(R)EVOLUTION IN STRASBOURG: Lou Andreas-Salomé in the academy

It finally happened!

conference image projection

LOU ANDREAS-SALOME (1861-1937) COLLOQUE INTERNATIONAL: A l’occasion du 80eme anniversaire de sa mort 9-11 feb 2017. The conference at the ESPE de L’academie de Strasbourg was organized by Britta Benert and Romana Weiershausen.

Une cosmopolite sur les chemins de traverse | Kosmopolitin auf Zwischenwegen: Lou Andreas-Salomé (1861-1937). The first European International Conference on Lou Andreas Salomé was introduced by Anthony Mangeon, a member of the bureau of I’EA 1337 and Andrea Young (above), director of l’ESPE, who declared Strasbourg as the ideal location for a woman who expressed in the realm of the in-between borders.
LEOECLIPSE

Lou Andreas-Salomé was ushered into the academy on 09-11 February 2017 directly under the Leo/Aquarius Lunar Eclipse of her reprise as the Aquarian icon of the Übermensch.

Scholars from various disciplines convened at the Universite Strasbourg to share their research and creations inspired by Lou Salome, while struggling over a common vocabulary for the in-between symbolized by the location on the French and German border.

organizers drei
The organizers with the archeology of the Dreieinigkeit. The Nietzsche/Salome creation of the Dreieinigkeit (projected) is the hieros gamos, or the Third realm between the gender opposites.

The German scholar Irmela von der Luhe was the keynote speaker. Her full-bodied struggle articulated the need to uncover a new language for Salome, thereby placing the feminist denial of her importance into a crucial critical perspective.

On Thursday evening, the group was treated to the new German film, Lou Andreas-Salomé,  expertly crafted to unfold the untold story of inner/outer feminine liberation from the holistic perspective of writing of her autobiography in her twilight years.

Slide1

Cordula Kablitz-Post’s direction of Lou Andreas-Salomé stressed the androgyny of Lou as the trans-gendering of opposites into the dynamic erotic space of the in-between.

From a critical perspective, Lou Andreas-Salomé was (r)evolutionary in the manner that it acted as a cinematic Mobius strip dramatising the untold story of inner/outer feminine liberation from patriarchal projections — not through female fantasy but the lived experience that was the (r)evolutionary trademark of Salomé.

Indeed, having the first European academic conference on Salome in Strasbourg, a stunning city in-between two nations, where the bulk of the people are trilingual, in using the international language of English to communicate over the historical borders.

men with badges
All participants entered through the holistic perspective of the woman with whom they shared their identity — via the Lou badge!

book tableThe growing trade of Salome literature, in three languages, in evidence at Strasbourg, courtesy of Ursula Welsch, director of Median Edition Welsch.

Thomas Schmidt (Deutsches Literaturarchiv Marbach), presented projections from his curation of “Rilke and Russia” that will present the archeology of Rilke’s travels with Salomé.

theater

During the Thursday Round Table, Lutz Keßler (above) shared images from a recent theatrical performance about Salomé and the Dreieinigkeit in her chosen hometown of Göttingen.

joke

The Dutch author Joke J. Hermsen (ab0ve) lived up to her Hermetic moniker by creating the Kairos moment in her interpretation of Salome through the binary of time:

In her philosophic and psychoanalytic writings Salome formulated a theory in which love, but also art and creativity are to be understood as the renewing forces of human life. They both provoke what we could call a kind of crumbling down of the identity-limits, the so-called “Selbstvergessenheit” enabling the amorous or creative subject to come into a new interaction with ‘the other self’ (Selbstsucht). It is this practical movement–to forget oneself in order to find oneself that Eros and Art engage…. Her model of a two-stringed or double-edged character of time and subjectivity implies therefore the existence of a distance, a creative space between these two layers of our subjectivity, that is: between the facts of our identity, our race, sex, age class, culture, etc. and the unconscious story of our inner self.

 –Joke J. Hermsen, “Eros & Art: Time Rebels and Soulsearchers in the Works of Lou Andreas- Salomé”

katieThe boundary-crossing scholar Kristine Jennings (above) presented “Im Zwischenland: Lou Andreas Salomé on Adolescent Female Sexuality”. Jennings’ translation of Salomé’s masterpiece, “The Devil and His Grandmother” is now packaged as Sex and Religion: Two Texts of Early Feminist Psychoanalysis introduced by Gary Winship, the scholar who presented the first English translation of The Erotic in 2012, the year of the Salomé resurrection.

Jennings declared Salomé as a key contributor to the debate surrounding sex and gender. She presented the essentialist Salomé departing from the American feminist view in her belief of biological considerations: “the reproductive difference between male and female comes down to the female egg enclosed in her own circle — as opposed to the male sperm as differentiated and striving”.

k jennings

Jennings’ paper “Im Zwischenland: Lou Andreas Salome on Adolescent Sexuality” presented an engrosing literary analysis of the fiction of adolescence as metaphor: commanding the space of Uncertainty between the opposites.

pasha reading
The Iranian scholar Amirpasha Tavakkoli presented the Nietzsche Salome philosophy into the crucial 21s century context of the hieros gamos balance between the masculine and feminine in his “Nietzsche lu par Lou Andreas-Salomé ” on Saturday morning.

three women

The German scholar Annette Kliewer (left) rose to her role as the closing presenter, providing an essential placement of Lou Andreas Salome’s literature in the academy via her paper, “Mehr als eine spannende biographie: Ein Playdoyer fur eine ‘Behandlung’ von Lou Andreas-Salomé in der Schule”.

The closing moments of the landmark conference, Annette Kliewer (left) with organizers Britta Benert and Romana Weiershausen.

cordula

Lou Lives! The enigmatic prize-winning Austrian author Cordula Simon (above) revealed her Salomé influence of boundary crashing through borders, both literal and literary, reading from her eclectic novels at the Austrian consulate.

3 womenThis sampling of the brilliant and beautiful boundary-smashing conference participants  at Austrian consulate in Strasbourg celebrated Salome as heralding an authentic fourth wave feminism of liberation.

For more information on the conference, go to medienedition

All photos copyright Lisa Paul Streitfeld

Dr. Lisa Paul Streitfeld is a Kulturindustrie theorist, art critic and scholar relating Salome to a Fourth Wave of feminism.  Her paper “Beyond Schizoanalysis: How the Offspring of the Deleuzo-Guattarian Marriage Allies with Fourth Wave Feminism” has been selected in a special edition of the Deleuze Studies Journal. 

(R)EVOLUTION IN GREECE: Michael Mantas’ “Receta” for the Avant-Garde

It is a cinematic breakthrough that perhaps could only come from the monk.  Michael Manta’s Receta expands the vocabulary of film to fold the personal journey into the universal quest for transcendence.

lisaMike Mantas enacts his inner monk on a spiritual journey in his “Receta”.

While this is no small feat, the surprise is how it achieves this quantum leap into the timeless; in real time by way of interweaving the making of homemade cheese into political documentary about his ancestral Greece during the violent uprisings anticipating the Trump era of nationalist revolutions.

As writer, director and producer of his own mythology transforming his identity from queer monk to avant-garde Greek-Canadian filmmaker, Mike Mantas‘ layered interweaving of autobiographical…

family-archeologuy …the mythical…

mythical …documentary of the Greek uprising…

xarchia …and political narrative of ego repression…

docu …absorbing the the long-repressed Shadow

shadow …by means of a multicultural tapestry of Queer identity on a sea journey…

boat …to absorb the transgender Aquarian icon…

goddess …is coded with the newly arising icon of the hieros gamos via the extraordinary face of Mina Orfanou as the Goddess Eurynome.

Evoking the hero’s journey of our time of dislocation, Mantas, a trained actor, self-performs the marriage of polarities (masculine and feminine)…cheesw ….by means of mastering a Greek recipe for cheese created in real time…

Diametrically in opposition to the externalization of the “male gaze” …

manneqjuin …coded through the killer stare of the nude female store mannequins…

sea …melds symbol and gesture to herald a 360 perspective symbolized by the trangender figure holding a utility geometry of holism: an umbrella.

The outward projection of the psyche’s inner struggle for union takes place through the eye of Mantas’ vintage camera in which the analog camera serves as recurring motif…

camera …for the physicality of filmmaking in which the gesture with the camera is an apparatus of personal excavation…

mobious… a metaphor of Heideggerian Being in which interior is reflected in the exterior…

Such a richly multilayered narrative texture utilising the Shadow as container for the embrace of the iternal feminine is new to cinema.

box“Receta” has a metal lock box as metahpor of the Philosopher’s Stone storing the coded psyche.

Upsetting the hierarchical linear time measured in quantity, Mantas infuses kairos — the unexpected moment of the quantum leap– into film as a measure of the qualitative…

Melding analog and digital by means of the symbolic and performative, Receta constructs the organic source of film, celluloid, into the Mobius strip as it overcomes the binary dualism of the subjective/objective…

doormom

Receta proclaims a bold new era of cinema marrying subjective/objective through the right and left hemispheres of the brain.  By challenging the viewer as participant in the quest for unity, the real/surreal seamlessly blend personal and universal narrative..

thirdeye The Third Eye is among the rich iconography in “Receta” for the paradigm leap into the Third.

Mantas’ Greek birthname is Chronopoulos.  Not surprisingly, this enterprising filmmaker has made his destiny in digging so deep as to establish the visual language of a new art for(u)m at the intersection of Chronos and Kairos…

door …by means of opening new Doors of Perception.

While making unconventional demands for a whole brain participation to absorb multidimensional narrative, the rewards of learning Mike Mantas’ Receta are well worth the effort.

CARU CONFERENCE 2016 OXFORD

CARU CONFERENCE, BROOKS OXFORD UNIVERSITY, 3 December 2016.  Dr. Streitfeld's presentation "EXCAVATING THE TEMPLAR TREASURE: Re/SEARCHING THE HIEROS GAMOS IN CRITICAL AND ARTISTIC PRACTICE", 15:00 (R) with the Aquarian Moon on the MC lined up with the composite ascendent for Hughes Payans/Lisa Streitfeld (Center) and the Alchemy of Love: Hieros Gamos performance under the 20 January 2008 ecllipse (left).

CARU CONFERENCE, BROOKS OXFORD UNIVERSITY, 3 December 2016. Dr. Streitfeld’s presentation “EXCAVATING THE TEMPLAR TREASURE: Re/SEARCHING THE HIEROS GAMOS IN CRITICAL AND ARTISTIC PRACTICE”, 15:00 (R) with the Aquarian Moon on the MC lined up with the composite ascendent for Hughes Payans/Lisa Streitfeld (Center) and the Alchemy of Love: Hieros Gamos performance under the 20 January 2008 ecllipse (left).

Excavating the Templar Treasure:

Re/Searching the Hieros Gamos in Artistic & Critical Practice

by 

Lisa Paul Streitfeld

The disclosure of the elusive Templar Treasure was the unexpected outcome of an entangled relationship between “re-search” and artistic/critical practice of the hieros gamos. There is much to know about how “The Sacred Marriage Rites” transmitted via unearthed cunneiform tablets were honored in ancient Mesopotamia. Yet full Heideggerian disclosure of Being required a unity of inner exploration and outer research in a New Media practice exploding the boundaries between art, literature, criticism and curation. This presentation demonstrates the alchemical process by which this icon publically entered the body of the artist in January 2008 to guide research through the duration of the eight-year Venus cycle to the Templar Treasure in 2015. Along the way, the 2012 phenomenology of the “eternal return” of the 1882 Venus Transit of the Sun disclosed the archaeology of Nietzsche’s hieros gamos rites with Salome birthing the Ubermensch as the divine marriage of heaven and earth. The presentation concludes with a short interactive performance. Performance Link: http://thealchemyoflove.blogspot.hr

REVIVING POP: Barbara Rachko’s “Black Paintings”

"Black Paintings" by Barbara Rachko, 2009-2016 (Pastel on Sandpaper) screenshot from the artist's website: www.barbararachko.com

“Black Paintings” by Barbara Rachko, 2007-2016, Pastel on Sandpaper (screenshot from the artist’s website: http://www.barbararachko.com).

Barbara Rachko is an American artist with a personal and professional trajectory unique in contemporary art. As a Naval officer stationed on active duty at the Pentagon (Rachko is a retired Navy Commander), she made a slow transition to artist through studying drawing. In 1989, she became a full time professional artist doing realistic portraits while beginning to create works inspired by the primordial energies given form and imagery in folk culture. Her breakthrough occurred after suffering an inconceivable tragedy: the loss of her beloved husband in the 9/11 attack on the Pentagon.

Whereas “Domestic Threats” (1991-2007) carried the ominous specter of American insecurity in the fallout of September 11, the breakthrough of a subsequent series of photographs, “Gods and Monsters” (2007), established a blackground as characteristic of the unknown lying ahead. The full circle return of “Black Paintings” (2007-2016) to her earlier medium (pastel on sandpaper uniting the opposites of rough and soft) brings this blackground disclosed by means of photographs into the foreground. The surprise that results goes Pop.

Palaver, 2016, Soft pastel on sandpaper

“Palaver”, 2016, Soft Pastel on Sandpaper, 26″ x 20″

The eerie feminine figures of these works are reminiscent of the twisted dolls of Hans Bellmer. With the single exception of Stasis (2009), they are headless, or otherwise have covered (The Absence, 2012), shadowed (Figment, 2010), or cut-off faces (Incognito, 2014 and Alone Together, 2016), blurred mouths and bodies suspended half in shadow. This visual blockage of verbal expression reflects the artist’s successful passage into the right brain of wordless imagination. Also contributing to the shattering of linear perspective are the aerial (The Ancestors, 2013) and spiraling views (Some Things We Regret, 2009). The cycle is reinforced by the narrative: the dominant grimacing male figure of Alpha (2009) is reborn by way of the red egg of alchemical rebirth offered in Effigy (2009) to the left/right brain balance of Blind Faith (2014) transmitted via a half-covered face suspended above a scepter, symbol of male domination.

Pastel on Sandpaper

“Stigmata”, 2008, Soft Pastel on Sandpaper, 28″x48″

These dissolving feminine archetypal energies seem to float in space amid an array of parts, giving way to the sexless golem figures with their hulking torsos (Spectral, 2014), appendages (Intruder, 2011), coiled Kundalini power (Paranoia, 2009) and anthropomorphism (False Friends, 2011) suggestive of Quetzalcoatl, the winged serpent characterized here as White Star (2016). These unclassifiable figures positively lurch into the foreground and seem to be exploding autonomous symbols in their wake. These take geometric forms: the animated disk (So What, 2011), signaling wholeness; an egg-shaped oval (Between, 2009; Couple, 2011; and Poker Face, 2012), representative of birth. Significantly, Offering (2012) extends the fish icon of the receded Pisces Age.

 Epiphany, 2012 Soft Pastel on Sandpaper 38" x 58"

“Epiphany”, 2012, Soft Pastel on Sandpaper, 38″ x 58″

The holistic narrative of heavenly birth crystalizes in Epiphany (2012) where prominent circles are corporatized on the Indians’ cheeks and the oval is indeed an oversized egg, while amorphous floating shapes may be scattering feathers.

"Couple", 2011, Soft Pastel on Sandpaper, 20"×26"

“Couple”, 2011, Soft Pastel on Sandpaper, 20″×26″

Finally, there is the masculine/feminine balance arising from the division of Couple (2011), in which the spotted egg-shaped scepter held by the androgynous skirted female figure morphs into the alchemical red egg symbol incarnated by the matching cheeks of Dichotomy (2015).

"Dichotomy", 2015, Soft Pastel on Sandpaper, 38"×58"

“Dichotomy”, 2015, Soft Pastel on Sandpaper, 38″×58″

The “separate but togetherness” inherent boundaries of this couple are drawn by flesh separated by individual cross patterns as an apotheosis of the Matisse motifs in “Domestic Threats”. Here the design of the three black shapes on the male shirt points to the quantum leap into the realm of the Third realm of the hieros gamos.

Rachko’s artist‘s statement reveals the series was influenced by Jazz. This is the conscious understanding of the filtering of imagery through the ego surrendering to liquid emotion. Yet, what makes “Black Paintings” truly exciting is the subconscious influence arising from Rachko’s early love of silent film, specifically The Golem.

Spectral

“Spectral”, 2014, Soft Pastel on Sandpaper,  20″×26″

GOLEM enters the art world dialectic via a 2016 exhibition at the Jewish Museum Berlin just as the “Black Paintings” series was concluded with Alone Together as the Third space birthing the fully formed Heideggerian human Being of White Star matched with the Quetzalcoatl Palaver.

"White Star" 2016, Soft Pastel on Paper, 38"×58"

“White Star”, 2016, Soft Pastel on Sandpaper, 38″×58″

Significantly, the circular seven chapter thematic exhibition in Berlin closes with Doppelgänger, bringing the visitor back to the golem guarding the entrance, thereby signifying a leap through the binary (Trio, 2010) into the Third (The Space Between, 2009), via a new paradigm of cyclical time. In Rachko, this multidimensional perspective is reinforced by the changes in scale within a single picture (Big Wow, 2011, and Some Things We Regret, 2009).

Trio

“Trio”, 2010 , Soft Pastel on Sandpaper, 20″×26

The golem arises in an artist’s ouevre as the figure magically animated from inanimate matter rejected by the suspicious ego (Intruder, 2011) preoccupied with identification, classification and control. By means of videos on her website, Rachko reveals her process of disclosing through the imposition of the Real; as her customary Mexican and Guatemalan folk figures take center stage with the release of the former background detail, the tension between opposites (Troublemaker, 2015) is heightened by juxtaposed electrical wave patterns (Spectral, 2014) clashing with energy draining vampires (Big Wow, 2011) determining a mirror projection (Who Can be Sure of Anything, 2008) regarding a hopeful rise (Motley, 2014), dreaded collapse (Fallen, 2011), or worse: Stasis (2009).

Big-Wow, 2010

“Big Wow“, 2011, Soft Pastel on Sandpaper, 38″×58″

Ultimately, the archetypal Shadow (Broken, 2013) emerges from the blackground to take over the foreground; this is brilliantly anthropomorphized as the leering Judasing (2013) heralding the artist’s original creations molded from dark energy/dark matter. The process by which the “known” gives way to the “unknown” reveals how the rational mind surrenders to instinct. It stands to reason that the Judasing embrace of the traditionally cast-off golem requires consciousness of the repressed personal shadow. This process of recognition charges the work of art with the transpersonal power of the collective archetype of the Shadow.

Broken

“Broken“, 2013, Soft Pastel on Sandpaper, 38″×58″

Rachko has achieved this power through her long process of maturation as an artist. Her creations are inspired by the vast collection of Mexican and Guatemalan folk art that populate her studio and she even invites access to strangers through a “virtual” tour complete with videos. Earlier paintings were entirely filled with these figures as conscious transmissions of the archaic entering into contemporary art. The breakthrough of “Black Paintings”, which she calls her most personal work, is the sacred marriage of opposites. The blackground is a formed/formlessness of the unified “dark energy/dark matter” both framing and rivaling individual figures; now center stage, these anthropomorphic beings give way to golems lurching towards the observer/participant.

The Space Between

“The Space Between“,  2009, Soft Pastel on Sandpaper, 58″×38″

What a prospect! Thrust into foreground, the blackness absorbs the projection of the viewers’ unknown inner life and makes them direct participants to the Shadow confrontation. The discovery of one’s unknown inner world carries a powerful energy charge repressed by ego, and yet, once aroused, is capable of bringing a full force of an awakening. The art that makes transparent the passage to this realm is truly a (r)evolution that makes art as populist as it was in the sixties.

In fact, Rachko’s brightly hued golems popping out of the blackground provide a new meaning to Pop Art. The sixties movement into optics of geometry and color was not intended as multi-dimensional penetrations into archetypal reality; in fact, Pop was derived from popular commercial imagery arising as material for artistic expression in rebellion against the shamanic struggles of the American avant-garde. Yet, the bright primary colors were intended to make the eye POP, and we can view this optical awakening as the dawning of the Age of Aquarius.

Rachko was born under the sign of Aquarius. Her self-trajectory is revelatory of the human passage through the Shadow lurking behind the sixties dawning of a new age of gender equality. The passage towards the 21st century icon of the hieros gamos (sacred marriage) is reflected in her personal and professional trajectory towards the integration of left/right brain. The artist’s initial attraction to the “dark matter” of Mexican and Guatemalan folk art indicated an opening towards the occult by way of a link to an ancient culture that sacrificed humans so the collective might be blessed with the transcendental energy of the gods.

Judasing

“Judasing“,  2013, Soft Pastel on Sandpaper, 58″×38″

A new mythical narrative arises through the autonomy of the symbol. Rachko’s symbols begin in relation to anatomy, such as the circle for the eye or mouth (see “Evolution of a Painting: Poker Face” on www.barbararachko.com; surrounded by blackground, they gain their autonomy. Her early realistic replication of images from three-dimensional objects to two-dimensional pastel figurations filling up the entire picture provided the foundation for this breakthrough; her future shift to pioneering a blackground (which propels the pastel drawing into the medium of painting) established a space for interpretation and projection. The transition from positive to negative space of dark energy/dark matter charged the artist and her observer/participants with an energy emanated by dream figures such as the devil (Provocateur, 2015), feathered serpent eying an ant with a human female head (Palaver, 2016) and miniature ballerinas (The Space Between, 2009). Paradoxically, these transmission drives are made real by the primitive sense perception typically dulled in modern life. The juxtaposing of the dual serpentine figures of Stalemate (2013) depicts a yellow ball (miniature sun as icon of the Self) solution to the warring opposites represented by the replicated doubling of foot. Subsequently, Charade (2015) is a stunning interpretation of the transgender Aquarian Sky Goddess (Rachko is a licensed pilot) shocked by the outer projection of her inner phallus.

Charade

“Charade”, 2015, Soft Pastel on Sandpaper, 38″×58″

“Black Paintings” point into a new direction of art mirroring the human passage towards the disclosing of the wholeness contained within dark matter/dark energy. The paradox emanating from the work itself is this: if the instinctual hand gesture had forehand knowledge of the direction of the artist’s surrender, the journey would never have taken place.

If Andres Serrano were a painter, he would do a Barbara Rachko. Indeed, the ascent of an erotic consciousness that Serrano initiated in the hyperrealist medium of photography now extends to canvas; Barbara Rachko newly interprets painting as the subject/object “capturing site” of the 360-degree perspective of the hieros gamos. Along the way, she pilots the golem crest of the quantum wave as it breaks open the Shadow into the collective consciousness at the very moment it is most needed.

Dr. Streitfeld is a freelance critic, regular Huffington Post reviewer and Kulturindustrie theorist. This is an essay for an upcoming exhibition.

Stefano Cagol’s Body of Energy

STEFANO CAGOL IS THE ARTIST IN THE HOT SEAT…

HOT SEAT A
Stefano Cagol makes a personal revolution universal in his Berlin “Readymade,” the subject of “HOT SEAT” looping behind him in his exhibition at CLB Berlin. (Photo by LPS).

…after tracing his Body of Energy imprint in a one man movement from one end of Europe to the other…

THE BODY OF ENERGY
“Symbols, metaphors, current topics, immediateness, stimulating, communicating, openness, multiple points of view. These are the key words to my relationship with the public. It couldn’t be any other way,” states Cagol. “The artwork is an opportunity to better understand our own time and future. It’s a sort of mission. In my account, art is never closed in itself.”

TBOE_GIBRALTAR_CAGOL_
Have van will travel: Cagol’s means of transport is a “mobile station” doubling as a roving billboard from Norway to Gibraltar.

The Italian native’s self-described “scanning energy expedition” culminates in the German capitol with a two month residency at Momentum Berlin and solo exhibition inaugurating a highly visible new collaborative art space of CLB Berlin/ Collaboratorium für Kulturelle Praxis.

CAGOL CLB 16
Cagol’s signature “Writing as a Landmark” energises a new Berlin geographical arts zone: “The Body of Energy (of the mind): Stefano Cagol” opens Collaboratorium Berlin/CLB in the Aufbau Haus am Moritzplatz in Kreuzberg.

The Italian native is creating a (r)evolution in art through a simple, and yet dceptively complex, method: the infrared camera, which he refers to as his “symbolic energy keeper.” The portable digital apparatus can fit into a knapsack, allowing him the artist to be ever-mobile and spontaneous in his tracking energy exchanges across borders.

Installation2
“The Body of Energy (of the mind): Stefano Cagol” culminates in Berlin as a multimedia solo exhibition opened on 06 November 2015.

The infrared technology developed by the military for detecting traces of life within human destruction is utilized by Cagol to make a stunning art signature celebrating life, with a timeless purpose…

TBOE MAGA MUSEUM Italy
…revealing (below) the spiritual traces that humans leave behind (above) at TBOE “Hands and Trees” at the MAGA Museum in Italy.

The Torino artist came to prominence in Europe from his “Ice Monolith” project in the Maldives exhibition in the 55 Venice Biennale. He arrives in Berlin with the visual Art-I-facts of his year-long passage through Europe creating Actions and Happenings while igniting the continent with his interactive energy.

TBOE_MOJACR_CAGOL
ENERGIZING THE STONE: “I am an artist,” he tells me in the gallery when asked if he might be a shaman. (TBOE performance at Mojacar, Andalucia).

Cagol makes Kundalini visible in the art gallery with a humour that Beuys might not appreciate…

enshrined
…enshrining a found object (in video) that he has photographed (below) enflamed with his energy…

HOT STONE
… as demonstrated in the gallery during an impromptu “HOT STONE ACTION”…

Capturing this moment of inner/outer integration in Berlin, the global reconciliation capital makes this boundary-smashing artist a highly visible proponent of what has been largely invisible–the arising of the long-repressed feminine energy taking the shape human embodiment in unification with masculine spirit.

Stefanogallery
Stefano Cagol places his “Body of Energy” inside his CLB exhibition. He is standing before “TBOE Gibraltar” marking his February 28, 2015 arrival in the most south-western point of the expedition, hosted by Listen to the Sirens, an art initiative in the Montagu Bastion, part of the Little Constellation network.

Cagol may not be making claims of shamanism, but surpasses the much venerated “mystical” Joseph Beuys by virtue of creating visual links between his materials and personally magnetic human vibration, thereby opening a window, within the confines of the art gallery, to the 96 Percent of the universe that is dark matter/dark energy.

TBOE_SALERNO_UNIVERSITY_CAGOL
Cagol performs a TBOE student InterAction at Salerno Univeristy, transforming the
Piazza del Sapere (square of knowledge) into the shape of the human heart.

The global artist elevates art as transformational–making the here and now experience of energy exchange both tangible and real, linking past, present and future with the ever-present origin.

TBOE_MUSEUM_FOLKWANG_CAGOL_2

“The Body of Energy (of the mind): Stefano Cagol” is sponsored by VISIT Programme of the RWE Stiftung für Energie und Gesellschaft gGmbH. The exhibition at CLB BERLIN COLLABORATORIUM, Aufbau Haus am Moritzplatz runs until Dec. 12, 2015 in Kreuzberg. The Exhibition times are Tu.-Su. 15:00-19:00 pm. There will be an Artist’s Tour at 17:00 on Friday, Nov. 27, and Tuesday, Dec. 1, with a Finissage from 18:00-21:00 on 12 December.

A Berlin BOE Action/Performance will take place in December. For further information go to: www.bodyofenergy.com

Lisa Paul Streitfeld is a cultural critic and theorist who ignited a dialectic of the Kundalini in the international avante-garde. See www.kundalinisdaughter.com

All photos are by Stefano Cagol and published with permission of the artist.

THE SUMMER OF LOVE U.S.A.

Following a tense week in which cops killed blacks and blacks killed cops, Devon Bray’s “The Law” went viral. It also has staying power; not only does the video beautifully capture the mood of a unique EVENT spreading across the hinterland, but his art speaks on multiple levels…

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CLICK HERE: Bray Films presents “Black Lives Matter – All Lives Matter Wichita Kansas Police Cookout Event”

…the law as protectors of order in society…

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…and the universal law of karma: honor your neighbor and they will honor you.

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What this means in a tense moment: if a cop recognizes your face, and you recognize his, there is more potential for creative CONVERSION into the THIRD rather than the destruction of warring opposites.

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Devon Bray is a multimedia artist commited to the principle that change begins at home, in the human heart. He demonstrates this both in his stunning talent and his commitment as a youth councilor.

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Bray has a new message as a means of reconciling the warring opposition: “I like to say #AllLivesMatter rather than #BlackLivesMatter. We have to stop complaining and pointing fingers and change the way we think and feel about each other. Love Conquers All.”

The filmmaker’s signature is imbedded in his images: “Love Peace and Unity – No more killing on both sides.” He explains how this creative prototype for an EVENT sweeping America got started and will continue:

The BLM activists were gonna protest on Sunday, but the Wichita police chief sat down with them. Everyone agreed to come together for a community cookout and Q & A. I filmed the event and created a song and video in 24 hours. When I released it, it went viral. We called it the 1st step to progress and plan on keeping it going, getting bigger and better. We are endeavoring to show the world how it’s supposed to be done.

Dr. Lisa Paul Streitfeld is a philosopher and critic based in Berlin and New York City.

All images copyright the artist Devon Bray and published with his permission.