Livros sobre música que vale a pena ler - Cromo #108: Cosey Fanni Tutti - "Art Sex Music"

 

autor: Cosey Fanni Tutti
título: Art Sex Music

editora: Faber & Faber

nº de páginas: 502
isbn: 978-0-571-32852-9
data: 2018 (paperback)

a primeira edição, suponho que em hardback, é de 2017

SITE: https://www.coseyfannitutti.com/content/artsexmusic.html

Capa:

Cosey Fanni Tutti

Art Sex Music

 

‘A remarkable autobiography

… Inspiring.’ Sunday Times

ff

 

pg.1

Art Sex Music

Cosey Fanni Tutti began her career in 1969. She is a hugely respected artist and musician, known for her performance art, her work in the sex industry, as co-founder of Throbbing Gristle, and her pioneering electronic music as half of Chris & Cosey and Carter Tutti.

 

Further praise for Art Sex Music:

 

‘An extraordinary life.’ Alexis Petridis, Guardian

 

‘It’s taken half a lifetime for Cosey Fanni Tutti to be recognized for her achievements in art, performance and music… Art Sex Music isn’t merely a memoir, then; it’s a chance for Tutti to clear up the misconceptions about her career and reclaim her own narrative – and what an extraordinary narrative it is. This is the tale of a preternaturally creative individual dedicated to challenging and, where possible, breaking down ideological and social barriers, often at enormous personal cost. It’s also about resourcefulness amid astonishing unpleasant and hardship… Darkly funny … Though the details of Tutti’s career are consistently fascinating, these glimpses of life outside it are what gives the book its warmth.’ Fiona Sturges, Book of the Day, Guardian

 

‘Tutti’s commitment to individualism precludes any wider political perspective on the industrial culture she helped to instigate, but this fierce adhrence to herself… has taken her closer to the action than most.’ Wire

 

Pg.2

‘Fascinating… This book is certainly a treat for fans of Throbbing Gristle, adding much information to what is already in print… In Art Sex Music, Tutti’s clarity and poise help set the record straight on many episodes in the oft tormented life of the band. Yet, it would be wrong to posit the “Throbbing Gristle connoisseur” as the implied reader of her memoirs. Tutti’s recollections, triggered by the discovery of her diaries, touch on so many aspects of her personal life, her solo and collaborative work in the fields of performance, photography, pornography, and music, that they succeed in welcoming the casual reader just as much as the Throbbing Gristle completist.’ Giuseppe Zevolli, Drowned in Sound

 

‘In a frequently jaw-dropping rollercoaster tale, Cosey pulls few punches, claiming her relevance to a modern world people take for granted.’ Kris Needs, Record Collector

 

‘A fearless and frequently eye-popping account of her life.’ Uncut

 

‘”Far out” was once a term referring to the avant garde in both visual and musical art. Cosey was far out from the off, as far as I remember. Some artists may take it up to the limit; Cosey’s art starts from the accepted limit.’ Robert Wyatt

 

‘Cosey Fanni Tuti is the personification of self-empowerment; her art and music has made an imprint onto several generations of curious minds. We all imagine the stories of our heroes, but it’s a true pleasure to hear them from the original Wrecker of Civilisation herself.’ Sasha Grey

 

Pg.3

Art Sex Music

Cosey Fanni Tutti

Ff

FABER & FABER

 

Pg.4

This edition first published in the UK in 2017

By Faber & Faber Ltd, Bloomsbury House,

74-77 Great Russell Street, London WC1B 3DA

First published in the USA in 2017

This paperback edition first published in 2018

Typeset by Reality Premedia Services Pvt. Ltd.

Printed in UK by CPI Group (UK) Ltd, Croydon CRO 4YY

© Cosey Fanni Tutti 2017

 

ISBN 978-0-571-32852-9

 

Pg.5

Dedicated to Chris – my heartbeat

 

Author’s Note

As I was researching for an exhibition, going through some of my old diaries to fact-check, I got totally distracted and drawn into my past and ended up reading for hours. I finally closed the diaries and put them back in the cupboard, all chronologically lined up, like my story in waiting. I knew at that moment what form my book would take. If I was going to enter the lion’s den of my past, it would be by using my diaries as my primary source. They offered an unblinkered view into my mindset of that time, and I could avoid the misty goggles of retrospection. The diaries evoked strong feelings of extreme happiness, my spirited passionate self, and the not-so- good feelings of dark sadness and pain. It was a revelatory process and they provided exactly what I needed – albeit a harsh and definitely not rose-tinted view of my past.

Livros sobre música que vale a pena ler - Cromo #94: Ruth Bayer - "Coil: Camera Light Oblivion + companion - "Sick Mirrors: Coil at the Barbican, 7 April 2002"

 

autor: Ruth Bayer

título: Coil: Camera Light Oblivion 

+ companion - "Sick Mirrors: Coil at the Barbican, 7 April 2002"
editora: Strange Attractor Press
nº de páginas: 172 + 32
isbn: N/A (hardback), lilimatdo a 50 cópias, a minha é a 53/500, com certificado autografado pela autora

data: 2021

Primeira Edição.

Página do Livro, na Editora

já está out of stock

https://strangeattractor.greedbag.com/buy/coil-camera-light-oblivion/

Camera Light Oblivion

Ruth Bayer

Coil: Camera Light Oblivion

By Ruth Bayer

First Published by Strange Attractor Press, 2021, in an edition of 500 copies, along with “Sick Mirrors: Coil at the Barbican, 7 April 2002

All photographs © 2021 Ruth Bayer

Design by Thiana Sare

Ruth Bayer has asserted her moral right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act, 1988.

Printed and Bound in Estonia by Tallinna Raamatutrükikoda

STRANGE ATTRACTOR PRESS

BM SAP, London, W1CN 3XX UK,

www.strangeattractor.co.uk

INTRODUCTION

I first met Jhonn Balance in 1988 at the photo session for the Current 93 album Earth Covers Earth, which I shot on Hampstead Heath in London. He was known to everyone as Geff (his birth name), and he wore a fabulous Hawaiian shirt to the session. That was the first time I photographed him, and the book you are now holding contains the last photos I took of him – and the only photos I took of his partner Peter ‘Sleazy’ Christopherson.

I would sometimes bump into Geff Through our great mutual friends Ossian Brown, Stephen Thrower and David Tibet – Geff knew I was a Gardnerian Witch and he was fascinated by the subject, which we discussed on numerous occasions. Later, when he occasionally visited London from Weston-super- Mare, we would meet in Crouch End, where I lived, for coffeee. It was lovely – by this time he had a bushy beard and looked like an Edwardian explorer.

Despite our many shared friends, I never met Peter until he and Geff invited me to document their Time Machines concert in London in 2000. This was to be Coil’s first music performance in England, held at the Royal Festival Hall. We had already spoken on the phone to discuss the arrangements, but when I arrived at the soundcheck Peter jumped up and greeted me with a big hug – which helped settle my nerves as I was a great admirer of his visual work, and photography had also been a great passion of his throughout his life. I photographed Geff, Peter, Ossian and Tighpaulsandra onstage during the soundcheck, in the private backstage areas, and had the great privilege of being allowed to roam the stage throughout the concert in order to hopefully get a true ‘Onstage with Coil’ experience – I was surprised and delighted to have been given full stage access but was very aware that I didn’t want to impede or distract the performers. Fortunately, for some years previously I had been photographing performance art for the Live Arts department of London’s Institute of Contemporary Arts (ICA), so had plenty of experience in keeping a low profile.

I was shooting black & white and colour film with my reliable old 35mm Nikon F3HP-SLR camera, along with a couple of manual Nikon AIS lenses (a 35-105mm zoom and a 50mm f/1.8). The stage was bathed in UV black light which looked great but played havoc with my light meters – I couldn’t get anything like a useable reading. At the ICA I often had awkward shooting environments to contend with – so I decided to trust my intuition here – shooting with up to ½ second exposures, and feeling very glad I had bought along a monopod! Backstage after the concert I told Peter how concerned I was about the meter readings and how the photos may turn out, to which he replied ‘Coil are an experimental band and the images will reflect that – don’t worry about it’.

When I collected the contact sheets a day later from the processing lab I was thrilled to find all the shots had worked – even the ‘experiments’! I sent them to Peter, who immediately left a message on my answering machine telling me they couldn’t have been any better, and that he, Geff and Ossian loved them… what a relief! I later discovered that Peter would take the contact sheets from these first two performances along to future concert halls, to show technicians how the stage should look. After photographing them on the night of this first concert I went on to shoot the other two Coil London shows illustrated in this book, and each was a very special occasion I shall always treasure.

After these performances I often met with Ossian (and still do) but I would only see Peter a few more times before his death – once sadly at Geff’s funeral. My last memory of Peter was a much happier event: an art show at the Red Rose Club in Finsbury Park where he excitedly told me about his impending move to Thailand, along with an invitation to ‘visit any time’. I would like to dedicate this book to both Geff and Sleazy for their kindness, and the generosity and trust they showed in allowing me access to all areas of the performances featured here.

Ruth Bayer