Accidently started listening to Gaahl’s old band Trelldom. Til et Annet… and right there I am reminded why I love black metal.
A couple of weeks ago, Isabelle Schad offered me a second impromptu residency in her beautiful Wiesenburg studio in Wedding. I was there last week until this Monday. Some nights it rained, hard. The garden looked sepulchral. I also jumped around with my bike (not on the garden!), but that’s another story and another artwork.
And what was best! Gab was in town! (So we had pizza and beer beside Urbanhafen.) A single photo (of three photos from Dasniya) of last week’s public outing of the first section of Black Metal 1 at Autokino. Seems to be getting somewhere. And now back to working on my own.
I’ll be performing an excerpt from Black Metal 1 this Thursday at Autoteile in Kreuzberg at Eat More Bondage // Film Evening. All the details? Yes!
Film Evening // Eat More Bondage
– a short film evening on ropes and bondage
21h, Thursday, 28th July
Doors open at 20h, performance at 21h, and films + beer directly after.
AUTOKINO ist ein privater Vorführort für Filme Videos VJ-Performances und Crossover Media.
We all know that a varied diet is good for one’s health, and being in a monodiet is not only adverse to wellbeing, but in the long run increases the risk of health hazards. It is the same with art, films and bondage. A diverse portfolio of possibilities will be good for your appetite, for your health, your view of the world and for your eyeballs.
Having this in mind we put together a short-film evening having bondage/shibari as main topic, but with special focus on non-mainstream views and experiments, which break or bend gender/performative/traditional/humour/aesthetic/other stereotypes.
We are still putting the program together, so feel free to send your suggestions… DIY productions are specially welcome.
Films confirmed so far (list under construction):
- Black Metal 1 by Frances d’Ath
- Let Go by Mischa Badasyan
- I/XXI by Aida Jara
- Slowdance (trailer) by Harvey Rabbit
- Remember Gay Love Story by The Strange Life of the Savages
- Fight and flight by Proa Proeza
- Cuerpas&Cuerdas (Bodies&Ropes) by Missogina, Proa Proeza and Maria Mutebox
Shaping up to be my least-blogged month in 12 years. Excuses include lack of motivation, busy with a new website project, umm… general lack of rhythm. I have been semi-infrequently continuing Black Metal rehearsals. No idea for what, but … art.
All this began a couple of months ago, when Isabelle Schad said, “looks like I won’t have time in April to get in the studio with you, so here’s a week for you, call it a mini-residency.” Her studio, Wiesenburg Halle in Wedding, is in a 150 year-old, abandoned former homeless people’s asylum on the Panke canal that was built on funds from the Berlin Jewish community, then appropriated by the Nazis, used as a factory for manufacturing insignia, then munitions, then bombed and shot to all crap, then quietly returning to forest while the original owner’s descendants live in the front apartment building (an entire story in itself) – and a few years ago, Isabelle and the Wiesen 55 e.V. got funds to turn one of the decrepit halls (well, mostly its walls) and neighbouring areas into a rehearsal space surrounded by gardens. Huge and airy, and with a full lighting and sound rig, plus a kitchen, mezzanine, garden full of birds and life, a lot like being in the forest and not in a big city.
So I arrived on Monday with bike (cos I was taking full advantage of being in Wedding to go morning cyclocross-ing in the forest), two bags of stuff, and one “I have no idea what I’m doing.” It’s been a long time since I was in a studio making art, and a solo … that’s something I’ve not really ever done. Solos are the present currency of performance makers of all stripes, in large part because they’re cheap to stage and tour, in part also because of the ongoing fixation on autobiographical authenticity, but I’ve always preferred the intermediary of dancers (even if I performed in my own work). Doing a solo has always been a mix of “I have nothing to say,” and “I have no idea what to do,” and inflicting one on myself … maybe now I’m capable of it cos I don’t really give a shit anymore.
Black Metal is a lot about that last bit, doing stupid stuff in my bedroom to amuse myself, not caring about potential audience (or lack of) or all the usual games of funding, producing, venue-ing. Of course watching the video of the showing it has to be ‘good’ in the sense of I myself as my own audience have to get a kick out of it and go, “fukkenyeeeaah!” which means I have to go all spectacle on my own arse – to put it another way, in choreographing and performing myself, I have to be convincing to my other self as audience, I have to be good (competent, artistic, compelling) at what I do.
Lucky I had some ideas. Not big ones, not many, only four – really only one but call it four – not very ambitious, not wanting to make something big or complicated or involved. I’ve been trying on and off for a few years to get a solo out, and kept falling into the trench of unrealisable ideas, paralysed by too bigness, things that require budget and support and all, and seeing Germany is consistently uninterested in what I do, the likelihood of making a big work with several dancers and all the rest is highly improbable, which left a solo, which kept failing when my thinking modality banged up against incommensurability with budget. So, basically bedroom stupidity. With metal.
Things I love: Heavy metal. Hoonage. Swearing.
When I was a student in Australia, SBS used to have Top Fuel drag racing on a Friday night. Fukken heaven. This isn’t a piece about that or swearing, but there’s something of the cultural displeasure at both in it, what’s acceptable and what’s not. Heavy metal – in any of its derivatives, death, speed, thrash, hair, black, folk, doom, power, and on and on – is only really palatable to an outside audience if it’s made ironic. Metal might be many things but it’s never ironic. The commitment to the theatre of the act never lets up, never gives a knowing wink at the audience, no matter how ridiculous and embarrassing it might look – listen and look at Lost Horizon, or Gorgoroth’s Kraków, brilliance all round.
There’s a close relationship between punk, goth, and metal; I’ve been all three and can say, Metal Rulez!!! In seriousness and partisanship here, I think there is a larger possibility for creativity in metal than the other two which comes in part from the—wait, must headbang to Sword in the Metal Wind for a bit—ok, back … comes in part from the theatricality (not to confuse that with playing pretend, theatricality here is the performance of image), and part from the joy of music. Listen to Sword in the Metal Wind or Gorgoroth’s Antichrist, constantly changing time signatures, rhythms, melodies, keys, even Slayer’s Raining Blood goes all over the place. It draws on the history of western classical and folk music (or for Taiwan’s Chthonic, traditional Taiwanese music), and for me there’s a lineage I can hear with say, Trelldom or Sunn O))) and Hildegard von Bingen across a thousand years. Which is maybe to say there’s a greater intellectualism (as differentiated from politicalism in punk) in metal that its theatricality doesn’t always make apparent.
Metal, yeah, I could go on about it all day. I’ve used metal music in pretty much every work I’ve made, it’s probably one of those things I should deny myself in the interests of getting over my habits and devices. This piece I wanted to go into the least-liked of subgenres, the one of church burnings, murder, neo-Nazis, Norway, corpse paint, that inadvertently made some incredible and influential music. And as I went along, Gaahl, the lead singer of Gorgoroth, and with his own project Trelldom (and others), tall Gaahl from a fjord village north of Bergen with the haunted eyes and penchant for burning churches and torturing people who cross his line, gay Gaahl, became central. I’d planned to only use music from him or in which he sung, but that didn’t work out during the residency, limited to what I had on my laptop. So, Sunn O))) which I’ve used so many times it’s a cliché, Gorgoroth from immediately before Gaahl joined (the incredible eponymous track from the Antichrist album), fucking Nazi Burzum – going to go into why I’m using Burzum and why it doesn’t seem like a bad idea right now: maybe it’s possible to appropriate his music, and maybe within the context of black metal and the history of the last millennia of northern Europe it’s apt, maybe also it elucidates without nuance the arrogant misogyny, nationalism, hetero-bro-ing, racism of black metal, and by extension all metal and most contemporary music genres.
And then there’s Hildegard von Bingen, who you should really read about cos she was well awesome. I wanted to use some mediæval music, and obviously my proclivities and interests meant the composer should be a woman, and best if it was from 12th century-ish northern Europe. This doesn’t leave so many possibilities, but lucky my ongoing enjoyment of Mechthild von Magdeburg led to her, though they likely never met and were on opposites of Thüringen. I was trying to find some non-folk music that was instrumental, but seems like gaping yaws is the default, so her O Tu Suavissima Virga swings between too beautiful, too easy, too overbearing, too saccharine, quite a few other toos, but also might be the piece. After the showing we had plenty of talking about music, about Hildegard and soaring mediæval sacral music, and how the showing was a one-to-one relationship of music to dance. A proper sound design is one possibility, though I wonder if that might become too complicated and not crap enough. For the moment I’m not sure. Same goes for lighting, though I’d love to have Giacomo Gorini along. Either way whatever I do needs to be convincing even without sound or lights.
Inadvertently I’ve jumped from a general what I was doing and how it came about to a long blab about music. Which means I’ll have to save writing about what I was doing for next time.
And here’s the video from the showing of Black Metal at Wiesenburg Halle on Sunday, April 24th. 33 minutes of bedroom metal idiocy plus mediæval chick music (that’d be Hildegard von Bingen).
I haven’t actually watched this all yet, just a quick cleanup edit (it was a showing, a bit of start-stop) – and thank you Dasniya Sommer for pointing camera very nicely at my highjinks. I tend to video most of what I do when I’m working, so I can be my own choreographer / director, and in the context of my residency in Wiesenburg Halle, this was just another day and first attempt at stringing everything together plus having a few people watching. Some of it I like; some of it I’m ambivalent about – writing through the whole thing is for another post.
Music-wise, yes, that’s Burzum; yes, he’s a white shit fucking Nazi. Other music was Gorgoroth, curiously not with Gaahl on vocals, as he is somewhat a primary part of this piece and his solo work, Trelldom has been fully thrashed while I was in Wiesenburg. More Gaahl; less Varg. And yeah, a conversation about black metal and Nazi fuckery is one I am both having with myself and putting aside. Also Sunn O))). And at the end, Hildegard von Bingen, who is metal as hell. Which is to say, the audio is a semi-placeholder.
Anyway, enough bollocks. Here’s the video of me, black metal bedroom. (It’s 462mb, so prolly not a good idea to slay it on your mobile phone or crap internet.)
Also: Again thanks to Dasniya Sommer for video and a huge number of other things; Sarah-Jane Norman for metalicity; Charlotte Pistorius for make-up, costume, and other assistance; David Young for art & theatre discussions; and Isabelle Schad & Wiesen 55 e.V. for providing my residency in Wiesenburg Hallen.
Lunch on Friday with the glorious Charlotte Pistorius, who send me a bunch of pictures (and she has more!) from my showing of Black Metal 1 last Sunday. Much talking this week with friends who came along, clarifying somewhat where it needs to go next (sound and light design, thankyouvrrymuch). Next for me is the enjoyable task of watching the video and next week continuing bedroom rehearsals.
Before I get to watching the video from yesterday’s showing, and writing the crap out of my residency at Isabelle Schad‘s Wiesenburg Halle in Wedding, at least I can throw up some photos of what I got up to, thanks to Dasniya Sommer (who also filmed it, and gave some valuable coaching on ballet port de bras on Friday, as well as years of shibari and being a good friend). Also thanks to Charlotte Pistorius for costume and makeup help, Sarah-Jane Norman for general metal-icity, and David Young, Melanie Lane, and Georg Hobmeier.