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| Happy Famous Artists | |
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Happy Famous Artists are a collective combining ideas of Intelligensius Anarchus and Jeff Blind. |
| About the Artist | |
Our key interest lies in the research of how various perceived authorities shape and influence general perception of reality. |
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| Click to enlarge images (if larger image has been loaded) |
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Tractatus Logos Philosophicus I Wittgenstein - Coca-Cola Light
2005 - 2006 |
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Tractatus Logos Artis I Hirst - Shark
2005 - 2006 |
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Tractatus Logos Philosophicus I Chomsky - Google
2005 - 2006 |
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Tractatus Logos Philosophicus
2005 - 2006 |
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Art Is Sublimation I No 1 - Contemporary Art - Extended Version
2004 |
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| Art As A Privileged Form of Neurosis - Creativity And Psychoanalysis
The question of creativity is central to psychoanalysis. Perhaps the best known psychoanalytic theory of creativity is Sigmund Freud's view that works of art result from sublimation, the repression of unacceptable sexual drives followed by their conversion at the unconscious level to an acceptable one, making full and powerful expression possible. In 'Formulations regarding the Two Principles in Mental Functioning' (1911), Freud writes that art
... brings about a reconciliation of the two principles [pleasure and reality] in a peculiar way. An artist is originally a man who turns away from reality because he cannot come to terms with the renunciation of instinctual satisfaction, which it at first demands, and who allows his erotic and ambitious wishes full play in the life of fantasy. He finds the way back to reality, however, from this world of fantasy by making use of his special gifts to mould his fantasies into truths of a new kind, which are valued by men as precious reflections of reality. Thus in a certain fashion he actually becomes the hero, the king, the creator, or the favourite he desired to be, without following the long, roundabout path of making real alterations in the external world. But he can only achieve this because other men feel the same dissatisfaction as he does with the renunciation demanded by reality, and because that dissatisfaction, which results from the replacement of the pleasure principle by the reality principle, is itself part of reality.
Freud's account of art, regarded as incomplete and limited by some and respected and highly appraised by others, is certainly stimulating. But is it accurate in today's world?
Asking this question was the initial inspiration for my work Art Is Sublimation, which further investigates the potential links between the world of visual art and the one of an obsessive sexual deviation. Indeed, when confronted with images or descriptions of various sexual fetishes or deviations, one can be struck by how often virtually the same themes are found in works of art. Sometimes - particularly in contemporary art - the whole oeuvre of an artist seems to oscillate within this specific realm (eg. works of Paul Mc Carthy, Jake & Dinos Chapman, Jeff Koons, Matthew Barney, Wim Delvoye, Andres Serrano, Mike Kelley...), other times the artist is obsessively busy with just one explicit subject (Jenny Saville – Supersized Fat People, Ernesto Neto – Lycra, Orlan - Medical Procedures etc.). Eventually, a humorous and somewhat relative link between the artwork and the fetish can be also found (Joseph Beuys – Fat Admiration, Marcel Duchamp – Sneeze Fetish). Presence of these conceptual and visual similarities and links within contemporary art became the focal point of The Fetish Map I.
The Fetish Map II followed the same concept, only in relation to classical art (period from the Palaeolithic era till 1945). Consequently I acquired 3 fields of comparison: history of art, contemporary art and fetishism/sexual deviation.
The execution of the work (paintings: oil and acrylic on canvas) itself refers to artists’ fetish per excellence – the one of classic media. Layout of the paintings is based on an existing scheme created by Katherine Gates (Deviant Desires, published by Juno Books in February of 2000) and depicting mutual relations and interconnections amongst 164 various sexual deviations. The names of fetishes were replaced with names of corresponding artists. The Fetish Maps I and II cover only major deviations and their scheme is rather simple. Stands with laser prints (on which pictures of fetishes are placed next to the artwork in question in order to make the visual comparison) accompany these paintings. In the latter, more detailed version - The Fetish Map I: New & Improved -, an interactive CD-rom replaces the prints.
Art Is Sublimation is intended to open up an area for consideration and imagination, rather than making a statement. Creative processes can be observed and described but their real source remains obscure. Hence it is up to each individual viewer to decide whether he sees the links or not.
The Happy Famous Artist, 2002 - 2003
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Who The Fuck Is Wittgenstein? I 2nd Discourse
2005 |
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| Anybody Who’s Not a Philosopher Is an Asshole
- by Paul Ditta
Is this just an attempt to shock and titillate? The idea of iconic children’s imagery sexually debased for the amusement of adolescents is a perennial favourite on the exercise books of schoolboys across the globe. The idea of juxtaposing the innocent image of Snow White and a masturbatory fantasy straight from the pages of a top shelf magazine is done to death, surely?
Well, yes. But then we look a little closer. They are spouting philosophical asides as they do so. Not just philosophy, but the specific statements of Wittgenstein, the Austrian philosopher/logician. What is being conveyed here is deeper than the titillation of schoolboys.
Debasement and distraction are the themes here. The icons presented are being destroyed before our eyes. What child could ever watch Snow White again after a demonstration of her masturbatory ejaculation? Would Aladdin be the same after the bestial encounter shown here? And what would a pre-schooler think of Alice in Wonderland after seeing the lascivious pleasure on The Mad Hatter’s face at taking young Alice from behind?
Anal sex, bestiality, the extremities of “acceptable” sexual behaviour are pushed and then shredded and characters, the very epitome of innocence and chastity, are mauled, fucked, groped, buggered and stripped of all their glamour. But to what end? And why are they spouting philosophy?
Perhaps this is a comment on the nature of the introspective disciplines: art, like philosophy and music inspire and colour the human experience and give weight and meaning to our civilisations. However, come the barbarian hordes, come the raiders at the walls of civilisation and art and philosophy must give way to weapons and the ancient science of killing. We have created a world where we can engage in activities that do not feed, warm or protect us in any material way.
But these pieces show the consequences of failing to respond practically to the forces that would destroy us. Every civilisation carries the spore of its own destruction with it.
The civilisations that survive are those that recognise this and take steps to protect themselves, inoculate, if you will, from the viruses they carry. So, the characters speak at length, quoting the words of a respected philosopher, but they are destroyed all the same. They are torn down whilst still contemplating when they should have taken up arms and protected themselves.
Anyone who is not a philosopher is an asshole. Indeed, but faced against an army of enemies, philosophy will not protect you, nor will it feed you or clothe you alone. The failure of philosophy to protect these icons from debasement does not make a lie of Wittgenstein’s quote; it just makes the point that sometimes we need assholes in the world, if only to preserve the Wittgenstein’s of this world to delve the deeper truths. |
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Western Philosophy
2005 |
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| In the Western Philosophy series, film stills of Winnetou and Old Shatterhand movies are provided with absurd legends.
The subtitling of the dialogues has been replaced by philosophical quotes that have been taken out of their original context. This leads to ironic comments that re-appropriate and re-interpret the official history of philosophy in a tongue-in-cheek way. The combination of the serious quotes of “highbrow” culture and the scenes from “popular” culture through a deliberate, wrong synchronisation causes a distortion between both worlds. |
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Western Philosophy
2005 |
','Image'))
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| In the Western Philosophy series, film stills of Winnetou and Old Shatterhand movies are provided with absurd legends.
The subtitling of the dialogues has been replaced by philosophical quotes that have been taken out of their original context. This leads to ironic comments that re-appropriate and re-interpret the official history of philosophy in a tongue-in-cheek way. The combination of the serious quotes of “highbrow” culture and the scenes from “popular” culture through a deliberate, wrong synchronisation causes a distortion between both worlds. |
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| Education and biography | |
| Solo 2006: The Art Is out There, Gallery Annie Gentils, Antwerp, Belgium // Tell Me about Your Father, Museum Van Nagsael, Rotterdam, The Netherlands 2005: Refresh!, Lineart 2005, Gent, Belgium; Presented by ZINGERpresents, Amsterdam, The Netherlands // Tractatus Logos Philosophicus, Aschenbach & Hofland Galleries, Amsterdam, The Netherlands 2003: Art Is Sublimation, Gallery Annie Gentils, Antwerp, Belgium 2002: WYSI(N)WYG, The Far Site, Brasschaat, Belgium 2001: 2001 - A Fame Odyssey, MuHKA, Antwerp, Belgium // The Launching, Mission of Czech Republic to the EU, Brussels, Belgium Group 2007: Director's Lounge, Berlin, Germany 2006: Art Cologne, Cologne, Germany; Presented by Gallery Annie Gentils, Antwerp, Belgium // 25 Years Brakke Grond, De Brakke Grond, Amsterdam, The Netherlands // Art Brussels, Brussels, Belgium; Presented by Gallery Annie Gentils, Antwerp, Belgium // Arco Madrid, Madrid, Spain; Presented by Gallery Annie Gentils, Antwerp, Belgium 2005: Lineart, Gent, Belgium; Presented by Gallery Annie Gentils, Antwerp, Belgium // Art Cologne, Cologne, Germany; Presented by Gallery Annie Gentils, Antwerp, Belgium // Sixfold - Foto Antwerpen, Gallery Annie Gentils, Antwerp, Belgium Antwerpen te gast in Rotterdam, Gallery Mirta Demare, Rotterdam, The Netherlands // Fiesta!, Gallery Annie Gentils, Antwerp, Belgium // Arco Madrid, Madrid, Spain; Presented by Gallery Annie Gentils, Antwerp, Belgium 2004: Sugar & Spice II, Gallery Annie Gentils, Antwerp, Belgium // In The Attick, Viteux Castle, De Pinte, Belgium; Curated by Bart Vanderbiesen 2003: Lineart, Gent, Belgium; Presented by Gallery Annie Gentils, Antwerp, Belgium // Sugar & Spice I, Gallery Annie Gentils, Antwerp, Belgium 2002: The Leak, The Far Site, Brasschaat, Belgium Former Lives Intelligensius Anarchus as Happy Female Artist a.s.v.p. / In co-op with Klara Jiraskova 1997: The Red Devils, Poster Edition, Belgium // Art in The Arsenal, H.I.S.K., Antwerp, Belgium 1996: The Happy Female Artist's Birthday Party, MuHKA, Antwerp, Belgium // The Red Gate, SMAK, Gent, Belgium // The Independence Day, H.I.S.K., Antwerp, Belgium // The Happy Female Artist, Edition Roger Vandaele, Antwerp, Belgium // The First Plenary Meeting of The Communist Party of Czechoslovakia, Mark Macken Zaal, Academy for Fine Arts, Antwerp, Belgium Jeff Blind as Blind RT 2000: Cooperation with Daniel Weinberger, WINDOW - Walter Van Beirendonck, Antwerp, Belgium 1990: Audio–Visual Experimental Festival Arnhem, The Netherlands 1989: Cultural Center, Vienna, Austria // De Melkweg, Amsterdam, The Netherlands Audio–Visual Experimental Festival, Arnhem, The Netherlands 1988 ICC, Antwerp, Belgium Studies Intelligensius Anarchus underwent the following brainwashing & enlightment: Artificial Intelligence @ Free University Brussels, Belgium; Photography @ St Lucas Brussels, Belgium; This & That @ H.I.S.K. Antwerp, Belgium; Painting @ Academy for Fine Arts Antwerp, Belgium & Academy for Fine Arts Rome, Italy Jeff Blind succeeded to absorbe: Comparative Philosophy @ U.I.A., Antwerp, Belgium; Electronic Music Composition @ Antwerp Conservatory, Belgium as well as Video & Photography @ Academy for Fine Arts Antwerp, Belgium |
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| Future shows | |
| ART COLOGNE 41st International Fair for Modern and Contemporary Art Koelnmesse, Halls 9 + 10, Cologne Tel: 49 221 8213091 E-mail: artcologne@koelnmesse.de www.artcologne.de Apr 18 - 22, 2007 |
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| Website: www.happyfamousartists.com | |
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