Casino luxembourg altars of madness
Jul 30, · Altars of Madness Casino Luxembourg - Forum d'art contemporain 41, rue Notre-Dame L Luxembourg — Entrepôt-galerie du . Sascha Di Giambattista, peinture murale in situ au Labo (Casino Luxembourg), Sascha Di Giambattista, In the framework of the Altars of Madness exhibition. The exhibition displays and brings together the works of art of a generation of artists affected by extreme metal, accompanied by a few others who were pertinent.
ALTARS OF MADNESS – CASINO LUXEMBOURG
The combination of Black metal and the Golden Age of painting are seldom mentioned. Like any underground culture, extreme metal cannot truly be experienced when you remain a distant observer. Altars of Madness refers to a very singular culture, and the idea is to reveal the thoughts and the aesthetic this one could generate from the inside. And so it appears that some artists, whose works have been deeply affected by it, started to get involved in the extreme metal scene at a time when they were far from imagining that one day their ideas would become works of art. Particularly rich on a visual level, black-metal inspired numerous artists. Following the three musical genres of extreme metal and their different characteristics, the exhibition is divided into three parts. Thursday from 11 a.
Altars of Madness
Morning after Exhibition Opening. Photo by Mark Titchner. While Torbjorn Roland chose to entitle a landscape photograph Buzrum, Mathew Barney was inviting musicians from some well-known metal bands to be featured in his films and Damien Deroubaix together with Banks Violette were making more and more references to the metal scene in their works.
Conversely, extrememetal has become and important source of inspiration in contemporary art. Extreme metal appeared in the second half of the eighties and is divided in three distinct musical genres: Each of them has developed overtime its own rules, its own aesthetics and has evolved in a different way. Like any underground culture, extreme metal cannot truly be experienced when you remain a distant observer. As a matter of fact, it seems that most of the artists whose works are marked by extreme metal have been deeply involved in the metal scene since a very young age.
The ideas at the core of the exhibition Altars of Madness is thus to reveal the work of these artists, who have taken part in this underground culture. These artists who are willing to use it to feed their artistic practice, plus the ones offering some relevant testimonies of the metal scene and lastly, the ones who brilliantly contributed to the creation of its iconography.
The exhibition Altars of Madness originates from the C. S Conservative Shithead Journal, a monographic publication dedicated to that specific generation of artists. This exhibition revolves around three main axes: Altars of Madness aims at investigating the formal embodiments of extreme metal and its influence in the work of contemporary artists. Grindcore was born in the eighties as a radical extension of punk music. Grindcore music originates from the anarchist and anti-consumerist punk movement that emerged in the eighties.
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Altars of Madness Casino Luxembourg, Luxembourg The exhibition displays and brings together the works of art of a generation of artists affected by extreme metal, accompanied by a few others who were pertinent witnesses of this musical scene or brilliantly contributed to shaping its iconography.
Like all underground cultures, extreme metal is not something that can simply be passed on: And so it appears that some artists, whose works have been deeply affected by it, started to get involved in the extreme metal scene at a time when they were far from imagining that one day their ideas would become works of art.
The Altars of Madness exhibition project displays and brings together the works of art of a generation of artists affected by extreme metal, accompanied by a few others who were pertinent witnesses of this musical scene or brilliantly contributed to shaping its iconography. Following the three musical genres of extreme metal and their different characteristics, the exhibition is divided into three parts.
Lucid fairytale The first part concentrates on grindcore and emphasises the political dimension of extreme metal. Having its source in the s punk movement, grindcore bands treat above all political subjects such as anarchy or anti-capitalism, and are characterised by a discursive and aesthetic radicalism. Labelled as "noise not music", grindcore is deliberately anti-musical, abrasive and uncomfortable, which is visually reflected by anti-aesthetic, aggressive and irritating characteristics.
Death is just the beginning The second part is related to death-metal, which, similar to the "memento mori" and vanitas symbols in classical paintings, reminds one of death. Through morbid and violent lyrics as well as album covers depicting cranes and Bosch or Bruegel-like metaphors of our fears, death-metal bands explore the death as the ultimate and inevitable end.
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