PERSUASION. Musique Industrielle et Contrôle Mental (1975-1995)

Design Projet Room, cur. Nicolas Ballet, Paris 1 Panthéon-Sorbonne / INHA © HEAD–Genève

L’Angleterre des années 1970 assiste à la naissance de groupes de musique industrielle qui participent à l’émergence d’un phénomène artistique global tissant une multitude d’expressions avec de nombreux domaines. Certaines figures emblématiques de cette scène prennent conscience de l’importance du rôle des médias et de la nouvelle forme de pouvoir qui les accompagne dans la capacité à manipuler les masses. L’exposition « Persuasion. Musique industrielle et contrôle mental (1975-1995) » met en exergue les recherches des artistes industriels dont les travaux révèlent un intérêt croissant pour la thématique de la manipulation mentale.

La conception d’affiches, de fanzines, de pochettes de disque et de vidéos autour du contrôle mental sont autant d’éléments qui témoignent d’une culture visuelle foisonnante. Celle-ci est ici présentée en trois séquences identifiées selon les titres de certaines œuvres exposées. Le conditionnement sonore et visuel (How to Operate Your Brain), les expériences chirurgicales en milieu psychiatrique (Suture Obsession) ainsi que la guerre acoustique des musiques industrielles (Nothing Short of a Total War) établissent un lien avec le domaine scientifique des années 1960 et 1970, souvent issu du monde militaire. Les renvois, détournements et citations perpétuels qui nourrissent la culture industrielle à partir des recherches militaires se manifestent par l’élaboration d’une presse parallèle singulière. Le bulletin Industrial News de Throbbing Gristle ainsi que les publications RE/Search sont à cet effet exemplaires des stratégies de détournement propre à l’esthétique des musiques industrielles présentée dans cette exposition dont les œuvres de Club Moral, Nocturnal Emissions, SPK, Zorïn et bien d’autres sont exposées.

Commissaire: Nicolas Ballet, docteur en histoire de l’art (université Paris 1 Panthéon ­Sorbonne), attaché de conservation, Centre Pompidou.

Chercheurs : Jelena Martinovic et Nicolas Brulhart.


Design Projet Room, cur. Nicolas Ballet, Paris 1 Panthéon-Sorbonne / INHA © HEAD–Genève

Le projet MIND CONTROL privilégie l’innovation « transdisciplinaire » en portant son attention sur les liens entre le design (controdesign et antidesign), l’architecture radicale et l’art expérimental en Europe et aux Etats-Unis, et les recherches en psychologie, neuroscience et cybernétiques sur le conditionnement mental telles qu’elles se sont stratégiquement développées au sortir de la Seconde Guerre mondiale.

mindcontrol-research.net

Design Projet Room, cur. Nicolas Ballet, Paris 1 Panthéon-Sorbonne / INHA © HEAD–Genève
Design Projet Room, cur. Nicolas Ballet, Paris 1 Panthéon-Sorbonne / INHA © HEAD–Genève

affiche de l’exposition

Persuasion. Industrial Music and Mind Control (1975-1995)

Exhibition, April 2015, HEAD – Geneva

The England in the 1970s witnessed the emergence of industrial music bands involved in a counterculture that operated as a platform of exchange between the arts. The industrial movement committed an elaborated thinking between graphics, music, performance and video art in an experimental framework and under the increasing influence of technology. Some emblematic artists of this movement were aware of the important role of the media and the new form of power that went along with the ability to manipulate mobs.

The exhibition “Persuasion: Industrial music and mind control (1975-1995)” highlights the visual productions of industrial artists that reveal a growing interest in mind control. A regular practice of mail art and collage allowed industrial artists to design album covers, fanzines and posters as a means of spreading their music to a wider audience. These artistic media reflect today a prolific visual culture with an interest for mind control. This phenomenon is presented here in three sequences identified by the titles of some songs or videos. The sound and image in mental conditioning (How to Operate Your Brain), the surgical experience in psychiatry (Suture Obsession) and the sonic warfare of industrial music (Nothing Short of a Total War) establish a link with science from the military in the 1960s and 1970s. Referrals, perpetual détournements and quotes that feed industrial culture from military researches are manifested by the development of a unique underground press. The Industrial News magazine by Throbbing Gristle and the RE/Search publications give examples of these strategies that reveal the aesthetic of industrial music.

Design Projet Room, cur. Nicolas Ballet, Paris 1 Panthéon-Sorbonne / INHA © HEAD–Genève
Design Projet Room, cur. Nicolas Ballet, Paris 1 Panthéon-Sorbonne / INHA © HEAD–Genève
Design Projet Room, cur. Nicolas Ballet, Paris 1 Panthéon-Sorbonne / INHA © HEAD–Genève
Design Projet Room, cur. Nicolas Ballet, Paris 1 Panthéon-Sorbonne / INHA © HEAD–Genève
Design Projet Room, cur. Nicolas Ballet, Paris 1 Panthéon-Sorbonne / INHA © HEAD–Genève
Design Projet Room, cur. Nicolas Ballet, Paris 1 Panthéon-Sorbonne / INHA © HEAD–Genève
Design Projet Room, cur. Nicolas Ballet, Paris 1 Panthéon-Sorbonne / INHA © HEAD–Genève
Design Projet Room, cur. Nicolas Ballet, Paris 1 Panthéon-Sorbonne / INHA © HEAD–Genève
Exhibition, April 2015, HEAD – Geneva

The works of

Autopsia, Cabaret Voltaire, Clock DVA, Club Moral, Esplendor Geométrico, La NomenKlaTur, Le Syndicat, M.B., Maeror Tri, Minamata, Nocturnal Emissions, Nurse With Wound, Pacific 231, Psychic TV, RE/Search, SPK, The Anti-Group, Sordide Sentimental, The Haters, The Hafler Trio, Throbbing Gristle, Urbain Autopsy, Zorïn are exposed in this exhibition.

Design Projet Room, cur. Nicolas Ballet, Paris 1 Panthéon-Sorbonne / INHA © HEAD–Genève
Design Projet Room, cur. Nicolas Ballet, Paris 1 Panthéon-Sorbonne / INHA © HEAD–Genève
Design Projet Room, cur. Nicolas Ballet, Paris 1 Panthéon-Sorbonne / INHA © HEAD–Genève

2023 (parution prévue au 2e trimestre) édition française

Une vaste étude de la culture visuelle des musiques industrielles au cours de leur développement en Europe, aux États-Unis et au Japon, des années 1970 aux années 1990, culture globale dépassant la seule expérimentation sonore pour croiser différents médias (graphisme, film, performance, vidéo), dans un dialogue étroit avec l’héritage de la modernité et sous l’emprise croissante des technologies.

Docteur en histoire de l’art contemporain, chargé de cours en histoire de l’art contemporain à l’Université Paris 1 Panthéon-Sorbonne, Nicolas Ballet est spécialiste des cultures alternatives, de l’art expérimental, des nouveaux médias et des mouvements d’avant-garde.

order: Shock Factory


THE LAST SLOGAN (limited edition) – Jean Pierre Turmel & Nicolas Balle

The Last Slogan pays tribute to one of counter-culture’s single most iconic figures of the past fifty odd years, someone who has over the course of he/r career influenced countless fellow artists and theorists. Comprised of an exclusive unpublished interview with the artist conducted by Nicolas Ballet in 2016, theoretical texts on he/r work, and archival documents from the personal collection of Jean-Pierre Turmel.

The Last Slogan offers a completely new perspective on the work of Genesis Breyer P-Orridge. The book collects multiple letters sent by Genesis to Jean-Pierre Turmel (Sordide Sentimental label headmaster) from the mid-1970s till early 1990s. These unique personal archives provide an unequaled insight into Genesis Breyer P-Orridge’s life-long journey via a deeply intimate correspondence with a close friend and associate, an intellectual sparring-partner of sorts, in which the artist discusses he/r inner thoughts, strategies, doubts and plans without any of the usual control filters.

order: THE LAST SLOGAN


Nicolas Ballet – photo: Veronique Ellena 

nicolasballet.com


for different works of the author

EDITION


Henriette Valium: Le Salon Vendetta & Le Festival Vendetta Ta-Ta-Ta

Dessin en hommage à Henriette Valium by Julien Gardon

“Nul n’est prophète en son pays. À part peut-être Ben Laden !

LE SALON VENDETTA & LE FESTIVAL VENDETTA TA-TA-TA

Chéries Graphies

Sébastien Boistel / Ventilo Magazine no: 476

Après la pause covidienne, le salon marseillais du fanzine Vendetta fait son retour. Et la nique aux censeurs avec un hommage au pilier de l’underground canadien, Henriette Valium.

Sur la porte du Dernier Cri, à la Friche de la Belle de Mai, un écriteau en guise d’avertissement : « Interdit aux moins de 16 ans ». La réalité, deux étages plus bas, serait-elle moins crade, avec ce Pôle Emploi au frontispice duquel un chômeur a inscrit à la bombe « Donnez-moi du travail » ? Au Dernier Cri, en tout cas, on n’en manque pas, l’équipe étant en train d’usiner ferme pour l’ouverture de la neuvième édition du salon marseillais du fanzine et de la microédition, Vendetta, qui se déroulera du 10 et 12 février. Un festival créé en 2013, en marge cette année où Marseille fut éphémère Capitale européenne de la Culture. Et qui, Covid oblige, a dû faire une pause en 2022. Alors, pour son retour, Pakito Bolino, fondateur du Dernier Cri et du salon, met les bouchées doubles. Sans cacher une certaine nervosité. Il faut dire que le climat est loin d’être serein, comme en atteste la polémique qui a entouré l’exposition de Bastien Vivès à Angoulême, puis son annulation. Dans le Monde, une quarantaine d’acteurs culturels ont dénoncé une société au « bord de l’obscurantisme ».


Le Salon Vendetta & le festival Vendetta ta-ta-ta / Photo by Marc Tessier, 2023
Le Salon Vendetta & le festival Vendetta ta-ta-ta / Photo by Marc Tessier, 2023
Le Salon Vendetta & le festival Vendetta ta-ta-ta / Photo by Marc Tessier, 2023
Le Salon Vendetta & le festival Vendetta ta-ta-ta / Video record by Marc Tessier, 2023

After the Covid break, the Marseille salon of the Vendetta fanzine is back. And the picnic to the censors with a tribute to the pillar of the Canadian underground, Henriette Valium.

On the door of the Dernier Cri, at the Friche de la Belle de Mai, a sign as a warning: “Forbidden to under 16s”. Would the reality, two floors below, be less dirty, with this Pôle Emploi on the frontispiece of which an unemployed person wrote in a bombshell “Give me work”? At the Dernier Cri, in any case, there is no shortage of them, the team being hard at work for the opening of the ninth edition of the Marseille fanzine and micropublishing fair, Vendetta, which will take place from 10 and February 12. A festival created in 2013, on the sidelines this year when Marseille was ephemeral European Capital of Culture. And who, Covid obliges, had to take a break in 2022. So, for his return, Pakito Bolino, founder of the Dernier Cri and of the show, is working hard. Without hiding a certain nervousness. It must be said that the climate is far from serene, as evidenced by the controversy that surrounded the exhibition of Bastien Vivès in Angoulême, then its cancellation. In the World, about forty cultural actors have denounced a society on the “edge of obscurantism”.

After the Covid break, the Marseille salon of the Vendetta fanzine is back. And the nick of the censors with a tribute to the pillar of the Canadian underground, Henriette Valium (on the cover of this issue)

Ventilo no: 476 (2023)

Après s’être retourné le cerveau et les pupilles à la Friche, direction donc Data et l’Embobineuse pour mettre ses tympans à rude épreuve.

De quoi rappeler à certains quelques mauvais souvenirs. Alors, pour faire la nique aux censeurs de tout poil, Vendetta va rendre hommage à Henriette Valium, un pilier de l’underground canadien. Qui, nous explique Pakito, « est peut-être celui qui a contribué à ce que le Dernier Cri existe. Alors que j’y faisais les beaux-arts, quand il est venu à Angoulême dans les années 80, je l’ai hébergé. Puis, quand je vivais à Paris, j’ai eu l’occasion d’aller le voir au Canada. Et en voyant son travail, ce qu’il avait réussi à faire, je me suis dit que, moi aussi, je devais monter mon propre atelier de sérigraphie. »

Voilà pourquoi, au quatrième étage de la Friche de la Belle de Mai où, bientôt, pas loin d’une petite centaine d’exposant s’installeront à la faveur d’une pénombre aussi tortueuse que leur production, ça ne chôme pas. Pour reproduire, à l’entrée, la couverture d’une de ses œuvres, Cœur de maman. Ou reconstituer, quasi à l’identique, son atelier ! « À la fi n de sa vie, Valium vivait dans un garage qu’il a lui-même aménagé en glanant ici et là des morceaux de palettes, des bouts de bois. Sa cabane au Canada… »

Le Salon Vendetta & le festival Vendetta ta-ta-ta / Photo by Marc Tessier, 2023

Henriette Valium 2015

“At the end of his life, Valium lived in a garage that he built himself by gleaning here and there pieces of pallets, bits of wood. His cabin in Canada…”

Le Salon Vendetta & le festival Vendetta ta-ta-ta / Photo by Marc Tessier, 2023
Henriette Valium & Pakito Bolino, In the memory of good old days – Le Salon Vendetta & le festival Vendetta ta-ta-ta / Photo by Marc Tessier, 2023

“Is perhaps the one who helped make the Le Dernier Cri exist. While I was studying fine arts there, when he came to Angoulême in the 80s, I hosted him. Then, when I was living in Paris, I had the opportunity to go see him in Canada. And seeing his work, what he had managed to do, I said to myself that I, too, should set up my own screen printing workshop.”

Something to bring back some bad memories. So, to poke fun at censors of all stripes, Vendetta will pay tribute to Henriette Valium, a pillar of the Canadian underground. Who, Pakito explains to us, “is perhaps the one who helped make the Le Dernier Cri exist. While I was studying fine arts there, when he came to Angoulême in the 80s, I hosted him. Then, when I was living in Paris, I had the opportunity to go see him in Canada. And seeing his work, what he had managed to do, I said to myself that I, too, should set up my own screen printing workshop. »

This is why, on the fourth floor of the Friche de la Belle de Mai where, soon, not far from a hundred or so exhibitors will be settling in favor of a penumbra as tortuous as their production, it is not idle. To reproduce, at the entrance, the cover of one of his works, Coeur de Maman. Or reconstruct, almost identically, his workshop! “At the end of his life, Valium lived in a garage that he built himself by gleaning here and there pieces of pallets, bits of wood. His cabin in Canada…”


Henriette Valium, Pakito Bolino & Caro Caron (2019)

Pakito ne cache pas son admiration : « Si c’est la dernière expo du Dernier Cri et la dernière édition de Vendetta, autant fi nir avec un vrai punk ! C’était aussi presqu’un moine, capable de passer des mois sur une planche, des années sur un album. Mais, s’il a été édité en France au Dernier Cri à ou à l’Association, il n’a pas bénéfi cié d’une grosse diff usion au Canada. Comme on dit, nul n’est prophète en son pays. À part peut-être Ben Laden ! »

Et d’espérer que l’expo puisse tourner tandis qu’il fait le tour du chantier. « Ici, on pourra voir ses vidéos. Et là, il y aura la possibilité d’écouter sa musique. Il avait un groupe de punk, Valium et les dépressifs, et on a fait aussi des trucs ensemble, un peu plus indus. Il a commencé la sérigraphie en faisant des affi ches pour des groupes et pour une salle mythique à Montréal, les Foufounes électriques. »


Pakito does not hide his admiration: “If this is the last exhibition of Le Dernier Cri and the last edition of Vendetta, you might as well end up with a real punk!” He was also almost a monk, able to spend months on a board, years on an album. But, if it was published in France at Dernier Cri or at the Association, it did not benefit from a large distribution in Canada. As they say, no one is a prophet in his country. Except maybe Bin Laden! »

And to hope that the exhibition can rotate while he goes around the construction site. “Here we can see his videos. And there, there will be the possibility of listening to his music. He had a punk band, Valium and the Depressives, and we also did some stuff together, a little more industrial. He started screen printing by making posters for groups and for a mythical venue in Montreal, Les Foufounes Electriques. »


Henriette Valium & Pakito Bolino, In the Name Good Old Days – Le Salon Vendetta & le festival Vendetta ta-ta-ta / 2023
Le Salon Vendetta & le festival Vendetta ta-ta-ta / Photo by Marc Tessier, 2023

De fait, ce salon ne serait pas ce qu’il est sans son prolongement musical, Vendettatata. Après s’être retourné le cerveau et les pupilles à la Friche, direction donc Data et l’Embobineuse pour mettre ses tympans à rude épreuve. Au programme, entre autres, le son poppunk de Péritel, la noise de Tremble, les machines de Tout Est Cassé ou encore la papesse du synthé bruitiste, Jean-Michelle Tarre.

Mais Vendetta, dans une ville qui, contrairement à Poitiers, n’a pas de fanzinothèque ou de lieu à proprement parler dédié à la microédition, c’est avant tout l’occasion unique de rencontrer la crème du fanzinat. Qu’il soit canadien, québécois… Mais aussi, évidement marseillais, comme Même Pas Mal, Corbak Press ou Bizarroïde Édition.

Sébastien Boistel

Salon Vendetta : du 10 au 12/02 à la Friche de la Belle de Mai (4 rue Jobin, 3e). www.lafriche.org

Vendetta ta-ta-ta : les 10 & 11/02 à Data (44 rue des bons enfants, 5e) et à l’Embobineuse (11 boulevard Bouès, 3e). Rens. : www.lembobineuse.biz

Ventilo Magazine no: 476


Desperfecto de Henriette Valium (Detail)

In fact, this show would not be what it is without its musical extension, Vendettatata. After turning your brain and your pupils upside down at the Friche, head to Data et l’Embobineuse to put your eardrums to the test. On the program, among others, the poppunk sound of Scart, the noise of Tremble, the machines of Tout Est Cassé or even the popess of the noise synth, Jean-Michelle Tarre.

But Vendetta, in a city which, unlike Poitiers, has no fanzinotheque or place strictly speaking dedicated to micropublishing, it is above all a unique opportunity to meet the cream of the fanzinage. Whether Canadian, Quebecois… But also, of course, from Marseille, like Even Pas Mal, Corbak Press or Bizarroïde Édition.

Sébastien Boistel

Salon Vendetta : du 10 au 12/02 à la Friche de la Belle de Mai (4 rue Jobin, 3e). www.lafriche.org

Vendetta ta-ta-ta : les 10 & 11/02 à Data (44 rue des bons enfants, 5e) et à l’Embobineuse (11 boulevard Bouès, 3e). Rens. : www.lembobineuse.biz

Ventilo Magazine no: 476


Henriette Valium: (May 4, 1959 – September 3, 2021), known professionally as Henriette Valium, was a Canadian comic book artist and painter based in Montreal, Quebec. n March 2013, some of Valium’s art pieces were shown at Espace Robert Poulin in Montreal. Valium won the Pigskin Peters Award at the 2017 Doug Wright Awards for his Palace of Champions graphic novel (Conundrum, 2016).


Antifa: Chasseurs De Skins (2008)

Résistance Films 2008

During Paris early 80s, the “Skinhead” movement arrives in France, and is about to defray the chronicle for the decade to follow, with their provocations, attacks and racist crimes.

Street gangs will form and react against this assault, in a urban warfare for control of the streets of Paris. They are the Red Warriors, the Ducky Boys and Ruddy Fox. Paris youth will nicknamed them “Skinheads Hunters”.

Their motivation: to fight against fascism and racist acts by any means necessary, even turn against their opponents the violence they have suffered.

Through exclusive interviews, members of the most recognized gangs return to their history, their commitment and deliver the testimony of the situation of youth street from 20 years ago.

Using exceptional archives footages and photographs, “ANTIFA” is a return to the streets of the 80s and the society of that time.

The film looks at a pivotal time, in a generation whose ailments were already warning of urban today’s tensions.
Resistance Films revealed this story through the documentary, to keep track of a movement never documented.


A film directed by Marc-Aurèle Vecchione – Résistance Films 2008

The story of the Street Gangs from Paris that stood up against Fascist & neo-Nazis Skinheads in the late 80’s. Meet the Red Warriors, Ducky Boys, Ruddy Fox…!!

RESISTANCE FILMS


The Aesthetics of Resistance in Turkey

Şevket Kağan Şimşekalp x Erman Akçay ‘visual poem’ 2017

Now, angry young men publish revolutionary poems in xeroxed magazines.

Sometimes, when politics gets too chaotic, you need poetry to make sense of it.

Like the time when millions of Turks took to the streets and almost brought down the authoritarian regime but in the end they only rushed the descent into dictatorship.

“We felt powerful. We would change something. We thought we could win.” says Volkan, a young Turk who jumped in over his head in the Gezi Park protest of 2013. It was the happiest moment of my life. He lived in that park for a week. He built a free library for protesters and he carried away the wounded. Too many were injured, too many people died, too many lost their eyes. They screamed.

Poetry of Dictatorship

by Vlad Ursulean / casajurnalistului.ro

The government waited for a rainy day and then it attacked. It was early in the morning. We could only hold them back for a couple of hours. And then we ran. Hundreds of people killed. Hundreds of thousands of purges. Hundreds of newspapers crushed.

Silence. Now, angry young men publish revolutionary poems in xeroxed magazines. Don’t think that poetry is only a thing for fiery young men. Erdogan himself, before being supreme leader, went to jail for reciting a verse. This one:

The mosques are our barracks,
the domes our helmets,
the minarets our bayonets,
and the believers our soldiers.

Volkan Yalçın: Poet, film director and a zinester

Volkan is a big fan of Tristan Tzara and you can see it in his hairstyle, in his room, in his life, in the magazine he’s editing. He pours into it the hopes of his generation. It’s called VOID Zine.

He went to his first protest when he was three years old. His mother took him, she was a teacher in Adana. It was a demonstration for a journalist who was killed. For some time he wanted to be a journalist himself, but he chose life. He went to Istanbul to study film. He lived on Taksim, he worked in a bar there, that’s where he met his friends and that’s where he tried to make a revolution.


Hard to live in Istanbul after this. Police everywhere. The islamic society puts pressure on you. My mind always tried to hide. People don’t even want to go back there so they won’t remember. says James Hakan Dedeoğlu, a friend of Volkan, who edited a proper cultural magazine BANT Mag. for the last 15 years.

After the ‘80s, marked by a military coup, Turkish culture opened up in the ’90s to the West. Its core was Taksim. It was rough, chaotic. Everybody had a voice. When Erdogan came to power, he triggered an economic boom and an era of islamic capitalism. Everywhere they built malls and mosques. That’s how the Taksim revolution began, with protests against the demolition of a historic cinema. The police attacked film directors, sprayed them with tear gas.

Uyumsuzlar Fraksiyonu, Afiş 2014
Ağaçkakan, İskeletor, Rad Dar, “Umulmadık Topraklar” ARTİST 2016

Poetry made a jump!

Gezi was so strong, so powerful, but it ended in a bad way. It was a defeat. People retreated to their neighbourhoods. They started doing things locally.


Şevket Kağan Şimşekalp x Erman Akçay ‘visual poem’ 2017
Şevket Kağan Şimşekalp, photo. by Vlad U.

“Poetry made a jump!”

shouts poet Şevket Kağan Şimşekalp while listening to Metallica at full volume. In the underground there’s a very strong reaction to this dictatorship. He thinks the whole society suffers from some kind of mental illness and this is its chance to wake up. In the ‘80s, an apolitical generation was born. Sleeping people were created. They did not wake up until Gezi. The poet gets filled with enthusiasm, he claims the rebirth of poetry as computer programming, then falls into himself: Avant-garde poets in the East are either put in prison or hanged…


Efe Duyan, photo. by Vlad U.

“I try to resist. I write poetry. revolutions too like grand plans can’t be plotted in great detail.”

Political poetry is a local tradition. says Efe Duyan, poet and professor at the University of Arts. Poetry is political since the 19th Century. The elites were poets. They saw the French Revolution and came back with ideas of nationalism and modernism and futurism. Also a local tradition: sending poets to prison. Nâzım Hikmet, the most important poet, was sentenced to 28 years. Everything he was writing was a shock. In the ‘60s and ’70s, every demonstration had poets reading. Efe Duyan was himself arrested while attending demonstrations. 10 years ago I spent 10 days in prison. They took me in, beat me like crazy. That’s when you see what they really are. They don’t believe in this democracy bullshit.

Taksim changed Erdogan. He was so affraid of the revolution he quit the role of democrat. He became a proper dictator. I’m openly opposed, but I try to say it in a careful way. Even students could go to the police after the course. These things happen. Trying to stay hopeful trying to live drinking out wearing a skirt asking for some basic justice maybe less corruption… I always had this feeling that I have to change the world. I try to resist. I write poetry. revolutions too like grand plans can’t be plotted in great detail.


Sometimes, you don’t even have to write it yourself to get in trouble.

Doctor Altay Öktem was forced to resign from his hospital in Istanbul because he owned a collection of illegal magazines.

My colleagues saw I was collecting fanzines and asked me: Are you satanist?

“In those times they were on a satanist hunt. Police made list of rockers. They picked them up on the street if they had long hair or black shirts. He got away by resigning and ended up writing books about underground culture. When he was little, he didn’t like football. He liked to read. His father was an officer, so he sent him to a military highschool. I didn’t like militarism! I was depressed. When I had a bit of time, I read poetry. Poems helped me. Turkey was very chaotic. Lots of people were killed that year, In 1980 there was a military coup. They fired me because I was a socialist. I was 16 years old! I didn’t even know what socialism means. There was chaos. How could I earn money? I went to medicine, because I like to help people. My job was very bloody. Lots of dead people.”

Altay Öktem x Mert Kamiller ‘Duvar / the Wall” Music-poem

In the meantime, he read Ginsberg and Edgar Allan Poe.

He started to collect fanzines, informal xeroxed magazines passed around peer-to-peer. They had interesting ideas, but couldn’t write them in legal magazines. They had famlies, you know… The protest in Taksim was the moment when his passion took over his life. He went into the street with his family. In Turkey nobody felt freedom like this before. Only in Gezi park I feel myself free. They think we are terrorists Actually, we are the best side of Turkey. We live like Europeans. We drink beer, we have sex… We lost our utopia. We have lots of dystopias, but no utopia anymore. We have to fight with the government. The pencil is a weapon.


The Day that Erdogan won, 2019 Summer

Turkish songs about fighting eternal enemies.

I wake up late in the morning. OMG, it’s election day! While I was sleeping, millions of people already voted. My head is roaring with all the people I’ve been talking to. I don’t understand how they can live like this, between terror and exaltation. Last days I’ve been to an opposition march and I saw millions of Turks fluttering like flags and shouting like loudspeakers amplifying the contender, a mustached physics teacher who once wrote erotic poems. Did you ever hear millions of people shouting together one word at a time? The hills are trembling. The Marmara sea resounds. And it still resounds in my head, through last night’s beers and Turkish songs about fighting eternal enemies.

I go out into the streets, automatic rifles everywhere, like it was in the marches for Erdogan, who toured the country in a bus featuring his huge face, surrounded by a personal army, with helicopters buzzing around and snipers mumbling on rooftops. Armed soldiers were throwing toys to children hanging on fences. People animated by the thought that all the other places are not safe. This can’t go on, Volkan tells me. He used to think that all the parties are the same crap, but this time you just can’t stay on the side. It’s all or nothing. We go to a voting place filled with portraits of sultans and security cameras. Then we go to a funeral. I go out into the streets, automatic rifles everywhere, like it was in the marches for Erdogan, who toured the country in a bus featuring his huge face, surrounded by a personal army, with helicopters buzzing around and snipers mumbling on rooftops. Armed soldiers were throwing toys to children hanging on fences. People animated by the thought that all the other places are not safe. This can’t go on, Volkan tells me. He used to think that all the parties are the same crap, but this time you just can’t stay on the side. It’s all or nothing. We go to a voting place filled with portraits of sultans and security cameras. Then we go to a funeral.

A friend of his, an artist died in shady circumstances and is now covered in a green blanket with a verse from the Holy Quran “Every creature will taste death”. Young people with leather jackets and spikes are hugging each other while the imam is shouting: Allāhu akbar

then they shove him into a van, fasten him with a belt and leave, almost running over a cat missing the tip of its ear.


Photo by Vlad U.
Photo by Vlad U.

Good

Night

Turkey

Photo by Vlad U.

In the evening we hear gunshots. They’re celebrating. Others are protesting. People are running around chanting. Young men cheering for Erdogan and islamist girls from the allied party are snaking around the streets. Here and there a brawl. They brought water cannons in our neighbourhood.

Good

Night

The morning after. I wake up at noon, on the floor, with a swollen head – can’t even remember why. Ashes everywhere, chants of a muezzin creeping in through a broken window, waking up the others. They look at one another, confused, remember what happened and shrug in disbelief. They gather around a table, open a notebook and brainstorm: what now?

The paper stays blank.


Erman Akçay: Original Zinesta from 1982

Epilogue

Vlad Ursulean


I went to Turkey last year (2019 Summer) for the elections that democratically enshrined the authoritarian regime. All the people I knew there left the country when things got nasty.

Where could I go? Who should I talk to? I told my dilemma to a hardcore German photographer who I was hosting in The House of Journalists. He put me in touch with a guy named Erman who told me everything is fine in Istanbul then sent me his fanzine, which said ‘people not protest anymore, but commit suicide.’

Bucharest looked like a neighbourhood of Istanbul when I left in a bus full of thieves and smugglers thinking that I have the best chance of getting arrested. Erman picked me up in the Kadıköy harbour and put me in contacts with loads of people from the underground scene, then he vanished just like that.

He liked Emil Cioran and was depressed like many of the people I met in those horrible days for the free spirit. I was horrified myself because there was a similarity to the situation in Romania and other countries seduced by illiberalism. I took me a year to write this poem as a tribute fanzine.

Meanwhile, Romania cut the head of its ruling party Turkey voted against Erdogan for the first time and Volkan published a dystopian SF novel very popular on insta stories.

Erman Akçay ‘Dev Porn’ kolaj (2014)

Everything will be fine.‍

Everything will be fine.‍

Everything will be fine.

Everything will be fine.

Manifesto: Kim Bu Barbarlar?

Üç yıllık bir iç tartışma, anlama, biriktirme sürecinin ardından Barbarları Beklerken Sanat Kolektifi olarak bu manifestoyla kolektifimizin ana düşüncelerini ifade ediyor ve kamuoyu ile paylaşıyoruz

23 Kasım 2021

  • Barbarları Beklerken Sanat Kolektifi sanatın özerkliğini savunur ve bu anlayışın mantıksal sonucu olarak kendini otonom bir vaziyet alma hali olarak tanımlar. Kolektif üyeleri tüzüksüz ve resmi olmayan, otonom bir düzeneğin içinde sanat çalışmalarını yürütürler.
  • Barbarları Beklerken Sanat Kolektifi devrimci sanat akımlarının tarihsel mirasını eleştirel bir perspektifle sahiplenir. Avangard sanatın tarihsel birikiminin izinde “yeni olanı yap!” sloganını her türlü sanatsal üretiminin temel çıkış noktası olarak görür. Gelenekle kurduğu ilişki, toptan bir reddiye ilişkisinden ziyade onu içerip aşmak çabası olarak ifade edilebilir.
  • Barbarları Beklerken Sanat Kolektifi yaşamı sanattan ve sanatı yaşamdan koparan tüm anlayışlarla arasına kalın bir set çeker. Sanatsal üretimlerini gerçekleştirirken bu ilkesel duruşunu muhafaza etmeye özen gösterir.
  • Barbarları Beklerken Sanat Kolektifi, Andre Breton’un “Dünyayı değiştirmek” dedi Marx; “Yaşamı değiştirmek” dedi Rimbaud; ‘Bu iki slogan bizim için tektir.’ anlayışına sahip çıkar.
  • Barbarları Beklerken Sanat Kolektifi toplumsal ve kültürel tüm ilişki biçimlerini sınıflar mücadelesinin perspektifinden yorumlamaya ve değiştirmeye gayret gösteren Marksist kuramı kendine referans alır. Tüm ezilenlerin ve sömürülenlerin mücadele pratiklerinin yanında kendini konumlandırır. Sınıfsız, sömürüsüz ve devletsiz bir dünya tasavvuru içinden hayatla ilişki kurar.
  • Barbarları Beklerken Sanat Kolektifi sanat ve politika arasındaki ilişkiyi indirgemeci bir şekilde ele alan anlayışları reddeder. Sanatın politikasını önemser fakat sanatı politikanın salt uzantısı olarak görmez. İki ayrı düzlemin eleştirisini kabaca tek bir potada eritmez. Sürrealistlerin “Devrim için Sanatın Bağımsızlığı, Sanatın Nihai Özgürleşimi için Devrim” sloganında cisimleşen tutumunu sahiplenir.
  • Barbarları Beklerken Sanat Kolektifi her türlü kanonlaşma girişimini reddeder. Ana akım kanonu eleştirdiği kadar “deneysel” kanonu da eleştirmekten geri durmaz.
  • Barbarları Beklerken Sanat Kolektifi rekabeti reddeder dayanışmayı ön plana çıkarır.
  • Barbarları Beklerken Sanat Kolektifi “Burjuvazi pisliktir !” demekten bir an olsun vazgeçmez. Burjuvazinin şu ya da bu kanadı fark etmeksizin onu ve onun çıkarlarının temsilcisi devleti karşısına almaktan geri durmaz.
İstanbul, 2021

yeniolaniyap.blogspot.com


Retina Dekadans (2020)

Uzay Çöpü : exhibition poster (2020)

Artık kültürel evrim, bilişim teknolojilerinin zehriyle baş döndürücü bir biçimde hızlanmış ve tüm insani değerlerden ve ihtiyaçlarımızdan açıkça kopmuş bir şekilde boşa dönmektedir. Sözün çürüdüğü, insanın (hayvanın ve canlılığın) metalaştığı, tüm ifade biçimlerinin gerçeklikle temaslarını yitirip, kendi kendisinin parodisine indirgendiği günümüzde, sosyal hayatın tüm alanlarında yapıcı bir altüst oluşa gereksinim var ve bu altüst oluş bizim sanatımızdır.

Hem boğulmakta olan bir gençliğin tepkisi hem de yeni bir çağın habercisi. Bizim sanatımız devrimci bir sanattır; geçmişin idealleriyle uyuşmaz, yeniliğin peşindedir. Aynı zamanda karşılaştığı direnç ölçüsünde güçlü bir yaşam iradesinin de ifadesidir ve yeni bir toplum kurma mücadelesinde öncü bir çığlıktır.

Burjuva pisliği, hayatın her alanına nüfuz etmiş durumda, hatta medyatik örgütlenmenin tiranları bizlere sanat sunma küstahlığında bile bulunuyorlar. Ama bu sanat artık hiç bir işe yaramayacak kadar bayat. Kaldırım taşları ve sokaklardaki grafitiler, insanın kendini ifade etmek için dünyaya geldiğini açıkça gösteriyor; artık bizleri pasif birer izleyici, ya da sosyal medya maymunu kalıbına sokarak bu ilk dirimsel gereksinimizi karşılamaktan alıkoyan medyatik iktidara karşı mücadelemiz başlamıştır.

Bizlere dayatılmış boğucu kültürün taraftarları ile karşıtları arasındaki antagonizmanın temeli işte burada sanatta yatar. Yerleşik anlamsızlık ve yalıtılmışlığı besleyen muhafazakâr toplumun (ve sanatın) krizi ancak alternatif yaşama biçimlerinin deneyimiyle, böyle bir deneyime yönelik girişimlerle aşılabilir. Bir resim, sadece renkler ve çizgilerden meydana gelen bir kompozisyon değil, aynı zamanda titreşen bir Canlılık, bir Gece Yarısı, bir İnsan, bir Şimşektir.

Devrimci sanatçılar, müdahale çağrısında bulunanlar ve gösteriyi bozmak, onu yok etmek için müdahele etmiş olanlardır. Sanat, hiçbir şey ifade etmediği körelmiş, boğucu bir atmosferin ardından, her şey demek olduğu yaşayan, canlı bir döneme adım atmak zorundadır.

Yaşasın Sokaklar !
Yaşasın Dekadans !

Erman Akçay, Eylül 2020
East Kadıköy Graphic Resistance

• • •

Zigendemonic : permanent marker on paper 31×42 cm (2020)

Evolution of Consciousness

The ways of seeing and perception in Art are various and imply vast imaginativeness and hallucination of humankind as well as reality. All opens its door to creativity, freedom, soul and mind etc. under society until Universe’s expansion become universal under minor and major entities and identities. Therefore I would say herein Retina Decadence Exhibition which is curated by Erman Akçay gathering international and Turkish artists all around world to take public attention differently on one of those vision of our times called Graphic Art. It is enigmatic, bizzare, sluggish, histeric and evilsake mixed in all and more under(upper)world which underlines/ minds/ pins the artificial being of human soul, its bizzare, absurd and discordant existance and sub-concious inbetween pain and passion meanwhile trying to find an exit through its striving illumination. This is what we should expect and except as well as include and tolarate and finally put into our mosaic of art-world in İstanbul or elsewhere in World to broaden our view of conciousness as implied by ist name Decadence is on continue in this World now and then Retina observes it by narrow and wide blinked mind and eye side from dark to light and from light to dark but in the end openness is everything in Contemporary World and its Art. Retina Decadence keeps this secret to whisper your perception by its sickness inside to be healed asif in effect of dark hole after Big-Bang occured out of scattered scene of existance.

Erkut Tokman, October 2020
Osmanağa, Kadıköy – İstanbul

• • •

R.E.T.I.N.A. D.E.C.A.D.E.N.C.E.

• • • Six Years of Löpçük Fanzine • • •

Viva la Graphic Revolution

20-25 OCTOBER

UNDERGROUND COMICS & GRAPHIC ARTS
Group Exhibition +30 Contemporary Artists
w/ zine release party + experimental cinema screening

Artists :

Valfret Aspératus • Daniel Azélie
Bahadır Baruter • Nils Bertho
Pakito Bolino • Daniel Cantrell
Oktay Çakır • Uzay Çöpü
Burak Dak • Robert D. Elwood
Elif Varol Ergen • Rafaël Houée
Daisuke Ichiba • Memo Kosemen
Anne Van der Linden • Dave de Mille
Miron Milic • Emre Orhun
Boris Pramatarov • Luca Pravadelli
James Quigley • Julien Raboteau
Sam Rictus • Reinhard Scheibner
Norihiro Sekitani • Roman Shcherbakov
Caroline Sury • Burak Şentürk
Tetsunori Tawaraya • Erkut Terliksiz
Marco Toxico • Zavka Zavka
Zigendemonic

• • •

Dave de Mille a.k.a. Sazalamuth ‘Les microns’ video-animation (2020)

Experimental Cinema &
Video-Art Screening :

Ezgi İrem Mutlu
e333 – İçindekiler (03:36) / 2020
e333 – Darağacında Eldivenler (02:25) / 2020
e333 – Winter Files (05:07) / 2013

DAVE2000 x CXNCXR
Acid TV (animation works from 2018-2020)
Dave2000 – Löpçük intro (00:20)
Dave2000 – Micron Fields (01:27)
Dave2000 – Space (00:57)
Dave2000 – Z Phantom (00:41)
Dave2000 – Vomir des Yeux (00:12)
Dave2000 – Zoltar (00:32)
Dave2000 – Teotwiok (01:39)
Dave2000 – Daturacide (02:47)
Dave2000 – Zone A (02:23)
Dave2000 – Smog (00:10)
Dave2000 – Electron (00:38)
Dave2000 – Smurf (00:14)
Dave2000 – Zombborg (00:50)
Dave2000 – Crack Pills (00:41)

Zigendemonic
Zigendemonic – Dinner Near the Monitor (01:02) / 2015
Zigendemonic – Fatal Error – Blue Screen (49sn) / 2015
Zigendemonic – Trauma (01:30) / 2017
Zigendemonic – Web Mold (45sn) / 2015

Humans Fly production
Cactus Boy – animation movie (06:46) / 2016

Retina Decadence / Group Exhibition

Roman Shcherbakov ‘Duchess 2365’ ink on paper (2020)

Big Baboli Şarküteri
Fenerbahçe Mahallesi, Rüştiye Sokak no: 23/A
Kadıköy, İstanbul