert Mapplethorpe’s iconic photograph.

 

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Interview

 

Miriam Sturzenegger: I have dated the beginning of your official work at 1969. Can you explain why then was the time for you to make a change in your work, to embark on a new path? There were also other people who made a strong impression during this period.

Franz Gertsch: The famous “Attitude” exhibition by Harald Szeemann in the Kunsthalle set something in motion. For example, I was more motivated than disappointed. Harry Szeemann was surrounded by a group of Bernese artists, a kind of avant-garde at the time, who were always oriented towards the latest trends that Harry Szeemann exhibited in the Kunsthalle. And everyone had their style or their material and they stopped on this material and the “Attitude” exhibition was a shock for them. I think you can say that Markus Raetz, Jean-Frédéric Schnyder and I survived it well – were even inspired by it.

MS: Did the emergence of conceptual art at the time also make it possible to take very different, individual positions? You did something completely different than some of your artist friends.

FG: Yes, but you have to understand that in my case, in terms of conceptual art, the concept was simply to capture reality photographically and then make the selection and ultimately the execution, the interpretation – such a three-part process.

MS: In principle, the dominance of one style broke out at the end of the 1960s that no longer existed.

FG: Right. And then in 1965 or 1966 Jean-Christophe Ammann showed up with us. At that time we lived in Bern on Helvetiastrasse, across from the grammar school and one day he showed up. At that time I was doing this collage work and we had a very intensive discussion — I learned a lot there, I have to say. It was then that the forms that I had already taken from photo templates became more and more abstract and simplified.

MS: The pop influence is a bit in there.

FG: Exactly. And then I just felt that it couldn’t go any further and I couldn’t really live out my talent as a painter. I think this last work was done in the spring of 1969 and then I stopped working for six months and thought like this: “How should this go on?” And then I had a vision of how things should go on, that I now should use the camera. And at the beginning, even up until the Documenta, people thought I was doing this because that happened in America with photorealism. But that was not the case, I didn’t know anything about photorealism at the time, it was simply a development in my work.

MS: You were rather alone in your environment with what you did?

FG: Yeah. And then it just started with the one picture, the “Huaaa …!” picture. Jean-Christophe Ammann was then already in Lucerne and we hardly had any contact, but once he visited me in the studio on Junkerngasse and then he saw the “Huaaa …!” picture. And then he said: “That died,” and that encouraged me to keep going. Then these family pictures were made and then the artist-friends-portraits and one day he came and said he would like to do a big exhibition the reopening of the museum in Lucerne. And then I had a little over a year [laughs]. And I still remember, he said: “It must be a delirium.”

MS: Do you always have a camera with you to capture possible motifs or was it more of a coincidence? If we maybe look back a little longer: The first of your photo-realistic paintings were first created on the basis of existing templates, from pictures from newspapers or magazines … there is this “Huaaa …!” and then the Vietnam picture.

FG: Even before that, I was always looking for newspaper clippings, even when I was making these collage pictures. And when I started with this realistic work, there were already some motifs and that was the beginning. I know, for example, one was a tulip field in Holland, the other a group of horses on the Franches-Montagnes, horses on pastures in the Jura. That was basically the first picture, but I didn’t succeed. Back then I noticed how difficult it is to have a projection as a template and then paint on it. It’s not that easy at all. At the first exhibition with “Huaaa … !”, people were shocked. It’s hard to understand it now, but it just happened that way.

MS: What shocked people?

FG: They said: “What is this now? It’s easy, just follow a slide projection! And so on … “So what?!”

MG: Then the question was about the photographs and what role the motifs played?

FG: Exactly. And then I realized that I wanted to contribute a little more from myself and then I started taking photos myself. Quite wild at the beginning. I always had the Nikon with me and took a lot of pictures. There are really nice pictures – I could have made more pictures of them – of the family, the children and Hannelore as a naked girl and so on. But I was looking for new motifs and then came my artist friends, Markus Raetz and Jean-Frédéric Schnyder and Urs Lüthi.

MS: What was it that interested you in painting your artist friends? Was it more the interest in the motif for the painting or was it more the artistic environment that you knew, also from within?

FG: I think it was both. Obviously, I always did something that was obvious [laughs]. I think I wanted to represent life, freedom, sensuality and that was not possible by painting a bank employee. My artist friends were just suitable victims, yes.

 

___
Show


Franz und Luciano, 1973

 


Christina I, 1983

 


Barbara und Gaby, 1974

 


Huaa…!, 1969

 


Medici, 1972

 


Frühling, 2011

 


Maria mit Kindern, 1971

 


Patti Smith I, 1978

 


Patti Smith III, 1978

 


Patti Smith IV, 1978

 


Patti Smith II, 1978

 


Patti Smith V, 1979

 


Grosse Pestwurz, 2018

 


Irène, 1980

 


Irène VII, 1981

 


Jean Frederick Schnyder, 1972

 


Guadeloupe, 2011–2013

 


Sommer, 2009

 


Winter, 2009

 


Markus Raetz, 1970

 


Marina schminkt Luciano, 1975

 


Veilchenkörbchen, 1954

 


Gräser I, 1996

 


Hanne-Lore, 1970

 


Brecht, Hanne-Lore, Silvia, 1970

 


Herbst, 2008

 


Johanna II, 1985

 


Maria (Guadeloupe), 2012

 


Medici II, 1972

 


Meer, 2017

 


At Luciano’s House, 1973

 


Saintes Maries de la Mer III, 1972

 


Selbstbildnis, 1980

 


Saintes Maries de la Mer II, 1971

 


Maria und Benz, 1970

 


At Luciano’s House II, 1973

 


Silvia I, 1998

 


Dr. Harald Szeemann, 1970

 


Urs Lüthi, 1970

 


Luciano I, 1976

 


Aelggi Alp, 1971

 


Soufrière (Guadeloupe), 2013

 


Gaby und Luciano, 1973

 


Kranenburg, 1970

 


Sommer I, 2017

 


Nate, 1973

 


Luciano II, 1976

 

 

*

p.s. Hey. ** _Black_Acrylic, Hi, Ben. That would be ironic. I should at least watch the finals. People I know who are following the Euros closely seem to think Ukraine is going take the sucker home? ** tomk, Hi, Tom! Me either re: Sparklehorse. One of the reasons I re-upped it. I think the blog vacation will be for about three weeks. Awesome about the cover! So exciting! So excited! ** Jamie, Hi, Jamie. No, the mouth pain thing is lingering. It had just better peter out before my flight. We’ll see. Beatific … kind of. Met up with Zac and our friends Lucy and Chris. They’re both wonderful writers, and Lucy (K. Shaw) also edits the great projects/ online magazines ‘Profound Experience’ and, before it, ‘Shabby Doll House’. I haven’t seen them since the Covid descent, and we had Mexican food, lots of talk and ‘drinks’ at a cafe (L’Atmosphere) along the canal. Pretty nice. Otherwise just some work and emails and so on. Thank you, thank you for the ‘Pepsi’ links! I’ll get those materialised in a sec. Kind of you, man. Yeah, increasingly excited about the trip. I can’t believe I’m going to actually be out of France again, it’s been so incredibly long. Scotland sounds like a very nice destination, even if you know it so well. Thank you, a cloud interior-like day sounds primo, well, as long as it’s not a cloud hovering above the Bermuda Triangle. I hope everywhere you turn today, there’s a puffing fog machine (not the chemical fog kind). Love, me. ** Misanthrope, Over here, it seems/feels like the French are just sliding back into normally like the veritable ducks to water. A lot of bliss in the air. If someone other than you told me that story about a farting umpire, I’d believe it. ** Ian, Hi, Ian. All thanks to rewritedept wherever he is. That sounds like a pretty nice vacation right there. I don’t think I’ve ever been to Nova Scotia, but those words are equivalent to beauty in my head. Awesome if you can get some revising in, of course. Sounds really good. Do all three of those work possibilities sound equally good? Heavy variety there. Enjoy every millisecond of today. ** David Ehrenstein, Pearl Bailey! I haven’t heard her name in decades. ** Ferdinand, Hm, I would think they’d cut you some slack in the visa arena, the world being the topsy turvy turf it currently is. Hope so. Thanks a lot for the link. I’ll luxuriate there as soon as I dot the final ‘i’ here. ** Jeff J, Hi, J. Thanks. And, yeah, talk to you ever so soon! ** Dalton, Hi, Dalton. Too many dead among the best authors. I’m still sad about DWF. I knew him, and he was a really nice, great guy on top of everything else. That would be a magical time. Magically impossible, I guess. Cheers to you! How’s your weekend revving up? ** Right. Today I open my little galerie for a show of the Swiss super-realist painter Franz Gertsch. See what if anything it does for you, thanks. And see you, naturally, tomorrow.

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