Fire

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Yves Klein-MG17- 1960

There is an anecdote about the young Yves Klein (see Dreams of Desire 48 (Blue) lying on a beach in the South of France with his friends, the artist Arman and the poet Claude Pascal, where they decided to divide up the universe between themselves.  Arman wanted the riches of the earth and tangible, material things, while Pascal claimed words and language itself. Klein chose ‘le vide’, the void, ethereal space empty of all matter.

Klein spent his career, cut short by his early death at 34, giving pictorial representation to the void, most famously in his blue monochromes using his own patented colour International Klein Blue, but also in the fire paintings, painted in his last years. Klein was something of an esotericist and was familiar with Rosicrucian and alchemical doctrine. As he noted ‘…fires burn in the heart of the void as well as in the heart of man.

The above golden monochrome is part of a triptych (the other colours are blue and pink) that represents the colours seen in the heart of a flame. In a lecture given at the Sorbonne, Klein further elaborated on the transformative and unifying  nature of fire . ‘Fire is both intimate and universal. It resides in our hearts; it resides in a candle. It rises up from the depths of matter, and it conceals itself, latent, contained, like hate or patience. Of all phenomena it is the only one that so obviously embodies two opposite values: good and evil. It shines in paradise, and burns in hell. It can contradict itself, and therefore it is one of the universal principles.’  Such comments are reminiscent of the patron philosopher of occultists, the gnomic Heraclitus who remarked that ‘everything is fire.’

Klein made his fire paintings using a flame thrower on specially treated cardboard. Supplementary techniques were also involved to evoke a synthesis of the four classic elements, for example a nude model would be moistened with water and directed to leave an imprint on the surface before Klein applied the flame.

Persistent Rumours of Encroaching Ice

DSC00470 Encroaching Ice-Thea Kiros

Do you live in fear of Judgement Day? Are you feeling all alone in the face of Armageddon, isolated before the Apocalypse? Do you dream of any of the following:

A). The end of the world by flood

B). The end of the world by famine

C). The end of the world by fire

If the answer is yes to any of the above, do you believe that the causation will be:

1). Nuclear annihilation

2). Ecological catastrophe

3). Divine eschatological judgement

Or is it the case that you are more concerned with  the Violent Unknown Event*, or perhaps you can no longer ignore the persistent rumours in your head of the encroaching ice? Maybe it is the ultimate  heat death of the universe, as per the Second Law of Thermodynamics (that is, of course, dependent on whether the universe can be considered a closed system), that troubles your peace of mind?

Regardless of the exact nature and cause of Ragnarok, the collection Motion No. 69 is perfect material for the End Times. Although even a kabbalistic reading of its dense pages will not yield a definite date (however certain clues suggest that the world will end on a Wednesday, to at least break up the week), it does offer the possibility of a recurrence, this time with feeling.

* Or VUE for short-See Peter Greenaway’s 1980 documentary The Falls.

The Principle

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Valentine Hugo-1948

I propose a motion:
To elucidate the principle
Of absolute pleasure;
You may demur and say,
Well, that it is incompatible
With the fundamental nature
Of ultimate reality,
Or at least suggest
Tabling an amendment.
But just give me a night,
To capture a moment
An imitation of eternity,
To turn you on—To turn you out:
Upside down, round and round,
Within 360 seconds
I would take you
Beyond the Seventh Heaven,
Transport you higher still
To the abyss of the Empyrean,
That realm of fire
That burns deep inside
Between your spreading thighs,
I will accept the invitation
Of your parted lips
And swollen nipples:
Then pause— —
— — just for a while,
Not longer than a series
Of hammering heartbeats,
Because I’m cruel like that
And I want to be sure,
That you want me
As much as I need you,
So that when we
Are finally indivisible,
And I have seeded you
With the light of supernovas
And the unbearable heat
Of a million blazing suns
You come —
— not with a scream
But with the softest
And most heartrending of sighs
For after such pleasures,
There will be no sequels
And no tomorrows
Of such agonising intensity.

Soul on Fire

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Self-Portrait, Spanish Influenza-Edvard Munch 1919

At beginning of 1919, the Norwegian artist Edvard Munch (see Madonna) who painted one of the most famous paintings of all time, 1893’s The Scream, became seriously  ill with the Spanish Influenza that had already claimed the lives of millions across the world.

Munch painted hundreds of self-portraits throughout his career, most notable are Self-Portrait with Burning Cigarette from 1895 and 1903’s startling Self-Portrait in Hell (see below). Munch’s art which encompassed Symbolism and paved the way for Expressionism, brought a new and unprecedented focus on subjectivity and psychological states, naturally found raw material in the unflinching and  dramatic presentation of the diseased and tormented self.

Self-Portrait, Spanish Influenza,  though of a later period, is no exception in its neurotic intensity. The jarring colours are suggestive of sickness and trauma and Munch’s sallow mask-like face seems to be staring straight at death.

Munch would survive the Spanish Influenza, dying in 1944 at the age of 80. His paintings and prints retain an evocative urgency in their depiction of the universal states of anguish, illness, sexual anxiety and the dissolution of the body.

 

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Self Portrait with Burning Cigarette-1895
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Self Portrait in Hell 1903