THE COLLOQUIUM FOR UNPOPULAR CULTURE and THE ROYAL ACADEMY AMERICA present:
THE CUT CUTTING (dir. Brian Catling and Tony Grisoni, 2017), 37 minutes – world premiere, followed by conversation with Brian Catling
WHEN: Thursday 9 March 2017, 6:30pm
WHERE: Royal Academy America, 54 Thompson Street, 3rd Floor [at Broome]
Free and open to the public. Refreshments provided.
Limited seating. RSVP (to ss162[at]nyu.edu) required.
In 1952, in Grauballe, Denmark, the gnarled but perfect body of a 2000-year-old man was discovered folded in the ancient peat fields.
This archaeological triumph was marred by an old woman who refused to believe the age of the body. She claimed he was a lover from her distant youth. A man who had disappeared sixty years before. No matter what scientific proof she was given she knew it to be him.
All this is fact.
Love is beyond evidence. Sacrifice CUTS both ways.
In 2005 Tony Grisoni and Brian Catling wrote and directed THE CUTTING. Twelve years later, it was decided to take the knife to it again. To pare away and rearrange some of its complex interior to reveal the pearl they hoped may still be shivering deep inside. THE CUT CUTTING is that … but still with more grit than polish.
BRIAN CATLING (b.1948) is one of the most singular artists operating in Britain today. Since the early 1970s he has been a brilliant, demented magus, moving between sculpture, performance, video art and latterly novel-writing; mining a personal mythology once characterized as “bomber pilots, natural history field studies, architectural excavations, fairground freaks, Dutch interiors, forensic anomalies, star charts, London, Maria Callas”; and producing a ferocious, fantastical, blackly comic body of work that represents, in the words of the critic Ian Hunt, a collective “tirade against the ossification of practices and actions into roles and careers.”
He also paints portraits of imagined Cyclops in egg tempera.
His novel The Erstwhile is published on 7 March. It is a follow-up to The Vorrh (2014) which Michael Moorcock described as “one of the most original works of visionary fiction since Peake or Carpentier”, Alan Moore hailed as “a phosphorescent masterpiece”, and Terry Gilliam claimed it to be “so extraordinary it hurts”.