The Poetics,from right: John Miller, Tony Oursler, Mike Kelley, Bill Stobaugh, and John Arnheim
The late Mike Kelly was known for his work with Destroy All Monsters, a band he formed in 1973 in Detroit with Jim Shaw, Niagara and filmmaker Carey Loen, but audiences might be less familiar with The Poetics, an art rock band he played in with fellow artist Tony Oursler. The loosely assembled group kicked around between 1977 and 1983 and worked on various projects including a radio show, a sound track and a dance piece involving mop poles entitled ‘The Pole Dance’.
Still from Pole Dance by Mike Kelley, Tony Oursler and Anita Pace, 1997
During that period Oursler kept notes from each of the Poetics brainstorming sessions, later used as inspiration for The Poetics Project Installation created by Oursler and Kelly in the late 1990s at Metro Arts in New York that went on to tour internationally. Together, they re-examined the projects they’d begun in the 70s, re-mastering and releasing old tracks, re-executing The Pole Dance and creating an installation that was hailed by the New York Times as the ‘most irritating show in New York City’ (to Mike Kelley’s delight).
The Poetics Project, installation view at Centre Pompidou, Paris, 2013, featuring a projected interview with Genesis Breyer P Orridge (right)
Both artists were interested in exploring the conventions of documentary video and ‘rockumentaries’, and one element of the installation was Synesthesia, a suite of videos by Oursler featuring interviews with twelve legendary underground figures of the downtown New York art and music scene in the 1970s and 80s. Participants included Genesis Breyer P Orridge, Lydia Lunch, Kim Gordon and Suicide’s Alan Vega. Sadly difficult to watch online!
Still from Synesthesia: Alan Vega 1997-2011 by Tony Oursler
There are however some great texts about the project written by Kelly and Oursler respectively that you can read here and here. And you can watch Tony Oursler talk about The Poetics Project in situ in its 2013 incarnation at the Pompidou Centre here.
Posted in Art, Artists, Installation, Music, Video
Tagged Alan Vega, Anita Pace, Genesis Breyer P Orridge, Kim Gordon, Lydia Lunch, Mike Kelley, Pompidou, The Poetics Project, Tony Oursler
LOL leaves for New York tomorrow (via the Mike Kelley show
in LA no less, wee!). If I am disciplined, you can expect a few posts while I’m away. If not, keep an eye on Instagram. And here’s possibly my favourite video ever, Olaf Breuning’s Home 3: A Homage to New York
, to set the tone…
In 1990 when Sonic Youth released their album Goo (that’s the one with the iconic Raymond Pettibon cover), they asked a bunch of artists and filmmakers to produce the accompanying music videos. One of the contributors was a young Tony Oursler (the inclusion of a toy panda with a human mouth in the video above is the giveaway I reckon…). He chose Tunic (Song For Karen) “…for its classic SY sound and tragic subject: the self destruction of mega-popstar Karen Carpenter”.
Pervy photographer Richard Kern had a go too. That’s his video above, for the track Scooter and Jinx.
Here’s a video from 2012 that New Zealand born, Brisbane based artist Chris Bennie made in the Chermside Shopping Centre car park in Brisbane. The sweeping footage captures the mundane, perfunctory architecture and vast expanses of concrete that typify these kinds of spaces, as well as revealing some unexpected inhabitants. The car park is an unlikely home to hundreds of swallows who flit through the space, seemingly invisible to the mall’s distracted consumers, too preoccupied with their latest purchases from DJs. The video is strangely relaxing, and beautiful. In 2012 it was shown rather appropriately at Sydney artist run space Alaska (located in a car park in Kings Cross). If you’re in Brissie you can see it at Spiro Grace Art Rooms as part of the group exhibition ‘presence/absence’ which opens there next Friday.
Kraftwerk at Spruth Magers, installation view
Electro pioneers Kraftwerk (who performed in Sydney earlier this year as part of Vivid) are exhibiting eight looped videos at Sprüth Magers in Berlin until August 31st. Made between 1974 and 2003, the collected footage in ‘Kraftwerk 1 2 3 4 5 6 7 8′ charts the rise of electronic music generated by band co-founders Ralf Hütter and Florian Schneider in their Kling Klang Studio in Düsseldorf (where their closest neighbour was Gerhard Richter no less).
Like those who attend their concerts, visitors to the exhibition must wear special 3D glasses when viewing the work, reflecting the musicians’ positioning of their performances as completely integrated audio/visual events. The Tateshots clip above, produced during Kraftwerk’s February concert season at Tate Modern, offers further insight into their highly influential layering of music, sound, videos, sets and performance.