Gen's upcoming events and Misc.upcoming projects...





GENS MISC. UPCOMING PROJECTS: Heartworm Press are publishing “Collected Lyrics and Poems of Genesis Breyer P-Orridge – Volume One 1961 to 1971. Later they will publish Gen's first novel, written in 1969, “Mrs. Askwith”. Other books will follow.

Tuesday, June 26, 2012

Summer School 2012 Sessions. Workshop with Genesis Breyer P-Orridge


MoMA PS1


Call for applications
Summer School 2012 at MoMA PS1

Call for student applications for Summer School 2012 with Marina Abramović, Steve Paxton, and Genesis Breyer P-Orridge
www.momaps1.org/summerschool


MoMA PS1’s hugely popular educational program Summer School returns in August for its second iteration. Summer School is an annual series of workshops, lectures, and discussions that bring students together for a conversation centered on contemporary practice with artists, authors, musicians, curators, theorists, and scholars who have made profound contributions in their respective fields. Modeled after European summer academies and especially relevant to MoMA PS1—an institution housed in a former public school—Summer School turns the museum grounds into a campus during the summer months.


For Summer School 2012, Marina Abramović, Steve Paxton, and Genesis Breyer P-Orridge will each teach weeklong Master Classes to a selected group of art students. Each class will culminate in a presentation open to the general public at MoMA PS1 on September 9.



A pioneer of performance art, Marina Abramović (b. Yugoslavia, 1946) has been using her own body as the subject, object, and medium of her work since the early 1970s. In her art she is exploring the relationship between audience and performer, the limits of the body, and the possibilities of the mind. At MoMA PS1 Abramović will be joined by two assistants to teach The Abramović Method, a technique developed to train students in arriving at a clear state of mind in order to develop ideas for their own work.


Steve Paxton (American, b. 1939) is regarded as one of the most significant choreographers of his generation. He indelibly transformed the vocabulary of dance through his contributions to the Judson Dance Theatre in the 1960s, and in his development of Contact Improvisation in 1972. For Summer School Paxton will teach his seminal postmodern works, Satisfying Lover (1967) and State (1968), to be publicly performed in conjunction with the dance series, Some sweet day at The Museum of Modern Art in October.



Genesis Breyer P-Orridge (b. Great Britain, 1950) has been testing the limits and conventions of music, language, art, and identity for almost forty years. As a founding member of the 1970s British avant-garde performance collective COUM Transmissions which morphed into the seminal industrial band Throbbing Gristle, P-Orridge made art and music history. More recently, in collaboration with his late partner Lady Jaye, the artist started an ongoing experiment in body modification aimed at creating one “pandrogynous” being. Participants in this workshop will be expected to look with great honesty and openness at the emotional journeys of their life to date to explore the creation of an intimate, personal magical language.


MoMA PS1 is currently accepting applications for the Summer School 2012 sessions. Class space is extremely limited and by application only; all current art, poetry, film, writing, music, and drama students are encouraged to apply.



Requirements
Applicants must be current students with majors or emphases in art or an art-related discipline and must provide proof of current enrollment with their application. Participants should be available during the day and will be notified of class dates upon acceptance.



Application Instructions

To apply for Summer School 2012, please send a completed application to: MoMAPS1SummerSchool@moma.org.


In order to be considered, you must include all the following materials as attachments (PDF or Microsoft Word format only) in a single email:
  • A resume
  • A 250-500 word statement of intent
  • An academic letter of reference
  • A clear, legible image of your school ID

Please note in the header of the email which course you’re applying to (e.g. Application for Summer School with Steve Paxton).

If you would like to apply for more than one of the Summer School 2012 courses, you must submit a separate application for each.

No applications sent via fax will be accepted. No phone calls, please.
For more information please visit momaps1.org/summerschool.


Deadlines for applications: July 20, 2012


Summer School 2012 at MoMA PS1 is organized by Jenny Schlenzka, Associate Curator, with curatorial assistance from Matthew Evans, Lizzie Gorfaine, and Jocelyn Miller.


MoMA PS1

22-25 Jackson Avenue
Long Island City, NY 11101
www.momaps1.org



Press Contact:

Rebecca Taylor

(718) 786-3139

rebecca_taylor@moma.org

*No student calls or emails please.


STATEMENTS FROM GENESIS ON THE CONTENTS OF THESE WORKSHOPS:
During this workshop exploration we will look at art as the oldest form of creative expression. Pictographs and cave paintings were functional magick. Usually to maximize success of the hunter’s skills, to invoke good weather conditions and, of course, animals to hunt. Sometimes they were part of an initiation. From adolescent to hunter, or from trainee shaman to tribal wise person. Art began as magick, as initiation, as ritual. To make things desired happen. All art unfolds from there. Ritual magic, sympathetic magic, healing magic and, of course magic for victory in war which leads to political magick. And through them all run the undercurrents of sexual magick and psychedelic and narcotic magick.



We will trace the story of Art as magick. How it centred our relationship with the Natural world, the stars, the qualities of herbs and various plants. A world based upon meticulous observation. So precise the Mayan’s calendars are reborn into significance right now. Magick was seen as so potent that conquerors before the Romans until contemporary times, erased the old wisdoms. Planted their own totems on the sites of those vanquished. The most vicious of these military victors built the greatest magickal monolith of them all…The Holy Roman Empire! Whose crimes against humanity are responsible for tens of millions of deaths, easily 6 million wise women shamanesses in the Dark Ages onwards that continue to this day via the starvation caused by unlimited procreation forced upon women by their terror of eternal damnation.



Artists have always worshipped Creation, the act of creation, the Divine calling ability to make something unique that had never existed before. Art is the ability to direct our gaze towards something mundane and change our means of perception so we experience a revelation and see a miracle.



All Art is action, is movement, performance. The intricate ballet of Jackson Pollock or the vibrant sweeps of carnage by Hermann Nitsch. The body is always involved.



As the tyranny of Christian Church and States imprisoned the artist’s imagination on fear of torture and death, Priests and Politicians painted history with war upon war, millions upon millions in monstrous blood sacrifices.



GENESIS BREYER P-ORRIDGE Workshop:-

Shamanism, tribal magick has almost always included trial by pain, or endurance or both. Often with a marking, scar, or tattoo as a recognition symbol of spiritual achievement. Just as a warrior may get a medal or stripe for courage and/or killing. Certain materials recur in functional magick. Saliva, blood, semen, orgasmic fluid from male or female, hair, skin, finger and toenails.



We will look at the essence of shamanism and magick in history ( we prefer Astory). In particular its re-emergence as both an explosion of Occult ordersin the late 19th and early 20th Century that continues to this day. And the parallel re-introduc tion of the occult into Art at the same time. With its awful background of the Great War just as Dada and Surrealism smash into cultural awareness.



The artworks and magickal techniques of Austin Osman Spare, which he called “Sigils”, touching upon Yoruban systems of functional magics (better known in the USA as “Santeria”) will be explored in combination with the Cut-Up experiments of W.S. Burroughs and Brion Gysin and their apparent quality of psychic efficacy and even prophecy.



The artist will reclaim their place as the curandero of society. Creating “art” NOT for aesthetic reasons, but for the psychological and moral health of our human species. To make things happen. To tell the stories happening all around us. To re-integrate the spiritual with the tactile via the human body. How we see, how deeply we feel IS our art.



SIGILS, THE CUT-UP AND INTUITIVE MAGICK AS TOOLS TOWARDS FUNCTIONAL AND SPIRITUAL PERFORMANCE PROCESSES

We will examine the pre-Astoric origins of ritual workings designed by our ancient ancestors to develop a sustainable relationship with both the seasonable processes of Nature and the unpredictable environment. In particular how rituals are created, their gradual empowerment by repetition and the deep significance of the “discovery” by women of linear TIME ushering a long period of prophecy and Oracle and female dominance of cultic “wisdom”.

Then we will see how Western cultural acceleration of a dogmatic church that co-opted ritual shamanism and paganism directly into it’s sham services using a single “God” to ratify the ever more blatant integration of political power, spiritual intimidation by codified religion and Fear as social control. This imposition by force of bureaucratic dogma and belief, splitting ecstatic revelation, expansion of consciousness, spiritual healing, the care and well-being of the tribe’s psychic hygiene and the sacred role of artist as Priest, healer and conscience of their people for hundreds of years.

In the 20th Century Dada, Surrealism, Futurism in particular began to declare that affirmation of Life, of Creation as a chosen Holy and spiritual path was central in the search for truth, for a renewed sense of our place in Nature. The Artist is once more recognized as the shaman, healer, therapist and magician. Life and Art are inseparable and to find healing meaning in our 21st Century insanity of cultural acceleration, and a blind acceptance of global technologies all structured to serve this new monolithic religion…MONEY!

The Artist is a living, breathing organism, a virus released into the social matrix. It is our Holy task to find ways to “short circuit control” as W.S. Burroughs said. To re-invent new rituals that examine contemporary environments. To address the psychic hygiene of our chosen clan. To subvert the apathetic surrender to new technologies. To re-invent what being “human” even means in this age of genetic engineering and biological mutability.

We will work with our students to develop magickal rituals, proposals for new “tribes” built as autonomous collectives centred on Creation. We will examine and use ancient methods for focusing the deep mind, re-programming our decision making and nervous system to actually affect the material world and our trajectory and successes within it. (Magick). Can human beings REALLY change their DNA programming? Can we bump start a new evolutionary stage of humane Beings? Are Art, Magick, Quantum Physics, psychedelics, Meditation and Cut-Ups all merely tools put into the hands of artists for us to take the first steps, the first ACTIONS ? When in doubt, be extreme!

VIVA LA EVOLUTION !

(n.b. Do not sign up for this course if you are afraid of your naked body).
During this workshop exploration we will look at art as the oldest form of creative expression. Pictographs and cave paintings were functional magick. Usually to maximize success of the hunter’s skills, to invoke good weather conditions and, of course, animals to hunt. Sometimes they were part of an initiation. From adolescent to hunter, or from trainee shaman to tribal wise person. Art began as magick, as initiation, as ritual. To make things desired happen. All art unfolds from there. Ritual magic, sympathetic magic, healing magic and, of course magic for victory in war which leads to political magick. And through them all run the undercurrents of sexual magick and psychedelic and narcotic magick.

We will trace the story of Art as magick. How it centred our relationship with the Natural world, the stars, the qualities of herbs and various plants. A world based upon meticulous observation. So precise the Mayan’s calendars are reborn into significance right now. Magick was seen as so potent that conquerors before the Romans until contemporary times, erased the old wisdoms. Planted their own totems on the sites of those vanquished. The most vicious of these military victors built the greatest magickal monolith of them all…The Holy Roman Empire! Whose crimes against humanity are responsible for tens of millions of deaths, easily 6 million wise women shamanesses in the Dark Ages onwards that continue to this day via the starvation caused by unlimited procreation forced upon women by their terror of eternal damnation.

Artists have always worshipped Creation, the act of creation, the Divine calling ability to make something unique that had never existed before. Art is the ability to direct our gaze towards something mundane and change our means of perception so we experience a revelation and see a miracle.

All Art is action, is movement, performance. The intricate ballet of Jackson Pollock or the vibrant sweeps of carnage by Hermann Nitsch. The body is always involved.

As the tyranny of Christian Church and States imprisoned the artist’s imagination on fear of torture and death, Priests and Politicians painted history with war upon war, millions upon millions in monstrous blood sacrifices.

Shamanism, tribal magick has almost always included trial by pain, or endurance or both. Often with a marking, scar, or tattoo as a recognition symbol of spiritual achievement. Just as a warrior may get a medal or stripe for courage and/or killing. Certain materials recur in functional magick. Saliva, blood, semen, orgasmic fluid from male or female, hair, skin, finger and toenails.

We will look at the essence of shamanism and magick in history ( we prefer Astory). In particular its re-emergence as both an explosion of Occult orders in the late 19th and early 20th Century that continues to this day. And the parallel re-introduction of the occult into Art at the same time. With its awful background of the Great War just as Dada and Surrealism smash into cultural awareness.

The artworks and magickal techniques of Austin Osman Spare, which he called “Sigils”, touching upon Yoruban systems of functional magics (better known in the USA as “Santeria”) will be explored in combination with the Cut-Up experiments of W.S. Burroughs and Brion Gysin and their apparent quality of psychic efficacy and even prophecy.

The artist will reclaim their place as the curandero of society. Creating “art” NOT for aesthetic reasons, but for the psychological and moral health of our human species. To make things happen. To tell the stories happening all around us. To re-integrate the spiritual with the tactile via the human body. How we see, how deeply we feel IS our art.

All my life we’d fought against all kinds of status quo, all kinds of establishments. We didn’t do any of this for spite, to be different to shock or generate extreme responses, though that’s what tended to happen. We were simply trying to find ways and means to describe what we saw, how we perceived our experiences of being alive, thinking, sentient and convinced the stories we were conditioned to accept as History, were inadequate and flawed.

Each individual is the ONLY person present in their life every second from B-Earth to death. Every human being’s story is unique, in a sense we each inhabit our own Universe. Hence we use Astory. It’s non-gender specific, not reactionary (i.e. switching to Herstory doesn’t remedy the linguistic error.) We learned to defend ourself, but never to respond to praise of any kind.

ANGELIC BODY:
Has no NAVEL.
Has genitals of both genders.

TRANSGENDERED PEOPLE in 2012:
Represent precursors that signify the Divine Hermaphrodite
Returning. Completing the L-if-E Loop from Eden (hence TOPY use of Eden). Also signify the Divine next Evolutionary nature of our HumanE Species.

HINDU: ESHE/NAGA
Eshe is a male/female deity according to Trilochan.
Naga is a cobra/protector/expression in bio-form of
Shiva.
Shiva is destruct



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