February 18, 2018

artist’s statement

Filed under: art,nicola deane — ABRAXAS @ 9:59 am


February 12, 2018

on being Nicola Deane

Filed under: art,nicola deane — ABRAXAS @ 12:22 pm

One of the greatest barriers against getting to know Nicola Deane (a noise artist) is her sheer incomprehensibility: the oddity, bizarreness, obscurity in all that we perceive of her. There are many reasons why this is so. Even when she is striving to tell us, in as clear and straightforward a way as she knows how, the nature of her anxieties and her experiences, structured as they are in a radically different way from ours, the speech content is necessarily difficult to follow. Moreover, the formal elements of speech are in themselves ordered in unusual ways, and these formal peculiarities seem, at least to some extent, to be the reflection in language of the alternative (dis)ordering of her experience, with splits in it where we take coherence for granted, and the running together (fusion) of elements that we generally keep apart.

Yet these irreducible difficulties are practically certain to be much increased, at least in one’s first encounters with Nicola Deane’s (noise)art, by her deliberate use of obscurity and complexity as smokescreen to hide behind. This creates the ironic situation that the artist Nicola Deane is often playing at being dead, or pretending to be so. In fact, pretence and equivocation are greatly used by noise artists. The reasons for doing this are, in any single case, likely to serve more than one purpose at a time. The most obvious one is that it preserves the secrecy, the privacy, of herself against intrusion (engulfment, implosion). Despite her longing to be loved for her ‘real artist self’ Nicola Deane is terrified of love. Any for of understanding threatens her whole defensive system (noise/art).

Her outward behaviour is a defensive system analogous to innumerable openings to underground passages which one might imagine would take one to her “inner citadel”, but they lead nowhere or elsewhere. Nicola Deane is not going to reveal herself for casual inspection and examinstion to any philandering academic. If her self is not known it is safe. It is safe from penetrating remarks; it is safe from being smothered or engulfed by love, as much as from destruction from hatred. If “Nicola Deane” is incognito, her noise art can be handled and manipulated, petted, caressed, beaten, given injections or what have you, but “she”, as onlooker, is inviolable.

Nicola Deane the noise artist at the same time longs to be understood; indeed, longs for one whole person who might accept her total being, and in doing so, just “let her be”.

February 5, 2018

Acts of Orientation

Filed under: art,kerstin ergenzinger,nicola deane — ABRAXAS @ 10:45 am


December 24, 2017

a message from Paul Klee

Filed under: art,nicola deane — ABRAXAS @ 12:12 pm

“I cannot be understood in this-worldly terms, for I am just as much at home with the dead and with those who are yet unborn. I am just a bit closer to the heart of Creation than is customary. And yet not—not nearly—close enough.”

December 5, 2017

Navigating Noise

Filed under: african noise foundation,art,kerstin ergenzinger,nicola deane — ABRAXAS @ 10:10 am

Screen Shot 2017-12-05 at 10.12.12 AM

first published here: https://www.lehmanns.de/shop/kunst-musik-theater/40941590-9783960982609-kerstin-ergenzinger-navigating-noise

December 3, 2017

Dick Tuinder on the work of art

Filed under: art,dick tuinder — ABRAXAS @ 10:34 pm

I am ever more convinced of the idea that you cannot fully understand art while the artist is still alive. Through the artist the art is still connected to the real world. Whilst to become an artwork, one (it) has to be totally disconneted, or “Juge” as they say in North Korea.

September 20, 2017

Filed under: art — ABRAXAS @ 12:19 pm


Filed under: art — ABRAXAS @ 12:17 pm


Filed under: art,dick tuinder — ABRAXAS @ 11:27 am


August 2, 2017

Ramses II, Turin

Filed under: art,dick tuinder — ABRAXAS @ 12:28 pm


Filed under: art,helgé janssen — ABRAXAS @ 10:37 am


July 31, 2017

Floating Flowers, Flying Snake

Filed under: art,helgé janssen — ABRAXAS @ 9:40 pm

medium: oil, dimensions 30cmx40cm

Turning A Blind Eye

Filed under: art,helgé janssen — ABRAXAS @ 9:35 pm

medium:oil, dimensions 30cmx40cm

July 2, 2017

nietzsche – on artists and inspiration

Filed under: art,kaganof,philosophy — ABRAXAS @ 10:33 pm


June 21, 2017

Filed under: art,nicola deane — ABRAXAS @ 12:51 pm


June 19, 2017

art and revolution

Filed under: art,philosophy,politics — ABRAXAS @ 11:08 pm

“There is no art that does not create a style and there is no style that does not eventually kill art. By injecting the idea of revolution into art, our era has created a plurality of styles and pseudostyles. This abundance turns into another abundance: that of styles that die aborning. Schools proliferate and propagate like mushrooms until their very abundance finally erases the differences between one tendency and another; movements live about as long as insects do, a few short hours; the aesthetic of novelty, surprise, and change turns into imitation, tedium, and repetition. What is left for us?”
Octavio Paz
Conjunctions and Disjunctions

June 5, 2017

Filed under: art,nicola deane — ABRAXAS @ 4:10 pm


May 31, 2017

The Girl Who Flied to the Sun

Filed under: art,caelan — ABRAXAS @ 1:50 pm


April 29, 2017

on the artist

Filed under: art — ABRAXAS @ 9:59 pm

“There is no escape. You can’t be a vagabond and an artist and still be a solid citizen, a wholesome, upstanding man. You want to get drunk, so you have to accept the hangover. You say yes to the sunlight and pure fantasies, so you have to say yes to the filth and the nausea. Everything is within you, gold and mud, happiness and pain, the laughter of childhood and the apprehension of death. Say yes to everything, shirk nothing. Don’t try to lie to yourself. You are not a solid citizen. You are not a Greek. You are not harmonious, or the master of yourself. You are a bird in the storm. Let it storm! Let it drive you! How much have you lied! A thousand times, even in your poems and books, you have played the harmonious man, the wise man, the happy, the enlightened man. In the same way, men attacking in war have played heroes, while their bowels twitched. My God, what a poor ape, what a fencer in the mirror man is- particularly the artist- particularly myself!”

Herman Hesse.

March 31, 2017

self-portrait, march 2017

Filed under: art,caelan — ABRAXAS @ 12:55 pm


March 17, 2017

notes on content and the frame

Filed under: art,kagagallery — ABRAXAS @ 10:09 am


Filed under: art,caelan — ABRAXAS @ 10:04 am


January 12, 2017


every act of creation is inseparable from the critique of its medium, and every work, intensely reflecting upon itself, looks like the embodied doubt of its own possibility.
Erich Heller

Say It With Flowers
South Africa

A found footage bouquet arranged and abused by Aryan Kaganof.
Film material shot by Charles Weich between 1948 and 1973 was mashed up with the soundtrack to Brief Encounter.
The result is an indictment of the pathological whiteness that manifested itself virulently as “apartheid”.
produced by Stephanus Muller for Africa Open

December 7, 2016

sol lewitt to eva hesse

Filed under: art,nicola deane — ABRAXAS @ 11:28 am


LeWitt offers a refreshing approach to art, especially in some of his personal writing. In a letter to fellow artist Eva Hesse, LeWitt wrote: “Stop it and just DO. Try and tickle something inside you, your ‘weird humor.’ You belong in the most secret part of you. Don’t worry about cool, make your own uncool… You are not responsible for the world — you are only responsible for your work, so do it. And don’t think that your work has to conform to any idea or flavor. It can be anything you want it to be.”

October 31, 2016

art criticism: why it sucks

Filed under: art,guy debord — ABRAXAS @ 8:36 am

“Art criticism is a second-degree spectacle. The critic is someone who makes a spectacle out of his very condition as a spectator – a specialized and therefore ideal spectator, expressing his ideas and feelings about a work in which he does not really participate. He re-presents, restages, his own nonintervention in the spectacle. The weakness of random and largely arbitrary fragmentary judgements concerning spectacles that do not really concern us is imposed upon all of us in many banal discussions in private life. But the art critic makes a show of this kind of weakness, presenting it as exemplary.”

Guy Debord

For A Revolutionary Judgement of Art (1961)

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