1. HOUSE OF MIXED EMOTIONS & SANG BLEU, united around THE BASED GOD, this Monday!

    May 2, 2012
    by Jeanne-Salome Rochat

    Remember, Remember, god is a paramedic ambulance, when the temperature is turning and the sweat is starting? God is a vertical video and a bulletproof cap. Now that we know those things keep going away, and keep coming back, remember, remember The Based God.


    ON MONDAY NIGHT
    IN ZUERICH, CH
    Longstreet Bar


    It’s only by invitation, so if you too want to be blinded by the mirror of smoke, the blue fish shark tower, the dilatante scum scraper, the ordained premadonna… CONTACT US ASAP: rm@sangbleu.com


  2. Maximilian Zentz Zlomovitz by Ketuta Alexi-Meskhishvili

    April 17, 2012
    by Jeanne-Salome Rochat


  3. Stefan Ruitenbeek’s new film “Ancient Amateurs”

    April 11, 2012
    by Jeanne-Salome Rochat

    is being shown in the Quinsy Gario – Bart Groenendaal – Stefan Ruitenbeek exhibition form April 15 to June 3 at Stedelijk Museum Bureau in Amsterdam.

    Independently of each other the three approaches all scrutinize aspects of Dutch culture and confront cultural classifications and their seeming certainties.

    TRAILER HERE


  4. Artists Space Honors Alan Vega, May 5

    April 10, 2012
    by Jeanne-Salome Rochat

    The Board, the team and the Friends of Artists Space announce with great pride that the Annual Friends of Artists Space Dinner 2012 will On Saturday, May 5, 2012, 8pm, an event will be held in honor of SB5 contributor legendary artist and musician.

    Alan Vega and his band Suicide are widely regarded as the godfathers of “No Wave.” The group’s seminal 1977 album Suicide is cited as an important influence by musicians such as Joy Division, Nick Cave, Spacemen 3, Spiritualized, The Horrors, The Cars, and Bruce Springsteen. Vega studied art in the 1950s under Ad Reinhardt and Kurt Seligman and was involved in the Art Workers Coalition. In 1969 he founded MUSEUM: A Project of Living Artists, an artist-run 24-hour multimedia gallery in Manhattan. Vega’s own artworks consist of light sculptures constructed from electronic debris. Previous honorees include activist and art historian Julie Ault (2010) and filmmaker and choreographer Yvonne Rainer (2011).

    This event is held exclusively for the Friends of Artists Space. A limited number of tickets are available. Please contact: friends@artistsspace.org to inquire about tickets or how to join the Friends of Artists Space.

    http://artistsspace.org/


  5. Out Cleaning Up The Scene

    April 2, 2012
    by Jeanne-Salome Rochat

    We settle at the bar, our eyes hooded, hard-ons rising behind suit coats. A shot a Johnnie, we say to the barkeep. We’re sweating. We’d stopped to admire half-slips made of lace on plastic male torsos at Slipwreak. Then quickened to the bordello, hurrying past Pearls, a pierce and tattoo parlor. We could see ourselves, we’d said to each other, on a beach, gold hoops pierced through our penises, tattoos running delicately up and down our manly legs. We’re square jawed, linebacker-big, nearsighted undercover cops. We squint at the barkeep, now, hands in our laps holding it down. Just wait.

    The barkeep drains Johnnie Walker into two shots, popping the bottle up in the air with an elfin smile between pours. He slides them exactly in front of us, little streaks of water trailing. We hoist the Johnnie. Toss it down. Sit motionless, like the whiskey’s cast a spell. We stare into the shots. Revolve them. They are like fireflies in our huge hands. We nod slightly to each other. Set the shot glasses down.

    How much? we ask the barkeep.

    Two Georges per Johnnie.

    Not for the whiskey, mamby pamby. How much for you?

    A black-haired man in a taffeta gown rustles close. Name’s Crow, he says. Got fully equipped rooms above. Certified clean. He waves his hand around the bar. Our eyes follow and we see men’s tongues licking the air. Some hands are down pants. Pick me, they all say with their faces.

    We spin on our bar stools toward the mamby pambys, tongues snaking out against our will, eyebrows up. Hard-ons hydraulic. Crow caws at the men. They press against us like tiny pebbles at the base of boulders. Stroke our arms. Climb on stools near us. They are mamby pambys with leather suspenders and their bare chests heave with desire. A pale man sits across our laps. Another lies on the bar. Bats fake eyelashes heavy with rhinestones. We could have swept them all away with a bash of our huge arms. But they are like school children. Postures of sex drip from perfectly pointed noses and we become weak-kneed, nearly forgetting our mission. Our bust. Our hard-ons are like erector sets. Crow leaps aside and the men we’d seen outside the bar drawing daintily on cigarettes under umbrellas advertising the floorshow, come in and overrun us completely: twenty ants on sugar. We want to be two men without pants. Muscular mannequins. Want our penises festooned with necklaces, faces licked, our butch haircuts lovingly tended by many hands. We want to ram these mamby pambys. Be gladiators sparring. Smash tables. Be two giant, naked men on our stomachs head-to-head, inviting them with our fingers to come on. Come on. Fuck us good. Crow waves like he’s granting our wish.

    But what we do instead is brush them off. We smile, pat down our hard-ons. Pat them as we head to the door. See ya in the clink, we say and radio for reinforcements. With our pants still jumping, our eyes hooded, we and the squad close down the bordello. We’re out cleaning up the scene, flashing our badges, disposing of the elfin men. But later, when we retire from the force, we may need them and, by God, we hope enough of them survive.

    Text by AJ ATWATER


  6. God is a platinum contact lense, and a cactus (50/50)

    March 26, 2012
    by Jeanne-Salome Rochat

    On Sunday morning in Berlin, in collaboration with the Freie Universität, I attended a strange event.
    On the basis of John Cage’s scores Branches (for amplified plant sounds and 4 performers, 1976) and Inlets (for water-filled conch shells and 3 performers, 1977), several artists created their respective instruments and performed for hours in a massive greenhouse. Those “instruments” were plants, preferably cacti, which were touched, plucked and “played”, as well as water-filled conch shells of different sizes, tipped in order to produce gurgling sounds.


  7. Exciting Performance Series and an Opening by Ryan McNamara @ Elizabeth Dee

    March 20, 2012
    by Jeanne-Salome Rochat

    For the past three weeks, Ryan McNamara has been working with over 1000 people at Elizabeth Dee Gallery to make a show and he would be very happy if you all would come to see the fruits of their labor. There is an opening reception this Saturday, March 24 from 6-8pm for the second phase of the exhibition.

    Ryan is also very excited to announce a performance series he is hosting at the gallery that starts this week. For three nights, performers and choreographers who he has worked with in the past will present new short pieces.
    He can’t talk about the works specifically because he has asked the performers to keep him in the dark.

    All Ryan can say is that he loves each and every one of these talented people.

    He hopes to see you all over the next couple weeks.

    On behalf of Ryan,
    J-S




    Thursday, March 22, 7pm
    Breanna O’Mara and Josh Weidenmiller

    Wednesday March 28, 7pm
    Kira Blazek and Sam Roeck

    Thursday March 29, 7pm
    Kim Brandt and Burr Johnson

    All events are free and take place at:

    Elizabeth Dee Gallery
    545 W 20th St (between 10 & 11 Aves)
    NEW YORK