It’s hard to resist a man with a dirty mind, more so an older man with a vast erotic filmography that explores transgressive carnal desires. ‘A Buttcrack for Two’ (1982), ‘Around the World in 80 Beds’ (1976), ‘In the Castle of Bloody Lust’ (1967), ‘The Girl In the Transparent Panties’ (1980), ‘A Virgin Amongst the Living Dead’ (1972) are just a few of the many salacious film directed by the sexually crude Jesus Franco. An obvious Sang Bleu favourite, his fearless style of filmmaking has the strange and extraordinary salivating at his sado-erotic web of dreams.
Franco’s films have recently been immortalised in Murderous Passions: The Delirious Cinema of Jesus Franco by Stephen Thrower and Julian Grainger released by Strange Attractor Press. This immense catalogue, the first of a two-volume set, works through some of his 180 films that spanned his 60-year career. Revealing some of the lesser-known films – his waves from erotic, horror and comedy to uncovering secrets from casts and productions, the book provides an authoritative reflection on his vast body of work. To celebrate here at SB we explore the dark dance of seduction that is Vampyros Lesbos (1970) because bloodthirsty hunger is the highest form of flattery.
A soft core dreamscape of lesbian fantasy, less horror about the un-dead, more unrivalled passions of unbound sensuality, Vampyros Lesbos is, as expected, the queer retelling of Dracula. A recurring erotic dream. A woman fuelled by an unknown pull towards an indistinguishable feminine object of desire. Brought to light when the dreamer Linda Westinghouse (Ewa Stomberg) meets Countess Nadine Carody (the painfully sexual, Soledad Miranda) whom she recognises as the woman of her fantasies. Seduction ensues. Linda is cast under a spell; she cannot stop her [...]
Chickens are forsaken, ridiculed, loved, eaten, abused, overfed, plucked, made into nuggets and sometimes even used for human sexual pleasure. I have always had a fascination with them, mainly with eating them – southern fried – but also with the different breeds, different eggs and all the ways you can eat them. The chicken (Gallus Gallus Domesticus) is a domesticated fowl, a subspecies of the red Jungle Fowl. The humble chicken is one of the most common and widespread domestic animals, more than 50 billion chickens are raised annually. Chickens may live for five to ten years, depending on the breed, the world’s oldest chicken, a hen, died of heart failure at the age of 16 according to Guinness world records. There are a plethora of chicken related films, music and cultural references from sexual fetishes to the original KFC restaurant.
Steve – Bizarre Personal Ad: Looking for someone to help indulge my chicken fetish – m4w. I used to run a blog of Bizarre adult personal ads (most VERY adult), here was one of my favorites (Found on Craigslist/San Antonio 11/05):
“I have a chicken fetish. More specifically. I would like a woman who is willing to wear a chicken costume and cluck during intercourse. I am 5’11” and 170lbs, educated, fit(6-pack abs), clean, D/D free, brown hair, blue-grey eyes. Women only!! Your body type and age does not matter as you will be wearing the chicken suit: I require that you be clean, discreet, D/D free, and willing to wear the suit and make the noises. If you’d like, after wearing the suit and playing, we can play again without the suit if you wish. I will provide the chicken suit and the place, you only need to provide yourself along with [...]
Showing a mixture of prints, illustrations, photographs and text, this new exhibition They’ve Taken our Ghettos: A Punk History of the Woodberry Down Estate has been curated to show the work created by a diaspora of punks who lived as squatters on the Woodberry Down Estate in London in the 80s and 90s.
Curated by Rebecca Binns, ex- squatter of this infamous punk squat and PhD student examining Gee Vaucher of Crass’s print making, the show will exhibit a variety of work made by the punk community from the 80s to present day.
In light of London’s rapid and ever real gentrification, the exhibition reflects on capitalism’s contemporary suffocation of the city by directly documenting what is currently happening to a space where to be young, creative and anarchic was a sustainable lifestyle, where now in 2015 its increasingly impossible. The inescapable nature of neoliberal values have been perfectly reflected in this exhibition by placing the professional and amateur shoulder to shoulder to produce an image of the importance of community.
We spoke to Rebecca Binns to find out more about this exciting exhibition.
How did the idea to create this exhibition come about and were you personally involved within the Woodberry Estate?
My inspiration for organising this exhibition is watching the current redevelopment of the Woodberry Down Estate in Manor House (North London). This estate, which was overwhelmingly comprised of social housing, is being demolished to make way for highly profitable real estate. This seems to be part of the wider trend for social cleansing of housing estates we are seeing at the moment.
Watching the demolition take place brought back memories of my experiences squatting there over twenty years ago. Back then, a high proportion of the flats had been allowed to deteriorate and remain empty. They were subsequently [...]
Charisa – shining a torch on queer and female artists who are being ignored within the commercial industry.
CHARIZA INTERVIEW FOR SANG BLEU
Friday sees the open of a new gallery concept, Chariza. Hosted in a purpose built space nestled between Tate Britain and Chelsea College of Arts, Chariza is using her position to subvert art world norms and shine a torch on queer and female artists she feels are being ignored within the commercial industry. As much of a persona and character as she is a physical entity, Chariza will exhibit five creatives, Jenkin Van Zyl, Coven collective member Hannah le Feuvre, James Cabaniuk, Vienna based Paratsu and abstract roof paintings from Derek. Accompanying her first show is a weeklong programme of events, with highlights including a one-day only queer punk festival, (featuring performances from Niagara Falls, Alpha Maid & others), brunch before pride, and an ‘Intellectual Sex Party’ exploring how the digital age has changed sex. Committed to creating an inclusive space and community, we talk to Chariza creator Karis Clapperton on the eve of her private view…
Who is Chariza?
Karis: Chariza is a project-based gallery, she’s a reaction to me wanting to create something that I felt represents people that are undervalued and underappreciated in the art world. She’s more than just a gallery because it’s also a persona; Chariza isn’t an identity as such but an applied character. My work in the past has been centred on identity and performance, creating different characters in response to things that annoy me, so my personal work is very reactionary. Chariza is not so much a performance but its performative, she’s still me, but its applied. Chariza is also a way of feminising the gallery model. I really like the confusion surrounding it, Chariza is she as much as she [...]
Walking into the Oasis Sports Hall last week in London’s busy Holborn during London Men’s collection, the pedestrian nature of the council run sports centre was transformed into Cottweiler’s chosen space to exhibit their latest collection. Rather than adapt to what is prescribed of designers on the Fashion Week schedule, Cottweiler took what was expected of them, and other menswear designers to a whole new level of precision and presentation.
Using the badminton halls, spectators were able to see the three separate rooms from mezzanine level or ground level transformed into contextless spaces for a new found male expression of peace and zen. Mundane interiors were contrasted with sharp uses of light and the sound of chanting. The distinction between sportswear, spirituality and the setting of a show home created a new form of fashion presentation unlike anything else happening in London.
So, to find out more about their impressive collection we spoke to the art director behind the collection, Nicke Bildstein Zaar, about the ideas that he worked with Cottweiler on and how they were invested in the show.
We also commissioned Ryan Skelton to take photographs of their presentation.
What is it about Cottweiler’s work that you like? For me it’s really about the totemic quality of clothes they design. The garments are familiar, yet depending on your vantage point they can evoke different feelings. Obviously, there are plenty of examples of groups of people in the last decades who have worn tracksuits and athletic gear for other reasons than to express an interest in sports. To me Cottweiler represents this hybrid symbolism that invokes that certain tension which I feel people can relate to. Ben & Matt live what they do, and I think that comes across. How do you think the Cottweiler man [...]
Perfume is the personification of our inner desires invested physically into a small vial, conjured up by the foraging and coalescing of ingredients from the ordinary to the bizarre. Each scent reacts with a different body in a different way, making the wearing of even the most common scents a personalised experience. The idea of the scent is compelling; the variety and obscurity of the range available is overwhelming, one must scavenge to find the smell that suits, and we could never understand the potion like (and highly intellectual) conjuring that happens in order to make the scent of the un-natural or the intangible.
The application and adoption of perfume is ritualistic and pleasurable; the purpose of scent has been known to be something other than just covering up foul odours since Eastern Antiquity. On application, we expect a scent to act for us, to physicalise the body into a sexual, powerful, present state. We expect the perfume to do what we dare not to challenge or to say.
James Craven is a perfume archivist at Les Senteurs, an independent London perfumery of niche and specialist scents that offers a service that seeks to find the perfume that belongs to each individual. James’ knowledge of scent is astounding and he’s able to embody the scents before you’ve smelt them with enigmatic narratives richly evocative of their (often profound) components. Following on from a conversation he had at Central St Martins School of Art with Judith Watt, we interviewed James on scent, the body and the perversity of people’s desires.
Inevitable with its coexistence with the body and the preoccupation with scent and sex, perfume advertising is inscribed as something ever sensual. Smell itself cannot be visualised, so the advertisements act as an embodiment [...]
“If we get caught here, we’re fucked, we’re all fucked” – Mark Reeder on Berlin, punk and techno in the ‘80s.
By Jack Drummond
Berlin in the 1980s was a turbulent, poverty stricken city. A divided capital filled with elderly war survivors, old crumbling structures and new concrete apartment blocks. Squatters occupied once affluent neighbourhoods, police clashed with punks, and artists like Gudrun Gut, Blixa Bargeld and Nick Cave all attempted to find themselves amidst the drugs, alcohol and the endless nights of partying. A new film, B Movie: Lust and Sound in West-Berlin, 1979-89, attempts to chart the city using previously unseen archive footage and with former Factory Records representative, musician and producer Mark Reeder as its central figure. We spoke to Reeder about the movie, about secret punk gigs in East Berlin, about the Stasi and gay bars, about trance music and early techno, and about the changing face of the German capital he still calls home.
Mark Reeder is an interesting man. Brimming with energy, the first time I meet him is outside the Wintergarten Variety Theatre on Potsdamer Strasse – one of the main thoroughfares of the former West Berlin enclave. It’s now filled with art galleries, döner kebab stands and prostitutes that linger close to the pink neon sex shop on the corner. The Wintergarten is the meeting point for a tour of ‘Mark Reeder’s Berlin’, organised to promote Jörg A. Hoppe, Klaus Maeck and Heiko Lange’s B Movie. Reeder turns up with a massive grin, in a smart blue military jacket with a high starch white collar and a New Wave-esque side-parting in his tightly cropped steely hair. And yet, despite over 30 years in the city, he still hasn’t lost his Mancunian drawl.
B Movie works like a love letter to 1980s Berlin: part-documentary on the city’s music and art scene, part-biography of Reeder. It uses him as [...]