#sélavie

[the-cricket-chirps]

Man Ray, Kiki de Montparnasse, 1924

Man Ray, Rrose Selavy, 1924

[mr-e-gallery]

Edmond Simpson 'C'est La Vie En Rose' (01-24) Homage To Marcel Duchamp

[porcelainvino]

“you better not be marcel duchamp serving cunt when i get there”

my silly ass:

[absurdlakefront]

Portrait of Rrose Sélavy, 1920

Meet Rrose Sélavy: Marcel Duchamp’s Female Alter Ego

Rrose Sélavy first appeared in 1920, but the second ‘r’ in her name wasn’t added until 1921 when she added her signature to Francis Picabia’s collage L’Oeil Cacodylate. Soon after, she began appearing in photographs taken by Man Ray, fashion photographer, fellow artist and informal Dada compatriot. The perfect Duchampian character, Rrose brought to life the artist’s well-marked and symbolic use of language as well as all the playfulness and irony of Dadaism. Her name, a pun on the French adage “Eros, c’est la vie,” has inspired everything from collections of surrealist poetry to an oyster bar in Manhattan.

Rrose personified everything about Duchamp’s art, from its wit and its ersatz aesthetic to its erotic undertones. A living, breathing double entendre, she is a figurehead of New York’s short-lived answer to Dada, the irreverent European art movement with beginnings in Zürich’s Cabaret Voltaire. In Man Ray’s portraits she appears in several guises, at times moth-eaten and decidedly masculine, and later, stylish and more fluent in the cues of feminine allure. A murky example of the former appeared on a perfume bottle that Duchamp labelled Belle Haleine (Beautiful Breath). Beyond photographs, she lives on as the author of particular works throughout his career, from writings to the animated film Anemic Cinema.

[cenaindie]

Madame Rrose Sélavy – Jass Vol 2 https://cenaindie.com/album/madame-rrose-selavy-jass-vol-2/

[dropxdead]

she should’ve been one of us………

[philippequeau]

La tringle et le triangle

“La tringle et le triangle” ©Philippe Quéau (Art Κέω) 2024 Le surréalisme eut jadis son heure de gloire. Passons ici à sa suite, et folâtrons un instant dans la suie simple de son incendie sans cendres, mais non sans décombres, ni sans décembres. Cent ans après “Rrose Sélavyi“, il est temps de révéler enfin ceci : « Éros en fait était rosse, et non rose ». Si, si, je vous assure. Il faut aussi…

[altrame]

I don't know why I was so focused on making portraits based on photographs when I started this and Aziraphale's but here's Crowley as Duchamp (as Rrose Sélavy)

[brokehorrorfan]

Inside the Mind of Coffin Joe will be released on November 28 via Arrow Video. The five-disc Blu-ray box set collects 10 films from Brazilian horror icon José Mojica Marins, better known as Coffin Joe.

It includes: 1964's At Midnight I'll Take Your Soul, 1967's This Night I'll Possess Your Corpse, 1968's The Strange World of Coffin Joe, 1970's Awakening of the Beast, 1971's The End of Man, 1972's When the Gods Fall Asleep, 1976's The Strange Hostel of Naked Pleasures, 1977's Hellish Flesh, 1978's Hallucinations of a Deranged Mind, and 2008's Embodiment of Evil.

Each disc has its own Blu-ray case with reversible artwork by Butcher Billy. They're housed together in a slipcase with a book featuring new writing by Tim Lucas, Carlos Primati, Jerome Reuter, Amy Voorhees Searles, Kyle Anderson, and Paula Sacramento, a double-sided poster, and 12 double-sided art cards.

All 10 movies have been newly stored in 4K from the best available elements with original lossless mono audio (except Embodiment of Evil, which has lossless 2.0 and 5.1 audio). Special features are listed below, where you can also see more of the packaging.

Disc 1: At Midnight I'll Take Your Soul

Audio commentary by José Mojica Marins, filmmaker Paulo Duarte, and film scholar Carlos Primati (Portuguese with English subtitles)

Video essay by Lindsay Hallam (new)

Damned: The Strange World of José Mojica Marins - 2001 documentary

Bloody Kingdom - Marins’ first short film with director’s commentary

Excerpts from early works by Marins

Trailer

Disc 2: This Night I'll Possess Your Corpse / The Strange World of Coffin Joe

This Night I'll Possess Your Corpse audio commentary by José Mojica Marins, filmmaker Paulo Duarte, and film scholar Carlos Primati (Portuguese with English subtitles)

The Strange World of Coffin Joe audio commentary by José Mojica Marins, filmmaker Paulo Duarte, and film scholar Carlos Primati (Portuguese with English subtitles)

Interview with film historian Stephen Thrower (new)

Video essay by Miranda Corcoran looking Coffin Joe as horror host (new)

The Strange World of Coffin Joe alternate ending with commentary by Marins

Trailers

Disc 3: Awakening of the Beast / The End of Man

Awakening of the Beast audio commentary by José Mojica Marins, filmmaker Paulo Duarte, and film scholar Carlos Primati (Portuguese with English subtitles)

The End of Man audio commentary by José Mojica Marins, filmmaker Paulo Duarte, and film scholar Carlos Primati (Portuguese with English subtitles)

Interview with Guy Adams on Marins’ esoteric aspects (new)

Video essay by Alexandra Heller-Nicholas on the gender politics of Marins’ films (new)

The Awakening of the Beast alternate opening titles

Trailers

When the Gods Fall Asleep / The Strange Hostel of Naked Pleasures

Interview with Virginie Sélavy on surrealism in Marins’ work (new)

Interview with Jack Sargeant (new)

Interview with Embodiment of Evil co-writer Dennison Ramalho (new)

Footage of Marins at the 2001 Sundance Film Festival

A Blind Date for Coffin Joe short film

Trailer

Disc 5: Hellish Flesh / Hallucinations of a Deranged Mind

Hallucinations of a Deranged Mind commentary by José Mojica Marins, editor Nilcemar Leyart, Paulo Duarte, and Carlos Primati (Portuguese with English subtitles)

Interview with Andrew Leavold on Marins’ place in '60s & '70s Marginal Cinema (new)

Video essay by Kat Ellinger (new)

Trailers

Disc 6: Embodiment of Evil

Audio commentary by producer Paulo Sacramento and co-writer Dennison Ramalho (Portuguese with English subtitles)

Interview with Dennison Ramalho (new)

Interview in which Ramalho pays tribute to Marins

Footage of Marins at the film’s premiere

Making Of featurette

Experimental Making Of featurettes

Multiple featurettes with commentary by Marins

Trailer

Additional contents:

Collector’s book with new writing by Tim Lucas, Carlos Primati, Jerome Reuter, Amy Voorhees Searles, Kyle Anderson, and Paula Sacramento

Double-sided poster with artwork by Butcher Billy

12 double-sided art cards

Cultural icon, anti-establishment statement, sadistic lord of carnival horror! With his long fingernails, top hat and cape, Coffin Joe was the creation of Brazilian filmmaker José Mojica Marins, who wrote, directed and starred in a series of outrageous movies from 1964 to 2008.

Pre-order Inside the Mind of Coffin Joe.

[vincent-gallo-burner]

John frusciante // marcel duchamp [Rrose Sélavy]

[andrevasims]

Sélavy Kaysira, owner of the goth cat cafe

[cordspaghetti]

art school poisoning my brain for real just saw an image and thought to myself it’s giving rrose sélavy

[gothhabiba]

[ID: A sparsely furnished room with white walls and a bare, stark rectangular doorframe with no door. To the left, a wire bedframe with one pillow and no mattress: to the right, a small footstool and a hanging coat rack, from which hangs a world map that's been cut into thin strips so that it falls into the shape of a plastic bag. End ID]

Interior/Exterior Landscape 2010 is a room-sized installation. It contains, among other things, a hair-embroidered pillow which depicts flight routes between the cities most visited by Hatoum, a bag constructed from a cut-out print of a world map hanging from a metal coat rack, and a birdcage housing a single hair ball. Each element offers subtle references to Hatoum’s biography and to the history of surrealism, which Hatoum was introduced to as a child through her study of monographs on the artist René Magritte (1898–1967) and her reading of psychoanalytic writing by Carl Jung and Sigmund Freud, among others. The installation also contains a bare steel-framed bed without a mattress to lie down on, with long strands of hair hanging to the floor below like cobwebs, and a stool. In the corner of the room a chair next to the wall is conjoined with a small wooden desk so that the top of its curved back extends above the surface in a way which echoes Magritte’s illustration for the 1938 publication Dictionnaire abrégé du Surréalisme (Abridged Dictionary of Surrealism). Hatoum also references Marcel Duchamp’s (1887–1968) work Why Not Sneeze, Rose Sélavy? 1921, a birdcage filled with marble ‘sugar’ cubes which reflected Duchamp’s interest in the deception of perception. In Hatoum’s small cage, a hairball replaces the cubes. For Hatoum the use of hair is symbolically rich and has strong connections with memory – the Victorian locket, for example, containing a curl of hair from a loved one being a well-known form of keepsake. Although slightly disturbing, the overall effect of the hairballs is not one of revulsion but rather an uncanny evocation that is both delicate and unsettling.

— Clarrie Wallis, "Mona Hatoum: Interior/Exterior Landscape." The Tate.

[ID: The same room. The foot of the bed appears at the right in the foreground. Further away to the left, a desk and chair. The chair is facing towards the back of the desk but appears to have been pushed forward or upwards through the desk, until its back emerges from the middle of the desk's surface. End ID]

The Tate Modern’s retrospective of Mona Hatoum presents the melancholy autobiography of an exile, and it is not a pretty picture. Filled with sharp edges, electrified fences, and cages, it is overall a portrait of discomfort, and of the ever-present disappointment of a life circumscribed by the perceived denial of a real origin. Born in Lebanon to Palestinian parents, Hatoum found herself shut out of her birth nation when war broke out in 1972 and took up residence in London. In Hatoum’s work, whether there is a place she belongs or whether her home is where she lives is immaterial: the longing is there—it infiltrates every installation, video, document, and work on paper as a sometimes subtle, sometimes glaring inconsistency in otherwise banal and workaday objects and situations.

Interior/Exterior Landscape (2010) is the tenth room in this enfilade of objects, experiences and installations: it stands as a microcosm of the artist’s world. It is sparsely furnished; what furniture there is is largely useless or pain-inducing: a bedspring with no mattress, a chair embedded and trapped in a desk, and a pair of circular coat hangers. The bed and pillow are interwoven with hair, indicating both usage and the residual filth of a prisoner’s cell. Hanging on the wall, like a miniature of the room itself, is an empty birdcage, with a single ball of hair as [its] silent occupant. Hatoum can perhaps be criticized for freighting her objects with heavy-handed significance—the round coat hangers frame a map of the world; everywhere there is one object standing in for another, or an idea—but she crafts her installations in carefully coded phrases that reference the genre of artistic political protest. Iranian-born artist Siah Armajani has long used cage/vitrine-based claustrophobic rooms as a metaphor for exile, as in Glass Room for an Exile (2001 – 02)[,] and Ai Weiwei’s carpentry follies of chairs and tables rendered useless are also immediately called to mind. Hatoum’s spaces are encyclopedic in their description of herself—a well traveled intellectual who finds her voice stifled and her movements restricted.

William Corwin, "ArtSeen: Mona Hatoum." The Brooklyn Rail.

[riseofthecommonwoodpile]

Realized I never posted the results from last round lmao. Some absolute fucking bangers here, and some of my least favorite albums I've heard doing this project. Is that dialectics

Amida Boussou- Gnawa Leila, Chants et Musique Gnawa du Maroc (8.5/10)

Ariana Grande- positions (7.0/10)

Banshee- FUCK WITH A BANSHEE (8.5/10)

Beefeater- Plays for Lovers & House Burning Down (7.5/10)

✩ BLONDIE SEXAPPEAL ✩- All Available Singles from Soundcloud (7.5/10)

Combatwoundedveteran- I Know A Girl Who Develops Crime Scene Photos (9.0/10)

Death from Above 1979- You're A Woman, I'm A Machine (8.0/10)

DJ K- PANICO NO SUBMUNDO (8.0/10)

Doja Cat- Hot Pink (7.0/10)

ＤＯＮＴ/ BＥ/ 正方形- 43° (8.0/10)

Emeralds- Does It Look Like I'm Here? (9.0/10)

Grandaddy- Sumday (9.0/10)

The Hated- What Was Behind (7.0/10)

Hyd- Clearing (8.0/10)

Isyti- bootleg (+) (6.5/10)

Jan Jelinek- Loop-Finding-Jazz-Records (8.0/10)

Juan Hidalgo- Rrose Sélavy (7.0/10)

Lambchop- Damaged (8.0/10)

Lingua Ignota / The Rita- Commissioned (10/10)

The Magnetic Fields- The Charm Of The Highway Strip (9.5/10)

Massacre- Killing Time (8.5/10)

Natalia Kills- Perfectionist (1.5/10)

Phish- Lawn Boy (7.5/10)

Refused- The Shape of Punk to Come (8.0/10)

Saint Vitus- Born Too Late (8.0/10)

Skinny Puppy- Too Dark Park (8.5/10)

Slow Magic- ▲ (7.5/10)

Tentenko (テンテンコ)- あたらしい朝 (Atarashī Asa) (9.0/10)

Tove Lo- Queen Of The Clouds (3.5/10)

XTC- Drums And Wires (7.0/10)

18+- MIXTAP3 (8.5/10)

805 Enavol- Celebritney (Deluxe) (7.5/10)

[cenaindie]

Madame Rrose Sélavy – Ao Vivo na Mostra ArteSônica https://cenaindie.com/album/madame-rrose-selavy-ao-vivo-na-mostra-artesonica/