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disastrous objects – objects with a minimal boundary – pushing the very fabric of space – to make more space out of space – an absencing of the solidity of the interior – abyssal time scales – plot holes – inorganic demons – underground astronomy – sublime dimension of darkness – nigredo – blacker than black – the blackest black of black – its shine, its dark illumination, its Eros and wisdom – remains in the unconscious – a beast cruel and monstrous, with three throats barks dog like – he has vermilion eyes, and a greasy and black beard, and a big belly, and hands armed with claws – Cerberus, the great worm, observed us, opened his mouths, and showed his fangs to us – not a limb had he that he kept quiet – blackness – disruption of essence and instance – it comes into relief most sharply and most clearly by way of its negation – blackness is a chance – absence of ownership – intellectual and social, and moral, and ethical force that accrues to people as a function of loss – blackness is such a hard thing to claim – it is something which is more and at the same time also less then one – nonfullness – excessiveness – proliferation of difference – a performance of endurance – give up the idea of home – not to own oneself – what blacks you? - the point of negating the negation – it is in fact necessary to eliminate all remnants of the notion of personal property – any elements, no matter where they are taken from, can serve in making new combinations – anything can be used – a synthetic organization of greater efficacy – détournement




texture figure

display disguise


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display disguise


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BEAST TOUCH/BREATH/SOUND pump, channel, inside-out, excessive, volume, penetrate, sensorial, power, swallow, affective, push, pull, permeate SOLIDS thing, element, direct, steel, power, machine, concrete animal, rudiment, massive, base, cut, pose, strong, poin, expressive , intense, impulse, break, density , thunder, contour, compact,figure HOWLING ARCH layering, rawness, relict, depth, cave, abyss, bent, hole

















If he is equipped with several pairs of eyes on his face, belly, and knees, it is to better see he face of his fear. He is an individual with four faces. In addition to the face on his head, a mask concealing his powerful intellect, there is surprised look on his two breasts. The half- moon shape of the bottom half of his breasts indicates unhindered emotional nature. The face on his belly, which is also sticking out its tongue., designates the vast extension of his creative and sexual desires. The gaze from his knees suggests flesh saturated with spirit that has has been assumed like a garment and which scorns nothing of material life. His sex organ is like the emergence of a third tongue. But his light-blue body indicates that he is first and foremost a spiritual entity, a dimension of the mind under its Luciferian aspect. He is holding a torch with a green handle from which gleams a red flame emerging from a circle; this torch is burning from a great activity, stam-



Where, to paraphrase Rodchenko, can we locate the “spirit” of his creativity within the “body” of his art? A salient characteristic of Rodchenko’s theory and practice is constant concern with the essential construction of things, be they abstract paintings or wood hexagons. For Rodchenko, graphic line rather than color and texture was the structural indicator and common denominator – for, as he explained in “The Line,” “[line defines] the main construction of every organism that exists in life, the skeleton […] (or the foundation, carcass, system). Not surprisingly, therefore, Rodchenko’s drawings and paintings of that time, especially the linear compositions of 1920, often rely for their effect on a subtle interaction of linear rhythms – an acrobatic configuration suspended, as it were, above a white or black abyss. Works such as Construction no. 106 (on Black) can be read as prescient trajectories of the trapeze artists that we see in Rodchenko’s photographs of the 1930s, such as Under the Big Tent (1938) and Woman Acrobat (1940). But in pursuing this linear path, Rodchenko seemed also to be skirting a cosmic void, challenging the “nothing” and “blackness” that recurred in the writings and paintings.




kinetic visuality


three dimentional shape




HTILONOM


MONOLITH





Screenplay Howlings in favour of Sade by Guy-Ernest Debord

This is an internet translation of the 1952 French film Howlings in favour of Sade by Guy-Ernest Debord. Howlings was Debord's first film, produced when he was 23 years old.

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Translators note: This film involves several periods of silence during which the screen remains dark. In this internet version, 30 carriage returns have been inserted for each minute of silence. This will not consume the intended time for the viewer, but it will present some sense of scale. Gregor Markowitz (December, 1994)


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The film by Guy-Ernest Debord, Howlings in favour of Sade... Howlings in favour of Sade is dedicated to Gil J Wolman

Article 115. When a person shall have ceased to appear at his place of abode or home address for four years, and about whom there has been no news whatsoever, the interested parties shall be able to petition the lower court in order that his or her absence be declared. Love is only worthwhile in a pre-revolutionary period. None of them love you, you liar! Art begins, grows and disappears because frustrated men bypass the world of official expression and the festivals of its poverty. (young girl) Say, did you sleep with Francoise?


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What a time! Memorandum for a history of the cinema: 1902 - Journey to the Moon. 1920 - The Cabinet of Doctor Caligari. 1924 - Entr'acte. 1926 - Battleship Potemkin. 1928 - Un Chien Andalou. 1931 - City Lights 1951 - Birth of Guy-Ernest Debord. 1952 - The Anti-concept.--Howlings in favour of Sade. "Just as the film was about to start, Guy-Ernest Debord would climb on stage to say a few words by way of introduction. He'd say simply: 'There's no film. Cinema is dead. There can't be film any more. If you want, let's have a discussion'." Article 516. All property is either movable or immovable. In order never to be alone again.


She is ugliness and beauty. She is like everything that we love today. Voice 2

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The art of the future will be the overturning of situations or nothing. In the cafĂŠs of Saint-Germain-des-Pres! You know, I like you very much. An important Lettrist commando made up of some thirty members, all donning the filthy uniform that is their only really original trademark, turned up at the Croisette with the firm desire of indulging in some scandal capable of drawing attention to themselves. Happiness is a new idea in Europe. "I only know about the actions of men, but in my eyes men are transposed, one for the other. In the final analysis, works alone differentiate us."


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And their revolts became conformisms. Article 488. The age of majority is fixed at twenty-one years; at that age one is capable of all acts of civil life. (young girl) His memory always rediscovered it, in a flash, as if burnished by fireworks on contact with water. He knew quite well that nothing of his exploits remained in a town that rotated with the Earth, as the Earth rotated in the Galaxy, which is itself only a tiny part of a little island which recedes away from us to infinity. All black, eyes closed to the excess of disaster. A science of situations is to be created, which will borrow elements from psychology, statistics, urbanism and ethics. These ele-


ments have to run together to an absolutely new conclusion: the conscious creation of situations. Voice 1

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A few lines from a newspaper from 1950: "A leading young radio actress threw herself into the River Isere, Grenoble. Young Madeleine Reineri aged twelve and a half, who, under the pseudonym of Pirouette, used to liven up the radio program 'Happy Thursdays' on the Alpes-Grenoble station, threw herself into the Isere on Friday afternoon having placed her satchel on the river bank." My little sister, we are nothing to look at. The Isere and la misere continue. We are powerless. (young girl) But no-one's talking about Sade in this film. The cold interstellar space, thousands of degrees below freezing point or absolute zero Fahrenheit or Centigrade; the first indicators


of dawn approaching. The hurried passage of Jaques Vache through the clouds of war, that catastrophic haste which destroyed him; the rude lashing of Arthur Craven, himself swallowed up at that time in the Bay of Mexico... Voice 3

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Article 1793. When an architect or a businessman is given a contract for the construction of a building according to a plan agreed to by the landowner, he cannot demand a higher price either on account of an increase in the workforce or materials, or due to any changes or additions made to the plan, unless such changes, additions or increases have been authorised in writing, and the price agreed with the landowner. The perfection of suicide is ambiguity. What is a love that's unique? I will only answer in the presence of my lawyer.


Order reigns, it doesn't govern. Voice 2

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The first marvel is to come before her without knowing how to talk to her. The hands of the female prisoners move no faster than race horses filmed in slow-motion, as they touch her mouth and her breast. In all innocence the ropes become water and we flow together towards the day. (young girl) I believe we'll never see each other again. Near a kiss, the lights of the winter street will end. (young girl) Paris was very nice thanks to the transport strike. Jack the Ripper was never caught. (young girl) It's funny, the telephone. What defiant love, as Madame de Segur used to say.


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(young girl) I will tell you some stories from my country which are very frightening, but they have to be told at night in order to be frightening. My dear Ivich, the Chinese neighbourhoods are unfortunately less populous than you think. You are 15 years old. One day the most fashionable colours will no longer be worn. The drift of the continents pushes you further apart every day. The virgin forest has moved less than you. (young girl) Guy, another minute and it'll be tomorrow. The Demon of Arms. You remember. That's it. Nobody satisfies us. All the same... The hail on the banners of glass. We will remember it, that planet. You will see that they will be famous later! I will never accept the scandalous and scarcely credible fact if the existence of a police force. Several cathedrals have been erected to the memory


of Serge Berna. Love is only worthwhile in a pre-revolutionary period. I made this film while there was still enough time left to talk about it. Jean-Isidore, in order to get out of that transient crowd. On Gabriel-Pomerand Square when we've grown old. The little skivers all had glorious futures in the school and college systems. Voice 2

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There are still many people that morality makes neither laugh nor cry. Article 489. The adult who is in a constant state of imbecility, dementia, or mad rage must be detained even though his state allows for intervals of lucidity. So close, so gently, I lose myself in the meaninglessness of language. I push into you, you're wide open, it's easy. It's like a hot stream. It's as smooth as a sea of oil.It's like a forest fire. It's cinema! The Parisian police force is thirty thousand truncheons strong.


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"The poetic worlds close up and forget by themselves." In a corner of the night sailors are making war, and the ships in bottles are for you who loved them. You lay yourself down on the beach as hands more loving than the rain, the wind and the thunder play under your dress every evening. Life is great in Cannes in the summer. Rape, which is forbidden, becomes banal in our memories. "When we were on the Shenandoah." Yes. Of course. And these resigned faces, which once bore flashes of desire like ink splattered on a wall, were like shooting stars. Let gin, rum and brandy flow like the Great Armada. This for the funeral oration. But all those people were so commonplace. We've had a narrow escape. The most beautiful is still to come, otherwise death would taste like a raw steak And wet hair on the beach which is too hot and which is our silence.


But he's a Jew! Voice 2

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We were ready to blow up all the bridges, but the bridges let us down. Young Madeleine Reineri, aged twelve and a half, who under the pseudonym of Pirouette used to liven up the radio programme 'Happy Thursday's' on the Alpes-Grenoble station, threw herself into the Isere. Mademoiselle Reineri, in that quarter of Europe, you will always have your surprised face and that body, the best of promised lands. Like neon light, words repeat their banal truths. (young girl) It must be terrible to die. See you. (young girl) You drink far too much.


What are childish love affairs? Voice 4

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(young girl) I don't know what you're talking about. I knew it. And there was a time when I regretted it very much. (young girl) Do you want a orange? The beautiful tearing apart of the volcanic islands. (young girl) In the past. I've nothing more to say to you. After all the answers at the wrong time, and youth getting older, night falls again from on high. We live like lost children, our adventures incomplete.


BLACK ON BLACK concept Marta Ziółek creation and performance Anna Nowicka and Marta Ziółek dramaturgy Eleonora Zdebiak fashion design Michał Gruca photography Katarzyna Szugajew graphic design Szymon Żydek / Czosnek Studio


Black on Black is a Het Veem Theater production; Supported by The Studio Theatre Warszawa, Komuna//Warszawa, STUK and Museum of Modern Art in Warsaw. Black on Black is part of the Life Long Burning (LLB) project, supported by the Culture Programme of the European Union.



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