#Cosey Fan Tutti

[afterafterschoolspecial]

Cosey Fanni Tutti fan art by Orchidblossom10 on deviantart

[lastchancevillagegreen]

Chicago Edition! Freestyling!

Thursday, 24 August 2023:

Cosi Fan Tutti Frutti Squeeze (A&M) (released in 1985)

If I was going to buy Argybargy and Cool For Cats, I was going to buy the entire lot of Squeeze albums in the new arrival bin. This, their sixth album, is suddenly suggesting to me that a Squeeze catalog study will be happening next year! For those unaware, the title is a reference to the famous Italian opera Cosi Fan Tutte by Mozart, not a reference to Throbbing Gristle's bass player Cosey Fanni Tutti. (This album is also the first cassette my brother's partner ever owned.)

Above are the album cover and the back of the album. Below are shots of both sides of the inner sleeve.

Then you will see both sides of the record label.

And yes, this is part of Rich' Collection. Do you suppose he died and his daughter dumped all his albums off at Reckless? Did he decide he hated Squeeze? Did he pull a Ron Hotwick and find God? (Nah, if he did that he would have burned his records instead of allowing another sinner to have his head turned by the Devil's Music. And why do I know so many converts?)

[omegaplus]

# 4,452

Taylor Swift: Speak Now (Taylor’s Version) “cursed” pressing (2023)

"New Taylor Swift Album Mispressed As '90s UK Electronica Compilation." (Resident Advisor)

"Taylor Swift Fan Says Her 'Speak Now' Vinyl Came Pressed With 'Creepy' Electronic Music Instead Of New Album." (NBC)

"Taylor Swift Fan Discovers Cabaret Voltaire Thanks to 'Speak Now (Taylor's Version)' Vinyl Mispress." (Exclaim)

"Tiktok User Claims Her Taylor Swift Vinyl Plays “Cursed” British Electro Instead." (Fader)

This year saw the release of Taylor Swift’s redux of Speak Now because fuck Scooter Braun. Swifties (ha ha ha) who purchased the ‘Taylor’ version expected to be blessed with her voice. Instead, they got an unexpected surprise: Cabaret Voltaire’s “Soul Vine (70 Billion People)”. The bigger picture? Speak Now was mis-pressed as Happy Land: A Compendium of Alternative Electronic Music From the British Isles 1992-1996, Vol. 1 featuring other acts as The Black Dog, Stryder B., and Ultramarine. Voltaire fans had a huge field day and a major victory. A lucky few Swifties, on the other hand, were wowed and baffled. Some even cried and couple got angry. 

Hey Swifties! Instead of being outraged, maybe be fortunate enough to be exposed to some totally different sounds? Open your minds and broaden your horizons. Step outside and enjoy the sunlight. Ride a bike. Watch a movie or read a book. (I highly suggest Sex, Art, And Music by Cosey Fanni Tutti. You’re welcome.) Stop texting. Get off the smartphone and have some actual conversations. You’ll be happy you did.

[tvln]

other, like me: the oral history of coum transmissions and throbbing gristle (uk tv, hed/fox 21)

[mwitchipoo]

  The last of a three post tribute to Genesis P-Orridge, who passed away on March 14th, 2020. P–Orridge had been battling leukemia for two years, so the passing wasn’t a surprise. S/he was 70 years old.

As stated in previous posts, Genesis P-Orridge was many things. Among them, a poet, an artist in both fine and performance art, archivist, musician, occultist, and all around trangressor. Between 1993 – 2009, Genesis went under a series of body and face modifications with S/he wife Lady Jaye under ‘The Pandrogeny Project.’ The goal was to create a third gender. This is the reason for the S/he pronoun after 1993.

Genesis’ path towards creative transgression started after leaving art university sometime during the late 60s, Gen joined a London counter culture commune. These communes were popular during those days. After moving back to Hull, he met Christine Carol Newby, better known as Cosey Fan Tutti. Tutti and P-Orridge became a couple, and formed COUM Tranmissions.

COUM Tranmissions wasn’t exactly ‘kid friendly’ entertainment.

Influenced by the Dada movement, the performance art collective specialized in subversive confrontation. Subject matter included taboos such as prostitution and pornography.

  In fact, it was the art performance of ‘The Prostitution Show‘ that gathered the attention of  not only the British press, but of Parliament. It was a conservative MP who declared the event, and persons involved to be “wreckers of civilization”.

The Prostitution Show was also the debut of the seminal band Throbbing Gristle. Formed by P-orridge, Tutti, and Peter “Sleazy” Christopherson, with Chris Carter joining. Throbbing Gristle is considered one of founders of the genre  Industrial Music. 

  (Check out this PDF file.)

Industrial has since morphed into various other sub-genres. If it wasn’t for Throbbing Gristle, certain bands wouldn’t even exist. One prime example is mainstream rock act *Nine Inch Nails. (Later, Christopherson, who formed the band Coil, got into directing music promo videos. Christopherson later directed videos for Nine Inch Nails)

Throbbing Gristle continued on their subversive mission. Their first gig abroad was performed in front of the Berlin Wall, before the unification. In 1980, the four piece  performed a concert at an English all boys boarding school.

On May 29th, 1981, Throbbing Gristle played their last concert in San Francisco, California, U.S.A. Gen and Sleazy went on to form Psychic TV. Sleazy later broke off from Psychic TV to begin his own band Coil. The other half became Chris and Cosey, later known as Carter Tutti.

They later reformed sometime around 2004, working on and off. During this period, three albums were released: TG Now (2004), Part Two (2007), and The Third Mind Movements (2009)

Throbbing Gristle after reforming, mid-2000s. 

In 2009 TG embarked on U.S. tour. In New York, they played a series of concerts at a Brooklyn masonic hall, and at Le Poisson Rouge. I was lucky enough to see both TG concerts at the Brooklyn masonic temple. Not just once, but twice. During intermission TG had a meet and greet. Below are autographs in a sketch pad.

Autographs from Throbbing Gristle. 2009.

Although I should’ve done this already, I still haven’t gotten those signatures framed. The sketchbook is tucked away somewhere in my home.

Below is a very bad cellphone recording of TG during one of those nights.

Throbbing Gristle hit another snag again in October 2010. Genesis P-Orridge announced s/her’s departure, and the rest of TG continued to tour under X-TG. The band broke up for good following the death of Sleazy. Sleazy died in his sleep, November 2010.

There’s way to much about COUM Tranmissions, and Throbbing Gristle to mention here. My suggestion is, if you can, find three books: RE/Search’s Industrial Culture Handbook (Andrea Juno and V.Vale) , the out of print Wreckers of Civilization: The Story of COUM Tranmissions and Throbbing Gristle by Simon Ford, and Cosey Fan Tutti’s 2017’s autobiography Art Sex and Music. (which does NOT paint Genesis P-Orridge in a good light; P-Orridge was described as being abusive and narcissistic.  Just one of various  accusations pointed at Gen.)

Perhaps I should do a blog post about Cosey Fan Tutti , or Chris and Cosey, aka Carter Tutti. In the meantime, here’s a sketch done in tribute to Genesis P-Orridge. Pen and ink, done March 2020.

Illustration of Throbbing Gristle. Pen and ink. Drawn by Michele Witchipoo. March 2020. 

  Throbbing Gristle The last of a three post tribute to Genesis P-Orridge, who passed away on March 14th, 2020.

[kaltsektion]

thoughts on genesis p-orridge? :0

if not that, then what do u think about blixa’s gender play kinda stuff ?

It's... complicated! I have a gigantic sentiment for Genesis and think that s/he made a lot of remarkable work in h/er life (industrial music would emerge one way or another, but it for sure wouldn't be the same without Throbbing Gristle), one of the first shows I attended alone was PTV3, I was super sad when I've learned about h/er death but at the same time... I *do* believe Cosey Fanni Tutti and was strongly moved when reading her memoir. Gen seemed like a very trouble and toxic person to work with and to be with in personal relations. There are various rumours surrounding TOPY as a grooming strategy (although they come from an article that is... very shady? and the writer overly focuses on stuff like genitalia piercings? ok? she didn't gain my trust). S/he also had a renome for stealing a lot of ideas, besides reading about it I have also heard second hand stories. So - I do love Gen as an icon of a certain approaches to art, music, transgressiveness, but fans should also know of the darker sides of h/er life too.

About Blixa - I don't know! To me it always felt very natural and genuine to his works and looks ever since he was a teenager. Like, he didn't even have to highlight it so clearly like in Seven Screws song, but I am also very glad that he did!

Thank you for the ask!

[gotankgo]

«“I don't like acceptance. it makes me think I've done something wrong”

Whilst agreeing with her sentiments, she’s forever accepted as our dear friend. Happy Birthday to the inspiring, thought provoking & simply lovely Cosey Fanni Tutti ⚡️🎈🖤»

I’m about 100 pages into her memoir Art Sex Music and I am throughly digging it. Her writing style is straightforward, the stories within are well told and interesting, especially for fans of Throbbing Gristle or Chris & Cosey

[disorder-rebel-store]

These Girls

Ein Streifzug durch die feministische Musikgeschichte

Juliane Streich (Hg.)

Über prägende Role Models von den 1950ern bis heute Vor 50 Jahren forderte Aretha Franklin »Respect«, in den Neunzigern rebellierten die Riot Grrrls und heute vermarkten Superstars wie Beyoncé eine sexy Version des Feminismus. Die Charts sind voll mit weiblichen Stimmen, doch bleiben Festivalbühnen, Musikzeitschriften und Clubnächte männerdominiert. Dabei gibt es Role Models an jeder Ecke, in jedem Jahrzehnt, in dem Frauen zu Gitarre, Mikrofon oder DJ-Software griffen. Jede hat ihre eigenen Geschichten. Es geht um Selbstermächtigung, um Wut, um Gleichberechtigung, um Drugs and Rock’n’Roll, um Sex und Sexualität – und auch mal um Menstruation. Vor allem aber um Musik. Egal, ob Stimmen im Soul, Battles im Rap, Gitarrensoli im Rock, große Hits im Pop oder Tunes im Techno. Ganze Enzyklopädien könnten mit herausragenden Musikerinnen und weiblichen Bands vollgeschrieben werden. Dieses Buch ist eher vergnügliche Lektüre als Lexikon, doch gibt es einen vielseitigen Einblick in die feministische Musikgeschichte. In über 100 lehrreichen, kurzweiligen und persönlichen Texten schreiben Journalistinnen und Journalisten, Musikerinnen und Musiker, Fans und Freunde über Bands, die sie prägten, über Künstlerinnen, die den Feminismus eine neue Facette gaben, über Lieblingsplatten, Lebenswerke und Lieder, die sie mitgrölen – vom Klassiker bis zum Außenseitertipp. Françoise Cactus, Paula Irmschler, Franz Dobler, Jacinta Nandi, Klaus Walter, Christina Mohr, Bettina Wilpert, Linus Volkmann, Ebba Durstewitz, Andreas Spechtl, Jonas Engelmann, Diviam Hoffmann, Sven Kabelitz, Elke Wittich, Myriam Brüger und viele andere schreiben über Björk, Christina Aguilera, Bikini Kill, Billie Holiday, Alice Coltrane, ESG, Georgia Anne Muldrow, Kimya Dawson, Madonna, Patti Smith, Spice Girls, Terre Thaemlitz und viele weitere Künstlerinnen. +++ Der Titel ist ebenfalls als E-Book bei allen gängigen Online-Händlern erhältlich (u.a. bei www.Thalia.de / www.ebook.de / www.Amazon.de / www.Buecher.de / Apple iBooks). +++ Mit einem Spotify-Account könnt Ihr über folgenden Link in zahlreiche Songs von im Buch vorkommenden Künstlerinnen reinhören: https://open.spotify.com/user/9ah5nzktfzli5qpvcm2up0gym/playlist/4xj9rTFk4OJrP4hZ3DdjTA +++

Inhaltsverzeichnis

Juliane Streich: Vorwort 1940/50er Jennifer Ressel: Édith Piaf Jasper Nicolaisen: Hildegard Knef Franz Dobler: LaVern Baker Sven Kabelitz: Nina Simone 1960er Eileen Reukauf: Joan Baez Klaus Walter: Aretha Franklin Anastasia Hartleib: Etta James Sven Kabelitz: Dusty Springfield Holger Adam: Delia Derbyshire Vera Kropf: Kathy Marshall und Chiyo Ishi Myriam Brüger: Shangri-Las Jan-Niklas Jäger: Lesley Gore Hannah Zipfel: Jackie Shane Elke Wittich: Marianne Faithful Frank Apunkt Schneider: Karen Carpenter Françoise Cactus: Nico Ebba Durstewitz: Laura Nyro Hans Plesch: Pauline Oliveros Tine Plesch: Janis Joplin Holger Adam: Joni Mitchell Holger Adam: Alice Coltrane Franz Dobler: Queen Esther Marrow Lutz Vössing: Karen Dalton 1970er Jonas Engelmann: Linda Perhacs Sabrina Marzell: Suzanne Ciani Stefan Glander: Yoko Ono Kuku Schrapnell: Marianne Rosenberg Wiebke Lohfeld: Limpe Fuchs Volker Barsch: Marcia Griffiths Shantala Hummler: Patti Smith Laura Schwinger: Flying Lesbians Christina Mohr: Debbie Harry Jana Sotzko: Poly Styrene Luise Vörkel: Tina Weymouth Laura Schwinger: Cosey Fanni Tutti Elke Wittich: Lydia Lunch Luise Vörkel: Kleenex/LiLiPUT Anna Seidel: Nina Hagen Franziska Reif: Siouxsie Sioux Philipp Theisohn: Wendy O. Williams Thomas Schröder: Kate Bush Viola Nordsieck: The Raincoats Kristof Maria Künssler-McIlwain: Mo-Dettes Jan Dieske: Hans-A-Plast Frank Apunkt Schneider: The Roches André Kalnassy: Eve Libertine Katharina Grabowski: The Slits Sven Kabelitz: Annie Lennox 1980er Christina Mohr: The Go-Go’s Franziska Reif: Tamara Danz Sandra und Kerstin Grether: Annette Humpe Jana Marie Sand: Girlschool Klaus Walter: Rainy Day Women Britta Tekotte: Laurie Anderson Sigrid Fahrer: Bangles Kerstin Petermann: Neneh Cherry Katharina Grabowski: ESG Frank Apunkt Schneider: Vital Disorders Jasper Nicolaisen: Björk Maurice Summen: Anne Dudley Juliane Streich: Kim Gordon Sarah Held: Cyndi Lauper Didi Neidhart: Madonna Jonas Engelmann: Phranc Anna Seidel: Françoise Cactus Julie Miess: Cristina Martinez Luise Vörkel: Kim Deal Linus Volkmann: Yeastie Girlz Klaus Walter: Dorothy Benjamin Moldenhauer: Carla Bozulich 1990er Sophie Rüesch: PJ Harvey Tobias Prüwer: Hole Christina Gehrlein: Lassie Singers Julia Lorenz: Thee Headcoatees Franziska Reif: Tori Amos Sophie Nikoleit: Bikini Kill Julian Weber: Christina Billotte Tijan Sila: Red Aunts Vina Yun: Nicolette Sarah Ulrich: Terre Thaemlitz Anastasia Hartleib: Lauryn Hill André Kalnassy: Marusha Benjamin Moldenhauer: Team Dresch Atlanta Ina Beyer: Bernadette La Hengst Christina Gehrlein: Sleater-Kinney Birte Fritsch: Skunk Anansie Jana Sotzko: Portishead Juliane Streich: Peaches Tina Manske: Róisín Murphy Aiko Kempen: Tic Tac Toe Claudia Euen: Cat Power Jan-Niklas Jäger: Sia Myriam Brüger: Hanayo Lea Matica: Brody Dalle Susann Brueckner: Kimya Dawson Jacinta Nandi: Spice Girls Lutz Vössing: Anne Rolfs Lea Espinoza Garrido: Beyoncé Didi Neidhart: Missy Elliott Lisa Rölle: Laura Jane Grace Bettina Wilpert: Tegan and Sara Tobias Prüwer: Kittie Paula Irmschler: Christina Aguilera Sophie Nikoleit: Le Tigre Andreas Spechtl: Britta Katja Röckel: Kevin Blechdom Hengameh Yaghoobifarah: Beth Ditto 2000er Safi: Karin Elisabeth Dreijer Steffen Greiner: Anohni Frédéric Valin: Gustav Steffen Greiner: Ellen Allien Gianni Düx: Joanna Newsom Yannik Gölz: Janelle Monáe Jeannine Baillieu: M.I.A. Caroline Kraft: Amanda Palmer Anastasia Hartleib: Georgia Anne Muldrow Dirk Dullmeier: Marisa Anderson Sebastian Ingenhoff: Rihanna Sarah Ulrich: Lady Bitch Ray Martha Röckel: Sookee Charlotte Theile: Taylor Swift Diviam Hoffmann: Ebony Bones Nhi Le: Nicki Minaj Didi Neidart: Lady Gaga 2010er Yannik Gölz: Grimes Patrycja Mas?owska: Austra Julia Lorenz: Die Heiterkeit Sandra Grether: FaulenzA Du Pham: Lana Del Rey Yannick Gölz: SOPHIE Kerstin Petermann: Doctorella Pablo Dominguez: Ebow Juliane Streich: Half Girl Felix Riedel: Princess Nokia Philipp Theisohn: Ashtar Sabrina Marzell: ShitKid Diviam Hoffmann: Jamila Woods Anna-Leena Lutz: Dream Wife Kristof Maria Künssler-McIlwain: Camp Cope

[doomandgloomfromthetomb]

Throbbing Gristle - Kezar Pavilion, San Francisco, California, May 29, 1981

So long to Genesis P-Orridge, co-founder of Throbbing Gristle and Psychic TV. To say that Genesis was a provocateur is the understatement of the century. And to say that s/he was a person with abusive tendencies is also an understatement; Cosey Fan Tutti’s recent memoir makes this disturbing pattern all too clear. It’s a tough thing to wrangle with, obviously. We ask certain artists to transgress, to push beyond the boundaries of what’s acceptable. Is it any wonder that the line between art and life gets blurred? I don’t know -- but I do think it’s worth acknowledging and thinking about. (For a more cogent version of my ramblings, check out Luke Turner’s obit for The Quietus.) Anyway, one thing that cannot be denied is the extraordinary strangeness of Throbbing Gristle’s music. I’m not sure if this video of the group’s last gig (before reuniting in the early 00s) is going to give you comfort in these weird days, but ... maybe? Even at their most horrific and hair-raising, I’ve always felt like TG always maintained an underlying humanity at its core. So find your spot in the stadium of lost souls! 

[bobbybones23]

Happy Birthday ♏️ to Christine Carol Newby a.k.a. Cosey Fanni Tutti @throbbinggristle 🖤 A pioneer and one of the founding members of COUM Transmissions along with Genesis P-Orridge in 1969, she cut her teeth on the performance art collective adding various openly subversive and confrontational elements to the project which were intellectual, controversial, and somewhat criminal in nature with her own experience as an adult performer. She adopted the name Cosmosis later shortened to Cosey and a friend suggested the apropos “Fanni Tutti” after the Mozart opera Cosi fan tutte. She felt unconvinced by the social expectations placed on women’s behavior and sexuality. They performed a very special series of controversial events towards the end of their stint titled Prostitution at London’s Institute of Contemporary Arts which had caused a lot of outrage with the London newspapers and UK politicians and one Scottish Conservative MP proclaimed them as “wreckers of civilization”. COUM transmissions morphed into Throbbing Gristle in 1975 with additional members Chris Carter and Peter “Sleazy” Christopherson who collectively birthed and became one of the architects of “industrial music” and establishing the label Industrial Records. Their debut performance was at the same event as the Prostitution show with COUM. TG was equally controversial but more musical than performance art making it a mission to explore the darker sides of the human condition rather than to make attractive music. After Throbbing Gristle disbanded in 1981 she went on with Chris Carter forming Chris and Cosey later named Carter Tutti. She continues on as a solo artist with the release of Tutti last year. I have yet to read her book titled Art Sex Music released in 2017. I’ve been a big fan of hers and all her endeavors and got to witness TG as a teenager. 🖤⚡️ 🔪⚡️🔥 🏴‍☠️ 🏴‍☠️ 🏴‍☠️ #CoseyFanniTutti #ChristineCarolNewby #COUMTransmissions #ThrobbingGristle #ChrisAndCosey #CarterTutti #Pioneer #PerformanceArtist #Avantgarde #IndustrialMusic #IndustrialRecords #ArtSexMusic https://www.instagram.com/p/CHMmM0-BmpP/?igshid=nbuzmbaqx873

[jacquievandegeer]

Cosi Fan Tutte Thus Do They All

I am listening to Tutti, new musical find, the music of Cosey Fanni Tutti.

The virus has made the world slow down, inwards we are, in our apartments and we reach out online.

Twice a day I go outside, let the wind kiss my cheeks, avoiding to be in crowds and do some groceries, buying just a little extra to build up a resource in the kitchen cupboards.

Life is so surprising sometimes.

I am in lock down.

A virus traveled with hosts all over the globe and installed itself here and there and now everywhere.

Lungs.

Trees are the lungs of the planet.

Lungs, air, breathing.

Clear the air, voice, scream, whisper, breathing, air in and out , lungs.

I am mesmerized how this virus, invisible, can penetrate and mutate and shut us down down down. We do not see it, smell it, sense it neither hear it.

It is an invisible traveler who picks and chooses the host and gets comfortable.

The voice of Cosey, mixed with electronic sounds and samples, pulsations of sounds in my tiny living room, laptop on my lap, the modern life.

Where would we be now without the internet?

I skype and facetime, and facebook and google the news, counting the infected and dead ones.

Then do yoga or ballet with the chair as a barre, I cook and taste the food, I cuddle with the cats, I clean and make everything orderly, my mother will be proud of me.

Cosey Fanni Tutti’s album is  vibrating in the room, I love space ship traveling through her sound composition, I am here and elsewhere at the same time.

Did you know that her name stems from the opera from Mozart?

Cosi fan tutti means Thus Do They All, which is happening on our strangely united planet now the virus is hitting us hard in the face.

[contemporaryartdaily]

Week in Review: November 5, 2017

Welcome to Week in Review, our Sunday round-up of the last seven days of activity here at Contemporary Art Daily. Please subscribe to our RSS feed, follow us on Twitter, follow us on Tumblr, follow us on Instagram, and become a fan on Facebook.

Be sure to keep up with everything happening on our Office Notebook.

This week’s featured exhibitions:

Günther Förg at Barbel Graesslin

Lisa Lapinski at Kristina Kite

Michael E. Smith at KOW

Skip Arnold at ltd los angeles

Till Megerle at Kunstbunker

Cosey Fanni Tutti at Cabinet

Stephan Dillemuth at Nagel Draxler

Elaine Cameron-Weir at Hannah Hoffman

Merlin Carpenter at Christian Andersen

Daan van Golden at Overduin & Co.

Anne Neukamp at Greta Meert

Cookie Mueller and Vittorio Scarpati at Studio Voltaire

Group Show at Midway Contemporary Art

Keith Edmier at Friedrich Petzel

Julia Feyrer at Potts

“Civil Disobedience” at MIT List Visual Arts Center

Have an excellent week.

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

[brawmusic]

Braw Gigs Presents: Petronn Sphene / Slaylor Moon / Donna @ The Banshee, 27th July!

PETRONN SPHENE - Queer technopunk cyborg NO WAVE RAVE meltdown for fans of Atari Teenage Riot, Nervous Gender, teenage Felix Kubin, Metalux, Yeah You, gabber, extreme rave, cartoons, aka. Gretchen from Guttersnipe! "Timeless sonic witchcraft connecting pagan eternal spirit with mind altering electronic music, adopting a "hard gaan" aesthetics with "The Drugs" as a communication method for altered ADHD full blast personal wisdom projected straight into the soul, transcendent intellectual intensity. Think psychedelic time warped gabber and power new age. Solo space pod escape from Urocerus Gigas of Guttersnipe.” - Manuel Padding/City Hands SLAYLOR MOON - Futuristic queer “science-wave” abstractions for fans of Drainolith, Excepter, Cosey Fanni Tutti, Truus de Groot, Jessica Rylan, etc "Scientist of the brain turned scientist of psychic soundscapes, Sydney Koke (Shearing Pinx/The Courtneys) specialises in a form of queer, spooky, and dislocated electronic abstraction assembled from the disparate substrates of early 2000s experimental electronic music, old school rave, 70s industrial, no wave, and noise rock: a dorky cyborg symbiosis of polyhedral no-tempo MPC rhythms, flickering future tones of marine microorganism holographic glimmer, and intimately vague spacer-woman vocals delivered with cold intention, forming an ultraviolet personal microcosm of queer sexuality, formalist figurative concepts, and multi-directional emotive imaginals” - OBEY Convention, Halifax NS With support from Edinburgh's very own DONNA - Gloria Estefan dragged through a palm tree backwards as it slowly dawns on the other members of Miami Sound Machine that their instruments are now being controlled by DNA swabbed from the sweat on Phil Collins' brow inside the circuits of a broken ZX Spectrum £5 on the door Saturday 27th July, 8.30pm doors The pool table room, downstairs in The Banshee Labyrinth, Niddry Street, Edinburgh

[mwitchipoo]

Throbbing Gristle. March 2020. Drawn by Michele Witchipoo. 

[micaramel]

Welcome to Week in Review, our Sunday round-up of the last seven days of activity here at Contemporary Art Daily. Please subscribe to our RSS feed, follow us on Twitter, follow us on Tumblr, follow us on Instagram, and become a fan on Facebook.

Be sure to keep up with everything happening on our Office Notebook.

This week’s featured exhibitions:

Günther Förg at Barbel Graesslin

Lisa Lapinski at Kristina Kite

Michael E. Smith at KOW

Skip Arnold at ltd los angeles

Till Megerle at Kunstbunker

Cosey Fanni Tutti at Cabinet

Stephan Dillemuth at Nagel Draxler

Elaine Cameron-Weir at Hannah Hoffman

Merlin Carpenter at Christian Andersen

Daan van Golden at Overduin & Co.

Anne Neukamp at Greta Meert

Cookie Mueller and Vittorio Scarpati at Studio Voltaire

Group Show at Midway Contemporary Art

Keith Edmier at Friedrich Petzel

Julia Feyrer at Potts

“Civil Disobedience” at MIT List Visual Arts Center

Have an excellent week.

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2y4lmlP

[trevorbarre]

Cosey-ing Up

Two books from 2017 so far, both concerned with the avant-garde, but using very different perspectives and approaches. I finished Cosey Fanni Tutti’s autobiography, Art,,Sex, Music yesterday, and have commenced a Free Jazz/Free Improv self-published book by New  Zealander writer/musician Jack Wright, entitled The Free Musics. The former is deeply personal, the latter a generalised overview of the Free ‘scene’, mainly in the USA. Tutti does not dwell over much on the Industrial movement that Throbbing Gristle (TG) had a large role in creating; whereas Wright immerses us in the minutiae of theory around north American improvisational practice, with British improv getting its very own chapter.

It’s always good when experimental (as good a description as any) music has a new book written, to add to the still relatively minor library around the subject. Tutti’s book is as visceral as TG’s music, and the figure of a certain Mr. Orridge insinuates itself throughout the text like a kind of succubus, leeching his way though the lives of his ex-partner and of the group (his behaviour during the reformation of TG at the turn of the century makes one wonder how he avoided a severe beating), As a character assassination, it’s without peer, but purports to offer an alternative narrative to that of Simon Ford’s Wreckers of Civilisation, which highlighted ‘Gen’’s contribution above his/her band mates. In Tutti’s account, it is much clearer as to where the genuine musical talent in TG lay. It’s overall a very engaging book, to be put next to Viv Albertine and Kim Gordon’s recent autobiogs. If it has a fault, it’s that it takes itself a wee bit too seriously, given that some of COUM’s performative ‘transgressions’ are beyond parody.

Using a word like ‘performative’ (a chancy neologism, a far as I’m concerned) brings me back to Wright’s work, and my ongoing relationship to cultural studies-informed books, of which I have sampled quite a few in recent months. The book presents somewhat like a thesis (Wright was apparently a teacher back in the day), being prolix and dense, but any book in which I have to regularly re-read  sentences to try and understand (or ‘;understandardise’?) to try to make sense of them is not a good thing in my mind. It is definitely NOT a beginner’s book, and Wright clearly assumes an intimate knowledge of the subject from the outset. Even if this is present, I would have thought that the average fan would find it a wellingtons-through-mud experience. Despite this, there are ideas a-plenty here, and it is worth the effort required to extrapolate these. In contra-distinction to this, Art, Sex, Music can be enjoyed even by those who can’t stand the Gristle’s shtick (Mrs. Barre, for example). It is interesting perhaps that Wright cites his namesake, Seymour Wright,the English saxophonist, and the latter’s unpublished doctoral dissertation on AMM (mentioned on page 273), which is also tough going for those readers who, like myself, like things explained in everyday English and without jargon. 

On page 45, Jack Wright suggests that expectations like mine are perhaps disingenuous and rather gauche: ‘’The serious study of Free Jazz has not yet begun; perhaps the conclusions are feared’’. That’s me told!