Lesley Ann

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kosmosinsel
    Hans Bellmer    Petit Traité de Morale

kosmosinsel

    Hans Bellmer
    Petit Traité de Morale

(via spectrumvivace)

Qiu Zhijie
Tattoo II

Qiu Zhijie

Tattoo II

(Source: 6in, via yoshiphones)

geaphiles:

2 of 4 drawings I did for Re:Surgo! (Bongout)

**

Process pics:  Curated by 03- Timeless

http://www.resurgo-berlin.com/2012/05/process-pics-curated-by-03-timeless.html

gillesberquet:

leblogdesovena:

Gilles Berquet

Mïrka Lugosi

gillesberquet:

leblogdesovena:

Gilles Berquet

Mïrka Lugosi

lauramcphee:

Main Jeanne, c1990 (Gilles Berquet)

lauramcphee:

Main Jeanne, c1990 (Gilles Berquet)

(via gillesberquet)

midnitesurprise:

inspired by this nancy panel

midnitesurprise:

inspired by this nancy panel

Trevor Brown

books available @ lesley ann

(Source: pinkseifuku)

from Drowned in Sound:
The second set was by Consumer Electronics (Philip Best of Whitehouse’s solo project, although he played with a full band).

Anyone who’s ever listened to anything Best has ever done will know the drill lyrically - stuff about rape, subjication of women yada yada yada. But it takes on a whole new dimension live. He’s a bald, topless, overwight man in his late-40s wearing leather trousers and sunglasses.

He has this homemade scrap book with, amongst other things, pictures of young pre-pubescent girls. He flicks through the book while the maelstrom of noise continues behind him, until he finds pictures of his ‘favourite’ girls. He then licks and kisses the picture ‘sensuously’, rubs it over his genitals, touches himself and so on.

Written down here, or listened to on record, it all seems so extreme as to be silly, but when you see it live there’s an un-nerving sense that he’s not entirely joking (even if, similarly, he’s not being entirely serious). Not that it makes much difference, but this guy has a PhD, so he’s not an idiot - he knows what he’s doing.

via: philipbest

from Drowned in Sound:

The second set was by Consumer Electronics (Philip Best of Whitehouse’s solo project, although he played with a full band).

Anyone who’s ever listened to anything Best has ever done will know the drill lyrically - stuff about rape, subjication of women yada yada yada. But it takes on a whole new dimension live. He’s a bald, topless, overwight man in his late-40s wearing leather trousers and sunglasses.

He has this homemade scrap book with, amongst other things, pictures of young pre-pubescent girls. He flicks through the book while the maelstrom of noise continues behind him, until he finds pictures of his ‘favourite’ girls. He then licks and kisses the picture ‘sensuously’, rubs it over his genitals, touches himself and so on.

Written down here, or listened to on record, it all seems so extreme as to be silly, but when you see it live there’s an un-nerving sense that he’s not entirely joking (even if, similarly, he’s not being entirely serious). Not that it makes much difference, but this guy has a PhD, so he’s not an idiot - he knows what he’s doing.

via: philipbest

LIVE - COPENHAGEN - 23/06/12 
SUTCLIFFE JUGEND
CONSUMER ELECTRONICS
PETER SOTOS

via: philipbest

LIVE - COPENHAGEN - 23/06/12 

SUTCLIFFE JUGEND

CONSUMER ELECTRONICS

PETER SOTOS

via: philipbest

oxane:

louparoulette by NIARK1
Acrylic & more on 400g/m2 paper

oxane:

louparoulette by NIARK1

Acrylic & more on 400g/m2 paper

(via robskavsta)

Stu Mead
[official website]

Stu Mead

[official website]

(Source: gagweed, via schundundschmutz)

tobacco-and-leather:

Irina Ionesco 

tobacco-and-leather:

Irina Ionesco 

(via robskavsta)

JOHN DUNCAN
Blind Date


On May 14th, 1980, John Duncan performed ‘Blind Date’ at DTLA in Los Angeles. Duncan’s piece was part of a 2 month festival of performance art, called ‘Public Spirit’, which played at different locations throughout the city and was one of the largest and most comprehensive festivals ever held in the United States.  

Rumour was out surrounding the extreme nature of Duncans’ newest work, and in many ways what the audience saw and heard that night in the DTLA space lived up to expectation.  
Immediately the performance art community was not only divided but polarised over what Duncan had dared. The magazine ‘High Performance’ which ran a special issue catalog documenting the ‘Public Spirit’ festival refused to carry documentation of the piece. Instead the editor printed the following;

“John Duncan performed twice in this festival. His other piece is not included in this catalog because I find it highly, morally objectionable and do not wish to be responsible for publishing it. Rather than describe what occurred that May night, let us listen to John Duncan himself as he describes and performs for radio, ‘Blind Date’.”

—————————————————————————-

    ”Men are taught to respond to their own emotional pain with rage. A rage they often aim at themselves. Teaching men to react in this way is an obscene and sanctioned perversion. If you were a parent with a male child, you are partly to blame.

    I was very deeply in love. When I lost that love I saw myself as a complete, emotional failure. Unable to return any kind of positive affection. I wanted to punish myself as thoroughly as I could. I decided to have a vasectomy - but that wasn’t enough. I wanted my last potent seed to be spent in a dead body.

    I made arrangements to have sex with the cadaver.

    I was bodily thrown out of several sex shops before meeting a man who set me up with a morticians’ assistant in a Mexican border town. The man took $10 in exchange for a phone number. One hour with the corpse would be $80 paid to the morticians’ assistant. I was ordered not to take any pictures or film. I drove to the border town, rented the room and called the phone number. About an hour later the assistant came to my room. He drove to the mortuary at his insistence and shown me to a medium sized work room. He took the $80, shut the door and left me alone. The corpse was a woman who I guess to be in her mid-thirties with no disfigurements. All limbs and head attached, lying on a table covered with white paper.

    What you are about to hear is the sound of my having sex with it.”



JOHN DUNCAN
Blind Date


On May 14th, 1980, John Duncan performed ‘Blind Date’ at DTLA in Los Angeles. Duncan’s piece was part of a 2 month festival of performance art, called ‘Public Spirit’, which played at different locations throughout the city and was one of the largest and most comprehensive festivals ever held in the United States.  

Rumour was out surrounding the extreme nature of Duncans’ newest work, and in many ways what the audience saw and heard that night in the DTLA space lived up to expectation.  
Immediately the performance art community was not only divided but polarised over what Duncan had dared. The magazine ‘High Performance’ which ran a special issue catalog documenting the ‘Public Spirit’ festival refused to carry documentation of the piece. Instead the editor printed the following;

“John Duncan performed twice in this festival. His other piece is not included in this catalog because I find it highly, morally objectionable and do not wish to be responsible for publishing it. Rather than describe what occurred that May night, let us listen to John Duncan himself as he describes and performs for radio, ‘Blind Date’.”

—————————————————————————-

    ”Men are taught to respond to their own emotional pain with rage. A rage they often aim at themselves. Teaching men to react in this way is an obscene and sanctioned perversion. If you were a parent with a male child, you are partly to blame.

    I was very deeply in love. When I lost that love I saw myself as a complete, emotional failure. Unable to return any kind of positive affection. I wanted to punish myself as thoroughly as I could. I decided to have a vasectomy - but that wasn’t enough. I wanted my last potent seed to be spent in a dead body.

    I made arrangements to have sex with the cadaver.

    I was bodily thrown out of several sex shops before meeting a man who set me up with a morticians’ assistant in a Mexican border town. The man took $10 in exchange for a phone number. One hour with the corpse would be $80 paid to the morticians’ assistant. I was ordered not to take any pictures or film. I drove to the border town, rented the room and called the phone number. About an hour later the assistant came to my room. He drove to the mortuary at his insistence and shown me to a medium sized work room. He took the $80, shut the door and left me alone. The corpse was a woman who I guess to be in her mid-thirties with no disfigurements. All limbs and head attached, lying on a table covered with white paper.

    What you are about to hear is the sound of my having sex with it.”



TREVOR BROWN“Toybox” Postcard Set
In commemoration of Trevor Browns’ 2012 exhibition hosted by Tokyo’s Span Art Gallery comes the limited postcard edition of the Toybox series.This boxed set contains 20 individual postcards of Trevor Brown’s playfully perverse and surreal paintings each accompanied by their own personal rhyme.
Postcards measure 10 x 14.80cmLimited edition of only 250!
available @ lesley ann

TREVOR BROWN
“Toybox” Postcard Set

In commemoration of Trevor Browns’ 2012 exhibition hosted by Tokyo’s Span Art Gallery comes the limited postcard edition of the Toybox series.

This boxed set contains 20 individual postcards of Trevor Brown’s playfully perverse and surreal paintings each accompanied by their own personal rhyme.

Postcards measure 10 x 14.80cm
Limited edition of only 250!

available @ lesley ann

TREVOR BROWN“Toybox” Postcard Set

TREVOR BROWN
“Toybox” Postcard Set

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