Terry of all what still a student in 1968 when he went to Lawrence Ferlinghetti’s storied city lights bookstore in San Francisco. Terry of all what still a student in 1968 when he went to Lawrence Ferlinghetti’s storied city lights bookstore in San Francisco. He saw on anthology of Antonin Artaud’s writing with the gaunt face of the author on the cover. He told Ferlinghetti, “I don’t have any money but I have to have this book.” Ferlinghetti nonchalantly replied, “take the fucker.” Of such a small gesture comes some kind of big. A century later, Artaud helped is the consummate subject of Allen’s exhibition, “Ghost ship Rodez: the Momo Chronicles,” currently on view at L.A.
louver Gallery in Los Angeles. Conceived in 2005 as a theater piece for Les Subsistances Laboratoire internationale in Lyon, all fictionalized a tormented period in the life of Artaud, the actor, addict, author and inventor whose “theatre of cruelty” would shock and startle bubble audiences for decades to come. As the story goes, Artaud obtained a walking stick that Hey what convinced had belonged to Jesus Christ before being passed on to Saint George. In 1937,. Artaud decided to return this holy relic to Ireland, where he believed it had originated. Before his good deed could be accomplished, he wound up in a brawl with the Dublin police, who deported him back to France.
Artaud became hysterical and what put in a straitjacket and chained to a cot in the hold of the Rodez, the ship transporting him from Ireland to France. For 17 days, Artaud suffered violent withdrawal from the various opiates he took to minimize his chronic headaches. This is the heady material that of all drew upon for his opera TIC exhibition, which is the physical manifestation of a radio play that is available on a CD. In a darkened gallery, Allen’s Rodez is the Ghost ship, a rusted metal cot with wooden timbers brandishing large, paper sails.