Sunday, 29 September 2013

Ben 'Jack Your Body' Robinson - Yuck 'n Yum Autumn 2013 Seasonal Affective Disorder mix

An autumnal soundtrack for the Yuck 'n Yum launch at GENERATORprojects, Dundee 29.09.13

Cosey Fanni Tutti - The Secret Touch
Anthony Rother - Materie
Legowelt - Loch Ness Main Title
Mount Kimbie - Adriatic (Klaus Remix)
Andrea Benedetti - L'Oscuro Scrutare
Oneohtrix Point Never - Remember (Surgeon Remix)
Death In June - Hidden Among The Leaves
Kirlian Camera - Autumn Room
Turquoise Days - Grey Skies
Victrola - Maritime Tatami
Geneva Jacuzzi - Do I Sad?
Helena Hauff - Actio Reactio
Bonjour Tristesse - Partner in Crime
Doris Norton - Binary Love
Hard Corps - Je Suis Passée (Dub)
The Shortwave Mystery - Whoever Knew (Short Autumn Mix)
Deux - Golden Dreams
Nacho Patrol - Africa Space Program
Arne Weinberg - Everlasting

Yuck 'n Yum autumn 2013 launch @ GENERATORprojects 29.09.13 - pictures

To the Generator this afternoon for the launch of the Yuck 'n Yum autumn 2013 issue, an event that included zines, a soup kitchen, a DJ and performance art from Beth Savage and Alexander Aitken. I took a few photos and here they are:

The name of the zine is Yuck 'n Yum

Beth performs Bleeding Hart

performance residue

Morgan commands the soup kitchen

 some of Alexander's instructions for I Lava Dundee

I Lava Dundee participants

Saturday, 28 September 2013

Music Language Redux @ DCA 28.09.13 - pictures

To the DCA this evening for Cry Parrot's Music Language Festival, to celebrate the creativity and diversity of Scotland's cross-pollinating underground music scene. I saw some of the acts and took a few photos, and here they are:

Graham on the wheels of steel

Man Without Machines

Doomlords get their drone on 


Raydale Dower (Tut Vu Vu)

Ela Orleans

Some of Ela Orleans' visuals

Hector Bizerk

Friday, 27 September 2013

Yuck 'n Yum - Launch of the Autumn 13 edition at GENERATORprojects 29/09/13 @ 2PM

Dear Yuck 'n Yummers,

How are you feeling now that the autumn equinox has passed?  Feeling like you might want to huddle together with something warm in your belly, reading one of your fave zines?  Well fret not, as the autumn launch is here and we are offering just that (minus the huddling, but I am sure one of the YNY team will give you a cuddle if asked).  We are launching our Autumn13 edition this Sunday at GENERATORprojects, Dundee. The issue is packed with great black and white musings along with another cracking cover by the amazingly talented Cos Ahmet.  Plus we will have performances and a special announcement, read on to find out more.

1 - Zine + Soup + Performance /// Autumn edition launch, GENERATORprojects, Dundee, 29.09.13 @ 2pm

We will be giving away free soup at our zine launch this weekend at GENERATORprojects alongside hosting fabulous performances by Beth Savage and Ruth Aitken.  The event will start at 2pm with Ben 'Jack Your Body' Robinson serenading us with a specially selected soupy sound mix.

Beth Savage is an artist living and working in Dundee. Her work investigates social ecologies and the human/nature relationship and explores ideas of ritual, abjection and the uncanny. Working across several mediums including performance and installation, she creates work drawing on and subverting everyday experience.
Ruth Aitken, also based in Dundee, is interested in repetitive action as a process of generating collective action. Her practice is interdisciplinary and evolving.  Ruth will present 'I Lava Dundee' where she will ask participants to join her in a game.

There will also be an exclusive announcement about the future of Yuck 'n Yum, so if you want be the first to know, come along.

Hope to see you there!

WHERE: GENERATORprojects, Mid - Wynd (just off the Perth Road), Dundee

WHEN: 2pm until 4pm

2 - The Annual General Karaoke 4/// We are waiting for your videos to sing to

AGK 2013 TEASER 2 from yucknyum on Vimeo. 

The deadline for free entry to this year's AGK is fast approaching.


Since 2010 the AGK has attracted the brightest and best artists from across Scotland and beyond, all competing for the coveted prize. It’s a karaoke night where YOU make the videos. Its a karaoke video competition! Some of you will just want to make a simple, beautiful video and perform it by yourself. Others might have high concept ideas, direct a spectacular CGI fest and choreograph a team of performers around it. Some will be shy and just want to make a video that is so tremendous it will have the audience fighting over the right to sing it. The AGK has room for them all!


The AGK will be part of the 2013 NEoN festival and held on Saturday the 9th of November.  We have just secured a new kick ass venue in which we are very excited about!  We'll be announcing in due course but in the meantime send us your karaoke videos.


The AGK champ gets all the fame and glory, and they get £300 too. Yes three whole hundred pounds! A whole £50 more than You’ve Been Framed offers for mistreating animals or children on video!
Even if you're still feeling shy of ideas, don't fret! The AGK Archive has all the incredible videos from the last three years! Have all your queries answered at our AGK Helpdesk on Facebook! Check for regular updates on Twitter! We'll be all over the interwebs with 2013's most essential event: the AGK!

Love from the Yuck 'n Yum team

Thursday, 26 September 2013


Public Holidays (Les Chants de Maldoror), 2009, screenprint, edition of 100

Extract from Maurice Blanchot - Lautréamont and Sade:

What did Lautréamont have on his mind the night that he scribbled the first words: "May it please heaven that..."? It is not enough to say that, in this initial moment, Lautréamont had not completely formed the memory of the six cantos that he was going to write. We have to say more: not only were the six cantos not in his mind, but this mind did not exist yet; the only goal that he could have was that distant mind, that hope of a mind that, at the moment when Maldoror would be written, would lend him all the strength he would need to write it.

   It is no doubt admirable that, as a completed work, Maldoror presents itself as a totality without cracks, like the basaltic rock on which Maldoror sadly recognizes the solidity of his own existence, drawn from all dissolutions. Is there another work like this one, on the one hand completely at the mercy of time, inventing or discovering its meaning while it is being written, an accomplice closely linked to its duration, that remains meanwhile a mass without a beginning or an end, a timeless substance, a simultaneity of words, wherein every trace, before and after, seems to have been erased, and forever forgotten? Therein lies one of the great surprises of this book, but one that we must, for the moment, try to avoid. Rather, that we might glimpse Lautréamont himself, perhaps we should look for him at the moment when, with no one there, on the fifth floor in an empty room, lit by a single candle flicking on the white page, one hand, ah,  certainly one very beautiful hand, forms itself in solitude to write, "May it please heaven that... ," and to write in response to these five words.

Wednesday, 25 September 2013

Yuck 'n Yum autumn 2013 launch

We’re launching our 2013 Autumn issue at Generator Projects this Sunday. THERE WILL BE SOUP.

Monday, 23 September 2013


Mouchette (pronounced: [mu.ʃɛt]) is a 1967 French film directed by Robert Bresson, starring Nadine Nortier and Jean-Claude Guilbert. It is based on the novel by Georges Bernanos. It was entered into the 1967 Cannes Film Festival, winning the OCIC Award (International Catholic Organization for Cinema and Audiovisual).

Mouchette is a young teenager living in the tough country. Her mother is going to die, and her father does not take care of her. Mouchette does not manage to express her rebellion against the humiliations she undergoes. One night, in the wood, she meets Arsene. Arsene is the poacher of the village. He thinks he has just killed Mathieu, the rural policeman. He tries to use Mouchette to build an alibi.  

Mouchette has a horrible lot in life, but she doesn't take it all sitting down.  When school lets out, she hides in a ditch and flings mud at the schoolgirls who look down upon her.  When a shopkeeper who had showed her a kindness insults her, Mouchette throws her croissant back.  This little girl is independent and suspicious of charity.

As in other Bresson films, once again an 'innocent' is tormented and witnesses the worst of man, but this time, unlike the country priest or the donkey Balthazar, the subject is earthbound and makes a choice against God. And yet Mouchette's final decision involved two trinities, the three dresses given her by the undertaker and her three attempts.  Nadine Nortier, who was in her late teens when playing this, her only film role, is perfect, a nonactor with an expressive face which tells us all we need to know.  All of Bresson's signature touches - the closeups of hands and feet involved in some task, the use of natural sound - are present with a dollop of irony added in a school song about not giving in to despair (which Mouchette, of course, refuses to sing until called out by her teacher).
Laura Clifford

Mouchette is based on a novel by Georges Bernanos (who also provided the source for Bresson's 1951 Diary of a Country Priest). Bernanos is a Catholic writer, but in adapting his story of a wretched adolescent girl, Bresson evokes a world from which something—perhaps God—has withdrawn. "What will they become without me?" Mouchette's mother asks the camera in a stark, pre-credit prologue.

The girl lives with her sick mother, drunk father, and squalling baby brother in a hovel by the highway somewhere in rural France. She's stubborn, sullen, and secretive; her thoughts are scattered. School is torment, home is worse. Midway through the 78-minute movie, Bresson allows Mouch-ette something approaching happiness—there's a scene, not in the novel, in which she's treated to a ride in a fairground bumper car. The unexpected collisions are a kind of setup for the unfortunate encounter, soon after, when Mouchette is lost and raped in the woods.

The film's final movement, following the heroine through her last morning, might be called "The Passion of Mouchette"—it ends on a note that is at once utterly inconsequential and irrevocably final. As always, Bresson signifies rather than dramatizes action. The filmmaker professed to hate theater, and yet in Mouchette, the world itself is a mystical stage. Like any genius, Bresson made rules in order to break them.
J. Hoberman 

Like all good Catholics, Bresson likes to torture young girls. They are the perfect example of a presumed innocence so profound they carry the burden of purity for adults male and female.  Like all purity, the fascination lies in the temptation to violate it, either through the burden of obligation and duty beyond the childs years or the sexual violation. Ultimately, purity equals abjection. Our fascination comes from a certain sort of horror with it. A knowledge that soon she will bleed, become woman and therefore the most unpure of all creatures. Purity is a thing to sacrifice to the gods.

Mouchette is on the very tipping point of sexuality. She is Nabokov’s nymphette and Henry James’ child witness. She sees the girls her age turn themselves upside down so that their white knickers are revealed, covering a promise of a sensual future. A young boy exposes himself to Mouchette (presumably because she is poor and unloveable and therefore powerless to do anything about it) and Mouchette simply takes it in her stride.  She flirts with a young man at a carnival, on the dodgems as, like half-child/half-adult creatures, her and a boy deliberately bump into each other to get one another’s attention.  These are the complex twists in the tales of adolescence. This is all a normal healthy part of growing into the body.

But nothing is pure for Mouchette and she is the little bird, little rabbit sacrificed to be made a meal of.  Like many adolescents, her budding experience of sexuality will be as interrupted for her as any of her experiences of being human.  Mouchette suffers. She is born for suffering. Everyone in Mouchettes life despises her, and as the film progresses, more and more people band together to take advantage of her. This is Bresson’s primary message, that victims are ugly creatures, and there is solidarity in good and there is solidarity in evil. In this film he focusses on the solidarity in evil. There is an evil complicity against Mouchette because she has been chosen to prove a point first the author and then the film maker wanted to make.
Lisa Thatcher 

Saturday, 21 September 2013

Thomas Leer - Private Plane

Thomas Leer (born Thomas Wishart, 1953, Port Glasgow, Scotland) is a British musician who as well as releasing a number of albums and singles in his own right, was also one half (the other being Claudia Brücken) of the 1980s electropop band Act. His single "Private Plane", which he recorded in his home, is considered a seminal example of DIY indie techno.

Perhaps it has been the starting point of the genre but, with its minimal rhythmics, the tape loops added to distorted guitars, the cold layered singing and the forced lo-fi attitude, it's far more out there and psychedelic than what you expect reading "synth-pop" written sideways. This single has a life on its own.

Private Plane/International were recorded in Tom's small Finsbury Park flat in 3 days using a TEAC A3440 4-track recorder and an ALICE mixing board. "The only FX used were a Watkins Copicat tape echo unit, Electo Harmonix DrQ filter, an old Roland drum machine and a Stylophone 350S. The process was simply a case of laying the tracks down one at a time, applying FX as I went along, and then mixing them all down onto a REVOX A77 mastering machine" They then moved everything across the Thames to Robert's Battersea flat to record ACC/Paralysis.

Tom's single made a big impact - being made NME single of the week by Tony Parsons (now social commentator and author of Man & Boy), which normally assured fame and fortune in those days. The two 45s have a special feel that I believe have stood the test of time partly ‘because’ of the way they were recorded – at home on 4-track, in the same room where Liz was sleeping (hence Tom's vocals are delivered so softly), guitar, rhythm from a cheap drum machine and a bubbling bass that sounds too fast (in the style of Neu on Fur Immer or Hallo Gallo) and finally, Rolf Harris stylophone lead melodies! Without doubt, this 45 would be on my desert Island disc selection. 
Professor Keith R Laws

25 years on, one of the most collectable and influential UK indie singles remains 1979’s Private Plane by Thomas Leer.  It appeared on his own Oblique label and was a groundbreaking mixture DIY electronics, tape loops and hushed vocals.  Cut-and-paste music in a cut-and-paste sleeve.  It was, as remembers, “compelling pop with a dark heart, swooping between the pretty and the pretty disturbing.”

It sent out ripples across the music scene.  “
Thomas was a huge influence on me,” Matt Johnson told Johnny Marr in 2002, “particularly his single, Private Plane.  The fact it was just one guy in his bedroom doing the entire thing made a massive, massive impact on me.  He was years ahead of his time and actually inspired me to create The The really.  He later told me that the reason his vocals were so whispered on that song is because his girlfriend was asleep in their bedsit while he did it!”
mark e 


Bought a few items:

Chris Kraus - Where Art Belongs (Semiotext(e) / Intervention), £3.79

Surgeon ‎– Force + Form (Tresor) 2LP, £8.00 ‎

Various - Mutazione: Italian Electronic & New Wave Underground 1980 - 1988 (Strut) 2LP + 2CD, £16.99

Thursday, 19 September 2013

(((echo))) @ DCA 19.09.13 - pictures

To the DCA this evening for (((echo))), an event designed to provoke discussions about their current Sister Corita Kent show that featured artists Morgan Cahn, Susannah Stark and James Lee. I took a few photos and here they are:

Morgan holds forth

 There will be new rules next week

Details of the GENERATORprinthouse project at

 James holds forth

Susannah holds forth

 Morgan demonstrates screenprinting

Monday, 16 September 2013

Mike Kelley - The Uncanny


 Tony Matelli - Sleepwalker, 1997

Michael "Mike" Kelley (27 October 1954 – 31 January 2012) was an American artist. His work involved found objects, textile banners, drawings, assemblage, collage, performance and video. Writing in The New York Times, in 2012, Holland Cotter described the artist as "one of the most influential American artists of the past quarter century and a pungent commentator on American class, popular culture and youthful rebellion."

Paul McCarthy - Children’s Anatomical Educational Figure, c.1990

In the Uncanny Kelley acts as a curator, a 'film director' of sorts, overseeing the historical presentation of a substantial number of polychrome figurative sculptures. Different ways of representing the figurative are related to each other; this includes non-art objects such as ancient Egyptian grave furnishings, figures used for rituals, cults, and religious worship, anatomical models, wax figures, objects taken from popular art, stuffed animals, as well as contemporary hyperrealistic sculptures. The show features contemporary artists such as Paul McCarthy, Judy Fox, Tony Matelli, Ron Mueck, Paul Thek, Tony Oursler, and many others. The spectacular section of sculptures is complemented by Mike Kelley’s own collection The Harems. These consist of 15 different object types which the artist associates with his childhood and adolescence, ranging from marbles and squeezy toys to hundreds of bubble gum cards, postcards, record covers, magazines, and found church banners. The Harems comprises objects typical of our consumer societies, and it is by accumulating and standardizing their presentation that their 'uncanny aura' is disclosed. Some of the objects on display, taken from various subcultures or fields of science, are quite spooky, and in connection with morbid and macabre artworks they tap into the potential of the uncanny, haunting our artistic aestheticism with dark secrets.
Achim Hochdörfer

Dieter Roth - Portrait of the Artist as Bird-Seed Bust, 1968

Taking its cue from the resurgence of figurative sculpture in the late 1980s and early 1990s, and from Sigmund Freud’s essay ‘The Uncanny’ (1919), the exhibition brings together mannequin-related art works, mostly from the 1960s onwards, with objects from disparate cultural contexts that engender a similar sense of unease in the viewer: medical dolls, anatomical waxworks, religious statues, pagan figurines, ventriloquists’ dummies, sex dolls, taxidermy and so on. These are joined by photographs that illustrate objects and art works that couldn’t be loaned (Francisco de Goya’s Straw Dummy from 1791-2 or Oskar Kokoschka’s life-size fetish doll that acted as his mistress), that document bizarre incidents (‘an accidental suicide during auto-erotic stimulation’) or that have an impact as physically intense as the sculpture (Hans Bellmer’s Poupée from 1935, and Cindy Sherman’s ‘Sex’ pictures from 1992).

Kelley attributes the lifelikeness of the diverse vernacular objects in ‘The Uncanny’ to the fact that many once acted as doubles for actual human bodies: sexual partners (fetishistic dolls), Catholic saints (religious statues), film actors (stand-ins used in violent scenes), dissected corpses (anatomical wax models) and servants who would otherwise have been put to death in order to wait on an important person in the afterlife (Egyptian figurines and the ‘terracotta army’). As such, they dimly recall taboos that have been individually or collectively repressed: perversion, idolatry, grizzly violence, human sacrifice, mortality in general and the Oedipal drama. Hence our discomfort.
Alex Farquharson

Nayland Blake - Magic, 1990-91, mixed media with puppet and armature

It is important to me, first of all, that the objects displayed maintain their physical presence, that they hold their own power in relation to the viewer. I decided, therefore, to exclude miniatures–smaller than life-size statues, dolls, toys, figurines, and the like–from the exhibition. Generally, I believe that small figurative objects invite the viewer to project onto them. By this, I mean that the viewer gets lost in these objects, and that in the process of projecting mental scenarios onto them they lose sense of themselves physically. The experience of playing with dolls is a case in point. The doll becomes simply an object to provoke daydreams, and its objecthood fades into the background. Once the fantasy is operating, it could be replaced by any other object. On the other hand, I am interested in objects with which the viewer empathizes in a human way–though only as long as the viewer, and the object viewed, maintain their sense of being there physically.

The disposability of the venerated substitute has modern correlatives [...] Then there are whole classes of figures designed specifically to be destroyed in use: car-crash dummies, the effigies of hated political figures hung and burned at demonstrations, the mannequins that people the perimeters of nuclear test sites, and the electrified human decoys recently used in India to shock man-eating tigers into losing their taste for human flesh. In a way, all these figures ask to be mistreated. The iconoclast, the one who feels compelled to destroy images, knows: statues invite violence. Like the vampire, they desire a violent death to relieve them of the viewer-projected pathos of their pseudo-life.
Mike Kelley

The Uncanny brings together a wide range of figurative sculptures, mannequins, dummies and sex-dolls, animatronic puppets, body-casts and anatomical body fragments and models, religious statuary, stuffed animals, photographs, film stills and photographic archive material; as well as Kelley's own oddball collections of ephemera, which he calls his "harems", and which are now in the possession of another Los Angeles collector.

Kelley's intention is not just to collide high culture and low, or sacred and profane, or even good art and bad, or art and other kinds of objects. He has arranged all this stuff as a giant warehouse tableau, as though it all existed as an inventory in the mind of an insane collector. I sense a deep, and perhaps deliberate confusion here, not only in the flouting of categories, and Kelley's piecemeal borrowing of such a disparate collection of art and artifacts. Is The Uncanny a Mike Kelley show, or a show curated - straightfaced - by Mike Kelley? Is the artist switching roles and playing curator, or is his curatorship itself a guise, and the premise of the exhibition itself a kind of fiction? Should we regard the show's catalogue, with its footnote-laden essays (including Kelley's original 1993 essay, and a new introduction by himself), and its trudge through psychoanalytic literature, as evidence of dispassionate research, or a further level of Kelley's artistic meta-fiction, another trapdoor into Kelley's world? He is a sly artist at the best of times. 
Adrian Searle

Saturday, 14 September 2013

Nilk @ Dundee Botanics 14.09.13 - pictures

To Dundee's Botanic Gardens today for Nilk, the local experimental music fest. A pantheon of talent soundtracked the day and I took a few photos, some of which are here:

theapplesofenergy play a blissful live ambient set

Il Discotto’s Italo Gelateria, with ice cream served throughout

Your correspondent and Ryan reenact the 2011 Statler and Waldorf routine

The crowd go wild for Il Discotto’s Italo Gelateria

Bob Flambe holds forth

Stefan Blomeier and Claire bring noise