Genesis P-Orridge & Eric Heist
art exhibition of all new collaborative sculptures, objects, paintings,
photo-prints, installations and multiples
7th April to 6th May 2001, Thursdays to Fridays, 2 to 7 p.m.
at 15 Cotton's Gardens, London E2 8DN
Genesis P-Orridge is a performance artist, musician and visual artist
whose career has spanned 30 years. He conceived and founded the
seminal British "performance art" group Coum Transmissions, became
a member of Throbbing Gristle in 1975, of Psychic TV in 1981, and
now of spoken word/ambient theatre group Thee Majesty which performed
at the Royal Festival Hall in 1999. He has released more than 200
CDs of experiments in music to date. He has worked and collaborated
with William S. Burroughs, Brion Gysin, Derek Jarman and Dr Timothy
Leary amongst others.
The Centre of Attention’s “Candy Factory” exhibition is Genesis
P-Orridge’s return to a London gallery for the first time since
Coum’s infamous “Prostitution” show at the ICA in 1976, 25 years
here to go to Genesis P-Orridge's website
Heist is a New York based artist. His work has been shown extensively
in the United States including P.S.1 Contemporary Art Center, Brooklyn
Museum of Art and numerous New York galleries including Feed, Thread
Waxing Space, PS122 and recently the Team Gallery with Genesis.
He directs and curates Momenta Art, the pioneering Brooklyn gallery.
Click here to
go to Momenta Art's website
Factory is a collaboration and joint work between the two artists:
Polaroids of intimate carnal acts, the artists create a variety
of art objects which present desire as the impulse for interaction
set against the framework of institutional structures. "Candy Factory"
refers to both Candy Darling and "the Factory", Warhol being an
important figure in generating ideas for the project, particularly
his ability to bring the contemporary world and a critique of commerce
into artmaking, as well as his interest in androgyny to deconstruct
itself is presented as an addiction. It represents our search for
something to break our habits and relieve boredom, which leads to
the recognition that existence itself is a habit. Paintings are
sugar-coated. Sugar represents that desire which drives us to continue.
and sculptural objects are presented as self-conscious class signifiers,
referring as much to the systems that create them as to their qualities
as art objects. Paintings which appear at first to be abstractions
reveal themselves upon closer inspection to be made up of silk-screened
dildo straps, sculptures which appear to be pure white minimalist
sculptures reveal themselves to be sugar-coated end tables. There
are museum gift shop items like t-shirts and coffee mugs bearing
the "candy factory official souvenir" stamp and ambiguous yet explicit
images from the Polaroids. Desire is presented as a necessity to
human survival transcending issues of economy and class.
carnal is the divine brought down, momentarily, to our earth and
our bodies. As we become addicted, we repeat the most satisfying
fragments and methods trying to bond our self more permanently to
the other. Consumption is implicitly insatiable. Production lies
upon the impossibility to fulfil desires and appetites.
works respond to the idea that the erotic is an escape from the
real world. Desire can also be seen as utilitarian or political.
It can be used to deconstruct institutional structures (Gift shop,
homeless sex, bourgeois mirror). The satisfaction of desire does
not represent escape or freedom from limitations, but represents
limitation itself because we cannot escape desire. The mistaken
idea that it does represent freedom leads to a vulnerability to
images of desire which are used to direct our actions, as in the
case of advertisements, which exploit images of desire.
work refers to a fear of interaction contrasting with a fear of
isolation, the two of which together drive us to exist. The ultimate
symbol for social interaction, which places a referent index for
all human interactive activity, is the orgy. We fear and desire
the orgy most of all because it delimits our boundaries. We are
no longer individuals, but become "lost" in the crowd, what we may
consider personal to a sacred degree becomes public as we become
a part of the public.