Nick Zedd spearheaded the film movement The Cinema of Transgression and directed 44 motion pictures starting in 1979 with They Eat Scum. Later films include Police State (1987), War Is Menstrual Envy (1992), Ecstasy In Entropy (1999), Lord of the Cockrings (2001) and I Was a Quality of Life Violation (2002).
Nick Zedd has acted in such films as The Manhattan Love Suicides, Submit To Me Now, Shadows In The City, What About Me, No Such Thing As Gravity, Stone Age Lament, King of Sex and Bubblegum.
He starred in the occult off-Broadway thriller The Intruder by Maurice Maeterlinck in 2001.
After exhibiting films and receiving awards at the 1986 and 1989 Ann Arbor Film Festival, the 1988 International Poetry Festival in Sweden and showcasing a retrospective of his films at The Museum of Modern Art in 1989, Zedd published his autobiography Bleed in 1990, reprinted by Hanuman Books in 1992; later published in 1996 as Totem of the Depraved (2.13.61 publications.)
His novel, From Entropy To Ecstasy was self published in 1996.
As Orion Jeriko, Zedd edited The Underground Film Bulletin from 1984 to 1990 and has written for Penthouse Forum, Radium, Film Threat, 11211, Sensitive Skin, Newtopia and ASS Magazine.
With his band, Zyklon Beatles he released Consume and Die on Rubric Records in 2000.
Zedd produced, wrote and directed the television series Electra Elf from 2003 to 2008.
Since then, Mr. Zedd has produced a series of oil paintings, exhibiting them at the ADA Gallery in Richmond, Virginia as well as Pendu Gallery and Microscope Gallery in NYC.
Mr. Zedd currently resides in Mexico City where he paints, writes screenplays, shoots videos and publishes Hatred of Capitalism magazine. In 2012 he exhibited at the Kunstwerke Museum of Contemporary Art in Berlin, screening several movies and speaking on a panel.
Nick Zedd spearheaded the film movement The Cinema of Transgression and directed 44 motion pictures starting in 1979 with They Eat Scum. Later films include Police State (1987), War Is Menstrual Envy (1992), Ecstasy In Entropy (1999), Lord of the Cockrings (2001) and I Was a Quality of Life Violation (2002).
Nick Zedd has acted in such films as The Manhattan Love Suicides, Submit To Me Now, Shadows In The City, What About Me, No Such Thing As Gravity, Stone Age Lament, King of Sex and Bubblegum.
He starred in the occult off-Broadway thriller The Intruder by Maurice Maeterlinck in 2001.
After exhibiting films and receiving awards at the 1986 and 1989 Ann Arbor Film Festival, the 1988 International Poetry Festival in Sweden and showcasing a retrospective of his films at The Museum of Modern Art in 1989, Zedd published his autobiography Bleed in 1990, reprinted by Hanuman Books in 1992; later published in 1996 as Totem of the Depraved (2.13.61 publications.)
His novel, From Entropy To Ecstasy was self published in 1996.
As Orion Jeriko, Zedd edited The Underground Film Bulletin from 1984 to 1990 and has written for Penthouse Forum, Radium, Film Threat, 11211, Sensitive Skin, Newtopia and ASS Magazine.
With his band, Zyklon Beatles he released Consume and Die on Rubric Records in 2000.
Zedd produced, wrote and directed the television series Electra Elf from 2003 to 2008.
Since then, Mr. Zedd has produced a series of oil paintings, exhibiting them at the ADA Gallery in Richmond, Virginia as well as Pendu Gallery and Microscope Gallery in NYC.
Mr. Zedd currently resides in Mexico City where he paints, writes screenplays, shoots videos and publishes Hatred of Capitalism magazine. In 2012 he exhibited at the Kunstwerke Museum of Contemporary Art in Berlin, screening several movies and speaking on a panel.
THE EXTREMIST MANIFESTO
Now that contemporary art, a system
that stands for privilege, nepotism and political connections is finally dying,
get out of the fucking way.
We who have been locked out of your
galleries, museums and art holes… ignored, reviled and cast aside for having
convictions (and belonging to the wrong class) are the voice of the future. We
spit on the fashionable insignificance of today’s culture. We puke on
moderation, a generation’s fashionable irony and deliberately boring contemporary
art. We shit on your chronic timidity and your tamed and domesticated notion of
what art can be.
The time has come for a rupture, a
break, and an honest method of digging our way out of the manure of
contemporary art. Your system is spineless and must be replaced.
Those who are proud of being
imperceptible are lost.
Todays gatekeepers remind us that
painting is dead and if that’s the case, then so must be photography, movies,
music, writing, sculpture, performance and all human creativity. The logical implication
of curatorial culture’s hierarchical dominance is the negation and replacement
of the individual with a neutered clone. Academia’s curatorial class, we are
told, are god-like. They determine history. Their choices are showered upon us
from above. The fact that breakthroughs in history are the exclusive domain of
the AMATEUR (a lone individual who invents and innovates) is beyond the
double-think reality tunnel of the insulated curator. Todays curatorial elite
have determined that passion, anger and conviction are replaced with ironic
indifference, a stance of self removal, an evasion, a retreat into the herd.
With sheep-like acquiescence, a generation of followers have emerged with no
point of view, afraid to stand for anything, yet pretending to be fearless
while hiding behind an ironic indifference that amounts to a compulsion to
conform. The follower artist’s
philosophy is one of capitulation.
Through capitulation the follower
is conditioned to anticipate and grovel for the expectation of inclusion into
the world of high culture and it’s attendant material rewards.
What the followers, apologists and
their gatekeeping masters fail to understand is the essential
non-differentiation between high and low art. Today’s smut is tomorrow’s fine
art. The profane, with the passage of time becomes sacred. Having suffered
under a reactionary ontological hermeneutics for the last fifty years, the
extremist movement constitutes an emergent phenomena which is more than the sum
of the processes from which it has emerged. Interpretation theory rewarded by
dominant culture would have us believe that history is objective when in fact
its subjective nature is based on hierarchical systems of exploitation
benefiting a global elite.
Extremist art is non-metaphysical,
based on the senses.
It establishes the human body as
the ultimate arbiter, the component that allocates wisdom.
In an empirical sense, extremist
art is a unified confirmation of one’s resistance to and transcendence of
status quo thinking.
The Simulation imposed upon us by
shadow governments and hidden elites must be exposed and destroyed. That
includes a cancerous art establishment based on commerce and the malignant
dictums of predatory capitalism that negates individual breakthroughs based on
lived experience.
Non-referential, non-simulated
breakthroughs are accomplished by plunging into life and grabbing it by the
balls. This means taking chances, offending people, causing alarms to go off
and generally disturbing the equilibrium in a strategic manner.
We are the new extremists, armed
with a vision to see through the charade imposed upon us by the gatekeepers of
consensus reality, who manage a mass hallucination we choose to reject.
Ours is the art of bad taste, which
blots out and destroys your system of lies and self-delusion. For too long the
sheep among us have been rewarded for their subservience to a bankrupt system
of lies. WE SHIT ON GOD. BECAUSE THERE ARE NO GODS AND THERE NEVER HAVE BEEN.
ALL SYSTEMS OF TOTALITARIAN CONTROL
MUST BE SUBVERTED AND DESTROYED. HUMAN FREEDOM DEMANDS VIGILANCE AND RESISTANCE TO HIERARCHIES,
WHETHER IMPOSED BY REVOLUTIONARIES OR COUNTER-REVOLUTIONARIES. WE ARE FOR
ACCELERATED EVOLUTION
THAT SUPERCEDES REVOLUTION.
WE ARE EXTREMISTS UTILIZING
PROVOCATION, ENLIGHTENMENT, HATE AND LOVE.
WE WILL UNITE OPPOSITES.
c. Nick Zedd 3/6/2013
YEAAAAAAAAA!!!!!
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