Showing posts with label Hans Bellmer. Show all posts
Showing posts with label Hans Bellmer. Show all posts

Saturday, August 24, 2013

Cécile Reims ... burin and dry-point prints




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Cécile Reims ~ Metamorphoses ~ 1957-1958 



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Cécile Reims ~ Metamorphoses ~ 1957-1958 



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Ephemeral being ~ 2003


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Sacred liquor - 2003-2004 




Thursday, April 4, 2013

Comte de Lautréamont (4 April 1846 – 24 November 1870)...Happy Birthday...




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Maldoror songs illustration  Hans Bellmer 1971


Pale hair in thick windings
Crackled in shadows horribly;
And behind, in rough, long hummings
There unreeled, according to species and size,
The animals of the earth and of the heavenly circlings.





Friday, July 6, 2012

Unica Zürn ... Happy Birthday...6 July 1916 Berlin - 19 October 1970 Paris...anagrams




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Unica Zürn 1919


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from an old copy of Sulfur Magazine no 29 1991 featuring a few Unica Zurn anagrams


AND IF THEY HAVE NOT DIED

I am yours, otherwise it escapes and
wipes us into death. Sing, burn
Sun, don’t die, sing, turn and
born, to turn and into Nothing is
never. The gone creates sense - or
not died have they and when
and when dead - they are not.

for Hans Bellmer.Berlin 1956





DANS L’ATTELAGE D’UN AUTRE AGE
(Line from a poem by Henri Michaux)

Eyes, days, door, the old country.
Eagle eyes, a thousand days old.

Ermenonville 1957




WILL I MEET YOU SOMETIME?

After three ways in the rain image
when waking your counterimage: he,
the magician. Angels weave you in
the dragonbody. Rings in the way,
long in the rain I become yours.

Ermenonville 1959





Unica-Zurn--1954-2-Hexen-Texte






HANS BELLMER: POSTFACE TO HEXENTEXTE (UNICA ZÜRN)

ANAGRAMS are words and sentences resulting from the rearrangement of the letters in a given word or sentence. It is surprising that despite the re-awakened interest in the development of language in psychotics, psychics and children, little thought has been given to the anagrammatic interpretation of the coffee grounds of letters. - It is clear that we know very little of the birth and anatomy of the “image.” Man seems to know his language even less well than he knows his own body: the sentence too resembles a body which seems to invite us to decompose it, so that an infinite chain of anagrams may re-compose the truth it contains.

At close inspection the anagram is seen to arise from a violent and paradoxical dilemma. It demands the highest possible tension of the form-giving will and, simultaneously, the exclusion of premeditated purposeful shaping, because of the latter’s sterility. The result acknowledges - in a slightly uncanny manner - that it owes more to the help of some “other” than to one’s own consciousness. This sense of an alien responsibility and of one’s own technical limitations - only the given letters may be used and no others can be called upon for help - leads toward a hightened flair, an unrestrained and feverish readiness for discoveries, resulting in a kind of automatism. Chance seems to play a major role in the result, as if without it no language reality were true, for only at the end, after the fact, does it - surprisingly - become clear that this result was necessary, that no other was possible. Writing one anagram each day of the year would leave one with an accurate poetic weather report concerning one’s self at the end of that year.

What is at stake here is a totally new unity of form, meaning and feeling: language-images that cannot simply be thought up or written up. They enter suddenly and for real into their interconnections, radiating multiple meanings, meandering loops lassoing neighboring sense and sound. They constitute new, multifacetted objects, resembling polyplanes made of mirrors. “Beil” (hatchet) becomes “Lieb’” (Love) and “Leib” (body), when the hurried stonehand glides over it; the wonder of it lifts us up and rides away with us on its broomstick. The process remains enigmatic. For this kind of imaging and composing to happen, no doubt an eager hobgoblin - oracularly, sometimes spectacularly - adds much of its own behind the back of the I. A pleasantly disrespectful spririt, in all probability, who is serious only about singing the praises of the improbable, of error and of chance. As if the illogical was relaxation, as if laughter was permitted while thinking, as if error was a way and chance a proof of eternity.

Translated by Pierre Joris




 
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from my visit to Unica's Grave Paris, Pere Lachaise Cemetery, February 16th 2008.



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Publications by Verlag Brinkman & Bose 1998 and 2009



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Wednesday, July 6, 2011

Unica Zürn... Happy Birthday! ...painting...



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click on image to enlarge

Tempera on board 1957



"If only nobody would block my view. This was what bothered me the most.
My new viewpoint was of great importance to me. I would defend it
against all comers, however weary I might be" UZ





Tuesday, May 10, 2011

Hans Bellmer...print.... undated





“The body resembles a sentence that seems to invite us to dismantle it into its component letters, so that its true meanings may be revealed anew through an endless stream of anagrams.”  
Hans Bellmer

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André Pieyre de Mandiargues on Bellmer...

“He was highly intelligent and seemed to have no sense of culpability or sin—there was innocence in his perversity. His eroticism was intellectual rather than sensual, cold rather than hot: this attracted me to him because like me, he was basically a puritan, and like me, he had no time for vulgar sensuality.”



Saturday, February 5, 2011

Unica Zürn... drawing...




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she opens out, forming a shining star 
made of countless new arms and legs 
and necks and heads, 
she becomes a beautiful, flower-like monstrosity....  

from the Man of Jasmine -Unica Zürn

*with  thanks to Wladd Muta



Thursday, December 9, 2010

Hans Bellmer...print.... undated





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"At the source of the most intensely black and scandalous works...we believe there exists this sort of passage from passion to action, a secret need for equilibrium, the urge to create an imaginary evil from which we may take pleasure within the excesses of intellectual passion, in order to cure ourselves of the real evil we're suffering"

from Scandal with a Secret Face - an Essay by Nora Mitrani 1950

previous Bellmer



Tuesday, October 26, 2010

Hans Bellmer (1902-1975).... Untitled




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"I wonder if I will wear the tight seamless trousers made of your legs, ornamented all along the inside with faux-excrements? And do you think I will, without swooning prematurely, button over my chest the heavy and trembling waistcoast of your breasts? As soon as I am immobilized beneath the pleated skirt of all your fingers and weary to undo the garlands with which you have enwreathed the drowsiness of your never-born fruit, then you will breathe in me your perfume and your fever, so that, in full light, from the interior of your sex, mine will emerge." Hans Bellmer
 


from  - Petite anatomie de l'inconscient physique ou l'anatomie de l'image. Paris: Le Terrain Vague, 1957.


Previous posts here



Sunday, July 18, 2010

Unica Zürn... Portrait of Hans Bellmer 1965



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The staging of gesture, in a processus of transformation and metamorphosis, the patient weaving of memories, through "chinks in line": Unica Zurn has probably succeeded in her project of BEING. All the while waiting for her "magical encounter" - with the white-hair man, with Death?
" When i was a child i dreamt/ about the marriage with a white-hair man paralysed./ tied to a wheel chair forever.../ Behind us, eternal./ blossomed the Jasmine/ And this is the meaning of my legend/ of life together.../ Since my chilhood wedding, in a white dress-/ I feel that I gradually become white.../ To swim into the White, to perceive finally/ the White Image?"

 from an essay by Barbara Safarova "The magical encounter between writing and image"



Sunday, November 22, 2009

Tuesday, October 20, 2009

Hans Bellmer ... drawing




One of my favourite artists draws one of my favourite writers...


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Hans Bellmer  ~ Gaston Bachelard 1957


In 1957 Bellmer executed portraits not only of Gaston Bachelard but also of other
leading artists and writers of the day, including Arp, Wilfredo Lam, Henri Michaux, Victor Brauner, Albert Camus and Jehan Mayoux. The art historian Peter Webb has written of these works that together they ‘form a marvellous pantheon of the creative people of his time’ and it seems likely that Bellmer himself saw these portraits, generally pencil or charcoal
drawings, as a coherent body of works.


Reverie is not a mind vacuum. It is rather the gift of an hour which knows the plenitude of the soul.
Gaston Bachelard



~"the pure imagination designates its projected forms as the essence of its proper fulfillment. It delights naturally in imagining, thus in changing forms. Metamorphosis thus becomes the specific function of imagination. The imagination cannot comprehend a form except by transforming it, by dynamizing its becoming, by seizing on it like a sectioning of the flux of formal causality, precisely as a physicist cannot understand a phenomenon except by grasping it in a sectioning of the flux of efficient causality."~ 

G Bachelard  LAUTREMONT