For years Christine Wandel has conducted rituals with stray cats she had taken into her studio apartment. She claims around two hundred New York officials and attorneys got involved in forcing her to give up her dozen or so cats due to the complaints of her neighbors who poured liquids under her door to staunch the stench.
Old crones have squirted her with water pistols loaded with Clorox. I have logged over three thousand hours listening to her miserable crucified existence, I concluding years ago that she was a Crisis-Christ Junkie who used these poor animals to go to Her Cross and grab all the attention. I complained many times about her no longer listening to my ongoing crisis over the destruction of my Literary and Artistic Family Legacy.
Chris has been telling me she hates human beings, and her stinky cats are superior to every human being on the planet, but her and I. However, I detected some deception here. There was talk about an Alien Bloodline. I saw myself in chains, being led before the Superior Feline Tribunal for reveling Cat Bag Secrets. In 1986 I began my science fiction novel ‘Elfine’ a half-human, half feline from the planet Felinia.
ELFINE
FELINE
Two years ago, Christine formed a bond with the infamous artist, Stefan Eins, seen in these photos with Herman Nitsch, who was barred from a museum for conducting bloody ritual sacrifices. Three months ago, I got calls from Christine informing me someone was ritually killing her cats that she secreted to another State with the help of Stefan Eins. This is all Top Secret stuff that I am not supposed to reveal. However, this Very Odd Couple employed stealth in order to suck me into their high drama, that is now High Art, and thus belongs in the public domain. Stefan turned Christine’s studio into his gallery after helping her with her cat crisis, thus, these cats are………….ART!
Consider Felini’s ‘Juliet of the Spirit’ and ‘La Strada’. Christine complains to me how her Art Bully drags her to perverted shows where she reels in disgust at what she beholds.
“There was a hairy vagina with bugs coming out of it – COCKROACHES! I told them what I thought, and they wanted to record it.”
“That disgusting art whore………..”
“You should have gone for it and become ‘The Last Honest New York Critic.”
This is how I envisioned Christine and Stefan, before I saw the infamous Kiss Flick starring Brooke McGowan, the kiss-starved Austrian gypsy waif.
There has got to be a mound of paper filed in the courts of New York about how to separate Christine from her feline disciples – her captive audience! They hired a professional ‘Sniffer’ who demanded Christine get out of her way so she could look in an unplugged refrigerator taped shut with duck tape. This woman wanted to see if there were dead mummified cats in there. Christine held out her arms, and in a scene of crucifixion..
“You will never see what is inside. Never!”
Everyone wanted to a glimpse of the Inner Christine. This was a great assignment that made good conversation at dinner at one of New York’s finest;
“Then, she came at me in a crouch. I swear, I heard her hiss!”
“You’re the talk of the town, Chris. They never want your case to end! It’s better than ‘Cats’.”
I’m going to NY and get copies of this legal material to use in my Ritualistic Masterpiece – that I deserve!
Ten years ago, she called me and told me about the sunrise service she held for ‘Jaws’ the cat that tore into her leg while she was taking a shower. Christine watched her blood flow down the drain. She gave Jaws psychotropic drugs and kept him in the bathroom because he was a killer. Never-the-less, he was put in a cardboard box, with lit candles on top. Christine described how she watched the killer’s coffin sail down to the Hudson – to the sea! I saw the box going under an old wooden pier and setting the waterfront on fire. The conversations we had on the phone were otherworldly. Three years ago we talked about recording them. I think we were bugged by everybody.
Christine and I compared Stefan to our friend Keith Purvis, Christine’s former lover that she first met in 1965 while she was attending Mill’s College in Oakland. Keith came from England. In 1963 Keith fell in love with my late sister, the famous artist, Christine Rosamond Benton, who picked up a brush for the first time in 1972. The movie ‘Across the Universe’ is about both Christine’s and Keith and I, who became my good friend in 1964 when he came to live with me in the Village. We were both seventeen.
In 1969, Keith and my younger sister, Victoria, drove to Camarillo State Hospital to visit Susan Villiani who was committed by her parents in what the ACLU told me was an illegal procedure. My brother drove me to see Sue a year earlier, but, they changed their mind, and would not let me see her. I said this to the head nurse.
“I am going to zap your mind as you sit there with that smirk on your face. I am going to wipe it clean. I will render you a vegitable!”
She must have pushed a button, and behind me stands a huge woman nurse breathing heavily. I knew she was prepared to grab me. I was ordered to leave. It was then I got an ACLU attorney, and began to make long calls to Sue’s father, begging him to get his daughter out of that asylum. He assured me Sue’s doctor knew what he was doing, and the shock treatments my ex-lover was receiving, was doing her a world of good.
A year later, Sue’s father calls me. He is crying.
“What have they done to my daughter. Greg, you were right. She is a veritable. She doesn’t recognize me! I lodge a complaint and Sue’s doctor has disappeared. I can not find out where he went.”
We cried, together. Sue was beautiful aspiring actress who go the attention of Hollywood directors who came to see her in High School plays. When Vicki and Keith went for a walk on the grounds, Keith led sue to his van, got her inside, and headed up Highway 101. Thirty miles down the road, Sue begged Christine Wandel’s lover to take her back. I have read some of the letters Sue and Keith have exchanged over the years. Keith has disappeared. We have not heard from him in four years. Sue was Christine’s best friend and roommate. Rosamond’s autobiography was disappeared.
Almost two years ago I began a musical starring Chris, Stefan, Belle, and myself, called ‘My Big Beautiful Blue Bicycle. I ran this idea by my friend, Jeff Pasternak, the son of the famous Jewish director. He is working on his own musical, and asked Marilyn Reed for help with he female heroine. Christine Rosamond, Susan Villiani, Jeff, Marilyn, Bryan McClean, and myself, went to University High School. Bryan and I sat across the table from Michael Barry, the son of the actor, Gene Barry, in an art design class. Michael made a movie called ‘The Second Coming of Suzanne’. It is an Art Movie. Bryan and I were the school artists who talked art theory all the time.
The Second Coming of Suzanne (also known as Suzanne) is a 1974 film directed by Michael Barry. It stars Jared Martin as an obsessed San Francisco indie film maker who hires a beautiful young woman called Suzanne (played by Sondra Locke) to star as a female Christ in his next film. Richard Dreyfuss appears as a member of the crew who becomes concerned at the increasingly weird antics of the rest of the ensemble, which culminate in the crucifixion of Suzanne on a local hill. The film was inspired by the lyrics of Leonard Cohen‘s song “Suzanne”, as heard on the soundtrack. The director’s father Gene Barry is also featured, as a TV presenter, in a somewhat opaque sub-plot.
This appears to be Michael Barry’s only known film as a director.”
I told my friends that Sue was crucified at Camarillo. They captured this beautiful woman, and ritually destroyed her. She was given twenty-six shock treatments and heavy drugs to conceal their crime. She must have been in very bad shape when I tried to see her.
Here is is a photo taken of the dairy at Camarillo that lie in ruin. Did Sue work here? When I saw this image I thought about the action art of Herman Nitsch. What really turns me on is the hill with a cropping of rocks. When our President formed a coalition to fight ISIS, I designed this flag.
Bryan McClean lived with Vito Paulekas who did performance art happenings as did Jirle Zorthian. Bryan was invited to dinner at Sharon Tate’s home the night the Manson Cult showed up, but, he had another invite. ISIS is a CULT that is blowing the world’s mind with ritual slaughter. They are destroying important Art and Artifacts. I believe the World of Art has a life of its own, and has been suing me to send a message to all of humanity.
Zionist Kosher Jews are furious with Bardot whose blue bicycle stars in my musical.
French actress and animal rights activist Brigitte Bardot has published an open letter in several French newspapers calling for a ban on shechitah, the Jew practice of torturing animals in order to please their satanic tribal god.
That the Herman show used the word ‘LOVE’ in show, is profound, but, this is the tops of iceberg. Christine and Stefan created a CULT where I was subjected to covert activity, and shunned if I did not demonstrate loyalty – as a non-member! For this reason, I am obligated to reveal what I know. I am a newspaperman. The world has gone – MAD! The French have sent an aircraft carrier to punish ISIS. What about……..THE ART?
Below is Christine’s apartment with a photo of Stefan on the wall. Chris told me about a pact they signed, and complained how his art was everywhere. She felt, choked, overwhelmed. She talked about getting him out of her life. When I asked her why she hadn’t, she said this most profound thing;
“I hate him. I love to hate him!”
After a long silence, I told my friend of forty-five years;
“You are in a very dynamist relationship with a well-known artist, that is worthy of being recorded in a book – a art book!”
Jon Presco
Copyright 2015
https://rosamondpress.com/2015/11/11/was-my-mother-insane/
Installed in the main exhibition space of the HVCCA, the Hermann Nitsch installation stands in dialogue with ‘LOVE’, which opened in February of this year. The bond formed between God and the Hebrews in that early desert stage was based on a love relationship, proven by salvation from Egyptian enslavement and a parent to child nurturing environment within the dessert
https://rosamondpress.com/2015/07/30/love-and-the-marbles/
https://rosamondpress.com/2013/11/10/muse-of-the-love-dance/
https://rosamondpress.com/2015/05/05/my-big-beautiful-blue-bicycle-2/
https://www.youtube.com/watch?v=hBu250zR-nA
French actress and animal rights activist Brigitte Bardot has published an open letter in several French newspapers calling for a ban on shechitah, the Jew practice of torturing animals in order to please their satanic tribal god.
Bardot accurately referred to the sick Jew practice as “ritual sacrifice,” which upset the sneaking rats, as they prefer to use the euphemism “ritual slaughter.”
Le Parisien, Le Figaro and Le Monde all published the letter, which also calls for an end to weird Muslim torture routines.
Moshe Kantor, the ratlike chief of the European Jewish Congress, denounced Bardot for her compassion, saying “Ms. Bardot’s depiction of shechitah as ‘ritual sacrifice’ is not only deeply offensive and a slur against the Jewish People, but also shows a stunning lack of knowledge in an area where she purports to be an expert … Bardot has once again shown her clear insensitivity for minority groups with the substance and style of her letter.”
Nitsch’s Orgien Mysterien Theater performances (or Aktionen, as he calls them) can be considered both ritualistic and existential. The scene is often involved with slaughters, religious sacrifices, crucifixion, as well as blood and flesh. The performances are also accompanied with music, dancing, and active participants.[3]
The First Orgien Mysterien Theater[edit]
In the first Orgien Mysterien Theater performance, Hermann Nitsch and his friends used animal carcasses, entrails, and blood in a ritualistic way. The cloths, bandages and other fabrics used in these performances introduced Nitsch to the idea of making paintings.[1]
Controversial aspects[edit]
Having grown up during the World War II, Nitsch reveals his fascination with the intensity of religious feelings for life in his art work with excessive means such as taboo images, nudity, bloody scenes and more. For this, he received several court trials and three prison terms. It is often suggested that his work may exemplify cultures’ fascination with violence.[1][4][5][6]
Hermann Nitsch (born 29 August 1938) is an Austrian artist who works in experimental and multimedia modes.
Born in Vienna, Nitsch received training in painting when studied at the Wiener Graphische Lehr-und Versuchanstalt, during which time he was drawn to religious art.[1][2] He is associated with the Vienna Actionists—a loosely affiliated group of off-kilter and confrontational Austrian artists that also includes Günter Brus, Otto Muehl, and Rudolf Schwarzkogler.[3]
Nitsch’s abstract splatter paintings, like his performance pieces, address the excessive beauty and intensification of human existence. In the 1950s, Nitsch conceived of the Orgien Mysterien Theater (which roughly translates as Theatre of Orgies and Mysteries or The Orgiastic Mystery Theater), staging nearly 100 performances between 1962 and 1998.[3]
On view: Friday, August 14th – December 6th, 2015
Reception: Saturday, September 12th, 5 – 7 pm
HVCCA is honored to present Hermann Nitsch’s one-person installation, “Leviticus.” The installation features Nitsch’s “Leviticus,” his seminal book (52 3⁄4” x 38 1⁄2”) opened to the segment describing the sacrificial services of the High Priest. The surrounding walls feature12 terragraph prints and accompanying extracts from Leviticus in both Hebrew and German. Complementing the prints are paintings and priestly garments.
Terragraph is a printing technique developed by the Israeli printer Har-El and used in the terragraph workshops of Jaffa, Israel. A very strong varnish is used in conjunction with sand from the Judean and Negev desert. By choosing this refined and localized technique, Nitsch takes us back to the actual sites where the book of Leviticus is narrated to the Priestly caste as a manual of the worship laws stipulated by God.
At HVCCA one can see the Biblical text most concerned with the codification of public prayers and rituals. The large format work is opened to the priestly manual describing the performance surrounding the sacrifice which will, on a practical level, supply the priestly class with their food, and on a spiritual level act as a purification vehicle for them so that, in servicing the community, they are free of sin. The omnipresent color red in all the works stands for blood as the essence of life.
Installed in the main exhibition space of the HVCCA, the Hermann Nitsch installation stands in dialogue with ‘LOVE’, which opened in February of this year. The bond formed between God and the Hebrews in that early desert stage was based on a love relationship, proven by salvation from Egyptian enslavement and a parent to child nurturing environment within the dessert
Since 1957, Nitsch has been addressing the intensification of human existence through his ritualistic performance art in “The Orgies Mysteries Theatre”. With more than 100 performances to date, these staged Dionysian performances emulate religious sacrifices: mock crucifixion, blood, entrails, robes, dance and nude participants. Religious tropes are here: the intensity resembles scenes from Grünewald’s Isenheim Altarpiece, the carcasses nod towards Rembrandt’s hanging meats. Nitsch mimics the passion plays of the medieval period and harks back to the Biblical and pre-Biblical blood rituals where immersion in the ‘fluid of life’ and the use of animals and animal blood are surrogates for human sacrifice.
His paintings seen here are beautiful abstractions symbolizing what it means to be human. They are graceful violent palimpsests, full of vitality, but also quiet for contemplation, representing a life of originality, courage and dissidence. Hermann Nitsch (born 29 August 1938), a founder of the Vienna Actionists is one of the most influential artists today.
Hermann Nitsch lives and works at Prinzendorf Castle on the Zaya River, Lower Austria. His works are exhibited in the two Nitsch Museums in Mistelbach and Naples as well as in the Nitsch Foundation in Vienna and in prestigious international museums and galleries such as MoMA, Guggenheim, Metropolitan Museum New York, Tate Gallery London, Musée Centre George Pompidou Paris, Nationalgalerie Munich and many more.
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