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May 2012 Featuring N-SPHERE a world behind curtains | may 2012 FEATURING RAMIRO TAPIA GUSTAVE DORÉ FLYN VIBERT R. W. FASSBINDER MATEUSZ ODROBNY LA CITTÀ MURATA 1 | N-SPHERE MAY 2012 EDITORIAL TRANQUILIZERS »Scharr, scharr, verscharr das Ge- as portrayed in Fassbinder's The bein.« Not all basements are si- Bitter Tears of Petra von Kant. The lent. Some float around in bone sensations don't last, fake murals on bone action, with the dark- coming apart under the heavy ened firepit at their centre, smoke blows of Mateusz Odrobny's urban silently rising up from charred re- visual spaces. »Hier tobte sich der mains. Teufel aus: unten im Keller, im Kno- chenhaus« »Scharr, scharr, verscharr das Ge- bein, grab es tief unten im Keller »Scharr, scharr, verscharr das Ge- ein.« Some basements are laby- bein. Leg auch ihre weißen Schädel rinths. They run deep into dream hinein.« Spiralling backwards, the worlds, along the perfect blue of beheaded white bones clumsily Ramiro Tapia's works. There is a rattle of Gustave Doré's legacy. sky opening inside these spaces, The falling into history runs paths suffusing the darkness in cold through the basements walls, right flames. Along the walls, shad- into the stone confinements of ows take form and color, with the Conegliano's La città murata. »Mit works of Flyn Vibert. »Später dann Beton gießt du es aus: das Funda- graben es andere aus und nennen ment vom Knochenhaus.« dein Haus: das Knochenhaus« Some basements are dark, some »Scharr, scharr, verscharr das Ge- basements just breathe. »Scharr, bein. Da ist noch Platz, da paßt scharr, verscharr das Gebein.« noch wer rein.« Some basements are play houses, in a strictly non- quotes | Janus. VEL THora descript abstractly bizarre way, Knochenhaus. 1998 | 2 INDEX MAY NOX 2 2012 44SHOWCASE Editorial Flyn Vibert Tranquilizers United Kingdom GLASS ABUSE 4 SHOWCASE 60 SHOWCASE Ramiro Tapia Mateusz Odrobny Spain United Kingdom STONE CLOCKWORK 30 SHOWCASE 76 SHOWCASE Gustave Doré Conegliano's France La Città Murata MOVING EYE 36 SHOWCASE 88 TEASER The 13 Moons of Taida Celi Petra von Kant Norway Rainer Werner Fassbinder 3 | GLASS SHOWCASE RAMIRO TAPIA | 4 GLASS SHOWCASE RAMIRO TAPIA 5 | DREAMS FEELINGS WISHES INTROSPECTION Name: Artwork in 4 words: Ramiro Tapia Dreams, feelings, wishes, intro- Location: spection. Salamanca, Spain What is inspirational for you: Occupation: Odd and attracting passages re- Painter produced within the labyrinths of Definition of personal sphere: my brain, impregnated in certain My special sensibility toward the emotional moments of my life. I only spiritual occurrences of my con- work on that stuff which leaks over sciousness. My philias, my pho- the external milieu, transformed bias, in general terms, everything through my keys which automati- that surround me turn out through cally configure them in those lucu- a filter which lately impulses me to brating dreams, that is »my dreams«. translate it into an imagery gifted Currently favourite artists: by quite diverse interpretations, Bosh, Brueghel, Paul Klee, Kan- according to my state of mind in dinsky, Picaso and the illustrators that moment. For that reason, my Arthur Rackham, Gustav Doré and artwork is so versatile and hetero- Aubrey Beardsley, between many geneous. others. | 6 photo | Ramiro Tapia. 1965. Encina Nocturna. Courtesy of the artist Tools of trade: our creative visions. We who walk Ingress: Oil paintings, Acrylics, Watercol- through other paths, strange to ramirotapia.com ors, Gouache, Inks, a varied sort of the vulgarity of the markets, to the Translation from Spanish: dusts with paintbrushes and sticks, bastard aspirations of the com- Iván Elvira scourers and diverse other tools. mon, those unsatisfied and am- Current obsessions: bitious mediocres who hold that Capturing symbologies that shake power acquired with the corrup- and shudder my soul, recomposing tion; annihilating life, annihilating sequences which satisfy my recep- woods, floras, faunas, waters, airs, tive and alerted senses like the and contaminating the blue color tentacles of the subaquatic plants of this poor planet at the expense in the pursuit of feed. of enrich, even more, its inflated, Personal temptation: excessive and putrefied treasuries. Put the finger on the eyes of those people who hold the power and who want massacre us in life, even the citizens whose occupy exclusively giving the heart with all its blood to our ideals, and to 7 | photo | Ramiro Tapia. 1969. Cabrón. Courtesy of the artist | 8 photo | Ramiro Tapia. 1970. Acorazada. Courtesy of the artist 9 | photo | Ramiro Tapia. 1976. La Novia Que Se Deshace. Courtesy of the artist | 10 photo | Ramiro Tapia. 1977. Crustáceo Metamórfico. Courtesy of the artist 11 | photo | Ramiro Tapia. 1976. Forma Planetaria Azul. Courtesy of the artist | 12 photo | Ramiro Tapia. 1977. El Arbol De Babel. Courtesy of the artist 13 | photo | Ramiro Tapia. 1983. El Castillo De Irás Y No Volverás. Courtesy of the artist | 14 photo | Ramiro Tapia. 1998. Torre Entre Islas. Courtesy of the artist 15 | photo | Ramiro Tapia. 1996. Torre Cósmica II. Courtesy of the artist | 16 photo | Ramiro Tapia. 1998. Torre Roja. Courtesy of the artist 17 | photo | Ramiro Tapia. 1986. Soledad. Courtesy of the artist | 18 photo | Ramiro Tapia. 1986. Ogresa Roja. Courtesy of the artist 19 | photo | Ramiro Tapia. 1986. Gigante Triunfante. Courtesy of the artist | 20 photo | Ramiro Tapia. 1986. Ogro Cipote. Courtesy of the artist 21 | photo | Ramiro Tapia. 1986. Guerrero Rojo. Courtesy of the artist | 22 photo | Ramiro Tapia. 1986. Gato Salvaje. Courtesy of the artist 23 | photo | Ramiro Tapia. 1986. Pero Llameante. Courtesy of the artist | 24 photo | Ramiro Tapia. 1993. Gran Duque. Courtesy of the artist 25 | photo | Ramiro Tapia. 1993. Gallo Salvaje. Courtesy of the artist | 26 photo | Ramiro Tapia. 1993. Pero Azul. Courtesy of the artist 27 | photo | Ramiro Tapia. 1986-2008. Bicha Arrebatada. Courtesy of the artist | 28 photo | Ramiro Tapia. 2011. Federico De Montefeltro Actualizado. Courtesy of the artist 29 | STONE SHOWCASE GUstAVE DORÉ | 30 STONE SHOWCASE GUstAVE DORÉ 31 | waked by THE CIRCLING HOURS Name: Influenced: Gustave Doré Too many after his death Lived: Major works: January 6th 1832 – January 23rd Milton's Paradise Lost, Dante's The 1883 Divine Comedy. Tennyson's The Location: Idylls of the King, Cervantes' Don Paris, France Quixote, Edgar Allan Poe's The Occupation: Raven Illustrator, Engraver, Sculptor Associated with: Influences: Romanticism Myth, The Circles of Heaven & Hell, Obsessions: Nordic Folklore, Sun and Darkness, Falling, Waves, Circles of Hell, Body Contortions in the Works of Wings, Light, Clair-Obscur, Stars, Michelangelo, Severed Heads, The Movement, Nightfall, Microcosm Fall, The Border between Fantasy and Reality, London, Rodolphe quote | John Milton. DIANA DAIA Töpffe Paradise Lost. Book VI | 32 photo | Gustave Doré. 19th century. Illustration for Paradise Lost Rosa Celeste: Dante and Beatrice gaze upon the highest Heaven, The Empyrean. Courtesy of the artist 33 | photo | Gustave Doré. 1985. The Disaster After The First Ascent Of The Matterhorn. Courtesy of the artist | 34 photo | Gustave Doré. 19th century. Illustration for Dante's Divina Commedia. The Severed Head of Bertrand de Born Speaks (Inferno, Canto 28) Courtesy of the artist 35 | MOVING SHOWCASE THE 13 MOONS OF PETRA VON KANT | 36 MOVING SHOWCASE THE 13 MOONS OF PETRA VON KANT 37 | Only pity what yoU can'T Understand ainer Werner Fassbinder's that poster has actually a com- The Bitter Tears of Petra mon ground (at least) with the Rvon Kant plays like a fash- image he/she promotes. But in ion-world version of the maggot many cases we are deceived. in the apple. The title obviously points towards a state of long- And so we are in this film. The Bit- ing, the heroine's name inspires ter tears of Petra von Kant con- a kind of elegance and beauty tains many wounding moments and yet, in the same time there is and it is not – by any means – a that coldness/harshness remind- hypocritical work, but a film re- ing of tragic heroines. Overall, volving around a hypocritical before even seeing the film, one character. Because Petra is not may form a rather strong image a tragic heroine, nor is her sad- about it. ness anything else but a strategy to fool others and fool herself and Fashion posters do that as well we see this from the film's open- and we are sometimes inclined ing sequence (the makeup scene, SHADE to believe that the person behind choreography and all). | 38 39 | For those at least slightly familiar powerful, but it is also presented It is something – maybe induced with Fassbinder's work this should by Sister Gundrun in a very clini- – in some people's mind telling not come as a surprise since the cal manner. them that weak people can show German director is known for a fairly high degree of honesty, creating rather unpleasant char- What made The bitter tears of Pe- that they are authentic just be- acters and he is not the only one. tra von Kant rather interesting for cause they seem or decide to However, what I found to be par- me is that, unlike other Fassbind- be vulnerable. And then the title ticularly interesting is that Fass- er films, this one does not revolve mutates: bitter tears can be an in- binder doesn't make his charac- around outcasts. Petra is not an dicative of a quiet resignation, of ters aggressive. Even when they outcast, which may not be much letting - go - with a smile on your seem to be – like in this film – it is of an argument in making the film face – of something you don't feel just a façade. They are just pre- interesting, however Petra sees ready to let go. But »bitter« can sented, they present themselves, herself as an outcast.
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