ESPACE COURBE(T) 2.0: Lesprit Courbet en aparté ! (French Edition)

Le triangle de point est aussi la marque des philosophes par le feu. The triangular point is also the mark of the fire philosophers. The equilateral triangle resting on its base with its three points flat on the ground is the symbol fire, one of the four elements with which the alchemist works in the laboratory. It represents strength, beauty and harmony. These 99 Alchemical Sentinels are the guardians of the shrine that is the Abode of Chaos. Cette installation se nomme: So once again it looks like the Abode of Chaos will be a gigantic building site for nearly a year.

Started in , work still in progress. Excerpt from the "99 Totems Initiatiques" mm raw steel Each Totem provides a key of reading of the 99 words and traditions that define the Abode of Chaos transmutatIon. Marc had just graduated from art school and had a thousand projects in mind. In this way One is made from man and woman. Some of them such as the London attack were painted immediately after it happenend.

These faces always scare our visitors even though they have already made the covers of Time magazine, Figaro magazine or the Economist. Following this line of reasoning, images have the capacity to make us create analogies. Through French eyes, the romanticism of ruins is glocal: I remember this one particular photo taken in the London subway system where the crowd wanders through its tunnels.

This picture will also grace the covers of all international press. Through a profusion of comments from our spectators we can attest that uncaptioning gives the images its lost occult drama.

The Abode could very well be a real time press agency, a witness of this century, where one can read through a flow of art works, the delegendized history. This journey is atypical and constitutes alone one of the artistic approaches of the Abode of Chaos. Tarik Noui Onward legions in scattered ranks on the threshold of the living To make it livelier. Desire that bounces, like a moth around the abode of order. Desire like a bird of prey injured a hundred times against a window that ends up breaking it.

Desire and its love and blood ritual begs for the nerves of reality. It is also when we look closer Women with handfuls of waste Running from the degrees of knowledge Because disorder is needed in these hands As an answer to the world. Chaos Chaos a word that chants the practice of disaster in the convict s mouth.

Let s negociate our souls… We shall see after for the revolution. During his stay in Andalusia, Eugene Canseliet was impressed by this macabre gem of vanitas art. Fear them not therefore: Dear Brothers, I thank you most sincerely for all the love and work with which you have supported me in my ministry and I ask pardon for all my defects. With regard to myself, I wish to also devotedly serve the Holy Church of God in the future through a life dedicated to prayer.

The last artistic installation that I created in situ for the Abode of Chaos in consisted of 9 giant Vanitas measuring 3. This installation has 9 rules: The second rule states that each Vanitas must be located in a part of the Abode of Chaos where events of a rare emotional intensity have occurred. The third rule is that they must be positioned and adjusted in accordance with the underground sources that run through the Domaine des Sources, otherwise known as the Abode ofChaos.

Five other rules are only known to insiders of the Abode of Chaos. The Vanitas are also a tribute to my teacher, Master Fulcanelli. Il fallut donc rechercher un autre lieu pour y construire un temple. Elle comprenait, outre les Lyonnais, des Suisses et des Allemands. Histoire du Lyonnais par les textes.

In , the Archbishop of Lyons, who acquired Oullins, forbade Protestant worship there. The temple was built near the Impasse de la Croix and the portal was still visible in the last century. The first service was celebrated on 12 August Editions Au Jet d Ancre. On this topic, see the excellent work of Odile Martin: Chaos is a government stealing our bodies; It is the uncertainties of powers.

Chaos is born is the interstices of a world under control; It is order that creates chaos.

Calaméo - OPUS IX: Abode of Chaos / Demeure du Chaos

Each time I go to the Abode, I am moved. We set eyes on the chaos, and then plunge our fingers, hands, arms and the rest of our bodies, because it is impossible to remain just a spectator. In effect, we commune with signs, images, volumes, words, sorrows, shapes, forms and formulae. When we enter the Abode, we are part of the process. We are exploring the veritable heart of Chaos, eyes wide open, search for bearings amidst all that heavy metal, all those symbols, all those faces and all those sculptures that overcome us, overwhelm us, jostle and disturb us, flooding us with light and blackness.

Throughout my life I have travelled a long road lined with tombs, from catacombs to necropolises. I dug up some mummies for a serene, magical and spiritual step into the heart of Chaos. F Lodge Orient de Lyon ". Painting at the front door of the Protestant Temple, in the heart of the Abode of Chaos. This artwork provides a total immersion into the deep internet and the bowels of the Abode of Chaos, especially throughout the existing underground galleries of the Protestant Temple.

Elle permet de porter ce conflit hors du commun devant les Juridictions Internationales. En , le combat judiciaire historique: Less than a week later. On 15 December , The Criminal Chamber of the Supreme Court, in the context of a second appeal, ruled that the 4, works of art forming the body of the Abode of Chaos, founded by the artist thierry Ehrmann in , should be destroyed.

It also doubles as a residence for a number of artists. Case law on Article 10 shows that the court has frequently ruled against France. As such, the petition to save the Abode of Chaos from destruction is continuing stronger than ever before. Malraux doit se retourner dans sa tombe. And let me tell you… there was 12 pages of nonsense like that and worse! In fact, to be honest, I truly believe that I ve never seen written as deadly a text on the conditions of existence of artworks in France. Malraux must be turning in his grave. Again, I ll make it short: Ehrmann, you can express yourself inside your home; but please do not disturb the public or the eyes of others.

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I have already said and I repeat… the Supreme Court is the history of art, and this Court has already judged the Abode of Chaos, a decision that the Grenoble Appeal Court may be not able to accept with humility. Ultimately, this process reveals a French society in agony, worn out by a deadly standardization where any form of expression or artistic creation is considered a felony or a misdemeanour.

I therefore call for resistance. Reactionaries, enemies of the Abode of Chaos… do not rejoice too soon! I will make hell for you!

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On lit par exemple sous la plume de Tzara: By feeding the debate, the petitioners have merged themselves with the opus, just like its detractors… you were warned, the Abode of Chaos is hungry! They all created shocks in the history of art and thought. The History of Art literally abounds with examples of this kind.

Existing beyond controls, liberated from constraints, it completely circumvents the marketing and commercialisation of art. Are these not the two diametrically opposite faces of one and the same artistic coin: The offices of Artprice and Server Group are deconstructed just like the private quarters of the Abode of Chaos. Continue and you see references to Dada resonating like calls to a gathering: After the words, the images of faces painted on the walls come into view.

If we publish the above report, it is to indicate just how ridiculous the aberrations of the ultramoderns can be. It is artistic bolchevism. Precious liquids, metamorphose Probablement une expression inconsciente de mon besoin de changer de peau. Le premier est un avenir spirituel. Some have evoked the creation of a new religion… Quite a difficult task after the death of the nietzschean God. Idol, Icone, yes, just as a work of art can be. But on the other hand, it is true that the Abode of Chaos was often able to anticipate some events, to foretell, see and foresee.

A sort of Pythie or Sybille of Cumes, a mythological character able to make us, poor mortals, see our destiny. It is also interesting to briefly review metoposcopy. This art of prediction by examining the facial wrinkles, takes on a new dimension within the Abode of Chaos. Video has become a natural extension of a global thought process on our world and is a most appropriate tool. Cyber art is slowly emerging. The broadcasting has now been launched. Un gamin se balance comme endormi, contre un parapet.

Un filet de bave coule sans discontinuer sur son justaucorps. Impassible, la foule le contourne, sans lui accorder la moindre attention. On se pousse, on se bouscule. Le geste provoque une orgie impromptue. Leurs orbites vides saignent. Far away, thick columns of black, greasy smoke rise over the Croix Rousse heigths, where it has not stopped burning for the last three days.

The atmosphere is dripping. On both sides of the river Rhone, scenes of hysteria can be seen as far as the eye goes. Wrinkled and livid, skeletal old men ripp off their hair by fistfulls and scratch their flesh until bleeding. A smile lights her up. Tears of joy roll on her wastedface. The hospital incinerator is running full speed.

The most exalted ones go as far as declaring it the ground for a christic renewal. Seemingly asleep, a child is rocking against a parapet. The crowd bypasses him, undettered. People push and shove each other. Snaps of trampled faces, torn out by pain. Mercy, let us reach the spring! We want the water! Let us reach the holy water! Particles float in the air, menacing in its softness. At precisely 7 p. Excitation is at its height. Bursts of chaos, scenes of trance, ruts. A young woman tears up her clothes, offering herself to those around her.

Her gesture triggers a surprise orgy. Men obey the Beast. The audience wonders about his gesture. Few moments go by. The shock wave jostles all living creatures on its way. Among the masses of people in front of the gates, a mother is vomiting long jets of scarlet and pasty bile, still grasping her two children. The ground at their feet is lined with her dejections. Their empty eye sockets bleed. Blasphemous, the litany rises high in the night, the damned crawling on the asphalt solemnly join the chanting. A funereal trance creeps over the crowd, ondulating to the rhythm of lament. The transmutation takes place.

And in the first light of dawn, a new world is delivered, wet and soiled, from the gaping crotch of nothingness. A la limite, c est eux qui l ont fait, mais c est nous qui l avons voulu. Or nous savons bien qu il n en est pas ainsi. None of these ends of the world has come to anything, but this in no way discourages prophets announcing that the end is nigh.

For all that, it is a necessity for man and the societies he has constructed through the centuries. This approach concerns theology and philosophy in relation to recent times, the most recent accidents in the history of the world, as described by the philosopher Paul Virilio, or the final destiny of the human race, commonly called the end of the world. Because this superpower, through its insufferable power, has fomented all this seething violence around the world, and thus the terrorist imagination that inhabits us all without our knowing it.

It is almost as though they did it, but we wanted it. If this is not taken into account, the event loses all its symbolic character and becomes a pure accident, a purely arbitrary act, the murderous fantasy of a few fanatics who would then only need to be eliminated. But we know very well that this is not the case. Without this profound complicity, the event would not have had such an effect, and in their symbolic strategy, terrorists undoubtedly know that they can count on this shameful complicity.

This goes far beyond the hatred of a dominant global power felt by the disinherited and exploited, by those who have fallen on the wrong side of the world order. This malicious desire is in the very heart of those who share its benefits. An allergy to any definitive order, any definitive power, is fortunately universal, and the two towers of the World Trade Centre totally embodied this definitive order precisely through their twinship.

No need for a death wish, a longing for destruction, nor even a perverse effect. And it is an accomplice in its own destruction. Endless disaster movies bear witness to this fantasy, which they express, obviously, through the image, drowning everything in special effects. Et elle est complice de sa propre destruction. Ce qui en soit est rassurant. Eschatology involves concepts like messiahs or messianic periods, the afterlife and the soul.

So, with my eye as a visual artist, I found it quite natural that Eschatology should be one of the guiding principles behind the birth of thousands of works within the overall corpus of the Abode of Chaos. While the approach of the end of time is a common, universal idea, it takes a thousand different paths depending on history, cultures, continents and ethnic groups.

What more instructive approach for deciphering the soul of a society could there be than its conception of its own end? It is in that final tragedy, real or fictional, that humankind and its lost genius are best defined. With an approach to the end of the world artistically treated by the Abode of Chaos, by sounding all the major arts, I incite my visitors to think about our collective and individual future, for instance by making an inventory of everything that should be preserved, everything that should disappear for ever, and perhaps more secretly, everything we would like to see destroyed.

There are many different ends of the world in as many religious texts concerning the 21st Century, with major ecological or scientific disasters, Chernobyl being one of the first signs. This artistic approach, expressed through thousands of works, is a revisitation of a huge range of eschatological representations, and brings to light many ends of the world rather than the end of the world. Through our standpoint as Westerners, we have established the claim of being able to precisely diagnose imaginary ends of the world a long way from us in space and time. Each epoch gives its definition of the end of a world that it sees as cyclical.

I am tempted to write that ends of the world do not only form part of our history, but are also a fundamental element in the universal psyche in liberating us from the ancient world. The Latin concept of the Tabula Rasa, which I find very appealing, is a speaking metaphor because the Tabula Rasa was the tablet on which the Romans wrote, then scraped with the flat end of the stylus to erase everything. Aristotle thought that the mind lacked any inherent ideas, and that all knowledge was derived from experience.

This philosophical concept is useful in understanding Eschatology, because wiping the slate clean of the past by wishing for or fearing the end of a world is necessary for the human race to move forward. Eschatology or the end of a world is a cathartic approach designed to awaken the repressed traumas that have caused disorders, thus generating an emotional charge that brings healing release. In psychoanalysis, this release is known as abreaction. Which is reassuring in itself. For the first Christians, the end of the world meant the hope of a divine catastrophe that would vanquish the evil in the world and reward martyrs and good men.

What is entirely new is that over the centuries we have acquired the ability to impose our own end of the world through our blind science, which claims to be the prerogative of the gods. For example, in Upper Egypt, the great fear was that the sun would never rise again. The sun was the god Ra, born of the original Chaos that created other major gods. In Hinduism, the ages of the world, as described in traditional Hindu prophecies Puranas , say that the world will return to Chaos, then an avatar will appear who will establish uprightness on earth, and the human spirit will become as pure as crystal.

For Heraclitus, the end of the world and its renewal are one and the same thing, and proof of the primacy of Chaos. The rebirth of primordial matter Prima Materia is the next stage after the end of the world, according to Heraclitus. The Romans, as heirs to the Greeks, seized upon the idea of the ages and the sense that humanity was experiencing its ultimate decline. This thinking can be found in Virgil and Horace. For the Romans, the end of the world was to take place at the end of a Great Year starting the founding of Rome, whose length was announced to Romulus.

Their relationship to time was very particular, because it possessed a highly advanced astrology very different from those of other civilisations. The Mayas and their calendar are fascinating because they are no longer there to provide answers. According to his calculations, 21 December would be the date of a great renewal. As the Mayan civilisation is no more, we do not have any real answers, but we do know that for the Mayas, the end of a cycle, while still a source of fear and a terrible transition, was not always a disastrous event. Their knowledge of time was certainly remarkable, particularly in the studies they made of the cyclical movements of celestial bodies.

The Mayans believed that they could understand the effects on human existence of these cosmic progressions, and using past observation as a basis, predict the future. Their scientific vision was linked to a religious belief in the divine influence of the cosmic forces on the daily lives of people. There are thus a thousand ways of understanding this fateful date. In the Eschatology of the Abode of Chaos, I regularly touch on the idea of natural disaster with regard to the history of art, such as the flood and the anger of the gods.

Naturally, the Revelation of St. John is at the heart of my work. Christian Eschatology is full of prophecies. One of them, on which I have been working for nearly 30 years, concerns those of Saint Malachy, the Prelate of Ireland, who recorded brief mottoes forecasting the succession of Popes to the throne of Peter. In a later prophecy, the th, we find the name Pietrus Romanus Peter the Roman. This edition contains the following: After these, the City of Seven Hills will be destroyed, and the dreadful Judge will judge the people.

Even if this word initially hard for the reader to accept, the revelation still consists of the end of a stage, through the very fact that it brings with it something new, hitherto hidden or unintelligible. The historical origin of Islamic Eschatology, as described by the prophet Mohammed to his companions, is similar to Christian Eschatology. Some works in the Abode of Chaos on monotheistic religions evoke far more stressful visions of temporality: Time is linear, it progresses, and is gradually consumed.

So it will meet with an end, which will make the world disappear for ever. The golden age that is reborn from this destruction will thus be eternal. We need to understand that in many primitive civilisations, the end of the world is inseparable from its rebirth. A number of engravings in the Abode of Chaos bring to light the three great Chinese spiritual systems: Confucianism, Taoism and Buddhism, where the presence of ancestral legends resurfaces, like the anger of the god Gongong.

We have also cautiously addressed Zoroastrism, which is the basis of Persian religion. We have also swept away the great fear of the year , which can be compared with the period after which the Parousy is to take place, defined as the Second Coming of Christ, which precedes the Last Judgement and the end of time. We have also studied the writings of the Cistercian monk Joachim of Flora, who sought to interpret the Book of Revelation as a mystic rather than as a theologian.

The Renaissance and the Reformation ended the mediaeval period by proposing a new vision of mankind opening onto the modern era and the Age of Enlightenment. Despite this enlightened and rational environment, the Europe and North America of the 18th Century, now emerged from the Renaissance and right in the middle of the century of Enlightenment, attempted to free themselves from this end la science. Un des tournages historiques de la of the world. Interpretation became even more complex with the Industrial Revolution in the 19th Century, which gave rise to a passion for science, but also fear of it.

Would Man be able to control the sciences he created? From the Romanticism of ruins to the birth of science fiction and then anticipatory works, including a new look at the Apocalypse by evangelical groups, the 18th and 19th Centuries endlessly evoked the idea of the end of the world. One of the historic film shootings at the Abode of Chaos was This rather concise text only gives a brief overview of 30 years of constant thinking, and 13 years of the artistic production that has grown up in this Sanctuary, the Abode of Chaos.

This short article explains the reason for creating the Abode of Chaos, and why it focuses on so many dark subjects: During my various wanderings, speculative as well as operational, I have come to realise that the end of the world, or the end of a world, is a necessity in human destiny as the hidden driving force behind our anxieties, our omnipotence and our mystical questionings. Fiction is now absorbed by reality, and perhaps while I have been writing these lines, the end of our old world has already begun.

Progressivement, quelques indices signalent le centre tellurique: Trouver une posture sereine. After climbing the hill, you discover a scene as pretty as a picture. Wandering through the little streets of the village is like marking off various certainties of our civilisations: We could almost forget that we are moving within the heart of a contemporary staging of the olde worlde.

These are the last reassuring landmarks of an unchanging heritage, constructed of invisible, implacable logic, containing a sulphurous Abode, a mad, inconceivable, heretical project. Gradually, a number of clues indicate the telluric centre: It prepares for the unknown, recalling fragmented images picked up here and there, full of subversive promise.

Whoever wanders around these regions without reason will be sure to find some soon. In the background can be seen a myriad acid dimensions throbbing with vitality. Barbed wire fencing militarises bodies. Cameras are trained on like imitations ready to pounce. The rite of passage to have the privilege of immersion is a substitute for confession. The stimulus of curiosity holds you in its grip, and would make you sign any kind of pact.

The only one worth anything is admitting that you want this hidden journey: The silent groaning of disembowelled iron scrap. Saturation of the senses; endless multiplication of prisms. The eye panics through its inability to absorb this jumble. The impulse of curiosity is drawn into the labyrinth, without knowing which details to dwell on, what scales, levels or planes are best accommodated.

Minuscule symbols engraved in a thousand nooks and crannies. Metal seething with impotence. Scrap metal spread everywhere in invisible clusters. Have they found refuge in this indescribable ark? We calm our agitated breathing. Find a tranquil position. The desire for control makes it essential to pinpoint a few landmarks: Motifs repeat themselves or replace each other.

Alchemical symbols beyond what is knowable. An overload of objects resembling corpses. The alteration of figures blazing elsewhere: While browsing haphazardly, we are assailed by a multitude of disturbing visions: Gradually the anxiety of our initial commotion dies down, and a peaceful frame of mind takes over, inviting contemplation.

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Enchanted parentheses are suspended. What spectacular backstage world have we ended up in? In the end it is really from our subconscious that the primordial resonance has emerged: The vices and virtues of an immersive art: Especially as, with the spread of tourism and interactive media, we have developed a taste for delighting in environments that can receive us in all our vulnerability, while challenging us with something completely new.

One of the vital aspects revealed by any thought of immersion is that the power of the immersive experience is based on the discrepancy between the original, common world and the new universe surrounding us. The conditioning born of routine conditioning clashes with an environmental otherness that demolishes all the obvious facts we have acquired, and takes us out of our comfort zone.

Faced with a context that sucks us in, a thousand questions spring up to establish which rules govern it, which ways of reasoning still or no longer apply, how to behave, and what attitude is needed to best adapt to this transformation of the self brought about by the ambient environment. Our ability to adapt is awakened, and endeavours to create bridges and forge links, to repatriate the unknown into zones that we can control more effectively. The result is a deconditioning from our initial existential framework.

This entails a twofold movement, consisting simultaneously of making the strange familiar — where an effort must be made to learn and assimilate the difference — and making strange what is familiar to us — a process that denaturalises and challenges the obvious facts acquired. Hence a possible virtuous circle capable of profoundly transforming us. The very notion of Chaos intuitively raises the issue of order and disorder as a tension that structures the surroundings. Welcoming or rejecting it depends on each person.

But the artistic proposal, impossible to elude, changes into the necessity to adapt, so rich is the content of the entities brought together in it, surrounding us inexorably from every angle. It would seem that this is an environment both immersive and subversive, because of the violent provocation created by deadly emblems: At the same time, an aesthetic of unity harmonises this obsessive diversity.

They will make their honey from these poisonous flowers, which may simply be blooms withered by an epoch dedicated to sterility. It forces respect and even admiration, due to the extent of the disaster, resulting in an unwavering tenacity. And so this is what gives an artistic licence forced to the wall, on the borderline of syncope. In contrast to samples soberly confined in galleries and museums, behind sanitary protection, here and now, this is the tip of an emerging continent pushing through, threatening to take over the world.

On every scale, we can only imagine the various creative processes that have worked on and borne along all these symbols, signs, objects and representations to achieve their final union. It is difficult to know if this is the result of staged choreography, architectural mastery, intuitive improvisation or even random or arbitrary decisions. This immersive world constantly poses the riddle of its cosmogenesis and the intentions that engendered it.

What on earth lies behind it? It sparks off a mental quest that ends up in another abyss, one leading directly to the heart of the human interiority all around us. On site, dumbfounded, we move within a liberated intimacy that has exploded as it suddenly emerged. It has cast itself in a ferment of surging and ebbing waves on the ground, on the walls, into the slightest receptacle.

And yet this plural individuality is not as egotistical as the discourse accompanying the project would have us believe. In the innermost depths of its entrails, impulses evacuated or denied by social normativeness or libidinal training come together and drift apart. The echoes and resonances experienced while passing through such a saturated artistic milieu create and delineate our own shadows and light, making spectators themselves into ephemeral, immaterial works, setting them up as a possible emanation of a new organism, root or bud, pollen or spore, fruit or soil, in a series of unpredictable existential metamorphoses.

Later, forgotten or revered, this world will be able to nourish with its sap anyone who has recognised it as one of the major telluric landmarks of our time: Symbolizes the oil war in the Middle and Near East. La discussion sera longue, riche et durera jusque tard dans la nuit. D autres contacts ont eu lieu, toujours au travers de Marquis. Thierry tape l adresse de Body-Art. Nos relations sont complexes. Nous parlions hier soir du ronin. Je pense que nous sommes tous les trois des ronins. Et ce soir, je suis heureux car je pense que nous sommes aux portes du chaos.

J attends que le vieux monde bascule. Mais il faut replonger dans l histoire de l art. C est un pouvoir qui se substitue au pouvoir temporel, qui se situe entre le temporel et le spirituel. Et la Demeure, en fin de compte, c est une liturgie. La Demeure est en dehors du champ. Il y a eu quelque chose d important dans nos vies: Avec Internet, c est le contraire. La culture des pionniers continue plus que jamais. Cette force a quelque chose d hallucinant. Et la Demeure du Chaos est aussi un incarnat sur Internet. Il y a aujourd hui 1 sites qui parlent de la Demeure.

Je ne fais pas porter la faute au collectif. Nous sommes avant tout des Punks, Voyous par noblesse.

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Nous sommes par nature des guerriers. J ai trop vu ces fils de pute, tous ces post-soixante-huitards devenir des suceurs de queue. C est la pire des choses. Et je ne suis pas certain que tous mes choix soient pleinement conscients. Il se trouve que je suis dans la marge.

Elle n est pas dans le contrat. Le mythe de l ermite est une connerie. L ermite n existe que parce qu il pense un jour redescendre au village. En biologie, la mutation est une constante. Au regard de l histoire, on sait que les mutations sont une adaptation naturelle. J adore les rats parce qu ils sont mutants. C est un vrai sujet. Je dis simplement que le 11 Septembre est le grand renouveau de l Histoire. Et donc le 11 Septembre, pour moi, nonobstant les victimes que je respecte, c est avant tout le grand retour de l Histoire.

C est le Deus ex-machina qui se remet en marche et l Histoire qui se retrouve de nouveau dans le champ de tous les possibles. Elle est simplement en marche. Le monde est en train de changer. La question est plus celle du choix de la mutation que de savoir si on doit ou non muter. Je vais me permettre de reprendre une expression de Lukas, du nom de l une de ses performances: On nous traite de tous les noms de la Terre. Nous sommes borderline au sens juridique du terme, pas uniquement dans le sens psychiatrique.

Finalement, le corps est le tabernacle intime de notre vie sur Terre. Le milieu de l art est frigide, atrocement frigide. Je dispose pourtant de mon corps comme je le veux. Je peux m implanter ce que je veux. Je pense que dans toute phase, il faut d abord consumer les braises. Il faut les ruines. C est la ville de Dresde sur laquelle tout se lie. Ce sont les ruines de Beyrouth. Dans une partie importante du monde, le noir est aussi le symbole de la vie et pas celui du deuil. En imprimerie, le noir est la superposition de toutes les couleurs.

D abord, il n y a pas un noir. La phase noire est obligatoire. Je pense que nous sommes de furieux optimistes. Plus que de la provocation, c est un questionnement. Au sens du premier mouvement, le vrai mouvement natif. Quels sont les pouvoirs en place qui se sentent en danger? Toute guerre est avant tout une guerre d information. Aujourd hui, l information effondre des empires.

C est les barbares contre l empire, donc la culture de l autre qui arrive. Chaque lobby est en soi une conspiration… T. L information aujourd hui, c est une guerre terrible. Chaque octet a une valeur. D abord l iconographie, l image homme dieu. Et je pense qu on va atteindre en Pour les profanes, peux-tu expliquer ce qui motive cette progression de l indice?

Il y a une courbe de croissance exponentielle. En gros, achetez massivement l indice du chaos en On prend des coups, mais on leur dit: Tout le monde est libre de choisir, mais au moins c est en connaissance de cause. La Demeure accueille au moins un millier de visiteurs par week-end. Il y a donc bien une ouverture. Le libre-arbitre est important. Les gens ne sont pas stupides. Nous ne sommes plus tout jeunes. Donc, les choses vont dans le bon sens. Nous ne pardonnons pas. Nous n oublions pas.

We do not forgive. We do not forget. We are legion Borderline Biennale manifestation La preuve en est que je n en trouve plus. Ce qui me conforte. Ce sont des miracles au quotidien. J aimerais revenir sur la question de la puce RFID d une contenance de deux gigas. A quoi pourraient servir ces deux gigas? La France, c est 65 millions d individus. C est un peu la vaseline de l histoire. Le principe classique du cheval de Troie… L.

C est pourtant une technologie qui va arriver. Nous sommes sous un intranet gouvernemental. Cet Internet profond va donc exister parce qu on ne peut pas faire autrement. On est en plein dans Minority Report. Le discours est de dire qu on ne fait pas le mal et qu on ne fait qu endiguer le mal. Quel est le lien entre les adresses IP et cette prescience des actes? Il disait qu il souhaitait mille fois le chaos, car le chaos signifiait le retour du Mahdi.

Et ces algorithmes de traitement font qu on peut pressentir quelque chose qui est de l ordre du devenir proche. En fin de compte, il faut aller chercher l information dans les sources primaires, la croiser et la recouper. Ils disposent en substance de beaucoup d information. Je suppose que ce n est pas anodin… T. Mais c est vrai, Kubrick avait une vraie vision. Nous parlions ensemble l autre soir de Warhol et de sa mystique. Andy Warhol allait prier tous les matins. Quelle est ton analyse de son film Eyes Wide Shut? J avais un petit temps d avance sur mes contemporains.

Peuxtu revenir sur ton enfance et ton adolescence?

OPUS IX: Abode of Chaos / Demeure du Chaos 1999-2013

Je pense que le Vatican est toujours l Etat le plus puissant au monde. Peux-tu nous l expliquer? Nous avons fait partie des grandes fortunes. Il ne constitue pas un acte d amour, mais c est un fabuleux moyen. Je me souviendrai toujours de ce que m avait dit un grand banquier. L argent est une ressource fondamentale dans un contexte guerrier. Si l argent n est pour toi qu un moyen, c est un moyen de faire quoi? Que serait le Grand Oeuvre?

Et la Demeure du Chaos en tant que nouvelle religion? Une religion commence toujours dans les catacombes. Pardon, mais comme contamination virale… rires Oui, il peut y avoir une religion du chaos. Ceci dit, quand on veut faire un effort, on peut. Rappelezvous des derniers jours de Hitler dans La Chute. Pratiquement tout le film se passe dans un bunker. Le container, c est l arme de destruction massive. Quand on regarde son cahier des charges, c est hallucinant. C est vraiment universel.

Pour moi, la guerre est un indice de vie forte. On ne se suicide pas dans les pays en guerre. C est aussi avec les emmerdeurs. C est ce que disait Clausewitz: Tout est guerre et aujourd hui plus que jamais avec les avocats. Ce sont des guerres atroces. On y passe notre temps du matin au soir. Donc il faut faire en sorte que la guerre soit un rituel. Mais je pense aussi que la guerre permet de rester vigilant. Comment fonctionne l i-Bombe?

Nous sommes en train de racheter une fortune certains vieux appareils analogiques. Maintenant non, parce qu il y a une cartographie qui dit stop, danger, on coupe tout. Du coup, on se retrouve sans onduleur et sans retour secteur. L analogique a du bon. Il laisse des traces alors que l analogique n en laisse pas. Donc je ne laisse pas de traces. Une fois de plus, on rejoint la science-fiction.

Et le renoncement actuel au verbe? On m a dit texto: Ils n ont plus les moyens d assurer le service d ordre et il y a un renoncement au verbe. Et personne n ose plus rien faire ou dire. Parce que les gens n osent plus affirmer ce qu ils sont. Et les gens ne sont plus libres. Nous sommes au bout du sens. Tous les bilans biologiques sont au bout du bout de la nuit. C est archi faux. Tout devient monnayable, y compris les frais de pollution.

Prenons comme exemple les performances de Lukas. Lukas est un artiste plasticien. Il se situe toujours dans le prisme de l histoire de l art. Mais beaucoup de choses qui se font sous le label artistique ne sont pas de l art. Dans ce cas, qu est-ce qui n est pas de l art? Je l ai vu de nombreuses fois dans le combat autour de la Demeure du Chaos. Je pense que l art est sans concession. Avec le temps, tu es moins professoral, plus instinctif. Il y a vraiment des choses qui ressortent de l art. Vraiment, l art est une passerelle vers le ciel. Je suis un homme de doutes.

Dans le deux cas, je me barre. Pour raffermir sa foi, il faut chercher et tout le temps douter. Une phase d errance longue, sans partage. La mort est quelque chose d insupportable d un point de vue intellectuel. Cellesci ne sont que des excroissances cellulaires. C est un vrai boulot. Se demander ce que tu feras lorsque tous tes proches mourront et que tu perdureras? C est un supplice merveilleux. Ils jouent simplement sur l anticipation. L alchimie se produit sur toi. Et ici, c est un peu ce qui se passe.

Il y a des choses troublantes dans la vie. Tu attends encore quelque chose? On attend le sublime, on attend le merveilleux. Goya l avait vu. Les gens ne savent plus ce qu est la mort. Le toucher avec le mort, la descente avec le mort est importante. Eros et Thanatos sont deux choses importantes. Lukas, par exemple, a une attitude de dandy. Tu parles plus de douleur que de souffrance… L.

C est David Le Breton qui m a permis de faire la distinction entre les deux. La souffrance a quelque chose de l ordre du spirituel. J attends les temps nouveaux. J attends les accidents de l histoire au sens de Virilio. Je travaillais avec un CAC man. Et on l a su 16 minutes avant tout le monde. On a par exemple construit l A Il contient minimum ou personnes.

Here we are gathered with Lukas Zpira and Thierry Erhmann around this last office, iconic Artprice and Abode Of Chaos tour tower, from which Thierry spins his web about overall digital networks. About 3 hours of recording to reach fourty A4 pages and dozens of hours to retranscribe. As if we had reached some essential parameters of that XXIst century to become, making our contemporaries so shivering.

There will be no backward step. Me and Satomi decided to go to the tribunal to attend the hearing. Marquis also introduced us to a number of other people. Hakim Bey has done a lot of work on the idea of a strategy of subversive chaos. Ah, tu as des gens autour de toi? And I thought "here is something interesting". Bearing in mind that we are at the beginning of the 21st century…something magnificent and tragic at the same time.

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Our relations are complex. As I have said on my blog, it would take a thousand years to describe Lukas. I think all three of us are Ronins. Even if we all want family life, a circle of friends and a clan, there is something of the Ronin in all of us. I haven t looked at it for ages, and it certainly does reflect the spirit of the Abode of Chaos. I didn t want my work or attitude to come across as that of an upstart who thinks he knows everything there is to know. First of all, we learned to understand each other.

Next to that is a more subtle internal struggle, a sort of 5th column. It is this endogenous path that we have favoured at the Abode. It s a little McLuhanesque, but in a "glocal" version, i. To paraphrase Reiser, I believe we are living a marvellous century. It is indeed a truly incredible era. And tonight I am happy, because I believe we are at the gates of chaos. I know that the "old world" is faltering. The Abode, it s a curious system that is itself at the heart of the State system.

We also believe in "Old Europe", in a kind of perpetual Kantian peace which contrasts with a Clausewitzian America. Timofeeva, alto et T. Ladesou, Tchaikovsky et A. Oscari, suivie du vernissage Monaco - Levallois. En s'inscrivant sur notre site www. Une autobiogra- phie touchante et fascinante! Pour le meilleur et pour le rire! Cilea, "Mefistofele" de A. Boito, "Tosca" de J. Les danses Grimaldi Forum - Le Sous sa direction, le restau- duise chez vous le lendemain? On ne va pas se mentir: De quoi ravir le plus grand nombre. Aimons-nous les uns les Euro plus divers Mal- Ces agricultrices et geur des Enfers.

Partie 2 et ses victoires. Un Saison 2 - Episode 4: Les plus grands Festival - Humour vers Une confiance aveugle Film de Tom Shadyac Saison 1 - Episodes 3 et 4. Curb Your Enthusiasm - Le Golden Gate, doc. Pour cette 9e 39 ans. Le service Lindquist chercher plus loin.

LE grand chef de demain Avec Ann Margret Film de Tim Story En multipliant la mort de cinq personnes. Une main au paradis Manhattan, Jeu de meurtres. Avec Piper Perabo, Adam Saison 1 - Episodes 1 et 2 Face au mur, jeu Bons baisers de Moscou. Los Angeles 4 44 45 48 42