Original source tape for COUM Transmissions "Sugarmorphoses" Released on LP by Dais Records in 2011. Provided by Ryan Martin.
Showing posts with label Coum Transmissions. Show all posts
Showing posts with label Coum Transmissions. Show all posts
Thursday, October 9, 2014
Sunday, October 13, 2013
COUM Transmissions Home Aged & The 18 Month Hope LP pre-orders!
"Pre-orders up for the new COUM Transmissions “Home Aged & The 18 Month Hope” LP which features a compilation of various recordings and interviews spanning from 1971-1975. COUM Transmissions was a Fluxus-inspired performance art group founded in 1969 by Genesis P-Orridge (then Neil Andrew Megson) after a stint with the Exploding Galaxy Commune and would go on for the next ten years and eventually morph itself into the industrial music pioneers, Throbbing Gristle." via Dias Records
http://shop.daisrecords.com/collections/vinyl/products/coum-transmissions-home-aged-the-18-month-hope-lp
Wednesday, August 21, 2013
Coum Transmissions LP arriving from Dais records this October and THE BRITISH GOVERMENT Coum pieces -1975- inducted into the Tate Britain
The cover for the forthcoming COUM Transmissions "Aged Home & The 18 Month Hope" LP. Out on Dais Records this October.
ALSO...
COUM Transmissions' "THE BRITISH GOVERNMENT" (1975) has officially been inducted into the permanent collection of the TATE BRITAIN!
Wednesday, September 21, 2011
COUM TRANSMISSIONS 'Sugarmorphoses' LP Cold Spring Records
From Cold Spring records...
In stock: COUM TRANSMISSIONS 'Sugarmorphoses' LP. Genesis P-Orridge (Throbbing Gristle, Psychic TV). Recorded 1974, Ho Ho Funhouse. Ltd 1000
http://www.coldspring.co.uk/
In stock: COUM TRANSMISSIONS 'Sugarmorphoses' LP. Genesis P-Orridge (Throbbing Gristle, Psychic TV). Recorded 1974, Ho Ho Funhouse. Ltd 1000
http://www.coldspring.co.uk/
Tuesday, May 17, 2011
COUM Transmissions write up by Tate Modern
preface from Genesis...
CORRECTION:-
This text on COUM Transmissions compounds an often re-iterated misconception about COUM Transmissions.
For the sake of Astorical accuracy only, we add this correction.
COUM Transmissions was received as a series of visions by Genesis (Breyer) P-Orridge in Shrewsbury, Shropshire late Summer of 1969. Genesis founded COUM Transmissions as an art project alone. There were NO co-founders. He had never met, nor heard of Christine Carol Newby (later Christened Cosmosis by Genesis) at that time. The original members of COUM Transmissions were G P-O and John Jesus Shapeero. Later on Dr Timothy poston, Ian "Spydee" Evetts, Peter "Pinglewad" Winstanley all became members. Cosey began her connection with COUM Transmissions performances around 1971-72. She had however, always supported Genesis and COUM both conceptually as a member of the "Coumunity" at the HoHo Funhouse and functionally creating costumes and props. After beginning to also take part in street actions and arts festival performances she grew to add a unique and powerful element and became an integral aspect of the ever more intimate and extreme actions of COUM Transmissions. A perfect foil in the later explorations of sexuality, gender and stereotypes.
Genesis Breyer P-Orridge NYC 2011.
From http://www.tate.org.uk/ Europes largest Art Magazine...
Handbill for COUM Transmissions' 'Prostitution' exhibition at the Institute of Contemporary Arts, London, October 1976
Courtesy Tate Archive
Lizzie Carey-Thomas on COUM Transmissions
“Public money is being wasted here to destroy the morality of society. These people are the wreckers of civilisation,” wrote Tory MP Nicholas Fairbairn in the Daily Mail on 19 October 1976. The subject of his tirade was the performance-art group COUM Transmissions and its recently opened, now infamous exhibition ‘Prostitution’ at the ICA, London. COUM, formed in Hull in 1969 by Genesis P-Orridge and Cosey Fanni Tutti, had begun life as a band, but gained notoriety throughout the early 1970s for its taboo-breaking direct “actions”. Its founders’ antagonistic approach often brought them into conflict with the law, the most well-documented of which was P-Orridge’s indecent postcard trial of April 1976. Hijacking the trial as an art event under the title ‘G.P.O v. G-P.O’, complete with invitation cards, he subsequently announced: “What E [sic] am interested in now is that point where Art meets Life and fuses, dispersing art and enhancing life.”
While ‘Prostitution’ ran for only eight days at the ICA, it received a hostile and widespread reaction from the national press, who saw its contents as a deliberate assault on the moral and artistic values of the time. Alongside photographs of COUM performances and related press cuttings (including those levelled at the show), the exhibition included used tampons sculptures, props from past “actions” and framed pages of pornographic magazines from Tutti’s modelling career, available upon request.
Nineteen seventy-six had been a difficult year for contemporary art in Britain, which found itself facing an increasingly sceptical press during a period of all-time economic lows. Since the furore over Tate’s purchase of Carl Andre’s Equivalent VIII (the “Tate Bricks”) in February, public subsidy of the arts had been forensically examined, and some critics were quick to see ‘Prostitution’ as further evidence of waning standards and a threat to societal values. In a typically agile move, the show was to be both the culmination and death of COUM’s art-related activities – the duo relaunched themselves at the opening as industrial band Throbbing Gristle, abandoning the art establishment altogether.
- Archive material on COUM Transmissions and 'Prostitution' has been selected from the Genesis P-Orridge archive held at Tate and a private collection.
CORRECTION:-
This text on COUM Transmissions compounds an often re-iterated misconception about COUM Transmissions.
For the sake of Astorical accuracy only, we add this correction.
COUM Transmissions was received as a series of visions by Genesis (Breyer) P-Orridge in Shrewsbury, Shropshire late Summer of 1969. Genesis founded COUM Transmissions as an art project alone. There were NO co-founders. He had never met, nor heard of Christine Carol Newby (later Christened Cosmosis by Genesis) at that time. The original members of COUM Transmissions were G P-O and John Jesus Shapeero. Later on Dr Timothy poston, Ian "Spydee" Evetts, Peter "Pinglewad" Winstanley all became members. Cosey began her connection with COUM Transmissions performances around 1971-72. She had however, always supported Genesis and COUM both conceptually as a member of the "Coumunity" at the HoHo Funhouse and functionally creating costumes and props. After beginning to also take part in street actions and arts festival performances she grew to add a unique and powerful element and became an integral aspect of the ever more intimate and extreme actions of COUM Transmissions. A perfect foil in the later explorations of sexuality, gender and stereotypes.
Genesis Breyer P-Orridge NYC 2011.
From http://www.tate.org.uk/ Europes largest Art Magazine...
Courtesy Tate Archive
Lizzie Carey-Thomas on COUM Transmissions
“Public money is being wasted here to destroy the morality of society. These people are the wreckers of civilisation,” wrote Tory MP Nicholas Fairbairn in the Daily Mail on 19 October 1976. The subject of his tirade was the performance-art group COUM Transmissions and its recently opened, now infamous exhibition ‘Prostitution’ at the ICA, London. COUM, formed in Hull in 1969 by Genesis P-Orridge and Cosey Fanni Tutti, had begun life as a band, but gained notoriety throughout the early 1970s for its taboo-breaking direct “actions”. Its founders’ antagonistic approach often brought them into conflict with the law, the most well-documented of which was P-Orridge’s indecent postcard trial of April 1976. Hijacking the trial as an art event under the title ‘G.P.O v. G-P.O’, complete with invitation cards, he subsequently announced: “What E [sic] am interested in now is that point where Art meets Life and fuses, dispersing art and enhancing life.”
While ‘Prostitution’ ran for only eight days at the ICA, it received a hostile and widespread reaction from the national press, who saw its contents as a deliberate assault on the moral and artistic values of the time. Alongside photographs of COUM performances and related press cuttings (including those levelled at the show), the exhibition included used tampons sculptures, props from past “actions” and framed pages of pornographic magazines from Tutti’s modelling career, available upon request.
Nineteen seventy-six had been a difficult year for contemporary art in Britain, which found itself facing an increasingly sceptical press during a period of all-time economic lows. Since the furore over Tate’s purchase of Carl Andre’s Equivalent VIII (the “Tate Bricks”) in February, public subsidy of the arts had been forensically examined, and some critics were quick to see ‘Prostitution’ as further evidence of waning standards and a threat to societal values. In a typically agile move, the show was to be both the culmination and death of COUM’s art-related activities – the duo relaunched themselves at the opening as industrial band Throbbing Gristle, abandoning the art establishment altogether.
- Archive material on COUM Transmissions and 'Prostitution' has been selected from the Genesis P-Orridge archive held at Tate and a private collection.
Saturday, April 23, 2011
Next COUM record out on DAIS this spring
Facebook post From Ryan Martin, Gen's management and head of Dais Records.
Ryan Martin
listening to the COUM Transmissions "Sugarmorphoses" masters from 1972 for the next COUM record out on DAIS this spring...could they get any weirder!!!
Ryan Martin
listening to the COUM Transmissions "Sugarmorphoses" masters from 1972 for the next COUM record out on DAIS this spring...could they get any weirder!!!
Monday, April 11, 2011
Information on Ted Little saved from Gen's "next-new-way-on" official site circa 1999
Ted Little originally ran the Birmingham Arts Lab in the 1970's. After moving to London to contemporise the I.C.A. Theatre and downstairs he championed all the new musical, fashion, and theatre spectaculars that were erupting in London at that time. Despite immense pressure from the Arts Council, and in the end the Government itself, he never backed down on what he believed was radical and relevant in the arts. Without him COUM could not have become as legendary and significant as they are. Nor Throbbing Gristle have been elevated into the public arena as effectively or fast. The Industrial Music and Punk Rock scenes of London in 1976 owe a huge debt to his vision, courage, and fabulous sense of humour. Malcolm MaClaren's "SEX" shop exhibited in the corridors and café. The Clash, The Damned, Siouxie, The Subway Sect played in the theatre. Throbing Gristle unveiled themselves in the large "Art" Gallery along with "LSD" (Chelsea, later Gen X) and COUM Transmissions confronted head on the moral, political, and artistic hypocrisies of their day.
-Genesis
-Genesis
Monday, February 28, 2011
Rare original poetry from G P-O 1971
Rare original poetry from G P-O - from the collection of Malachi Gammon.Thanks for the contribution to thee archive. 1971
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