The startlingly titled and utterly bizarre photo-series Ode to Necrophilia by Hungarian-Mexican photographer Kati Horna, featuring as a model the brilliant Leonora Carrington, was published in the short lived but innovative Mexican avant-garde magazine S.NOB in 1962.
Born into a wealthy Jewish family in Hungary in 1912, Horna lived in Berlin and Paris before moving to Barcelona during the Spanish Civil War where she was empoyed as the official photographer for the CNT-FAI. Her groundbreaking war photographs that intimately portrayed the effects of the conflict on the civilian population was frequently featured in Spanish Anarchist journals Umbral and Tierra y Libertad as well as internationally. In 1939 she fled with her husband the Spanish anarchist José Horna, first to Paris then to Mexico. Mexico was the first choice for a number of left-leaning artists and intellectuals escaping Europe’s nightmare slide into fascism. It was here that she met Remedios Varo, the wealthy art patron Edward James, Benjamin Peret and later Leonora Carrington.
S.NOB was founded by literacy radicals Salvador Elizondo and Juan Garçia Ponce and featured works by the Mexican avant-garde and European emigres with Edward James helping with funding to ensure artistic freedom. It ran for seven issues in 1962.
Below is a selection of images from the series. A quick note regarding the umbrella, which would appear to refer not only to Lautreamont’s famous dictum in Les Chants De Maldoror, ‘As beautiful as the chance encounter of a sewing machine and an umbrella on an operating table’, but also to one of her many outstanding photographs of the Spanish Civil War, Rally at Via Durutti, which I have also included.
After graduating from the Academy of Fine Arts in Bordeaux, Jean-Marie Poumeyrol taught mechanical draughtsmanship before being let go from this occupation for failing to pass the nude drawing exam, receiving an ‘F’ in this subject at the same time that his disturbing and morbid erotic paintings were becoming highly prized collectors items.
Allied with the artists of fantastic realism, H.R Giger and Sibylle Ruppert are two notable examples of the style that I have previously written about, Poumeyrol developed his style away from erotica, painting mysterious interiors devoid of human beings but filled with the ghostly traces of absent inhabitants, noticeably numerous fetishistic drawings adoring the walls. The hushed surroundings are bathed in a peculiar pellucid light; gradually the hint of horror that these paintings undoubtedly contain reveals itself in the eerie calm of these meretriciously rendered spaces
Below is a selection of paintings covering various stages of his career. Information is rather scarce regarding dates and titles, surprising for such an excellent artist of singular vision, however that is the vagaries of reputation and fame.
There always comes the moment
When you receive the confirmation
Of what you half intuited all along
No more evasions or denials
The truth is written on the wall
Writ large and quite plain to see
You are entangled within the trap
Held fast now there is no escape
It was all a set up a complete illusion
A vast conspiracy centred on you
Always and forever you alone
How can you ever begin to fathom
The depths you are plunging into
You never even knew it was a game
Until I showed you the aces in the hole
And demanded payment or satisfaction
So many questions you wanted to ask
But crumpling beneath the realisation
Of all I had in store you remained silent
Submitted docilely to my desires
However perversely strange or subtle
All your striving had come to naught
Think of this as a complete education
Now maybe you will understand
What I would sacrifice for pleasure.
In my post on the enigmatic French architect Jean-Jacques Lequeu I mentioned two other Utopian revolutionary Neoclassical architects whose visions remained largely on paper, Étienne-Louis Boullée and Claude-Nicholas Ledoux. As both architects produced interesting work in their own right and help situate Lequeu in the correct historical, intellectual and aesthetic context I felt follow up posts were necessary, starting with the originator of visionary architecture, Étienne-Louis Boullée.
Born in 1728, Boullée reacted against the frivolous decadence of the Rococo by returning to Classical forms (hence Neoclassicism), removing all unnecessary ornamentation and developing an abstract geometric style. Boullée stated that regularity, symmetry and variety were the golden rules of architecture. Another defining feature of Boullée’s projected work was it monumentalism, designed to invoke the sublime.
Boullée’s most famous work is the Cenotaph for Newton, a gargantuan monument consisting of a sphere taller than the Great Pyramid, to the idol of the Enlightenment. He also planned other Cenotaphs and tombs.
Peter Greenaway’s 1987 film The Belly of an Architect centers on an American architect staging an exhibition in Rome on Boullée. At one point a character remarks that Boullée’s work seems like a vision of Hell and I have to agree, though Boullée remains something of a hero of the Age of Reason.
Below are images of planned projects, including the Cenotaph for Newton, and two pieces of music from The Belly of an Architect.
Your fingertips glance
Glide press down there
Glissade here yes
Definitely right there
Now your touch
Locks me up
In a prism of colour
Jade hazel verdigris
Slate azure golden
Still-point the centre
Implosion the taste
Of mouths filled
Consumed with star
Light turning inward
The horizon event
Vanilla honeyed tristesse.