We had the pleasure of inviting Maxime Ballesteros to the Mondial du Tatouage earlier this year and these are some of the photos he took of the tattoo convention.
By Julie Bréthous
“For the first time in history, youth had the money and the means to create a culture they could label as their own” – Marsha Rowe, creator of Spare RIB
As society navigated through the 60s, youth culture evolved, finding necessary to express its discontentment towards a white dominated mainstream society that had by too many times showed its flaws. Reflecting on emancipation, the nascent counter-culture of the hippie movement and progressive politic waves of the era, the youth quickly needed a platform to convey its messages, which was found in the N°1 resources for news of the era: the press. The term ‘Underground Press’ was therefore coined to these new types of magazines, not to suggest they were illegal, but to stress out that all these publications stood at the fringe of mainstream press – if not against it. By the end of the decade, 92 publications were to be found in the US, and 89 in Europe. Oz (founded by Richard Neville) was the former Australian, later British, colourful alternative publication that would see Marsha Rowe make her entrance in this peculiar universe. However, her experience at Vogue Australia, as well as her frustration in working in the (so far) male-dominated world of the underground press sparked her will to build a publication that would be created by women, for women: Spare RIB.
Launched on June, 19th 1972, the roots of Spare RIB laid in the Women’s Liberation Movement, which itself started in the US in 1967. At the National Conference for New Politics in Chicago, Jo Freeman and Shulamith Firestone found themselves denied the right to a floor discussion by director William F. Pepper : “Move on little girl; we have more important issues to talk [...]
On Friday, Sang Bleu presents the world premiere of Jun Matsui, a documentary unveiling the legacy of Matsui, one of Brazil’s most prestigious tattoo artists. The film also seeks to pay homage to his influence on Brazilian underground subculture. The screening of will happen at Dalston’s Rio Cinema, London and will be followed by a Q&A session.
Matsui grew up in Brazil and moved to Japan when he was a teenager to work as an assembly worker in a factory. Always wanting to be a tattooer, he started drawing whilst also working at a bar. He started tattooing as lots of people wanted to be tattooed but didn’t know where (he calls this approach ‘innocent’) and he soon rose to be within the elite of Japanese tattoo culture. Now universal and back in Brazil, Matsui’s fluid and freehand work is famed for its startling beauty.
Jun Matsui is a beautifully shot film thats seeks to explore Matsui’s craftsmanship and his artistic and personal lives through a series of interviews with the director; it is an exploration of tattooing through arresting cinematography and the spoken word.
The film is directed by Andre Ferezini, a Brazilian film maker whose interests and work deal with subcultures and their societies.
JUN MATSUI interviewed by ANDRE FEREZINI
Produced by – Andre Ferezini
Transcription – Cláudio Cruz
Translation into English – Maurício Buchler
(interviews conducted originally in Brazilian Portuguese language)
More information about the film can be read here.
The screening will be preluded by three other short films; Gait, a film by Sang Bleu, The Last One, a video work by Suzannah Pettigrew and Gorgone, a film by Hope Plescia.
At Rio Cinema, 197 Kingsland High Street, E8 2PB, London at 23.30 on Friday 3rd July
More information can be found on the Facebook event [...]
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 [...]