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23 Rooms in the Hotel Bardo





‘Thy goal is the Unbecome, the Unborn, the Unmade, the Unformed.’
  —Brion Gysin, The Last Museum



A liberated film and book project by Stanley Schtinter, inspired by the writer, painter and mystic Brion Gysin (described by Genesis P-Orridge as “a kind of Leonard da Vinci of the last century”).* 



Hotel Bardo is an effort to convey something of the artist Gysin in present time: resisting biography; refusing historicisation, instead attempting to harness the narrative borne by Gysin; a narrative ancient, multiplicitous and without end. A transcendent un-biography and ultra-travelogue, Hotel Bardo is set in a vision of the public domain in which the living and the dead pass freely to make fun of the idea of origin and mock our ideation of cultural posterity.

“Wrong address! Wrong address! There’s been a mistake in the mail. Send me back. Wherever you got me, return me. Wrong time, wrong place, wrong colour.”

Gysin made this famous declaration aged 0. He swore throughout his life that he remembered being born, and his visionary efforts through painting, writing (introducing William Burroughs to the Cut-Up technique), and by his invention of the Dreamachine, can all be seen as efforts to ‘write himself out of existence’. Gysin was principally a seer, shepherd to the Beat movement (which he never observed with any seriousness).In the year that would’ve been Gysin’s 100th, Schtinter set out to explore and celebrate the impact of Brion Gysin’s work on 20th Century culture. The search for the wrong address became concerned with a more liminal place and state. It occurred to Schtinter that Gysin could still be in the Bardo, and that there must be a ‘real’ Hotel Bardo on planet Earth. There is: one hour south of Wroclaw in Poland. As such, on the anniversary of Gysin’s death, Schtinter visited the hotel and gave each occupant—associates and acolytes of Gysin—a room for playback. The motive? That this would create a connection with Gysin, still in the Bardo, and release him finally from the responsibility of death, and so re-birth.

This is a journey in search of the wrong address, across Europe, through America and Africa, and featuring a wealth of interviews with associates of Gysin, and those especially inspired by his work: John Akomfrah, Genesis Breyer P-Orridge, Liliane Lijn, Pam Grossman, Jarett Kobek, William E. Jones, Jean-Jacques Lebel and Robert Macfarlane to name a few. Exploring the Hotel room by room, the building becomes a torch song to Gysin’s ultimate project: The Last Museum.

A book is in the post; in the offing.




The film iteration of Hotel Bardo is various, liberated and endless—shot primarily on 16mm—and is distributed by Light Cone. One such sequence is NORTON’S CUT-UP, with Iain Sinclair as Norton (known to the reader as prisoner of London in Sinclair’s Slow Chocolate Autopsy & Alan Moore’s League of Extraordinary Gentlemen). The genesis of Hotel Bardo is with Sinclair (and the unseen but ever-present Paul Smith) at the October Gallery: we met there on what would’ve been Gysin’s 100th birthday with a newspaper from the present day and a newspaper from the morning of his birth (1916). Sinclair—Norton applied the two papers to the literary cut-up technique invented by Gysin and popularised by William S. Burroughs. Inevitably, the results say more about now than they do about then. NORTON’S CUT-UP can be viewed below, followed by its transcript. 


                —Stanley Schtinter, 2018




Norton’s Cut-Up










PENICILLIN THE FIRST EFFECTIVE ANTIBIOTIC ALLY OF RAMZAN KADYROV, MAYBE I WOULD GET OUT, WAS DISCOVERED BY ALEXANDER FLEMING

WHEN HE NOTICED A RING OF DEATH ON LEADER’S DOG WAS “ITCHING” TO A DISH OF BACTERIA HE’D BEEN GROWING, ATTACK PUTIN’S OPPONENTS.

AT ITS CENTRE HE IDENTIFIED A FUNGUS, THE CHECHEN PARLIAMENT HERE AT MY THROAT THE SPORE WHICH HAD BLOWN INTO HIS LAB INSIDE THIS PLACE SOMETHING DEADLY TO BACTERIA

GRANTS FROM NORTH AFRICA MOROCCO AND PAPER IN THE WHINE OF ALGERIA ARE TO BE DECLARED SAFE VERY REAL MONSTER, GHOUL.

THERE ARE ALSO PLANS TO KEEP ALL ASYLUM SEEKERS ACCUSED OF BLASPHEMY CULT TO GAIN ASYLUM IN GERMANY MOHAMMED ANWAR, 15, PERFORMED OPERATION CASABLANCA THE AMPUTATION WITH A SCYTHE

THEY REFUSED TO BECOME HIS PAID ASSASSINS MOSQUITOES. THE ATTENDANTS, COURTIERS, PROCURERS THAT SHRINK HEADS OF ROUSSEL

NAKED AND SHRIVELLED, THIN AS UNBORN SPARK OLYMPIC ALERT. ORACULAR AND BLASPHEMOUS, MUTE BUT TALL. SECRET INTELLIGENCE

HAD NOT BEEN SANCTIFIED FOR MIRACLES. THEY ARE ALSO WARY. “THE CROW,” ROBERT GRAVES TELLS MI5 ALSO CONSIDERED ESSENTIAL.

MARK, A GAY INTELLIGENCE OFFICER ACKNOWLEDGED THE RISK. THE RAVEN, SCALD-CROW AND OTHER LARGE BLACK NETWORKS

EXECUTIVE TOLD THE PARENTS HEALTH CRISIS BACKED THE EYES OF THE WITNESSING DEAD, MAKING THE BAN ON GAY AGENTS WHO WERE RICH IN VEGETABLES AND FISH REDUCE THE MUMMIES ARE NOT THERE TO BE INSPECTED THEIR SEXUALITY, HE ADDED WARN THE MIDDLE AGED OF THEIR DEMENTIA RISK, SUCKING UP BREATH, GLISTENING WITH BORROWED SWEAT, AVID FOR THE INCREASED RISK BECAUSE THEIR PARENTS HAVE LANGUAGE. THE HUNG MUMMIES ARE ALSO CAMERAS. AND THEY ARE LOOKING RIGHT BACK AT THE THING THAT IS LOOKING AT THEM







* See here for an essay on Gysin and Burrough’s collaborative practice—‘Magick Squares & Future Beats,’ by Genesis Breyer P-Orridge—excerpted from P-Orridge’s recently collated interviews with Gysin, ‘His Name was Master’ (Trapart Books, 2018). 





2018

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Hotel is a magazine for new approaches to fiction, non fiction & poetry & features work from established & emerging talent. Hotel provides the space for experimental reflection on literature’s status as art & cultural mediator. The magazine is bi-annual, the online archive is updated periodically.

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2019
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