VEJAS is a new young designer who recently showed their F/W15 collection at New York fashion week. Vejas’s stylist Marcus Cuffie alongside photographer Benjamin Bibriesca have created this editorial exclusively exhibited on Sang Bleu using this particular collection called ALARM CALL. And to go alongside this Vejas and Marcus have had a conversation about the morals behind this progressive and optimistic fashion brand which you can read below.
well the first question is
how did we meet
but lets just say “online:”
ugh i have to start making up a lie for this answer
we met….in the mykonos i was with my ex husband then
tho the first first time we met irl was i think when u gave me that um…wool top
.. we dont speak of that “wool top”
in your retrospective in 20 years i will
wear it and tell everyone this is the first thing u made
u betta not!
lets see next question
why is it important to cast people you care about
at the fall of the Berlin wall, you spray painted the margiela number label on the wall and then i showed you my margiela number tattoo on the back of my neck
ugh you messed up the order!!!!
ill let you answer first cuz i was talking to myself all day so i have my answer anyway
its important for me to cast people i care about because I want to see my friends beauty represented and legitimized and also to ground the clothes in the idea of their wearability in terms of being placed on “regular” people i guess
but the first part more so
right also i think at this point in [...]
Daniel Wolfe’s debut film is in UK cinemas now after it’s premiere at Cannes last year. A drama described by Wolfe himself as a ‘modern day western’ it highlights issues intrinsic within modern British life. CMD is not just the love story of Laila and Aaron on the run from her family, but deals with the modern day complexities of identity and culture faced in Britain. With an almost completely unknown cast, actors were street-casted from across Yorkshire and the rest of the UK. All aspects of Catch Me Daddy perpetuate an emotionally raw experience.
Take a look at the official Catch Me Daddy blog catchmedaddyfilm.tumblr.com and most importantly go and see the film.
In selected cinema’s across the UK all week.
Sang Bleu are happy to invite you to the opening night of photographer Akasha Rabut’s show 504 Boyz.
The show will exhibit 10 carefully curated images from the collection, with a curators talk from Hope Plescia-Buchi.
Akasha Rabut is a photographer based in New Orleans, La and New York City, NY. She has a BFA in photography from the San Francisco Art Institute. Akasha’s clients include Aritzia, Bare Essentials, Budweiser, Hayden Harnett and Kenneth Cole. She has been published in VICE, Boooooooom, Beautiful Decay, Next American City, Feature Shoot, Juxtapose, just to name a few. Her work was most recently highlighted in Luna Press’ anthology Inventing Reality.
The private view and talk will take place next Friday the 13th of March from 7-10pm
Sang Bleu Contemporary Art and Project Space
29b Dalston Lane, E8 3DF
Closest trains stations: Dalston Junction or Dalston Kinglsand.
“They all look different but they’re all basically me and facets of my personality. I’ve always drawn old men, even when I was a young kid. I used to go out to the Bowery and draw these old guys. Always done while I’m blitzed. Never touch them straight. I write like that, too. Some things come out of me that would never come out of me straight. Never. The sculptures I would never do any other way but straight. That’s dangerous shit, man.”
We all know of Alan Vega as the voice behind Suicide, the sinister electro punk duo who created some of the most perverted, pioneering and progressive music to have been created during the twentieth century. However it is lesser known that Vega is also a defined fine artist having been practicing within the fine art world for decades. So it is of great excitement to discover that Vega’s first exhibition in a decade in New York is currently on show at Invisible Exports.
Now at the age of 78, discovering Vega’s artistic career can seem overwhelming in its vast experience. Studying under Ad Reinhardt Seligman while at Brooklyn college. After that he then became involved with the activist collective Art Worker’s Coalition, which lobbied aggressively for museum reform and even barricaded MoMA, and with the Project of Living Artists, an anarcho-residency-performance space which emerged from it.
He moved from painting to sculptures assembled from light fixtures and discarded electronic detritus. Critic Simon Reynolds has called the work: “trash-culture shrines from a post-cataclysmic America of the near-future”. Vega staged several legendary shows at OK Harris Gallery, and mounted installations, which Jeffrey Deitch later named “the toughest and most radical art I had ever seen.” It was with that assemblage and ready-made work that Vega [...]
Interview taken from Sang Bleu 6
Born and raised in Delaware,BJ Betts tattoos from his own Trademark Tattoo on a quiet strip of Lancaster Avenue in the state’s largest city, Wilmington. The place has character, a real buzz, and an energy that comes from a keen balance of perfectly executed tattoos and the street sensibilty. Betts and his partner, Damien Guerin, are fonts (pun intended) of knowledge. While getting tattooed by Betts, I spoke to him about tattoo lettering and trends of body placement. When applicable, Damien added some thoughts. They have fun at Trademark Tattoo.
Case in point…
BJ: Johnny Knoxville, from MTV’s Jackass, is like, ‘I want that.’ Talking about the Wawa logo. Damien is like, ‘What? You want a coffee? I’ll get you a coffee.’ He’s like, ‘No I want that tattooed on me.’ Damien is like, ‘You jackass, that’s a convenience store. That’s like getting 7/11 tattooed on you.’ He’s like, ‘Yeah but that’s awesome.’ So Damien did the Wawa bird on him and the word ‘Wawa.’ That’s awesome. It’s like a Yo! MTV Raps tattoo. Anyway let’s talk about lettering. I know we talked about you getting your first tattoo and it was your name. I kind of like that story, I think it’s a good starting point.
BJ: Looking back at it, that might have been the introduction for me into lettering as far as being attracted to it in a tattoo. Definitely like drawing graffiti and all of that played a big part in it for sure. I was always attracted to the shapes and the forms of the letters-a few lines and you got it. As far as the unlimited-the options are unlimited as far as-I think that once you have the basic shape-everybody knows what letter A looks like so once you have that basic shape laid out it’s like, you can change it to whatever you want and you’ll stay have the [...]
The Kitchen is pleased to host a discussion with video artist and filmmaker Charles Atlas in celebration of his new self-titled monograph. Published by Prestel Publishing in association with Luhring Augustine, Charles Atlas will look back at a career that has spanned four decades and profiles over 75 projects by Atlas including works recently exhibited at Tate Modern and the 2012 Whitney Biennial. Renowned art historian Douglas Crimp, an art history professor at the University of Rochester, will lead the discussion with Atlas.
You can watch some of our favourite work of Atlas’s below, his work with The Michael Clark Company for their film Hail The New Puritan below.
March 2, 7pm
John Samson is the man who made the seminal fetish documentary Dressing for Pleasure but he also made this lesser known film called The Tattoo made in 1975. This footage is also of incredible historical importance in terms of capturing subculture and also possesses dreamy aesthetic viewing.
The documentary examines why people choose to get tattooed before a final climatic scene in a dark room where naked tattooed bodies are offered to the viewer as pieces of art as the camera spans across the bodies in various ways making them resemble some kind of precious statues. Reality versus Fantasy all within the subject of flesh are encapsulate this film in a truly iconic way.
Watch out for Rusty Skuse in part 4 before the films exhibits some shock tactics by showing off some piercings at the end of the film.