couverture illustrée par Isamu Noguchi. Meyer Shapiro, Sidney Janis, Kurt Seligman, Charles Henry Ford, Parker Tyler, Edith Sitwell, Paul Bowles, T.S.Law, William Carlos William

Angus MacLise was an American artist, poet, percussionist, and composer active in New York, San Francisco, Paris, London and Kathmandu from the 1950’s through the 1970’s. Best known as the original drummer of the Velvet Underground, MacLise’s lifework included music, calligraphy, performance art, poetry, drawings, plays, and limited edition artist’s books. MacLise was a collaborative partner in the early 1960’s with art groups and individuals such as Fluxus (George Maciunas, Yoko Ono), Theatre of the Ridiculous, and Jack Smith. As a poet, MacLise began publishing in partnership with high school friend Piero Heliczer in the late 1950’s, establishing the Dead Language Press in Paris, widely acknowledged as one a most significant small artist book presses of the 20th Century. Together with his wife, artist and underground press illustrator Hetty MacLise, he edited issue No. 9 of the magazine-in-a-box, Aspen, considered a hallmark of American publishing. While residing in Nepal, he formed the Bardo Matrix/Dreamweapon Press with Ira Cohen, issuing poetry in limited editions on handmade rice paper. The press published Paul Bowles, Charles Henri Ford, Gregory Corso and Diane Di Prima among others. MacLise also published his own works and edited the poetry magazine Ting Pa. On Summer Solstice 1979, MacLise died from hypoglycemia in Kathmandu, and was cremated in the fashion of Tibetan Buddhist funerary rites. A suitcase of Angus MacLise’s artwork, publications, and manuscript as well as more than 100 hours of recorded music was left with La Monte Young and Marian Zazeela for safe-keeping thirty years ago. This extraordinary time-vault is the foundation of the exhibition DREAMWEAPON, with additional materials drawn from private previously unseen collections and archives. The standard edition of the DREAMWEAPON exhibit catalog features texts by Lou Reed, La Monte Young, Ira Cohen, plus exhibit curators Johan Kugelberg and Will Swofford Cameron. This edition includes a laid in memorial letterpress broadside commemorating Ira Cohen, reprinting a 1976 ode to Cohen by Angus MacLise. The broadside printed by Jon Beacham/The Brother In Elysium Press.

The book of the 11th edition of the international exhibition, curated by Argentinean curator Victoria Noorthoorn (gathering 78 artists from all over the world, mostly from Europe, Africa and Latin America), conceived as an autonomous montage of visual and verbal works engendering a multiplicity of meanings. Texts, works and contributions by Gabriel Acevedo Velarde, Ayreen Anastas, Roberto Arlt, The Artic Perspective Initiative, Ronaldo Azevedo, Zbynek Baladrán, Ernesto Ballesteros, Lenora de Barros, Hannah van Bart, Eduardo Basualdo, Samuel Beckett, Erick Beltrán, Walter Benjamin, Thomas Bernhard, Diego Bianchi, Guillaume Bijl, Arthur Bispo do Rosário, Pierre Bismuth, Katinka Bock, Jorge Luis Borges, Paul Bowles, Ulla von Brandenburg, Cyrille Bret, Fernando Bryce, François Bucher, Georg Büchner, William Burroughs, John Cage & Henning Lohner, Augusto de Campos, Beatriz Catani, The Center for Historical Reenactments, Virginia Chiota, Robbie Cornelissen, Marina De Caro, Jochen Dehn, Julien Discrit, Elsa Drucaroff, Marlene Dumas, Eschyle, Ariel Farace, Morton Feldman, Stano Filko, Robert Filliou, Yona Friedman, Aurélien Froment, Richard Buckminster Fuller, René Gabri, Carlos Gamerro, Witold Gombrowicz, Luis de Góngora y Argote, Milan Grygar, Joana Hadjithomas, Felisberto Hernández, Arturo Herrera, Homère, Michel Huisman, Jessica Hutchins, Roberto Jacoby, Yun-Fei Ji, Khalil Joreige, Franz Kafka, Christoph Keller, Irina Kirchuk, Lúcia Koch, Eva Kotátkova, Robert Kusmirowski, Osvaldo Lamborghini, Luciana Lamothe, Moshekwa Langa, Langer, Ruth Laskey, Guillaume Leblon, Kemang Wa Lehulere, Christian Lhopital, Laura Lima, Jarbas Lopes, Jorge Macchi, Linda Matalon, Cildo Meireles, Ruben Mira, Laurent Montaron, María Moreno, Hugo Mujica, Victoria Noorthoorn, The Otolith Group, Bernardo Ortiz, Juan L. Ortiz, Nicolás Paris, Sarah Pierce, Dominique Petitgand, Garrett Phelan, Sarah Rapson, Thierry Raspail, Tracey Rose, José Alejandro Restrepo, Alexander Schellow, Benjamin Seror, Gabriel Sierra, Tom Stoppard, Elly Strik, Jonathan Swift, Neal Tait, Alejandro Tantanian, Javier Téllez, Daniela Thomas, Barthélemy Toguo, Erika Verzutti, Miguel Vitagliano, Christophe Wavelet, Judi Werthein, William Butler Yeats, Lynette Yiadom-Boakye, Héctor Zamora.

Before the Beat Generation of the 1950s, the surrealist movement surfaced, with View magazine as its forum, containing works from such artists and writers as Picasso, Bowles, cummings, Pollock, Camus, Duchamp and others. Now a marvelous volume of cultural history offers poems, stories and artwork from View. 40 pages of photographs, 8 in color; line drawings throughout.

Histoire en images et en commentaires de l'”underground”, conçu comme courant de pensée influent au XXe siècle. Avec les témoignages de Paul Bowles, Arrabal, Brion Gysin, Jodorowsky, Norman Mailer, Bob Dylan…

Gysin (1916-1986) was a U.S.-born cultural provocateur whose first 40 years found him, after a Canadian adolescence, flitting from career to career, as poet, painter, set designer (he assisted Irene Sharaff on a sheaf of major Broadway musicals in the 1940s), historian of the system of slavery in Canada and international gadabout in the homosexual coterie of Paul Bowles, Denham Fouts and Cecil Beaton. When he became involved with William S. Burroughs at the so-called “Beat Hotel” in Paris in 1959, Gysin made a leap into literary and hipster history by inventing the “cut-up,” joining together ripped sections of newspaper to form a nonlinear yet theoretically readable text. (Burroughs used this method, he claimed, in writing his novels The Soft Machine and Nova Express.) Gysin also invented the “Dream Machine,” a strobe-heavy sort of orgone box designed to drive its users into the systematic derangement of the senses foretold by Rimbaud. The debate about Gysin will always be whether he was a lightweight gadfly or a great Leonardo-type genius with tragically limited appreciation of his accomplishments. This book, coming out of a 1998 Gysin retrospective at the Edmonton Art Gallery, includes a plethora of Gysin documents and suggestive texts by a variety of art writers and Gysin geeks, should put Gysin’s detractors on the defensive. He did everything, and most of it’s here: He showed with Picasso, posed for Carl Van Vechten, led Brian Jones to the Pipes of Boujouka in Morocco, preached the gospel of kif, recorded a kind of spoken-word jazz with Steve Lacy and used the Dream Machine to help design dozens of abstract “calligraphic” pictures (among 195 color and 60 b&w illustrations here). The individual reader, of course, will decide whether it all means anything-or everything.

John Cage was one of the most extraordinary and intriguing composers of the twentieth century–or perhaps of any century. His vast corpus of musical compositions, writings, and performances has amazed, amused, bored, enlightened, angered, and fascinated audiences throughout the world. Despite the controversy surrounding his work, there is little disagreement about his role as one of the most important and influential members of the avant-garde. In Writings about John Cage, the renowned Cage expert Richard Kostelanetz has collected the writings of thirty-seven prominent scholars and critics. Selections include articles by the composers Henry Cowell, Peggy Glanville-Hicks, Lou Harrison, Michael Nyman, Virgil Thomson, and Christian Wolff; by literary figures Paul Bowles, John Hollander, and Manfredi Piccolomini; by critics Daniel Charles, Jill Johnston, Edward Rothstein, Calvin Tomkins, and Peter Yates; and by performers Merce Cunningham and Paul Zukofsky. The contributions cover all aspects of Cage’s life and career, including his music, his aesthetics, his prose and poetry, his visual art, and his contributions to modern dance. Richard Kostelanetz is a poet and critic who has written and edited numerous books on aesthetics, the avant-garde, and literature, including The Avant-Garde Tradition in Literature, On Innovative Music(ian)s, The Theatre of Mixed Means, and Esthetics Contemporary. He is the author of The Old Poetries and the New, also published by the University of Michigan Press. His books on Cage include John Cage and Conversing with Cage. “. . . the most intelligently chosen book of writings about Cage that I’ve seen. . . . Kostelanetz is a practiced and gifted anthologist, with the discriminating eye of a litterateur, the sensibility of a poet, and the ear of a musician. . . . . [N]o matter how we read Writings about John Cage, we learn–from intelligent and serious teachers whose writings are worth the effort.”–Institute for Studies in American Music Newsletter “. . . belongs in the library of anyone who is trying to understand and to deal with John Cage.”–Performing Arts Journal

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