'PINOCHET PORN' LAST SCENE: ASHRAM ORGY FILMED IN LONDON. A FILM BY ELLEN CANTOR

the great Cerith Wyn Evans as the great Osha, the sex guru




star studded cast including Nicola and Pascale as the Xuxetes, Margartita as the pregnant virgin, Jeanette, Bishy, Patrick Blumer and Princes Julia


Patrick Blumer as the one that was never loved, finally receiving some love at the ashram


director of photography of the ashram orgy scene, cinematographer Chris Hughes, who used to do the camera in Derek Jarman's films


guest star appearance of Philippos N as a young satyr




new friends arrive to the sex ashram

Cerith and Jeanette

Director Ellen Cantor and CWE rehearsing a scene



Patrick Blumer as the Clown boy


Jeanette, Cerith and the Clown boy

Pinochet Porn, a film by Ellen Cantor,

last scene Ashram Orgy filmed in London

view the trailer here

"Pinochet Porn" is a soap opera-like narrative about five children growing up during the Pinochet regime, and their subsequent maturation into adulthood. Shot on Super-8, this feature-length film is based on a 2005 hand drawn film script "Circus Lives from Hell". The story while disclosing the intertwined lives of these five characters, also reveals its nature as a microcosm of surrounding political discord, cycles of destruction, and mounting violence. It is at once tragic and comedic. Segments of a particular history are made observable through the circumstances of the lives depicted, all obliquely revolving around the Pinochet regime in Chile. Within this story, childhood fantasy is permeated by structures of annihilation, which the characters later create in their own lives as adults. The story ends with the question: Is tragedy a choice? The title refers to the complex intimate relationships of the characters; but more so, to the regime’s systematic, sadistic destruction of individual lives - policies furtively upheld by the United States, United Kingdom, and the Papacy. This no-budget film has elicited collaboration from some of the most gifted people in the field.

Directed by : Ellen Cantor
Director of Photography : John Brattin
Art Director : Jay Kinney

STARRING :

Lia Gangitano - Pinochet's identical-twin daughters
Jim Fletcher - the Dictator
Andrew Haynes - the suffering Wife, the toy Boyfriend
Jay Kinney - the toy Boyfriend
Michel Auder- Husband One (he married both sisters!)
Spencer Sweeney - Husband Two (the young man)
John Thomson - Husband Three (he taught her about conceptual art...)
Ellen Cantor - Husband Four (the best friend), the Maid
Harri Kupiainen - Husband Five (the rock star!!)
Danny McDonald - Husband Six (he got her pregnant!)
Sofia Elisabeth Von Herrlich - the Baby!
Patrick Blumer - the Clown boy
Brandon Olson - the castrating man-eating demonic Girlfriend
Stephen Ward - Mango Cha Cha (the famous DJ!)
Tristan Hughes-Freeland - Mango Cha Cha as a child
Annabel Sexton - his little Sister
Rosalie Knox - the Nun

with special guest STAR appearances:
Francesca Gangitano
Carmel McMahon
Emma Nilsson
Mateo Kamzelas
Shandi Sullivan
Ryan Harman
Malcom Hamilton
Cate Giordano
Kerry Davis
Debbi Martini
Jo Murray
Arturo Carlo Samperi Malagnino
Nuutti Kataja from Dead Combo!!
Cerith Wyn Evans - Osha the sex guru!

Narrated by : Pablo Leon de la Barra

Executive Producer: John Maybury

Assistant Editor : Simon Popper, Nikos Pantazopoulos
Camera Assistance : Cate Giordano
Copy Editor : Nikos Dimitros
Creative Production Assistance : Jill Herman
Technical Assistance : Clinton Curtis, Glen Fogel

CERITH WYN EVANS 'EVERYONE'S GONE TO THE MOVIES, NOW WE'RE ALONE AT LAST..." AT WHITE CUBE IN LONDON

Cerith Wyn Evans, C=O=N=S=T=E=L=L=A=T=I=O=N (I call your image to mind), 2010


Cerith Wyn Evans, S=U=P=E=R=S=T=R=U=C=T=U=R=E ('Trace me back to some loud, shallow, chill, underlying motive's overspill…'), 2010


Cerith Wyn Evans, Thought unsaid, now forgotten..., 2010

Cerith Wyn Evans: ''Everyone's gone to the movies, now we're alone at last...''
14 Apr—22 May 2010
White Cube Mason's Yard

"Rinsed with mercury / Throughout to this bespattered / Fruit of reflection, rife / With… distortion / (Each other, clouds and trees). What made a mirror flout its flat convention? / Surfacing as a solid… / And what was the sensation / When stars alone like bees / Crawled numbly over it?..."
The Changing Light at Sandover, James Merrill

White Cube Mason's Yard is pleased to announce an exhibition of new work by Cerith Wyn Evans. Taking its title from a song by Steely Dan, 'Everyone's Gone To The Movies' (1975), Wyn Evans has created two major installations that transform the gallery spaces, engaging the viewer through the interaction of light, sound and reflection.

Suspended in the ground floor gallery is 'C=O=N=S=T=E=L=L=A=T=I=O=N (I call your image to mind)' a polyphonic sound mobile adapted from a series of 'audio spotlights' by the American holosonic inventor Joseph Pompei. Suspended in tiers, sixteen mirrored discs gently rotate in mid-air, transmitting directional, ultra-sonic beams of sound. This consists of a multi-layered soundtrack or sound collage created by Wyn Evans using various audio sources amongst which are his own piano arrangements and field recordings gathered by the Lovell radio telescope in Jodrell Bank. These constantly shifting bursts of audio disorientate the viewer as the polished 'mirror-speakers' reflect and deflect the sound off the surrounding walls, creating a phenomenological experience that can neither be shared nor repeated. In the stairwell, Wyn Evans has placed a white neon sculpture titled 'Subtitle', which can be read when reflected on the adjacent glass window, interrupting the view to outside. The neon spells out the phrase 'Thoughts unsaid now forgotten…', occasioning a cognitive slippage whilst, at the same time prompting us to recollect.

In the lower ground floor space Wyn Evans has created a spectacular installation of light columns entitled 'S=U=P=E=R=S=T=R=U=C=T=U=R=E ('Trace me back to some loud, shallow, chill, underlying motive's overspill…')' that references the former electricity sub-station which stood on the site now occupied by the gallery. This soaring infrastructure consists of seven columns that reach over five metres high, and which are built out of drums of tubular light bulbs, stacked in varying lengths and diameters. The layout, while following no apparent guiding rule creates its own order, intuitively informed by principals of spatial balance that the artist has encountered in Japanese rock gardens, galactic alignment and site groupings of stars in astrophotography. Yet here, the transparency of these vertiginous flutes, defined by flecked-wire filaments that run through their centre, appear to hide nothing. Intermittently the columns surge to a blinding brightness, then gradually fade back down to black, channeling an incandescent sense of breath and ethereality.

In the small adjoining gallery Wyn Evans has hung a series of twenty-two framed works on paper, titled 'F=R=E=S=H=W=I=D=O=W', that references a poem by Stephane Mallarmé titled 'Un coup de des jamais n'abolira le hasard' (A throw of the dice will never abolish chance), which was published posthumously in 1914. The poem was reprinted in 1969 by Marcel Broodthaers who described it as an 'image' after having blocked out the various typefaces and arrangement of words using black bars. Wyn Evans takes this a process a step further by framing each page of the poem, both recto and verso, like a series of intervals, glazed on both sides. Every line of the poem has now been cut away leaving a composition of interstitial gaps on the gallery wall - framing the materiality of the already framed 'white cube'.

The Artist would like to thank Dr Tim O'Brien of the University of Manchester's Jodrell Bank Centre for Astrophysics for their support and assistance.

A fully illustrated catalogue, including an interview with the artist by Hans Ulrich Obrist, will accompany the exhibition.

Cerith Wyn Evans lives and works in London. In 2003, he represented Wales in the 50th Venice Biennale and has participated in the 9th International Istanbul Biennial (2005), Yokohama Triennale (2008) and will be in the forthcoming Aichi Triennale this summer (2010). Last year, he collaborated with Florian Hecker and Thyssen-Bornemisza Art Contemporary on ‘No night No day’ at the 53rd Venice Biennale (2009). He also collaborated with Throbbing Gristle on a major visual and audio installation titled A=P=P=A=R=I=T=I=O=N which was exhibited at both the Yokohama Triennale and the Tramway, Glasgow. Recent solo exhibitions include Kunsthaus Graz (2005), Musée d’art moderne de la ville de Paris, Paris (2006), MUSAC, Leon (2008), Inverleith House, Edinburgh (2009) and Tramway, Glasgow (2009).

CERITH WYN EVANS 'TO KNOW HIM IS TO LOVE HIM' CURATED BY PABLO LEON DE LA BARRA AT CASA BARRAGAN

'The Curves of the Needle', slide projection


visitors waiting in Barragan's garden, there might be no fireworks because of the rain...


Proust's phrase, transcribed and translated by Barragan








Casa Luis Barragán y Pablo León de la Barra presentan
Cerith Wyn Evans
‘To Know him is to Love Him’
Sabado 17 de Abril , 7PM
Abierto por cita previa hasta Junio 12

‘To Know him is to Love Him’, presenta dos trabajos realizados por el artista gales Cerith Wyn Evans para la Casa Luis Barragán.

El primer trabajo, ‘Las Curvas de la Aguja’ consiste en la proyección de diapositivas The Curves of the Needle, cuyo título es tomado del texto de Theodor Adorno escrito en 1927, que examina la noción de la música como un retrato psicológico cultural de oyente. Las imágenes de fotografías hechas en la Casa Barragán y en la Ciudad de México durante su estancia en el 2002, son combinadas con fotografías del archivo personal de Wyn Evans e imágenes encontradas que dialogan con la obra de Barragán. A la vez, las imágenes son acompañadas de un fondo musical realizado a partir de una selección musical hecha por Wyn Evans de la colección de discos del propio Barragán. El titulo de la exposición, ‘To Know him is to Love Him’, proviene de una de las canciones de esta selección musical. ‘Las Curvas de la Aguja’ fue desarrollado a partir de la participación del artista en la exposición ‘El Aire es Azul’ en la Casa Luis Barragán curada por Hans Ulrich Obrist en 2002, donde el artista reparó los tocadiscos de Barragán e hizo que hubiera de nuevo música en la casa. Es la primera vez que ‘Las Curvas de la Aguja’ se exhibe en México, y en palabras del artista, exponer la obra en el contexto donde fue realizada consiste en un acto semejante al de ‘traer al herido de vuelta al campo de batalla’.

El segundo trabajo, presentado en el jardín-taller localizado en frente de Casa Barragán, consiste en la realización de una escultura temporal lumínica de texto construida con fuegos artificiales. La escultura presenta un texto de Marcel Proust que aparece en su novela publicada en 1913, En Busca del Tiempo Perdido, Por el Camino de Swann, y que Barragán subrayó en su copia del libro y que transcribió en su cuaderno de notas. La frase transcrita dice:
EL RECUERDO DE UNA IMAGEN DETERMINADA
NO ES SINO LA AÑORANZA DE UN INSTANTE DETERMINADO;
Y LAS CASAS, LOS CAMINOS, LAS AVENIDAS SON FUGITIVOS,
¡HAY! COMO LOS AÑOS…
La escultura luminosa existe por tan solo unos minutos antes de desvanecerse, de la misma manera como la memoria, las imágenes y el tiempo desaparecen. Tanto la frase de Proust, como la arquitectura de Barragán y la obra de Wyn Evans, existen en un espacio atemporal, un espacio de dolor sensible ante el mundo, de un entender del mundo contemporáneo que existe en desfase al de sus propios contemporáneos. Tanto la obra de Barragán, Proust y Wyn Evans detonan el subconsciente de la memoria para existir entre lo visible y lo invisible, lo presente y lo ausente.

Cerith Wyn Evans nació en1958 en Llanelli, Gales, vive y trabaja en Londres. El trabajo de Wyn Evans se desarrolla a partir de los setentas en el underground londinense, donde colaboró de cerca con los cineastas británicos Derek Jarman y John Maybury, siendo uno de los protagonistas del movimiento conocido como los New Romantics. Durante la década de los ochentas Wyn Evans realizó una serie de películas experimentales, a la par que colaboró con otros legendarios artistas como Michael Clark, Leigh Bowery, Throbbing Gristle, The Smiths o The Fall. Durante los últimos años, el trabajo de Wyn Evans se ha convertido en un punto de referencia imprescindible de la escena artística londinense, su sofisticada obra ha inspirado a muchos artistas de las generaciones mas recientes. La obra de Wyn Evans está concebida por su relación crítica e histórica frente a las posibilidades y vicisitudes tanto del cine, la música, la arquitectura y la escritura, creando relaciones inusuales entre el espacio, la luz, el lenguaje y los objetos, donde la opacidad, y la experiencia de la obra implican una aceptación de la imposibilidad de una coherencia inmediata.

En 2003, Wyn Evans represento a Gales en la 50 edición de la Bienal de Venecia. Ha participado en la novena edición de la Bienal de Istanbul (2005), Yokohama Triennale (2008) y en la próxima Aichi Triennale (2010). En 2009 colaboró con Florian Hecker y con Thyssen-Bornemisza Arte Contemporaneo en No night No day en la 53ava Bienal de Venecia (2009). Tambien colaboró con Throbbing Gristle en una instalación visual y auditiva titulada A=P=P=A=R=I=T=I=O=N exhibida en la Yokohama Triennale y en Tramway, Glasgow. Exposiciones individuales recientes incluyen Kunsthaus Graz (2005), Musée d’art moderne de la ville de Paris, Paris (2006), MUSAC, Leon (2008), Inverleith House, Edinburgh (2009) y Tramway, Glasgow (2009).

Agradecimientos:
Casa Luis Barragán, Hans Ulrich Obrist, Jose García Torres, Mario García Torres, MARCO Monterrey, Carla Verea, Francisca Rivero Lake, Cecilia León de la Barra, Marta Gerveno.

Fuegos Artificiales: Arquitecto Enrique Rico Campos

Cerith Wyn Evans, ‘To Know him is to Love Him’, es possible gracias al apoyo economico de la Fundación/Colección Jumex y Eugenio López Alonso a travez de su programa de patrocinios.

Casa Luis Barragán, General Francisco Ramírez 14, Colonia Ampliación Daniel Garza, México, D.F.
Visitas previa cita: Lunes a Viernes 10AM a 2PM y 4 PM a 6 PM, Sábados 10 AM a 1 PM
Tel: (52) 55 5515-4908
casaluisbarragan@gmail.com
http://www.casaluisbarragan.org/

CERITH WYN EVANS, STUDIO VISIT, LONDON

Cerith Wyn Evans and studio curator Pascale, photographed outside Cerith's studio