L'Abbatiale de la
Liturgie Apocryphe

Montréal, p.Q.

Restorers of an 18th-century statue of Jesus Christ in Spain have found a handwritten note hidden up his bum.

The message, written carefully in calligraphy and dating back to 1777, had been stuffed up the Messiah’s backside by a priest, preserving it like a time capsule.

It contains key information about the period and details on popular pastimes, the economic situation, political and religious matters, famous people and other topics.

The document is signed by Joaquin Minguez, priest of the cathedral of Burgo de Osma at the time, and was recently unearthed by workers of the restoration company Da Vinci Restauro.

Today, the wooden statue is kept at the church of Santa Agueda in the village of Sotillo de la Ribera in the northern Spanish province of Burgos.

The document, carefully handwritten on both sides of two pages, was found when restorers removed a piece of fabric used to cover Christ’s behind, which exposed a small gap.

Local historian Efren Arroyo was overwhelmed by the discovery: “It is amazing because it really is unique to find hidden handwritten documents inside such statues.”

As well as naming the statue’s sculptor and including data on local information ranging from agricultural matters to community affairs, the document highlighted common diseases, popular children’s games and even the names of popular bullfighters of the time.

According to experts, all these references indicate Joaquin Minguez’s intention was to make one of the earliest time capsules ever left behind for future generations to discover.

Ana Lacasa
The Sun via New York Post

Les expertises sur le site, considéré comme la tombe de Jésus à Jérusalem, ont daté du IVe siècle des matériaux retrouvés sur place, confortant la tradition, a indiqué mardi une scientifique impliquée dans les travaux de restauration de ce monument

Si elles ne fournissent pas de preuve que le Christ a bien été enterré en cet endroit, ces analyses sont cohérentes avec la croyance selon laquelle les Romains y avaient érigé un monument environ 300 ans après la mort de Jésus Christ.

C’est la première fois en effet que de telles analyses sont conduites sur ce site, où a plus tard été édifiée l’église du Saint-Sépulcre, dans la vieille ville de Jérusalem.

Elles font suite à l’ouverture, en octobre 2016, de la tombe présumée du Christ pour la première fois depuis au moins deux siècles. La plaque de marbre recouvrant la tombe, qui se trouve à l’intérieur d’un édicule lui-même situé dans l’église du Saint-Sépulcre, avait alors été déplacée durant trois jours dans le cadre de travaux de restauration de cet édicule.

Jointe au téléphone par l’AFP, la scientifique coordonnant les travaux de restauration, Antonia Moropoulou, a indiqué que le mortier scellant la plaque de marbre à la tombe datait du IVe siècle de l’ère chrétienne. Ces conclusions sont en accord avec des écrits historiques selon lesquels les Romains avaient construit sur le site un monument autour de 326, sous le règne de Constantin, qui favorisa l’essor du christianisme dans l’empire.

«C’est une découverte très importante qui confirme, comme cela est historiquement prouvé, que c’est Constantin le Grand qui a fait recouvrir de marbre la roche de la tombe du Christ», a expliqué Mme Moropoulou, spécialiste de la conservation à l’Université nationale technique d’Athènes.

La datation du mortier reflète une continuité historique sur le site, à travers l’ère byzantine, les Croisades, la Renaissance et au-delà, a-t-elle expliqué.

Selon la tradition chrétienne, le corps de Jésus a été posé sur un lit funéraire taillé dans le roc à la suite de sa crucifixion par les Romains en l’an 30 ou 33.

Au IVe siècle, Constantin avait ordonné que soit construit sur les lieux un vaste complexe chrétien, à une époque où l’Empire romain commençait à se convertir au christianisme.

Depuis, plusieurs constructions se sont succédé sur le site présumé du tombeau de Jésus. L’édicule actuel, qui attire de nombreux pèlerins, a été bâti en 1809-1810 dans le style baroque ottoman après un incendie qui avait endommagé la basilique. Sa récente restauration a pris neuf mois et s’est achevée en mars.

AFP agence
Le figaro.fr


La tombe de Jésus ouverte pour la première fois depuis au moins deux siècles (October 30, 2016)


Caesars Messiah: The Roman Conspiracy to invent Jesus (2012) by FRITZ HEEDE & NIJOLE SPARKIS (February 13, 2015)

Heaven and Earth Magic
Harry Everett Smith, USA, 1957-1962, 66 min

Heaven and Earth Magic (also called Number 12, The Magic Feature, or Heaven and Earth Magic Feature) is an American avant garde feature film made by Harry Everett Smith. Originally released in 1957, it was re-edited several times and the final version was released in 1962. The film primarily uses cut-out-animated photographs.

Heaven and Earth Magic (1957-1962) by HARRY SMITH

Heaven and Earth Magic (1957-1962) by HARRY SMITH


No. 11: Mirror Animations (1956-57) by HARRY SMITH (November 18, 2013)
“Early Abstractions” (1946-57) by HARRY SMITH (October 27, 2010)

A Catholic school is forced to cover up a brand new statue after the ‘unfortunate’ design shows a kneeling boy and a saint holding a loaf of bread.

  • Adelaide Catholic school has covered up a statue after its image went viral
  • It depicts a saint handing a loaf of bread from his cloak to a kneeling young boy
  • Instagram went wild, with many mocking Blackfriars Priory School’s statue

ADELAIDE, AUSTRALIA – A Catholic boys school has been forced to cover up a brand new statue after a rather unfortunate design created a storm on social media.

Blackfriars Priory School in Adelaide last week unveiled a statue of St Dominic handing a young boy a loaf of bread.

However the design featuring a boy kneeling at the foot of the 12th century Spanish-born saint has caused embarrassment to the inner-city school, which teaches boys from kindergarten to year 12.

A black cloth now covers the statue of the saint, who was recognised for performing the miracle of multiplying bread.

The school was forced to cover the statue with a black cloth after students took inappropriate photos on Friday, the Adelaide Advertiser reports.

This week, it was completed cordoned off. Images of the statue were shared on Instagram page S***Adelaide, attracting 1315 likes and more than 359 comments by Wednesday morning.

‘Like who the hell designed, approved and erected it and no one thought about it?’,’ one critic said.

Another wondering about the vetting process. ‘Was there seriously no one that looked at this before it was installed?,‘ she asked. One woman suggested it was an innocent statue. ‘He’s just giving the boy some bread,’ she said. But one man pointed out the unfortunate sex abuse connotations involving Catholic priests and young boys. ‘Hahahaha pedo priest,’ he said.

Stephen Johnson
Daily Mail Australia


One in 14 Catholic priests accused of abuse in Australia (February 6, 2017)

Following a theatrical run at ICA, Unsound, CTM and SF Doc Fest, Boiler Room presents the online premiere of Bight of the Twin, a new arthouse film starring counter-cultural icon Genesis Breyer P-Orridge (merci Pierre-Luc) :

Bight of the Twin (2016) by HAZEL HILL McCARTHY III

Bight of the Twin
Hazel Hill McCarthy III, 2016, USA, 55 min

“Serial transgressor Genesis Breyer
P-Orridge travels to Benin, Africa, to explore voodoo twin cults and dark mysticism”

Bight of the Twin tells the story of musician and artist Genesis’ journey to Ouidah in Benin to explore the origins of the Vodoun (Voodoo) religion. Transcending assumptions of what it means to be “gendered,” Genesis Breyer P-Orridge and h/er late wife Lady Jaye underwent a series of surgical procedures to become physically identical to one another, seeking to perfect a gender-neutral state through a process they termed ‘pandrogyny’.

In Benin, which has the highest national average of twins per birth in the world, twins carry sacred meaning and are venerated as gods. When one sibling passes away, the remaining twin remembers their lost other by carrying around a small, carved replica of their dead brother or sister.

Beginning as an investigation, the nature of the project changes drastically when Genesis is serendipitously initiated into the ‘Twin Fetish’ – a practice within Vodoun that honors twins by activating a dead twin’s spirit in order to allow for the living one to remain connected with the one who has passed. Through a series of sacrifices and ceremonies, Genesis reaffirms an eternal bond with h/er late wife Lady Jaye: a deeply interdimensional connection of Western civilization and African ritual.

Ultimately, during shooting the nature of the film changed from simply being a catalyst for audiences to gain a wider understanding and acceptance of Vodoun, to being itself, Vodoun—an object that has been activated by creation.



Bight of the Twin (2014) by HAZEL HILL McCARTHY III (July 1, 2014)


Could it be magick? The occult returns to the art world (July 1, 2016)
First Transmission (1982) by PSYCHIC TV (January 7, 2015)
Les yeux de GENESIS BREYER P-ORRIDGE présentés à La Centrale (October 1, 2012)
La bible psychique de GENESIS BREYER P-ORRIDGE (December 7, 2010)
‘Thee Psychick Bible’ A New Testameant By GENESIS BREYER P-ORRIDGE (October 27, 2009)

Ruins Rider is part of an ongoing archeology project involving extensive research in lost civilisations


Upcoming screenings of raw energy :

  • Cinémathèque québécoise (Montreal, Canada)
    19, 20, 25 & 27 September 2017
  • Arctic Moving Image & Film Festival (Harstad, Norway)
    19-22 October 2017
  • Forma Free Music Impulse Festival di Arti Elettroniche (Udine, Italy)
    program w/ Ryoji Ikeda, Cellule d’Intervention Metamkine, etc.
    2-4 November 2017

Ruins Rider
Directed by PIERRE-LUC VAILLANCOURT. Original music by MARC HURTADO.
2017 / 49 minutes

Filmed in the lost territories of the Balkans, Ruins Rider portrays the secret ruins that triggered trances over the past centuries. Using an array of hypnotic pulsating flickers, filmmaker PIERRE-LUC VAILLANCOURT conceived an explosive kinetic experience. Accompanied by a powerful soundtrack by MARC HURTADO of the cult project Étant Donnés, Ruins Rider is a visceral experience of hypnagogic archeology and raw energy.



Images tirées de Ruins Rider (2016) de PIERRE-LUC VAILLANCOURT

“Remarkable, invigorating and immersive work. A deeply committed and brilliantly hypnotic film. Powerful.”

“Ruins Rider is marked as the most powerful of the films that I have seen. It’s a real subject explored with great energy using the new art of the computer to great effect and viscerally stimulating. There is history and ideas and technological wizardry.”

“For Pierre-Luc Vaillancourt this is an attempt to inject a convulsive barbarization, or a self-barbarization as Alain Brossat calls it, into the anesthetized social body in order to jolt it with a reviving electroshock.”

“Mover-and-shaker Pierre-Luc Vaillancourt treated us to a night of his curated film showings at San Francisco Cinematheque. His goal is to “push the envelope” and we think he succeeded!”


MMXVI (December 31, 2016)
Alban Eifed, Cornucopia, Feast of Kyriat, Festival of Dionysus, Équinoxe d’Automne MMXVI (September 22, 2016)

Wishlist Nativité 2017 :

Mystical Symbolism: The Salon de la Rose+Croix in Paris, 1892–1897



The Death of Orpheus (1893) JEAN DELVILLE


Mystical Symbolism: The Salon de la Rose+Croix in Paris, 1892–1897

Edited by Vivien Greene
Contributions by Greene, Jean-David Jumeau-Lafond, and Kenneth E. Silver, as well as Ylinka Barotto, Caroline Guignard, Alison Hokanson, Natalia Lauricella, and Glynnis Stevenson

Mystical Symbolism: The Salon de la Rose+Croix in Paris, 1892–1897 accompanies the first-ever museum presentation examining the Salon de la Rose+Croix (R+C), a series of annual exhibitions established by eccentric French author, critic, and Rosicrucian Joséphin Péladan. The R+C convened an international group of Symbolist artists around a shared refutation of Realist aesthetics and philosophy, frequently in favor of the Ideal. Among the participants were Pierre Amédée Marcel-Béronneau, Jean Delville, Fernand Khnopff, Charles Maurin, Armand Point, Alexandre Séon, and Félix Vallotton.

Bound in red velvet with gold stamped lettering to conjure the sensorially evocative atmosphere of the Salons, the catalogue features essays about the history, themes, and often transcendent aims of the R+C (Greene), its reception by the press and the public in the 1890s (Jumeau-Lafond), and the importance of spiritualism to early 20th-century abstraction (Silver). This richly illustrated volume also contains 46 color plates, entries on each exhibited artist, and a bibliography of contemporary sources on Symbolist art.



Mystical Symbolism: The Salon de la Rose+Croix in Paris, 1892–1897 - NEW YORKSOLOMON R. GUGGENHEIM MUSEUM

Mystical Symbolism: The Salon de la Rose+Croix in Paris, 1892–1897
June 30 – October 4, 2017
Solomon R. Guggenheim Museum, New York


L'Abbatiale de la
Liturgie Apocryphe

"The production of nervous force is directly connected with the diet of an individual, and its refining depends on the very purity of this diet, allied to appropriate breathing exercises.

The diet most calculated to act effectively on the nervous force is that which contains the least quantity of animal matter; therefore the Pythagorean diet, in this connection, is the most suitable.


The main object was to avoid introducing into the organism what Descartes called 'animal spirits'. Thus, all animals that had to serve for the nourishment of the priests were slaughtered according to special rites, they were not murdered, as is the case nowadays".