Kembra Pfahler, Performer, on an EXPLODING WHALE

Total Page：16

File Type：pdf, Size：1020Kb

AnOther Thing I Wanted to Tell You… HEROES Kembra Pfahler, performer, on an EXPLODING WHALE assistant: Porsche Poon. Post-production: Labyrinth Photographic. Special thanks to Clapton Tram Post-production: Poon. assistant: Porsche using NARS Cosmetics. Styling assistants: Rebecca Perlmutar and Marta Martinez Regidor. Make-up Hair: Maarit Niemela at Bryant Artists using Bumble and Bumble. Make-up: Jenny Coombs at Streeters “In 1949, Joseph Campbell wrote a book about the journey of the hero, about this path through the belly of the beast that people can take to have a personal, spiritual transformation. These days, for most of us, that would be a luxury: we are born in the belly of the beast, and we don’t have time to traipse around taking these 12 steps to self-discovery. A while ago, there was a story about a whale found on a beach in Thailand; it had died swimming for food in our dying oceans. The whale exploded on the beach because of the gases inside it: literally, it was viscous blood and guts for blocks. So today, rather than feeling we are in these fairytale stories about sitting in the belly of the beast and contemplating the world, we have to explode ourselves out of it. The surrealist future that Philip K Dick predicted is here, and the time is nigh to act quickly, aggressively, to be explosive.” Since the Eighties, Kembra Pfahler’s explosive approach to performance art has championed subversive ideals of what it means to be a woman. From acting as frontwoman to theatrical death- rock outfit The Voluptuous Horror of Karen Black, to suturing her vagina shut for Richard Kern’s film Sewing Circle; singing alongside punk provocateur GG Allin, to co-authoring the radical manifesto Kembra is wearing of Future Feminism (alongside Anohni, Johanna Constantine and Bianca and Sierra Casady), hers a shirt dress by is a practice that has consistently centred around transgression, and maintained a furious intention PHOEBE ENGLISH to “change the world one show, one photograph, one picture, one poem, one song at a time”. 130 Words Olivia Singer AnOther Magazine Singer, Olivia “Kembra Pfahler, performer, on an EXPLODING WHALE.” AnOther (16 February, 2017) Page 1/1 .

Copy Link

Recommended publications

Kembra Pfahler Is As Wide-Ranging As It Is Productive
72 The biography of the iconic New York artist Kembra Pfahler is as wide-ranging as it is productive. It includes formative years spent in LA’s punk scene, a decade- long ‘day-job’ as a video dominatrix, stints modelling for Playboy, Penthouse, and Hustler, she’s been a muse and model for a diverse range of designers, including Calvin Klein, Rick Owens, and Marc Jacobs (in whose fall/ winter campaign she’s currently starring). She founded a wrestling federation, The Punk Ladies of Wrestling, and is the cofounder of Future Feminism, a movement merging artistic practices and activism aimed at uniting the multiple factions of feminism. Kembra’s accomplished all that in addition to her primary role as an acclaimed visual and performance artist whose work is collected by some of the world’s most important museums, including MoMA, The Whitney, and the Bozar Museum in Brussels. Perhaps the best way to KEMBRA PFAHLER INTERVIEW BY MICHAEL BULLOCK PHOTOGRAPHY BY VINCENT DILIO experience her world is to see her live. Her horror movie- inspired, nudist, punk band, The Voluptuous Horror of Karen Black, blurs lines between ritual, performance art, and vaudeville, using irreverence, humour and in- your-face sexuality to destroy tired clichés of femininity. If Kembra’s life and career defy conventions, so does her home. Her East Village apartment is painted floor-to- ceiling in ‘tile-red’, and is organized by three philosophies: minimalism, avalibilism, and wabi-sabi. The result is rare: it has the zen and rigour of a Buddhist monk’s cell, yet it’s cloaked in a veneer of witchery.
[Show full text]
Download PDF/2Mb Press
16—20 OCTOBER 2019 16, RUE ALFRED DE VIGNY, PARIS OPENING 15 OCTOBER PARISINTERNATIONALE.COM PRESS KIT *** PRESS OFFICER Marina David +33 6 86 72 24 21 [email protected] 1 PRESS KIT – 24.09.2019 PARIS INTERNATIONALE 16—20 October 2019 Opening 15 October 16, Rue ALFRED DE VIGNY, Paris www.parisinternationale.com The fifth edition of Paris Internationale will take place between 16 October and 20 October at 16, rue Alfred de Vigny, in the eighth arrondissement of Paris. Throughout the years, Paris Internationale has established itself as a new model in the ecosystem of international contemporary art fairs. Forward thinking and collaborative, free spirited and audacious, this non-profit fair was founded in 2015 on the initiative of five galleries. Since its creation, the fair has been offered a rich selection of cutting-edge artistic projects presented by galleries from around the world. Always hungry for new captivating projects, Paris Internationale takes the pulse of contemporary art today by showing projects and works by established and emerging artists. Paris Internationale, previously nomadic, is settling down at at 16 rue Alfred de Vigny, the home of 2018 edition. The fair will encompass the four floors of the Hausmannian building, close to the Grand Palais. As the visitors progress through this intimate and welcoming mansion overlooking Parc Monceau, they will encounter a variety of experimental artistic projects. Paris Internationale is a gathering place to exchange ideas. It welcomes the developments of young generations of galleries and artists. The fair renews its support to contemporary creation by welcoming 42 galleries this year and by collaborating with independent and self-managed artists spaces.
[Show full text]
ART THAT KILLS 04 Introduction by CARLO Mccormick 04 06 a Beginning, and an End 06 10 the Precursors: WILLIAM S
ART THAT KILLS 04 Introduction by CARLO McCORMICK 04 06 A Beginning, and an End 06 10 The Precursors: WILLIAM S. BURROUGHS 10 14 The Precursors: ANTON LaVEY 14 20 The Precursors: KENNETH ANGER 20 22 The Precursors: ROBERT WILLIAMS 22 30 The Precursors: CHARLES MANSON 30 38 The Precursors: GENESIS P-ORRIDGE 38 46 The Precursors: MONTE CAZAZZA 46 50 The Precursors: HARLEY FLANNAGAN / CRO-MAGS 50 54 Soundtrack to 1984: Rev. Jim Jones — The Last Supper 54 55 Soundtrack to 1984: PSYCHIC TV 55 56 Soundtrack to 1984: ANTON LaVEY et al - The Satanic Mass 56 57 Soundtrack to 1984: CHARLES MANSON - Lie 57 58 Soundtrack to 1984: LYDIA LUNCH 58 59 Soundtrack to 1984: FOETUS 59 60 Soundtrack to 1984: NON 60 61 Soundtrack to 1984: RADIO WEREWOLF 61 62 Soundtrack to 1984: WHITEHOUSE 62 63 Soundtrack to 1984: Skinned Alive 63 64 Soundtrack to 1984: MICHAEL MOYNIHAN 64 65 Soundtrack to 1984: GG ALLIN 65 66 Soundtrack to 1984: KING DIAMOND / CRO-MAGS show 66 67 Soundtrack to 1984: SWANS 67 68 JOE COLEMAN 68 76 LYDIA LUNCH 76 82 NICK ZEDD / THE UNDERGROUND FILM BULLETIN 82 88 RICHARD KERN / DEATHTRIP FILMS 88 94 J.G. THIRLWELL a.k.a. FOETUS 94 98 FRED BERGER / PROPAGANDA 98 106 JONATHAN SHAW 106 112 Killer Clowns 112 124 BOYD RICE/NON . 124 132 JOHN AES-NIHIL 132 138 NICKBOUGAS 138 144 ZEENA SCHRECK nee LaVEY 144 148 NIKOLAS SCHRECK / RADIO WEREWOLF 148 154 ADAM PARFREY / FERAL HOUSE 154 162 Your host, GEORGE PETROS 162 170 MICHAEL ANDROS 170 174 ROBERT N.
[Show full text]
Masterarbeit
MASTERARBEIT Titel der Masterarbeit „Where evil dwells – Das Cinema of Transgression und eine neue Ästhetik des Schocks im Undergroundfilm der 1980er“ Verfasser Jan-Hendrik Müller, BA angestrebter akademischer Grad Master of Arts (MA) Wien, 2014 Studienkennzahl lt. Studienblatt: A 066 582 Studienrichtung lt. Studienblatt: Masterstudium Theater-, Film und Medientheorie Betreuerin: Dr. Andrea Seier, M.A. Inhaltsverzeichnis I. Einleitung .......................................................................................................................... 5 1.1 Einleitung ...................................................................................................................... 5 1.2 Zur Idee ......................................................................................................................... 7 1.3 Zur Methode – Was ist eine „Minor history“? .............................................................. 9 II. Hauptteil ........................................................................................................................ 13 2.1 Die Geschichte des Undergroundfilm in den USA ..................................................... 13 2.1.1 Frühes Kino – The Cinema of Attraction ............................................................ 14 2.1.2 Der experimentelle Amateurfilm der 1930er Jahre – Frühe Avantgarde ............ 18 2.1.3 Die Entstehung des Undergroundfilm der 1960er ............................................... 21 2.1.4 Der strukturelle Film der 1970er ........................................................................
[Show full text]
Guide to the Colin De Land, American Fine Arts, Co., and Pat Hearn Gallery Archives MSS.008 Finding Aid Prepared by Ryan Evans; Collection Processed by Ryan Evans
CCS Bard Archives Phone: 845.758.7567 Center for Curatorial Studies Fax: 845.758.2442 Bard College Email: [email protected] Annandale-on-Hudson, NY 12504 Guide to the Colin de Land, American Fine Arts, Co., and Pat Hearn Gallery Archives MSS.008 Finding aid prepared by Ryan Evans; Collection processed by Ryan Evans. This finding aid was produced using the Archivists' Toolkit March 31, 2017 Describing Archives: A Content Standard Guide to the Colin de Land, American Fine Arts, Co., and Pat Hearn Gallery Archives Table of Contents Summary Information..................................................................................................................................3 Biographical/Historical note.........................................................................................................................4 Scope and Contents note........................................................................................................................... 5 Arrangement note....................................................................................................................................... 7 Administrative Information...........................................................................................................................8 Related Materials........................................................................................................................................ 8 Controlled Access Headings.......................................................................................................................8
[Show full text]
Press Release
EMA- -LIN KEMBRA PFAHLER FOCUS � Stand H8 Frieze London Regent‘s Park 02 - 06 October 2019 Kembra Pfahler (b. 1961, Hermosa Beach, CA, USA. Lives and works in New York) is a visual and per- formance artist, filmmaker, punk-rock musician, actor and model. Formative in the LA punk scene in the 1970s, Pfahler is known for her leading role in New York’s Lower East Side underground scene in the 1980s and ‘90s. Her arrival in New York City at age eighteen – where she enrolled in the School of Visual Arts to study under the tutelage of artists Mary Heilmann and Lorraine O’Grady – alongside the devastating effects of the AIDS epidemic that swept the city and took the lives of many of her closest friends, marked a turning point for Pfahler, thereupon veering into more extreme artistic territory. Pfahler developed the philosophy of availabism, defined by ‘making the best use of whatever is available at any given time’. Quotidian objects, including bowling balls, eggs and turkey basters, crucifixes and anal beads, appear as theatrical props in performative actions that use irreverence, humour and bold sexuality to dismantle existing paradigms of femininity. Pfahler’s collaborations with artists such as Richard Kern, Matthew Barney, Bruce LaBruce, Anohni, Ron Athey, Vaginal Creme Davis, Jack Smith and more generally the Cinema of Transgression, to name a few, continue to shape the way performance art of the 1980s and 1990s is framed today. Resisting an active role in the commercial art world, Pfahler was convinced by legendary art dealer Colin De Land to stage her first solo exhibition at his gallery, American Fine Arts, Co.
[Show full text]
An Action History of British Underground Cinema
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2003 Not Art: An Action History of British Underground Cinema Reekie, Duncan http://hdl.handle.net/10026.1/1273 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. NOT ART: AN ACTION HISTORY OF BRITISH UNDERGROUND CINEMA by DuRan Reekie A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY Falmouth College of Arts August 2003 THESIS CONTAINS CD This copy of the thesis has been supplied on the condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis and no injormntion derived from it mny be published without the author's prior consent. Abstract NOT ART: AN ACTION IDSTORY OF BRITISH UNDERGROUND CINEMA My thesis is both an oppositional history and a (re)definition of British Underground Cinema culture (1959 - 2(02). The historical significance of Underground Cinema has long been ideologically entangled in a mesh of academic typologies and ultra leftist rhetoric, abducting it from those directly involved. The intention of my work is to return definition to the 'object' of study, to write from within.
[Show full text]
(Genesis P-Orridge) 1950 Born in Manchester, UK Lives and Works In
BREYER P-ORRIDGE (Genesis P-Orridge) 1950 Born in Manchester, UK Lives and works in New York Selected Solo Exhibitions 2017 Room 40, Brisbane, Australia Tree of Life, INVISIBLE-EXPORTS, New York 2016 Thee Ghost, Lockup International, Mexico City, Mexico Blue Blood Virus, INVISIBLE-EXPORTS, New York Try To Altar Everything, The Rubin Museum, New York 2015 Breaking Sex, Galerie Bernhard, Zurich, Switzerland 2014 Life as a Cheap Suitcase, Summerhall, Edinburgh, Scotland 2013 S/he is Her/e, Andy Warhol Museum, Pittsburgh PA 2012 La Centrale Galerie Powerhouse, Montreal, Canada NADA Art Fair Miami, INVISIBLE-EXPORTS booth #305, Miami, FL I’m Mortality, INVISIBLE-EXPORTS, New York THEE…NESS: An Evening with Genesis BREYER P-ORRIDGE, Salvor Projects, New York 2011 Blood – Sex – Magick, Christine Konig Galerie, Vienna, Austria 2010 Spillage… Rupert Goldsworthy Gallery, Berlin, Germany 2009 30 Years of Being Cut Up, INVISIBLE-EXPORTS, New York 2008 Collaborative Works, Mason Gross Galleries, Rutgers University, New Brunswick NJ 2006 We Are But One…, Participant Inc., New York 2004 Painful But Fabulous, Kunstlerhaus Bethanien, Berlin, Germany Regeneration Hex, Ecart Gallery, Art Fair, Basel, Switzerland 2003 Painful But Fabulous, A22 Gallery, London UK BREYER P-ORRIDGE Sigils, VAV Gallery, Concordia University, Montreal, Canada 2002 Genesis P-Orridge, Galerie Station/Mousonturm, Frankfurt, Germany 2001 Expanded Photographs 1970-2001, ECART Gallery, Art 32 Basel, Sweizer Mustermesse, Basel, Switzerland Candy Factory (with Eric Heist), Centre Of Attention, London, England Candy Factory (with Eric Heist), TEAM Gallery, Chelsea, New York 1995 Genesis P-Orridge-Works, SERFOZO Artadventures, Zurich, Switzerland 1994 Esoterrorist - Retrospective, Rita Dean Gallery, San Diego, CA 1976 Marianne Deson Gallery, Chicago, IL N.A.M.E.
[Show full text]
Download PDF Here
1 2 3 the 19th annual watermill center summer benefit 7.28.12 the big bang the byrd hoffman watermill foundation thanks lvmh / moët hennessy.louis vuitton 4 1 board of directors shaikha paula al-sabah . dianne b . irving benson pierre bergé . giancarla berti . william i. campbell alain coblence . louise hirschfeld cullman . lisa de kooning . simon de pury . lisa ehrenkranz . charles fabius . jürgen friedrich . roger ferris . jolmer d. gerritse . philip glass . amy guttman . gabriele henkel . holm keller . jan kengelbach . lummi u. kieren . william kornreich . ann lewis (in memoriam) tatiana platt . katharine rayner . elka rifkin roberta sherman . stanley stairs . robert wilson 2011 international summer program credit - lovis dengler 2 3 board of advisors giorgio armani . pierre bergé . christophe de menil . christoph eschenbach . betty freeman (in memoriam) . philip glass . rhoda grauer . donna karan . thomas krens . annie leibovitz . gérard mortier . jessye norman . maren otto . michael otto . claude pompidou (in memoriam) . lou reed . isabella rossellini . richard serra . cindy sherman . tom waits . richard von weizsäcker resident artists krymov lab (russia) credit - jake schlichting 4 5 selection committee marina abramovic´ . marie-claude beaud kristy edmunds . jonathan safran foer roselee goldberg . alanna heiss . jürgen kluge . xavier le roy . albert maysles . michael morris . gérard mortier . ida nicolaisen . john rockwell . dr. thomas f. schutte . richard sennett . taryn simon . elisabeth sussman nike wagner . jörn weisbrodt . robert wilson resident artists wet weather ensemble (australia) credit - lovis dengler 6 7 community board michael braverman (chair) . elka rifkin (honorary chair) . maeera mougin (honorary chair) maria pessino (honorary chair) . ruth applehof dianne b . christophe de menil . eileen ekstract kimberly goff . debra halpert . roberta o.
[Show full text]
Lewis Church, ‘My Womanly Story: Vaginal Davis in Conversation with Lewis Church’, PAJ 113, 38 (2016), 80-88
1 No Discipline: The Post-Punk Polymath Lewis Alexander Church Submitted in partial fulfilment of the requirements of the Degree of Doctor of Philosophy. Department of Drama Queen Mary University of London May 2017 2 Statement of Originality: I, Lewis Alexander Church, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author. Signature: Date: Details of collaboration and publications: Lewis Church, ‘My Womanly Story: Vaginal Davis in Conversation with Lewis Church’, PAJ 113, 38 (2016), 80-88. 3 Abstract Lydia Lunch, David Wojnarowicz and Vaginal Davis are artists who each produced music, film, literature, performance, visual art and installation whilst participating in the subcultural communities of post-punk. This thesis frames them as post-punk polymaths, artists whose subcultural participation provides a link between their multiple artistic outputs.
[Show full text]
Kembra Pfahler
Kembra Pfahler Born in 1961 in Hermosa Beach, CA, USA. Lives and works in New York City, NY, USA. EDUCATION 1973 – 1983 School of Visual Arts BA, New York, NY, USA SOLO EXHIBITIONS 2019 Kembra Pfahler and Paul Heyer, CONDO NY, Chapter NY, New York, NY, USA Rebel without a Cock, Emalin, London 2016 Capital Improvements, Emalin, London 2015 Kembra Pfahler The Manual of Action, Bowman Gallery, Los Angeles, CA, USA 2012 Kembra Pfahler: Fuck Island, Participant Inc., New York, NY, USA Giverny (with E.V. Day), The Hole Gallery, New York, NY, USA 2008 Sit-Ins, Deitch Projects, New York, NY, USA 2007 Heaven & Helll, Deitch Projects at Bas Fisher Invitational, Miami, FL 2005 File Under ‘V’, Rove Gallery, London 2002 Availabism and Anti-naturalism: A Feminine Experiment at American Fine Arts Company, New York, NY, USA Riddle of the Sphinx, Deitch Projects, New York, NY, USA Tylenol Island, P.S.1 Contemporary Art Center, Long Island City, NY, USA Wet Rainbow, HaNNa, Hpgrp Tokyo, JP GROUP EXHIBITIONS 2019 Familiar Machines, Backlit, Nottingham, UK 2018 Breaking Wave, Participant Inc., New York, NY, USA The Condition Of Being Art: Pat Hearn Gallery & American Fine Arts, Co. Hessel Museum of Art, Hudson, NY, USA LUST LAUGHTER LIQUOR, PLUS-ONE Gallery, Antwerp, BE 2017 FUTURE FEMINISM, O Space on occasion of European Capital of Culture Aarhus 2017, Aarhus, DK 2016 Grande, Anonymous Gallery, Mexico City, MX Subject to Capital, Abrons Arts Center, New York, NY, USA 2015 All Together, Ernest Rubenstein and Jewish Communal Galleries at Manny Cantor Center,
[Show full text]
Oral History Interview with Jack Waters, 2018 February 21-22
Oral history interview with Jack Waters, 2018 February 21-22 Funded by the Keith Haring Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Jack Waters on 2018 February 21- 22. The interview took place in New York, N.Y., and was conducted by Alex Fialho for the Archives of American Art, Smithsonian Institution. This interview is part of the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project. Jack Waters and Alex Fialho have reviewed the transcript. Their corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ALEX FIALHO: This is Alex Fialho interviewing Jack Waters at the Visual AIDS office in Chelsea, New York City on February 21, 2018 for the Archives of American Art, Smithsonian Institution. Card number one. So, Jack, let's start at the beginning. When and where were you born, and can you tell me a little bit about your early childhood? JACK WATERS: I was born in Philadelphia, Pennsylvania, on October 14, 1954. I'm the fourth of seven children, and I was born during Hurricane Hazel, which apparently was the worst hurricane of the year at that point. My early childhood was—I don't know. My parents were both working parents.
[Show full text]