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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





Hotel Bardo is a liberated film 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Genesis P-Orridge as “a kind of Leonard da Vinci of the last century”).* Rather than act as a biographical exercise or historical document, Hotel Bardo is a continuation of a narrative harnessed by Gysin.

Hotel Bardo identifies two defining moments in Gysin's life and work: 1) his birth, the key traumatic event of his life (upon which he declared: “Wrong address! Wrong time, wrong colour, wrong place. Send me back.”); and 2) his final literary work, Beat Museum—Bardo Hotel, an exercise in writing himself out of existence. Gysin identified the years he spent living at The Beat Hotel in Paris as his happiest, and his text explores that time with vital abstraction. Returning to the text throughout my practice, it occurred to me possible that Gysin is (was) still in the Bardo—between death and re-birth—and further occurred to me that there must be a real Bardo Hotel somewhere on planet earth.

There is: one hour south of Wroclaw in Poland.

As such, on the anniversary of Gysin’s death in July 2017, I travelled to the hotel which granted access to each of their 23 rooms. In each room I played back unedited filmed interviews conducted on Gysin. In this way, each of the 23 interviewees—the likes of John Akomfrah, Liliane Lijn, Genesis P-Orridge and Robert Macfarlane, were given their own room(s). The gesture of the journey to the “wrong” address and the playback of the interviews there, was designed to create a connection with Gysin in the Bardo, finally releasing him from the responsibility of death and so re-birth. This journey forms the basis for the fragments to be leaked by Hotel: excerpts from interviews which will eventually result in a book documenting the entire project. 

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.

The paper Hotel is designed & typeset by Niall Reynolds
Hotel
is edited by Jon Auman, Thomas Chadwick & Dominic Jaeckle


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2018
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