It is surprising the regularity gastronomical discussion leaves out speaking of the ergonomics of the dining space, with the addition of pottery, glass blowing etc.
How can one talk of the harmony of the salty anchovy and the creamy mozzarella without considering the use of earthenware stones that provide the pizza dough its specific heating/growing ground?
Would the famous Humus battles of North and South Israel would take place if it weren't for the Roman contribution to olive mills which extract the rich, spicy oil, which is central for the Humus' earthy aroma?
It may seem obscure to speak of these progressions, but these are the specific points in which cultures, distant or neighboring, differ.
For instance, in theology one should not delve into the mystical layers of the tem commandments but ask, "On what stone did g-d scribe the rules?" This issue may shed some light on contemporary issues. If it was Jerusalem stone, a white, soft rock, it is of possibility that the chosen people are not chosen, but have been selected in default, at the ninetieth minute, in haste, thus choosing this transient rock. In opposition stands flint, dark, hard and primordial, it must be the word of a powerful deity who can etch divine words into the most earthly of substances.
This is to reiterate the first rule of the fascistart manifesto. Grave issues should be treated lightly and light issues should be treated gravely.
Zen priests have been famous for using this philosophy. The fascistart aim is to pull out of it esoteric position and to use it as its telos. It is the dogma on which fascistart stands.
How is FascistArt Done? (1st Manifesto)
- Treat light matters gravely, and grave matters lightly
- Always use your left hand to write and paint; unless you are left handed, which in that case you will do the opposite
- 1, 2, 3!
- Accept the un-accepted: invite the clergyman to your son's birthday
- Embrace the un-embraceable (hug a bureaucrat, hi-five a traffic warden, caress a civil servant)
- Be the devil's advocate (and charge him a bundle)
- In a public toilet; instead of shyness and embracement, be loud and extraverted.
- Attain a doctorate by writing your thesis on hot air balloon operators
- Favor showing works from pretty women rather than brooding unshaved painters
- Let your rabbi bless the unity of your nephew and his komodo dragon
- Hold exhibitions on top floors of building sites
- Invite the art critic to read his critique at the beginning of the show; the worse it is the better.
- Use cheap paint. You are not Rothschild; or Gauguin
- Invite a banana republic politician or diplomat to give you exhibition an air of dignity.
- Hire a big breasted secretary to dictate your thoughts
However remember: Fascistart is not done. It is. It was. It's Belgian waffles!
c 2010 Ethan Nechin
A Prologue to a Walkabout
You can see it,
By the sharp curvatures of her apish head,
She's a smart one.
Not the well read, well "red" type,
But that of a Feline,
Stealing bread from a local bakery.
Two Korean meerkats peer from their computer station,
(Actually, one is from Hong Kong, but all tech wizard look alike).
They are preparing to solve the big problem. It is too far from the equator. The sun is constantly shining.
I've gotta split,
The city is not big for the both of me.
I've gotta split,
Before the meerkats and the cat gang up on me,
Scratching my face with their poignant gestures.
I've gotta split,
Somewhere where there is a field of forget-me-nots,
For me to trample on.
Reclining Figures (II) - For the memory of Tuvia Yuster
I live on a co-op run by lesbians,
On a top floor of an estate building,
Five flights away from the cause,
Sculpting Arab figurines,
for a Sunday market.
Henry Moore and I went to the same school,
We played football together (I was a winger).
We use to speak about form and formations,
4-4-2 and Byzantine heads.
He would bring cheese sandwiches; I would bring bologna (we swapped).
He disliked ornamentalism, I married a former glamour model.
He grew bald, I grew grey.
We both withstood passions for social commentary, kitsch and boxer movies.
We both got burned by Braque (and he still owes me money).
They called him an ordained priest of modern art,
I was named the Shabbetai Tzvi of post-modernism.
He filled Hampstead with mother/child units,
I turned it into a heath.
He was immersed in Peruvian clay and set in the ground,
When I die it will be wrapped in tin foil,
And will lie on the rooftop of the House of Lords.
On a top floor of an estate building,
Five flights away from the cause,
Sculpting Arab figurines,
for a Sunday market.
Henry Moore and I went to the same school, We played football together (I was a winger).
We use to speak about form and formations,
4-4-2 and Byzantine heads.
He would bring cheese sandwiches; I would bring bologna (we swapped).
He disliked ornamentalism, I married a former glamour model.
He grew bald, I grew grey.
We both withstood passions for social commentary, kitsch and boxer movies.
We both got burned by Braque (and he still owes me money).
They called him an ordained priest of modern art,
I was named the Shabbetai Tzvi of post-modernism.
He filled Hampstead with mother/child units,
I turned it into a heath.
He was immersed in Peruvian clay and set in the ground,
When I die it will be wrapped in tin foil,
And will lie on the rooftop of the House of Lords.
© 2010 All rights reserved to E Nechin
Notes from Hermitage Museum, Amsterdam
When coming comes to write about a subject, one must write as if no one has ever written about this particular one. For instance, when writing about Matisse, one should forget what he read on the sidewall regarding Matisse’s brush strokes and vivid use of colors. He or she must write as if they have no preconception about Fauvism, painting or even art itself. One should do this to obtain two goals. The first, if one does not do so he may risk the possibility of imitation, which for a writer is the greatest challenge, writing originally, from his or hers pure conscious and subconscious. It is important to relate to past writing, especially in today’s post-modern/self-reflexive society, but one should obtain this as in Zen or Dao. One must learn to forge, learn every scale of music and forget them when he comes up stage. That is the only way to be original yet coherent.
The other reason is in consideration to the writer’s sanity if you will. If the writer should think of every note, book or article written about modern painting, this may drive him to throw away his pen in rage or lead him to depression. How can I compete with Richter, Barthes or Baudelaire? Even more so: when one comes to write of subject as love, morality or nostalgia, how can one compete with Kafka, St. Augustine or Leviticus? How can a writer take on the cannon?
Thus, one may feel doomed or liberated. Doomed, as most chances his writing will not see the light of day or will vanish into obscurity (or the 50c bargain basket). Liberated for just that reason. If chances are so slim, one should write without regard to any social or cultural coordinates, style or even grammar (provided it is done intentionally). Thus, one can achieve pure freedom and truth in his or hers own eyes.© 2010 All rights reserved to E Nechin
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