MARGARET HAINES

EMAIL CONTACT INFO

WORKS

BATTLEFIELD ReX

Battlefield ReX acts as a sculptural mood board

for the forthcoming book, On Air: Purity, Corruption & Pollution

https://krieggallery.art/activities/battlefield-rex--margaret-haines

https://whitehotmagazine.com/articles/interview-with-margaret-v-haines/4506

https://www.x-traonline.org/article/battlefield-rex

Battlefield ReX

Hasselt, Belgium

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SISTER SAID TO SATAN:

MY DIARY IS TOO HOT FOR YOU.

https://autoitaliasoutheast.org/projects/sister-said-to-satan-my-diary-is-too-hot-for-you/

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I DREAMT IN HEAVEN

http://1646.nl/projects/i-dreamt-in-heaven

http://artviewer.org/margaret-haines-at-1646/

http://autoitaliasoutheast.org/news/i-dreamt-in-heaven-psychic-attack-twenty-seventeen-by-margaret-haines/

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~~The~~

~~Malignancy~~

~~of Stupidity~~

http://www.aqnb.com/2017/06/30/what-do-you-do-with-a-troll-margaret-haines-on-the-language-of-power-its-resistance-in-evasion/

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The Balcony

Starring: Sands Murray Wassink, Anna Maria Pinaka with Clara Amaral, Geo Wyeth. Music by Sky H1. Camera, Andy Rudz. Thank you Julia Kozyreva, Rijksakademie, Hilton Amsterdam Apollolaan, & Lo schermo dell’arte Film Festival VISIO – European Programme on Artists’ Moving Images.

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SDTE | SWT

(excerpts from SEX WITHOUT THREAT, a diary for the film The Stars Down To Earth):

• Adorno — in his purposeful, justified and pragmatic critique of astrology (myopia as tactic to scorn) — did not conduct evident field research.

• The film The Stars Down to Earth is named after his 1952/53 essay, and acts as its somatic secretary.

• Shot in early 2015, the 24 minute film performs as part sci-fi thriller, part documentary, part idealist anti-secrecy forecast.

• Astrologers from the Carroll Righter Astrological Foundation Trust (CRAFT) divine events for 2015 and 2016 — including, reading the star charts for America (Cancer), Paris (Virgo), Russia (Libra), Snowden (Gemini) and Chelsea Manning (Sagittarius). Coupled with their predictions is the reincarnation of mythological prophetess Kassandra (Henry Hopper, Virgo) and god Apollo (Afia Fields, Pisces) in 2015 Los Angeles (Virgo) and 2015 Athens (???).

• In The Oresteia, Kassandra names Apollo's violent rape more bearable than the denial of her truth — this disavowal sparks for Kassandra a kind of hysteric anarchy, where she attempts to fool fate and create a dimensional transparency and chaos in defiance of Apollo and those around her (the world).

• In the film, Kassandra’s divinations and access to past/present/future information see her momentarily and perhaps mistakenly identify with the whistle-blowers the astrologers chart in their predictions. Both live in multi-temporality (extreme knowing). And both are threatened with not only imprisonment, physical harm or rape, but worse: erasure.

CAST & CREW

Apollo: Afia Fields

Kassandra: Henry Hopper

Aries: Tashi Condelee

Pythia: Paola Revenioti

Scorpio: John Sweet

Astrologers: Cynthia MacAdams, Jack Taub, Doug Lee

Psychics: Veronica Monae, Silvia Romero, James Raymond

Writing, Editing, Direction: Margaret Haines

Writing Assistance: Tashi Condelee, Henry Hopper

Astrological Assistance: Cynthia MacAdams, Jack Taub

Music and Original Score: Patrick Dyer

Production Manager: Teague Schneiter

Assistant Director: Giulia Caruso

Cinematography: Dan O

Styling: Alexandra Cassaniti

Production Assistant: Nick Flessa

Storyboard: Jacob Winkler

Sound Recordist Jake Viator

Sound Design: Sharkee

DIT: Chip Yamata

Lighting: Andrew Clark

Steadicam: Ted Newsome

Makeup: Sarah Hall

Animal Care: Nav Navarone

Store: Courtesy of Joseph Kaseye

Studio: Courtesy of Alex Becerra

Supported in part by:

The Canada Council for the Arts

Rijksakademie van beeldende kunsten

& ltd los angeles

Installation detail of The Stars Down To Earth at the Rijksakademie, Amsterdam, 2016

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COCO

SCREENINGS

July 7 '14 - Human Resources - Los Angeles

Aug 3 '14 - ltd los angeles - Los Angeles

Sept 28 '14 - Anthology Film Archives with Sex Magazine - New York

Oct 22 '14 - FIAC Les Jardins Tuileries, Cinephemère - Paris

Nov 20 '14 - AUX Performance Space - Philadelphia

April 9 '15 - Images Festival - Toronto

May 13 '15 - ICA - London

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X FILLES

X-Filles (2012-2014) is an accessory line that targets the post-human consumer. Made to accompany the film COCO, X-Filles is a nod to the cyborg who is not so much decorated by an accessory, but rather structured, interfaced, and integrated with it. Coco, like a commercial film, is the reference for accessories in X-Filles, which adopt the role of promotional material for the film. Playing on the movie tie-in, film stills, credits, and props circulate throughout the accessory line, while also defining a subculture around the film’s projected audience. X-Filles consumers desire flexible subjectivities, for whom personas can be plug-ins, and identities hang like lanyards. X-Filles embraces swimwear, spears, scarves with pony-hair, and, a USB necklace, created with designer Arielle de Pinto, which holds excerpts of the film, writing, and music by the film’s composer, Patrick Dyer. The accessory is perhaps the most impermanent commodity, the kind that can be replaced as soon as fashion dictates, making it the ideal object in an economy of perpetually circulating information. While X-Filles flirts with the accessory’s noted role as a symbol of status and an impediment to labor, it attempts to surpass these definitions by proposing the accessory as equipment, as interconnectivity, as possibility, and as a point of science fiction social reality.

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X FILLES

SPRING SUMMER

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TEXTS

LUCKY STAR

Songs for the Witch Woman Marjorie Cameron and John W. Parsons, Fulgur Esoterica UK

Dirty Looks Volume Two, Dirty Looks NYC

https://fulgur.co.uk/books/marjorie-cameron-and-john-w-parsons/songs-for-the-witch-woman/

https://dirtylooksnyc.bigcartel.com/product/dirty-looks-volume-2-reprint

2014

[...]

If trauma keeps the subject in a state of circling, it also denies the event into linear “narrative memory”. You cannot tell it, and you cannot not tell it. It would be obscene to quell its impact with the magic of language, therapy, telling. To funnel its intensity into cliché, a bored room with bright lights. How does the cure match the impact of the trauma? What are the appropriate rites?

Antigone says to her sister, Ismene: I’m going now: to make a burial mound for my dear brother. To Creon, who punishes her with death for doing so, she says: If you think what I’m doing now is stupid, perhaps I’m being charged with foolishness by someone who’s a fool. Burial rites force themselves as “unwritten and unchanging laws” - above the state. However stubborn and illegal Antigone’s tributes to her outlawed brother’s corpse, they fit.

“Denied a proper funeral, his body left bare, dishonored and ravaged,” Cameron is forced to find a way to mourn Jack’s death, to tell while not telling, to bury he that is denied a proper burial. And, like Antigone, she mourns someone outside of societal cues of acceptability – her husband’s death a hallmark of his radical beliefs – an occultist rocket scientist for free love, he is the antichrist to McCarthy’s nuclear family. And, Cameron, like Antigone, is such a freak that she is basically an emblem of taboos by just being. She refuses to enter a mourning space where the impact (her mourning, her love, the whole situation) becomes squandered. It is no small story.

[...]

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through the valley of the shadow

I realized i had to go to hollywood, i had to go underground, through the valley of the shadow, a sinful and sexual place
to the unsophisticated mind

translated by Ewen Chardronnet for À mon seul désir at agnès b.

https://www.liberation.fr/debats/2017/12/18/sexe-peyotl-et-magie_1811348/

https://optical-sound.com/wp/produit/opticalsound-la-revue-5/

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WHAT'S REAL?

Performance at Western Front Exhibitions - 2013

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love with stranger x coco

Available at Otherwild Oogabooga McNally Jackson CCA Page Not Found Art Metropole Printed Matter LACMA MOCA.

Love With Stranger x Coco explores different tropes of female identity—mixing personas, identities, some parafictional, some actual. The book presents a visual mash up of fictional Coco’s inner compulsions and obsessions through film stills, collages of props, and photographs of the actresses who interpret on her scripts. Throughout making the film, varying degrees of closeness were held with the actresses, including acting as an on-call babysitter for the youngest ‘Coco.’ These relationships are presented in the book and insert the role of director as a quasi-actress, collaborator and character.

The identity of raconteur/protagonist develops further with a diary-style essay about Cameron titled “Love with Stranger.” This essay presents an alternative to a complicated girl-culture by introducing Cameron—a figure fully cognizant and in control of her own female identity, and whose own practice explored techniques of imitation and subversion. Following a trail of archival research on the life of Cameron, the study eventually leads to a meeting with Beat poet Aya Tarlow, once Cameron’s confidante. This encounter presents the re-discovery of a text Aya gave Cameron in the 1950s, and which Cameron later read on the radio in the 1970s, in an attempt to “free women.”

Love With Stranger x Coco is a 144 page soft-cover perfect-bound book published by New Byzantium in 2012 in an edition of 500.

Soft cover, 6 x 8.24, 144 pp. Offset, 16 color ills., 16 2 - color ills., 112 b&w ills.

€15.00 + VAT + Shipping

ISBN: 978-0-9730005-2-8

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Twenty

Seventeen

The final texts accompanying the exhibition Sister said to Satan: my diary is too hot for you at Auto Italia South East, London, UK.

http://autoitaliasoutheast.org/news/i-dreamt-in-heaven-psychic-attack-twenty-seventeen-by-margaret-haines/

http://autoitaliasoutheast.org/news/margaret-haines-sex-without-threat/

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NOTES ON NEON

NXS WORLD Cyber Sensuality

http://nxsworld.bigcartel.com/product/nxs-issue-1-cyber-sensuality

2016

Excerpt—

The Neon Demon exists as a formalised picnoleptic routine. The film rests in the space of childhood, apps, trauma—the lights are on but no one is home. The imagination faculty recreates a disease. Life passes, ADIDAS. Picnolepsy is Virilio's rapid waking, le petit mal imagined in the late 1970s for Jonathan Crary to describe in a 2009 Semiotext(e) reprint as epiphanous, still relevant—as we wait for when "the authority of electronic automatism reduces our will to zero."

It is a bad space, operated and threaded by Silicon Valley, virtual reality on mirrored steroids—the recessed clit of Blade Runner. What Hollywood tries to capture, now, in the dying format of cinema with an actor well lit in 4k, asleep reading an iPad, wishing for a lover, not present. Like: the eloquently spaced out timing in The Neon Demon's masturbation scene, a dead body. Out Of Body Sex. In Fanning's unshaped acting, we only see director Nicolas Winding Refn's picnoleptic gauze.

[...]

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SEX WITHOUT THREAT

Nonsensical

http://nonsensical.org/wrong

2016

Excerpt

Hope

Hope is beautiful at the gas station
Faith and Hope
Hope at the stall
Serving US
A Kenneth Cole bag
A Camera
A Film she is making
Two motorcycles in her pick up
High on meth
Faith behind the red counter, apologising for Hope,
In perfect mascara,
Eyes like spiders with sapphire abdomens

Hope Love Faith. To use these to persuade for political purposes is a distortion of their code, a bastardization of their purity. Hannah Arendt: “Love, in distinction from friendship, is killed, or rather, extinguished, the moment it is displayed in public. (‘Never seek to tell thy love/ love that never told can be.’) Because of its inherent wordlessness, love can only become false and perverted when it is used for political purposes such as change or the salvation of the world.”

The Crisis

In Delphi, I write to Kassandra,

Python snake vapors
Induced the Pyhia to foretell
She was huffing methane gas
From this hole

And then add, “direct quote from tour guide.” Later, Kassandra was high and had a tremendous idea for a tattoo. I try to tell her about a woman in Florida, who walked out into the blistering sun, touched the pavement with her bare hands, ran one acrylic nail over black tar, not knowing that later that day she would shoot a missile, the same missile her neighbors kept, in case of revolution in Florida, which was not strange, considering the history of the magical state, oranges a decoy for its hedonistic past, replete with angels of eccentric wars.

[...]

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VITA

COCO

A trailer for the film COCO involved recording cross-training athletes' breathing patterns while they scaled the concrete floors of a building that houses an art book store. 2012.

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Maison Stellati

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FILMS

PLUTO IS RAGING

2024 (post)

Starring: Ilana Kozlov, Cisco Huijbregts, Dan K., Cynthia MacAdams, Tashi Condelee

Cinematographer: Ava Schorr

Creative Producer: Steph Kretowicz

AC: Sarah Rattay-Maloney

Production Sound: Casey Minatrea

Production Assistant: Elizabeth Optholt

Funded in part by Mondriaan Fonds NL, PRIM aide à la creation, Canada Council for the Arts, Vidéographe in kind services.

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ON AIR :

PURITY

CORRUPTION

POLLUTION

2024 (post)

Starring: Jette Loona Hermanis, Arvida Byström, Maryline Paradise, Livia Hendrickson, Arif Hasan, Alain Letoct, Joseph Wood, Margiana Bleuet

Creative Producer: Quentin Dubret

Line Producer: Vasco Cesaretti

Writing: Margaret Haines, in collaboration with Quentin Dubret, Vasco Cesaretti

Editing, Direction: Margaret Haines

Cinematographer: Marie Ward

Gaffer / Chef Electricien: Alexandre Cambron

Lighting Asssistant: Pierre Olivier Guillet

Make Up: Melissa Gagné

Prosthetics & Effects: Adrien Beau

Original Sound Score: Sky H1

Production Designer: Félix Pierrot & Félix (Anti Jour)

Creative Pre-Production Assistance: Hamid Shams

Vocal Coach: Dan Bodan

Funded in part by Mondriaan Fonds NL, PRIM aide à la creation, Canada Council for the Arts, Vidéographe in kind services. Merci à Cité Internationale des arts Paris, et Nasser Stambouli.

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THE STARS DOWN TO EARTH