Art Sex Music: Cosey Fanni Tutti

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COSEY FANNI TUTTI - Solo audio/visual performance in the Turbine Hall at Tate Modern 10th Birthday weekend. London. UK. Saturday 15th May.

Cosey Fanni Tutti - book review - Louder Than War Re-Sisters: Cosey Fanni Tutti - book review - Louder Than War

From 1st July 2021, VAT will be applicable to those EU countries where VAT is applied to books - this additional charge will be collected by Fed Ex (or the Royal Mail) at the time of delivery. Shipments to the USA & Canada: It would be wrong to peg Re-sisters as just another book about female resourcefulness and resilience. It is much more complicated than that, and more honest. The voice is plain, colloquial, as if your friend is just whispering to you on a train. Re-sisters digs up narratives of guile and wiliness, tales of flying under the radar, and emerges with a whole cryptology of female artistic liberation. My recommendation: get it, read it, hear it. COUM - 'Arte Inglese Oggi 1960 - 1976’, Milan Italy. 'Towards the Crystal Bowl', Galleria Victor Emanuelle, Milan, ITALY.

Re-Sisters: The Lives and Recordings of Delia Derbyshire, Margery Kempe and Cosey Fanni Tutti

Art Sex Music is a brutally honest read, no stone left un-turned. Aided by her diaries Tutti takes us through her life from her birth and upbringing in Kingston upon Hull during the fifties and sixties, to her meeting with Genesis Breyer P-Orridge and subsequent work with the once notorious now celebrated COUM Transmissions performance and mail art collective, through the forming, disbanding, and reformation of Throbbing Gristle, right up to the present day. Cosey is an artist, a partner, a mother and every section of her life is described in unflinching detail making Art Sex Music an enjoyable, uplifting, sometimes unbearably raw read. The more mesmeric and evocative chapters of Derbyshire’s biography come later on, in Tutti’s reconstructions of what happened after she became a BBC dropout. Increasingly reclusive, both her person and her work drifted into obscurit y, even as electronic music grew and grew in popularity. But Derbyshire, who had always been a heavy drinker, uprooted her life to Cumbria. She worked for a gas company and married the son of a miner, who shared none of her interests, save the love of drink (and playing darts). Predictably, the marriage was doomed. Meanwhile, Delia had connected with a local artist community. She slithered into a covert relationship with farm-dwelling, teetotal artist and curator Li Yuan-chia . It was yet another doomed affair. COSEY FANNI TUTTI - 'Selflessness' No.3. Live Art Action - also recorded on video. Cemetery, Hull, UK COSEY FANNI TUTTI - ‘In Conversation’ with Catherine Wood - Tate Modern Symposium Oct 6th. London UK Oct 26 COSEY FANNI TUTTI - Autobiographical reading from ‘ART SEX MUSIC’ & Exhibition. - I.C.A. London. UK- | LINK

Art Sex Music (Faber Greatest Hits) by Cosey Fanni Tutti | Faber

COSEY FANNI TUTTI - 'Artist/Model' Richard Kern exhibition, Panel member at open discussion. I.C.A London, UK Delia Derbyshire’s electronic music career began with exceptional promise in 1959, when she graduated from Cambridge in mathematics and music. Tutti’s book tells the story of Derbyshire’s genius and propulsion to creative hyperproductivity at the BBC’s sound effect unit, formally known as the radiophonic workshop (RW) . Synthesisers didn’t exist, and computers were unknown. Delia Derbyshire worked with everyday objects like lampshades to create sounds. She used oscillators, tempophones, and early looping and splicing techniques with real tape. June 03 COSEY FANNI TUTTI - In conversation with David Sefton. Audience Q&A and Book Signing. Medway Literary Festival, Kent. UK. COSEY FANNI TUTTI - Discussion panel 'Over and Over and Over and Over' incl. Rob Young, IainForsyth, Jane Pollard, Carolen Evans. I.C.A. London.In the meantime, if you want to enjoy some electronic music herstory through your headphones, I have compiled this playlist on Spotify with as many titles as I could find of artists mentioned in the book, such as Daphne Oram, Suzanne Ciani, Maddalena Fagandini (“Ray Cathode”) and of course, Delia Derbyshire . Please note that the images are not to scale and are an approximate representation of the final box set.

Re-Sisters by Cosey Fanni Tutti review - The Guardian

COSEY FANNI TUTTI - Lecture/presentation on multi-disciplinary practice at the University for the Creative Arts, Farnham. UK In between reading up on Derbyshire, Tutti also began researching Kempe, who, burned out after giving birth to 14 children, vowed to live chastely with her husband and devote her life to God, and embarked on hazardous solo pilgrimages to Jerusalem and Santiago de Compostela. “These were women struggling to be themselves and find their place in the world, and who did not give up whatever life threw at them,” Tutti says. “What links all three of us is that we didn’t want to submit to what was laid out for us. We wanted to find a way out.” COSEY FANNI TUTTI - 'Selflessness' No.4. Live Art Action - also recorded on video. Sandringham, Norfolk, UK|March 13 COSEY FANNI TUTTI - In Conversation: Cosey Fanni Tutti & Maxine Peake - In celebration of International Women’s Day . | LINK COSEY FANNI TUTTI - ‘RITUAL AWAKENING' performance on 6th March at the 'Taboo Festival of Eroticism', Zap Club, Brighton, UK COSEY FANNI TUTTI - received a Bachelor of Arts, First-Class Honours Degree and was conferred at Ely Cathedral in Cambridgeshire, England. Everywhere, parallels leapt out at Tutti. And so Re-Sisters is a three-pronged account of outsider women and their works; how all three struggled to express themselves within male-dominated milieus, often fighting against oppressive injustice to make their “recordings” (whether on magnetic tape, or paying a priest-scribe to lay it down on parchment); how, somehow, the underappreciated Derbyshire, the self-publicising mystic Kempe and the once-reviled Tutti (a lot of her early work was pornographic in nature) were now not just vindicated but saluted. As much as Derbyshire and Tutti were able to express their sexualities (being around in the late 60s-70s cusp helped), Kempe took control of hers in a way that was exceptional for the time. She earned the church-given right to not sleep with her husband so she could remain chaste for Christ. THROBBING GRISTLE - performance, Scala Cinema, London, Films by Kenneth Anger and William Burroughs.UK

Cosey Fanni Tutti on Delia Derbyshire, the unsung heroine of

Myself , Delia and Margery — a trinity of the sacred and profane , sinners and saints of a kind. Three defiant women with our individual, unconventional attitude to life. Untameable spirits, progressive thinkers living within the inherent societal constraints of our times. Throbbing Gristle’s Cosey Fanni Tutti, second left, and the ‘abusive, controlling’ Genesis P-Orridge, right, in 1981. Photograph: Michael Ochs Archives/Getty Images COSEY FANNI TUTTI - Magazine action - modelling and demonstrating sex machine for Tabor Publications, UK COSEY FANNI TUTTI - ‘Striptease’ project continued on a daily basis during 1983, after 6 month break. July 15 COSEY FANNI TUTTI - Why Women Grow, discussion, Q&A with Alice Vincent, Hazel Gardiner. Festival of the Garden, Charleston, Sussex. UKTHROBBING GRISTLE - performance of 32nd Annual Report, Villette Sonique Music Festival, Paris, FRANCE What makes this a true work of electronic music herstory is Tutti’s work in reconstructing Derbyshire’s relationships, the personalities with whom she surrounded herself, and how they affected her progress as a musician. Tutti, who has already published an autobiography , peppers her account of Delia’s life with some of her own personal experiences. Through affinity and empathy, Tutti excavates the social and emotive circumstances in which the musician and the woman Delia Derbyshire lived, worked, coped, and faced the big choices of her life and of her time. Cosey Fanni Tutti Throughout the rest of the book we taken through Tutti’s various art projects, illnesses, achievements,and losses. It is the latter which turns the screw in the reader especially when she discusses the loss of John Balance and her dear friend Sleazy. These deaths are treated with nothing but respect and fondness for the departed whilst very carefully never turning them into martyrs and talking about the various aspects of their lifestyles that ultimately lead to their lives being cut tragically short. This month Tutti, who is now 70, will appear at the ICA once more, though there will be no giant dildos or maggoty tampons. Instead, she will host a comparatively genteel talk about her new book Re-Sisters, the follow-up to her critically lauded 2017 memoir Art Sex Music. Less a cultural pariah, Tutti is now widely hailed as a musical trailblazer and elder stateswoman of the avant garde. Over the last decade, the demand for Tutti – via talks, reunions and retrospectives – has barely let up. That she can no longer be classed as an outsider feels odd, she says, “because I’ve been one all my life. I found my own comfort zone in being ‘other’ and in being criticised. So when I get compliments, I don’t know how to deal with it. But I like that there are young people coming across my work. I feel good for them that they’ve got something from what I’ve done.” What links all three of us in this book is we didn’t want to submit to what was laid out for us. We wanted a way out