modern stumble

Maybe if we fi­nal­ly want­ed to start over,

which we might like to do in or­der to dis­tance us from a new tooth­paste,
a new sug­ar drink,
and a new smart­phone every month or every week.

We might like to call mod­ernism …
Some­thing else
then mod­ernism?
 

Why does it have to be ‘mod­ern’ not to then be­fall or col­lapse
rather as a car­i­ca­ture of The New,

and a pre­sump­tion of in­evitable in­ge­nu­ity??

Tech­no­log­i­cal hy­per­mar­velism??

Idea craze?
 

We may call it The Patent Age,
some­thing else
fi­nal­ly a con­cept is an al­le­go­ry in an un­dec­o­ra­tive form
it is re­al­ly noth­ing new.

Be it that
over a long pe­ri­od of time and with the event of cheap ma­te­ri­als,
the pro­fes­sion­al­ism and in­dus­tri­al scale gallery
and the mu­se­um not for an event,

a so­ci­etal (bour­geois) playade of frocks and gen­tle­men,
but
de­spite de­vel­oped me­dia and film and pho­tog­ra­phy
an
in­depth study of the pure and pri­mor­dial ‘ob­ject.’

We could say if you went to see Gus­tave Doré
in a gallery
in the sum­mer of 1870
you would be go­ing more to a mod­ern cin­e­ma,

that is the equiv­a­lent.
 

To then pre­sume, that mod­ern art is high art

be­cause it is in a gallery is en­tire­ly mix­ing up the premise here.
 
 

The age of Schnit­zler is a clas­sic in mod­ernism,
as it is so de­gen­er­ate in analy­sis that is sup­posed to be ob­jec­tive,
as re­al­ly it is pe­tit bour­geois in all of its analy­sis as so many mod­ernist analy­sis and ar­chi­tec­ture re­al­ly is.

Not the least to speak of mod­ern art,
the morals of I am an artist and no­body has the right to defy me are spew­ing out every­where.

The avant garde were ac­tu­al­ly protest­ing,
the fem­i­nist move­ment was ac­tu­al­ly try­ing to eman­ci­pate.
Now it’s all just van­i­ty with­out a shred of lust or kinky.
 
 
 
 

ha­hah

For I hide in caves,

cav­erns and dun­geons,

in crevices deep
in a shit­ty city street

over     which     reg­u­lar     peo­ple     stum­ble.

 
 

—aey­lyeaelle ell­he de el­len­deh

Flom­mist Aey­lyeaelle Ell­he De El­len­deh is a ne­oro­man­tic and neosym­bol­ist artist and philoso­pher, stud­ied sculpt­ing at The Roy­al Acad­e­my of Dec­o­ra­tive Arts of Antwerp Bel­gium, He de­cried ac­tu­al­ly hav­ing fall­en in love stand­ing be­fore the Psy­che of Leighton in Lon­don, hav­ing cried over the Sleep­ing Beau­ty by Suss­mann hell­born and hav­ing spir­i­tu­al re­li­gious af­fec­tions for the Sphinc Mys­terieux by Charles van der Stap­pen. Dec­o­ra­tive sculp­tor and Au­thor of a neosym­bol­ist mythol­o­gy on Kant­ian per­cep­tion, on the imag­i­na­tion, in­spi­ra­tion, art, deca­dence, es­thet­ics and pas­sion, hate, mis­an­thropy main­ly. Heav­i­ly in­flu­enced by Huys­mans A re­bours and Schopen­hauers refuge in art as Sades will to free erotics. He in­vent­ed the Eif­fel tow­er sev­er­al times the size of the cur­rent one in paris to launch trains into space in an art nou­veau way. He in­vent­ed can­dles on re­mote con­trol. He in­vent­ed a game of chess with over 200 pieces per play­er and in an en­tire­ly clas­si­cal and de­scent set­up. With a line of Bish­ops, an Army, an­gels, boul­ders, with tow­ers that need to be de­fend­ed for­ward to launch the boul­ders, with a court, and a high­er court with Elvin, Elvin King, Em­per­or, Em­press and vam­pire of melan­choly and a vam­pire le­gion. He is a self de­clared mad­man and of­fi­cial­ly de­clared in­sane by the state of Bel­gium deu to his ro­man­tic up­risals. De­sign­er and ar­chi­tect of the fu­ture city of Anae­htheana, which is best de­scribed as the most beau­ti­ful and lux­u­ri­ous place ever de­vised, with the con­crete bridges done again in mar­ble, a wild zoo where the high­way is now. And a for­ti­fied vat­i­can in­spired wall for a le­gion of Joans of Arc he is try­ing to call. Among that, he is call­ing upon all ar­che­types cur­rent­ly in cos­play goth­ic and mu­sic to build, among oth­er things, a Vam­pire Lane with goth­ic schools, goth­ic mu­se­ums and goth­ic lounges and palaces. And an Angh an­gel fortress. It is his one and only and fi­nal mis­sion to re­place all com­mer­cial bill­boards with ro­man­tic and aca­d­e­m­ic paint­ings. Etc … Copy­right © 2018 Aey­lyeaelle Ell­he De El­len­deh. Pic­tured: Le Cor­busier.‬

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