Half of the harry potter tour

Brain fried tonight through misuse
Through misuse, through misuse
You can't avoid static abuse
Abuse, abuse

Without these pills you're let loose
You're let loose, you're let loose
Take off, get out, no excuse
No excuse, no excuse

What's that coming over the hill
Is it a monster? Is it a monster?
What's that coming over the hill
Is it a monster? Is it a monster?
What's that coming over the hill
Is it a monster? Is it a monster?
What's that coming over the hill?

Confused, mind bruised, it seeps out
It seeps out, it seeps out
Face down, home town looks so grey
Looks so grey, looks so grey

Convexed you bend, twist and shout
Twist and shout, twist and shout
Stand up brush off get moving
Get moving, get moving

What's that coming over the hill
Is it a monster? Is it a monster?
(x4)

Face down, home town, face down, home town
Face down, home town, it looks so grey
(x4)

What's that coming over the hill
Is it a monster? Is it a monster?
(x4)

Monster -doctor who

Another mash up of monster and Monster by the automatics

Mark scottwood and Bruce Lacey

http://www.markscottwood.com/images.html

The Bruce Lacey Experience

7 July 2012 - 16 September 2012

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Bruce Lacey (born 1927) is one of Britain's great visionary artists. His lifetime pursuit of eccentric ‘making and doing’ has been a cathartic working-through of his experiences. This survey of a rich and diverse artistic production is a celebration of both his vibrant life (which includes working with Spike Milligan, The Beatles and Ken Russell) and his art which reveals telling links with the visual culture of the last 60 years. Co-curated by artist Jeremy Deller and art historian Professor David Alan Mellor, the exhibition charts Lacey’s artistic development in a career encompassing painting, sculpture, robotised assemblages, theatrical performances and installations, as well as community arts and ritual action performances.

Lacey has described his work as a type of personal psychotherapy which has intuitively responded to his emotional needs. This approach began in his early 20s; whilst hospitalised with tuberculosis after serving in the Royal Navy he started to draw macabre scenes and childhood memories. After his recovery in 1951, he enrolled at the Royal College of Art and simultaneously began his performance career with outrageous stunts drawn from circus and variety theatre.
Lacey often involved his family in his escapades, as revealed by Ken Russell’s 1962 documentary, The Preservation Man. In this film Russell captures Lacey’s flamboyance, his six children around him, revelling in a magical atmosphere. Around this time Lacey began constructing assemblages and machines expressing his feelings about the technologised and conservative Cold War society that surrounded him. He was hailed as a leading figure of the 'New Realism' and his assemblages took the form of full size kinetic automatons ('electric actors') including the comic figures of Old Moneybags, Clockface, Electric Man and Rosa Bosom. It was Rosa who won the ‘Alternative Miss World’ in 1985. A number of these are included in the exhibition. Lacey’s eccentricity and technical aptitude led to working relationships with performers such as Spike Milligan and Peter Sellers and he produced trick props for pioneering off-beat comedy shows. He also famously appeared as George Harrison’s flute playing gardener in The Beatles’ film Help.
Part of the show will be dedicated to Lacey’s performance activities – a practice that began in the 1970s and included performances with his collaborator Jill Bruce. Lacey revered the approach of pre-historic man in creating not for decorative or aesthetic ends but with the purpose of making something happen in the universe. He committed himself to becoming aligned with the mysterious forces of nature, becoming a transmitter and receiver of thoughts, ideas and energies. In the 1980s he returned to painting - which took the form of ritual diagrams and imagery, in shamanistic formats derived from performative endeavours.
The show will also explore Lacey’s childhood years and experiences. From an early age he gathered an extraordinary archive of bits and pieces, starting an obsessive process of collection and dispersal, from toys, stones and shells, to swords, pistols and shields. Born and brought up in London, Lacey continued living there until his production of performance rituals took him into the depths of the English countryside, and particularly to Norfolk where he has lived surrounded by his collections of ephemera since the 1980s.
The Bruce Lacey Experience will tour to The Exchange in Penzance in late September 2012. It coincides with the release of The Lacey Rituals: Films by Bruce Lacey and Friends, a DVD of restored films by BFI.

Warhorse

Looking into symbolism

Tala Madani And Marvin Gaye Chetwynd Deliver One Of The Most Deliciously Weird Art Shows Of All Time

There was a time, back before art school separated out the serious artists from the rest, when our childhood journals were filled with the naughty meanderings of the imagination. Adult life was but a distant freak show of ambiguous responsibilities, bizarre rituals, bathroom time and of course, the sex.
Both painter Tala Madani and multimedia performance artist Marvin Gaye Chetwynd transport us back to this wild age, when the bizarre amateur won out over the trained scholar every time. Though neither of the artists are in any way, shape or form amateurs, their work thrives off the hunger of the untrained eye, one that isn't afraid to get sloppy. The two iconic female artists are simultaneously exhibiting at the Nottingham Contemporary, which promises to be a delirious, playful, absurd and -- in its own way-- quite serious affair.

Tala Madani, Rear Projection: Soft, 2013. Courtesy of the artist and Pilar Corrias, London Madani, who moved from Iran to the U.S. at 10 years old, creates punchy abstractions that explore the strange bodily moments we experience together and apart. Fascinated with power play, group dynamics and the space between machismo and homoeroticism, Madani crafts absurd, cartoonish scenarios that touch on the private parts of everyday life. Bellies, butt cracks and levitating poops combine the sense of humor of a prepubescent boy with biting feminist satire. Bringing private, and often shameful, bodily experiences to the public consciousness, Madani experiments with the boundaries of personal experiences that become shared visually.

Tala Madani, Popular Toys, 2013. Courtesy of the artist and Pilar Corrias, London For her current exhibition, Madani presents mutated illustrations from Ladybird books -- an outdated, heteronormative series that partially taught Madani English when she first moved to the states. The artist mixes the 1950s-styled images with her own breed of little men; their pink naked bodies scrambling our childhood ideas of an ordered existence. The show also features work from Madani's signature subject -- an alternate world without women, where men are left to fumble through all their macho rites on their own. Part synchronized dance, part beefed-up rumble, the gently rendered images sharply criticize the pathetically rendered sex.

Installation view, Home Made Tasers, New Museum, New York, 26 October 2011 – 01 January 2012, Copyright the artist, courtesy Sadie Coles HQ, London Marvin Gaye Chetwynd, previously known as Spartacus, was raised around film sets and props -- her mother is an Oscar-winning production designer. The Turner Prize nominee channels her cinematic upbringing into her anarchic production sets, overflowing with piñata-esque stimuli and literary references. Imagine a drag carnival referencing Dante, Karl Marx and Starship Troopers and you'll get a sense of the calculated madness that ensues.

Marvin Gaye Chetywnd, Gatekeeper, 2011, Copyright the artist, courtesy Sadie Coles HQ, London Chetwynd was born Alalia, then changed her name to Spartacus, before becoming Marvin Gaye. "Artists should live experimentally, I think, so this was just a simple and cheap idea I tried, to see what would happen," she told The Guardian. This easy, breezy -- yet aggressively experimental -- attitude pervades Chetwynd's performances and sculptures, giving them a fiery energy, as if folks from the literary canon, cult film, the streets and the imagination all came together for a raucous parade.
Accompanying the show, Chetwynd will also perform a new piece entitled "The Green Room," which deals with issues of personal debt... while incorporating the temple from the movie "Cat Woman" and Chewbacca’s nuclear family from the famed flop "Star Wars Holiday Special." Her exhibit will also feature two large, performative sculptures, a Brainbug and a Catbus, which viewers can enter and use as a video lounge.

Tala Madani, Morris Men with Piss Stain, 2013. Courtesy of the artist and Pilar Corrias, London
Marvin Gaye Chetwynd, Cousin Itt, 2004. Copyright the artist, courtesy Sadie Coles HQ, London
Tala Madani, Enema up the ladder, 2012. Private Collection, courtesy Jeremy Lewison Ltd.
Marvin Gaye Chetwynd, Diorama. 2012. Installation view, Home Made Tasers, New Museum, New York, 26 October 2011 – 01 January 2012, Copyright the artist, courtesy Sadie Coles HQ, London
Tala Madani, X Men, 2013. Courtesy of the artist and Pilar Corrias, London