„But, there are always people who do, kind of, die, in sort of part of a creative process, and we need to, kind of, cherish and appreciate those people. That was a bit of a downer wasn’t it!“ Peter Sleazy Christopherson This book is a textual summary of their presentation, which was recorded at the Spoiler/Museum Quarter Vienna. For the last 12 years, only a single DVD copy was available to be lent out. Despite Coil’s disbandment, international inquiries to borrow this rare document of the times on DVD continue unabated, making the presentation of this unique conversation in the form of a tangible, limited edition book now appear necessary. Coil continues to speak to us, and we continue to dream of them.
In today's media landscape, pornography has become a pervasive force, overshadowing traditional notions of divinity in human existence. Its reach has expanded into diverse public spaces, leading to a societal "pornification" that redefines the category itself. Filmed sexuality intertwines word, image, and action, shaping perceptions of desire and delineating acceptable from unacceptable practices, while also contributing to the sexualization of individuals. These complex relationships are often inadequately explored in existing literature, which tends to oversimplify the nuances of filmic mediation based on cultural status or market dynamics. Stoya, a notable pornographic actor and producer, champions greater female autonomy in the industry, challenging its patriarchal structures and highlighting the negative repercussions of its production. An influential figure in media, she has written extensively on her blogs and advocated for sex workers. Since her initial contract with a major porn company twelve years ago, Stoya has experienced significant personal and industry-wide transformations. She passionately embraces her work, engaging as an author, performer, director, and producer, while leveraging her online platforms to promote accessibility and inclusivity in pornography for all genders.
On 30 August 2013, exactly ten years after its foundation, the State of Sabotage (SoS) was dissolved. The state had five provinces, 15 embassies and consulates, over 14,000 citizens, its own constitution, passports, currency and over 20 versions of its anthem. SoS was committed to civil values in the best sense, such as education, culture, and fundamental human rights. It crossed the lines between state sovereignty and went beyond them using artistic means. Four years have passed since then and despite the temporal distance, enquiries and requests haven’t ceased pouring in. The world is in transformation and poses new challenges which continue to render the brief existence of the State of Sabotage utterly relevant to the present, whether because of its migration policies, its approach to physical territory and legal gray areas, or its critique of the claims to perpetuity of state forms. STATE OF SABOTAGE – Robert Jelinek (Ed.) DER KONTERFEI 023 / Paperback / 500 pages / English - Deutsch / over 350 full color images / ISBN 978-3-903043-12-1
Ulay is one of the pioneers of performance art. His practice is not about human alienation, but rather the kind of alienation that captures art and then forms its own identity. Its experience cannot be captured by Ulay -- yet when immanence is grasped, the inner drive, uncontrollable urge, or the „must“ become artistically visible as a necessary consequence. The must is Ulay's lifeblood; a driving force and principled approach to draw from himself and his own creativity; something he learned during the course of his life, often involuntarily as a chance to survive. His investigations are directed towards what one could generalize as Conditio Humana, of which there can be expanded and extreme forms, but never a cathartic purification. In fact, the inexorability of most of his performances, in combination with the openness into which the audience is disbanded indicates that Ulay makes a point of denying catharthis in the sense of controlled emotional release. With his work, he mainly sought to find his own identity, which he continues to do today. DER KONTERFEI 032 / Paperback / English / 50 pages / Limited edition of 300 copies / ISBN 978-3-903043-21-3 / Release Date: February 2017
The most fundamentally horrifying moment of “horror” has consistently been when the main characters lose their individuality and dignity, and when the grand depiction of their utter failure and disappointment occurs. John Carpenter is no dying companion, no hospice nurse, but rather a master of keys whose keys unlock the perils of pure living. Every day, somewhere, people drown; people who love other people, whether out of necessity or conviction; people who risk everything. Our values and our culture are disintegrating, going down the drain, yet we are so preoccupied with our own psychoses and excuses that we are no longer capable of holding our neighbors close. We can’t risk anything for fear of getting hurt. And precisely because of this, we lose everything, including ourselves. Carpenter dares to counter this in his films... because it’s worth it“. Robert Jelinek DER KONTERFEI 029 / Paperback / English / 50 pages / Limited edition of 300 copies / ISBN 978-3-903043-18-3 / Release Date: December 2016
In a life with stagnant water as an earth toilet and Smartphone in the hand are not only technologically, many awareness steps between. The fault of Indonesian underdevelopment is next to the colonial era, later military regime, now the happy consumption and ultimately the interests of large corporations, other states and imported religions. Iswanti Suparma was a feminist activist of student and women's movement of the 1980s and 1990s during the military regime of former Indonesian President Suharto and is now projected as Director of Mitra Imadei in Jakarta - an institution for humanitarian and social movements. Daniel Alamsjah had a divine vision that prompted him to build near the Borobudur temple on the highest hill in the jungle, a kind of prayer house in the form of a chicken. The completely secluded from the outside society system the so called »Chicken church« has been used as rehabilitation for disabled children, drug addicts and mentally ill. This giant prayer house becomes one of the world's top ten of the most bizarre and unconventional architectural structures and a popular tourist attraction in Java. The collective Jogja Noise Bombing sonicated mainly the streets of Yogyakarta with DIY synths and amplifiers. As in Indonesia, the Noise music that evolved from the protest and Punk movement of the 1990s, is now one of the flourishing scenes of Extreme and Independent Music throughout South East Asia.
Seit 1968, mitten im Kalten Krieg, behauptet der Schweizer Forscher und Autor Erich von Däniken, dass es Außerirdische gibt und diese die Erde bereits besucht haben. Däniken verfolgt seit fast fünfzig Jahren unermüdlich Spuren, um der Weltöffentlichkeit objektive Beweise zu liefern. Er gehört zu den erfolgreichsten Sachbuchautoren weltweit, mit einer Auflage von fast 70 Millionen Exemplaren. Ein offiziell bestätigter Beweis für extraterrestrisches Leben scheint aufgrund der breiten Anhängerschaft und Popularität des Themas nicht mehr notwendig. Dänikens Hypothesen sind aus unserer Kulturgeschichte nicht wegzudenken; sie beflügeln unsere Vorstellungskraft von Zeit und Raum und erinnern uns an eine mögliche Zukunft. Alles Wissen des Menschen basiert auf einer zeitübergreifenden Wiedererinnerung an die grundlegenden Ideen, die allem zugrunde liegen. Suchen und Lernen sind letztlich Akte der Erinnerung. Der Mensch, der viel weiß, wird oft mit dem Wesentlichen konfrontiert, das ihm dennoch verborgen bleibt. Diese Gedanken führen ihn auf eine unfreiwillige Reise, auf der er seiner Schöpfung nachgeht, die ihm plötzlich zu entgleiten droht.
Narthex, ein Junge aus dem strengen Narrendorf, findet ein weißes, unbedrucktes Buch am Flussufer. Als es zu regnen beginnt, entdeckt er, dass bei Nässe darin Wörter und Bilder sichtbar werden. Das seltsame Buch handelt von der Nympe Glauke, die nur durch einen Gegenzauber gerettet werden kann. Gemeinsam mit seinem Freund Fennek, einem Wüstenfuchs, macht er sich auf die Reise, um Glauke zu finden. Das Buch ist zugleich Anweisung und Behälter für den Gegenzauber, für den die beiden die Tränen von einem Baum, Wolkensaft, unterirdisches violettes Wasser, den Schweiß eines Riesen, Wasser aus dem Weckaufsee und schließlich noch Moorwasser sammeln müssen. Wie aber sollen sie die Donnerbande überlisten? Wie das Volk der Abheber mit dem der Festkleber versöhnen? Wie ein 128-jähriges Kind verstehen, das mit jedem Jahr jünger wird? Wichtige Aspekte, wie Gemeinschaft, Mut und Zusammenhalt werden thematisiert. Sensibilität, Umsichtigkeit, Erfindungsreichtum und Humor unterstreichen Narthex Charakter. Die Kapitel befassen sich mit Themen wie Schwerkraft/Anziehungskraft, Geruch/Appetitlosigkeit/Krankheiten, Zeit/Wachstum/WiederholungEwigkeit, Sprache/Echo/Orientierung, Umwelt/Schutz/Armut und Selbst/Bewußtsein/Ich. Die Themen animieren zum Nachmachen (Reime, Spiegelverkehrt lesen, Pendeln, Huckepack tragen, Riechen, Wasser suchen mit Wünschelrute, Traumdeutung und Landkarten lesen). Bei ihren Abenteuer begegnen Narthex und Fennek Figuren, Tieren und betreten Orte aus der griechischen Mythologie (Ikaria, Glauke, Echo, Lethe, Mnemosyne, u. a.) Zitate von Nietzsche, Goethe, Novalis und aus der Bibel kommen in veränderter Form zur Geltung. Das Buch Narthex ist für Kinder ab 5 Jahren und in 8 Kapitel unterteilt. Jedes Kapitel hat einen Umfang von ca. 5–7 Seiten und 5–6 Illustrationen. Die Illustrationen wurden von Robert Jelinek in Aquarell (4 Format) angefertigt.
