Sunday, 30 September 2012

Yuck 'n Yum autumn 2012 deadline

We are always looking for submissions for future issues of Yuck 'n Yum! We invite anyone to submit work for consideration to

Saturday, 29 September 2012

Zazou @ Kage, Dundee 28.09.12 - pictures

To the Kage last night for Zazou, Dundee's premier nitespot. I took a few photos and here they are:

Your correspondent takes in the scene

A DJ's-eye view

Il Discotto in the mix

AGK 2012 28.09.12 - pictures

To Chambers East last night for the third edition of Yuck 'n Yum's Annual General Karaoke. The AGK premise is simple: every year we meet up to sing karaoke with our friends and followers who create their own videos to sing along to. Prizes are awarded for best video and best performance, and this year's was a fine vintage. I took a few photos and here they are:

The name of the event is the AGK.

The judging panel. L-R: your correspondent, Donna Halford-Lovell, Stephen Bloe, Amy Jones.

That Scotland We May See - Holger Mohaupt
"Through exercise, the athlete of Classical times sculpted his physique much as an artist chisels a statue, and, in doing so, he was honouring his gods. In Modern times, the athlete in his achievement honours his country, his race and his national flag."

Я очень рад, ведь я, наконец, возвращаюсь домой - Alex Tobin

"A tribute to the late Eduard Khil, who will forever be remembered as the Trololo guy".

Oh What A Night - Morgan Cahn
"Oh what a night indeed. This classic gem will take your highway of tears and turn it into your highway to hell. Oh wait…"
WINNER NEoN residency prize!

Quando, Quando, Quando - Edward Humphrey, Sophie Morris and Jeppe Rohde Nielsen
"A young man gets hit by an electric shock and descends into a dream in which he serenades and charms a young woman."

I Wanna Be Your Lover - HMC staff
"A randy alien tries to impress a trio of space babes with his keytar skills."

The Look of Love - Sarah Doherty
"Smashed together clips of Japan for a smashing song by ABC."

99 Luftballoons - Chas Whatmore and Lyle Mitchell
"A partygoer must obtain the 99th balloon in order for the madness to begin."

Jim'll Fix It - Catrin Jeans
"Some artists are very demanding… Catrin Jeans is one of them. She has insisted her video remains a secret until it’s performed… Who is brave enough to sing it? And who is brave enough to wear what lies within the mystery bag?"
This was performed by Jonathan Brodsky, an American who had never heard of Jimmy Savile until last night. Despite this he put in a stellar rendition!

Red Dwarf Theme - Andy Sim
"A simple tribute to the great British TV classic Red Dwarf."

McDonald’s On The Brain - Retchy
"Daniel Johnston's friends are obsessed with McDonald’s. This is their story..."
Paul Gault!

S.R.S.S. - Skeleton Hopscotch
“Sex ‘n skeleton masks form the mysterious Hopscotch… It’s their own tune but easy to sing along to!”

We Are The Champions - Catherine Weir
"Summer 2012 broke my spirit and vomited me out a new, much better one."

Total Eclipse of The Heart- Bill Chrystal
"From the Law to The Ferry and beyond, there was no time to turn around…"

Face In A Box - Sarah Messenger (co-starring Nadia Rossi)
"A day in the life of a face in a box."

A Message To You Rudy - Adam Morrow
"A man succumbs to boredom and alcohol while waiting for his friend to arrive. Devised, shot and edited in 24 hours!"

Duu - Matt Corden
“Elvis has left the building… David Hasselhoff has entered with Matt Corden twice!”

Shoes - Alex Hetherington
"This video radically remixes the song Shoes by DJ Tiga, with footage from the motion picture Drive and found footage from a number of sources, including hazing scenes, hypnosis techniques, and sounds taken from a Mike Kelley performance."

Same Jeans - Jipjax Animations
"2D animation of Same Jeans by Dundee's The View."

Saint Mary - Retchy
"Saint Mary by Sparklehorse - Everyone's leaving.  A man and some other people get left behind."

AGK 2011: Gayle Meikle and Alexandra Ross - I’m Sticking With You 

DJ Ben 'Jack Your Body' Robinson in the post-AGK mix

Thursday, 27 September 2012

(((echo))) @ DCA 27.09.12 - pictures

To the DCA this evening to attend their regular (((echo))) event. Dundee-based artists Morgan Cahn  and Dave Fyans each gave performances in the context of installations by DashnDem and Nikolaj Bendix Skyum Larsen. I took a few photos, and here they are:

Morgan's Shaken not, Stirred in front of Imagine Being a World Leader by DashnDem.

Dave soundtracks Rendezvous by Nikolaj Bendix Skyum Larsen.


Wednesday, 26 September 2012

Zazou "Tropical Cosmic Disco" w/ Stefan Blomeier & Il Discotto @ Kage 28.09.12

Tropical cosmic disco, hotter than hot italo and cool by the pool synth wave from Il Discotto and Stefan Blomeier in the illustrious smoke and mirror surroundings of Kage Nightclub.

Incorporating the official after party for the first viewing of amazing footage from the recent Isolated Heroes/Studio Roro fashion shoot/warehouse rave. Further details tbc.

Kage nightclub, St Andrews Lane, Dundee 

Tuesday, 25 September 2012



On Friday the Yuck 'n Yum AGK returns for its 2012 outing! Artists and filmmakers compete for karaoke glory and a top prize of £300 for best video!

This year we've had dazzling submissions from the furthest of far flung places, but who will be the 2012 AGK champ?

They're all singing for a place on the karaoke pantheon next to previous winners: artist Rachel Maclean and musicians/artists Joe Howe and Lachlann Rattray.

There's gonna be some serous karaoke, and it CANNOT be missed!

Support the AGK at our dedicated Sponsume page:

Monday, 24 September 2012

Peter Sotos - Buyer's Market

Peter Sotos (born April 17, 1960) is a Chicago-born writer and musician. In his books, Sotos examines sadistic sexual criminals and sexually violent pornography, particularly involving children. His writings are interpreted by some as commenting on media hypocrisy around these issues. His books are often first person narratives, taking on the point of view of the sexual predator in order to explore sadistic and pedophilic sexual impulses.

One of my favorite albums of all time, Buyer's Market is a disturbing and gut wrenching compilation of interviews with victims and survivors of rape, abuse, humiliation, and torment. Peter Sotos is best known for his work with the influential power electronics outfit Whitehouse, where he temporarily provided lyrics and concepts. This album is him (and any of the Whitehouse club in my opinion) at his absolute greatest. This album is NOT for the weak of heart, or those easily disturbed. This album is not a reflection of human emotion and suffering. This album IS those emotions, captured on tape. 

If you know Peter Sotos through his work in Whitehouse post-"Quality Time," you already know just what to expect. But for those of you who think Whitehouse is that one English lady who loves morals and hates gay people (no doubt you came here because of his writings), I'll give you a little primer:
Sotos does not make music. He does not play instruments. He has a sampler, yes, but he is not the of the cutter-upper sort that shows up so often in such labels as Seeland and Illegal Arts.
What Sotos makes is documentaries. Carefully-assembled documentations, sourced from news stations everywhere, committed to memory and disseminated to all who will listen. This is not the sound of shattered lives and broken souls. This IS those lives and souls, presented plainly, in a manner devoid of demonization, romanticization, or art. The side of the world we like to keep secret, the aspects of humanity we like to deny is presented here plainly and undeniably. No bells and whistles, no rampant optimism or pessimist bent, no opinion at all.
If you came here to listen to music, then this will come off as nothing more than cheap shock. Peter's works are little more than chained-together bits of news broadcasts, interviews, testimonials, and many things such as that, placed to fit a certain theme and stitched together in order. But if you came for a story, boy, does Peter have them--disturbing tales, depressing tales, tales of atrocities and the people they hit, each one a sordid exposée of the human mechanism's fallibility.
Whether you like it or not, the world is not always good.
And whether you like it or not, Peter Sotos has proof.

There is absolutely nothing about this album that would encourage a second listen.  It's shocking yes, but it doesn't really offer anything beyond an initial shock.  There is no real musical element to speak of.  This goes for that Field Recordings bullshit too.  At some point you have to look in the mirror and realize that you've gone too far.  You are now listening to interviews of victims of rape, or a fucking guy shuffling papers.  Come on, now

projectMalamute wrote:Like, here are a bunch of pictures of murdered children. Isn't this artistic and transgressive? Aren't you shocked?

You aren't getting anywhere close to describing his art.

Almost every person in Peter's writing is using another person. Using denies the object person his humanity. These characters hold an opinion of themselves that denies this basic relationship and identifies it as something else.

This person, this user, can be a criminal or pervert, sure, but also a psychologist, a policeman, a television presenter... anybody who takes on the subject matter of abuse and uses it to satisfy some desire. What Peter does is make the base relationships clear and moves that lens across a spectrum of behavior that is usually represented differently and sometimes trivially.

When you read something of his and feel a twinge of recognition, and you will, that's when you get the chills and want to throw up.

You also end up despising Nancy Grace.
Steve Albini 

However you choose to view the content of Buyer’s Market, it’s offering something that few other sources can. The extreme high majority of news reportage is biased, manufactured and at times, false. Buyer’s Market manages to glue together speech and language from hundreds of different sources, all sought out at painstaking dedication by Sotos. A sonic collage and emotive work of art, it strongly hints at the inadequate partiality and stolid nature of the press, which projects emotions for us to lap up whilst simultaneously skewing facts and inventing personalities. One thing’s for sure though, the events themselves will remain unchanged, and Sotos is clear to offer as many sides to the stories as he can. Yes it’s horrific, and yes, the crimes within here are gaudy and hideously unfair, but as McMartin reminds us, “there is no such thing as fair. ‘Fair’ is a word in the dictionary. If you think there’s such a thing as ‘fair’, go ahead and think it. It doesn’t mean anything."

Sunday, 23 September 2012

Charles Ray - Oh! Charley, Charley, Charley...

Charles Ray - Oh! Charley, Charley, Charley…, 1992. Eight painted cast fiberglass mannequins with wigs
6 x 15 x 15 ft. (1.8 x 4.6 x 4.6 m)

Oh! Charley Charley Charley by Charles Ray.  I would think this is gross.  But, it is sort of cool that it’s the same person- the artist, in fact- who is pleasing himself.  He is taking care of every aspect of his own human need.  Others are not necessary.  Sort of stand alone, “I can take you all” sort of mindset, presented sexually.  I think.

Ray’s Oh! Charley, Charley, Charley … (1992) is about nothing if not self-abuse. What is significant, here, is not how much Ray reveals of himself, but how very little. Circle-jerking with his clones, he provides the viewer with no entry point, no tender, vulnerable spot. This is pure masturbation. However, for all the hermeticism of the scene, it seems to know something of awkwardness, and even disappointment. Here and there the artist baulks at giving himself a foot-job, or else attempts to stir his half-flaccid penis back into full life. We might – pace my flatmate’s suggestion – take up the opportunity to go fuck ourselves, but sometimes space has a cruel habit of alienating us from even the most familiar body of all.
Tom Morton

The figures in this sculpture are all self-portraits of Charles Ray, and Ray is a heterosexual male. Ray’s heterosexual identity denies the portrayal of desire and sex among these various selves, unless we conceive of the sculpture as a pre-oedipal representation of narcissism. If so, Ray would have been better off with one figure, and nine mirrors. Thus, Ray’s actual intent denies the homosexual fantasy the multiple image seems to indicate.

Oh, Charley, Charley, Charley! points toward the possibility that beneath our conceptualization of sexuality there lies neither heterosexual identity nor homosexual identity, but something else beyond that dichotomy. After all, Ray himself, as stated above, plays with the likelihood that the viewer will misunderstand his intent. The misinterpretation of artistic intent is in turn based upon a faulty apprehension of “normal behavior.” Ray leads us upon a zany obsessive-compulsive chase. Like a cat in its game of mistaken identity, he is chasing his own tail while we watch and wonder. Does he know what he is doing? His seeming obsessive-compulsive narcissism obfuscates the normative sexual concerns we, as viewers, bring to his sculpture.
Isaac Stolzfut

What about psychological content? While making a piece like Oh! Charley, Charley, Charley . . .you’re not blind to the fact that it’s going to have at least a profoundly unnerving effect on some people.
But the process by which Oh! Charley, Charley, Charley . . . actually came about was much less psychological than you think, y’know? I think of it more as a flat and lonely piece rather than erotically charged. It’s really flat, nothing’s revealed; I’m masturbating. You don’t know what my preferences are. You don’t know what I’m thinking of. At first it looks as if I’m really vulnerable — this has been carried through lots of work, even back in the early pieces where I used my body, like the Shelf piece. You walk into the room and I look really vulnerable. But I’m not. It’s so set off that nothing of me becomes revealed. In Oh! Charley, Charley, Charley . . . there’s nothing revealed about me. You don’t know me any better. You know, I make it, it’s a big sex orgy, and then you see it. You see nothing. Family Romance and Oh! Charley, Charley, Charley . . ., to me, are similar problems: How, in this day and age, do you make a group figurative sculpture? Art is this dialectic between the abstraction and the image. I’m interested in it working as a sculpture, in how the forms look put together. I think it had all the stuff under the surface because it was a good sculpture. But I didn’t build this around it to bring these things out — I would have rejected and not finished it if it didn’t have those, but I think it’s part of the process. Time is part of the problem — to make a real formal baroque sculpture in 1998. That’s what I wanted to do. It’s fuckin’ hard.

Friday, 21 September 2012

Rachel Maclean - Lolcats @ Generator Projects 05.10.12

The term Lolcats was first used on the anonymous online image board 4chan in 2005. Users post photos of cats alongside brief, misspelled texts. The disjuncture between these two elements creates an element of humour in the image macros. Lol is an abbreviation for laugh out loud, which is commonly used in internet slang. The domain name was registered in 2006, and Google Insights traces the peak of Lolcats searches to early 2008. I Can Has Cheezburger? (ICHC for short) is a weblog featuring lolcats, and Ben Huh, CEO of The Cheezburger Network, explains their appeal: "Cats have very expressive facial and body expressions, so they are a perfect canvas for human emotion, which makes them awesome for captioning and anthropomorphisation."
Text by Ben Robinsonz


PREVIEWZ - 05/10/2012
EXHIBISHUN RUNZ - 06/10/2012 - 28/10/2012

AFTER PARTYZ featuring


Non-Zero's (Old Dexters), 9:30pm - late