SASCHA SCHNEIDER

SASCHA SCHNEIDER

SASCHA SCHNEIDER 'Die sterbende Menschheit (1903)

SASCHA SCHNEIDER

SASCHA SCHNEIDER

SASCHA SCHNEIDER

SASCHA SCHNEIDER

SASCHA SCHNEIDER

SASCHA SCHNEIDER 'Triumph der Finsternis' (1896)

SASCHA SCHNEIDER 'Um eine Seele'

SASCHA SCHNEIDER

SASCHA SCHNEIDER

Rudolph Karl Alexander Schneider (21 September 1870, Saint Petersburg, Russia – 18 August 1927, Swinemünde, Poland), commonly known as SASCHA SCHNEIDER, was a German painter and sculptor.

NATALIA SMIRNOVA 'Yellow King', tempera\cardboard

NATALIA SMIRNOVA 'Sketch' tempera 10/8sm

NATALIA SMIRNOVA 'Fire lion', tempera 10/8sm

NATALIA SMIRNOVA 'Heaven Door', tempera 11/13sm

NATALIA SMIRNOVA "I saw the Lord seated on a high throne and the edge of his garment filled the temple", tempera/cardboard

NATALIA SMIRNOVA 'Yam Suph', tempera/cardboard,17,5/15cm sketch

NATALIA SMIRNOVA 'Sinai', tempera/cardboard, 42/40cm

NATALIA SMIRNOVA 'sketch', sepia

NATALIA SMIRNOVA 'Chariot vision' (Prophet's Iezekiil vision, 2011), tempera, 14/14sm

NATALIA SMIRNOVA 'Sun', tempera/cardboard,18/13,5cm

NATALIA SMIRNOVA

NATALIA SMIRNOVA

NATALIA SMIRNOVA (portrait)

NATALIA SMIRNOVA
“Currently lives an isolated life in St. Petersburg, Russia.”

MARC SÉGUIN 'Failures'

MARC SÉGUIN 'Ruin Angels'

MARC SÉGUIN

MARC SÉGUIN 'Ruine - Black out Autel' (2010)

MARC SÉGUIN 'Ruine - croix rouge' (2010)

MARC SÉGUIN (2000)

MARC SÉGUIN Étude pour cendres (2009)

MARC SÉGUIN 'Infallibility - Benedictus XVI' (2008)

MARC SÉGUIN 'Rebecca's Faith (2000)

MARC SÉGUIN 'Ruin Church'

MARC SÉGUIN (2008)

MARC SÉGUIN Failures

MARC SÉGUIN 'Ruin'

MARC SÉGUIN Studio (2008)

MARC SÉGUIN
Né 1970, Ottawa, Ontario. Il vit et travaille entre Montréal PQ et New York, NY.


***


PROCESSION – Une réflexion sur la présence de l’iconographie religieuse dans l’art actuel au Québec (June 16, 2014)

Rapport annuel, bilan des opérations :



SATANIC PANIC: POP-CULTURAL PARANOIA IN THE 1980s

BOUC EMISSAIRE
Manifestations of Satanic Anxiety in Quebec
RALPH ELAWANI avec l’aimable collaboration de l’ABBATIALE DE LA LITURGIE APOCRYPHE



Satanic Panic: Pop-Cultural Paranoia in the 1980s

Chapitre consacré à la représentation du satanisme dans les médias québécois durant la décennie 1980-1990, figurant dans l’ouvrage SATANIC PANIC publié par Spectacular Optical.


Satanic Panic: Pop-Cultural Paranoia in the 1980s

Satanic Panic: Pop-Cultural Paranoia in the 1980s

Satanic Panic: Pop-Cultural Paranoia in the 1980s

Satanic Panic: Pop-Cultural Paranoia in the 1980s


SATANIC PANIC: POP-CULTURAL
PARANOIA IN THE 1980s

Satanic Panic: Pop-Cultural Paranoia in the 1980s features new essays and interviews by 20 emerging and established writers who address the ways the widespread fear of a Satanic conspiracy was both illuminated and propagated through almost every pop culture pathway in the 1980s, from heavy metal music to Dungeons & Dragons role playing games, Christian comics, direct-to-VHS scare films, pulp paperbacks, Saturday morning cartoons, TV talk shows and even home computers.


The book also features case studies on McMartin, Thee Temple ov Psychick Youth and Long Island “acid king” killer Ricky Kasso. From con artists to pranksters and moralists to martyrs, the book aims to capture the untold story of the how the Satanic Panic was fought on the pop culture frontlines and the serious consequences it had for many involved.



Anton Szandor LaVey

Dossier CROIR Proctor and Gamble

Dossier CROIR sur Proctor and Gamble



***


KIER-LA JANISSE and PAUL CORUPE launch Satanic Panic: Pop-Cultural Paranoia in the 1980s (July 3, 2015)
Alban Hefin, Midsommar, Litha, Samradh, Vestalia, Solstitium, Solstice Été MMXV (June 21, 2015)
A new anthology book on how the fear of a Satanic conspiracy spread through 1980s pop culture
(June 15, 2015)
Satanic Panic: Pop-Cultural Paranoia in the 1980s (March 31, 2015)




SOMBRE & AMER

SOMBRE & AMER

SOMBRE & AMER

SOMBRE & AMER fabriquent des amers qui agrémentent les breuvages et les aliments en leur donnant saveur, complexité et richesse.


SOMBRE & AMER

Nos druides sont situés dans la ville de Montréal, au Canada, où ils élaborent leurs recettes selon la tradition artisanale qu’ont établie les apothicaires, herboristes et bons vivants des temps anciens. Nos amers sont fabriqués à partir de teintures d’herbes, d’épices et d’ingrédients naturels et ne contiennent aucun arôme artificiel.



SOMBRE & AMER

SOMBRE & AMER

SOMBRE & AMER Facebook

SOMBRE & AMER

SOMBRE & AMER

SOMBRE & AMER

SOMBREetAMER.com


***


Feast of Avalon, Feast of Kyriat, Festival of Dionysus, Alban Eifed, Équinoxe d’Automne MMXV (September 22, 2015)




ART POP 2015

ART POP 2015 / POP MONTRÉAL

ART POP 2015 / POP MONTRÉAL

ART POP 2015 / POP MONTRÉAL

ART POP 2015 / POP MONTRÉAL

ART POP 2015 / POP MONTRÉAL

ART POP 2015 / POP MONTRÉAL

ART POP 2015 POSTER 19X27

Catalogue ART POP 2015 / POP MONTRÉAL


***


Feast of Avalon, Feast of Kyriat, Festival of Dionysus, Alban Eifed, Équinoxe d’Automne MMXV (September 22, 2015)




PROJET BLUES CLAIR

PATRICK STRARAM 'Projet Blues Clair'

Dans le cadre du colloque Contre-culture : existences et persistances, était lancée la première phase du ‪‎PROJET BLUES CLAIR de RALPH ELAWANI (avec  l’aimable collaboration de l’ABBATIALE DE LA LITURGIE APOCRYPHE).


PATRICK STRARAM 'Projet Blues Clair'

Cette oeuvre interactive propose une relecture d’un texte inédit de PATRICK STRARAM à travers le médium web, en s’inspirant d’une phrase qu’il avait lancée à Gilles Ivain dans une lettre, en 1960 :


« J’avais alors un projet dingue et sérieux. Écrire un livre sur écrans, avec bandes sonores, dans une architecture à parcourir, avec rencontres, jeux, moments au fur et à mesure de la « lecture ».


Merci à Eric Fillion et Tenzier / TNZR pour la trame sonore (‎Quatuor de jazz libre du Québec).


PATRICK STRARAM 'Projet Blues Clair'

PATRICK STRARAM 'Projet Blues Clair'

PATRICK STRARAM 'Projet Blues Clair'

PATRICK STRARAM 'Projet Blues Clair'

ProjetBluesClair.com


PATRICK-STRARAM_Projet-Blues-Clair_01

PATRICK STRARAM (né à Paris le 12 janvier 1934 , mort à Longueuil le 6 mars 1988 ) est un écrivain québécois d'origine française.

PATRICK STRARAM (né à Paris le 12 janvier 1934 , mort à Longueuil le 6 mars 1988 ) est un écrivain québécois d’origine française.


PATRICK STRARAM (né à Paris le 12 janvier 1934 , mort à Longueuil le 6 mars 1988 ) est un écrivain québécois d'origine française.

PATRICK STRARAM (né à Paris le 12 janvier 1934 , mort à Longueuil le 6 mars 1988 ) est un écrivain québécois d'origine française.

***


Feast of Avalon, Feast of Kyriat, Festival of Dionysus, Alban Eifed, Équinoxe d’Automne MMXV (September 22, 2015)

Les statues de fantômes dans l'église de Saint-Georges (République tchèque) de JAKUBA HADRAVY

Les statues de fantômes dans l'église de Saint-Georges (République tchèque) de JAKUBA HADRAVY

Les statues de fantômes dans l'église de Saint-Georges (République tchèque) de JAKUBA HADRAVY

Les statues de fantômes dans l'église de Saint-Georges (République tchèque) de JAKUBA HADRAVY

Les statues de fantômes dans l'église de Saint-Georges (République tchèque) de JAKUBA HADRAVY

Les statues de fantômes dans l'église de Saint-Georges (République tchèque) de JAKUBA HADRAVY

Les statues de fantômes dans l'église de Saint-Georges (République tchèque) de JAKUBA HADRAVY

Les statues de fantômes dans l'église de Saint-Georges (République tchèque) de JAKUBA HADRAVY


Les statues de fantômes dans l’église de Saint-Georges (République tchèque) de JAKUBA HADRAVY
Détails (tchèque)

'Crystal Mary' by KYLE MONTGOMERY

'Crystal Mary' by KYLE MONTGOMERY

'Crystal Mary' by KYLE MONTGOMERY

'Crystal Mary' by KYLE MONTGOMERY

'Crystal Mary' by KYLE MONTGOMERY

'Crystal Mary' by KYLE MONTGOMERY

'Crystal Mary' by KYLE MONTGOMERY

KYLE MONTGOMERY (1987), vit et travaille à Sydney, Australie.

Affaires courantes :



SOMBRE & AMER, MMXV, Montréal p.Q.

SOMBRE & AMER, MMXV, Montréal p.Q.

SOMBREetAMER.com


Équinoxe Automne MMXV

CUT HANDS

FASHION POP 2015

FASHION POP 2015


ART POP 2015 POSTER 19X27

Catalogue ART POP 2015


DAVID ALTMEJD 'Untitled' (2004) dans le cadre de l'exposition FLUX au MAC, Montréal p.Q.

DAVID ALTMEJD ‘Untitled’ (2004), dans le cadre de l’exposition FLUX au MAC, Montréal p.Q.


PATRICK STRARAM (né à Paris le 12 janvier 1934 , mort à Longueuil le 6 mars 1988 ) est un écrivain québécois d'origine française.

PATRICK STRARAM (né à Paris le 12 janvier 1934 , mort à Longueuil le 6 mars 1988 ) est un écrivain québécois d'origine française.

PATRICK STRARAM (né à Paris le 12 janvier 1934 , mort à Longueuil le 6 mars 1988 ) est un écrivain québécois d'origine française.

PATRICK STRARAM (né à Paris le 12 janvier 1934 , mort à Longueuil le 6 mars 1988 ) est un écrivain québécois d’origine française

“Ecce Homo” and “Mater Dolorosa” (1674-85) by PREDRO DE MENA

It is impossible to look at the bruised and bloody body of PREDRO DE MENA’s Christ without wincing in sympathy. And one would have to be stonyhearted to look unmoved on the Virgin Mary’s tears. Yet, until very recently, painted wood sculpture of this kind, produced in Baroque Spain, was ignored by most mainstream art historians, or even dismissed as religious kitsch. (…) Polychrome works by the most skilled and passionate of Spanish sculptors are therefore at the top of the Department of European Sculpture and Decorative Art’s list of sculptural desiderata, and the chance to acquire PREDRO DE MENA’s marvelously moving Ecce Homo and Mater Dolorosa was not to be missed.


“Ecce Homo” (1674-85) by PREDRO DE MENA

“Ecce Homo” (1674-85) by PREDRO DE MENA

“Ecce Homo” (1674-85) by PREDRO DE MENA

“Ecce Homo” (1674-85) by PREDRO DE MENA

“Ecce Homo” (1674-85) by PREDRO DE MENA

Because the half-length figures are slightly less than lifesize, and because they are given grand theatrical gestures and dramatically swirling draperies, they proclaim themselves as works of art. However, these pieces also bring the living figures of the tortured Christ and his grieving mother into our world, giving them a presence that feels almost unmediated by an artist. Not only are their facial expressions painfully vivid, the sculptures are colored with an extraordinary realism, with glass eyes and real hair used for the eyelashes. This coloring was also immensely skillful; Pedro belonged to the first generation of sculptors not forced by guild regulations to relinquish this responsibility. These are sculptures whose startling immediacy depends upon his brilliant craft.


Luke Syson
Iris and B. Gerald Cantor Chairman
Department of European Sculpture and Decorative Arts


“Mater Dolorosa” (1674-85) by PREDRO DE MENA

“Mater Dolorosa” (1674-85) by PREDRO DE MENA

“Mater Dolorosa” (1674-85) by PREDRO DE MENA

“Ecce Homo” and “Mater Dolorosa” (1674-85) by PREDRO DE MENA

PREDRO DE MENA’s “Ecce Homo” and “Mater Dolorosa” are on view in Gallery 611 of the Metropolitan Museum of Art (1000 Fifth Avenue, Upper East Side, Manhattan).


***


Treasures of Heaven: Saints, Relics and Devotion in Medieval Europe (March 23, 2011)
Religious Art at The Metropolitan Museum of Art (January 20, 2011)

'Egg Benedict' aka the 'Condom Pope' by NIKI JOHNSON

MILWAUKEE — It’s not unusual for a work of art to cause outrage, especially if it dips into the tender zones of race, gender, or religion. It is no surprise, then, that news of the Milwaukee Art Museum (MAM) acquiring a seven-foot-tall, double-sided portrait of Pope Benedict XVI woven from 17,000 condoms has caused consternation, 500 comments within the first day of a local newspaper article online, national coverage, and threats from museum members, donors, and docents to withdraw support.


Big deal. This is the art world, and it’s par for the course. Controversy is as much a part of art history as rabbit skin glue.


In a post-Mapplethorpe landscape, we know the routine — although of course it goes back further than that. CARAVAGGIO was considered vulgar for his mixing of real life models into religious scenes in the 17th century. One hardly needs to mention ANDRES SERRANO’s “Piss Christ” controversy in 1989 and the subsequent CHRIS OFILI “Holy Virgin Mary” scandal of 1999. More recently, the Hide/Seek exhibition of 2010–11, co-curated by Jonathan D. Katz and David C. Ward and shown at the National Portrait Gallery in Washington, DC, caused an uproar, not because it was a brilliant revisionist history of the role gay artists played in Modernism, but because one video by DAVID WOJNAROWICZ showed ants crawling on a crucifix. The video was removed from the exhibition.


Religious purists, in efforts to protect their sanctity, rise up in waves of predictable indignation. The arguments are generally reactionary and simple-minded, disregarding the artist’s investment of thought, time, and professionalism in a complex, socially engaged attempt to communicate the way only art can — via a premise rather than polemics. The ‘Condom Pope’ has been quickly dismissed by an internet public as a stunt, an offense and a childish prank to garner public attention.


Archbishop of Milwaukee Jerome E. Listecki wrote:


An artist who claims his or her work is some great social commentary and a museum that accepts it, insults a religious leader of a church, whose charitable outreach through its missionaries and ministers has eased the pain of those who suffer throughout the world, must understand the rejection of this local action by the believers who themselves have been insulted.

William A. Donahue, of the Catholic League, has also chimed in.


“This is yet another diversionary tactic of a right wing increasingly aware it is on the wrong side of history,” said curator Jonathan Katz. “Borrowing a language of discrimination from the left, they try to make it seem as if they are the wounded party. But tell me, who has been the subject — the continuing subject, I might add — of centuries of legal and and physical abuse aided and abetted by religion?”

But it seems as if everyone loses during these flare-ups. At the same time that conservatives defensively misinterpret the meaning and value of the work, the more liberal art world confuses the viral spotlight for empowerment. The valuable message of the work becomes muffled by the sensationalism of the controversy. The ‘Condom Pope’ has not even gone on view at the museum yet. The MAM’s permanent collection is currently closed for remodeling and reinstallation and will open in November with the Pope tucked between CHUCK CLOSE’s “Nancy” (1968) and DUANE HANSON’s “Janitor” (1973), a rather clinical contextual nod to photorealism and the portrait — a safer positioning than within the more amorphous contemporary collection.


'Eggs Benedict' aka the 'Condom Pope (2013) NIKI JOHNSON

Eggs Benedict, Latex embroidery on steel mesh, wood, plexiglass, 83”x 60”x 14”, 2013, In the permanent collection of the Milwaukee Art Museum


The artist NIKI JOHNSON (b. 1977, Wisconsin) made this double-sided portrait of Pope Benedict XVI, actually titled “Eggs Benedict,” out of 17,000 multicolored condoms. The piece is a response to a statement made by the conservative German former Pope in 2009 that condom use would not stem the spread of AIDS in Africa. In all of her work, JOHNSON, who earned her MFA in 2012 from the University of Wisconsin-Madison, is interested in feminist and social issues and how the media disseminates information and shapes opinion.


“Eggs Benedict” was first exhibited in 2013 at my art gallery in Milwaukee, Portrait Society, a space dedicated to reexamining issues related to the genre of portraiture. The novelty of this work and the promotional acumen of the artist caused a viral, international response then, with the ‘Condom Pope’ being written about nearly worldwide. Locally, it received positive print and television media attention; the majority of international attention was positive as well. Visitors to the gallery, both Catholic and not, applauded the technical finesse of the piece as well as its respectful portrayal of the Pope. His image, culled from a newspaper photograph, is representational. JOHNSON wove the condoms through a mesh, much like a rag rug, to achieve the effect, acknowledging the process of weaving and its relationship to traditional women’s craft. She sometimes doubled two condom colors to achieve a more complex palette. The back of the piece shows the dangling ends of the condoms and appears as an almost abstract composition.


'Egg Benedict' aka the 'Condom Pope' by NIKI JOHNSON

During its debut at the gallery, visitors lingered and wanted to converse about the piece. Strangers spoke to strangers about issues ranging from birth control and the role of church and state in contraception and abortion to the stigma regarding condoms (it’s still hard to talk to your teenagers about them) and HIV prevention. It became a selfie zone. It was within this context that the Milwaukee Art Museum accepted the sculpture into its collection. “We did not think the work would spark this much interest,” MAM Director Dan Keegan told Hyperallergic. “However, we did anticipate that it would stimulate conversation and discussion. That’s what good art does.”


But beyond the yawningly predictable controversy as “Eggs Benedict” enters the public sphere is another story about how it got there and perhaps about why more politically charged, socially engaged work so infrequently makes it into the permanent collections of art museums. As curator Jonathan Katz told Hyperallergic, “The art world has long been party to a significant confusion: it mistakes avant-garde style for avant-garde politics and then claps itself on the back for being so progressive. But the rare art that dares to address politics is almost always denied a place at the table until enough decades have passed to blunt its bite.”


To get a place at the table these days, it doesn’t take a village; it takes a liberal patron. And in Milwaukee, as elsewhere, they are precious few.


Joseph Pabst, descendant of the Pabst Brewing Co. family, has been involved in LGBTQ organizations and supported AIDS research for more than a decade. But his love of art and degrees in art history and design have inspired a different kind of activism too. Pabst understands the role that art plays in culture, absorbing and reflecting the conditions of its time, both directly and indirectly. He knows he can use his financial ability and passion for contemporary issues to ensure that the underrepresented, the victimized, and the oppressed receive a place within the regulated vaults of the public art world. When the Milwaukee Art Museum hosted an exhibition of more than 40 historic American quilts from the Winterthur Collection in 2010, for example, Pabst conceived of and funded a parallel exhibition of nine NAMES Project AIDS Quilts, which was shown around the corner . In 2011, after seeing a TARYN SIMON exhibition at the Milwaukee Art Museum, Pabst purchased her photograph of a vial of live HIV virus and gifted it to MAM with the stipulation that it be shown every year on World AIDS Day. He also purchased a suite of photographs of gay hate crime murder sites by artist PAUL BAKER PRINDLE and gave them to the regional Museum of Wisconsin Art.


It would have been unlikely that the Milwaukee Art Museum would have put forth $25,000 to purchase “Eggs Benedict.” When Pabst heard that the gallery was considering selling the work to a private collector, he stepped in and advocated that because of the potency of the piece’s message, it must be placed in a public institution, to “reach the greatest number of people … to do the most good,” he commented at the time. Pabst offered to buy the work and gift it. After a national search for a museum recipient, the MAM agreed. While both the Leslie Lohman Museum of Gay and Lesbian Art and the Museum of Sex in New York expressed interest, Pabst preferred to see it housed in a museum with a more general audience as well as in the city where he lives.


“I’m interested in many issues, including art, LGBT issues, HIV and AIDS, and issues of violence, including sexual violence,” Pabst said. “It’s ironic that the church and I should share such similar concerns. How could I not buy this piece when it covers a parallel social spectrum?”


Milwaukee, the city of beer, cheese, cream puffs, and bratwurst, has been under a conservative assault for four years with Republican Governor Scott Walker in office. Most of the news coming from here has been bad. Walker has undermined the unions, cut funding for education, advocated for new abortion constraints, and loosened gun laws in a city that is replete with violent crime. It is heartening that a scion of the city’s early brewing pioneers is working to keep earnest conversation, debate, and inquiry an integral part of the local culture.


“I’m thrilled that the artwork is doing what it should do: prompting people into a conversation — one that I hope is productive,” Pabst said. “This is a historic moment that is taking place in Milwaukee, Wisconsin, for the world to see. A work of art is stirring a global conversation. Hopefully, once the piece is on public view, it will stimulate the conversation that was intended by the artist and the patron. That conversation is about HIV/AIDS.”



Debra Brehmer
Hyperallergic


***


PAUL FRYER (April 8, 2014)
La Nona Ora (1999) de MAURIZIO CATTELAN (February 12, 2013)
Destruction de «Piss Christ»: «Je ne m’y attendais pas, surtout en France» (April 18, 2011)
A Fire in My Belly ‘Original’ (1986-87) by DAVID WOJNAROWICZ (December 22, 2010)
Ant-covered Jesus video removed from Smithsonian after Catholic League complains
(December 2, 2010)

DANIEL MITSUI 'Sorrowful Mysteries'

DANIEL MITSUI 'Glorious Mysteries'

DANIEL MITSUI 'Joyful Mysteries'

DANIEL MITSUI 'Solomon & St-Sebastian'

DANIEL MITSUI 'Crucifixion'

DANIEL MITSUI 'Crucifixion'

DANIEL MITSUI 'Last Judgment'

DANIEL MITSUI 'Nativity of Christ'

DANIEL MITSUI 'OUR LADY of WALSINGHAM'

DANIEL MITSUI 'Presentation in the Temple'

DANIEL MITSUI
Born in Georgia, USA, in 1982, and raised in Illinois. Now lives in Chicago. He has studied drawing, oil painting, etching, lithography, wood carving, bookbinding and film animation.


‘In my religious drawings, I attempt to be faithful to the instructions of the Second Nicene Council, which stated that the composition of religious imagery is not left to the initiative of artists, but is formed upon principles laid down by the Catholic Church and by religious traditionThe execution alone belongs to the painter, the selection and arrangement of subject belongs to the Fathers.


In Gothic art, the iconographic tradition that stretches back to the apostolic age was expressed with extraordinary vigor, fidelity and theological sophistication. It is from the illuminated manuscripts, panel paintings, tapestries and incunabula of the Northern European late Middle Ages that I draw most of my inspiration’ (…)

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".