Tribute to Yukio Mishima and Jean Genet, Death in June bootleg

"Mishima’s father happened to be watering the garden, so I grabbed his hose, and I wrapped Mishima’s entire body in the hose and kept him standing in the center of the zodiac, where he was planning to erect a statue of Apollo."

Captain Charles Gibbs: Blinded by the dark side of ambition

Why, still, should the lust for ascension

Seem, in itself, so close to madness?

Drawing me ceaselessly up

To heights far, far above the human?

Nothing is that can satify me;

Earthly novelty is too soon dulled;

I am drawn higher and higher, more unstable,

Closer and closer to the sun's effulgence.

Why do these rays of reason destroy me?

- Yukio Mishima, Sun and Steel

Tribute collage to Captain Charles “Icarus” Gibbs, husband of Julia Gibbs and father of Joshamee & Margaret Gibbs, a rags-to-riches respectable Royal Navy Captain with a secret trade of piracy, and who endlessly chased the white whale of his vast ambitions into oblivious blindness to even the consequences that affected those around him brought by his own choices...

New upload to the Order ov the Black Arts YouTube channel: the fully-armored, battle-ready black metal incarnation; Kommodus. An unusual literary-concept album, An Imperial Sun Rises is a tribute to Yukio Mishima - Japanese author, poet, playwright, actor, model, film director, nationalist, and founder of the Tatenokai, a private militia dedicated to upholding Japan’s traditions. Mishima formed an unarmed civilian militia, who swore to defend the emperor from revolution by Japanese communists. In 1970, Mishima’s ‘Shield Society’ attacked a military compound, failed, and Mishima committed suicide by ritual disembowelment. No need to imagine how this sounds through the medium of black metal concept. Just listen. Subscribe: youtube.com/OrderovtheBlackArts Join the community on Facebook: facebook.com/orderovtheblackarts

Y'all better quit playing with God

Ye uttered on 2013's Yeezus' third track, titled, of course, I Am a God. Kanye built his career on playing God, one of his first hits being Jesus Walks. Through the years we've seen him defy and revere, all at once, build and break down. With each album release he's broadened the limits not only of rap, but of pop music as well (which is as saying music in general, really). He's fluctuated, as only the bipolar genius could, between luscious maximalism and cold introspective minimalism. In 2008 he released 808s & Heartbreak, in stark contrast to what he'd put out before. Inspired, as says the album's title, by heartbreak – which refers not only to romantic disappointment, but also the death of his mother. Cold and electronic, it feels post apocalyptic and God-less. Though ambitious and grandiose, Kanye's first three albums possess a kind of easiness and warmness –chillness, if you will– that is subsumed from 808s onward as neuroticism prevails. My point is the death of his mother clearly is a turning point – one that put him on a quest for God-ness. Rock critic Robert Christgau, on his My Beautiful Dark Twisted Fantasy review says about West that "grandiosity doesn't suit him deep down", and calls him "radically insecure". I agree. Yeezus continued down the path of profanity and provocation. Essentially minimalist, it's like 808s turned outward to challenge God – Ye is the God now. The Life of Pablo is the beginning of an Icarian comedown – mesmerizing and pathetic. Grandiosity really doesn't suit him. Not that he lost anything really, but 2016 was really something else with the whole MAGA mess and his hospitalization – antics as they were, it felt like something in him broke. Pablo is really one of my faves – still on the grandiose side, it's a slight return to warmness, to God-fearing as opposed to -being. Yet, the 2016 event drove everything to a much darker spot, apparent on 2018's Ye, which Christgau very funnily describes as a "half-assed attempt to make asshattery germane again". It's sparse and contemptuous, and not as impactful as the collaborative and rather spiritual Kids See Ghosts, or the even better Ye-produced punchy and aggressive Pusha T release Daytona – all released the same year. Ye was a low point, then christianity came back in fashion – with full force, apparently. Jesus is King arrived, accompanied by a very performative Sunday Service thing which was like actual church, only Ye style, which is of course too bombastic to be very convincing. Nevertheless Kanye installed yet another –though not very surprising given his more-than-flirting with conservatism– change in his public persona: Ye as the born-again christian. With the arrival of Donda almost a month ago I wasn't very impressed. On first listen, it felt a little boring. I told my friend it didn't sound like Kanye displaying his "power". I've been re-listening lately, and thinking about Ye's relationship to God and his mother. I've come to appreciate the album's understated sound. It almost feels convincing now, his faith. He's not proving himself against God, he's actually devoting, subordinating himself. Kanye has a moon in pisces, which dissolutes borders and connects to the divine. This is his lunar album. The songs are beautiful and spiritual, my favorite moment being Jonah's refrain, an auto-tuned cry for a shoulder to lean on. Of course, Ye being Ye, nothing quits being grand. The Red Scare podcast's hosts called out the album being inseparable from the fuzz surrounding it, namely, two or three listening parties which were art installations in-themselves and included the most performative divorce ever. Nevertheless, I appreciate the album's sentiment, i.e. Ye and his buddies in communion with God paying tribute to Donda. It feels warm again. Anyway, Kanye's a gemini, so he may go 180º for whatever project comes next. To close this piece, let me mention Dasha Nekrasova and Anna Khachiyan's comparison between Japanese writer Yukio Mishima and Ye. Both are gay, both are aesthetically driven and both made failed attempts to seize their countries' power. Now the difference is Mishima committed public sepukku. Kanye hasn't – yet.

Ignacio Núñez :)

#mishimacode #artexhibition La mostra site specific vuol far riflettere sul rapporto tra Occidente ed Estremo Oriente, attraverso videoproiezioni, installazioni ambientali, trasparenze, sculture digitali. Trasparenze, videoproiezioni, installazioni ambientali, sculture digitali, in un inedito allestimento site specific, per interrogarsi sul rapporto tra Occidente ed Estremo Oriente, a partire dalle parole chiave della poetica di Yukio Mishima, uno dei più grandi scrittori del Novecento, scomparso nel 1970. È “Mishima Code”, la mostra personale dell’artista nipponica Fukushi Ito, in esposizione dal 1 luglio al 3 settembre a Firenze presso MAD – Murate Art District. Thanks for all @franzmerzi “The existential, one could say anthropological and spiritual value of the images inspired by the literary and biographical corpus of Mishima become the playground of a research on the part of Fukushi Ito, which winds its way through photography, computer drawing and installation sculpture and, at the same time, is presented as a tribute to the figure of the great Japanese writer, to his life, production and poetics. - says the curator Roberto Mastroianni - The exhibition is, in fact, the result of a somewhat etymological-philosophical investigation into the places, themes, books and poetics of Mishima: Fukushi Ito has created his works starting from a ten-year dialogue with the Japanese writer, articulating it around the themes, images and evocative words of Mishima's fiction (death, honor, devotion, seal, desire, grace, tradition...), accepting the solicitation that comes from Mishima's books, from the places where they are set and from the socio-political themes that are addressed in them." #fukushiito #mishima #yukiomishima #spettridelsollevante #art #arte #contemporaryart #contemporaryartist @christian_velcich #movie #docufilm #artmovie #litterature #japan #book #artlover #bushi #ninja #allartiscontemporary #yukio #bushido #bushi #samurai #murateartdistrict #artcurator #artexhibition #bushidocode @robertomastroianni1179 #artwork #artworks @murateartdistrict @essechiarello #mishimacode #fukushiito #robertomastroianni1179 #robertomastroianni https://www.instagram.com/p/CQv21dQNEAw/?utm_medium=tumblr

Yukio Mishima tribute + + +

#mishimacode #artexhibition La mostra site specific vuol far riflettere sul rapporto tra Occidente ed Estremo Oriente, attraverso videoproiezioni, installazioni ambientali, trasparenze, sculture digitali. Trasparenze, videoproiezioni, installazioni ambientali, sculture digitali, in un inedito allestimento site specific, per interrogarsi sul rapporto tra Occidente ed Estremo Oriente, a partire dalle parole chiave della poetica di Yukio Mishima, uno dei più grandi scrittori del Novecento, scomparso nel 1970. È “Mishima Code”, la mostra personale dell’artista nipponica Fukushi Ito, in esposizione dal 1 luglio al 3 settembre a Firenze presso MAD – Murate Art District. Thanks for all @franzmerzi “The existential, one could say anthropological and spiritual value of the images inspired by the literary and biographical corpus of Mishima become the playground of a research on the part of Fukushi Ito, which winds its way through photography, computer drawing and installation sculpture and, at the same time, is presented as a tribute to the figure of the great Japanese writer, to his life, production and poetics. - says the curator Roberto Mastroianni - The exhibition is, in fact, the result of a somewhat etymological-philosophical investigation into the places, themes, books and poetics of Mishima: Fukushi Ito has created his works starting from a ten-year dialogue with the Japanese writer, articulating it around the themes, images and evocative words of Mishima's fiction (death, honor, devotion, seal, desire, grace, tradition...), accepting the solicitation that comes from Mishima's books, from the places where they are set and from the socio-political themes that are addressed in them." #fukushiito #mishima #yukiomishima #spettridelsollevante #art #arte #contemporaryart #contemporaryartist @christian_velcich #movie #docufilm #artmovie #litterature #japan #book #artlover #bushi #ninja #allartiscontemporary #yukio #bushido #bushi #samurai #murateartdistrict #artcurator #artexhibition #bushidocode @robertomastroianni1179 #artwork #artworks @murateartdistrict @essechiarello #mishimacode #fukushiito #robertomastroianni1179 #robertomastroianni (presso Murate Art District) https://www.instagram.com/p/CQjR53ONlVC/?utm_medium=tumblr

#yukiomishima #mishima #mishima2020 Fukushi Ito, “In the Space and the Time. Mishima”, 2020. Omaggio a Yukio MISHIMA 25 novembre 2020. 50 anni dalla sua morte Musica di Sachito Hata Prossimamente primavera 2021 Murate Art District, Firenze a cura di Roberto Mastroianni Tribute to Yukio MISHIMA 25th November 2020. 50 years after his death Music by Sachito Hata Coming soon spring 2021 Murate Art District, Florence Curated by Roberto Mastroianni #art #contemporaryart #robertomastroianni #spettridelsollevante #arte #literature #japan #japanese #curator #artcurator #fukushiito #arte #artecontemporanea #murateartdistrict #bushi #lastoriadiyukio #yukiomishima #yukiomishimabooks #samurai #bushido @murateartdistrict @franzmerzi @itofukushi @pscomunicazione (presso Murate Art District) https://www.instagram.com/p/CIBou9KD_se/?igshid=qfql6tljbccn