Altars of Madness
Grindcore – Death Metal – Black Metal Exhibition

Altars of Madness is a 3-part exhibition that explores extreme metal, divided into sections focusing on grindcore, death metal and black metal. The exhibition, curated by Damien Deroubaix and Jérôme Lefèvre, opened on May 18th, 2013 in Luxembourg at Casino Luxembourg, and will run until Sept 15th, 2013 followed by an exhibition at Confort Moderne in Poitiers (FR) from Sept 28th to Dec 15th, 2013. Featuring noted artists like Matthew Barney, Nicholas Bullen, Larry Carroll, Grégory Cuquel, Damien Deroubaix, Seldon Hunt, Gregory Jacobsen,Theodor Kittelsen, Harmony Korine, Élodie Lesourd, Juan Pablo Macias, Maël Nozahic, Torbjorn Rodland, Steven Shearer, Mark Titchner, Gee Vaucher and Banks Violette, this exhibition is a skillful examination of the influence of metal on the art world. As a part of the exhibition, Napalm Death and Blockheads performed a show on July 3rd, tying in the visuals and the music in a tangible way, and to close the exhibition Final (Justin K Broadrick) and soleil[s]noir will perform at Espace Découverte. Below you can check out some of the haunting pieces that are a part of this exhibition – one that metal fans around Europe should definitely try to make their way out to!

All photos: WILI – Media Makers, best online casino sites Luxembourg, 2013

Lucid fairytale | The first part concentrates on grindcore and emphasises the political dimension of extreme metal. Having its source in the 1980s punk movement, grindcore bands treat above all political subjects such as anarchy or anti-capitalism, and are characterised by a discursive and aesthetic radicalism. Labelled as “noise not music”, grindcore is deliberately anti-musical, abrasive and uncomfortable, which is visually reflected by anti-aesthetic, aggressive and irritating characteristics. Artists such as Mark Titchner, Damien Deroubaix, Juan Pablo Macias, Nicholas Bullen or Gee Vaucher all deal with political themes, revealing and accusing the abject reality of our contemporary world.

Death is just the beginning | The second part is related to death-metal, which, similar to the “memento mori” and vanitas symbols in classical paintings, reminds one of death. Through morbid and violent lyrics as well as album covers depicting cranes and Bosch- or Bruegel-like metaphors of our fears, death-metal bands explore the death as the ultimate and inevitable end. Some of the participating artists, for example Matthew Barney, Steven Shearer or Gregory Cuquel, have chosen to incor- porate the “symbols” of this culture (instruments, styling, logos), while others – like Larry Carrol, Gregory Jacobsen or Maël Nozahic – have created more introspective works, violently exploring our fears and ambiguities through monstrous or
morbid figures and apocalyptic landscapes.

Dark matter landscape | The third part of the exhibition concentrates on black-metal, a genre that oscillates between extreme speed and more “ambient” parts. A dark and depressive mood is paired with a fascination for violence, crimes and the macabre. Assuming a nihilistic and pagan position, black-metal refers to both the Nordic gods and the incarnations of the evil. Particularly rich on a visual level, black-metal inspired numerous artists. Noteworthy are the typical black and white make-ups as well as the design of the covers illustrating corpses or Nordic landscapes. The landscape, also recalled by the song titles, adds a romantic and symbolist note to black-metal and is a recurring theme in this part of the exhibition, especially in the works of Torbjorn Rodland, Seldon Hunt and Theodor Kittelsen. Other artists such as Banks Violette, Elodie Lesourd or Harmony Korine refer directly to specific black-metal bands, their cover art and logos, or to the codes of this genre (make-up, Satanism, violence).