Sunday, November 15, 2015
Working on my new project: Imago Dei (Image of God), which will be simultaneously exhibited at the Solomon R. Guggenheim Museum, in New York; the Centre Georges Pompidou, in Paris; and the Tate Modern, in London. "You shall not make for yourself an image, or any likeness of what is in heaven above or on the earth beneath or in the water under the earth.” - Deuteronomy 5:6-21 “Word begets image and image IS virus.” - William S. Burroughs
I'll be exhibiting a number of my Traum und Trauma (Dream and Trauma) print works at LOT23, from November 13th to December 2nd. Several of the Traum und Trauma works were previously published in Static, the journal of the ICA, the Science Museum, and the TATE. One of the works was also exhibited last year at Luhring Augustine Gallery, in New York, along with works by Vito Acconci, Kiki Smith, John Baldessari, and Ed Ruscha. These works are being sold at a price point that will be affordable to most people. This was a conscious decision made to allow those who appreciate fine art to be able to own it and have it in their homes, rather than just being able to view it temporarily in an exhibition.
Saturday, November 7, 2015
Friday, October 30, 2015
A new image from the Bruxelles Shoot for my feature film L'Enigme du Desir: Ma Mere, Ma Mere, Ma Mere . With Clara Augarde.
Saturday, October 17, 2015
A new image from the Silver Lake Shoot for my feature film L'Enigme du Desir: Ma Mere, Ma Mere, Ma Mere . With David Yow.
Saturday, October 10, 2015
Thursday, October 8, 2015
Thursday, August 13, 2015
A new extract from my feature film L'Enigme du Desir: Ma Mere, Ma Mere, Ma Mere. Please select the 1080p HD setting for optimal viewing. https://www.youtube.com/watch?v=RcfLMDmrZN0
Wednesday, July 22, 2015
In 2009, I began work on an album: The Marriage of the Animal and the Divine, with the first composition created by myself, Mick Harvey, and Rosie Westbrook. Since then, the piece has been through many iterations, with further contributions from Hopek Quirin, Ghazi Barakat, Michael Johnson, and Ryan Potter. You can hear the work, titled: Station of the Cross, here: http://soundcloud.com/paulamlehn/station-of-the-cross I am now in the final stages of mixing the other compositions for The Marriage of the Animal and the Divine which will be completed soon.
Monday, July 6, 2015
A new composition: Towers Open Fire, with texts and vocals by William S. Burroughs and synthesizer by Ariel Lorca, from the Paul Amlehn and William S. Burroughs album: A Walk to the End of the World. https://soundcloud.com/amlehn-burroughs/towers-open-fire
Tuesday, June 9, 2015
Extracts From L'Enigme du Desir: Ma Mere, Ma Mere, Ma Mere Screened at the Free International Forum in Italy
Five extracts from my feature film L'Enigme du Desir: Ma Mere, Ma Mere, Ma Mere, will be screened at the Fifth Free International Forum, in Bolognano, Italy. The Forum was founded and is curated by the Baroness Lucrezia De Domizio Durini, who worked with Lucio Fontana and also collaborated with Joseph Beuys. The Director of the Forum is Emanuel Dimas de Melo Pimenta, a musician, architect, and intermedia artist, curator of the Sao Paolo Biennial and long time collaborator of John Cage. The Forum manifesto states: "Despite the cultural, intellectual and moral crisis that holds the entire planet in its grasp, there are still men who see free creativity as the only way to live in peace with themselves and to act in accordance with the fundamental principles of Humankind and Mother Nature. Thanks to this very outlook, a "network of steel" has developed over the years, constantly welcoming new disciplines and explorations, figures of different nationalities and generations, all united by a free, undiminished creativity that translates into deep, unfettered knowledge, giving rise to transactions governed by a supportive, unconstrained collaboration. Such men, with their unstinting, unceasing work, their wise and independent efforts, move beyond the standard systems of consumer society, striving through their conduct - the one effective means of Communicating the Truth - to improve society." My film will be screened along with films on John Cage, Marcel Duchamp, and Merce Cunningham, in the Durini Chapel, near the Paradise Plantation of Joseph Beuys.
Thursday, May 21, 2015
A new image from the Cote d'Opale Shoot for my feature film L'Enigme du Desir: Ma Mere, Ma Mere, Ma Mere. With Julie Delarme, Anne Leman, and Julie Delarme. Cinematography by Nathalie Blanc.
Wednesday, May 13, 2015
I am in the process of finishing a music project which I have been working on for the past five years. The project includes the following musicians: Paul Amlehn, Ariel Lorca, Leo Abrahams (Brian Eno), David Van Tieghem (Laurie Anderson), Oren Ambarchi (Sun O)))), Andrew Sterman (Philip Glass Ensemble), Jamie Saft (John Zorn), Hopek Quirin (Jochen Arbeit), Terry Edwards (Tindersticks), Jem Finer (The Pogues), Michael Blair (Lou Reed), Ulf Ivarsson (Michael Blair), Daniele Pagliero (Lo Dev Alm), Dieter Moebius (Cluster), Robin Storey (Zoviet France), AD Chivers (Peter Gabriel), Michael Giles (King Crimson), Paul Beauchamp (Nurse With Wound), Eberhard Kranemann (Kraftwerk), Wyatt Howland (Skin Graft), Mick Rossi (Philip Glass Ensemble), Matthew Waldron (irr. app. (ext.)), Chandra Shukla (Psychic TV), RK Faulhaber (Steven Stapleton), Gerd Bessler (William S. Burroughs), Julia Kent (Antony and the Johnsons), Ches Smith (Mr. Bungle), Mick Harvey (Nick Cave and the Bad Seeds), Rosie Westbrook (Mick Harvey), Ghazi Barakat (Pharoah Chromium), Ash Wednesday (Einsturzende Neubauten), Jarboe (Swans), Mark Spybey (Dead Voices on Air), Bela Emerson (The Damned), Adi Newton (Clock DVA), BJ Nilsen (Hazard), Ryan Potter (The Scrapes), William Winant (John Cage), Thomas Stern (Einsturzende Neubauten), Mally Harpaz (Anna Calvi), Ron Anderson (The Molecules), Adam Cadell (The Scrapes), Stephen Vitiello (John Cage), Bryin Dall (Thee Majesty), Ulrich Krieger (Lou Reed), Eleonor Sandresky (Philip Glass Ensemble), Larry Thrasher (Psychic TV), Ju Suk Reet Meate (Smegma), Robert Fripp (King Crimson), Michael Begg (Human Greed), Michael Riesman (Philip Glass Ensemble), Audrey Chen (Phil Minton). The albums also include vocals by myself, Philippe Nahon (Gaspar Noe), Fulya Peker (Richard Foreman), Elisa Faires (Legacy Butoh), Gerd Bessler (Tom Waits), and, Phil Minton (Matthew Barney), texts by Philippe Nahon, and, William S. Burroughs, and a graphic score by Gerhard Richter. You can hear a number of compositions from project, here: http://soundcloud.com/paulamlehn Pictured above is one of my visual art works from the project.
Wednesday, April 22, 2015
Monday, April 20, 2015
This year, I was invited to take part in the 56th Venice Biennale. After a period of reflection and deliberation, I made the decision to decline the offer. In 2005 and 2013, I exhibited work at the 51st and 55th Venice Biennales. Since then, the situation in the art world has continued to worsen, to the point I feel I can no longer take part in the Venice Biennale. For the most part, the work that is promoted by dealers and museums and festivals at this point in history is characterized by banality and surface. It is work that limits and closes down consciousness in the individual, rather than opening up and amplifying it. There is another kind of art, however, that is capable of acting as a catalyst for transformation. This is an art that can aid us in the realization and actualization of our potential both as individuals and as a species. This is the art I have dedicated my life to making. Instead of exhibiting at the Biennale, I will be putting a selection of my work in literature, music, photography, installation, and film, onto two hard drives. I will then choose two people, a man and a woman, using the international phone directory and a random number generator. The hard drives will be sent to these two people and will constitute a private exhibition for them. This gesture of refusal, becomes a fertilizing event, which gives birth to a new exhibition. One that is, related to, but, separate from, the 56th Venice Biennale. The Biennale can be considered the parent organism in terms of the exhibition, which then splits from its host, metamorphoses, and is reduced to a binary locus of two individuals, individuals selected at random from outside of the nexus of the art-world. This action returns the art-making and exhibiting process to its vocational origins, where I serve the source of inspiration and impart the work to an audience as a gift, rather than a commodity exchanged for money or fame. There are many problems that need to be resolved in the contemporary art infrastructure, which are also mirrored in society as a whole, where the few manipulate, dominate, and subjugate, the many. This needs to change, and I believe it will. In the meantime, I will continue to strive to create work that is as great as I can possibly make it. This also includes creating new modes and models for exhibiting work. In this way, I will do my part in working towards a new society, a new world, where the spirit of creativity flourishes, and each one of us can lay claim to our rightful inheritance, which is to realize our potential and and in fullness, come to truly know ourselves.
Tuesday, April 14, 2015
Extracts From L'Enigme du Desir: Ma Mere, Ma Mere, Ma Mere Placed in the Walden Zero Project Collection
Five extracts from my feature film L'Enigme du Desir: Ma Mere, Ma Mere, Ma Mere, have been placed in the Walden Zero Project collection, alongside works by Joseph Beuys, John Cage, Merce Cunningham, and Bill Viola.
Thursday, March 26, 2015
From 2008-2012, I worked on a project with guitarist Robert Fripp (King Crimson), and cellist Joan Jeanrenaud (Kronos Quartet). The project was to consist of a number of soundscapes with spoken word by myself. I wrote several texts which Joan responded to musically along with Robert's soundscapes. In the end, I decided the works functioned better as instrumentals without my voice. You can hear the results here: https://soundcloud.com/amlehn-fripp-jeanrenaud
Wednesday, January 28, 2015
A new extract from my feature film L'Enigme du Desir: Ma Mere, Ma Mere, Ma Mere. Please select the 1080p HD setting for optimal viewing. https://www.youtube.com/watch?v=s0yjj5PgfNA
Saturday, January 24, 2015
A new image from the Ormes Shoot for my feature film. With Patricia Morejon. Cinematography by Nick Millet.
Wednesday, December 31, 2014
Sunday, December 21, 2014
A new image from the Saint-Remy-les-Chevreuse Shoot for my feature film. With Eva Hernandez. Cinematography by Hanna Sparkle.
Tuesday, December 16, 2014
Ten extracts from my feature film L'Enigme du Desir: Ma Mere, Ma Mere, Ma Mere. Please select the 1080p HD setting for optimum viewing. https://www.youtube.com/playlist?list=PLXDd9XG0glOZOt9CYXqs3XV1jcDR7VEvO
Thursday, December 4, 2014
A new image from the Puys Shoot for my feature film. With Kate Moran (Peter Greenaway). Cinematography by Damien Blottiere. Couture by Aganovich. Video treatments by Paul Amlehn.
Wednesday, November 26, 2014
A new image from the Oslo Shoot for my feature film. Cinematography by Janne Hoem (The Living Theater).
Saturday, November 8, 2014
A new image from the Bilbao Shoot for my feature film. With Irene Bau, Cesar Sarachu (the Quay Brothers), and Asier Sarachu. Director of Photography Cristobal Baigorri, Assistant Director Imanol Ortiz, Editor Irene Bau, Lighting Technician Quique Gago.
Tuesday, October 28, 2014
A new image from the Warsaw Shoot for my feature film. With Artur Barcis (Krzysztof Kieslowski). Cinematography by Franek Barcis.
Friday, September 12, 2014
A new image from the Normandy Shoot for my feature film. With Daphne Baiwir (Catherine Breillat). Cinematography by Sebastien Cruz.
Monday, August 25, 2014
A new image from the London Shoot for my feature film. With Katell Daunis (Lucile Hadzihalilovic). Cinematography by Salome Duringer.
A new image from the Madrid/Venice/Paris Shoot for my feature film. With Maud Wyler (Abdellatif Kechiche). Cinematography by Pablo Garcia Canga.
A new image from the Westensee shoot for my feature film. With Maxine Kazis (Theater Kiel). Cinematography by Cyril E. Kazis.
Wednesday, July 16, 2014
A new image from the Copenhagen shoot for my feature film. With Anne Louise Hassing (Lars von Trier). Cinematography by Leif Ascanius Sol.
Monday, July 14, 2014
A new image from the Los Angeles shoot for my feature film. With Kate Fisher (Robert Wilson). Cinematography by Eli Rarey.
Monday, June 9, 2014
New images from the Copenhagen shoot for my feature film. With Anne Louise Hassing (Peter Greenaway). Cinematography by Leif Ascanius Sol.
Sunday, January 19, 2014
One of my works: Traum und Trauma 14 (Detail), will be exhibited at Luhring Augustine gallery in New York, in the Postcards from the Edge show with art by Vito Acconci, Kiki Smith, John Baldessari, Catherine Opie, Ed Ruscha, Lawrence Weiner, and others. All proceeds from sales of the work go to Visual AIDS, an organization that raises awareness about AIDS and supports artists living with the disease.
Friday, November 22, 2013
Earlier this year, two of my sound art works were exhibited on a lathe cut polycarbonate record at the 55th Venice Biennale. The work was presented as part of the Road to Nowhere panel discussion at the University of Venice. The sound art works on the disc where: The Snow of Your Name, with music by myself, Ariel Lorca, Eleonor Sandresky (Philip Glass Ensemble), Mick Rossi (Philip Glass Ensemble), and David Crowell (Philip Glass Ensemble); and: Oannes (Reprise), with music by myself, Ariel Lorca, Julia Kent (Antony and the Johnsons), Jem Finer (The Pogues), and Andrew Sterman (Philip Glass Ensemble). You can hear one of the compositions here: https://soundcloud.com/paulamlehn/oannes-reprise This is the second time my work has been presented at Venice. In 2005, one of my text works, Untitled, was exhibited at the Isola della Poesia, at the 51st Venice Biennale.
Wednesday, October 30, 2013
Painter Gerhard Richter is providing cover art for several of my forthcoming album works: Blood of Union, The Heart Flutters on a Thread and Loves the Errors of Its Killer, and: A Walk to the End of the World. My heartfelt thanks to Gerhard.
Monday, July 15, 2013
I am currently working on a project, which will re-visit and re-imagine the work of John Cage. I will be utilizing a number of John's existing recordings, de-constructing and re-constructing them into new forms. It is important to ensure that these works are not merely a pastiche or homage, but, are in their own right, functioning musical organisms. To this end, I will employ chance procedures and other processes that incorporate hazard and indeterminacy, as well as considered conceptual, thematic, and narrative approaches. Cage is widely considered to be one of the most influential American composers of the 20th century. I am looking forward to engaging with his oeuvre and seeing what arises from that interaction. My thanks to the John Cage Trust and Edition Peters.
Thursday, July 4, 2013
In late 2012 and early 2013, I worked on a number of compositions of music which utilized the texts and vocals of William S. Burroughs. After a brief hiatus, I am back working on the project, which will be released as an album, titled: A Walk to the End of the World. The most recent compositions that have been completed on the project are: The Piper Pulled Down the Sky, with music by Mick Rossi of the Philip Glass Ensemble, and Jeffrey Zeigler of the Kronos Quartet, arranged and produced by myself and Ariel Lorca; and Interzone, with music by Ulrich Krieger of the Metal Machine Trio and Stephen Vitiello, graphic score by John Cage, produced and arranged by myself and Ariel Lorca. You can listen to two of the compositions here: http://soundcloud.com/amlehn-burroughs/the-piper-pulled-down-the-sky http://soundcloud.com/amlehn-burroughs/interzone Cover art for the project has been provided by Gerhard Richter. Pictured above is the cover image, from Gerhard's November series: 3 Nov 2008.
Saturday, June 22, 2013
I am about to embark on a new project, one which gives rise to a completely new art form: The Meta-Novel. Since the 18th century, the novel has held an important place in culture, as one of the most preeminent artistic forms, gifting us with works such as: Ulysses, The Grapes of Wrath, Tropic of Cancer, and A Clockwork Orange, works which both distilled the quintessence of our times and brought about a seismic paradigm shift in our cultural landscape. More recently, John Barth, in his influential and controversial essay: The Literature of Exhaustion, announced the death of the novel. My project, challenges the concept of writing as exclusively being a representation of language through graphic means. It instead posits a form of "writing" which is inclusive of the systems of proto-writing, ideographic, and mnemonic symbols, as well as conventionally encoded linguistic utterance, while also adopting new means, modalities and registers outside of what is traditionally thought of as written expression. The Meta-Novel is a form of "writing" that moves in a protean way through various artistic mediums and disciplines, adopting these forms as a virus adopts a host vessel, before moving onto the next one in a new shape or structure. It is a work that is constantly evolving and metamorphosing, expressing, divining, and interrogating itself. The Meta-Novel will utilize mail art, poster art, land art, robotics, telematic art, bio art, live performance, thought experiments, virtual reality, theater, film, music, painting, and interactive media, traversing and inhabiting a myriad of forms and conceptual territories in order to achieve it aims. My work will explode the idea of the novel, fracturing it into a web of shards or fragments, while at the same time, allowing the novel as a form to sustain its structural integrity and durability, as a unifying ideological construct and vehicle for storytelling. In this way, The Meta-Novel is simultaneously blown apart and whole, alive and dead, existing in a quantum state of superposition, before collapsing into the singular reality of each of its chosen forms. Both traditional and experimental media will function as a vehicle for the storytelling, propelling the characters, concepts, and themes, through a metabolic chain of narrative, where the energy generated by the death of the previous chapter will fuel the birth of the next. This Meta-narrative, this Ur-text, will, in a variety of structural configurations, elemental forms, and artistic media, revisit, reorchestrate, and reprise the central concerns of the work itself. The Meta-Novel will be comprised of 360 "chapters," each chapter explored in a new medium or form, the 360th final chapter, bringing the narrative cycle to a close, as the Ouroboros, the cosmic serpent devouring its tail, simultaneously destroying and giving birth to itself. Possible configurations for several of the chapters are: actors improvising in real time, their dialogue being captured by voice to text software which writes it into the novel; the study of the effect of chemical reactions on biological systems on both the micro and macro level (for example: petri dish and marsh ecosystem) the shifts in biological architecture influencing the structure of the textual material; a performance work near Te Reinga and Te Po - The Leaping Place of the soul and the Underworld, in the Maori system of belief; a chapter that is an olfactory museum composed entirely of scents; a sculpture of salt likeness of the author dissolving in the sea; moving images by myself, New Zealand artist Paul Amlehn, projected onto sculptures by Swiss artist Paul Amlehn (1867-1931) on the facade of the Musee d'Art et d'Histoire in Geneva; a chapter sent via telepathy to receivers in multiple countries each of whom transcribes the text allowing it to morph into various permutations; and the final chapter of the work placed on a microchip and implanted in the author's body (mine), where it will remain, until my death. At the demise of the author the bio-chip will be removed from the vessel of the body in a ritual ceremony, the final chapter of the work revealed, and the art cycle of The Meta-Novel complete itself. The Meta-Novel is a new form for the new century. It is a work that has a correlative in the Greek deity Proteus, who, according to Jung, is both a symbol of the unconscious and the perfection of the art. The Meta-Novel is the fulfillment of the notion Wagner proposed in his The Artwork of the Future, of a Gesamtkunstwerk, or total work of art. It is at once an open laboratory; a functioning organism; a ritual space; an alchemical vessel; and a prosthesis of the unconscious. Ultimately, The Meta-Novel is a work which addresses and seeks to answer the fundamental questions of our existence: Where did we come from? Why are we here? Where are we going?
Thursday, June 6, 2013
My text work for The Tears of Eros film project was exhibited in the Agency of Unrealized Projects exhibition, at the Kopfbau, in Art 42 Basel, Switzerland. The Agency of Unrealized Projects was organized by e-flux and the Serpentine Gallery, and was devised by Hans Ulrich Obrist and Julia Peyton-Jones. You can read a number of my text works here: http://paulamlehntexts.blogspot.com Art Basel, along with the Venice Biennale, and documenta, is one of the most important events on the art world calendar. Pictured above are images of Art Basel and the Serpentine Gallery.