12.12.12 - 12:12 JAMES BOND IS DEAD
A Postmodern Tombstone: James Bond, Skyfall
HOW POSTMODERNISM DIED @ THE MOVIES

From:
SUPERFORMALISM - THE NEW PHILOSOPHY & METHOD
Multi-Node-Perspectivation & Superformalist Expansion.
© Henrik Yde | All Rights Reserved

In 2012 Deitch Dallied In Dreams Of Disco Dancing at MOCA - so what was more appropriate for Los Angeles artists than likewise seeking clues to the direction of art from retro pop phenomena, like movies, and what better movie to start with than a franchise even older than disco, recycling the same objects and characters just slightly re-choregraphed much like the endless references to prior artists strategically employed by monetarily succesful Postmodern artists?

WARHOL & BOND - READYMADE - MACHINE AGE ICONS

The 'Take Away' of a movie is series of stills, Still Life images of iconic, archetypal content - adopted or deconstructed according to a viewer's operational intellect, exactly like stills in an artshow.
A handfull of Still Life tableaus extracted from James Bond-Skyfall, excellently represent both the public globalist zeitgeist and the death of Post Modernism. Fasten your seatbelts as Skyfall reveals its symbolic and psychological content - if you didn't already know:

Bond is a Submissive Mind-Free, Mama-Boy-Zombie-Killer-Bot, the very 'man' desired by non-artist pseudo-designers of globalist, corporatist hegemony, submissive orchestrators & henchmen. Bond is dead, Bond is brand, Bond is machine, And a collectivist.

Warhol coquettishly claimed he wanted to be a machine. Whether sincere, sarcastic or strategic he played semi-zombie, posing for public attention & fame.

Warhol & Bond rose in parallel, twin submissives to automatist faith in industrial, material replication, both confessing & awarded by emulating trend as summarized in The Post Modern Meme & Pretense Equation:
(Surrender to/reflect status quo) + (kitch=god) + (man=machine) = ART = ADMIRATION, FAME & $$.

Skyfall STILL LIFES: Kitch to Death Correlations -
The Subjective / The Individual - Must Die

Bond STILL LIFE #1 Skyfall: "The Death of Origin"
A Scottish Manor on the Moor EXPLODES - Gorgeous Orange Flames RIPs Dark Scottish Night.
Bond's blows his place of origin, only partly forced by circumstance; he "always hated the place".
Take-Away: Scotland Shall Not Have Independence From UK - because Scotland isn't worth it -codependent UK-Bonded Bond's Gorgeous Orange Flames Say So!
As for Postmodern Reality Kitch: The First Film-Bond, Sean Connery, a notorious proponent of Scottish Independence of UK, used to live in Spain (now Caribbean), Skyfall-antagonist Javier Bardem's place of origin.
Skyfall tanks it all: Scottish Statehood, Spaniards, indeed all national, sovereign, identity. US-UK hegemon killer-bot slavehood is all the identity Bond - and you - will ever need.

Bond STILL LIFE #2 Skyfall: "The Death of Taste & Nostalgia"
An Ashton Martin, mid-century modernist Bond car, EXPLODES in Gorgeous Orange Flames. RIP otherness! Take-Away: Bond is beyond TASTE & affinity, the foundation of aesthetics & nationality (no attachment = no taste).
Postmodernism rose on the death of taste, the equalization of all objects by intellectually & emotionally impotent Postmodern artists submitting to mere posing for fame & money = declaring Modernism dead. RIP.

Bond STILL LIFE #3 Skyfall: "The Death of Woman = Death of Transformation"
The women of Skyfall, like Bond himself, have fallen from grace; Bond uses them without a single drop of personal involvement, nameless & insignificant, except as anonymous mother-substitutes - mere fragmented Postmodernist art objects, designed to submit to Killer-Bots like Bond, nurse him back to 'life' after False near-deaths. 'Resurrected' Bond brings no enlightenment back to life - just his tedious keep-killing M.O..
TAKE-AWAY: Fall From Grace Requires No Redemption - Just Refueling, More Blood For Bond's kind: The Walking Dead, the destiny of global man: Fragmented Material Consumption, Postmodern Projection on its submissive mass entertainment tombstone: Origin, Art, Woman & Artist = Replaceable Commodities / RIP.

Bond STILL LIFE #4 Skyfall: "The Death of The Artist"
Some old scrolls keep giving - to lovers of old desert religions: a gift of harsh patri/matri-archal sacrifice.
Mama (the new Papa) demands sons sacrifice themselves for the clan/state without question and don't expect love as reward for following dogma; your license is an order, so smile as you kill for Mama.
Bond does as Mama says. Bardem won't. Mama didn't give him love (what a whiner - who wants love?).
Take Away: Kill & Die for Empire, or empire kills you. The Post Modern Equation of Subject Death For Volume:
(Bond=Abel) + (Bardem=Kain) = Postmodern ktich of the 3rd kind: Scale Matters; BIG sacrifice is BEST - so keep killing till you yourself die, then you're a good boy, a real hero.

The Trans-Formation of blood sacrifice into vegetable ditto - is the work of real artists - because only artists trans-form space-object-structure-performance - and the artist's trans-formation is therefore frowned upon & destroyed by the despotic dictatorial control freak Papa/Mama/hegmon/oligarch/dictator, the non-creator of non-dynamic, icon represented hierarchy presented as divine order - the ANTI-ART & NON-ART of Imperial Commands To Its Enslaved & Bonded 'Commanders' To Kill For The Genderless Mama-Papa Hegemon.

Bond STILL LIFE #5 Skyfall" "Death of Dynamicism / Evolution"
M dieing in Bond's arms: "At least I got one right" - meaning, she chose a Readymade Killer/Bond at the orphanage Postmodern Artists choose Readymades unintentionally priceless for observers who have what Skyfall tells you not to have: a functioning, individually operating, informed intellect.
Take-Away: since all artists & handlers do is choose & throw Readymades into the arena, a 50% hit rate makes it all a wash for the great domination scheme - and they can RIP.

THE INCREDIBLE EXCRETION OF POSTMODERN GREY GOO INTO MASS CONSCIOUSNESS

POSTMODERNIST TRICK#1: ROLE REVERSAL / MIRRORING / REFERENCING
If you dare you may care to wonder why a 1-in-1K Blond Spaniard Ophan is a UK servant turned terrorist? Perhaps M picked him up in Seville? Nah, art world inhabitants easily spot patterns eluding the untrained eye, and realize Bardem's blond-dom is Hollywood establishment's 40 year old role reversal payback in non-stop Postmodernist 'bloom'; sure, it's still sporadically cool to whine about blond/blue domination of melting pot affairs, though the claim is pre-globalist old. Hollywood villains are blonde/blue mostly Danish, Swedish & Russian actors (same thing, all vikings) - so why the hellywood doesn't Bardem have blue eyes? Oh well, PostModernism (PM) is of course PM in every single sense of the term - Post Menopausal. Like most real power-mamas Mama M certainly is, and, Bardem's Skyfall character is very gay, which to a macho-man killer-bot like Bond is pretty much the same: infertile! Not that Bond's own marvelous machismo will ever lead him to sow any seeds of life; life is as little desired as love in The Bonded World Of Slavery To The Imperial Machine - Death is the desired commodity in the theater of meaningless and Zero Creative Consequence Role-Reversal.

Perhaps the PM-Anglo's enemy is hybrid Nordic-Spaniard? Hillarious, since Nordics are the Original Anglos.
Post Modernist confusion & mixed signals migrate from art to mass entertainment with tactical purpose. Why make clear statements, when confusing is so much easier and keeps your agenda & power structure invisible to non-analytics?
Like Mama Substituting Papa as Chief of Murder Inc. - OMG, isn't gender equality great - at the top of the pyramid; at Bottom of Bond World Women Remain Dispensable Trinkets. PM = Icon = Stereotype = A Death Cult, which, hint hint is Role-Reversed Impotence - i.e. the inability to love & nourish life, masked as Papa-Mama-Chismo Will To Kill when told to.

Strategically organized mixed signals, mainstay Neo-Anglo recipe for myth-generated erection of hierarchy, was perfected into myth-matrixes by Shakespeare - the Post Viking Anarchy narrator of fraternalized power stuggles - but that's another story for another time.

LA STILL LIFE #1 Disco DogMA @ MOCA
JEFFREY DEITCH @ MOCA too fell - from thought into deep intuition as he sensed the inalienable truths of Role-Reversing Kitch Into Art and FELT GUIDED TO FLOD MOCA WITH MOVIE STARS.
2012 was the year of Magical Thinking & Hollywood induced Magical Realism: Deitch Deliberated Decorating MOCA with Disco Objects to show Disco Influenced Art. Postmodern = Post Menapausal = PM.
MARTHA STUART would surely be proud of Jeffrey - she could bake a cake to his corny show. If only! Alas, to Be Or Not To Be.

Remember Satuday Night Fever? Maybe there wouldn't have been a Koons without it - and where then would the art world be - not to mention the world at large? Yes. Kitch Is King in The PM-HomeLand.
Bond-Skyfall, demonstrates that Post Modernism has finally Paid Back its debt to filmed entertainment.

POSTMODERNIST TRICK#2: Oh, Sorry - There Isn't Any Trick #2 - Reference & Role-Reversal Is All You Need. It's an old desert mythos kind of thing; this blod domination & revenge cult, sacrifice of anything personal kind of globalist mafia thing.
Ah, Pay Back! Sweet! Payback IS Role Reversal - Hollywood decided blondes should be whimps and evil, and henceforth all antagonists were Scandinavians or Russians unwilling to sacrifice for & to global order. That's why Bardem in Bond-Skyfall is blond, effeminate and Oedipal - because real men kill and die without question. Why question anything? It disturbs the leveraged taxpayer sponsored cashflow - and if you do, you're a terrorist!

What's so difficult for little boys to understand about that? Wanting love from Mama/Papa-Hegemon isn't good attitude; Sons MUST SACRIFICE themselves without thought, for the sake of pretend objectivity.

Did Jeff Koons sacrifice any individual creativity for the sake of referencing previous artists' works? Is Jeff sexually stimulated at the sight of his 4 ft steel "Rabbit" sculpture as he claims? Such for PM art intriguing & important questions are highly welcome in Wall Street, where PM 'high' art is highly paid - a commodity of the highest caliber, like James Bond's Walther PPK - for they are questions which do not rock the boat. Don't disturb the highly leveraged cashflow. PM is PC.

The Correlation: desert god - globalist bankster imperialist PM artist hegemony Readymade Derivative Role-Reversed stereo types - all merge into neo-demiurge erectors of PSEUDO-MYTHIC ICONS OF REFERENCE - CONCEPTUAL BLOODLINES, if you will, Access Portals of the past 40 years of PM intellectual infertitlity, logical result of pre-ordained hierarchic Frat-Boy socio-financial 'order'.
Ah, the blessing of subservience, freedom from the Burden Of Consciousness By Sacrifice, like then Young British Artist Damien Hirst's sacrifice of art making, for simply choosing what dead animal to show next.

Individual Creativity is a pesky enemy of empire, globalism and PM Concept Art, PM Pretend Objective Subjectivity ad absurdum turned de facto collectivst fetishism, commodification of role-reversed kitch. The Death of all intellect. Damien's "SKULL" says so.

POSTMODERNISM EPITAPH: 'BONDED' MEANS IMPOTENT / INFERTILE / DEAD
James Bond is a collectivist, zombie-bot murderer, Mama's Boy. His power is illusory - he only does what he is told. There is no rebel in James. There is no sex in James - his sperm count is by definition irrelevant.
James Bond is the murderer-lamb sacrifice, not of God, but of the false Papa-Mama Hegemon Institutional Pseudo-gods, who serve hierarchic-collectivist frat-boy cult agendae they don't understand or dare analyze.

REAL ART POINTS TO REAL LIFE- NOT JUST REFERENCE & PRECEDENCE
Munch's 'Scream" and Picasso's "Guernica" 'saw' and represented the James Bond archetypal henchmen of nature and culture in apparitions of their represented moments: the collectivist blob-ism, which murders individuals, who insist on the right to be separate, to be different, to be other - and THAT is the essence of real art: to represent form which is different and separate from nature & culture, yet dialogs with both (not annihilate) and trans-form the represented objects, to approximate and suggest an escape from the horror of the dictates and uniformity of both nature & culture.

© Henrik Yde 2012

Superformalism is created by Henrik Yde in Los Angeles California and under exploration with new & emerging Los Angeles artists.
Appropriation, Replication, Reprinting & Republishing is not allowed without the author's written permission.