Стюарт Хоум: Суретші, жазушы және мәдени қайраткердің өмірі мен шығармашылығы

English artist, filmmaker, and writer

Kevin Llewellyn Callan (born 24 March 1962), better known as Stewart Home, is an English artist, filmmaker, writer, pamphleteer, art historian, and activist. His novels include the non narrative 69 Things to Do with a Dead Princess (2002), and the re imagining of the 1960s in Tainted Love (2005). Earlier parodistic pulp fictions work includes Pure Mania, Red London, No Pity, Cunt, and Defiant Pose which pastiche the work of 1970s British skinhead pulp novel writer Richard Allen and combine it with pornography, political agit prop, and historical references to punk rock and avant garde art.

Home was born in South London. His mother, Julia Callan Thompson, was a model who was associated with the radical arts scene in Notting Hill Gate. In the 1980s and 1990s, he exhibited art and also wrote a number of non fiction pamphlets, magazines, and books, and edited anthologies. In the 1980s Home was also a regular contributor to the anarcho punk/cultural magazine VAGUE.

In 1993 Home officially resurfaced, having meanwhile gained an influence and reputation in American counter culture comparable to writers like Hakim Bey and Kathy Acker. Aside from reassessments of his earlier engagement with Neoism, the Situationists, punk, and the plagiarism and Art Strike campaigns, and, as his source of income, the continued pulp novel writing. In the post Art Strike years, he had for the first time publicly occupied himself with hermeticism and the occult. The Neoist Alliance, his third one person movement after The Generation Positive and Praxis, served simultaneously as a tactical reappropriation of the Neoism label for self promotional purposes, and as a corporate identity for pamphlets that satirically advocated a combination of artistic avant garde, the occult, and politics into an "avant bard". Higgs included Home in group shows he curated – such as "Imprint 93" at City Racing (London June–July 95), "Multiple Choice" at Cubitt Gallery (London March–April 96) and "A to Z" at Approach Gallery (London 1998) – as well issuing a pamphlet and later a badge by Home as part of his prestigious edition of Imprint 93 multiples. At this time uber curator Hans Ulrich Obrist also included Home in his survey of young British art "Life/Live" Musée d’art Moderne de la Ville de Paris (October 96 January 97, subsequently toured). In the mid nineties Home was also appearing regularly as a live artist at "Disobey" events organised by Paul Smith and featuring music from the likes of techno acts Panasonic and Aphex Twin.

Aware of the marked decline in countercultural activities throughout the urban centres in which he operated, Home shifted gear in this area of his work in the new millennium, upping his level of Internet activities; web work had been only a minor part of his repertoire in the 1990s. Home's novels in this period no longer incorporated subcultural elements and instead focused on issues of form and aesthetics: 69 Things to Do with a Dead Princess contains capsule reviews of dozens of obscure books as well as elaborate descriptions of stone circles, while in Down and Out in Shoreditch & Hoxton every paragraph is exactly 100 words long. At times in this period Home's film making also became radically non representational, and rarely required any original cinematography whatsoever; for example his 2002 fiftieth anniversary English language colour re make of Guy Debord's "Screams in Favour of De Sade", and 2004 "Eclipse & Re Emergence of the Oedipus Complex", the latter consists solely of still photographs of his mother with a narration scripted by Home but delivered by Australian actress Alice Parkinson. This tendency towards abstraction was already evident in some of Home's work of the 1990s, particularly sound pieces such as the cut up radio play "Divvy", but in the 2000s it became increasingly central to his output.

The Neoist Alliance was a moniker used by Home between 1994 and 1999 for his mock occult psychogeographical activities. According to Home, the alliance was an occult order with himself as the magus and only member. The manifesto called for "debasement in the arts" and in a parodic manner plagiarized a 1930s British fascist pamphlet on cultural politics. Alliance activities mainly consisted of the publication of a newsletter "Re action" which appeared in ten issues. In 1993, the Neoist Alliance staged a prank against a concert by composer Karlheinz Stockhausen in Brighton by announcing its intention to levitate the concert hall by magical means during the concert. This was an homage to the 1965 anti art picketing of a Stockhausen concert in New York by Fluxus members Henry Flynt and George Maciunas. Alliance activities ran parallel and were closely related to those of the revived London Psychogeographical Association and the Italian based Luther Blissett project. Despite its name, the Neoist Alliance had no affiliation with the international Neoist network which had been active since 1980. Stewart Home had previously become a member and activist of that network in 1984, but renounced it one year later and subsequently worked under the collective monikers of "Praxis", later "plagiarism" and the Art Strike movement.

Alex Kervey of T ough Press, publishers of the Russian edition of Come Before Christ and Murder Love has reported repression of the book as "pornography and insulting Christian values". Kervey says this is happening in the context of a campaign run by such far right groups as the National Bolsheviks against Home, which has included arson attacks against T ough Press alongside state censorship.

No Pity (AK Press, London & Edinburgh 1993, ; Finnish translation Like, Helsinki 1997).

SEND CA$H (Morbid Books, London 2018).

The Assault on Culture: Utopian currents from Lettrisme to Class War (Aporia Press and Unpopular Books, London, 1988) (New edition AK Press, Edinburgh 1991. Polish translation, Wydawnictwo Signum, Warsaw 1993. Italian translation AAA edizioni, Bertiolo 1996. Portuguese translation, Conrad Livros, Brazil 1999. Spanish translation, Virus Editorial, 2002. Russian translation, Asebeia, 2020). Neoist Manifestos (AK Press, Edinburgh 1991). Cranked up Really High: Genre Theory And Punk Rock (Codex, Hove 1995, new edition 1997. Italian translation Castelvecchi, Rome 1996) (an 'inside account' of the history of punk rock). Conspiracies, Cover Ups and Diversions: A Collection of Lies, Hoaxes and Hidden Truths (Sabotage Editions, London 1995). Green Apocalypse (a critique of the magazine and organisation Green Anarchist) with Luther Blissett (Unpopular Books, London 1995). Analecta (Sabotage Editions, London 1996). Neoism, Plagiarism and Praxis (AK Press, London, Edinburgh 1995. Italian translation Costa & Nolan Genoa 1997). The House of Nine Squares: Letters on Neoism, Psychogeography And Epistemological Trepidation, with Florian Cramer (Invisible Books London 1997). Disputations on Art, Anarchy and Assholism (Sabotage Editions, London 1997). Out Takes (Sabotage Editions, London 1998). Confusion Incorporated: A Collection of Lies, Hoaxes & Hidden Truths (Codex, Hove 1999). Repetitions: A Collection of Proletarian Pleasures Ranging from Rodent Worship to Ethical Relativism Appended with a Critique of Unicursal Reason (Sabotage Editions, London 1999). Anamorphosis: Stewart Home, Searchlight and the plot to destroy civilization (Sabotage Editions, London 2000). Jean Baudrillard and the Psychogeography of Nudism (Sabotage Editions, London 2001). Fasting on SPAM and Other Non aligned Diets for Our Electronic Age (Sabotage Editions, London 2002). The Intelligent Person's Guide to Changing a Lightbulb (Sabotage Editions, London 2005). The Correct Way to Boil Water (Sabotage Editions, London 2005). The Easy Way to Falsify Your Credit Rating (Sabotage Editions, London 2005). Re Enter The Dragon: Genre Theory, Brucesploitation & the Sleazy Joys of Lowbrow Cinema (Ledatape Organisation, Melbourne 2018).

Festival of Plagiarism Ed., (Sabotage Editions, London, 1989)
Art Strike Handbook Ed., (Sabotage Editions, London, 1989)
What is Situationism? A Reader Ed., (AK Press Edinburgh and San Francisco, 1996) Mind Invaders: A Reader in Psychic Warfare, Cultural Sabotage And Semiotic Terrorism Ed. (Serpent's Tail London, 1997). Suspect Device: Hard Edged Fiction (Serpent's Tail, London 1998). Denizen of the Dead: The Horrors of Clarendon Court (Cripplegate Books, London 2020).

Comes in Your Face (Sabotage, London 1998). Cyber Sadism Live! (Sabotage, London 1998). Pure Mania (King Mob, London 1998). Marx, Christ & Satan United in Struggle (Molotov Records 1999). Proletarian Post Modernism (Test Centre 2013).

NATURAL SELECTION (1998 organised by Graham Harwood & Matt Fuller, funded by the Arts Council). TORK RADIO (1998 organised by Cambridge Junction, funded with lottery money).

Humanity in Ruins, Central Space (London, February/March 1988). Vermeer II, workfortheeyetodo (London July to September 1996). Becoming (M)other, Artspace (London December 2004 to January 2005). In Transition Russia, NCCA (Moscow, November/December 2008). Hallucination Generation: High Modernism in a Tripped Out World, Arnolfini (Bristol April to May 2006). Again, A Time Machine at White Columns (New York October/November 2011). Part of Again, A Time Machine: a Book Works touring exhibition in six parts, SPACE (London April to May 2012). Tilt, Building F (London November 2013). The Age of Anti Ageing, The Function Room (London October/November 2014). Re Enter The Dragon, Queens Park Railway Club (Glasgow, April 2016). Dual Flying Kicks, 5 Years (London, June 2018). Sexus Maleficarum, Darling Pearls & Co (London September 2020 – January 2021).

Ut Pictura Poesis (1997, 35 mm, part of project organised by Cambridge Junction with Arts Council funding). Screams in Favour of De Sade (2002 60 mins). Has The Litigation Already Started? (2002 70 mins). The Golem (2002 84 mins). Eclipse & Re Emergence of the Oedipus Complex (2004 41 mins). Oxum: Goddess of Love (2007 30 mins). Re Enter The Dragon (2016 41 mins). Bondage As Theme & Technique (2019, 40 minutes).