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Azsacra Zarathustra Biography:
| Biographical information for Azsacra Zarathustra can be found below. The artist may choose what information to display. Sometimes the artist chooses not to display personal information to the general public. |
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Age
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| Gender |
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| Children |
0
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| Religion |
Taoism, Buddhism, Zen |
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| Education |
Undergraduate Work |
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| Hobbies / Interests |
ALCHEMY, PHILOSOPHY AND SPIRIT POETRY |
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| Favorite Artistic Medium |
Photography Black and White
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| Favorite Arthistory Movement |
Expressionism - (1905 - 1945)
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| Favorite Visual Artist |
Emil Nolde, Otto Mueller
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| Favorite Work of Art |
DARK SHOUT
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| Biggest Artistic Inspiration |
BODY OF POET
«Annihilation is the invaluable sumptuousness!»
(Georges Bataille)
In some details is the project the critical confrontation between the forms of the traditional art, to which we all have already got accustomed? And is it a form of the extreme, for which the notion of “norm” is hostile? Practice confirms that the accent is made on the shocking discrepancy, which makes a “break” in the settled values. The imperative of the extreme art is not to trifle round with who has to evaluate it, but to cut and hitch him up from the inside and reveal the “interiors” of the common psyche and consciousness. It is a special form of torture and at best a try to put to death always “untouchables”: readers, spectators and so on.
In 1969 great French theoretic and practice of “the art of body” Michael Journiac composed a special treatise, containing the following: “How to transform the body into the work of art. Conditions: 1. You should bequeath your body to Journiac. 2. You should die”. “You will die to become a masterpiece”. Since then the dead human body is not only an inert form of the substance. Tattooings, scarings, maimings are the saint signs of freedom which are realized as a new language and form its nontextual and overtotalitarian discurs. “A wound now is no more a damage of the tissue, but a new rule”.
The borders of this breaching “negations” and revolutionary ideas are already gave up or left behind in history of Russia. First and foremost it touches upon the extremely discrepant art of ZARATHUSTRA AZsacra (Master of Death). He made people speak about himself by means of “the art of body”, using photography as one of the presentation means of his own Games with the death as well as of his risky experiments on his body and reason. Identifying himself only through the spiritual rebel, AZsacra maintained his art in quite different “acts of death”, which are performed before the video and photo cameras. At the moment he is the author of the most complex extreme philosophy which reveals, scares and captivates us at one time. His over..crossing the borders overgressing art combines five most nihilistic aesthetics: “how to lead philosophy with a hammer” by Nietzsche, “wish to be killed with roses” by Missima, “to die and to become a masterpiece” by Journiac, “clearing theater of cruelty” by Antonin Artaud, and “western zen” by de Sade. Such “detonating mixture” was necessary for ZARATHUSTRA AZsacra only to reveal and raise his own idea of “the body as the cipher of the absolute freedom”.
Body is the only clear mirror. Forcing the danger and horror reveal itself in it, the creator works out his own form of the language. Negative aggression is incessantly established as the overpositive will to Nihil. It is something like Zen without zen. AZsacra proposes: “Poetics is not the power of the word, but an extra strong psycho and physical development. Not the language of reason but only will, playing in the centre of the body, creates a masterpiece. We should go forward behind “Hatred to Poetry”, “Flowers of evil”, and even behind Tommazo Marinetti with his scaring “no masterpiece if no aggression”.
And really instead of shy “guillotine weeds” pseudoradical performances and installations of the most actual art AZsacra does the Other and the Present, which is the break of the culture by means of deadly Game in realities. His “art of aggression” turns into transgression and overgression only to break with these limits. And if in “Body mass” Journiac used his own blood to treat the spectators, AZsacra does (manifests!) something more important. He burns himself cruelly, cuts, pierces himself, puts his own body to the blows of heavy chains and hammers. “When I really, practically, on all hundred percent “lead my philosophy by means of the hammer”, I inevitably come to the effect of the “final Nietzsche”. I recover his “incomplete philosophy” by means of my own body. And in this case it is better to be killed by everyone then to be publicly recognized”.
It is the mission of the creator damned by the society, which is to attack the culture of prosperity, money and comfort, where everyone becomes “the body of inspection”, even being deprived of the opportunity to become a slave. Overtaking death in every second, AZsacra reminds us of the Grandeur of the Order, which is Freedom when no one is free. Nothing without Nothing! There is no AZsacra, only assakracidos of the word and image, which illuminates the ritual of the intrusion into the powerful sphere of philosophy by means of the art “to be killed”. He is and realizes himself without the context of fear! Muscular cipher of the body, symbols of maimings and anticodes of tattoos will always challenge and dominate because only they are the basic expressive means of the genuine freedom. AZsacra’s wounds are furiously and afflictedly transferred into the pure poetry of the “bloody metaphors”. Blows, cuts, piercings represent the maximally tragic objectification of “the body-in-itself”, what in the end brings not to something like a purified body-art or hedonistic body-building, but to quite the opposite: transformation of the body to the object of art through the jump into Death:
Unfamiliar spring to people –
Flower sketch on the opposite
Side of the mirror.
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| Why Did You Become An Artist |
ARTS UHTAR AZsacra:
history of the art group
Revenge the Beauty
For every Hurricane,
Killed with Roses!
Our Art originated from the Poetry of Chaos. Ancient Magic Poetry is the cultural and aesthetic basis for photography. We are soldiers of POETRYHORROR! “ARTS UHTAR AZsacra” has already published 3 photo albums in Russia: “BLADES”, “S sexus S”, “OPUS TRANSFORMATIONIS: CHAOS’S PASSWORD and HYPNOSIS”.
In contrast to other “Theatres of Cruelty”, which exist in the world, we came to the principle of genuine, real but not artificial blood. We ourselves have characterized this period of this work as “The End of the Stage and a Blood Flow”, in contrast to Antonin Artaud with his theory of “Filet de Sang” (small blood stream). The actor was changed for metaactor with his only truth: “Gesture of the Absolute Horror”. Ritual substituted the play. Initiation and Trans substituted the falsificated human feelings. The conception of the “Metaphysical Cruelty” was created in order to protect the tenderness and initial purity of the feelings. That was the last chance to win back genuine reality of the human “I” from the “Universal Illusion and Simulation”. But this “bloody metaphors” were only a prologue to quit the Stage and come to the “Art of the Total Photography”.
The first principle of “ARTS UHTAR AZsacra” became the principle of leading to the maximum limit of two supposedly opposite feelings of cruelty and tenderness, beauty and death. One should have forced the second! This alchemical synthesis of the photography should have inevitably destroy the scheme of habitual reactions and cause through the angle of maximum tension the state of the “Recognizable Chaos” as well to deliver the inner pulsation of life.
The Pure Cruelty must have protected the Pure Tenderness! But this did not correspond to the laws and principles of art. And the law itself. However, from the point of view of the Spirit, cruelty means severity, uncompromising decision and ruthless fulfillment. Here the creator should possess maximum courage. And that can only possible in the “Art of the Metaphysical Photography”.
The second principle of “ARTS UHTAR AZsacra” is the attempt to synthesize and join in the photography all the Rituals and Initiations which have been known since ancient times. Magic Gesture became the Indestructible Basis. This is so as Gean Bataille would have said: This process became the “revelation of the Experience of the Absolute Negativeness”. But here was one drawback: the audience was scared. The horrifying and scaring of the audience was permanent. But that did not mean anything for us, because, frankly speaking, we always wanted to have Other Civilization without of fear before the purity and genuinety. Even if this genuinety are Pain, Blood and Death.
Jaque Derrida has said in his book “The Gift of Death”: “The secret of death keep and guard the human”. The Art of the Photography is one of the most powerful opportunities to prove this concept of “The Gift of Death’. If we appreciate the dignity of life, so how we can’t appreciate the dignity of the beauty of death?
We started to combine the Art of Photography with the art of Cinema. We started making films. This tendency is called “Trance Cinema” and “Trance Photography”. The following films were created: “Art of Playing with Death”, ‘The Flowers of the Black Sakura”, “Instinctive Critique” and “Nirvananevermore”. We have a great variety of quite different photos, starting from the most horrifying and up to charming with their beauty ones. The most rough and the most delicate works complement each other as the tiger’s paw strike complements the lotus petals opening.
And all shall be well and
All manner of thing shall be well
When the tongues of flame are in-folded
Into the crowned knot of fire
And the fire and the rose are one.
(T.S.ELIOT)
Grace to the Mother
For the Garden
Where all love ends.
(T.S.ELIOT)
... with all the fury
of a Spiritual Existence.
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| Your Personal Biography |
ARTS UHTAR AZsacra(TheaterOfCrueltyNOH AZsacra) was found in 2000 by a well-known esoteric philosopher, poet and metaextremal AZsacra ZARATHUSTRA / also known as Master of Death, Emperor of Suicide/.
ARTS UHTAR AZsacra(TheaterOfCrueltyNOH AZsacra) is aesthetical and philosophical synthesis of a French “Theater of Cruelty” of Antonin Artaud, medieval Japan ritual and magic theater NOH and Russian SacralWordcinema by AZsacra ZARATHUSTRA.
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