In June, Art Director Jamie Reid went to France to go to the heavy metal festival Hellfest. He took this selection of photos for us of the wide ranging and complex variety of heavy metal fans who all visited this extra special gathering.
Erin was born in Massachusetts in 1985. She received her MFA from Tyler School of Art, Temple University, and her BFA from Massachusetts College of Art and Design. Her work has been exhibited nationally and internationally since 2004 and published in Hi-Fructose, WSJ Magazine, Playboy Magazine, Juxtapoz Magazine and New American Painting. She is currently an artist in residence at the Museum of Arts and Design and has received awards and residencies from the Bemis Center for Contemporary Arts, the MacDowell Colony, Vermont Studio Center, Virginia Center for the Creative Arts, and McColl Center for Visual Art. She is a Ruth and Harold Chenven Grant and a Kittredge Foundation Grant recipient. www.erinmriley.com
Your work is a combination of traditionally “feminine” craft with contemporary digital media. Technology and digital media are often categorized as male fields. Do you perceive the two as being gendered? Do you view the two as being at odds?
I never perceived either as being gendered. In my early teens I was modifying and building various social network profiles up with html and all of the how-tos were available online. The internet in the beginning had no hierarchy and so I didn’t initially associate technology to class or gender, although now I can see how gender plays a huge role in the successes of technology. I was taught weaving in a historical context in which cultures regimented certain aspects to different genders, but it was never consistent, folk lore of women not being allowed near the indigo bath on their cycle for fear of ruining its chemistry, men doing all the weaving in certain regions, women doing all of it in others. Tapestry was an anonymous craft, often a translation of a painting woven by laborers who were [...]
Joe locks himself away in a room in his middle class home and takes self portraits of himself covering his face with tights and other domestic materials. Sometimes he wears animal masks with a woman’s satin shirt, other times he inflates a latex glove over this face but most of the time he wears womens stockings to distort and disfigure himself to the point of having no recognisable identity.
Looking at Joe in these photos is a bit like looking into the depth of someones soul, the most private reaches of an individuals self exploration are presented to us with no boundaries.
How often do we see affluent, white men so openly create without the excess of ego or socially ingrained concepts of sexuality infiltrating them? The production of imagery without any premeditated arrogance or plan is now such an unusual happening.
Being able to voyeur a totally random man’s deepest sexual experimentations with no barriers is alone a fascinating process but especially so when their explorations are so intrinsically creative and unattainable.
Joe’s age is also another area of fascination. He is over the age of sixty adding to the intrigue of how he uses modern technology to discover a fetish he has embodied his entire life. Sexuality doesn’t stop being something to explore once you reach a certain age but urges and curiosities remain enflamed. In this case, the internet has enabled him to explore it with other like minded fetishists therefore allowing him to have an objective to create towards.
Maybe what is so special about Joe is his originality. The juxtapositions of classic menswear, the safely educated interiors to his home accompanied with him wearing a gas mask with nylon stockings over his head reach the spectrum of outstanding perversion. However this is only interesting to us [...]
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.