The Voyeur

Jean-Marie Poumeyrol

I saw you clearly, as you are,
For the first time in a long while
From the perspective of the hallway
In the stillness of the afternoon
The bedroom (our bedroom) door
Wide open of any passing voyeur
To see and stare at the scene
Spot-lit by a pellucid light
Glaucous and migraine inducing
Nearly naked but of an undone bra
Twisted black satin and frilled lace
Lying almost still on the bed (our bed)
Pale flesh limpid in the peculiar glow
Your limbs entwined entangling
Intimately with his legs and arms
I flatten myself against the wall
But never for a second avert my gaze
Still my breath, strain to catch
Any stray whispered endearments
Sweet nothings or talking dirty
Hypnotic mesmerizing scandals
From this vantage point, this angle
I am unsure as to the identity
Of my lover’s lover, he could be
My brother, best friend or any
Stray random other, my betrayer
I am enraged, ashamed, enraptured
After all these years how could she?
The shame should be theirs but I’m
Intruding on an illicit secret passion
My skin burns hot with rushing blood
Perversely enjoying the raging hellfire
Of a jealously never to be quenched
Fanning ever anew with fierce delight
At the thought of this vivid tableau
Unknowingly arranged and presented
For my vast ever constant delectation,
A whole world of infinite heartbreak
In a pair of hastily cast-aside shoes.

You have always been here

From Angel Series, Roma, September 1977 -Francesca Woodman
From Angel Series, Roma, September 1977-Francesca Woodman

After much consideration,
I have come to the conclusion,
That you are not
Who you say you are.
You have always been here,
Not a visitor seeking shelter
From the winter’s storm,
This is your residence
Right here, with Hell
Just around the bend
In the depth-less sunless valley,
With Heaven just a vague rumour,
A distant, insincere promise:
This gimcrack structure,
Aging and weathered
In urgent need of repair
With its endless corridors
And cracked silvered mirrors
A dull pastiche of infinity,
Home to dismal phantoms,
Downwardly mobile angels,
Degraded coarse Demiurges,
Is your eternal abode
Where you wearily survey
With a monstrous apathy,
The chaos of creation,
The loop da loops of time,
This maze of memories.

Another Glass of Sangria

Climax-Gaspar Noé Climax-Gaspar Noé 2018

Near the beginning of Gaspar Noé’s dance-horror movie Climax, we are introduced to the dancers via their audition interviews, which are played on a TV surrounded by VHS titles (it is set in 1996), which include such gonzo avant-garde/horror films as Suspiria, Possession, Salo, Inauguration of the Pleasure Dome and Un Chien Andalou, further signalling (just in case you missed the bloodied body crawling through the snow at the start, and that it is a Noé movie) that what is to follow is going to be a full frontal assault on the senses. Whether you love it or hate it, Climax certainly succeeds as an overwhelming experience.

But before we go down to  Hell, we get a glimpse of Heaven in the extraordinary dance scene. Shot in one very long take, the young and diverse dancers, in their final rehearsal before leaving France to tour America, produce a thing of beauty as they krump, vogue, freestyle and strut their awe-inspiring stuff. The exuberance, energy and sense of collective euphoria on display is truly joyous to watch. Naturally the beautiful people want to party after such a success. Simmering with polymorphous sexual tension, a note of discord is introduced in the bitchy and potentially amorous conversations. Following another stunning series of set pieces by individual dancers, filmed from above, and around the time Thomas Bangalter’s Sangria kicks in, the dance crew begin to realise that the sangria which they have been drinking (most of them anyway) has in fact been spiked with LSD, the mood accordingly darkens and the party degenerates rapidly.

What follows is the mother of all bummer trips, an epic Grand Guignol freak out that is almost unbearably intense as the dancers descend into a netherworld of paranoia, violence, debauched sexual excess and over-saturated primary colours, perfectly captured in the nausea inducing camera angles.

Full credit to the cast, who with the exception Sofia Boutella are dancers not actors, and the spectacular choreography of Nina McNelly. The pulsating soundtrack charts the journey from sublime ecstasy to raging madness wonderfully, below are two tracks that feature when the vibes start to get heavy.

The Infernal Vision of Sibylle Ruppert

Sibylle-Ruppert_Decadence 1976
Sibylle-Ruppert-Decadence 1976

Quite recently I was researching H.R Giger’s illustrations for De Sade’s Justine when I stumbled across the work of the German artist Sibylle Ruppert. I immediately wondered how I had never heard of her before as I take some pride in being well versed in Surrealistic/Fantastic/Dark Art and here was an exceptional example of the genre, that furthermore took its cues from the masters of transgressive literature: De Sade (of course), Lautreamont and Bataille, all of whom I have written about.

One can only wonder at the vagaries of recognition. Although she did have some influential admirers, namely Alain Robbe-Grillet, Henri Michaux and especially Giger, who owned a large collection of her work (the only major retrospective to date was at the H.R Giger Musuem), the critical and commercial success that other Fantastic artists of the period enjoyed eluded her. Instead she worked quietly away at producing ever more horrific images from hell.

Born in Frankfurt in 1942 in the middle of a bombing raid of the city, Ruppert’s father was a graphic designer. She would sit entranced watching her father draw. One day she seized his hand and said that she would also draw nice colourful pictures like he did. Soon afterwards she presented her first drawing; it was a brutal picture of a fist striking a face. Sibylle was six at the time.

A determined  and driven child Sibylle would produce twenty drawings a day as well as studying ballet. Too tall to be a ballerina, she became a revue dancer, touring the world until one day in New York she decided to quit and dedicate herself to art. Sibylle returned for a while to Frankfurt, giving drawing instructions at the art school her father founded, then moved to Paris, where she exhibited for a number of years before resuming teaching.

As well as the literary influences cited above, all of whom she illustrated, visual traces and echoes can be observed of Bosch, Giger, Fuseli, Bellmer, Blake and Bacon, though this doesn’t in any way detract from her singularly visceral and kinetic imagination. In her paintings and drawings the flesh is always in motion; writhing, straining, collapsing, before undergoing the final monstrous transformation. A truly infernal vision that lingers unsettlingly in the mind.

Bible du Mal-Sibylle Ruppert 1978
Bible du Mal-Sibylle Ruppert 1978
Sibylle Ruppert
Sibylle Ruppert
Sibylle_Ruppert___Flucht 1971
Sibylle_Ruppert___Flucht 1971
Sibylle Ruppert-Hit Something 1977
Sibylle Ruppert-Hit Something 1977
Sibylle Ruppert-Snake 1976
Sibylle Ruppert-Snake 1976
Sibylle Ruppert-Kamm 1977
Sibylle Ruppert-Kamm 1977
Sibylle Ruppert-Les Chants de Maldoror
Sibylle Ruppert-Les Chants de Maldoror

Take Me Tomorrow

Salvador Dali-a Miserable Flat (From the Marquis De Sade Suite-1969
Salvador Dali-a Miserable Flat (From the Marquis De Sade Suite-1969

Forever the sensualist, pursuing the pleasures
Of the flesh and the transitory moment,
Every passing chance and fleeting lust
With your oh-so debonair, cavalier
Devil-may-care-can-take-me tomorrow attitude,
Never paying heed, feckless and reckless
Following every bizarre whim and contrary impulse.
You never know why you are the way you are,
Though upon any given day you may blame
The father for passing on his rogue genes
Designed to self-destruct whenever
You gain an instant of clarity and collected calm,
Or the mother for expelling you from the Eden
Of the womb into this world of sorrow and woe.
But why stop there, surely the impersonal God
In the vast unreachable fortress of the Heavens
Deserves a share for even thinking and therefore
Emanating all the demiurges and demons
To fashion this perfectly flawed creation
With its built-in obsolescent as the unique selling point
Yes the guilt and the shame has to be theirs
For the urges that you always have to act on
Regardless of consequences and the possibility
Of a whole universe of hurt and pain
But can anyone take the weight of such responsibility?
At times like this, better to drink deeply
And gamble on the possibility of redemption,
Within her encircling arms lies salvation
The pressure of her hand on your thigh
Hints at an all-encompassing bliss
An unsurpassed re-capturing of the holy moment
If only she holds on tight and doesn’t hold back
You could die right now looking into her eyes
But one moment escapes into the next
And this night, like all nights, has to end:
The sun breaks the magic circle
Ending the eclipsing spell
Returning you to the sleazy here and now,
The dishevelled bed in this pallid light
In this foetid atmosphere heavy with sex
With the bitter taste of a fulfilled desire
Turning heavy and cold in your mouth.
The time is now, I think,
Tomorrow has come
Your party is over
That race has been run
You sinned in such haste
Time now to repent
At, of course, your leisure
For Hell is forever.