Currently reading : SB5 Archive (2010): Rolyholyover

SB5 Archive (2010): Rolyholyover

12 September 2017

Words by Karl Holmqvist & Clement Delepine

Celui qui a pour oeil..., 2009, mixed technique, acrylic, gouache, watercolour, pencil on paper, 76.80 x 95.20 cm, courtesy of Galerie Guy Bärtschi
Ascension Day, 2009, mixed technique, acrylic, gouache, watercolour, pencils on mounted paper, 22.20 x 29.80 cm, courtesy of Galerie Guy Bärtschi

It was taper-time; when the tired earth puts on its cloak of mists and shadows, when the enchanted woods are stirred with light footfalls and slender voices of the fairies, when all the air is full of delicate influences, and even the beaux, seated at their dressing-tables, dream a little. The Story of Venus and Tannhäusser, Aubrey Beardsley.

Without “the Academy” images and words can be just that. Moving your mind to a whole different, a different, a different, a different, a different, different set of possibilities. Why different? And 6. And another. And another set of possibilities. Anon. And 6. And another set of possibilities. Looking around as a form of healing. Is all good, you know. Picking up on forms, phenomena and imaginations.

Lines are fine. Mirror travels in Yucatan. Weaving to a weave.

There you go. We are now about to leave. We are now leaving this life behind. There you go China Girl and Tokyo Joe. No one will be left behind. Body is a Battleground. There will be no “Final Judgment.” Find a find. Whisper the whisper. She says; “Shhhhhhhhhhhhhh.” The life of the mind is a unicorn. Turning this way and that. Turning, turning the white light burning.

Pointing to the one way. Then there’s where it’s at, no doubt. Pick it up and try it on. Pick another. Forever turning. Life form of the mind. Spiral staircase. To a bright lit space. Uplift space. Downturn. A U-turn. Life in space. Art museum. Exhibitions going down. Exhibitions going down. Going up and coming down. The life form of the mind. The ten fingers. Time for another. For one another. Holiday on Ice. Friends are nice.

All the people. All the frenzy. All the people. All the frenzy.
Is all good, you know.

Realm of the senses. Empire. The high cut. The wristwatch. Pendula. The curl. Rip Curl. Earl Slick. And another. And 6. And another. Another set. Another jet set. Fuel the travel. Body is a Battleground. The fade the grey shade. And the white. Space is freedom. Is userdom. Shapes and colours. Adding to your cool school. The white room. The Dakota. In the kitchen at parties, you know.

Why viewing pleasure? Why MAKING BOLD, taking hold of imagination?

Trove of treasures...Lines are fine. The Golden Mine. Black Mass Church of Satan Scientology Anthroposophy Upanishad Rigveda lines are fine. Anton LaVey. Jane Mansfield. Going there together. Coming out Roger. And Harley.

Psychedelic Minimalism. The School of Thought. The restraint. The trained mind. Why making as a life form. Moving further. From one thing to the next.

Where you gonna go? With a text. With an image. An art movement. Where you gonna go?

Ten senses, ten fingers. The chakras. And 6, and another.

Training like a horse. It’s raining. It’s sunshine. Realm of pleasure. A trapeze. Stretching the muscle. The possible is not impossible. Is not gonna go.

No one will be no one. The high noon. No one will be no one. Will be nobody. Anon. No one will be no one. Will be. Let it be. Let it blossom, let it show.

Let be and let go. Live and let live. Utmost respect. The Secret Society. Sworn to secrecy.
Little red riding rod. Balle de cristal. Gloves and hanky.

You come with me. You come with me. Sworn to secrecy. Breezing through the seaside.

Brighton Rock. The Inquisition.

Sons of Calvaires.

Toxic. I love taxi. I like churches because they tell the time.

All the time.

Life of the mind. Reading glasses. In and out of focus.
Face up. Face looking down.

What time is Love? The Second Coming. The Temple Mount. All the pretty horses?

What time is non-violence? The resistance?

Underground in France.

What time is Nature? What time is beauty? Suffering?

What time is Love? Jesus, Mary and the donkey. And the dolphins.

And the pandas, and the monkeys, and the smileys, butterflies and bees?

What time is flowers and your eyes?

Make yourself a mountain. Close your eyes. What time will it be over.

What time never darkness? Forever darkness? What time to see the light?

The Enlightenment. The Second Coming.

The bridge club. The chakra chess set. The black and white.

No one will be left behind. There will be no “Final Judgment.” Find a find. The life of the mind is a unicorn. Space is freedom.

Suckers let go. The right and wrong. Search for freedom. Userdom. Is all good, you know. Transfer codes, coded language–this stands for that, and then we can all. Can all call. And then we can all. Gain some “insight.” Can the call.

Control Society. Self control. Can the cult. The chosen dozen.

Spirit and the flesh.

What life is like. Secret society. The “sworn” to secrecy. Part of the “behavioural code” is to never tell where something is from.

But beyond that to always behave with the utmost respect for other beings. Every other being. They are what they are. They are what they are, you know.

Or all what they could be. Utmost respect. It is not your role or responsibility to have thoughts on that.

Respect for art. High culture. People tell themselves that here, there will be some kind of system or structure by which their own existence can be measured too. Their own mistakes. Structure the structure. Find the fake. We’re all “suckers for” confirmation, for being told that what we do is right and good, right now, right here and there. Left and right, right? Right and wrong. Let go of that.

If the mirror is a cut-out. Let go of that.
Imagining things. An eye opener. Shady shade. All the frenzy. You come with me. You come with me. So much to give. I give because I have. I give because I have. I give because I have. I give because I have. I give because I have. I give because I have. Gong the gong. Made In The People’s Republic. Made In Hong Kong. Let go of that. You come with me.

Let your mind go. Let your head flow.

It’s all good. It’s all good, you know. Le “petit train” to nowhere.

“P’tit train” never stops.

And the body. And the mind. The sense the senses.
Rolling over reality. Mirror travels in Yucatan.

What Ever It Is (eye), 2009, mixed technique, acrylic, gouache, watercolour, pencils on old paper, 55.50 x 40.30 cm, courtesy of Galerie Guy Bärtschi
Entraterrestre, 2009, mixed technique, acrylic, gouache, watercolour, pencils on paper, 29 x 72.70 cm, courtesy of Galerie Guy Baertschi
Pierre philosophale (qui roule), 2009, mixed technique, acrylic, gouache, watercolour, pencils on coloured paper, 70 x 152 cm, courtesy of Galerie Guy Bärtschi
Kali-Yuga, 2009, mixed technique, acrylic, gouache, watercolour, pencils on paper, 29 x 38 cm, courtesy of Galerie Guy Bärtschi
The Problem Of Leadership Is Inevitably=WHO WILL PLAY GOD?, 2009, watercolour 25 x 29 cm, courtesy of Galerie Guy Bärtschi

According to the legend, it all began because of love. As for many human experiences which lead to progress, motivations here are more subtle than just to satiate a scientific hunger. Actually, in order to seduce Venice’s most famous prostitute, Mona Sofia, an Italian anatomist swore he could find the key to solve the enigma of feminine desire. As a reward for his efforts, she would have to love him unconditionally. Nothing allows us to say he succeeded or not but from his point of view, we know that in the end, only the first half of the contract was honored.

Narrated by Federico Andahazi in The Anatomist, this anecdote romanticizes the life of Realdo Colombo, iconic anatomist from the Renaissance who in his De Re Anatomica really claimed a discovery which shot him to stardom. Not only that he set the basis of blood circulation theory (later completed by William Harvey in 1616), what made Colombo’s name resounding throughout the ages is something more “futile”. Self-proclaimed the very first adventurer in this unknown territory, he arrogated it. Uncovering “the seat of women’s delight”, he surprisingly outlined the clitoris and took the liberty to name it Amor Veneris, the love of Venus.

The man was born in 1510 and has been Vesalio’s disciple. He eventually succeeded to his master holding the chair of anatomy at the University of Padua, in these days the most flamboyant lighthouse in the still benighted Western Europe. He also supervised the autopsy of Ignace de Loyola, founder of the Jesuit order. Finally, to obey an order from the pope Cosmes the First he has been appointed to the professorship of medicine at the Sapienza, the University of Vatican. He took on this task until his death in Rome in 1559.

A year later his major work De Re Anatomica was posthumously published. As a reference, it has been read and consulted by most anatomists of his time but at the same time sparked off controversy among anatomists and historians of medicine. Actually, this discovery is contested by several colleagues. First in line, Gabriele Fallopio who succeeded Colombo in Padova and claimed this discovery for himself. Then Kaspar Bartholin who shrugged off the problem, arguing that the existence of clitoris was already known and commentated since the second century, notably by Hippocrates who named it Columnella, the small column.

However, the point here is not to discuss the factual truth but to demonstrate how the objectification plan oversteps the object itself. To announce such a discovery seems to be absurd, as the evidence doesn’t need to be shown, quoting Rafael Mandressi, “it’s like claiming the discovery of the tongue.” On the other hand, it emphasizes the rise of a new perspective on the human body. Renaissance is the time of a general intellectual enthusiasm focused on the conquest. Geographically, artistically, scientifically, the appetite for knowledge turns insatiable.

In 1530, Copernic finishes his De Revolutionibus Orbium Coelestium, the Immeasurable, the infinitely large, reveals some of his secrets. Then, like he was answering to him, Vesalio publishes in 1543 his De Humani Corporis Fabrica and begins to define the infinitely small. Anatomists are realizing that the body contains an internal truth and want it to be revealed.

Sight was the sense premier. Accordingly, a whole new system of representation was demanded to support the emergence of this science. A system which could provide Anatomy with the tools of its own scientism and could make this knowledge communicable. Reunited by the new perspective which combined these two corporations, anatomists teamed up with painters (and in some case were both, like Da Vinci). Vesalio’s Fabrica was revolutionary not only because it was written in vernacular language but particularly because of the quality and exactness of its charts realized by Titian (or Jan van Kalkaer, Titian’s disciple, as the doubt subsists). The De Re Anatomica has been illustrated by Veronese and similarly encourages one to experiment and let our gaze fall upon the corpses. Furthermore, this consorting allowed the figure of the artist to be integrated to intellectual fields and assert itself as such.

Throughout the Italian Cinquecento, Anatomy is freed from Latin, dissections were open to the public, its manuals are visually explicit which makes it teachable and so to speak...universal. From a cadaver, it would now be possible to explain a body. Man was not anymore doomed to remain silent after his own death, he could reveal his truth to the world.

However, even though the ground was fertile, the hardest was yet to come. A lot organs were still anonymous and were integrated to a whole. For instance, the wrist existed exclusively as a part of the hand. Thus, the mission of Anatomy was to demarcate the body by exhaustively examining the relations between organs, conferring to each one its private identity.

Symbolically, identifying the clitoris, delineating it, made women lastly sexually autonomous. Vagina is not anymore a simple reverted penis and by extension women were not anymore a men’s negative portrait but had their own space. It establishes a semantic distinction between sexuality and reproduction. Colombo ignored it mostly because, as Michel Foucault demonstrated, all periods of history generated specific mechanisms to product truth and define a scientific discourse. Similarly for Mendel, who Foucault takes as an example, what Colombo said was true, but it was not yet the truth. In fact, it was so not the truth that it was easier to consider it was wrong. In The Nature and Evolution of Female Sexuality, the American psychiatrist Mary Jane Sherfey summarizes it brilliantly. In this article published in 1972 and which echoes her earlier works, she defends the idea that all the knowledge about clitorises have been forbidden or kept secret in order to repress women’s sexuality and maintain a civilized agrarian society.

Maybe Colombo has been surpassed by what he “created” but comparing the anatomist to his illustrious homonym who searched a road to India, Andahazi uses these words: “looking for a way, he found a continent.”. Much like the colonist, he claimed something which had already been discovered by others. He irritated all the clergy and only gained a poor reputation... but what he was searching for was nothing but the truth.



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