SHOWstudio presents a film by conceived by Chris Sutton, featuring dear friend and Sang Bleu contributor Jon John.
Concept: Chris Sutton Studio; Direction: Chris Sutton; Cinematography: Martyna Knitter; Set Design: Gary Card; Performance: Julia Almendra / Jon John / C. Sutton; Hair: Liam Curren; Make-up: Lucy Bridge; Manicurist: Ami Streets; Styling Assistant: Tom Erebout; Edit: Jason Bradbury; Production: Lois Newcome; Soundtrack: Jason Bradbury with guest vocal by Marilyn Manson
2 Faced Mask featured in the film, made of leather and adorned with buckles and rivets. BUY IT HERE
Susu Laroche is the photographer and film maker based in London, known for her dreamy analogue photos of her muses from London (including the likes of SB6 cover star Caleb Kilby, Yasmina Dexter, Stanley Schtinter and Emma Sheridan) and often disturbing films. She’s currently working a film called ‘On Faultlines’ about assassins but these images are from a recent visit to Wales of her muse Louis. The photographs shown here will be a part of a book of Laroche’s work from the last three years called ‘chaos lure us chaos rule us’ and will be released by Purge in October 2013. Below is a little Q&A with Laroche so we can discover more about her.
Where are you from?
London via Egypt / France
Where do you live?
Where is your name from?
My parents gave it to me.
Where is your favourite place in London?
What kind of camera do you use?
Somewhere between an Olympus, Nikon and Bolex.
Favourite soul song?
What are your three favourite films at the moment?
Frantic, Apocalypse Now, Le lit de la vierge
What is your favourite cocktail?
Favourite photographer from the last forty years?
There’s a great one about H.H Holmes (one of my favourite serial killers) which has jovial barbershop quartet soundtrack playing all throughout, illustrating his crimes. It’s amazing.
What is beauty to you?
Mutations of nature, and chaos
What is ugliness to you?
Who do you think is the most stylish person? Dead or alive?
Who or what do you think is the most important/exciting force in our contemporary culture?
Virtual technology, for better or worse
What is your favourite album at the moment?
Morricone’s soundtrack for The Professional
Who would you most like to work with ?
Spanning life, death and time : Antonin Artaud, Vincent Cassel and Isabelle Adjani before she ruined her face. Throw in Oliver Reed too.
What is your favourite painting?
Right now it’s ‘Young peasant with cabbages’ by Tommasso Salini. I don’t love cabbages but they look sumptuous in that painting.
One of the buildings I went to school in.. mahogany panelled walls and secret staircases and passages
Favourite fashion designer?
Last novel you read?
The other night I dreamt that I read Ulysses (and it was great) but I’m not sure that counts, so Gargantua & Pantagruel by Rabelais. I’m about to re-read The Torture Garden by Octave Mirbeau and I found a slip of paper in the back of my copy that says ‘extended generalised hatred towards me’ ….it’s not my handwriting. I have no idea what or where its from, but its perfect.
Last exhibition you visited?
The one on Pompei, So beautiful
Favourite contemporary artist?
Fine food, fine company, fine drinks, fine time.
See more of Susu’s work here: www.susularoche.com
The Spreuth Mager’s gallery have replicated Kenneth Anger’s ultra glamourous Hollywood home for their new show Icons this month in London. Bringing together a collection of Kenneth Anger’s photographs, notes, scrapbooks and memorabilia from throughout his life in to their gallery and displaying them much like the layout in Anger’s own home this exhibtion will be sure to give a personal look into one of the most inspiring and pioneering men of the 20th century who has helped shape almost anything and everything even remotely avant-garde since the 1940′s. Exhibited over two rooms, one in a midnight blue and the other in the most luxurious velvet red the show will be sure to succeed in giving a look into Anger’s incredibly impressive life.
Icons Spreuth Magers London
March 23 – April 23 2012
Address 7A Grafton Street, London, W1S 4EJ
Opening hours: Tuesday – Saturday, 10am – 6pm
ICONS, INSTALLATION VIEW SPRÜTH MAGERS LONDON, 2013
Images du monde visionnaire was comissioned in 1963 by the film department of Swiss pharmaceutical company Sandoz (best known for synthesizing LSD in 1938) in order to demonstrate the hallucinogenic effects of mescaline and hashish.
Belgian poet Henri Michaux (well known mescaline user) and Eric Duvivier are aiming here to seize the way a sequence of images appears and disappears in front of a subject under the influence of psychotropic drugs.
Jungs interest in alchemy began around the same time that Silberer was doing his research. He kept having a dream in which he saw that his house had another wing which he never noticed before. Jung eventually managed to gain access to this undiscovered part of the house to find that it contained a magnificent library. Upon closer inspection, he found that the books all of which were leather bound folios from the fifteen and sixteenth centuries, contained alchemical diagrams and texts.
Jung Began to study alchemical books during his waking hours, and came to believe that the alchemist was not so much trying to create precious materials from base in the laboratory, as to redeem matter. He wrote:
“The Alchemical operations were real, only this reality was not physical but psychological. Alchemy represents the projection of a drama both cosmic and spiritual in laboratory terms. The Opus Magnum had two aims: the rescue the human soul, and the salvation of the cosmos.”
The work of the Opus Magnum (The Great Work) was therefore psychological. He became convinced that the Nigredo; or the initial black chaotic stage of the work, was infact the unconscious. The various stages of the work are, according to Jung, stages in what he called the individuation, or the psychological process that marks the growth of a personality into a balanced maturity.
In the first stage, the matter is cooked in the vessel. This corresponds im Jung’s view, to a personal crisis that threatens to destroy the personality. Yet in order for the sufferer to recover fully, the personality will have to be destroyed anyway but voluntarily. This surrender of the ego is vital to the process’ ability to heal and brings to mind the dictum stressing that in order for the work to be successful, the alchemist needs to be humble (ego free).
In the later stages of the work, the self is purified, which would correspond to the albedo or whitening of the matter and in the Citrinitas stage the individual would continue on their path of recovery through learning to become grounded again. The final stage, that of Rubedo would involve a complete integration and acceptance of the persons experiences and personality. Jung held that we all go through this process many times through the course of our life.
- Sean Martin (Alchemy & Alchemists)
Painting: David Teniers the Younger, the Alchemist