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
Our zone, with works produced with Ahmed Abdelrahman, Brute, Char Alfonzo, Joachim de Callatay, Cottweiler, Zachary Krevitt, Rein Vollenga, Telfar and Zana Bayne.
Show curated by Felix Burrichter, at the Haus der Kunst till 27.10.13.
All pictures by Maximilian Geuter.
The Andy Warhol Museum
117 Sandusky Street
Pittsburgh, PA 15212-5890
Pittsburgh’s Andy Warhol Museum sees the first solo museum show of the art practice of avant-guarde musician and performance artist Genesis Breyer P-Orridge.
The exhibition shows selection of the pandrogyne polymath’s influential and boundary pushing range of works, from pioneering industrial band Throbbing Gristle to his commitment to the pandrogyne project in which s/he and wife Lady Jaye Breyer P-Orridge sought to evolve into a new gender; undergoing a range of body modification and adopting plural/gender neutral pronouns (S/he, we/us) as a means of a radical transformation of identity, to become a singular being embodying them both known as Breyer P-Orridge, which, since the tragic death of Lady Jaye in 2007, Genesis continues to represent to this day.
An icon of the London avant-guarde in the mid seventies saw early work with collectives such as COUM Transmissions, dubbed (by a Tory member of parliment) the ‘wreckers of civilisation’, early collaboration with body modification movement ‘Modern Primitive’ and pioneering the industrial music genre with Throbbing Gristle, P-Orridge continues to question conventions and test the boundaries of identity, “re-directing the way other people encode their expectations and their needs [onto] you”.
The timing of the exhibition coincides coincidentally, and somewhat poignantly, with a resurgence of media focus on the trial and incarceration of child killer Ian Brady, which Throbbing Gristle referenced in an, until 2001, unreleased track Very Friendly; to the sound of pounding static audio, P-Orridge tells the tale of murderer Ian Brady and accomplice Myra Hindley in a harrowing dead-pan tone, highlighting the mundane details of their activity, which Brady recently referred to as merely an “existential experience”.
In this 2008 documentary by Eline Jongsma & Kel O’Neill, s/he explains the nature of the Pandrogyne, “a third kind of being that only exists because of the merging of us…Lady Jaye represents the Pandrogyne in the immaterial world, in another dimension of space and time, and we [Genesis] represent it here”.
The exhibition of over 100 works, dating from the mid 1970s to the present, ends September 15, 2013.
AKA Berlin and London owner and performance artist Jon John will be performing tonight in Paris at Fragilité in a private dungeon setting with various other performance artists.
Jon John’s work is based on Ritualistic acts, going through various civilisations, cultures, religions, eras and aesthetics.
Using ancient procedures and rituallistic rites and merging them with his contemporary vision Jon John shows us something fresh. His performances result in physical live acts mixed with eroticism, mysticism, poetic sensibility and emotions.
Love, sex, relationship and romanticism remain in his resently developed work.
Jon John collaborates with artists such as Ron Athey, Kiril Bikov and Juano Diaz.
Please email firstname.lastname@example.org to reseve a ticket for €15
Vered Sivan‘s recurring performance/installation Plasma uses live models, who lie still on the gallery floor as the artist slowly drapes synthetic thread over their bodies. As the models become slowly engulfed by a luminous chrysalis of thread, soft skin and light breaths give way to a still, glowing form. People become objects, anthropomorphic instead of alive.
Some great footage of the Czechoslovakian Spartakiad games which were used under Communist rule to oppose and suplement the Olympics. Working as one group effort rather than an individual performance more recent examples of this kind of practice can be seen in North Korea.