Sauce (1974) Class Fool (1976) de Paul McCarthy

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Sauce (1974) Class Fool (1976) de Paul McCarthy

Notapor satantango » Mié Feb 15, 2006 4:54 am

Homenaje a Fitz y sus ripeos #5


Messy Performances of Paul McCarthy

Paul McCarthy is an artist celebrated and at the same time heavily criticized by the settled artworld. His Art is embracing the easy communication of Disney and horror movies but on the other side it has a dense psychological complexity.

Paul McCarthy's oeuvre contains big hilarious sculptures like the big balloon called 'Daddies Bighead', have you ever seen the male better visualized Imagen. It's based on the Pinocchio character from Disney, but the innocence of the original is replaced by masses of pink with boobs and all kind of phalluses sticking out. Could easily by the symbol of the general male surfing for his daily dose of porn.

An other part of his work are the messy performances with theme's like sexuality, birth and domination. The performance takes place in a small setting with an audience, but that's only a part of the artwork. After filming the performance he uses them again in installations where he is Miss Piggy or Heidi. And of course lots of ketchup, Mayonnaise and chocolate sauce.

eD2K link Sauce.(Paul.Mc.Carthy,.1974).avi (233 MB)

Lenght: 00:17:50
Video: XviD at 1692kb/s 512 x 384
Audio: Mp3 at 128kb/s


Class Fool

In this period of his psychosexual work, McCarthy is dipping his cock in black painting or he is masturbating with raw meat while wearing women's undergarments. His work often becomes an exercise in abjection and self-humiliation and an exorcism of infantile feelings that sometimes involve grotesque forms of female drag and a fair amount of physical paint. In "Class Fool" of 1976, McCarthy holds a doll between his legs, and hops about on a ketchup-slicked floor his feet regularly and violently slipping out from under him.

By the late 70s McCarthy was moving on a more pop-cultural direction using sitcomlike acts and ketchup trying to expose the Hollywood vocabulary of special effects. With this last development, which led to McCarthy's mature style, one can see that his work, in part, charted the historical evolution of shock away from its cutting edge origins and into the corporate mainstream. For what is national entertainment state governed by, if not sensationalism? McCarthy understood this and for a while was able to maintain the critical distance of the outsider.

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