DC's

The blog of author Dennis Cooper

Page 808 of 1086

Magic Shop Internationale *

* (restored)

 

I read an essay a few years ago by some guy who’d studied the childhoods of people who grew up to be what he called creative social misfits — ranging from artists both professional and private/ outsider to criminals who approach crime in an aesthetic or inventive way — the Zodiac killer, the Unabomber, Jeffrey Dahmer, Charles Manson were among his examples. He found that with rare exceptions they shared an unusually strong childhood fascination with magic tricks, novelty gifts, and the stores that featured them.

Certainly for the younger, peculiar me, being among a vast array of normal looking things that, provided some cash and a mastering of their instructions, could be transformed into sources of inexplicable wonder was the most electrifying sensation possible, and that feeling does correspond to the more pragmatic thrill of working on a novel. But the intensity of the magic shop rush was never quite equalled, although, having been a teenager in pre-internet days, trespassing in porn stores back when stores were all porn had could trigger a similar feeling of being surrounded by a dizzying number of doors into a new, secret, unimaginably exciting world could be opened with a crack of my wallet.

I got to wondering whether the kinds of magic shops I revered as a kid still exist in any number, and, with a lengthy internet search, I realized that they do albeit, in many cases, beefed up into magic-cum-Halloween costume stores, and with the addition of a lifesaving online ordering component via related websites. Then I wondered if some of you might share my wistful and lingering wide-eyed regard of those once transcendent seeming little places. If so, or even if not, here are a bunch of surviving magic shops and links for you to investigate today. — DC, 2003

 

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The oldest magic shop in the United States opened it’s doors in 1873. Located at 493 Sixth Avenue NYC, NY, it was started by two brothers, Francis and Antonio Martinka. Their original shop had 5000 square feet of room with a showroom in the front and a small theatre and workshop in the back. Martinka & Co. was different from many modern magic shops though. They not only sold magic, they built magic. Everything from small props of wood, glass and metal to large stage illusions were crafted in their shop. They possessed a skill that is rarely seen today. Today, Martinka’s Magic Shop is an online magic shop and auction house based out of the shop, which is currently located in Midland Park, New Jersey. They are most famous today for their online auctions of antique magic.

 

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Welcome to Australia’s most famous Magic and Joke Shop!. We sell a professional range of MAGIC TRICKS, JOKES, CLOWN SUPPLIES, NOVELTIES and FUN GIFTS! We specialise in magical fun for all ages! We are a family business with a love for magic and fun. We are currently the largest supplier of magic and fun novelties Australia wide, both retail and wholesale. We bring you a magical range of products that are hard to find but very affordable. If you are looking for something hard to find, then please call us. In Adelaide? Please give us a call and make an appointment to shop in our secret magic studio. Strictly by appointment only.

 

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The Hocus Pocus Magic Shop was opened by Paul Gross in 1976 in Fresno, CA. The real beginning of this story, though, is in October 1960 when a five-year-old Paul Gross watched the first episode of the Magic Land of Allakazam on television. The show, hosted by and featuring the magic of Nani and Mark Wilson, started Paul on his lifelong love affair with all things magic. As a child, Paul was obsessed with magic tricks; as a teenager he started performing magic professionally for schools, clubs, and every venue that existed. As a twenty-year-old, Paul was traveling the USA doing corporate shows for one of the world’s largest banks. He then opened the first Hocus Pocus Magic Shop in 1976; he needed to sell $100 a day to make it work, and make it work he did.

 

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Upon entering the Timid Rabbit Magic Shop in Kalamazoo, one instantly becomes intrigued. The musky smell of history hits the nose and slightly fades as the eyes travel around the store, flickering between magic tricks, masks and props with childlike enthusiasm as they attempt to see every item crammed inside like a jack-in-the-box, ready to explode. The store has over 1,100 magic tricks and is crowded with cinema relics like a spear used in Ben Hur and hiding somewhere in the back is the original shark fin strapped to the boy’s back used in Jaws. They also own a 18,000 square foot warehouse in which they store a labyrinth of items that includes everything from a giant pair of scissors for cutting ribbons at openings to a rocket launcher.

 

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Opened nearly 40 years ago, Ao Rei das Mágicas was the first magic store of its kind in São Paulo. The store is also touted as the largest magic shop in Brazil. Even in Brazil’s most populated city, the store is an oddity. Still, the store has spent decades supplying locally produced tricks and items that have the distinction of having a clear regional flair to them. Upon entering, visitors are immediately confronted with mannequins wearing old terror movie costumes, shelves filled with cheesy latex halloween masks, and a bunch of toys used in pranks and practical jokes. Beyond that, the store offers all kinds of magical tools geared toward beginners and more experienced magicians alike.

 

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Store: Hello? Friend: Is this the B Magic Shop in Arlington, Texas? Store: Who is calling? Friend: (I repeat) Is this the B Magic Shop? Store: (He repeats) Who is calling? Friend: A potential customer…did I reach the B Magic Shop? Store: (awkward pause) Yes Friend: What time do you close today? Store: When you want to come? Friend: I don’t know…what are your hours? Store: When you want to come? Friend: I don’t know…maybe today…when do you close? Store: I’m probably leaving at 4pm today (10 minutes from then). Friend: Oh, ok, thank you. Store: WAIT! When you wanna come? Friend: No idea, I’ll swing out there sometime soon. Store: WHEN? Friend: I don’t know? Maybe next week sometime. Store: (CLICK) Hangs up.

 

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Below the Pike Place level in Seattle’s historic Pike Place Market, three more floors under the Main Arcade spill down the back of the hill. The farther you follow the stairs and ramps below, the more offbeat the shops become. You’ll find rare books, comics, vintage clothing, and Market Magic. It is the longest running magic shop in the Pacific Northwest. As you peek inside the shop you will see pictures of famous magicians that have visited the shop, turn of the century magic posters and a fun, jammed pack place of enthusiasm and wonder. Ah yes, look, there is a throng of quiet kids with big eyes, lined up at the counter watching the famous cups and balls, where balls jump around, vanish and reappear.

 

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Davenports Magic Shop are a real magic shop, based in central London close to Trafalgar Square, Charing Cross station and the Strand. We supply magic dvds, magic tricks, magic books, magic courses and much more. We were established in 1898 by Lewis Davenport, and are the oldest family run magic business in the world!!!! If you are outside the mainline station, cross the Strand (main road in front of the station). You will see a Starbucks and a Paperchase shop – between them there are some stairs going into the underground arcade. Go down these stairs, keep right, Davenports are on the left hand side.

 

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Daytona Magic has been in business since 1966. We started in the Philadelphia area where we were a magic shop carrying both Magic Tricks, Clown supplies, Halloween Costumes Make-up and accessories, novelties and jokes. In 1976 we moved to beautiful Daytona Beach, Florida where the winters are warm and the summers are not too hot, because of the ocean breezes. Most real brick and mortar magic shops no longer exist. Many so called “magic shops” depend on Halloween sales and won’t pay attention to a magician the month of October. Others sell collectables, gifts and novelties. WE SELL MAGIC! We also sell Clown Supplies and Jokes. I’m a prankster at heart and can’t give up the jokes.

 

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Mike Danata’s Magic Studio opened in June 2001, at 121(a) Palmerston Road, in the Boscombe area of Bournemouth, on the south coast of the UK. A small studio with a lot of stock!! Slightly off the beaten track, but actually only a few minutes walk from McDonalds in the main high street, with on street parking outside. The studio is also only a few minutes away from Bournemouth Central Railway/Coach Station. When Mike was a young kid, he dreamed of a “MAGICAL SUPERSTORE”…. that upon entering would fill him with excitement and wonderment. A store so full of all things magical from around the world. A finer place he would never find, a place that existed in his dreams, ……… in his mind. Until now!

 

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Marty’s Magic Shop “where Miracles happen every day” offers all the magician’s staples including: Slush Powder, Slush Wand, Fanning Powder, Quality Silks, Flash Powder, Flash Paper, Wands and a huge variety of Card and Coin Tricks. Marty’s Magic Shop is located in the Big Top Flea Market in Tampa, Florida. You will also find quite a variety of Magic Videos, Illusion Guides and Magic Books. Do you like Coin Magic? We carry the best specialty Coins, Coin gaffs, Coin tricks, and Coin Magic DVD’s.

 

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Welcome to the Illusion Warehouse magic shop in Fort Worth, Texas. Our goal is to supply the best magic tricks, illusions, and theatrical special effects to amateur and professional magicians. In addition to carrying the majority of the classic effects in magic, we are also responsible for bringing-back many items that have been long forgotten. Our facility is dedicated to the preservation of the art of magic and serves as the production offices for Adam & Selina, Masters of Illusion. We seek to advance the art of magic, so don’t hesitate to contact us.

 

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New York City’s Fun Street Magic Shop started with a discussion of this phenomenon which turned to a discussion of what’s missing from the Internet magic scene. There are lots of great magic retailers out there, from the magic shops with national reputations to the great smaller shops that sometimes are run out of someone’s home! Some of these shops have moved their great support and great reputations to the web, allowing the rest of us to have a better selection of illusions, supplies, and information. It would be presumptious to say that there is a huge gap (at least that we noticed), but perhaps what Fun Street Magic offers that is a bit unique is more of a philosophy than a concrete product or service. Magic is fun. It really is!

 

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If you are visiting Wildwood, Florida you can visit Berardi’s Magic Shop. Our store hours are by appointment only. Please call for an appointment. Owner David Berardi can also arrive at your child’s party dressed as Harry Potter! He combines magic tricks with referances to the Harry Potter Movie and the Harry Potter books! David as Harry Potter involves his audience ,with audience participation, from the very beginning , up until the finale’ of his magic show! His Harry Potter Show is geared for kids ages 6 & Up. David ,(as Harry), uses live birds ,(doves) ,& a rabbit in his show. If your kids love Harry Potter, they will love this show!

 

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Discover one of the most amazing and magical places you’ll ever encounter, where you will learn to master incredible illusions like cutting someone in half or making them completely disappear! At Wunderground Magic Shop in Clawson, Michigan you’ll see floating cards, solid spikes passing through your unharmed money, and sponges multiplying right in your hands. As you traverse the maze of secret passages through to the hidden entrance behind the bookshelf, you’ll understand why the Wunderground Magic Shop is an experience unlike any other place you’ve ever visited.

 

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Magic Tricks, Inc. in Charlottesville, Virginia is one of the premier sources of magic for magicians- and everybody who wants to be a magician! We have thousands of satisfied customers worldwide. It’s our attention to detail and our emphasis on customer service that makes us the choice of professional magicians. We feature low prices and a great selection of quality magical effects and supplies. Magicians worldwide have been buying their magic supplies from us since 1971. His magic shop was designed to look like the shop once owned by Houdini himself. Houdini’s desk, Houdini’s pens and a number of personal Houdini items have actually been in the Monticup magic collection, and occasionally on display in the shop.

 

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Because The Great Scot Bardic Magicians Shop does a lot of Renaissance Faires, re-enactments, and historical sites, I am concerned about authenticity, so I choose magic and illusions that will fit into those venues or have them made. Even if the actual trick might have been invented later, I make sure that their construction and look are historical and that what they represent would have been there at the time. I provide historical background on how the item would have been used or viewed in period. We are located at 36 Front Street, Bellows Falls, Vermont.

 

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The Browsers Den has been selling magic in Toronto Canada since 1975, serving amateurs, professionals, semi-pros, and hobbyists both young and old. If you are in Toronto be sure to drop by the shop for an experience you won’t forget. We’ve also been on the Internet for over 10 years, so either way we’re here to serve you. At Browser’s Den, regulars form a core part of the business, allowing the shop to function as a hub for the local magicians’ community. They have customers who have been coming there for 35 years. There’s an inner group of customers who know each other very well, a magic community. At the shop, they have a table and there’s times when guys will sit down and show each other magic—they’ll ‘session,’ as they call it.

 

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Magies est la plus grande boutique de magie au monde comprenant 22 653 articles chez 27 marchands de trucs. Le magasin avait été lancé il y a plus de 10 ans et aucun changement graphique et fonctionnel n’était intervenu depuis. La société nous a interrogé pour refondre totalement leur logo, la charte graphique du site ainsi que toute son organisation fonctionnelle. Attention tout de même, Magie n’est qu’un intermédiaire entre ses fournisseurs et ses clients. On ne sait donc pas à qui on achète réellement. Mais l’assise de Arteco Production doit représenter une garantie suffisante en cas de pépin.

 

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Kurts Magic World in Lansdale, Pennsylvania offers magic tricks designed for the amature magician as well as the seasoned professional magician. Magic tricks and magic illusions are conveniently available through our on-line magic store, as well as through our retail magic store. Kurts Magic World offers magic shows given by Kurt Brasch, Magician, who has over 20 years of experience performing magic.

 

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Stevens Magic Emporium (SME) in Wichita, Kansas has enjoyed over 40 successful years working in the magic business catering to the working professional magician and hobbyist. SME was started by Joe and Martha Stevens. Initially, Joe started selling collectable magic in the 60’s; which turned out to be the springboard that started the larger and full-time operation. Over the years trading magic and information with the likes of Buma Sr., Harold Martin, Les Smith and others, the transformation was made to full time magic in 1973.

 

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New York City’s Fantasma Magic Shop is tucked on the second floor of a deli in a low traffic area of Herald Square. I’d say less than one percent of the people walking by would notice it, though, when I walked into the second floor shop, it was full of teenagers, parents, and geeky adults. The main attraction of Fantasma seemed to be an older gentleman standing behind a glass counter. “Hello, little lady. What brings you to Fantasma today?”, he gave me his best Cheshire cat grin. “I write a blog where I do new things, so today, I’m visiting my first magic shop. Do you mind if I take a short video of your performance?” His grin dropped like the anvil on Road Runner’s head. “No. You can’t. I’m SAG.” Then he remembered his audience, “I was on Letterman, did you know that?”.

 

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Williams Magic & Novelties is an Arizona company dedicated to serving the magic profession. Our family has over 100 years of combined magic background and has been in the retail magic business over 45 years. We’ve been in our current Tucson location for over 22 years. Emory C. Williams, Sr. and his wife Nathailia enjoyed magic as a hobby while they owned and operated a wholesale and retail pet business in their hometown of Caruthersville, MO. They eventually added a magic shop to all the “critters”. In 1989 they sold the pet business and moved to Tucson, AZ, bringing the magic business with them. In 1998 Emory C. Williams, Jr. and his wife Claudia moved from California to Tucson to add even more magic to the family business. We even have a nice restroom for all our nice customers.

 

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Eye of Newt is York’s Infamous Emporium of Magical Supplies. Adjoined to the well known, “Haunted” house on the historic street of stonegate, in the middle of the magical city of York. Open every day from 10.30 -5.30, and 7.30 on holidays and weekends. Magical supplies, extensive range of tarot cards, diverse range of magical and pagan books as well as homemade incense. Cauldrons, broomsticks, wands and athames. Range of flowers, resins oils and herbs,divinatory aids and semi precious stones. Beautiful handmade magical objects. Carefully selected jewellery brazen idols and deity figures as well as altar decorations.

 

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There are so few real magic shops left. The magic shop used to be the place everyone went to hang out, talk magic, and show others what they are working on. It was where you met more experienced performers and learned just by listening. Today it is difficult to get anyone away from their computer screen so they never leave their house. Even lecture attendance has fallen off drastically. It is an interent world and although the internet is full of information, it is not full of knowledge. They are two different things. Knowledge comes from personal interaction and experience. It really is a “social” thing. Let’s get out and socialize a bit more. Please stop by Denny & Lee Magic Studio in Las Vegas, Nevada for a day of fun and interaction. Just some thoughts. Just a way of saying thank you.

 

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‘Familiarity is a magician that is cruel to beauty but kind to ugliness.’ — Ouida

‘Disbelief in magic can force a poor soul into believing in government and business.’ — Tom Robbins

‘Here you leave today and enter the world of yesterday, tomorrow, and fantasy.’ — Walt Disney

‘On these magic shores children at play are for ever beaching their coracles. We too have been there; we can still hear the sound of the surf, though we shall land no more.’ — J.M. Barrie

‘Science is always discovering odd scraps of magical wisdom and making a tremendous fuss about its cleverness.’ — Alistair Crowley

‘Magicians guard an empty safe.’ — Jim Steinmeyer

‘Those who spell Magic with a K aren’t.’ — Anton LaVey

‘Nobody gets in to see the wizard. Not nobody.’ — L. Frank Baum

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p.s. Hey. If all goes as planned, I’ll be taking a much needed break from reality tomorrow via a day at Disneyland Paris, and, if that’s the case, there’ll be no p.s. in the morning, but it/I will return on Friday, you bet. **MyNeighbour JohnTurtorro, Hey, hey, hey! Really good to see you! Things are a bit weird with me at the moment, but generally good. And you? Happy you’re a fellow Maclean fan. You were at the PGL Glasgow screening! It totally get shyness, being a fellow sufferer, but it would have been cool to meet. Another time, okay? Thank you so much for the great words about the film. That’s fantastic to hear. Yeah, the Destroyer part still kind of mists me up even after watching the film a thousand times. Catch me up on you and yours if you don’t mind. Oh, and both of your comments registered. This blog has some strange, thus-far-inexplicable glitch whereby commenters sometimes can’t see their comments. Strange. Such a pleasure to see you, man, and thank you again. ** David Ehrenstein, Hi. Understood about it itself, sure. It’s the media’s reductive clickbait overlay — ‘will they snare Trump?, will they snare Clinton?’, blah blah — that tries to turn it into a mere narrative twist in the general Trump addiction and obsession with triggering/feeling outrage that blights much of the US right now, in my opinion, and that bores and sickens me. ** Steve Erickson, I intended to see the Billingham film when when it was theaters here, but I missed it. Everyone, Steve E. weighs in on ‘Ray & Liz’, the newly released film by the noted photographer Richard Billingham here. I hope your stress deflates ASAP somehow. Agree with your thoughts on sexual abuse. ** _Black_Acrylic, I will be forever grateful to you for alerting me to her wondrousness. Issue #2 looks so fucking good, man. Excited, and you must be (should be) very proud. ** Misanthrope, Glad you like(d) it. I still need to search out Blelvis, but today’s the day. Enjoy Wednesday like it’s never been enjoyed. ** Bill, Well, then, you just have an innately magical touch then, sir. Mm, I would say that I’m on ‘Wild Boys’ side, but I didn’t much like it. I was fairly enchanted for the first 15 or 20 minutes, but when they went on the ship and stayed mostly on that ship milking the film’s tricks beyond dry for what felt like hours, the charm totally wore off. By the time they got on the island for the ‘surprise’ gender switch, etc., its visual conceit had turned into a tiresome ‘Guy Maddin in drag’ schtick for me. So, yeah. More power to that film, but, at the same time, I think it could have easily half or a third as long and a 100 times better for it. That’s my take. ** Okay. Today’s post is by far the oldest dead post I’ve ever restored for the new blog. 16 years ago! It’s so old that I even wrote the introductory text, which I’ve only done maybe two or three times in the whole history of the blog. Anyway, a blog time machine-type experience today. The blog will see you tomorrow, and, more than likely, I myself will see you again on Friday.

Galerie Dennis Cooper presents … Rachel Maclean

 

‘My work slips inside and outside of history and into imagined futures, creating hyper-glowing, artificially saturated visions that are both nauseatingly positive and cheerfully grotesque’. — Rachel Maclean

‘Glasgow-based artist and filmmaker Rachel Maclean works largely in green screen composite video and digital print, often exhibiting this alongside props, costumes and related sculpture and painting. She is often the only actor or model in her work, playing a variety of characters that mime to appropriated audio and toy with age and gender. These clones embody unstable identities: conversing, interacting and shifting between cartoonish archetypes, ghostly apparitions and hollow inhuman playthings.

‘Her current work is about contemporary British culture and she recreates work in broadcast media, entertainment, and advertising genres such as talent competitions, science fiction animation, children’s shows, royal messages and fireside chats, and product marketing. Her work tends to comment and parody culture through the vehicle of these genres. Fantasy, role playing and humour feature heavily in her work. She works with green screen technique and digital animation. She creates sounds tracks with music and dialogue to accompany her films. Additionally, she makes digital prints of images related to her projects that resemble either out-takes/stills or advertisements and marketing posters. Text is often included.

‘In her videos such as Over The Rainbow, Rachel create synthetic spaces in which Katy Perry discuses teeth whitening with an aristocratic cat, a decapitated diva dances to hip pop and a pastel blue dog sings for The Queen. Stylistically her work explores the aesthetic of Poundland, Youtube, Manga and Hieronymus Bosch, spliced together with MTV-style green screen and channel-changing cuts. Maclean is fascinated by representations of other worlds and unearthly embodiments, and explores the ways in which they project contemporary anxieties and ideals into a mysterious and seductive beyond.

‘”My work is inspired by a number of things at once,” Maclean explains, “and often hinges on a bizarre combination of two apparently conflicting influences, for example Susan Boyle and Heavy Metal in my video I Dreamed A Dream. Where I live at the time I make work is also very influential, as I believe different cultures have different fantasies related to place. For example, I stayed in America for 6 months and became much more concerned by an idealised notion of Scotland, as a land of castles, lochs, monsters and kilts. Whereas I found growing up in Scotland, you are very divorced from this fantasy, and instead the imagination is much more directed to the US, and the glamour and intrigue it conveys to the outsider.”‘ — collaged

 

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Pix & Stills





































 

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Further

Rachel Maclean Website
Rachel Maclean’s tumblr
‘RACHEL MACLEAN AND MULTI-COLOURED EXCRETIONS OF HYPER-KITSCH’
Ben Robinson interviews RM @ Yuck ‘n Yum
‘Rachel Maclean: GIRLS JUST WANNA HAVE FUN!
‘Where I Make: Rachel Maclean’
‘Rachel Maclean wins Margaret Tait Award’
‘Rachel Maclean Interview: Going Bananas’
‘5 Questions for: Rachel Maclean’
‘Artist Review ONE: Rachel Maclean’

 

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Extras


5 questions with Rachel Maclean


The Skinny Shop: Rachel MacLean video interview


Rachel Maclean interviewed by Summerhall


Rachel Maclean directed music video for Errors’ ‘Pleasure Palaces’

 

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Interview
from Daily Metal

 

Can you tell us how would you describe your work?
Rachel Maclean: My work slips inside and outside of history and into imagined futures, creating hyper-glowing, artificially saturated visions that are both nauseatingly positive and cheerfully grotesque. I am a Glasgow based artist working largely in green screen composite video and digital print, often exhibiting this alongside props, costumes and related sculpture and painting. I am the only actor or model in my work and invent a variety of characters that mime to appropriated audio and toy with age and gender. These clones embody unstable identities: conversing, interacting and shifting between cartoonish archetypes, ghostly apparitions and hollow inhuman playthings. My videos attempt to stylistically unify the aesthetic of The Dollar Store, Youtube, Manga, Hieronymus Bosch and High Renaissance painting with MTV style green screen and channel changing cuts.

What has prompted you to create your beautifully grotesque beings?
RM: I’ve always been fascinated by images which are at once compelling and repulsive. I like to toe a fine line between an aesthetic of benign, saccharine cuteness and a distastefully baroque form of grotesquely. I take inspiration from a whole range of sources, everything from Disney Princess to William Hogarth. I think the expression or experience of disgust, whether at a work of art or a bodily function, is very interesting and is indicative of our complex social relationship with others. It is also often reflective of the desire to recoil and distance ourselves from the experience of a particular class, race, gender or sexual orientation. I think someone like Katie Price is a good example of this relationship and in many ways performs the function of the Victorian Freak Show for the 21st Century. She’s reflective upon a certain kind of social class that are regarded as wealthy but tastelessly brash by the conservative middle classes. Everything about her image and actions entertains us through it’s grotesquely exaggerated performance of this stereotype and confirms for many the sense of their own relative superiority.

Do you consider your work political?
RM: Yes, in some ways. Although there is some work that is more directly political than others. For example, the recent video I made called The Lion and The Unicorn explores the interrelationship between Scottish and British national identity. This is obviously a very contentious issue given the upcoming Referendum on Scottish Independence in 2014 and I was keen to couch the work very clearly within this debate. However, in this case I intended that my opinion on the issue was left ambiguous, as I was more interested in provoking discussion and at some level unveiling the absurdity of the signifier and semi-historical fictions that play into contemporary political decision making and help form an abstracted sense of national pride.

Would you consider your work is related to the feminist cause? A clear example would be Skin & Bones? Can you explain what is this about?
RM: Yes, I intend for my work to be feminist. Again, this is made explicit in some works and maybe less so in others. In the example you mentioned from the series ‘Girls Just Wanna Have Fun’, I intended to create images of woman who appear sexually available and with all the basic masquerade of sexiness, but nonetheless fail in their achievement of this ideal, rendering them tragic, ugly and grotesque. Here I was keen to look at the representation of what I would regard as the Spice Girls, ‘Girl Power’ brand of feminism or to update things a bit, what Beyonce would refer to as a powerful ‘independent woman’. I’m pretty cynical about this kind of pop feminism and believe the it is in many ways it is just a rebranded sexism, which drives an ideal of liberation through financial success, but still expects women to fulfill their role as sexual objects.

In your work you’re the only model and the only actor. Why is it that?
RM: At some level it’s playful and childish, I like dressing up, there is something liberating and interesting about pretending to be someone else. It helps you reflect in a more open way on your own sense of self and question fixed ideas of the person you think you are or want to be. I like to play out and explore the idea that identity and gender are at some level a performance or masquerade and try to create narratives in which very fixed notions of self are exaggerated to the point they become absurd, or alternatively begin to fall apart and are gradually revealed to be unstable and fraudulent.

How do you prepare all your characters?
RM: I design all the costumes, props and face-paint for my work and the characters are usually tied into the larger aesthetic idea for the video. All my characters are an amalgam of reference points and never just a simple imitation of a specific person or typical costume. For example, in my recent video The Lion and The Unicorn, the character of ‘The Queen’ at once references Mary Queen of Scots and Queen Elisabeth, wearing a costume recombined from an array of Union Jack merchandise available to celebrate the 2012 Diamond Jubilee.

Most of your work is via digital print and video. How important for an artist is the digital era?
RM: I think the digital era is as important as you want it to be as an artist. I love the possibilities that are opened up by programs like Photoshop and After Effects, but I also think that what interests me about this kind of software is the sense in which it is only ever an adaptation or simulation of methods and techniques available in non-digital media. Almost every tool in Photoshop exists in a physical form, take for example the paintbrush, the pen, the paint-bucket and the hand tool. They don’t necessarily perform exactly the same function, but they use material tools and processes as a starting point. When working I’m often keen to bring styles and processes from older media, particularly painting, into a digital space. Additionally, I think with any celebration of an advance in technology there is always a concurrent denial and nostalgia for the past. For many artists, computer generated images only highlight the nuances of older technologies, for example a lot of people are going back to work in analogue video and film as they recognize it has a quality that can’t be achieved through digital video.

 

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Show

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The Lion and The Unicorn (2012)
‘A central strand of Maclean’s work addresses the ideals of Scotland and Scottishness and their reality as portrayed by contemporary mass media. “The Lion and the Unicorn” is a short film in which three archetypal characters debate points of view on nationalism, trade and finance, natural resources and politics. They each use Scotland’s history to expound their arguments, yet their views cannot be reconciled. Maclean uses costumes, makeup and digital retouching to embody each of these Scottish national stereotypes. The video uses audio from television broadcasts, dubbed over Maclean’s performances: the Lion is given Jeremy Paxman’s voice and the Unicorn Alex Salmond’s, as they squabble over the future of Scottish governance.’ — Open Source


Trailer

 

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Over The Rainbow (short edit, 2013)
‘Inspired by the Technicolor utopias of children’s television, Over The Rainbow (2013) invites the viewer into a shape-shifting world inhabited by cuddly monsters, faceless clones and gruesome pop divas. Shot entirely using green-screen the film presents a computer generated environment, which explores a dark, comedic parody of the fairytale, video game and horror movie genres.’ — RM


Excerpt

 

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Germs (2013)
Germs (2013) is a 3-minute green-screen video, which follows a glamorous female protagonist through a series of advertising tropes. Moving from a perfume to a bathroom cleaner commercial, she converses with a persuasive masked woman and becomes increasingly paranoid about the omnipresence of microscopic germs. Rachel plays every character in the piece.’ — RM


the entire work

 

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The Phantom Band Everybody Knows It’s True (2013)
‘Psychedelic shenanigans ensue when The Phantom Band – who let’s face it, are not known for their retiring attitude to performance – don the face paint, tights and some fairly outlandish costumes in a visual accompaniment for their latest single ‘Everybody Knows It’s True’ directed by artist Rachel Maclean.’ — chemikal


the entire thing

 

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Please, Sir… (2014)
‘There are dozens of ‘Lady Janes’ in the young Scottish artist Rachel Maclean’s Please, Sir …, a two-screen film dialogue recently exhibited at Rowing, London, and previously shown at Glasgow’s Centre for Contemporary Arts. Maclean plays each of the ten or so characters in the film, which are then copied in as extras, involving a meticulous process of disguise and a camp restaging of self. She is multiplied in mega-pixels but overburdened by objects: flowing peroxide wig, rotting teeth with gold filament, fake tits framed by a nylon ruffle, a market stall necklace that spells the word RICH. Maclean’s Lady Jane – more pub landlady than failed scholar or real life sovereign – also wears a sleazy white gown, complete with all the necessary leopard print: the anti-matter of virginal embodied.’ — Frieze


Excerpt

 

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A Whole New World (2014)
‘“A Whole New World” visualises the fantastical ruins of a fallen empire. Combining grand narratives with cheap product placement, the work explores themes related to British imperial history and national identity. Shot entirely using green-screen, the film presents a computer-generated landscape littered with fallen statues and the distressed paraphernalia of a bygone age. Narrated by a statuesque Britannia Goddess, the narrative adapts a variety of existing tales, including St George and The Dragon and Tarzan. The action frequently shifts genre, moving from all singing, all dancing musical score to dry political debate, sedate period drama to battlefield conflict. Maclean plays all the characters in the work, miming to audio in variety of languages and bedecked in an elaborate combination of prosthetic make-up, historical costume and Union Jack encrusted tourist tat.’ — D&C


Excerpt/short edit

 

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Eyes to Me (2015)
‘I recently did a film called Eyes to Me for Channel 4’s Random Acts (commissioned by Film London) where artists are invited to make a three-minute video to be shown between ad breaks on a popular British TV station. With this in mind, I was keen to create something that referenced the pace and spectacle of television, specifically kids’ TV, but gradually shifted tone, becoming darker, weirder and more disturbing as the film progressed, seeming to slowly undermine its formal appearance.’ — RM


the entire work

 

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Feed Me (2015)
‘Rachel Maclean’s dystopian fairytale Feed Me is a sixty-minute film set in a world run by a malicious toy corporation called Smile Inc. Maclean plays all the characters herself, from a Scottish granny to a blue-skinned business executive and a hoard of little girls. She dons rubber gloves, face paint and the occasional prosthetic nose, filming against a green screen before adding backdrops and special effects in postproduction. The smiley appears everywhere, a mutating, feel-good emblem stitched into clothes, transferred onto foreheads, flashing on phone screens and rotating in the sky like a great emoji god.’ — Elephant


Excerpt

 

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Again and Again and Again (2016)
‘A supersaturated satire with a look into the land of data-addicted monk-like figures and dance-crazed rabbits.’ — letterboxd


the entire work

 

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Spite Your Face (2017)
‘Referencing the Italian folk-tale The Adventures of Pinocchio, ‘Spite Your Face’ (2017) advances a powerful social critique, exploring underlying fears and desires that characterise the contemporary zeitgeist. Set across two worlds – with a glittering, materialistic and celebrity-obsessed upper world, and a dark, dank and impoverished lower world – the lure of wealth and adoration entices a destitute young boy into the shimmering riches of the kingdom above. Written in the wake of the UK’s decision to leave the European Union, and during Donald Trump’s presidential campaign, the story is steeped in the political flux and uncertainty of our time. Shown as a perpetual 37-minute loop with no definitive beginning or end, ‘Spite Your Face’ raises issues including the abuse of patriarchal power, capitalist deception, exploitation and the destructive trappings of wealth and fame, all in Maclean’s typically direct and acerbic style.’ — arts-news


Excerpt & interview

 

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Make Me Up (2018)
‘Multimedia artist Rachel Maclean ambitious film unfurls in a seductive and dangerous world where surveillance, violence and submission are a normalised part of daily life. In saccharine pastels, this darkly comic film exposes the heteropatriarchal ideologies embedded in prevailing narratives of gender and beauty. Siri and Alexa have been made over at a hyperreal beauty clinic where the candyfloss décor cannot mask the more sinister happenings. Maclean delivers a searing performance as Figurehead, the splendidly attired pedagogue who presides over the clinic and speaks with the voice of Kenneth Clark, from the high-minded 1960s BBC series Civilisation. Intent on educating her girls on art’s construction of female beauty, Figurehead also remodels them in its image. Cleverly referencing the suffragette Mary Richardson’s 1914 attack on the Rokeby Venus, Make Me Up is on a mission to deconstruct the tradition of patriarchal art criticism.’ — ica


Trailer


Audience reactions

 

 

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p.s. Hey. ** David Ehrenstein, Hi. The Epstein thing is completely accessible here. It’s not remotely a media obsession here as it is in the States, but it’s getting mentions. ** Steve Erickson, Thank you, Steve. Yes, it’s intense, and, coming on the heels of Kevin Killian’s not at all dissimilar passing, it’s just very strange among many other things. My opinion is that we must recast the role, as difficult as that will be, and continue. We’ll need to have a big meeting about what to do, but I feel very strongly about that. ** Tosh Berman, Thanks, Tosh. Yeah, it’s been a very disorienting, difficult time lately. ** Dominik, Hi, D! Thanks, pal. Yeah, I’m in a bit of a confused daze about it all. Oh, I see, about their expertise and that they’re away. Well, theoretically it seems like you guys could get a lot figured out and done in two weeks if you’ll have a fair amount time to work during those weeks? In any case, it’s so exciting! It’s going to be so fun for you, and so great! Ooh, that’s a really good gif! Thank you. Hm, a fuck you/off themed gif stack sounds mightily appealing to my imagination. I might just look into that and hit you up. Thanks for the great words, my friend. Have a lovely day! ** _Black_Acrylic, Thank you, Ben. Oh, so, as you see, I made a new Rachel Maclean post. She whose work you introduced me to. The old one was too out of date and full of dead videos to restore. Good, I’m glad there are new possible options on the treatment front. Right, I do know that very cool track you linked to, and I can only think that’s thanks to you. ** Bill, Thank you, Bill. Oh, so you were the artist of that art-like looking installation. Nice work! Yes, we’re enjoying tolerable skies at the moment, but, you know, you can’t get complacent about the sky anymore, so … Yes, right? About the gifs and the title’s corralling? That’s what I was thinking too. High five. ** Misanthrope, Hamster. Interesting that hamster owning is still a rite of passage for young’uns. I think even I have heard of Belvis, but I don’t know how. Sounds cool. I’ll go hunt down what surely must be many videos of him singing the ‘King’s’ hits and obscurities. ** Okay. If you don’t know the work of the extravagant Scottish artist Rachel Maclean then today’s your lucky day. See you tomorrow.

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