Posts Tagged ‘Damian Hirst’

The Painter of Cyberspace: The Art of Jurgen Ziewe

January 20, 2018

Earlier this week there was a piece in the press announcing that the Turner Prize Committee had decided to go public early about which artworks and artist they were considering. I have strong feeling, like many people, about the Turner Prize. Many of the works seem simply designed to shock, with nothing more substantial underneath. Those that aren’t, are simply banal. It’s highbrow kitsch, which says nothing while claiming that it actually does. And I think modern fine art has reached a dead end. it’s anti-art, which constantly raves about Duchamps’ urinal nailed to a piece of canvas. Duchamps did it to make the point that whatever the artist claimed to be art, was art. It’s over a century old, and the joke’s well past it’s sell-by date. It was always an adolescent, childish prank anyway. To some of these art experts, it’s a hallowed artistic statement that must not be blasphemed in any way. You remember those Chinese guys, who were arrested when they jumped up and down on Tracey Emin’s ‘My Bed’? The same two were planning to urinate in Duchamps’ urinal. Which I feel is in keeping with the piece itself, but the mere thought horrified the keepers of official art.

The real artistic boundaries are being pushed, in my opinion, not by the fine artists, or at least, not by those fine artists currently pushed by the very small clique that defines what ‘official’ art is, like Nicholas Serota. Rather, they’re being pushed by commercial artists and film makers, often inspired by the worlds of Fantasy and SF, using computer graphics. One of the foremost of these, in my opinion, is the German artist Jurgen Ziewe. Ziewe lives over here, and has an English wife. And we are fortunate to have such a talented artist. I do wonder what will happen to other talented EU migrants like him after Brexit, who can’t stay in this country because they aren’t married. We’re going to lose a lot of very talented people.

Ziewe uses computer graphics, including Virtual models of humans and objects, and fractals, to create prismatic, Virtual, interior worlds full of robots, strange creatures, synthetic humans, fairies, wizards, witches, priestesses and temples. He started out making cards showing dolphins under cosmic skies. He’s a very spiritual guy, in a New Age-y sense, and his work is inspired by concepts from Theosophy and C.G. Jung. Here’s some of the picture from Nigel Suckling’s book about his art, New Territories: The Computer Visions of Jurgen Ziewe (Paper Tiger, 1997).

The Fairy Queen

Picnic In Cyberspace

Journey of a Virtual Traveller

Apart from Ziewe, other artists working in film and television have also been using the concepts of computer graphics. One of the features of the BBC TV version of the Hitch-Hiker’s Guide to the Galaxy that most impressed me in the late ’70s or early 1980s were the, ahem, computer graphics for the pieces of information provided by the Book. In fact, they were hand drawn, because the computers at the time simply weren’t up to the task of creating pictures that detailed. But the art produced as ‘computer graphics’, was superb, and those, who watched the show were deeply impressed. As an example, here’s a piece from YouTube of the Book describing Vogon poetry.

Further examples can be seen in pop videos. Like this one from the American electro-pop band, Information Society, which uses scrolling alphanumerics to suggest passage through cyberspace in a computer game, made for their track, ‘The Prize’.

Other artistic explorations of medically or cybernetically enhanced vision can be seen in the films Pitch Black and The Chronicles of Riddick and the last of trilogy, entitled simply Riddick. Richard Riddick, the anti-hero in these movies, is a violent criminal, a murderer, who somehow ends up doing the right thing. While in slam for his crimes, he paid the prison doctor 20 menthol cigarettes to have his eyes surgically altered, ‘polished’, so that he could see in the dark. In these flicks, we so bits of the action through his eyes. The scene in Pitch Black, where he sees the predatory aliens pouring out of their underground lairs after the marooned crew of a crashed colony spacecraft, is awesomely beautiful. This is the trailer for the movie.

And this is the trailer for The Chronicles of Riddick.

In this movie, the Necromongers use visioners, cybernetically adapted humans, to seek and visually examine areas that are difficult or impossible for normal human eyes to see clearly. And the brief scenes, in which the audience is shown what they see, are also stunning.

But this is low, commercial art, and so unlikely to find any praise by the High Art people, no matter how popular it is, or how technically sophisticated and visually inspired. The best comment on this kind of artistic snobbery comes from the American SF/Fantasy artist and book illustrator, Bob Eggleton.

Being a commercial artist is itself a kind of pigeonhole in the art world, but it is not a label that troubles him. ‘Commercialism for the sake of commercialism is not a sin. What I hate is commercialism packaged as fine art. That’s what Abstract Expressionism about, you’re buying into a trend much of the time. There’s nothing wrong with any kind of art, provided the artist believes in what they’re doing.’

From Nigel Suckling, with introduction by Gregory Benford, Alien Horizons: The Fantastic Art of Bob Eggleton (Paper Tiger, 1995) page 83.

And the YBAs, such as Damian Hirst, Tracey Emin and Chris Offili, were very commercial, as was Salvador Dali long before them. This was pointed out on a programme on the great surrealist on Radio 4 several years ago by Malcolm MacLaren, the genius – well, he obviously thought he was – behind the Sex Pistols.

And here’s Eggleton’s picture of Great Cthulhu, painted for Weird Tales magazine, for all the Lovecraft fans out there.

I realised I’ve digressed a little way from the central topic of this post, the fantastic computer art of Jurgen Ziewe. But these are related issues, showing the way computers, robots, space and high technology – the stuff of Science Fiction – is pushing artistic boundaries in ways that the official fine art of Conceptualism really isn’t doing. I’m also exploring a few ideas here for a much longer article, or series of articles, I intend to do on this sometime.

Secular Talk: Candidate for Trump’s Secretary of State Wants War with Iran

November 19, 2016

Unfortunately, the Neocons demanding war with Iran, along with just about every other opposing, or simply independent country, in the Middle East didn’t die with Killary’s campaign for the presidency.

In this piece from Secular Talk, host Kyle Kulinski talks about how John Bolton, one of the potential candidates for Trump’s secretary of state, has made a speech demanding ‘regime change in Tehran’. Bolton blames the Iranians for destabilising the Middle East. Kulinski points out how ludicrous and hypocritical Bolton’s views are. He begins with the point America and the West are now at war with seven countries in the Middle East, including boots on the ground. Bolton was one of the worst of the warmongers. Unlike many others, he still supports the Iraq invasion. Kulinski states ironically that Bolton never met a war he didn’t like. Kulinski goes on to explain how we, America and the West, have destabilised the Middle East. As for Iran, it’s a Shi’a theocracy, but Kulinski accurately states that it is far more liberal and progressive than Saudi Arabia. He doesn’t like the horrific Islamic theocracy in Iran, but also explains that the majority of the population is much younger, under thirty, and more secular than the dinosaurs that rule over them. Again, true.

Kulinski also explains how the Shi’a are a tiny minority in the Middle East, and are under attack everywhere. They have the Israelis on one side of them, and the Saudis on the other. And what about countering their destabilisation of the region? Israel, for example, invaded Lebanon in order to expand its influence, and continues to build illegal settlements to push out the Palestinians. The Saudis have invaded Yemen to attack the Shi’a there. And Qatar and the other Sunni states are funding al-Qaeda, so that they will overthrow Assad in Syria. But no, according to Bolton, it’s the Iranians, not these, who are primarily responsible for the chaos and carnage in the region.

Kulinski also describes how Bolton has blithely made this demand for war with Iran, without even thinking about whether the American people themselves want another war. Usually governments need to build up a propaganda campaign to prepare the public’s mood for war. But no, not this time. Bolton and his friends simply aren’t bothered about that. They’ll just steal Americans’ money through taxation to fund yet another war that no-one except them wants.

Kulinski concludes by stating that if Bolton is picked by Trump as his secretary of state, or even remains in Trump’s circle of advisors, it means that Trump wasn’t serious about keeping America out of further conflicts. Of course, there’s a chance that Trump may keep him as an advisor, but not listen to him. Similarly, if Trump doesn’t pick him, or anyone like him, to be secretary of state, then perhaps there is a chance for America to avoid going into another war.

This is another stupid, horrendous pronouncement by yet another Republican fossil. Again, it ultimately seems to go back to the Neocon plans under Bush, to overthrow a series of regimes in the Middle East, including Iraq, Iran, Syria, Libya and Somalia. The result has been an unmitigated disaster. Iraq is now a warzone. As we saw this week, ISIS is determined to smash as much of the regimes precious heritage as it can. After destroying immeasurably valuable antiquities from the dawn of civilisation in Syria and Iraq, it carried out another assault on the Iraqi people’s ancient civilisation by levelling one of the country’s ziggurats. These barbarians have been funded by Saudi Arabia, in its campaign to spread its extremely repressive, intolerant brand of Islam across the world. The Iraqis weren’t responsible for 9/11: it was Saudi Arabia. But the Neocons and Likud wanted Iraq invaded. The Likudniks despised Saddam Hussein because he supplied the Palestinians with guns, while the Saudis and Neocons just wanted to the loot the country of its oil industry and other potentially valuable state assets.

Now, apparently, they want to do this to Iran. The mullahs are unpleasant. They’re extremely corrupt, intolerant and repressive. But they aren’t as corrupt and intolerant as the Saudis. Unlike Saudi Arabia, the Iranian theocracy does include a democratic element. Every so many years, the Iranian people vote for a president. I got the impression that in many respects, it’s pretty much Hobson’s choice, in that there’s little ideological difference permitted between the candidates. Nevertheless, the Iranian people enjoy a measure of popular sovereignty that is denied the peoples of the Sunni absolute monarchies in the Gulf.

I also need hardly say that Iran is also an ancient land with an immensely rich cultural and artistic heritage. This was demonstrated a few years ago when the British Museum lent the Cyrus cylinder for exhibition in Iran. The cylinder records the conquests of the great Persian emperor, Cyrus, over the Babylonians. It’s valuable because it documents how he freed the Israelites from their exile, and allowed them to return to Israel and Judea. This heritage would also be seriously threatened if the Americans decide to invade, just like the heritage of Iraq.

One of the causes for the present chaos in Iraq is the fact that the country is an artificial creation of the imperial powers, in this case, Britain during the Mandate in the 1920s. It does not have a uniform population, but is composed of different tribal groups and sects, including Kurds, Shi’a and Sunni Muslims, Christians and the Mandaeans, a small Gnostic sect that reveres John the Baptist as the true messiah. Iran similarly is composed of a multitude of different peoples. Just over half – 52 per cent – speak Farsi, the language derived from ancient Persia. There are also a number of other different tribes, speaking languages related to Turkish, Arabs in Khuzistan in the West, and Kurds, Lurs and Bakhtiars in their homelands. Three per cent of the population are Armenian Christians, and there are also Parsees, the followers of the ancient religion of the Persian Empire, Zoroastrianism, a monotheist faith centred around the teachings of the prophet Zoroaster. The Kurds have been fighting a war for their independence since the 1970s, just as they have in Iraq and Turkey. Iran was also the birthplace of the Baha’i faith, which claims that Baha’ullah, an Iranian religious of the 1920s, was a prophet. Baha’ullah and his followers were exiled to Haifa, in what is now Israel, when it was still part of the Turkish empire. Because of this, the Baha’i’s are under considerable pressure and suspicion as agents of Israel, intent on destroying Islam and Iran. It’s nonsense, but it has been strongly promoted by the authorities, with the result that there have been terrible pogroms and persecution against them.

There is also a massive underground Christian church in Iran. Although its comparable to the underground Christian churches in China, you’ve probably never heard of it. This is made up of Iranians, who have secretly converted from Islam. They too are under immense persecution as apostates. I’ve heard that the situation has go to the point, where the government is posting guards at the Armenian Christian churches to try and keep the Iranians away. If America invades, it will result in the same ethnic conflict and civil war that has turned neighbouring Iraq into a bloodbath. And just as the Christian populations of the Middle East are being massacred and cleansed from the regions by the Islamists, along with other, non-Muslim religions like the Yezidis and moderate Muslims, who want tolerance and peaceful coexistence, so my fear is that if the West attacks Iran, it will intensify the brutal persecution of Christians there.

Apart from this, Iran is a modern, relatively developed and sophisticated country. It was the most developed economy in the Middle East during the Shah’s reign. He tried to industrialise the country. One of his aims was for Iran to equal France as a producer of cars. The Iranians had their own car, the Payhan, and he very nearly pulled this off. Even now Iran is significantly involved in scientific research. I was surprised looking at some of the videos on YouTube on robotics to find that, alongside Britain, America, Japan and China, the Iranians have also developed a humanoid machine. Perhaps I shouldn’t be too surprised. The Middle East was the homeland of the Banu Musa brothers, who in the 11th century created a hundred or more automata and other ‘ingenious desires’. The country is also far more tolerant artistically than Saudi Arabia. More than a decade and a half ago, about the turn of the century, the Iranian government staged an exhibition of the works of the YBAs, including Damian Hirst and Tracey Emin.

Just as the invasion of Iraq wasn’t about liberating the Iraqi people and giving them democracy, this isn’t about bringing peace and freedom to the beleaguered people of Iran. This is just another, cynical excuse for us to grab their oil. We did it before. In the 1950s Mossadeq, the last democratically elected Iranian prime minister, nationalised the country’s oil industry, which had previously been in the hands of foreigners, principally us, the British. BP used to be Anglo-Persian Oil, and was set up to exploit the Iranian oil fields. And we did exploit them and the Iranian workers. They were paid less than British workers, and worked in appalling conditions. After Mossadeq nationalised the oil companies, America organised a coup, which we also backed, to overthrow him. I think Mossadeq was a Baha’i, and this was used to mobilise suspicion against him. His removal from power resulted in the Shah assuming total, autocratic control, complete with a secret police, SAVAK, who were brutal thugs. This in turn created rising discontent, which eventually culminated in the Islamic Revolution in 1979. The regime renationalise the oil industry, the date of which is now an official state holiday.

Bush and his fellow Neocons deluded themselves that they would be welcomed as liberators in Iraq. They weren’t. Corinne de Souza, one of Lobster’s contributors, whose father was Iraqi, made the point that one of the consequences of the invasion was that there were fewer Iraqis willing to cooperate with the British intelligence services. This was for a simple reason: they were like everyone else, and loved their country. They were prepared to help us, as they believed that we would liberate them from Saddam Hussein. But they did not want to collaborate with an occupying force. I’ve no doubt that the same will be true of the Iranians, if Trump goes ahead and appoints this idiot as head of state.

A few years ago, before Obama’s election, Bush and his circle of mass-murderers were indeed considering invading Iran. Shirin Ebadi’s book, Iran on the Brink, which describes rising discontent in Iran against the mullahs, strongly argued against her country’s invasion. Protest groups were also being formed. There was one organising meetings in Clifton in Bristol, as I recall. For a few years, that threat seemed to pass. Now it is come back.

There are now so many wars being fought by America and its allies in the Middle East, that one of the ghastly monsters from Bush’s cabinet actually lost count when he was asked that very question in an interview on American television. And the disgusting so-and-so even had the gall to laugh it off and chuckle about it, as if the murder of whole nations was some kind of joke.

And this comes just as NATO is moving more troops and missiles into Estonia, just in case Putin invades. Killary looked all set to start a war with Russia by stoking tensions there up to levels where some feared we were at the same point the great powers were just before the First World War. I think that threat receded slightly when Trump became president. Trump is a disgusting monster, but he does seem to be friends with Putin, and I’m sure that has helped defuse some of the tensions.

Now we have this despicable moron demanding more carnage. I do wonder where it will all end. How many countries have to be invaded, how many millions murdered, how many people forced out of their homes, to live in camps as refugees? How many of our brave young men and women have be sacrificed to the greed of the oil companies before this all stops? Is there really no end to these politicos’ lust for others’ blood?

This is a situation that will have to be watched very carefully. And I’ll keep an eye out also for any groups being formed to stop war with Iran.

Flanders and Swan on Pretencious Smut

June 18, 2016

Okay, I put up a piece a few minutes, which used Tom Lehrer’s satirical song ‘Smut’ to attack the moral panic about pornography on the Net. I share the same fears as the people worried about the exposure of children to porn and other unsuitable material. However, I’m also afraid that these perfectly natural, perfectly decent fears are being used to justify a broader campaign of censoring anything of which the Right disapproves, even if it has little or nothing to do with the sex.

The other side of this issue, is that a lot of intellectual and cultural pseuds have promoted some real rubbish as being high art or great literature, when it’s just basically filth. This pretty much describes, in my opinion, nearly everything ever produced by Damian Hirst and Tracy Emin and many of the rest of the Young British Artists, as promoted by the Turner Prize and Nicholas Serota. The best comment on this came a generation ago with Flanders and Swan and their song, ‘Pee Po Belly Bum Drawers’, commenting on the risqué literature coming out of the pens and typewriters of Norman Mailer, Alan Ginsburg and the Beat poets, and the rest of the artistic avant garde at that time. Here it is: