le piége de la femme

santa eulália

flesh and spirit

30 seconds

Through an intimate and elegant use of the medium, Joan Logue's work defines the art of video portraiture. Capturing the essence of subjects that range from avant-garde artists to New England fishermen, her video portraits are minimalist dramas precisely composed, richly nuanced, and highly expressive of the character of the "sitter."

In 1980, Logue began the 30 Second Spots, an innovative series of video portraits that she terms "commercials for artists." These succinct "spots" use the format, style, and condensed timeframe of television advertising to present unconventional portraits of vanguard artists, musicians, writers, and performers. Each subject performs a concise gesture or action in close-up before a stationary camera; Logue heightens this intimate theater with a precise application of electronic effects.
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zakarella

ok

romeo is bleeding

 

sometimes

the stage

"The unconscious is that which, precisely, is obfuscated by the phantasmatic scenarios the pervert is acting out: the pervert, with his certainty about what brings enjoyment, obfuscates the gap, the ‘burning question’, the stumbling block, that ‘is’ the core of the unconscious. The pervert is thus the ‘inherent transgressor’ par excellence. He brings to light, stages, practices the secret fantasies that sustain the predominant public discourse, while the hysterical position precisely displays doubt about whether these those secret perverse fantasies are ‘really it’. Hysteria is not simply the battleground between secret desires and symbolic prohibitions; it also, and above all, articulates the gnawing doubt whether secret desires really contain what they promise-whether our inability to enjoy really hinges only on symbolic prohibitions. In other words , the pervert precludes the unconscious because he knows the answer(to what brings jouissance to the other); he has no doubts about it; his position is unshakable; while the hysteric doubts-that is, her position is that of an eternal and constitutive (self) questioning: What does the Other want from me? What am I for the Other?"

Slavoj Žižek 

transe

"Ecstasy replaces sexuality. The mediocrity of the human race is the only plausible explanation for sexuality. As the only mode for coming out of ourselves, sexuality is a temporary salvation from animality. For every being, intercourse surpasses its biological function. It is a triumph over animality. Sexuality is the only gate to heaven. The saints are not a-sexual but trans-sexual. They no longer need the revelations of sexuality. To be a saint means to always be outside yourself. What else would sexuality add to this? Sexual orgasm pales beside the saints’ ecstatic trance."

Emile M. Cioran (Tears and Saints)

clash of the titans

pensées

rose and the eclipse

 

“Salvador Dali was beside himself with envy. He had always been prone to jealous rages, and Rose Hobart provoked his full malevolence. Halfway through the movie, there was a loud crash as the projector was overturned. ‘Salaud (Bastard)!’ came from Dali. Dali’s wife, Gala, pushed her way toward him and pleaded, ‘Calme-toi.’ But Dali could not be placated. ‘Salaud and encore salaud!,’ he shouted again and again, while members of the audience rose to restrain him.
Dali had good reason for envy. As critics would later remark, Joseph Cornell’s Rose Hobart ranks with Dali’s Un Chien Andalou as a masterwork of Surrealism - and in some ways it is a more radical work.
Dali lamented: ‘My idea for a film is exactly this, and I was going to propose it to someone who would pay to have it made….I never wrote it or told anyone, but it is as if he had stolen it.’ (Dali would later accuse Cornell of being “a plagiarist of my unconscious mind.”)
Cornell was deeply aggrieved by the incident. It had never occurred to him that someone as marginal as he could excite the envy of a world famous Surrealist. Thus Cornell was instructed firsthand in the unkindness of fellow artists. To the end of his life, he would recount the story whenever he was asked to screen his films, usually as a way of explaining why he must decline."
- in Utopia Parkway:The Life & Work of Joseph Cornell