contemporary art experiment in filth
electronarcosis muscle worship eroto-comatose lucidity
radioactive luminous paint on dials of vintage watches
lucid dreams tell me about your most vivid experience
info at preteen dot gallery
i'm on some dumb shit
this website will show you how to live in the moment
on the edge
an excercise in spiritual decadence
rebellion against god
the lake of fire!
'notes on the edge'
abdul vas’s masterful mappings of hypermasculine libidinal pulsations and haphazard détournements of anthropomorphic machinic gestures convey a narcotized queer virility and suggest a violent metaphysics of schizoid gender euphoria. his characteristic dissection of the aesthetics of genderdised western technicities holds an uncanny structural proximity to current analyses of rhizomatic systems in the graphical notation of algebraic polysexualities and to the psychic clustering in quantum spin networks.
vas enacts perverse orgonic exteriorizations of the unthought by way of a topological plotting of biosemiotic data replicant agents and a radical exposure of the diagrammatic dispersion of the self. through this particular recognition of the inhuman vessel of the organism as the locus of spiritual stupor, vas reconsiders classically greek as much as judaic depreciation of aesthetics as a dimension of animal consciousness.
from a critical perspective, however, an examination of vas’s aesthetics is engrossing in a distinctive manner. abdul vas’s aesthetics arguably marks what could be called a supplement within the contingence of dasein’s bodily nature. his manic fixation with anal sex and transsexual-animalistic rapport discloses an attempt to nullify dominant discourses surrounding female genitalia, and at the same time, poses the phallus as a socio-linguistic prosthesis.
vas’s recent works defend his own post-spinozist version of what could be called the primacy of orgasmic self-occlusion, which he depicts, in a more classical vein, in renderings of polymorphous, autonomous, non-organic sex machinery, often relying on the compulsive inscription of hypermodernist qabbālistic, hieroglyphs and on a rather morbid, performatic problematization of the technologies of becoming-macho. in this light, vas’s interpretation of a spiritualist account on the phenomena of rock and roll vibrational inter-individual sensory communication feature an axiological devaluation of aesthetics in comparison with the fatal encounter with the other.
luxury limited edition ac/dc pure steel flight case psycho
fan art box set type shit
out! on sale!
but we're too high to deal with this shit right now
live fancy? live in a big mansion? party in france?
a breathless hush
1. wow your snowflake-clothed tower of burgundy ardor, your spark-clinched phallus of wrath! yeah man, as i come close to you, you succumb to me like unto a curl of smolder gusted ahead from dad. machine wash.
2. wow your midsummer land of perpetual bliss, your ecstatic shrubbery of golden kush! yeah man, as i pucker you, my bitter crop is but as a drib of dudes gleaming in the wonderful cup of puppies. machine wash.
3. wow your agonizing melody of time and loss, your rhythmic harmony of the sea! yeah man, as i snoop to the echo of your voice, my rapture is but as the sight of the skirt of a mad hoe. machine wash.
4. wow your scorching blizzard of dazzling gravel, your whirlpool from the profundities of dusk! yeah man, as i scuffle past your dad and the mom within you, boo, through you, boo: my muscles are but as a pacifist’s yacht ahead on the triple nipples of the storm. machine wash.
5. wow you crowned stud floating on rivers of blood, to die for. you, you cherry-sworded meth-head warrior: stuck in traffic, silly you, you silly. yeah man, as i fight with you, you master me as a bear that killed a child that was cradled in lilies. machine wash.
6. wow your ghostly seascape, radiant, and your electronic voice prayers of a lilac-dressed gradient! yeah man, a trip to your mom’s. in the cats of your house i find my hope but as a blow light secluded in the hands of a baby monkey that looks like a donkey. machine wash.
7. wow you great labor of the azure, you cyclone-tossed thunderous storms of buenos aires! yeah man, as i descend in the profundities of your bleakness, mine torment is but as the smirk on the lips of a sleeping dog. machine wash.
8. wow your depths of the unimaginable, your numb, inexpressible divinity! yeah man, as i try not to seem tragic, my prudence is but as an abacus in the lap of an aged turtle. machine wash.
9. wow your metamorphosed hallucination of dazzling light, your beatitude of stupefaction! yeah man, as i behold you, my understanding is but as the glimpse of a polymorphous hoe across a storm of blinding snow. machine wash.
10. wow you steel-bound peak of peaks, you crested pinnacle of splendor! yeah man, as i mount your opulence, i discover i have but vanquished one speck of sand hovering in a beam of your glory. machine wash.
11. wow you ruler of space and of matter, apple puree ahead of the icons of light! yeah man, as i gaze upon your expression, mine balls are as the balls of an eyeless fella smitten by a torch of a burning hot desire. machine wash.
12. wow you cerise gladness of the fake, your flamingo north of ominous cake! yeah man, as i climb up before you, my kief is but as an acid drop enamored over by a rocket from the western block. machine wash.
13. wow your fantastisch tiara of cosmos, your diadem of glittery brilliance! yeah man, as i warm up before yoga, my butt is but as a dwindling star seen among the purple limbs of stage fright. machine wash.
- gerardo contreras
accomopanying text to 'not my pumpkin'
a solo show by brian kokoska
at dateline, denver, co.
it's been four years since 2010
13 june 19 july 2014
luis miguel bendaña
hazel hill mccarthy III
genesis breyer p-orridge
lewis teague wright
simon guzylack & leslie kulesh
let us begin by locating catatonia as the initial quanta, the first demon flash which tips the balance of becoming away from the strata, from customary orders and patterns and towards the molecular line. it is in this respect that catatonia relates to the self and to time as an itinerant movement that is in-between the state and the market, facing onto the strata and away from it simultaneously. precisely, it seems, as clinical psychology has always positioned catatonia as neither inside or outside, not properly one thing or another, the figure of the catatonic occurs at the juncture of divergent speculative routes in current clinical mappings of psychotic symptomatology: each catatonic symptom encrypts a psychic riddle and at the same time ignites decryption. the kind of action the catatonic begins with is humanly disclosed by the word, and though the catatonic act can be perceived in its brute physical appearance without verbal accompaniment, it becomes relevant only through the spoken word in which he identifies himself as the catatonic, announcing what he doesn’t do, has not done, and does not intend to do.
catatonia entails a passage between dualistic opposites; a passage away from the uttered word and toward the silent word but this passage is not a mimetic process. rather, catatonia is something that passes between the categories of the particular and the atomic, establishing a region of immediacy, a detached region of indetermination or uncertainty, a contiguity, an indiscernibility within which a mutative undoing of the categories of speech and action may issue forth in a creative line of flight toward some yet unmapped rendering of the posthuman. speechless action is no longer action because there is not a catatonic subject anymore, and the catatonic subject, the real actor of actions, is possible only if he is at the same time the speaker of words. catatonia marks the boundaries of schizoid nonsubjectivity: exiled to a comatose void external to the representational domain, the catatonic describes that which is outside the comprehensible.
the catatonic subject is a figure in the process of generating independence from strategy principles, for an element in a vertebrate organism, a bias towards concretizing material resolutions, like a market that would function not through the accretion of information as commodity, but through interactions with other catatonic subjects in a heterarchical space that is continuously mobile and perceptible, although the principles of its mobility are imperceptible, escaping recognition. the survival of “the catatonic” is a function of its interaction with –the- catatonic in its zone, where zone is not a topographical location given in advance but the outcome of networks generated amongst the catatonic in the process of achieving complete and autonomous annihilation.
it is the potential for positioning catatonia in relation to the spirit, rather than to nature, and for catatonic action as a movement towards the market which effects the release of monetary flows from the accumulative tendencies of capital; it is this relation of catatonia to the economy, as a bias of escape, rather than as an object exchanged between subjects in state capitalism, which includes socialism as well - that is missed by a purely politico-schizo-analysis. for in the movement the balance tips from orgasm to convulsion and bodies cease to be commodities, or even commodities that speak, and instead begin to function as partial objects, predispositions, and calculations. whilst their connections are not normalized from any peripheral location, the coalesced consequence - to those who remain unknown, in the rare air of the state, capital, the subject - the displacement seems resolute, directed, the predispositions appear correlated, caused. if it is this latter, it is in the sense spoken of before, of reverse causality without finality, testifying to an action of the future on the present.
unit 6 bellenden road business centre se15 4rf
(entrance on lyndhurst way)
you shook me all night long
preteen is elated and aroused by 'you shook me all night long,' a project room by belgian artist and rock and roll icon abdul vas commissioned by mia fair milano.
abdul vas' work recurrently addresses desire, but less often sex and polysexuality, in large part because polysexuality in vas' view is largely tantamount with a schizoid substructure that unswervingly leads to the concept of unsexuation. abdul vas opposes a psychoanalytic thesis regarding polysexuality. polysexuality floods the social-artistic field, and the grammatological dispositifs of genderdized discourse and its libidinal speculations epitomize a catatonic deadlock, a concentration and a sequestration of collective desire.
when abdul vas speaks of the libido of schizoid substructures, the topological dislocations of the body, and the polysexual will of the peripatetic organism, he speaks of libido to designate the unlocalized energy of schizoid substructures, but the mutations of this energy are never desexualizations or sublimations. all stages of schizo-genesis – invention per se, recording, and consumption/consummation – happen within a single territory of polysexual discourse. the pertinent opposition within this domain is not between the organism and the species, but between the atomic and the molecular, the atomic being the territorializing permutations of power that constrain schizoid substructures, the molecular the deterritorializing assemblages of schizo-genesis' proliferating, disrupting networks and contours of rapture.
mia fair milano, 23-25 may 2014
pavilion 1, booth 28
superstudio più via tortona 27, milano – italia
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