Recorded at Temescal Arts Center, Oakland, California
Friday, February 25, 2011
Mmmmmmm… I might need more musicians because none of my regular amazing musicians appeared last night. So maybe the next performance will be an audition!
Mmmmmm… Mmmmmm… I don’t try to be transgressive. If you try, you ain’t, which is dullish deadening boring. A motor mouth at one of the ends of the performance complained that it hadn’t been transgressive enough. He obviously was talking and hadn’t noticed when over three fourths of the audience ran out en mass when things got hot and surreal. That is, when I shifted from my stand-up [sit-up] act into absorbing the boundaries to direct explicit participation, like any self-respecting sex cult guru would do, like what they just told me they came for! And he must have been talking when Eugene told me that when he read the review in THE VILLAGE VOICE about my 1987 THE INTIMATE CAVE at FRANKLIN FURNACE, he wanted to do that kind of art. But it scared him shitless. It took all this time to get here! Now if just a review had that profound an effect, what is transgressive?
Anyway, it was a night of collaborative experimenting both with Guillermo Gomez-Pena and with the dancer Kyra Rice. The dance with Kyra, Linda and I was the ocean waters of subjectless limitless desire for life, rubbing against cliffs of sand, slowly melting.
Recorded at 848 Community Space, June 24, 2000 to celebrate the opening of Tasmanian photographer Tony Ryan's show.
This is when I performed with my CHEROTIC ALL-STAR BAND at the opening of the first U.S. exhibition of the work of the Tasmania's erotic photographer Tony Ryan. It broke out in the second half of the performance into a very juicy erotic dance which pulled in several audience members!
When I reviewed Tony Ryan's first book of photography, “Beauty/Reality” for
the 7th issue of my zine, The Cherotic (r)Evolutionary, we had not met in
person. I met Tony on the Internet. I was searching for erotic art that
wasn't legs-spread, beer- can- in- the- ass- dildo- in- cunt- sucking- cock
parody on sex (such parodies have their place, but ...). And that is where
the world also met Tony. On the Internet is where Tony broke out of the
isolation that is felt by most artists who do not do fashionable art, who do
not fit in, or who run afoul of the local art power structure, and/or live
in the boonies ... In Tony's case, Tasmania! As our correspondence
continued, I encouraged Tony to live out one of his dreams, to come to the
Bay Area and show his photography in the U.S.. He was able to actually come
twice, appearing on my live internet show, The Shaman's Den, both times. In
2000, Tony showed his photography at 848 Divisadero, a radical art space in
San Francisco, where I had done a series of performances in the late 90s.
We did a great music jam to launch the exhibit. He also showed his work at
Passion Flower in Oakland, an adult shop where I also performed over the
years, doing all-night and other extended time ritual audience-participation
performances. Tony was eager to return in 2001, so I set two of my students
to work finding spaces that would host Tony's photography in San Francisco
and Oakland/Berkeley. This time, Tony was able to show in four different
spaces, including a repeat visit to Passion Flower, and an exhibit at
Artists Television Access (ATA) in San Francisco, an underground film/video
house where I have also shown my films. I was happy that Tony could show
his photos here, to expose a live audience to his work. He was also able to
do a series of photo shoots in the Bay Area while he was here.
Tony shows that by putting your art directly out into the world, you can
by-pass all road blocks that the power structures put in your way. The work
is humanistic (thus, truly feminist), completely erotic because it is not
limited by sex. Tony, as do I, admits to being especially attracted to
working with women, to what he calls the special tension. In fact, he
subtitled his first book, "Male Eye-Female Mind". By doing so, he called
attention to the major and active role of the female models in the creative
I think Tony's art and my own have evolved from similar beginnings. Some of
my earliest performances were what I call “street performances”. I had been
painting oils for years, painting with a brush strapped to my forehead,
painting nudes from magazine photos. One day, a rich woman asked me to paint
a nude of her. My wife set me and my paints up in the fancy living room as
the woman undressed. On that day I realized how art can give people
permission to do what normally is forbidden. This began my street series. I
sat on the center plaza, "selling newspapers". But selling papers was only a
context. The context for me was an excuse for watching people, talking to
people who had the slowness and the insightful curiosity to stop and
talk...a way for me to ask them to model for me. I painted a lot of the
special people from the street performances. I noticed the changes in the
people when they took off their clothes; how they relaxed, how they started
talking on a deeper level about important personal things.
In this same way, the nude body in each of Tony's photos is just the
starting point to reveal the "subject's" personality/spirit, to explore
relationships, and to dive into the magical intimate altered reality of the
shooting session, the special intimate reality created when artist and model
come together in art.
IDN4 Life&Death by Malga Kubiak
The Ego trip 1991
3h of 3
dedicated to my son Sun and to his childhood
this part 3, the last of entire IDN4 starts in Rio De Janeiro, interview w John Giorno, Richard Kern, Nick Cave, Miss Mess in concert. Erland Stalberg, Johan Zetterquist. Most of last part its Brazil. Sun reads poem by his grandfather Tadeusz Kubiak translated to Swedish, Icarus. Niels Pin Pedersen appears. tribal Mexican band appears, Guatemala Mayan Tikal, Mexican pyramids. Felix Nordqvist appears. Flavia Souza, Geraldo Cunha dancing with TANYA appears at Salvador de Bahia San Antonio Theater
yes, the last 2, 3 years of my marriage was bad, heavy, i was neurotic, unhappy. my husband was drunk and we drugged our son around the world.. its possible there were better days when i didnt film/ yes or not i feel as apologizing to sun f his childhood. i imagined it was more color. besides it was not only 1990, 1991, 1992 when i was neurotic, i was born like it, and i guess i remain like it.. a bore
malga 2010 egotriplabel.blogspot.com/2011/03/lion-royal-gap-reviews-masks-of-love.html
IT WAS GREAT 2 TRAVEL with SUN & TJELL, malga 2013
My grandmother Elizabeth (or Gan-Gan as I called her) was a force of nature; she was wonderful. As a child she seemed to me like a visitor from another time or place. Her tiny terraced house in Bideford was full of treasures; hundreds of books, a medusa's head, Peter the Great's ivory letter opener, the caul of her mother tied up in blue ribbon, a tile stolen from the Alhambra, a silk blouse embroidered by nuns, deadly poison, beautiful Pre-Raphaelite artworks, a knife carved from the wood of HMS Victory, Granny Green's pince-nez, and diaries full of stories from a hard life well-lived.
After her death in 2010, I helped my father and uncle sort through some of her possessions. I inherited some of her clothes to wear, books to read, a bicycle to ride. But how do you make sense of all the other things that someone leaves behind, the things nobody sees, boxes full of photographs, and bits of string?
I used these objects alongside images and memories of my own to make this short animation, which I dedicate to her memory.
Music by George Manson – georgemanson.com
Elizabeth Boat made by Rachel Sumner – rachelsumner.org
Excerpts taken from ‘The Fairies’ by William Allingham and ‘Eternal Father, Strong to Save’ (The Naval Hymn) by William Whiting.
With many thanks to the Carningli Centre in Newport Pembrokeshire.