Twenty five years after the passing of Stiv Bators, a Cleveland gallery created an exhibition of never before seen photos of the city’s very own punk legend, as well as images of The Dead Boys
Photographed by Dave Treat, Stiv’s neighbor and close friend in 1976 – the negatives sat in a closet for nearly forty years before being brought to the attention of art historian Brittany Mariel Hudak & photographer/gallerist Bryon Miller, who co-curated the show.
The exhibition’s opening was timed with the 25th anniversary of Bator’s untimely death in Paris, and offers a rare glimpse of Stiv & the boys before they had a bass player, before New York City, before CBGBs, before punk rock fame.
I was contacted by Brittany Hudak, an employee of Blue Arrow Records (bluearrowrecords.com), a local record store located across the street from my gallery on Waterloo Road. A customer of theirs had brought in a bunch of negatives of Stiv Bators and the Dead Boys and was looking to do something with them. All the images were shot by Dave Treat back in 1976. He was a neighbor and friend of the band. At the time Dave was attending the now defunct Cooper School of Art in Cleveland, Ohio, and used Stiv for a school project he was shooting. He kept the negatives stored away in a closet for nearly 40 years before bringing them to light.
Could you tell us about the process from discovery to final exhibition?
We had 8 rolls of negatives to choose from. If we had more time and wall space I’m sure a lot more would have [...]
London’s Live Archives are hosting an exhibition of renegade designer Yohji Yamamoto’s work. ‘Showspace’ presents 60 pieces from a spectrum of Yamamoto’s career and represents work from all of his various lines.
‘Showspace’ is a reconfiguration of what we’d conventionally expect from a fashion exhibition; live models are used in lieu of mannequins, showing how his garments adapt to our bodies and adapt our body’s silhouettes. The complex construction of Yamamoto’s clothes is well known and the multiplicity of design will be shown on his live models as they wear the garments in all their forms. Such an authentically corporeal display of clothes overturns Yamamoto’s declaration of fashion museums as ‘where fashion goes to die’.
The show has been designed by exhibition maker Jeffrey Horsley, who has based the design and process of the display on a couture salon, paying tribute to Yamamoto’s appreciation of the Golden Age of Couture.
‘Showspace’ launches tonight at Live Archives, Mare Street with a live video stream on www.live-archives.london from 19.30 till 21.30
Live Archives, 81-83, Mare Street, London E8 4RG
31 July-8 August 2015, 13.00-19.00 daily
By Julie Bréthous
Le Festival du Film de Fesses is a French film festival dedicated to the discovery of an alternative erotic cinema. Founded in 2014 by Maud Bambou and Anastasia Rachman, it opened its first edition at cinema Le Nouveau Latina, with a retrospective focusing on French filmmaker Jean-François Davy’s ‘eroticomical’ trilogy, La Trilogie Paillarde, (Banane Métallique, Prenez la Queue Comme tout le Monde and Q) and an exclusive screening of his cult documentary, Exhibition . A year later, the festival opened its new edition at cinema Lumidor Hôtel de Ville in Paris, from June 24th to June 28th 2015.
Trailer of the Festival du Film de Fesses (2015), Bertrand Mandico
In this second edition, the spotlight has been brought on Polish filmmaker Walerian Borowczyk. Discovered during the first edition of the FFF by Maud and Anastasia though Bertrand Mandico’s cinematic praise of his work, Boro In The Box (2011), Borowczyk would have six of his most accomplished movies chosen for an exclusive retrospective.
Contes immoraux (1974) – 103 min
Docteur Jeckyll et les femmes (1981) – 92 min.
Cérémonie d’Amour (1987) – 100 min
La Bête (1975) – 94 min.
Intérieur d’un Couvent (1978) – 95 min
Une Collection Particulière (1975) – 12 min / Documentaire
Le Festival du Film de Fesses shared Borowczyk’s vision of sexuality to the public, notably through his masterpiece Contes Immoraux (Immoral Tales, 1974), which stared a young Fabrice Luchini, explaining to his on–screen cousin Paloma Picasso the movements of tides and the art of a good fellatio. To the eyes of the team, Walerian Borowczyk was a filmmaker with a unique view on erotic movies, a view embracing human instincts and human love, a view giving women a lot more importance and value than in mainstream pornography or erotica.
A more contemporary approach to erotic [...]
Paris II, Le Gibus, 24th June 2015, 15h30 — Le GIbus has been one of these emblematic clubs from the 80-90s rock scene in Paris, now reconverted into a club hosting some of Paris ‘ most underground club nights. Shortly after penetrating the club via its dark staircase, the excitement was accentuated by the whole setting: a narrow podium, crude lights and 90s Acid House.
Lights out, a last “Faster Faster Faster” and the show began. Fabulous Club Kinds appears on the narrow podium in their natural yet sophisticated straightforwardness and attitude. Here the urge and restless atmosphere accentuated the young label and its creative director’s authenticity. Black from the Soft Moon rythme the path of the models for the final with its provocative “I don’t care what they say”.
Glenn Martens has quite an outsider profile in the industry. After graduating from a degree in architecture at the age of 21, he entered The Royal Academy of Fine Arts, Antwerp, and worked as a junior designer for Jean Paul Gaultier. After taking over Yohan Serfaty’s label in 2013, he brought the label a new life with his sharp design, elongated silhouettes and bold fabric choices.
Shortly after the show, we met him in Y/Project’s showroom to speak about the influence of his hometown, Bruges, gothic architecture in his tailoring, gender fluidity and youth.
Special thanks to Robin Meason.
Video & Editing Shôta Sakami. Direction & Interview Céline Bischoff.
By Ira Lupu
Along with natural landscapes, nude or seminude women are probably the most loved and safe objects for any photographer to capture. Yet Ukraine native Anastasiya Lazurenko proves that even in such a hackneyed field of art as female portraiture there are still some secret essences to extract.
Lazurenko’s forthcoming book Pearly Gates is a collection of sensual analogue images of her muses, mainly Eastern European beauties. The photographer is rather into the philosophy of Hinduism, and at the same time she’s not the one to pontificate a lot about own art. But the name Pearly Gates, which spans such meanings as Christian celestial gateway, LSD type, and vagina covered with sperm, gives a bold hint for understanding. The photos offer a soft trip to the depths of female psyche and sexuality, maybe even a stealthy quest for holy eros. ‘Sex is not only about the direct touch, it is everywhere. The nature of orgasm is in the vibrations of bliss, that can be felt anytime — and the spiritual practise leads to it’, says Anastasiya, and there is a temptation to agree.
Still, in her work there aren’t any deliberate symbols often used by visual artists for giving their narrative a transcendental undertone. No mandalas, no crosses, no ritual knives and emphatically rolled eyes: the Pearly models can wear mundane rubber shoes or lay next to plastic shower gel bottle, yet the whole journey is far more gauzy. The artist calls her art process ‘a shamanism’, which may sound loud, but I must confirm it’s likely to be true. When preparing this article, the subtle, a bit shy blonde took me to Southern Ukraine’s surreal Kinburn peninsula, got me undressed by the banks of local lake (weirdly enough, it [...]
Paris IV, London Showrooms, 15h30 – If the evolution of streetwear is integral to London’s mens fashion, Liam Hodges has been one of the main protagonists of London’s most exciting generation of menswear designers alongside Agi & Sam, Craig Green and James Long, to name few. A strong British tribal mentality lays in his designs as for each collection he elaborates a narrative around a type of community, merging high fashion and subcultural references.
After Morris dancers, Kibbo Keft youth clubs and Pagan practitioners, the RCA graduate chose Pirate Radios as his core narrative. A small community decided to occupy some frequencies and spread messages. Positive, honest and real is the message as the street poet Hector Aponysus’ rapped monologue about society, prosperity and community implied during the show.
Liam Hodges turns his inspirations into garments that these groups would put on but also enviable for a wider audience. Through details and winks, he instills these references in the collection: own graffiti binary coded camouflage weave, the jacquard football knit, ravy make up and gabber style music from Visionist. The aim is to create a complete world around each collection.
Paradoxically enough, we had to rush through a different kind of tribe to get to London Showroom and meet with Liam as the Tropical Carnival of Paris was taking place at rue Saint-Antoine. after some slaloms between dancers and watchers, it brought us to the Impasse Guéménée. There we met Liam Hodges, smiling, to talk about cities: London and Berlin, his communities and his world.
Video & Editing Shôta Sakami.
Direction & interview Céline Bischoff.
‘The graffiti that Perry highlights are a generation away from the three-dimensional, self-referential designs that we have now become accustomed to: instead, they are urgent messages from another, hidden world, designed to be read and forcibly understood by a general public that would have preferred to walk on by.’ – Jon Savage
The Horse Hospital are hosting an exhibition of Roger Perry’s seminal photograph series ‘The Writing on the Wall’ on 70s graffiti in London in celebration of the 40th anniversary and republication of the 1976 book. More than 120 of the original framed prints are on display alongside ephemera including letters, press cuttings and cameras that document a profound aspect of London’s street, political and youth cultures.
Roger Perry (who died in 1991) photographed the political and poetical verbal graffiti of the decaying and pre gentrified London of the mid 70s. His stark black and white photographs feature messages from the radical (‘the tigers of wrath are wiser than the horses of instruction’) to the witty (‘cats like plain crisps’), almost always on a wall – at eye level so one cannot ignore- and occasionally featuring a lone passerby, or a dog.
This isn’t the graffiti that we, for the most part, consume, abhor or adore today; there are no territorial tags, no artist commissions, nothing like the sort that features on the ‘guerilla’ gallery of Curtain road for a Shoreditch street art tour. There’s no stylistic purpose in the work that Perry photographs, slogans such as ‘strike a body blow to capitalism’ and ‘I FOUGHT THE LAW’ are scrawled in the anger and resentment of the moment, decoration and exaggeration cast aside in its obvious frivolity. The written word speaks for itself entirely on permanent protest placards parading London’s streets.
The London that [...]