Krampus

Went to check out the Whitney Biennial yesterday, the title of the 2006 exhibit being Day for Night. I usually tend to “get” the mixed media projects, appreciate the works displaying obvious technical proficiency, and ignore the films altogether. I am not one of those people who rushed out to theaters to see Drawing Restraint 9. (Did anyone?)

I was surprised to discover then that my favorite work from the Biennial was Cameron Jamie’s Kranky Klaus. The Whitney Web site describes the work as a document of “the pagan myth of Krampus—a shaggy beast said to roam the valleys of Austria on the night of December 6.”

In his film, Jamie follows a group of four or five Krampus as they make their way through a village on a snowy evening. The way the Krampus worked was this: a man dressed as Klaus would enter a building where a group of people were gathered in expectation. From a wicker basket that he carried, Klaus would distribute these satchels with “Gold Pass” stamped on them.

Shortly after Klaus left, the Krampus would enter. (Refer to picture.) Not only do the Krampus look grotesque, but they wore these bells the size of coconuts around their waists. They would come in, hopping from foot to foot, not only physically intimidating the villagers but overwhelming them with this awful clanging. They would start assaulting the people, pulling them from their chairs, wrestling them to the ground, and overturning tables. Most people, half-smiling, tried to resist. There was no fighting back. But one girl in the film did start crying.

Then they would leave for their next destination, the men playing the Krampus occasionally walking with their costume heads off (and at least once stopping for beers).

The soundtrack for the film was provided by the Melvins (warning: unnecessarily intense Flash site). The music was throbbing heavy metal-like, which underscored the oddly violent–yet organized–nature of the whole thing.

LA Weekly has more pictures from Krazy Klaus. Artangel, which commissioned and produced Krazy Klaus, has more information about the other films in Jamie’s trilogy focusing on “vernacular rituals”: Spook House, about a working-class Detroit suburb’s celebration of Halloween, and BB, about “LA teenage wrestlers.”

The Biennial closes Sunday, May 28.

Long Time, No Post

We’re all agreed at the office that Tuesdays are the worst.

Tuesday lacks the notoriety of Monday. Yet the 24 hours separating Tuesday from the weekend do not soften much the impact of a new week (assuming one is on a Monday-Friday schedule). Wednesday–hump day–has always been neutral. The end is in sight, but it’s not quite the release provided by Thursday, considered by some to be the best day of the work week. Thursday has a leg up over Friday because one can revel in anticipation. Friday night, although it’s the beginning of the weekend, can be a bust just because one’s energy might be sapped after five days of work.

John Porcellino’s Perfect Example is perfectly lovely. Next, I will be tackling the 592-page graphic novel Blankets, by Craig Thompson, which a friend recommended highly.

Celebrating Hanukkah on the Road

In the past, I’d seen at least two cars with large menorahs on the roofs. Both times I thought, OK, those people have just bought a large menorah, which won’t fit in their car, so they have it strapped to their roof. Or as one columnist wrote: “Once again, it’s that most wonderful time of the year. Jews all around the world go to their local Menorah groves, pick their favorite fresh menorah, tie it to the roof of the car, and bring it home to decorate for the holidays.”

While waiting for the bus today, I saw a car drive by with a menorah on its roof, and the menorah was lit (though not with real candles, which would have made quite a sight). So I guess this is a trend of some kind.