keep reading this article here: http://www.theguardian.com/world/2015/apr/15/japanese-artist-trial-vagina-selfies
April 21, 2015
April 17, 2015
April 16, 2015
April 15, 2015
first published here: http://www.unlikelystories.org/04/kaganof1104e.shtml
April 12, 2015
the only protest left to authentic art is complete withdrawal from society.
April 8, 2015
April 2, 2015
When someone goes to a cabaret, he knows there are certain limits involved such as that each act must end before another begins; but in performance, anything is possible. A performance can last for a minute or it can last for days. Performance can start in one space but then move to another. Performance can be storytelling, it can be a guy threatening you with a baseball bat, it can be a guy hanging by his skin, or throwing food, or anything. In performance all things are possible. And that is what gives you an extra edge to create dreams.
Performance, like any avant garde art, is the way society dreams; it is the way society expands its freedom, explores the forbidden in safety, loosens up. Society needs its dream art, just as an individual needs to dream or will go insane. Our moral majority society, bent on going backwards into the violent blank rigidity of a censored mind, needs taboo breaking dreams to get back to freedom. Performance is perfectly suited for this dream role. At the present time, our society is at a fork in its growth. It can go deeper into high tech impersonal isolation, or it can rediscover the magic that happens when physical and emotional humans actively and directly link up with one another. Art can either just follow society, just recording the trends, or it can take a pathbreaker role. I am talking to you artists who are not as lucky as I am to have a physical reminder that they are misfits of society whose job it is to push back the limits of society. This is a reminder that we misfits are still needed.
Performance art, the art of performance, is rooted in the private games of babies where every move and gesture has its own meaning to the baby it is rooted in the creative and the destructive games that a little kid does when he is all alone games that adults still do, but will not admit to doing, even to themselves.
One of the main criticisms I get is that my art is old fashioned, a throwback to the 60′s. I find this funny because the roots of the art are much more old fashioned than that, going back to the cave.
Performance obviously goes much farther back than 1909 when it became a formal art form. The Futurists were reacting to the bankruptcy of formal art, with its gallery power scene, the elitism of art, the money, the politics, and the social scene of art. This is a true but a one sided view of why performance appeared at that time.
I think performance came into existence to fill a void in western life. The void was the lack of magic and inspiration. The two areas of creativity, theatre and religion that traditionally were the source of this magical inspiration had long ago moved from magic to entertainment and politics. This void also gave birth to psychology during that same time period. I often get the criticism that my work is really psychology and therapy, and not art. When it is realized that psychology as a formal science and performance as a formal art were born at the same time, this criticism can be answered. Performance and psychology are both involved in spiritual healing by digging into the hidden mysteries of life.
The dynamic of seeing art is not the fundamental dynamic of art. The doing of art is art’s basic dynamic. The doing of art and having other people see the art work are two separate dynamics, events, rituals. The seeing of art is what the viewer or listener does in her head. The doing of art is the ritual of creation, is what the artist does. In reality, this ritual has more to do with the act of doing than the act of creating. When a child first draws crazy lines on the wall, he is not trying to create something…but to do something for some effective purpose that our linear logic cannot grasp. The crazy person does his insane rituals, not to express himself but to keep the sky from falling or to make pain go away. And it works. The sky does not fall down. Maybe it is because of the rituals of the insane.
The very act of doing changes the whole universe. This is a key principle of magic. By doing a ritual or by speaking a spell, you can effect change. Painting a picture, doing a dance, writing a poem, any act of art can be a magical ritual, the doing of which has nonlinear effects. Seen in this way, most acts of creation are private rituals done in personal caves. What we usually think of as works of art are aftermaths of art.
The problem with our modern frame of art reality is not that we make art to be seen, but that we have forgotten (or have been made to forget by those who control what is to be seen and what is not) that the power of doing art is the main power of art. The private performance is a way to regain the magical power of the doing of art. Defining what a private performance is is an interesting way to enter the magic. I define it as a ritual that is not for an audience. It is something that has to be done, something you may not even want to do. One of the easiest to frame as a private performance is a shaman going to his secret spot to do rites nobody will see to open himself up for channeling visions that he cannot personally use or tell anyone about. We have seen other obvious private performances the child, the madman, the artist alone doing art. We can add things like doodling, singing in the shower, playing invisible drums to the radio when you are safe alone in your room. It is something that has to come out. It is something too silly, too taboo, too sacred, too intense, too raw, too vulnerable to be done in public, to be expressed. This may be where real art begins. This kind of doing by one person is clearly private performance. It has an element of secrecy and undercover. I can remember singing on my bed along with the radio, quickly stopping when anyone opened the door, not wanting to be exposed, not wanting to lessen the magic. And now I sing in rock clubs.
The hidden ritual not only kept me from insanity (some people will say that makes it therapy, not art), but opened nonlinear routes of possibilities not only for me, but for everybody. The private performance gives the artist freedom from limits and shoulds and morals, so that she can go beyond where the society or culture or the consciousness has reached, to connect to the universal power. By doing this she brings a new universal area into this reality.
first published here: http://www.eroplay.com/Cave/shaman.html#WritingAnchor
March 29, 2015
“The problem with our modern frame of art reality is its preoccupation with what is seen. What we usually think of as works of art are aftermaths of art. The fundamental dynamic of art is in the doing. The doing of art and having other people see the artwork are two separate dynamics, events, rituals. The seeing of art is what the viewer or the listener does in her head. The doing of art is the ritual of creation, is what the artist does. In reality, this ritual has more to do with the act of doing than the act of creation. When a child first draws crazy lines on the wall, he is not trying to create something or express himself or show you something … but to do something for some effective purpose that our linear logic cannot grasp. The crazy person does his insane rituals, not to express himself, but to keep the sky from falling or to make pain go away. And it works. The sky does not fall down. Maybe it is because of the rituals of the insane.
“The very act of doing changes the whole universe. This is a key principle of magic. By doing a ritual or by speaking a spell, you can effect change. Painting a picture, doing a dance, writing a poem, any act of art can be a magical ritual, the doing of which has nonlinear effects. Most acts of creation are private rituals done in personal caves.
“The ancient cave artists operated in this magical way. Their art was not for looking at. This is why they did their rituals and paintings in very dangerous, inaccessible, pitch-black bowels of caves. The purpose of these paintings and rituals was to magically effect change in the world (the past, the present, and the future, as well as the life after death …) or to communicate with the universal powers. The act of doing this magical art released an energy, some of which remained within these caves, making them ‘holy’ or ‘magical’ sites. The walls of a lot of these caves have layers upon layers of magical drawings done by different tribes over the time spans of hundreds or thousands of years. These tribes may have been drawn to these dangerously inaccessible caves by this special energy, released through the doing of art, stored in the caves, radiating out of the caves, and recharged by every new act of magic art done within the cave.
first published here: http://www.eroplay.com/Cave/magicalblend.html
What art presents are not the Ideas of Reason, but the Chaos, the Abyss, the Groundlessness to which it gives form. And through this presentation, it is a window on the Chaos; it abolishes our tranquil and stupid assurance about our daily life; it reminds us that we forever live at the edge of the Abyss.
March 26, 2015
I wrote the below manifesto before the internet, before people like Annie Sprinkle reclaimed the word “porn” for life affirming art, before VIMEO.com, really before a lot of things. I am bringing it back from the vault because I am starting a new group on VIMEO.com, NUDE PERFORMANCE ART, DANCE AND VIDEO. There is a ton of what I called below EROART of all kinds on VIMEO.com. the erart video group is here: https://vimeo.com/groups/eroart
Frank Moore, August 2011
Thanks to the repressive, anti sexual, anti pleasure morality, romanticism, and pornography, the traditional area of eroart — art that uses nudity, physicality, and/or sex to turn people on to life — has been ripped off by pornography.
Almost everyone is against porn films. Almost everybody in his right mind. But everybody isn’t in his right mind, which is why there is porn anyway. But it is fashionable to be against porn. There are many good reasons to be against porn. Fashion is not one of them. The anti sex, anti pleasure, anti nudity morality is not one of the good reasons to be anti porn. This kind of repressive morality is the main reason why during the nineteenth century kinky violent porn caught on.
What I am interested in is art that creates in people the desire to go out and play with other people, and to enjoy life. This is the art of eroplay. Historically, one of the tools of this art has been the sex act. But sex has only been a tool, not the goal. And it is just one of many tools.
Isadora Duncan is a person whom I would call an artist in the eroplay tradition. She used nudity (especially at private parties where she could dance without feeling moral judgments) and movement to turn people on physically to their own bodies and to passion for life. This is the true goal of eroplay art, which has been called eroart. Most books on eroart miss the true purpose of such art. There has always been sexual erotic art. This kind of art is universal and can be traced back to the caves and beyond.
This is not true for what is defined as porn. I am trying to define eroart. We are forced to separate it from porn, and rightly so.
It is fashionable to be anti porn. But it is human to be anti porn because porn is anti human, not only anti female. It is violence between individual people. At times, this violence is graphic. It is personal and intimate violence in a hostile and impersonal form. I hurt you to make me feel turned on because I cannot get turned on in any other way because I cannot feel … besides, you like being hurt … if you don’t … who cares. This isn’t the symbolic or surreal violence in other kinds of films.
Porn is also anti human because it creates a picture of what sex should be that is unreal and boring. It creates pictures of what you should be like … pictures which are hard to live up to … and if you do live up to them, you will be a big- dicked jerk or a big titted bimbo.
These are the fundamental reasons why to be anti porn.
But face it, the main reason that most people are anti porn is because porn is boring and dumb. The people who make porn (I am talking about straight porn now, leaving the kinky, violent porn in the trash can) think that the main reason why people go to see porn is to see tubes going in and out of holes. So they cram in as many tubes going in and out of holes as possible in ninety minutes … and as close up as possible. This may be true for some people, but for most people, it gets boring once curiosity is satisfied, curiosity about what it looks like, and once the possibility of seeing everything is fulfilled.
It is fashionable to be anti porn. But it is not fashionable to offer an alternative to porn. It is not fashionable to admit that people like seeing other people nude, seeing other people getting turned on and being turned on. It is not fashionable to admit people are curious to see other people’s bodies, to see what they are really like under those clothes. It is not fashionable to admit people feel cheated whenever the camera moves away, fades away, when people on the screen are getting intimate. It is not fashionable because it would be putting yourself, your body, and your emotions where your ideals and your politics are.
To make videos that satisfy that child like need of seeing nude bodies and seeing people playing, making out, and having fun is not as profitable as either what Hollywood does or what the porn makers do. This child like need is the healthy human desire that is perverted in porn.
The time is right for an art form that addresses this healthy desire. The women’s movement has changed people’s standards with regard to sex and the quality of relationships. This is true of both men and of women. They have scrapped, or are scrapping, the old sexist ways and attitudes, and now they find the old style porn disgusting … but more importantly, they are finding porn is not meeting their needs and desires. They want to be turned on in a way that is not sexual; they want to see nudity without stupidity; they want to see new ways of relating between humans both in and out of bed. Eroart in all media can show this way of relating … can show both purely nonsexual eroplay and eroplay as foreplay in sex.
Film and video can do this. But the producers of porn haven’t the foggiest idea of this, and have a vested interest in the meat approach. In its broadest definition, erovideo could be any kind of film westerns, thrillers, science fiction, etc. — in which the unwritten rules are not followed. The camera doesn’t fade or cut away from erotic scenes before it is logical to do so … bodies wouldn’t be cut off. Cable has made porn so available that it has removed the glamour of the forbidden. As a result, porn has to stand on its lack of merit. As a result, the sales and rentals on adult tapes are going down, and the adult cable systems are going out of business.
The desire to see nudity and intimacy and to be turned on is not being satisfied. Hollywood is caught between being ruled by taboos and being in the business of teasing. Andy Warhol once said Hollywood has been doing a forty year striptease, showing a little more each year to get people to come back.
The closest Hollywood comes to the erotic/sexual (except for a few maverick directors like Roeg) is the sex exploitation and youth exploitation films. There seems to be an unwritten rule that if it is sexy sexual nude, it has to be dumb. Hollywood does exploitative films because they make money. They make money because they are the closest thing to the erotic/sexual that is offered. But sitting through a dumb movie to see nude bodies of dumb people is not worth it. Hollywood, however, will not take risks.
Hollywood will not make such a risky, daring product as a truly erotic film mainly because of the high money stakes involved. The pornographers will not do it either because of their lack of skill, insight, and morality, or because they too are ruled by money, and by criminals.
But breaking taboos has always been a part of art, at least the area of art that seeks to change consciousness, change morality, change reality. The breaking of taboos ideally should not be a part of eroplay for everyday life. But it is. Art can slowly take eroplay out of the taboo area. This is one of the functions of art.
Here is where art comes in. As I have said, this kind of art creates a kind of bubble in which the forbidden can be done with immunity, releasing the energy of the broken taboo … energy which then affects society as a whole. Art makes a clear circle of difference between this bubble and everyday reality; it is a kind of safety valve for society … much as dreams are to the individual. According to the book THE PAINTED BODY, the caves where the first artists did their work where no one could see were such bubbles, as was body painting. Performance art is this kind of consciousness altering art. It creates a special time and place where taboos can be broken, where new ways can be introduced into the society.
The other way that art can make it easier for us in everyday life, and at the same time fight against the anti pleasure, anti human morality, against sexism, against pornography, against romanticism, is by showing us eroplay, both with and without sex, and getting us acquainted and comfortable with eroplay. This can be done in all media. Enter erovision. Erotic projects could be made on half inch video tape by individual artists to be sold directly by mail from the artist to the individual viewer. This would avoid the power structures that grow up around big money.
Half inch video, home video, is cheap in materials, editing, and post production, and distribution is much, much cheaper than in any other format. The technical quality is acceptable, and free from the comparison with film or professional three quarter inch video. Home video is the workable channel for any product that the establishment will not touch … or that you don’t want the establishment to touch, hence control. Such is erovideo.
Whether we as artists do eroart to release magically eroplay into the air (such as through performance art) or to show the non sexual way of relating that is eroplay (such as through video or film) … whether we choose to use the sex act or not in our eroart … we must not let our work be defined in relation to pornography. There has been a huge amount of time and energy wasted trying to define and ban pornography. The best way to undermine sexism and pornography is to create an alternative to them. Take back nudity, pleasure, sex, and eroticism from pornography. Show pornography up as being drab, inhuman, unfun by creating a fun, human, happy alternative. Create eroart! This is overstating the case somewhat because you cannot do good eroart if it is in reaction to porn … only if it comes from some warm and playful place, can it be good eroart. Unless we put ourselves — our creativity, our minds, and yes, our bodies — into representing eroart as the humanistic alternative, the pornographer, the sexist, and the moralist will win by default.
previously published here: http://www.eroplay.com/Cave/Writings/eroart_1984.html