Saturday, 27 July 2013

Plastique Fantastique: All the Fantasies of the People

Plastique Fantastique
All the Fantasies of the People
IMT Gallery

«Plastique Fantastique is a group that investigates aesthetics, the sacred, politics and popular and mass culture through comics, performances, texts, assemblages and installations. It is envisaged as a group of human and inhuman avatars delivering communiqués from the extreme past and the future. Its works are baroque, transformative, express a subversive urgency and are frequently site-specific and participatory.»
«The list of individuals that make up Plastique Fantastique change dependent upon the circumstances. As a group it was originally conceived of by Simon O’Sullivan as the architects of the exhibition New Life at Chisenhale, London, a 2004 exhibition by the artist David Burrows. In Plastique Fantastique’s manifesto O’Sullivan proposed a group whose intentions are to shift potential participants “from work time (utility) into sacred time (play)” by executing practice as ritual. Since the appearance of the manifesto, the story of Plastique Fantastique has been narrated through their comics.» [...]

Friday, 26 July 2013

Park Nights: Adam Phillips and Paul Holdengräber

Park Nights
Adam Phillips and Paul Holdengräber

Serpentine Gallery

«Have you ever spent time imagining the 'other life' you could have lived? For this Park Night, psychoanalyst Adam Phillips, author of Missing Out: In Praise of the Unlived Life, and Paul Holdengräber, Director of Public Programmes at The New York Public Library, discuss the frustrations of growing up. Our deep belief in our unfulfilled potential is so profoundly rooted in childhood that, as Phillips considers in Missing Out, it comes to play a substantial role in our experience of life. Phillips proposes that our acceptance of this might itself be the key to leading a more satisfying life.

This Park Night continues the conversation between Adam Phillips and Paul Holdengräber that began in New York. In the intimate context of the Serpentine Gallery Pavilion 2013 designed by Sou Fujimoto, this event offers audiences the unique chance to become a part of this ongoing dialogue.

Adam Phillips is a psychoanalyst and a visiting professor in the English department at the University of York. He is the author of many books, including On Kissing, Tickling, and Being Bored; Going Sane; Side Effects and On Balance. He is the co-author of several books, including On Kindness with the historian Barbara Taylor; Intimacies with the critic Leo Bersani and The Concise Dictionary of Dress with the exhibition-maker Judith Clark.

Paul Holdengräber is Director of Public Programmes at The New York Public Library and founder and Director of LIVE from the NYPL. Leading, in this series, what he calls a 'cognitive theatre' of conversations, performances and debates, Holdengräber has held talks with some of the most outstanding practitioners in their fields, including Patti Smith, Orhan Pamuk, Bill Clinton, Werner Herzog, Toni Morrison, Jay-Z and WS Merwin.»

Friday Late: Peckham Takeover

Peckham Rising Revisited
Friday Late: Peckham Takeover

V&A

Once avoided by some Londoners, Peckham is now firmly on the creative map. This up and coming neighbourhood is a strong community, allowing vibrant and creative projects by emerging artists and designers to flourish.
Peckham Rising Revisited: this installation revisits the exhibition Peckham Rising, curated by urbanist and curator Paul Goodwin at the Sassoon Gallery in Peckham in 2007. Experience a temporary space of contemplation exploring black urbanism and the other side of Peckham through a critical assemblage of street photography, sound and text. Featuring the works of Daniele Tamagni and Thabo Jayesimi and Janine Lai.

«Peckham Rising

4 September – 9 September 2007
Private view and Peckham regeneration
debate 3rd September 6 – 9pm
Open daily from midday to 6pm

Peckham Rising explores the 'other' city submerged beneath the morass of lurid, obfuscatory images and headlines regularly purveyed in the media and policy circles. Peckham has emerged in the last few years as an undeconstructed, mythical symbol of all the ills of urban society: gun crime, feral youth, sink estates, moral and family breakdown etc. This almost metaphysical image of Peckham's urban pathology has remained unchallenged despite the arrival in the area of a huge regeneration programme and new public spaces such as the Library and town square.

Deploying a critical assemblage of urban street photography, sound and text, Peckham Rising aims to launch a counter intuitive and deconstructive re-visioning of the area from a site in the heart of Peckham, the Sassoon Gallery, just off Rye Lane. The complex and little understood social ecology of 'street life' on Rye Lane is the focus of the evocative and impressionistic images of Daniele Tamagni and Thabo Jaiyesimi. Framing the images, Janine Lai's sound interventions give voice to the largely unheard 'shouts in the street' of Peckham residents and market users.

Peckham Rising creates a temporary space of contemplation about the nature of contemporary urbanism and it's 'other': the so-called ghetto. The exhibition invites critical reflection about the need to creatively engage the cosmopolitan, diverse and complex nature of a great metropolis such as London in the 21st century. Peckham Rising attempts, in a modest but bold gesture, to open one of the many paths of creative thinking and action to build the city of the future. The exhibition speculates on the notion that Peckham, with all its contradictions, afflictions and creative energies, may emerge as a Capital of the 21st Century.

Paul Goodwin
Curator»


MUSIC & PERFORMANCE

Al Dobson Jr
Grand Entrance
18.30 – 22.00
Join Al Dobson Jr as he spins a selection of soul, African, highlife, jazz, funk, and reggae, as well as performing a percussion ensemble in between sets. Listen out for Al’s own productions as well as music from his extended family in Peckham.


Rhythm Section
John Madejski Garden
19.15 – 21.30
Rhythm Section is a twice monthly Peckham-based community; a friendly place to dance your troubles away, all night long. It advocates simplicity at its heart; vinyl only, no set times, no photos and no nonsense. Founder, DJ, host and programmer Bradley Zero brings his records to the Museum, capturing the Rhythm Section ethos and spirit.


Reprezent Radio
Fashion, Room 40
18.30 – 21.30
Tune in to a live set by Peckham’s hot young under 25s DJs. Reprezent 107.3FM broadcasts across the capital to young Londoners and across the world online. Featuring DJ Neptizzle amongst others, join them as they bring their unique line up of house and afrobeat to the Museum.


City Love
Lucy and Jim are alone. To the world they seem to be OK: They have jobs, friends, and ambitions (well sort of). However, their chance meeting on the number 12 night bus in Peckham spirals them into a world of love, pain and (mis)communication. To celebrate their forthcoming production of City Love by Simon Vinnicombe at the Bussey Building, Peckham-based theatre company The Orange Line Collective presents an extract from the play in pop up locations around the Museum.

TAKEOVERS

Day Job
Medieval & Renaissance, Room 50a
18.30 – 21.30
Peckham-based illustration collective Day Job take over an area of the Museum, inspired by their home turf of Rye Lane. Experience the buzz of a bustling and multicultural high street through a playful installation, juxtaposed with the elegance of V&A sculptures. Alternatively, exchange a drawing or object for some Bank of Day Job Peckham Pounds (Pecks) at a value negotiated by a pawnbroker. Watch them displayed over the course of the evening in Day Job’s Pawnshop window.


Hannah Barry Gallery
John Madejski Garden
18.30 – 21.30
A staple of Peckham’s burgeoning reputation as a hub for contemporary art, Hannah Barry Gallery brings the work of three South London-based artists to the Museum. Collectively, these three demonstrate the variety of approaches to art-making embraced by the Peckham movement.


_ Tom Barnett performs as Colden Drystone: uniformed in a future-age suit created by Lee Roach, his performance incorporates the recital of poetry and found texts, Dada-esque sound pieces of the artist’s own composition and patterns of repetition and feedback.
_ James Capper designs and builds functional sculptures that mark the environments in which they are deployed. Incorporating the strategies and techniques of mechanical engineering, Capper’s work describes a physical relationship to the place in which it is stationed.
_ James Balmforth presents a beautiful short film exploring his preoccupation with the fragility of objects and symbols, a concern he also pursues in his sculptural practice.

The Bussey Quarter
Sackler Centre Reception
18.30 – 21.30
Get involved in The Bussey Quarter, a cross-disciplinary collaboration presented by Lou-Atessa Marcellin gathering a selection of creative practices together from the Bussey Building in Peckham. Engage and interpret the notion of portraiture, through literature, set design, photography and locally crafted music by DJ Tristram Bolletti.


_ Doost Studio run by Lou-Atessa Marcellin, will present a pop-up photo-booth with a cardboard throne designed by Sarah Medvedowsky, emphasizing the visual and spatial identity framing the sitter.
_ Lucie Beauvert and Paol Kemp (LBPK) create a unique atmosphere interlacing the context of the V&A and the practices within the Bussey Building.
_ Library of Independent Exchange (L.I.E.) run by Christopher Green and Mark James, will display individual collections of books that reflect readings by local artists throughout the evening.

Peckham Springs
Sackler Centre (1st Floor)
18.30 – 21.30
Peckham Springs is an art gallery and bar situated in two railway arches beneath Peckham Rye Station. The gallery programme features a range of exhibitions, film screenings and live art events by exciting new artists, alongside a bar which serves a range of carefully crafted cocktails. Peckham Springs invite you to experience a typical evening at their space with a selection of work from past and future shows at the gallery and a Peckham Spring Water cocktail in hand.


INSTALLATIONS

Churches
Grand Entrance
18.30 – 22.00
Take in photographer David Spero’s quiet and contemplative photos of unassuming churches in often surprising locations – revealing the lesser known and invisible structures, lifestyles and architecture of Peckham.


Rye Lane Khanga, Gele and Aso Oke
Fashion, Room 40
18.30 – 21.30
A collaboration between South-London design label Chichia and Rye Lane Market dress shop, Pachito:

Chichia London College of Fashion graduate and Chichia designer Christine Mhando showcases pieces from her upcoming collection, fusing East African Tanzanian Khanga with contemporary stylings.
Pachito Self taught African dress maker Patricia demonstrates a range of African head wraps, including the iconic Nigerian Gele, Aso Oke and Ghanaian styles, using bespoke Chichia fabrics.

Peckham Rising Revisited
Lydia and Manfred Gorvy Lecture Theatre
18.30 – 21.30
This installation revisits the exhibition Peckham Rising, curated by urbanist and curator Paul Goodwin at the Sassoon Gallery in Peckham in 2007. Experience a temporary space of contemplation exploring black urbanism and the other side of Peckham through a critical assemblage of street photography, sound and text. Featuring the works of Daniele Tamagni and Thabo Jayesimi and Janine Lai.


WORKSHOPS

Garudio Studiage
John Madejski Garden
18.30 – 21.30
Join Peckham-based creative collective Garudio Studiage in a duo of workshops:

_ The Lucky Skip: A Very Peckham Lucky Dip : Rummage through the delights of a very Peckham lucky dip, through a handmade skip, with a chance to win a dizzying selection of prizes. All prizes are handmade or hand selected by Garudio Studiage, wrapped in hand screen-printed wrapping paper.
_ Nation of Shopkeepers : Create your own fantasy shop for Peckham’s Rye Lane. Using pens, pencils and crayons, customise blank line drawings of every shop on the street, which took over 500 man-hours to draw. Watch the street grow as the evening goes on, and take part in re-imagining this diverse and changing London neighbourhood.

Peckham Space – Peace Blanket!
Sackler Centre Reception
18.30 – 21.30
Peckham Space presents the interactive artwork Peace Blanket, created by Camberwell College of Arts graduate Mhairi Macaulay and over 700 participating residents from Peckham and beyond. In August 2012, Peckham Space invited visitors to stitch a square for peace to celebrate the wall of post-it note messages for Peckham which grew on Rye Lane in response to the riots of 2011. Take a look at the original sayings on the Peace Blanket and contribute your own through the course of the evening.


Peckham Print Studio
Sackler Centre Art Studio
18.30 – 21.30
Installing a series of custom built screen printing units, Peckham Print Studio will transform the V&A Art Studio into their own working studio. Pull your own print and engage with the process from start to finish. The studio will also be joined by a selection of artists and illustrators who will produce a series of custom works to be printed at the event.


Illustrate Camberwell
Lunchroom 1, Sackler Centre
18.30 – 21.30
Firmly rooted in the border between Peckham and Camberwell, Camberwell College of Art has built up a formidable reputation within the area. Enroll as a fresher, learn how to illustrate with current Camberwell BA Illustration students, hang your final work in your degree show and see what grade you get. Don’t forget to top off your newly acquired degree with a photo in your graduation robes.


TALKS & FILM

Artist Maps
Prints & Drawings Study Room (Accessed via the Sackler Centre)
19.30 – 20.15
Inspired by Tom Phillips’ Map Walks Nos. 1 and 2 which focus on the artist’s relationship with the Peckham and Camberwell area, V&A Senior Curator of Prints and Drawings Gill Saunders walks us through the enthralling world of the artist map. Take an intimate look at specially selected maps in the Museum’s collection.


Peckham Past and Present
Seminar Room 1
19.30 – 20.30
Listen to local resident, architect and Peckham Vision conservation specialist Benny O’Looney in conversation with Ben Eastham (Hannah Barry Gallery/The White Review) and Biz K, editor of The Peckham Complex: A Cultural and Social Snapshot of Inner London, as they discuss the area’s cultural scene, architecture and social history.


Peckham Vision
Seminar Room 2, Sackler Centre
20.40 – 21.25
Join local resident and co-ordinator of community group Peckham Vision Eileen Conn as she chairs a Peckham Vision community meeting, starting with a visual tour of Peckham’s diverse parallel communities and economies. Get involved in a lively discussion about wider issues of connections, integration and realising the potential of our town centres.


Aesthetica Magazine Presents
Hochhauser Auditorium
19.00 & 20.00 (50 minutes)
Aesthetica presents a screening of films from Aesthetica Short Film Festival (ASFF) 2012, providing a wider context to Peckham as an area. Paper Mountains shows a young girl’s love of ballet in the midst of a hard and difficult life but also presents her aspirations for the future. Notes from the Underground is a portrait of life on the tube, whilst the remaining films question morality and depict the hardships of addiction. The reel aims to capture vignettes of everyday life, offering a glimpse into the lives of others.


_ Running order :
Paper Mountains by Lynsey Miller
82 by Calum Macdiarmid/ Alexei Slater/ Jessica Turner
Hollow by Rob Sorrenti
Notes from the Underground by Lukas Demgensku
Volt by Paul Mumford

Hendzel and Hunt’s Peckham Yacht Club
National Art Library
20.30 – 21.15
Join Peckham-based design studio Hendzel and Hunt as they present their latest project, L’Abeille Noir des Porquerolles. Specialising in working with reclaimed wood, they joined forces with landscape architects Elinor Scarth and Etienne Haller. The group embarked on a three week adventure in the south of France where they built and sailed a seven meter long boat entirely made from scavenged materials.


Peckham Social Archives
Sculpture, Room 21a
18.30 – 21.45

Explore the local entrepreneurs of Peckham’s diverse community, first screened at Peckhamplex as part of Chelsea College of Art and Design’s Consume Peckham event.
Chaz Hairdressers by Tom Brushwood, Didi Blackhurst and Shraddha Depala, follows George the owner as he reflects on the history of his shop in Peckham.
Born and Bread by Jack Haslehurst, Isabel Gibson and Joe Myers, is a day in the life of a wholesale bakery in Peckham.

Thursday, 25 July 2013

R.B. Kitaj: Works on Paper

R.B. Kitaj: Works on Paper
Marlborough Fine Art

«Born in the USA, R B Kitaj studied in London at the RCA with an influential group of students including David Hockney. From 1970, his paintings, drawings and prints have concentrated on the human form. Drawing on his wide reading and preoccupation with Jewish history and identity, his works have been described as "allegorical and depictive, traditional and thoroughly modernist". His importance has been recognised by three international retrospective exhibitions organised in 1981, 1994 and 1998.»

More than I than Dare to Think About: Works with paper

More than I than Dare to Think About: Works with paper
Marlborough Contemporary


"How do you cover a trite theme well? Have really strong works in your show. Marlborough Contemporary nail it with their current group exhibition" by William Kherbek, at Port Magazine (August, 2nd 2013)

«Marlborough Contemporary manages that very feat using a method that’s so fiendishly clever in its simplicity that you’d think more galleries would employ it. Should I reveal the secret? Okay, if you insist. They do it by having really strong works in the show.»

Monday, 22 July 2013

Review: Mathew Weir

Alison Jacques Gallery
Mathew Weir

Mathew Weir, Jar (oil on canvas mounted on board, 51x37cm), 2011.
Courtesy of Alison Jacques Gallery
Qual é o sujeito na obra de Mathew Wier quando tudo é visto e revisto? O que é que o corpo de trabalho, de Wier, observa quando aceitamos, reconhecemos e incorporamos o poder artificial da arte, o ersatz! Ao contrário do realizado em exposições anteriores, esta exposição na Alison Jacques Gallery, até ao dia 3 de Agosto, apresenta uma única pequena escultura, em bronze, a acompanhar as pinturas. Nove novas pinturas, óleo sobre tela de dimensões variadas, de Mathew Wier (n. 1977), onde o artista britânico questiona as noções de racismo, opressão, violência, conflitos e morte, enquanto, ao adicionar a variável tempo, desafia o público a reconsiderar a forma como interpreta a representação original dos objectos representados. As figuras observadas, em terracota ou cerâmica, reminiscentes da Alemanha do século XIX ou da era Victoriana, respectivamente, que servem de modelo para as pinturas, são, na realidade, e se continuarmos na dimensão progressiva do século XIX, a exploração de uma possibilidade de um desfecho.

Estas figuras sobre os momentos da vida diária com cores suaves e linhas curvas, esculturas sobre o amor cortês e de encontros amorosos, da natureza, do entretenimento lírico e da juventude são concebidas entre o fabrico automático e o laboratório artesanal. Porém, a modalidade, em particular, em como a ideia, em si, é constituída na observação, está em relacionar formas puras com formas compostas por matérias extremamente complexas e sobrepostas entre si. Através das pinturas, Weir cria narrativas complexas com uma requintada, mas, mesmo assim, sensação sarcástica – ou será melancólica, conforme dá a conhecer uma das pinturas, Meloncholy (2012), no que parece ser uma miúda negra a trincar uma fatia de melancia suculenta e refrescante – ao transferir para o tempo contemporâneo e, ao reapresentar objectos históricos e domésticos em contextos bizarros. As pinturas são em simultâneo elegantes e mordazes, provocam um diálogo cheio de imagens evasivas sobre o fluxo e a multiplicidade heterogénea da realidade, camuflada na linguagem pictórica e pelos gestos laboratoriais do artista. Em Gathering Evidence (2012) Weir compõe uma narrativa que combina laboratorialmente elementos retirados de distintos tempos: imagens de paisagens – como cascatas – e de naturezas mortas recolhidas pelo artista, e, posteriormente, usadas como modelo e matiz na construção da envolvência lírica da pintura, alinham-se em redor da imagem da figura em cerâmica – duas crianças de diferente sexo a entreterem-se levianamente num baloiço. A sensação atribuída à combinação do tempo de contemplação com o tempo de contemplação do processo dá uma nova configuração ao significado das pinturas como objectos observados. Ao incorporar o passado no presente Wier altera a significação dos objectos observados e a natureza da significação em sujeito e significado. O sujeito é revelado no momento quando a estrutura da obra é indistinguível dos efeitos trazidos pela obra ao nível do fetiche ou da iconografia reflectida pelos objectos.

Mathew Weir, Gathering Evidence (oil on canvas mounted on board, 60.5x45.5cm), 2012. Courtesy of Alison Jacques Gallery; Jean-Honoré Fragonard, The Swing (oil on canvas, 81x64.2cm), 1767. Courtesy of The Wallace Collection.

O que é interessante é que, embora as pinturas se parecem com a iconografia concebida e desenvolvida durante o Rococó, no século XVIII, por Jean-Antoine Watteau (1684-1721) ou Jean-Honoré Fragonard (1732-1806), ao simbolizarem a elegância do período, enquanto se assemelham a tantas representações frívolas, no sentido de futilidade da vida, que caracterizavam de certo modo o Rococó, o facto de exibirem uma melancolia expõem a pureza da ideia. As formas complexas e sobrepostas entre si desaparecem sob a contingência do material. O corpo disforme da jovem no baloiço, em O Baloiço (c. 1767), de Fragonard, sobrepõem-se à habilidade deste em combinar licença erótica – representado tanto no jovem amante excitado com o vislumbrar das pernas da sua amada, como também pela figura que parece estar a representar o marido ou um membro da igreja a empurrar o baloiço – com um sentimento visionário pela natureza; os ornamentos cristãos, os traços raciais, a simbologia sexual dúbia, ou, ainda, a desmedida expansão do tempo, afectos decorativos, e um kitsch sublime são efeitos contingentes. As pinturas de Mathew Weir existem mais no sentido das formas distorcidas e exageradas de John Currin (1962), concebidas durante um tempo distinto ao do de Watteau e Fragonard. Elas captam o poder da inocência e a força do conhecimento; a consciência e experiências únicas de um sistema em expansão e da extensão ocupada pelo observador.

O conjunto de trabalhos trazidos para esta exposição de Mathew Weir, como que vagueia por padrões de intervenção orgânica traduzidos por um largo e abrangente conjunto de referências visuais, culturais e literárias da sociedade contemporânea. Os objectos e as imagens são usurpadas das suas funções significativas que reportam a um determinado tempo de contemplação do objecto observado, e geram um profundo efeito narrativo constituído por uma pureza invariante, ou o que o filósofo francês, Alain Badiou, denomina, em Five Lessons on Wagner (2010), como uma coesão imanente, que denomina um outro tempo, o da contemplação da obra como sujeito. O qual contrasta com os efeitos usados pelos antecessores, bem como antecedentes históricos. Os atributos transmutam. Self Portrait (dead) (2012) e Death and the Abbot (2013) passam, por exemplo, a ser um significante universal sobre o que o artista considera “desconfortável e inexplicável, quer se trate de horrores históricos sobre opressão e racismo ou a estranha libertação ou fuga do suicídio.” Representam um daqueles momentos de reabertura infinita, um detalhe único naquilo que é a realidade social contemporânea. A intenção é explorar e levantar questões, conclui Weir, em entrevista publicada, em 2011, na revista online Dazed Digital. Uma inquirição à melancolia, como a perda do objecto da causa do desejo.

Mathew Weir, Self Portrait (dead) (oil on canvas mounted on board, 29x22cm), 2012 and Death and the Abbot (oil on canvas mounted on board, 90x60cm), 2013. Courtesy of Alison Jacques Gallery.

O assunto sobre o qual a obra de Mathew Weir observa transporta-nos para a história do presente ao apresentar imagens de objectos e eventos da história do passado, de forma a percebermos se estamos, por um lado, a progredir para um tempo mais natural, mais cultural (bárbaro) ou mais civilizacional, ou, por outro lado, se estamos, irremediavelmente, presos numa posição exígua e conveniente. As pinturas apresentadas, como sujeitos a observar objectos a representar um real artificial, substitutos da realidade, questionam se estamos a aprender com a história dos eventos do presente, enquanto reportamos e referimos momentos e eventos históricos do passado, de forma a saber se o ‘real’ é real e quando o ‘real’ é real. Porque, neste estado subjectivo, tanto a nossa realidade individual como a nossa realidade social, são ambas construídas e determinadas como uma ilusão do real desejado. E, estamos perfeitamente conscientes desta diferença! Nesta realidade temos acesso a tudo, mas, nesta realidade, não podemos ter esse todo. Os objectos observados, tanto as figuras observadas como as pinturas não têm qualquer significado. O observador, o sujeito, é aquele o qual atribui o significado à coisa observada, i.e. as imagens dos objectos, porque as coisas têm um significado em si mesmas, um significado universal.
Apesar de Wier utilizar um meio comunicativo tradicional e fora de moda, como é a pintura, substituído por outros meios de expressão mais ‘reais’, como são a fotografia e o vídeo, esta abrange muito mais terreno, com uma espécie de seriedade, profundidade e verbalidade que a torna extremamente atraente.

A exposição individual de Mathew Weir, na Alison Jacques Gallery (Londres), está patente até ao dia 3 de Agosto de 2013.

Published at Molduras: as artes plásticas na Antena 2: Mathew Weir: Mathew Weir

Tuesday, 16 July 2013

In Lines and Realignments

In Lines and Realignments
Simon Lee Gallery
A time rich in unexpected encounters with those with whom we are not expecting to encounter, but with whom we need to encounter, such as the mouth that bite the hand that feed her, about I.B. and A.L. on lost connections, about N.N.F. on local alternative venues, M.P. on the Triennial's participation, R.B. on nnm's membership, M.C. on GB's exhibition, L.J. on aversion and unfriendship, M.S. on friendship and work calls and contacts.

Open Cube

Open Cube
White Cube Mason's Yard


Saturday, 13 July 2013

newsfromlondon201307

Welcome to the jungle we've got money transfer & internet cafes and beauty & nail salons
We got everything you want honey, we know the names...
...We are the arty people that can find whatever you may need
If you got the beer honey we got your disease.
In Peckham, welcome to the jungle
Watch it bring you to your knnn knne knees, knees
I want to watch you bleed