Kurt Komoda’s editor illustration for Issue 04 of Coilhouse. Tea and sympathy (and tentacles). Arsenic and old lace (and absinthe). Information, inspiration, infection!
Morning, sinners! That’s Warren’s line, but then it’s a Warren kind of morning (the kind of morning that all Coilhouse readers should begin with a bottle of whiskey in hand.) Because this morning, and all week, we’re taking your questions and answers over on Whitechapel! Step right up, ask us anything your heart desires. There are a lot of different beakers bubbling in the CH lab that we probably can’t discuss directly… but we can hint! And we can certainly get into more general chat: Coilhouse’s history, our personal inspirations, magazine theory, internet curating, etc. We’re basically game to discuss whatever parts of the process you’d like to hear more about, and we’d love to ask you some questions as well! What periodicals do you read? What you think the future holds for mainstream print? For indie mags? For tastemaking blogs? For fringe/alternative culture in general? If you’re a Coilhouse reader, what subject matter would you be interested in seeing more of in our future issues? Down the rabbit hole we go. Let the Coilhouse/Whitechapel tea party commence!
Additionally, this a courtesy post is to let all readers know that Issue 04 is almost gone. Issue 03 is walking out the door pretty fast as well (we had more 03’s in stock originally), but Issue 04 disappeared at an alarming pace that even we weren’t prepared for. 800 copies are gone since we put it up on sale on December 21, and 200 copies remain (with about as many copies left of Issue 03). So for any stragglers who were on the fence about buying one or both issues, now’s the time. Now or never, because we’re not in the position to reprint. Once they’re gone, they’re gone. This one’s pretty special to us, so we hope you get a copy. You can pick it up in our online store, at Wildilocks in Australia, Barnes & Noble and Borders in the US, and Meltdown Comics in Los Angeles. An exact list of store locations will be posted today or tomorrow.
Top row: Caryn Drexl, Elle Moss, Katie West. Middle row: Hilary McHone, Diana Lemieux, Zoetica Ebb. Bottom row: Laura Kicey, Natalie Dybisz, Rebekka Guðleifsdóttir.
Finally, there’s a self-portrait competition in the last days of voting with several members of the extended Coilhouse family in the running, as well as some talented folks we’ve not encountered before. The artist who wins the popular vote will receive a $1,000, and the grand prize is a residency in Manhattan. We’d like to urge you to support an artist by taking the time to view and vote for their portfolio. The contest’s site unhelpfully does not list a guide to the portfolios entered, so we’ve selected a few artists who we believe deserve your time. Photographers Caryn Drexl, Laura Kicey and Katie West should be familiar to anyone who’s read the blog long enough; our articles about their work appear at the bottom of this post. Additionally, our very own Zoetica has entered the contest with several phantasmagorical interpretations of reality. Other photographers whose work we found fascinating include Elle Moss, Hilary McHone, Diana Lemieux, Natalie Dybisz, and Rebekka Guðleifsdóttir. This list is by no means exhaustive, so if there are other entrants we should be aware of, please let us know in the comments!
Ironically, one of the more quietly endearing moments from one of the most fascinating television shows of all time:
SO many reasons why this clip makes the heart glad. Where to start? Agent Cooper and Gordon Cole’s matching outfits? David Lynch’s oddball stentorian delivery? The quirky scrumptiousness of Shelley Johnson? Harry’s hangover? Log Lady’s grumpy wisdom? The sweet, cherry pie purity of it all? It was charming little scenes like these that made Twin Peaks’ darker, more surreal and confrontational moments all the more devastating.
Two thumbs up, and a cup of coffee, please. Black as midnight on a moonless night.
New Yorkers with a taste for the deeply weird and gorgeous and ridiculous, you owe it to yourself to go see Hausuplaying at the IFC Center this week. Actually, y’know what? Correction– you owe it to ME to go, since I live thousands of miles away and won’t be able to.
Comrades, we’re talking about something unprecedented: a high-end screening of an actual print of what was long considered one of the most legendary horror bootlegs in existence. As far as I know, this fantastical film has been nigh-impossible for Westerners to view any other way. Until now.
Kudos to comics/film guru Ben Catmull for turning me onto this raging brilliant nutterfest.
Shot in 1977 by experimental Japanese director Nobuhiko Obayashi (and based on a story written by his 7 year old daughter), Hausu is one of the most riotously demented movies ever committed to celluloid. There’s plenty I could tell you about it (and there are tons of rabid, frothing film geek reviews online if you want to go exploring) but my instinct tells me it’s best to go unprepared, and just give yourself over to being repeatedly tit-slapped by the technicolor Japanese KRAY ZAY. My own virgin viewing experience was similar to seeing The Forbidden Zone or Eraserhead or The Billy Nayer Show for the first time– mindblowing, seminal, beautiful, and fucked up as all hell. Seifuku Koo Koo!
Come to think of it, there are a lot of wonderful things happening in New York imminently: Throne of Blood (a completley different flavor of Japanese cinematic genius) is showing at Film Forum, BAM is celebrating Dr. Martin Luther King on Tuesday, and tomorrow there’s the Knickerbocker Orchestra’s WFC performance of Prokofiev’s Peter and the Wolf, with Neil Gaiman narrating. Plus, two ultra high-concept Coilhouse Issue 05 photo shoots that have been in the planning stages months are finally happening. We’ll divulge more about those shortly.
Meanwhile, seriously, DO NOT miss seeing Hausu in the theater. GO, GO, GO. If my fervent urging hasn’t yet convinced you jaded bastards that this screening is not to be missed, click below for several more clips and stills.
It’s a little sad, how the advent of CGI rendered much of the animatronics industry obsolete just when cinematic robotics were starting to get so intricate, so lifelike. But the technology retains its place, and under certain circumstances, there’s still a definite advantage to using animatronics instead of CGI or stop motion. Some truly badass robotic FX artists have continued to find plenty of work. Take British wunderkind John Nolan, for instance:
Squeee! Although a relative newcomer, Nolan’s already worked on everything from Hellboy to Where the Wild Things to Doctor Who to Harry Potter. You have to check out his entire show reel. Incredible stuff.
Today is as good as any for a mind-fuck so the FAM is proud to present 2006’s A Scanner Darkly directed by Richard Linklater and featuring a rotoscoped cast headed up by Keanu Reeves who stars as Bob Arctor, a member of a household of drug users. Arctor is also known as Fred. This is the name he goes by at work, where he is an undercover police agent assigned to the household in order to discover the source of a new drug called Substance D. Fred has, in the course of his investigation, become addicted to Substance D as well and soon his surveillance focuses on one person: Bob Arctor.
And so it goes in A Scanner Darkly. Adapted from the 1977 novel of the same name by the late, great Philip K. Dick, one of his most personal work, in many ways a record of his drug experiences in the 70s. Twisting and turning, it is also one of his most complex, a labyrinth of alter egos where people are hidden from even themselves. Linklater handles all of this with aplomb, putting together a movie that deftly trumps its source in plot presentation. As much as I have always liked A Scanner Darkly it oftentimes trips over itself in explaining events, making for more than a few passages that require multiple readings in order to suss out.
Despite any problems with plotting, it remains one of Dick’s saddest works, and one of the few novels in which he goes out of his way to create real characters with a modicum of depth. The man, for all his brilliance, never put much importance on the people that inhabit his worlds; they function merely as tour guides, escorting the reader through the fantastic universes he has created. But the story of Arctor/Fred, perhaps by dint of it being a roman à clef, manages to overcome this proclivity and in doing so presents a powerful tale of paranoia and profound loneliness.
The fate of Arctor, used, abandoned, and broken, was one that Dick witnessed far too often and he channeled that hurt and anger into a story that sets its sights on both sides of the drug debate. It is most telling, then, that in his afterward, in which he lists people he has known who have suffered serious permanent physical, mental damage, or death from drug use he lists himself as well. It is just as sad that this list, included in the ending credits of Linklater’s film, had a name added to it. The story of A Scanner Darkly never really ends.
The video for You Look Familiar, the single from Belgian’s Team William, featuring — as DRAWN!’s John Martz points out — some fantastic and decidedly Fleischer-esque visuals by the directing duo Joris Bergmans and Michélé De Feudis. The song’s not bad either.
Please welcome Ales Kot, a writer hailing from the igloos [or was it bear caverns?] of the Czech Republic and now residing in Angel City, USA. In early fall, agent Kot conducted an interview with apocalyptic sculptor Kris Kuksi. This interview was initially meant for Issue 04, but we’ve decided to publish it here instead, in order to give more print real estate to Kris’ incredible work.
Dharma Bovine
COILHOUSE: Your website biography opens with a Lord Byron’s quote: ”When falls the Coliseum, Rome shall fall; And when Rome falls – the world”. What’s your opinion on the current mass fascination with various visions of the apocalypse? KRIS KUKSI: Mainly because we’re at a tipping point in humanity and I really wonder if we’re going to figure out how to save ourselves from such things as climate change, religious fanaticism, peak oil, and overpopulation. There is much to be learned from history – there are always cycles of growth, prosperity, decline and fall. Right now we have advanced more than ever before and yet we may be beginning to see indication of decline. There certainly is resistance to confronting it with how humanity has set up governments and education. There is a maze of laws and legislations to navigate in order to change things in the world. I believe there is always a dodging of responsibility when it comes down to saving this planet. Rome fell for many reasons and one of those reasons was its involvement in the Middle East, its attempt to conquer and colonize it, with subsequent economic deterioration as a result. Thereafter, barbaric invaders and the rise of religious changes further contributed towards the fall. Do we see parallels in history today? I think it’s obvious.
In the past, you’ve stated that humanity is a “silly, ongoing, short-term memory machine that fails to learn from the past”. What are your thoughts on ways to change this? Can the machine be repaired, and if so, how can it be done?
It certainly can and the word of the day is “choice”. We have all the power in our hands, minds, and might to educate and and learn and remember what history tells us. There is a decline in education in the industrial world because man has to answer to the machine before inquiry. We have based our lives on serving these machines of industry and forget to observe the results, which are those things that harm life on the planet in many ways.
These images, created by conceptual art/illustration/photography unit Neon O’Clockworks, appeared in the Japan/Victorian issue of Yaso Magazine. (Yaso, a Japanese-only art magazine published in Tokyo, has issues with themes like “doll,” “vampire” and “Svankmajer” – more about this incredible publication, with pictures and reviews of specific issues, later this week!) The series that these images come from is called “Timeless Prelude,” subtitled “Victorian Period & Huge Head” – click here to see the entire project. The artists write that the series was inspired by the huge wigs of bygone eras, along with Japanese geisha makeup. The result is a nostalgic, Sarah Moon-esque atmosphere that dips into the 1700s and the 1900s, Kabuki stylings and German expressionism, East and West. Not to be missed on their site are some of the other projects: the Kragenedechse installation (make sure you see the room of silence and the exhibition’s window display!), the Japan Avant-Garde portraits and the Dressed/Naked book.
It seems that, no matter how many times we are warned about them, human beings cannot resist a creepy, dark, and empty storefront. We appear hardwired to look into the dusty and grimy abyss of a shop devoid of another person (or, at best, one so wizened that they may as well not be human at all) and immediately ascertain that, yes, indeed this is a place we must enter. Ladies and gentlemen, please, stop doing this. Should you be presented with such a choice, let me assure you that you will only bring upon yourself a swift, painful, and perhaps ironic end. Really, just walk away.
Alma, the titular main character in the short film by Rodrigo Blaas, received no such lecture, I’m afraid. Her parents were negligent in educating their child about the dangers of unmanned counters and stores with a distinct lack of helpful salesmen. Alas, Alma is naive and tragically ignorant of such places, a combination that, as previously mentioned, can only get one into trouble. All the more so when dolls are involved. No, dear reader, no good can come this. No good at all.
