Point 83: The Body Piercing Archive Presents: The Perforated Body: An Exploration of Piercing Performance

This year, the Body Piercing Archive (BPA) is celebrating performance artists that have pierced their bodies from the past to present. In our exhibit we examine the methods and motivations which utilize perforation as an element of powerful performance. See the Conference schedule for free guided tours led by artists and scholars.

Kris-Canavan and Manuel Vason Collaboration, London, 2003
Tolentino and Fila It Will All End in (Ultra Red) Tears 2013

EXHIBIT HOURS:

Tuesday 10 am–6 pm Wednesday 10 am–6 pm Thursday 10 am–6 pm Friday 10 am–1 pm

RECOMMENDED TOURS:

TUESDAY
  • 10:00 am–10:30 am Tour Guide: Paul King
  • 12:00 pm–12:30 pm Tour Guide: Steve Joyner
  • 2:00 pm–2:30 pm Tour Guide: Dr. Dominic Johnson
  • 4:00 pm–4:30 pm Tour Guide: Lukas Zpira
WEDNESDAY
  • 10:00 am–10:30 am Tour Guide: Dr. Julian Carter
  • 12:00 pm–12:30 pm Tour Guide: Allen Falkner
  • 2:00 pm–2:30 pm Tour Guide: Lukas Zpira
  • 4:00 pm–4:30 pm Tour Guide: Ron Athey & Darryl Carlton
THURSDAY
  • 10:00 am–10:30 am Tour Guide: Ron Athey & Darryl Carlton
  • 12:00 pm–12:30 pm Tour Guide: Dr. Dominic Johnson
  • 2:00 pm–2:30 pm Tour Guide: Allen Falkner
  • 4:00 pm–4:30 pm Tour Guide: Steve Joyner
FRIDAY
  • 10:00 am–10:30 am Tour Guide: Paul King

Point 83: Conference Performance Art Highlights

Ron Athey Portrays St. Sebastian with arrows and a hypodermic crown of thorns. From his work in progress “Martyrs and Saints.”
The photo first appeared in issue 49 of Piercing Fans
International Quarterly, 1996

Piercing in Performance:

Recollections from Five Artists

The artists will discuss some highlights of their ca- reers and look back at thematic arcs and motivations for their use of the body in performance.This evening’s event is in three parts: Allen Falkner, Steve Joyner, Lukas Zpira and then Ron Athey with Darryl Carlton. (Open to All)

Speakers:

Ron Athey was born in 1961. Self-educated (not to mention schooled) in the Westcoast punk and exper- imerimental music scenes, he started  making  noise  and body-based performance work with his partner Rozz Williams in 1980, under the name PE. Ron Athey & Co.’s ‘90s work is known as the torture trilogy; it was often a direct or esoteric response to the AIDS pandemic, bodMod, the queer body, the polemics of blood. Solo work and operatic collaborations include Solar Anus, The Judas Cradle, Sebastiane, and the automatism opera, Gifts of the Spirit. Athey is a visiting lecturer at Roski School/USC, teaching a seminar on the history of California-centric countercultures, and periodically facilitates immersive performance art workshops.

Lukas Zpira is a body modification artist, nomadic performer, documentor of the contemporary fringes, and one of the major figures of the contemporary un- derground.

His works, closely related to nouveau realism, dif- fered in style to his writing and photography, which were far more influenced by surrealism and Dadaism, notably Duchamps and Man Ray’s rayographs. It was in 1993 that he took on the name Lukas Zpira, an anagram inspired from the surrealists. Multiple experiences and various exhibitions still left him unsatisfied, and he felt he had quickly reached the limits of his medium. He left the collective in 1995 to turn towards body art.

Soon after, Lukas opened Body Art/Weird Faktory in Avignon, the first studio in France dedicated to body modification.

In early 2004, in Japan, Lukas Zpira developed and wrote the body hacktivism manifesto, an artistic and political movement that asseverates the corporal biodiversity facing beauty standards imposed by Hollywood. More inspired by the bestial extra-terrestrials of Star Trek than the tribal references of the modern primitive movement, this activism of a new genre asserts the heritage of science fiction in the battle for body autonomy.

Additional Speakers:

Darryl Carlton, Allen Falkner, and Steve Joyner

Still image of David Wojnarowicz from his film,
A Fire in My Belly (1986–7).
Photo from issue 49 of
Piercing Fans International Quarterly, 1996.

Body Probe:

A History & Theory of Piercing in Performance Art

Since the late 1960s, performance artists have challenged the limits of art—and frequently courted controversy—through practices of strategic wounding or self-injury. Piercing the skin has been a core technique for testing the performing body’s capacity for pain, pleasure, or endurance—alongside controlled cutting or scarification, repetitive, or sustained action over prolonger durations, sadomasochistic techniques, or the appropriation of medical technologies, including surgery. This lecture will survey a range of uses of piercing in performance; and situate the use of piercing among a broader range of uses of pain, endurance, and body modification in art and performance. I will then proceed to distinguish piercing as a distinct technique or technology in performance art, by teasing out what might be uniquely meaningful in the probing and puncturing of skin, and the spectacle of the permeability of bodies. (Open to All)

Speakers:

Dominic Johnson is Reader (Associate Professor) in Performance and Visual Culture in the School of English and Drama, at Queen Mary University of London. He is the author of Glorious Catastrophe: Jack Smith, Performance and Visual Culture (2012); Theatre & the Visual (2012); and The Art of Living: An Oral History of Performance Art (2015). He is the editor of five books, including most recently Pleading in the Blood: The Art and Performances of Ron Athey (2013); and (with Deirdre Heddon) It’s All Allowed: The Performances of Adrian Howells (2016). From 2005 to 2012, his frequently bloody performances (solo and in collaboration with Ron Athey) were shown around the world, including at festivals of performance and live art in Copenhagen, Ljubljana, Rome, Toronto, Vienna, Zagreb, and elsewhere, and throughout the United Kingdom, including most notably at the National Review of Live Art in Glasgow, and at the National Portrait Gallery in London as part of ‘Gay Icons’.

Point 83: My Journey with Fakir

By Jef Saunders, APP President


Fakir with Jef’s son Simon, wife Laura Jane Leonard, and Jef himself. Photo by Ken Coyote

On May 4th, 2018, Fakir Musafar posted a farewell message on his Facebook account: “The time has come for me to inform you that Fakir’s shelf life is running out. I have been fighting stage 4 lung cancer since last October, and I am near my expiration date….” While I have known about Fakir’s diagnosis for months, witnessing Fakir make his short time remaining public really hit home. The outpouring of emotion, thanks, and support from all over the world has been quite a thing to behold. I’m confident the letters, cards, and photos you send are deeply appreciated by both Fakir and his wife Cleo, and may provide an air of closure.

Fakir with Jef’s son Simon Saunders. Photo by Ken Coyote

My journey with Fakir began over 20 years ago, the way it has for so many others: through reading Modern Primitives. I was struck by the audacity it took to modify one’s body in so many different ways, all of it done long before body modification was an accepted element of Western culture. He seemed larger-than-life, brilliant, and enigmatic beyond description. Who was this man, and how had he developed this devotion to piercing, corsetry, and suspension?

It wasn’t long before I met him in person, in the spring of 1999. I remember thinking to myself, “I hope I look as good as this guy does when I’m in my fifties,” not realizing I was taking a class from a man in his late sixties. Fakir’s apparent defiance of his age turned out to be nothing compared to the impact his Basic Piercing Workshop had on my life. I learned directly from Fakir about the cultures he admired and about what compelled him to modify his own body. I was exposed firsthand to the ritual and spiritual experience that piercing and body art could be, and I was awakened to a perspective on body play that came from the immersive experience of the workshop. Fakir and his Intensives changed me forever.

I felt compelled to revisit the magic in the Fakir classes. Within eighteen months I had attended his Basic, Branding, and Advanced Intensives. Five years later I was visiting regularly, at times even driving from Rhode Island to San Francisco, just to experience a class. In 2005 I started teaching for Fakir, and I’ve grown increasingly devoted to the unique quality of the workshops the Fakir Intensives deliver. For Fakir, however, teaching the body arts is really only half the story.

It’s difficult to explain the amazing life he has led. You may be aware that Fakir has been an advertising executive, a military demolitions expert, and a lifelong photographer. You might not know that he was a magician, a ballroom dancer, and a pioneering corset designer. There’s a unicycle in his garage, surrounded by shelves of piercing supplies, rigging for human rituals, and Body Play magazines. The man has lived that kind of life.

I’ve had the good fortune to grow close to Fakir, first as a student, and then as an instructor, but more significantly, as a friend. He is the patriarch of my chosen family, and I can say without hyperbole that the most important relationships in my life all trace back to Fakir, the Fakir Family, and the Fakir Intensives in some way So, although I write this column with a heavy heart. I’m thankful that Fakir chose to inform the broad piercing community about his condition, providing anyone who has felt his substantial impact the opportunity to reach out to him by sending a card, a photo, or a letter before he moves on to the unseen world. Through this considerate gesture, Fakir is showing us once again the type of person he is, and the extraordinary value he places on human connections. I truly hope you’ll take him up on it.

My journey with Fakir resonates as one of the greatest joys of my life. Thank you, Fakir. Your contributions to body art will be celebrated by our community for all time, and I, personally, have been forever blessed by your influence in my life. Your example and guidance have led me not only to evolve into the piercer I am today, but more importantly, the person I have become.

Merry Meet, Merry Part, and Merry Meet Again!

Point 83: Point of View

EVERYTHING OLD IS NEW AGAIN

Left: A carnival or
circus performer from the 1890s
The amazing Mr. Lifto performing with the Jim Rose Circus.

Remember grandma’s junk that you couldn’t give away ten years ago and ended up sending to the Salvation Army or the dump? Just look at the prices they’re charging for it now that it’s become “collectable.”

Some of us who are a little older may even have seen a revival in popularity of the fads and fashions of our youth. Anyone for disco, bell bottoms, platform shoes, lava lamps, mood rings?

There are a lot of things in life like that somehow come full circle. Assuming you live long enough, it’s bound to happen to you too.

Piercing as a performance medium isn’t anything all that new, come to think of it. Just how many hundreds of years have Indian sadhus been working some dusty street corner, a skewer through their cheeks or hooks in their flesh, begging a few coins from passersby?

While today’s performers may not be doing anything new, there can be no doubt as to the great range and variety of imaginative ways in which they are incorporating piercing into their acts.

Some of this issue’s featured performers use their piercings to perform amazing feats of strength or endurance to entertain and astonish their audience. Take, for instance, the Torture King or Mr. Lifto (shown here). This tradition has roots among traveling circus sideshow acts: human and animal freaks, fire eating (see Chuk’s story in this issue), and sword swallowing, to name a few. In this type of performance, the body and its limits tell the whole story. We are compelled to watch these variations on the human condition, to find bits of ourselves in the “Other.”

Piercing as metaphor is often used in more high-concept performance art. Stelarc, Orlan, and David Wojnarowich are among the many high-profile artists who make statements using temporary piercings and/or body alterations. In this issue Justin Chin explores the notion of immunity and transmissible diseases by “infecting” himself with his own blood. Dave Tavacol gives us a glimpse into an unpleasant but not so far-fetched future, putting a piercing-related twist on cultural disapproval suggestive of The Scarlet Letter.

As many of us know, piercings can project one into an altered state of consciousness. The feats of Amazonian shamans, Indian fakirs and sadhus, and the grand spectacle of a tribal rite of passage all bear historical testimony to this tradition. Mr. Fab is one of a growing number of exponents of the neotribal performance path, using piercings to share these ancient experiences with the audience.

Drag queens are some of the most elaborate performers of all, using familiar paraphernalia to subvert our comfortable understanding of culture, gender roles, and socially acceptable behavior in a theater of the absurd. As Trauma Flintstone, Cirus, Mark Pritchard, and Fennel explain, piercing can be one more theatrical prop. Fennel’s performances play out a particularly astute perspective on a common breed of nihilistic club performance currently much in vogue. In classic drag oneupmanship, he gets even by beating them at their own game.

Many of the performance artists who appear in this issue have been a part of the Ron Athey show. These include Crystal Cross, Julie Tolentino Wood, Marina Vain (Spike), and Paul King. They utilize piercing as metaphor, crude spectacle, punishing absurdity, powerful, bitter humor, and panache to make strong statements about AIDS, gender, homosexuality, religion (especially Christianity), fetishism, and outsider status. Their ever-expanding international audience bears testimony to the fact that piercing and performance are a naturally matched pair, centuries old and yet still fresh, with the power to move the viewer to another state of awareness.

—Michaela Grey & Jim Ward

Point 83: Conference, 2018 from Editor Jim Ward

It warms my heart to see this issue of The Point and brings back fond memories of issue 49 of Piercing Fans International Quarterly. Published by Gauntlet in 1996, it featured more than a dozen performance artists active at that time.

In 1996, suspension had not become the popular pastime it is today. Only one photo in the 64 page issue features it, but there were plenty of imaginative ways in which artists found to express themselves with piercings and blood.

The opposite page features the editorial Michaela Grey and I wrote for the issue. The names may have changed, but perfomance art is as vital today as it was in 1996.

The cover of PFIQ issue 49 with Spike the Holocaust Girl photographed by Christine Kessler
Back cover featuring Ron Athey in the “St. Sebastian Enlightened in a Zen Garden” scene of The Casting Out/A Crown of Thorns performance at L.A.C.E., Los Angeles, November 13, 1992.
Photo by Dkon Lewis.

Point 83: Conference, 2018 from Editor Kendra Jane B.

By Kendra Jane B., Point Editor

It is hard to believe that yet another Conference is right around the corner. It is always so odd to me that something can feel so far away and yet so close all at the same time.

As you dive into our annual pre-Conference issue I know each of you are excited about a different aspect of Conference. For some of us it is the once a year family reunion. For others it is the endless supply of knowledge at hand. Yet for others it offers a break from the everyday; a week to get away from the everyday humdrum of life and revitalize themselves for another year. This will be my  eighth  Conference  (I have attended every one since I began piercing) and every year I take away a different and yet equally valuable lesson which often not only applies to piercing but to life as a whole.  This year as I prepare for Conference I am trying to do so in a more mindful way.  I am going into it knowing what I want to get out of it. This is what I urge all of you to do as your compose your check-lists and cross off the to do’s as we get closer and closer; think about what it is you want to gain from our week in the desert. I urge all of you to be mindful of the process, the preparation, and the prospects that will all be a part of your conference experience.

This year I hope to find a renewed connection, a connection with the people of our industry. I want to know why you do what you do. The fact that we are highlighting performance art means I can gain a better understanding of others’ connections to the industry. I am beyond thrilled that we have so many great classes as well as the Body Piercing Archive (BPA) exhibit devoted to performance art. To me performance art is the physical embodiment of someone’s connection with their emotions as art. I can’t wait to hear their stories and learn why they do what they do. So turn the page, read on, and get a taste of what this year’s Association of Professional Piercers Conference has to offer.

Point 83: Conference, 2018 – from Editor Marina Pecorino

As a brand new mom—my son will be less than four months old in mid-July—the decision to attend Confer ence this year was a difficult one. I absolutely adore my newfound role as a full-time caregiver, but maintaining my work responsibilities while caring for my son is certainly a balancing act. I look forward to the reprieve of Conference, where for a week, my only responsibilities will be to the organization and community that I’ve worked for and been passionate about for over ten years. That said, I have plenty of photos and videos of my Tummy Monster to share with anyone who’s interested.

Again this year, I’m looking forward to experiencing the Body Piercing Archive, delving deeper into our rich history and learning about interconnected art forms that make up the body modification community. Another high point for me is reconnecting with my Conference volunteer family; we stay connected throughout the year online, but it’s different to be able to give and receive hugs and in person support.

Beginning last year, the Alternative To The Bar (ATTB) activities are offered in the evenings; a perfect fit for the more introverted among us and those hoping to avoid drinking and smoking. Unfortunately, my Conference responsibilities often keep me late into the night, but I do my  best to participate. Playing board/card/table-top games and watching body mod related movies with fellow piercers is right up my alley, so this is my favorite place to be after classes are over and my work has been completed.

And then there are all the amazing classes to get excited about. My agenda this year includes Photography For the Modern Studio: Crop it like its hot!, In the Beginning There Was Gauntlet, Investigating Cross Contamination, Color Theory for Body Piercers, and Women in Leadership. Honestly, the registration process is always a struggle for me. The class offerings are expansive and there are only so many hours in the day. Inevitably, I can’t attend everything that I would like to, so prioritizing is important. This is one of the many ways that the Mentor Program assists new attendees; providing guidance during the class selection process, to tailor fit the needs, skill level, and schedule of participating mentees. Read further into this issue to find out more about the Mentor Program.

For those of you attending Conference this year, I can not wait to see you. If we haven’t met yet, don’t hesitate to stop me in the halls or find me after class to say hi. If we have met, chances are I’ll be too shy and introverted to strike up conversation first, but don’t let that stop you from taking the lead. For those of you who can’t be with us, I encourage you to try for next year. The experience is unforgettable, and the knowledge and networking is unsurpassed.

The Point – Issue 83

Point 82: Elayne Angel

Thank you for celebrating the women of the piercing industry with us. We know that there are many more influential women that have greatly shaped our role in the industry. We hope that you will join us in Issue 85: Our History and Where We Came From. (winter, 2018) where we will look at some more of the most influential pioneers of our industry, such as Elayne Angel, Jim Ward, and Fakir

Point 82: The Unusual 1930’s Pierced Heiress

By Paul King, BPA Founder & Researcher

One would think that a neck piercing in the 1930s would be the most surprising detail of any woman’s life, but not for our Piercing Pioneer, Georgia Perkins, a.k.a. Mrs. Jake Hamon.

Georgia was born in Kansas, where she  met her husband Jacob Louis Hamon, aka Jake. After Jake obtained a law degree, the couple moved to Oklahoma. In 1909, they had two children, Jake Jr. and Olive Belle.

Jake senior was a risk-taking, young Republican, who speculated on oil and railroads, both of which paid off, substantially

He became known as “The Oil King of Oklahoma.” Jake even brokered a deal to build a railroad with the famed circus entrepreneur, John Rigley.

From historical records, Jake’s character appears shady while he was the attorney general of Oklahoma. Rumors of corruption marred his political career from the beginning. Allegedly, he extorted gamblers on his road to building wealth and power. Soon after while lobbying in Washington, D.C., he was accused of attempting to bribe a Senator. By far, the most scandalous charges against him were for buying votes for Warren G. Harding’s nomination as the Republican party presidential candidate. The estimates for payouts ranged from $250,000 to $1,000,000 (approximately $3 to 12 million in today’s dollars). The backroom dealings were rumored to provide Jake and his cronies exclusive access to the oil rich fields of Teapot Dome, Wyoming. The ensuing congressional investigation would forever tarnish the legacies of Jake Hamon and President Harding. Hard to believe, but the Hamons’ personal lives were even more outrageous! At 40, Jake met the young Clara Belle Smith. The two fell in love. Reports remain contradictory for which or if both Hamons couldn’t stomach a ruinous divorce, so they remained married. Jake put his mistress through  school and then hired her on as his personal secretary. To make hotel stays less problematic, Jake paid $10,000 to his nephew to marry Clara so that she could legally obtain the last name Hamon. Despite these great lengths for appearances, the affair was a poorly kept secret.

As fate would have it, Georgia’s cousin was the wife of then presidential hopeful, Warren Harding. As mentioned previously, Jake paid a considerable sum to buy the nomination for Harding to go on to win the presidency. Once elected and with pressure from his wife, President Harding, or most likely Harding’s wife, would not accept Jake’s mistress in Washington. Jake would have to reconcile with his legal wife. It’s reported that Jake and Clara were known for drunken arguments. Their tensions crescendoed on November 21, 1920, in Ardmore, Oklahoma. Clara shot Jake in the liver. He died five days later. Jake’s story flip-flopped from self-inflicted to a desperate plea for leniency for Clara. The murder trial became national headline news followed around the country. Despite Georgia’s damning testimony and demands for the electric chair, Clara was acquitted on self-defense. One of Clara’s legal defense team was the twin brother of the judge! Obviously, the soundness of the jury’s verdict has been debated Despite the controversy, our piercing pioneer Georgia Perkins, the now widower Mrs. Jake Hamon, bounced back! In 1922, our protagonist married a wealthy Chicago banker, only to divorce him a year later. The cause given was domestic cruelty. Reportedly, her new husband “practiced his ju-jitsu” skills on his wife.

After her second marriage, Georgia started playing ranked golf in the nascent women’s tournaments. At this time, there were no “pro” females, the prizes were strictly honorary. Once cash was included, winnings still remained much lower than men’s. Even so, Georgia’s prowess on the green would keep her name in regional papers for most of the next de-cade, albeit, not headlining or sensational.


“Madison” piercing with monofilament weed eater line as a retainer, photo c. early 1990s.
Excerpt from the book African Giant, pre-1955 photo of Men of Mungonge Dance by Rehna Cloete near Kwango Congo. This is the type of image that might have inspired Mrs. Hamon. Left

 After the criminal and political scandals of the 1920s, much less information is available for Mrs. Jake Hamon. We know she traveled exclusively, including parts of Africa. However, it remains elusive from which peoples she drew inspiration for her throat pin piercing.

Then Ripley’s strange cartoon depicting “Mrs. Jake Hamon” with a throat piercing published in national syndication, December 15, 1933. As was the custom with the Ripley’s series, the following day, they released the details of whatever strange custom appeared the previous day.

“Vampire Bite” Piercings

So should this Ripley’s explanation be taken at face value? Did this throat pin really serve as a memorial to Jake Hamon, the selfish, politically corrupt, drunken, and child-abandoning adulterer?

I’ve been unable to find any additional representation of her piercing or information on her motivation or background story of the peoples she witnessed in Africa. Unfortunately, the Hamon Library in Dallas says they have no personal papers or letters for the first Mrs. Jake Hamon.

Forgive my digression, but this family’s colorfulness doesn’t quit  yet.

Georgia’s son Jake Jr. went on to marry a beautiful young woman named Nancy, an aspiring actress who had one role in a movie with Mae West, The Heat’s On. This marriage began the illustrious escapades of the second “Mrs. Jake Hamon.”

The couple were faithful Republican supporters and hobnobbed with presidents such as Johnson and the first Bush. After her husband’s passing, Nancy became a fabulously wealthy widower worth hundreds of millions. She is rumored to have said she wanted to live her life in such a fashion that her last check would bounce. She was a well-documented Dallas socialite, philanthropically shaping the city’s institutions, while throwing extravagant theme parties with elephants and performers such as Louis Armstrong. Of particular interest, she had lost her finger in a blendor accident. Carlo Rambaldi, the special effects artist for E.T., personally created her prosthetic finger with a graceful arc for cocktail parties.

I couldn’t make this shit up.