segunda-feira, 14 de janeiro de 2019

The misandry fear

Valerie Solanas. S.C.U.M. (Society for Cutting Up men) [1967, 1968*]

Life in this society being, at best, an utter bore and no aspect of society being at all relevant to women, there remains to civic-minded, responsible, thrill-seeking females only to overthrow the government, eliminate the money system, institute complete automation and destroy the male sex. 

It is now technically feasible to reproduce without the aid of males (or, for that matter, females) and to produce only females. We must begin immediately to do so. Retaining the male has not even the dubious purpose of reproduction. The male is a biological accident: the Y (male) gene is an incomplete X (female) gene, that is, it has an incomplete set of chromosomes. In other words, the male is an incomplete female, a walking abortion, aborted at the gene stage. To be male is to be deficient, emotionally limited; maleness is a deficiency disease and males are emotional cripples.

— in S.C.U.M. Manifesto 
(Society for Cutting Up Men)
by Valerie Solanas
New York, 1967

Women have a tremendous amount to lose by creating a lot of indifferent men. 

The Western World has quietly become a civilization that has tainted the interaction between men and women, where the state forcibly transfers resources from men to women creating various perverse incentives for otherwise good women to inflict great harm onto their own families, and where male nature is vilified but female nature is celebrated. This is unfair to both genders, and is a recipe for a rapid civilizational decline and displacement, the costs of which will ultimately be borne by a subsequent generation of innocent women, rather than men, as soon as 2020.

Now, the basic premise of this article is that men and women are equally valuable, but have different strengths and weaknesses, and different priorities. A society is strongest when men and women have roles that are complementary to each other, rather than of an adversarial nature. Furthermore, when one gender (either one) is mistreated, the other ends up becoming disenfranchised as well. If you disagree with this premise, you may not wish to read further.


Lefto-’feminists’ will be outbred and replaced very quickly, not by the conservatives that they hate, but by other cultures antithetical to ‘feminism’. The state that lefto-’feminists’ so admire will quickly turn on them once the state calculates that these women are neither producing new taxpayers nor new technologies, and will find a way to demote them from their present ‘empowered’ position of entitlement. If they thought having obligations to a husband was such an awful prospect, wait until they have obligations to the husband-substitute state.


Go to any department store or mall. At least 90% of the products present there are ones no ordinary man would consider buying. Yet, they occupy valuable shelf space, which is evidence that those products do sell in volume. Who buys them? Look around in any prosperous country, and we see products geared towards women, paid for by money that society diverted to women. From department store products, to the proliferation of take-out restaurants, to mortgage interest, to a court system rigged to subsidize female hypergamy, all represent the end product of resources funneled to women, for a function women have greatly scaled back. This is the greatest resource misallocation ever, and such malinvestment always results in a correction as the bubble pops.


This website has predicted that the US will still be the only superpower in 2030, and while we are not willing to rescind that prediction, I will introduce a caveat that US vitality by 2030 is contingent on a satisfactory and orderly unwinding of the Misandry Bubble. It remains to be seen which society can create economic prosperity while still making sure both genders are treated well, and the US is currently not on the right path in this regard. For this reason, I am less confident about a smooth deflation of the Misandry Bubble. Deflate it will, but it could be a turbulent hurricane. Only rural America can guide the rest of the nation into a more peaceful transition. Britain, however, may be beyond rescue.

— in “The Misandry Bubble”, by Imran Khan
The Futurist, January 01, 2010

An Antidote to Chaos

“Chaos, the eternal feminine, is also the crushing force of sexual selection. Women are choosy maters (unlike female chimps, their closest animal counterparts). Most men do not meet female human standards. It is for this reason that women on dating sites rate 85 percent of men as below average in attractiveness. It is for this reason that we all have twice as many female ancestors as male (imagine that all the women who have ever lived have averaged one child. Now imagine that half the men who have ever lived have fathered two children, if they had any, while the other half fathered none).41 It is Woman as Nature who looks at half of all men and says, “No!” For the men, that’s a direct encounter with chaos, and it occurs with devastating force every time they are turned down for a date. Human female choosiness is also why we are very different from the common ancestor we shared with our chimpanzee cousins, while the latter are very much the same. Women’s proclivity to say no, more than any other force, has shaped our evolution into the creative, industrious, upright, large-brained (competitive, aggressive, domineering) creatures that we are. It is Nature as Woman who says, “Well, bucko, you’re good enough for a friend, but my experience of you so far has not indicated the suitability of your genetic material for continued propagation.”

— in Jordan B. Peterson, 12 Rules for Life: An Antidote to Chaos (2018)

PS: I strongly advise you to read in tandem all Solanas' Manifesto, Peterson's 12 Rules, and Khan's post on the perils of misandry. It will certainly give powerful ammunition to anyone who wishes to follow the impact of gender issues on our societies for at least the last fifty years.

self-published edition
excerpts from it were published as
Valerie Solanis
“S.C.U.M. Manifesto”
Berkeley Barb (June 7-13, 1968): page 4

S.C.U.M. Society for Cutting Up Men Manifesto
(Olympia Press, New York)
with a preface by Maurice Girodias, and a commentary by Paul Krassner, “Wonder Waif Meets Super Neuter”

— in Smith, Donny, Valerie Solanas: Bibliography at the Wayback Machine (archived August 17, 2005)

domingo, 16 de dezembro de 2018

Beyond the gaze. Index before the prototype.

Manuel Casimiro
Estrutura de frutas e legumes, 1975
(vista da instalação/ pormenor)

This almost intimate exhibition of Manuel Casimiro seems a provocation.

In one of the gallery spaces, there are paintings on whose green, red, and black backgrounds, para-geometric shapes, lines, and even landscapes, are organized in a kind of polychromatic choreography over space and time. Is it an abstract painting? Is it figurative? Or is it just meta-art? They certainly make a deconstructive approach to representation and to that thing we call Art.

In another area of the exhibition, we come across a series of ‘photographies érotiques’, acquired by Manuel Casimiro in Portugal, but probably produced in France by the end of 19th Century. They epitomize the canons of voyeurism, of course. However, these ‘rectified ready-mades’, as Duchamp would call them, were approached by the so-called ‘casimirian’ ovoids, ceasing to be, as a consequence of this unexpected visit and metamorphosis, just copies of a collection of art in the era of its technical reproducibility (Walter Benjamin), thus retrieving the old authorship and the material uniqueness of the artwork — the one that results from the appropriation carried out by Manuel Casimiro, but also by the unknown author who ‘took’ photographs of equally unknown flesh-and-blood models.

The new originality has thus a double origin, two inscriptions and a reinforced certification, for which a photographer, an industry and a gesture of semiological displacement (‘casimiriana’) converged.

At a time when new forms of puritanism and aesthetic dictatorship lurk in the world of museums, advertising, and art, this metamorphosis of the prototypes of western eroticism at the dawn of Photography, triggered by Manuel Casimiro’s semiotic provocations opens a sweet perspective to what we really are and to what we know.

A different kind of appropriation though is the transformation of Gerard-Georges Lemaire’s book, “L’univers des Orientalistes” (2000), a luxurious anthology on Orientalist painters, into a new place for art making and for art seeing. Writing about this deconstruction a famous Duchamp title came to my mind:

“You take a picture by Rembrandt and, instead of looking at the painting, simply use it as an ironing board.”

Finally, on the floor of the gallery (Espaço Camões/ Livraria Sá da Costa, Lisbon), we can go back in time and see one of the most interesting artworks by Manuel Casimiro:

“Structure of Fruits and Vegetables” (1975).

An invisible orthogonal mesh whose intersections are occupied by tomatoes, potatoes, pears, oranges, and lemons, establishes a rare dialogue between space, matter and time, three archetypes that have long been disputing the top of the podium of philosophical precedence. This piece is perhaps his most assertive work on the impossibility of a strictly monistic view of the world. A kind of sensitive and mental proof that art has always been among us to demonstrate the gross error of any monism. Time, after all, commands the World, or ‘all that is the case’, according to Ludwig Wittgenstein formulation on his Tractatus Logico-Philosophicus: “Die Welt ist alles, was der Fall ist”. Natural beings, after passing away, still rot, serving as pasture to other living creatures, usually very small ones.

Emerging itself from all this, the ‘ovoid’, as Manuel Casimiro calls it, witnesses not only a mark of originality, not just a ‘difference’ congenial to that Structuralism that flourished in France in the 1950s, 60 and 70s, but above all something stronger and anthropological, born from the ‘casimirian’ impression. A glimpse that Alfred Gell would have called an ‘index’.

Casimiro’s ‘ovoid’ announces not only his presence as an author but also the presence of a freshly work of art, regardless of the landscape, ‘abstraction’ or ‘ready-made’ where it pops-up. In one sense, we can say that the ‘casimirian’ world is any place where his fingerprint, that is, the ‘ovoid’ slips in. When occupying someone else’s artwork or artwork simile the appropriation generates a second author: ‘the casimirian world’. In case of Casimiro’s artworks done from scratch, the ‘archeophany’ (Mackay, 2014) generated by the ‘ovoid’ also establishes a second artwork behind, or beyond the first one. In this sense, the ‘ovoid’ stays away from what could otherwise be perceived as a simple signature. Its autonomy and semiotic power work as a positive/negative marker that forces the spectator to a second movement towards perception and meaning.

Manuel Casimiro
Corps-langage, 1976

Para além do olhar, o índice precede o protótipo

Esta quase íntima exposição de Manuel Casimiro parece uma provocação.

Numa das salas dispõem-se pinturas sobre cujos fundos verdes, ou vermelhos, ou negros, formas para-geométricas e linhas, ou paisagens, se organizam numa espécie de coreografia, ou encenação, polícroma sobre espaço e tempo. Pintura abstrata? Pintura figurativa? Meta-pintura? Certamente uma abordagem desconstrutiva da representação e da coisa a que chamamos arte.

Noutra zona da exposição, deparamo-nos com uma série de 'photographies erotiques', adquiridas por Manuel Casimiro em Portugal, mas provavelmente produzidas em França no final do século 19, ou início do seguinte. Em si mesmas, correspondem aos cânones do 'voyeurisme'. No entanto, estes 'ready-made' 'retificados', como diria Duchamp, foram abordados pelos 'ovóides' 'casimirianos', deixando de ser, por causa desta visita e metamorfose inesperadas, exemplares de uma qualquer coleção da arte na era da sua 'reprodutibilidade técnica' (Walter Benjamin), instaurando deste modo uma espécie de reinscrição das autorias e da unicidade material da 'obra de arte': a que resulta da apropriação levada a cabo por Manuel Casimiro, e a do fotógrafo desconhecido que 'tirou' as fotografias dos modelos de carne e osso, igualmente desconhecidos. A sua originalidade passa deste modo a ter uma dupla origem, inscrição e certificação, para o que concorreram um fotógrafo, uma indústria e um gesto de deslocação semiológica ('casimiriana').

Numa época em que novas formas de puritanismo e ditadura estética espreitam o mundo dos museus, da publicidade e da arte, esta metamorfose dos protótipos do erotismo ocidental nos alvores da fotografia desencadeada pelas operações sintagmáticas de Manuel Casimiro abrem docemente um outro olhar sobre a origem, magmática, mas também oceânica, de tudo o que somos e conhecemos.

Uma apropriação diversa é a que resulta da transformação de livro de Gérard-Georges Lemaire, "L'univers des Orientalistes" (2000), um livro luxuoso sobre os pintores orientalistas, num novo lugar de inscrição do fazer arte e do olhar a arte: “You take a picture by Rembrandt and, instead of looking at it, simply use it as an ironing-board.” (Marcel Duchamp)

Finalmente, no chão da magnífica sala virada a Nascente do Espaço Camões da Livraria Sá da Costa, situada na Praça Luís de Camões, onde a Ocupart apresenta esta exposição iniciática de uma outra em preparação, com abertura prevista para 2019, pousa uma das obras mais intrigantes de Manuel Casimiro: "Estrutura de Frutos e Legumes" (1975). Uma malha ortogonal cujas interseções são ocupadas por tomates, batatas, pêras, laranjas e limões, estabelece uma rara relação entre espaço, matéria e tempo, três arquétipos que há muito se digladiam pelo topo do pódio da precedência filosófica. É porventura a sua obra mais assertiva sobre a insuficiência de uma visão estritamente monista do mundo. Uma espécie de prova sensível e mental de que a arte sempre esteve entre nós para demonstrar o erro crasso de qualquer monismo. O tempo, afinal, comanda a matéria. A Natureza, depois de morta, ainda apodrece, servindo de pasto a outras vidas.

Imiscuindo-se em tudo isto, aquele 'ovóide' — como lhe chama Manuel Casimiro — testemunha em toda a sua obra, não apenas uma marca de originalidade indelével, não apenas uma diferença semiótica congenial ao estruturalismo e à linguística que prosperou em França nas década de 50, 60 e 70 do século passado — influenciando os artistas do efémero movimento "Supports/ Surfaces" (Louis Cane, Marc Devade, Claude Viallat), e ainda mais os neo-minimalistas europeus do grupo BMPT (Daniel Buren, Olivier Mosset, Niele Toroni, Michel Parmentier) — mas sobretudo algo mais forte e antropológico, nascido sabe-se lá porquê e donde: a impressão 'casimiriana'. Um vislumbre a que Alfred Gell teria chamado, seguramente, 'index'.

O 'ovóide' de Manuel Casimiro anuncia, ao mesmo tempo, a presença de uma obra de arte e a presença do seu autor, independentemente da paisagem, 'abstração' ou 'ready-made' onde este entre. Em certo sentido, poderemos dizer que o mundo 'casimiriano' é o lugar onde a sua impressão digital, isto é, o 'ovóide', decide entrar. Frequentemente em obra alheia, que ganha novo autor por efeito da apropriação, mas também na obra própria que, por causa desta 'arqueofania' (Robin Mackay, 2014), acaba por se afastar também de Manuel Casimiro, ganhando a autonomia propulsionada pela força semiótica deste ovóide.

Para além do olhar
11-30 maio, 2018, das 13h às 19h
Espaço Camões da Livraria Sá da Costa
Praça Luís de Camões, 22, 4º Andar, Lisboa

Curadoria: António Cerveira Pinto
Produção: Ocupart

quinta-feira, 13 de dezembro de 2018

Joana 1, Serralves 0

Illustration by Paul Ryding for POLITICO

Uma artista síncrona com o seu tempo político e cultural

Joana Vasconcelos tem vindo a vencer a muralha de silêncio e piadinhas que erigiram contra ela. Desde que a conheço, não sei porquê, há uma elite indígena que detesta esta artista. Sempre vi nela uma profissional determinada, corajosa e comprometida com agendas ideológicas claras. Por exemplo, os direitos das mulheres, também nas artes. A antítese, portanto, dos artistas que pintam, fotografam e instalam por revista. Como artista prolífica que sempre foi, tem uma enorme produção. Peças como Sofá Aspirina (1997), Cama Valium (1998), o lustre construído com tampões de menstruação a que chamou A Noiva (2001-2005), a extraordinária Burka (2002) que vi ascender como Nossa Senhora ao teto do recém inaugurado MUSAC, e cair depois redonda no chão como uma puta apedrejada, Valquíria #1 (2004) e Pantelmina #3 (2004), Coração Independente Dourado (2004)—seguramente, uma das mais inteligentes, irónicas, e tocantes obras de arte produzidas na Europa na primeira década deste século—, a série Sapatos (2007-2010)—onde uma vez mais Gata Borralheira e Cindera dançam de forma sublime um sonho de mulher que a escritores como o pedinte literário António Lobo Antunes só pode mesmo distribuir socos—, e ainda a extraordinária Egéria (2018), da série Valquírias, expressamente pensada para o grande hall do Museu Guggenheim de Bilbau, entre outras, chegam e sobram para definir esta ainda jovem portuguesa nascida em Paris, como a mais importante artista do nosso país no primeiro quartel do século 21. Só falta saber porque carga de água, ou miopia de quem, o Museu de Serralves não viu o óbvio. Nunca dedicou uma exposição individual a Joana Vasconcelos, e a que no próximo mês de fevereiro irá ter lugar, depois de desalojar dois diretores da instituição (Suzanne Cotter e João Ribas), é o desfecho de um longo e silencioso combate que Joana venceu sem ruído e grande elegância. Mais grave ainda, o Museu de Serralves nunca lhe comprou uma obra de arte, até hoje. Agora, que tem menos dinheiro, e as obras de Joana Vasconcelos se cotizam sob a batuta de François-Henry Pinault, vai sair mais caro. Já agora, quantas obras comprou Serralves ao muito datado e nada original fotógrafo Robert Mapplethorpe? Quanto custou a centena e meia de aquisições da polémica exposição que ainda podemos espreitar neste museu portuense?

Joana Vasconcelos
If you could reform one thing about the EU, what would it be?
“First I would change the fact that women don’t earn the same as men. I would make the human rights regarding women the first thing. Then I would change the politics toward immigrants.” 
Tell us something surprising about yourself.
“I’m an artist, but I could have been a karate teacher.” (She’s a 3 dan black belt.) 
What is the biggest loss the EU faces as a result of Brexit?
“The freedom of cultural speech and cultural movement. If we lose that we lose what makes us unique among the other continents.”

JOANA VASCONCELOS/JN: o Papa Francisco é atualmente a pessoa que mais admira e que poderia ter sido professora de Karaté, se não fosse artista. Acrescenta que gostaria de mudar os direitos dos imigrantes e das mulheres. E deixa uma declaração a propósito do Brexit: "Se perdermos a liberdade do discurso cultural, perdemos o que nos torna únicos entre os outros continentes." - Jornal de Notícias.

quinta-feira, 18 de outubro de 2018

radio_art rescued posts (2003-2004)


blogging on post-contemporary issues (edited and sometimes written by Antonio C-Pinto)

Monday, September 29, 2003


Luis Brilhante shows new abstract paintings.

"The outcome should be more important than process" - Luis Brilhante.

17 mixed media paintings, with a Pollock flavor, but also with a techno drive in it. "Process" refers to a group of abstract, abrasive and luminous paintings. They are obtained after a systematic procedure. First, Luis Brilhante draws with his computer hundreds of traced black lines. After this first stage, some selected outputs are printed on white paper. Dozens of sheets are then embedded in the canvas thru a "collage" procedure. On top of this there is acrylic painting done in some kind of "action painting" fashion. The finishing level is done with a sander machine! The resulting pattern, well it looks to me like very poetic satellite pictures taken from some unknown battlefield. - ACP.

More at Quadrum
1:49:48 AM 

Monday, October 6, 2003

WSOA Wits School of Arts.

Johannesburg opens new art school.

Where are the hotspots of 21st century art? Well, I think they are not in New York, Los Angeles, Maastricht or London anymore. Places like Tokyo, Prague, Shanghai, Bombay, Istanbul, Porto Alegre, Buenos Aires or Johannesburg seem much more alive, thrilling and promising. On one side, we cannot expect nothing but the falling leaves of Western chic: bureaucracy, inside trading, conceptual cynicism and political hypocrisy. On the other side, sprouting like a mental ring, we foresee the vortex of another kind of creativity: less formalistic, less de-constructivist, more cooperative, and more constructivist (or, as I prefer, re-constructivist.) Networking is definitely better than genius!

Young interesting artists will stop flying to London and New York as they did in the last 60 years, nurturing the novelty and quality of so-called "Contemporary Art". It is time now for qewing to South America, Africa, Eastern Europe and Asia. Is this just another case of wish full thinking? I don't think so. Watch WSOA and it's new interdisciplinary blow. - ACP.

4:48:53 PM

Sunday, November 2, 2003

Art speculation

Elipse Foundation

A 20 million Euros art fund will be launched by the Portuguese finantial institution Banco Privado Portugues (BPP) beginning next year. To enter this art fund you will have to spend a minimum of Euros 250.000. The fund will last 7 to 9 years. After this period of time the BPP will sell the entire collection to a Portuguese, Brazilian or Spanish art museum. Investors will have the option to either sell their titles accordingly to the economic evaluation of the art collection or to get tax exemptions by donating them to the final receiver of the artworks. Accordingly to Portuguese weekly magazine Expresso, Elipse Foundation will build a very ambitious international art collection. The BPP chairman, Mr Joao Rendeiro, will host the presentation of this project on November 10th at Fundacao Arpad Szenes-Vieira da Silva, in Lisbon. It will be interesting to know how much artists will gain from this engineering strategy. Will the European "droit de suite" apply to the final sell off (or donation) of the collected items? - ACP.

9:06:02 PM

Wet Dreams

Luis Herberto hardcore paintings

Quadrum Art Gallery, Lisbon.
November 06 - December 12.

"Wet Dreams" is a perfect example of a non politically correct art exhibition. It's not pornography but it's on pornography. It has not been done to excite people as porno sites do, but the paintings shown in this exhibition are all about female masturbation and female zoophilia.

Portuguese people are in this very moment going through a collective media catarsis about the moral issues surrounding sex practices and so-called sexual perversions. This is happening because several media jet-set people and politicians got envolved in a mega sexual scandal related to child abuse and paedophilia. Most Portuguese have been living in a real "reality show" during the last six months! And it will go on for the next one to five years ahead!

I have decided to show Herberto's paintings right now for a simple motive: child abuse and exploitation, as pedophilia, must be exposed and severely punished. But we must watch out all the moralists (usually right wing hipocrates) that will try to use this opportunity to atack democratic rigths and liberties in general, as well as the specific sexual liberties obtained during the last 100 years. - ACP.

more at Quadrum's site
5:47:05 PM 

Monday, May 03, 2004

France Cadet

'Leçons' at Quadrum Art Gallery (Lisbon).

Known by her robotic and bio-oriented new media art, France Cadet (French, 1971) produced in 2003 a series of 11 photographs of her own body playing a "dé-construction" of Aubade's advertising campaign. Actually a very provocative show, as it is, "Leçons" stands not only as an intellectual exercise on "de-construction", not only as an interesting feminine erotic perspective, but definitely as a sharp contrast with the persistent conservative ideology of Portuguese art. -- AC-P

France Cadet by France Cadet, and more.
12:02:58 PM

quinta-feira, 11 de outubro de 2018

Manifesto contra a indigência

No centenário de Amadeo de Souza-Cardoso

Primeiro-ministro anuncia programa a dez anos para comprar arte portuguesa António Costa considerou o timing da carta “oportuno”, em vésperas da entrega da proposta para o próximo Orçamento do Estado, e explicou que o ministro da Cultura, “no âmbito do reforço progressivo” do “orçamento limitado” para o sector, vai “criar um novo programa para os próximos dez anos de aquisição anual por parte do Estado de arte contemporânea” portuguesa, esperando que o valor inicial (300 mil euros em 2019) possa vir a aumentar gradualmente. E pediu a colaboração dos artistas plásticos para encontrar “uma forma clara, transparente” de constituir júris e comissões responsáveis por essas aquisições. — in Público, JOANA AMARAL CARDOSO 10 de Outubro de 2018, 20:06

Eu assinei esta carta aberta, desconhecendo se houve ou não jogo combinado. Seja como for, a pasmaceira e a manipulação do mundo indígena das artes plásticas acordou por um instante. As coleções privadas, como se sabe, sobretudo em países pobres e corruptos, acabam invariavelmente nos cofres do Estado. Em breve, os Mirós do ex-BPN, as obras da ex-Fundação Eclipse, do ex-BES, e até do próprio Museu Berardo (certamente mais tarde), irão constituir um apreciável acervo de arte moderna e contemporânea, a somar à coleção da falida Fundação de Serralves, bem como ao acervo do Museu Nacional de Arte Contemporânea—do Chiado. Falta agora tão só saber gerir estes fundos usando apropriadamente os edifícos do Estado, tais como o CCB, a Fundação de Serralves, e uma série de simulacros municipais de museus de arte contemporânea espalhados pelo país fora, que nasceram como operações imobiliárias, a que se seguiram buracos financeiros, inépcia curatorial, cretinismo burocrático que baste, e a eterna persistência das sinecuras para os boys e girls do regime. Antes de mais, é urgente cortar a endogamia e a máfia das artes plásticas pela raíz (a tal que se locupletou com o erário público disponível ao longo de décadas, através da captura de algumas instituições chave da pseudo-museologia portuguesa contemporânea). Sem isto, nada mudará, e haverá cada vez mais artistas sem saber como pagar a renda de casa ao fim de cada mês. Porque a do atelier, essa já há muito deixou de ser um problema...

Um abraço!