Valerie Solanas’ Defacement of Scum Manifesto

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The Olympia Press, 1968 edition of SCUM MANIFESTO held by the New York Public Library defaced by Valerie Solanas in 1977.

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Mr. Lannon speculated that Ms. Solanas slipped into the library in 1977, when she apparently returned to New York for the first time in several years. She had served time in prison for the 1968 shooting of Warhol and had been in and out of mental institutions, including one in Florida.

At the library, she would have filled out a slip requesting the book. It would have been pulled from the shelf and handed to her, he said.

Ms. Solanas scratched out her name on the cover and wrote “by Maurice Girodias.” Mr. Girodias, who had published that version of Ms. Solanas’s text, was famous for having published Vladimir Nabokov’s “Lolita,” which had put him at odds with censors in France. He published Ms. Solanas’s 11,000-word text under the imprint of his Olympia Press.

“She’s creating intellectual capital,” Mr. Lannon said, “but it’s being taken away from her — I think that’s how she saw it.”

In her anger, Ms. Solanas wrote “flea” beside Mr. Girodias’s name inside the book. She also wrote, “Read my version and events in my next book.” (She told The Village Voice she had received a $100 million advance for that next book — from “the mob.”)

On the title page, she wrote “This is not the title.” She also wrote that Mr. Girodias’s edition was “full of sabotaging typos.”

On the copyright page, she wrote “LIES! FRAUD!” She also circled “S.C.U.M.” and wrote, “Never! Never!”

Inside the back cover, she wrote, “Lies! Lies!” Then she signed her name.

Ms. Solanas did some copy-editing on the back cover, too. The published version had white lettering on a red background. “Only three years ago, we used to make fun of Valerie Solanas, agitator, writer and would-be revolutionary — with her wild, insane radical feminism,” it said. “Then we were horrified when she shot Andy Warhol in 1968, just to make a point.” She crossed out the last five words and wrote, “Lie.”

– James Barron, ‘Warhol’s Assailant Left Another Mark, on a Library Book’, New York Times blog, February 22, 2012, http://cityroom.blogs.nytimes.com/2012/02/22/warhols-assailant-left-another-mark-on-a-library-book/?_r=0

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Original self-­published mimeograph
of 21 A4 pages 1967 edition

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Tower Hamlets Homes Housing Monster

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Monster Management Team

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Art Practices and the Housing Crisis Conference

 

A one day conference examining how contemporary art practices engage with the current housing crisis

18 November 2016

29 October 2016 - 15 January 2017, Promising Home @ People's History Museum

Time 10:00 – 16:00

Duration 6 hours

Cost In order to keep our events programme affordable to everyone, please make a donation

The Institute of Urban Dreaming (IUD) is hosting a one day conference examining how contemporary art practices engage with the current housing crisis.

The event will consist of a series of talks and round table discussions.  It aims to consider the encounter between art and housing in a critical, trans-disciplinary way.  It will consider housing and art practice before and beyond the current trend for socially engaged art.  It will also debate the ethics and politics of practices that relate to gentrification and displacement.

This conference is part of IUD’s public events programme to coincide with their exhibition Promising Home, on show at PHM until Sunday 15 January 2017.Arts Council England

The event has been funded by The Arts Council.

Suitable for adults and young people

Booking Requirements: Booking required via Eventbrite

  • Please note event attendees must arrive at least ten minutes before the start time of the event, otherwise their booked space will be given to someone on the reserve list
  • Please contact the museum as soon as possible if you wish to cancel your reservation so your place can be given to another visitor
  • Please note all donations are non refundable
  • For further information please contact the museum on 0161 838 9190 or email events@phm.org.uk

http://www.phm.org.uk/whatson/art-practices-the-housing-crisis-conference/

 

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Sacrifice and Survival

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Ossuary for Glosses

 

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By dissecting the words we like, without bothering about conforming either to their etymologies or to their accepted significations, we discover their most hidden qualities and the secret ramifications that are propagated through the whole language, channeled by associations of sounds, forms and ideas. Then language changes into an oracle, and there we have a thread (however slender it may be) to guide us through the Babel of our minds.

Michel Leiris, and Lydia Davis, ‘Glossary: My Glosses Ossuary’ (1925), Brisées = Broken Branches, San Francisco: North Point Press, 1989, pp.3-4.

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The commodity hides in stores, in warehouses – in inventory

What is a commodity? A concrete abstraction. An abstraction, certainly – but not an abstraction in spite of its status as a thing; an abstraction, on the contrary, on account of its status as a social ‘thing’, divorced, during its existence, from its materiality, from the use to which it is put, from productive activity, and from the needs that it satisfies. And concrete, just as certainly, by virtue of its practical power. The commodity is a social ‘being-there’, an ‘object’ irreducible to the philosophical concept of the Object. The commodity hides in stores, in warehouses- in inventory. Yet it has no mystery comparable to the mystery of nature. The enigma of the commodity is entirely social. It is the enigma of money and property, of specific needs and the demand-money-satisfaction cycle. The commodity asks for nothing better than to appear. And appear it does – visible/readable, in shop windows and on display racks. Self-exhibition is its forte. Henri Lefebvre, The Production of Space, p.340

Inventory_flyer-for_Vol2_No_3_1997.jpgInventory Journal flyer for Vol.2 No.3, 1997 (photo taken at Mayday Archives)

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Again Morning

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Historical Time and Mechanical Time – WB

Historical time, however, differs from this mechanical time. It determines much more than the possibility of spatial changes of a specific magnitude and regularity – that is to say, like the hands of the clock – simultaneously with spatial changes of a complex nature. And without specifying what goes beyond this, what else determines historical time – in short, without defining how it differs from mechanical time – we may assert that the determining force cannot be grasped by, or wholly concentrated in, any empirical process. Rather a process that is perfect in historical terms is quite indeterminate empirically; it is in fact an idea.

Walter Benjamin, ‘Trauerspiel and Tragedy’, in Selected Writings Vol.1, 1913-26, pp.55-57, p.55.

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Neither Heroes Nor Villains

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A is for Architecture

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Man will escape his head as a convict escapes his prison

ARCHITECTURE

– Architecture is the expression of the true nature of societies , as physiognomy is the expres sion of the nature of individuals . However, this com­parison is applicable, above all, to the physiognomy of officials (prelates, magistrates, admirals) . In fact, only society’s ideal nature – that of authoritative command and prohibition – expresses itself in actual architectural constructions . Thus great monuments rise up like dams, opposing a logic of majesty and authority to all unquiet elements; it is in the form of cathedrals and palaces that Church and State speak to and impose silence upon the crowds . Indeed, monuments obviously inspire good social behaviour and often even genuine fear. The fall of the Bastille is symbolic of this state of things . This mass movement is difficult to explain otherwise than by popular hostility towards monuments which are their veritable masters .

For that matter, whenever we find architectural construction elsewhere than in monuments, whether it be in physiognomy, dress, music, or painting, we can infer a prevailing taste for human or divine authority. The large-scale compositions of certain painters express the will to constrain the spirit within an o fficial ideal. The disappearance of academic pictorial compo­sition, on the other hand, opens the path to the expression (and thereby the exaltation) of psychological processes distinctly at odds with social stability. This, in large part, explains the strong reaction elicited, for over half a century, by the progressive transformation of painting, hitherto characterised by a sort of concealed architectural skeleton.

It is clear, in any case, that mathematical order imposed upon s tone is really the culmi­nation of the evolution of earthly forms, whose direction is indicated within the biological
order by the passage from the simian to the human form, the latter already displaying all the elements of architecture. Man would seem to represent merely an intermediary stage within the morphological development between monkey and building.Forms have become increasingly static, increasingly dominant. From the very outset, in any case, the human and architectural orders make common cause, the latter being only the development of the former. Therefore an attack on architecture, whose monumental productions now truly
dominate the whole earth, grouping the servile multitudes under their shadow, imposing
admiration and wonder, order and constraint, is necessarily, as it were, an attack on man.
Currently, an entire earthly activity, and undoubtedly the mos t intellectually outstanding,
tends, through the denunciation of human dominance, in this direction. Hence, however
strange this may seem when a creature as elegant as the human being is involved, a path –
traced by the painters – opens up toward bestial monstrosity, as if there were no other way
of escaping the architectural straitjacket.

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