quarta-feira, maio 30, 2012

learning music...








Karla Horvat-Crnogaj (Queer Zagreb) - PUSSY FAGGOT



"...because those people, really, stick out of the crowd...because the mass is uniformed..."

visually similar to me...


according to google images...

terça-feira, maio 29, 2012

NUDE

este fim de semana em SERRALVES EM FESTA...

survival





………………..pulled from the rubble
………………..a tiny face
………………..moves the world

"Survival Haiku" by Paul Smith

tumblr



segunda-feira, maio 28, 2012

THIS MUST BE THE PLACE

Great Jones St, New York

This Must Be The Place



a Paolo Sorrentino Film...

Cheyenne: You know what the problem is Rachel? Without realising it, we go from an age where we say “my life will be that” to an age where we say that’s life...

sábado, maio 26, 2012

New Antony Hegarty: "Rise"

Photo by Inez & Vinoodh; album cover of Cut the World




more

Leaving Facebookistan...

Reason:

It takes a while to find it, but if you are a Facebook user, there is a small settings button entitled “deactivate account.” If you click, Facebook displays the faces of people “who will miss you.” If you are determined nonetheless to depart, and scroll further down, you are required to choose a “reason for leaving” before you are permitted to go. Unfortunately, “inadequate citizen rule” or “doubts about corporate governance” are not among the choices. From the available list, I went with “I don’t feel safe on Facebook.”

IDENTITY IN TRANSITION

List:

Identity in Transition

Action Verité by François Ozon (1994). Between the Boys by Jake Yuzna (2004). Oblique von Knut Åsdam (2008). Ad Balloon by Lee Woo-jung (2011). Sibling Topics (section a) by Ryan Trecartin (2009).

TMI. Too Much Information | 5 June–17 July 2012 |

C/O Berlin – International Forum For Visual Dialogues

www.co-berlin.info

Curated by Aykan Safoğlu & Todd Sekuler.

sexta-feira, maio 25, 2012

if in NY...

Jukebox Jackie: Snatches of Jackie Curtis

 
Jackie Curtis in "James Dean" mode at home in his Lower East Side Manhattan apartment in early 1974.
Photo Credit: Craig Highberger


“I’m not a boy, not a girl, not a faggot, not a drag queen, not a transsexual—–I’m just me, jackie”

with: Mx. Justin Vivian Bond and Bridget Everett, Cole Escola, Steel Burkhardt in 
Jukebox Jackie: Snatches of Jackie Curtis
With music from the Glitterbox of Max’s Kansas City to Warner Brothers and more!

Collage by Scott Wittman and Tony Zanetta
Lighting by Aaron Spivey
Designed by Scott Pask
Staging by Joey Pizzi
Musical direction by Lance Horne
Conceived and directed by Scott Wittman

At certain performances special appearance by Penny Arcade, Jayne County, Cherry Vanilla & Agosto Machado.

Follow also on TUMBLR

1970



2011 @ LaMaMa 50th Anniversary Gala

quarta-feira, maio 23, 2012

too much sun will blind me...







terça-feira, maio 22, 2012

DOUBLE STANDARD

Greensboro civil rights demonstration, 1960 © Greensboro News & Record

segunda-feira, maio 21, 2012

collapsing distances between bodies

Snapshot taken from Live-Streamed Digital Duets:
CultureHub in conjuction with Contact Theatre Manchester, UK / La MaMa E.T.C - 5.19.2012

Collapsing distance and allowing for spontaneous real time collaborations across networked environments... (more)

Extending the possibilities of corporeal existence is one of the things that could be easilty seen in this edition of Digital Duets held last Saturday at the Ellen Stewart Theatre in New York. Following the thread that CultureHub has accostumed the audience to, this show was yet another example of how technology can work to develop interactions between people (not to start labelling by categories of artists, technicians, funders, helpers, etc. which in this path of becoming post-human starts to be senseless) that otherwise would probably not happen, or if it did - how things are nowadays - it would be probably in limited/different conditions and DIMENSIONS.
Bringing together Dancers, Musicians, Spoken-Word, Visualists and an amazing producing and technical Team, Digital Duets stands also for what Katherine Hayles describes in her book How We Became Post-Human, [a place] where there is no difference between computer simulations and corporeal existence, about this new [kind of] integration.
Although the goal is not to experience [the] point in which the anthropomorphic features of the robot matches the nuances of human gestures. We have here, the opportunity to face the point where the absence is in fact the presence of the multiplicity of one's body, music and speeches, reaching out through the virtual space, through the virtual void where these possibilities happen - which I remember reading about related to "mental displacement" of the self through medi(t)ation.
Watching the Dancers improvise to the sound of World Music and Words from both sides in such an environment is an achievement where Art meets Technology and the last blends (and does not offuscate) the first.
With these examples I don't find myself in the right place to research and talk about robots, or cyborgs - which we have undeniably become - but I rather write about the experience of watching an exchange between two remote spaces that become one together, one good example in this short text about last Saturday's event is the moment in the picture above where several actors perform together in what Paul Virilo calls a "tele-topographic locale," he states that a tele-bridge of sorts, made of sound and image feedback loops, gives origin to telepresence or telereality, of which the notion of real time is the essential expression.

This telereality, he says, supersedes in real time the real space of objects and sites. In other words, we now see the continuity of real time overcoming the contiguity of real space. It seems to me that we experience this new condition daily, when we are in the office or studio and activate by remote control our answering machine at home to retrieve recorded messages or when we withdraw money from an automatic teller machine, after interacting with a machine that by its turn communicates with a remote mainframe. The impact of fiberoptics, monitors and video cameras on our vision and on our surroundings will go beyond that of electricity in the nineteenth century: "In order to see," Virilio observes, "we will no longer be satisfied in dissipating the night, the exterior darkness. We will also dissipate time lapses and distances, the exterior itself."
- Paul Virilio, L'Inertie Polaire (Paris: Christian Bourgois, 1990), p.72.

And indeed space and time are dissipated to a point we no longer (although we're excited to know it) give importance to the fact that the action is taking place in different timezones, under all sorts of different conditions. That dissipation as Virilo talks on the subject of Telepresence is in fact what empowers such experience, the fact that that is completely erased from the viewers point-of-view. And probably here is where the "machine" performs, the action of [DEL]eting the limitations and serve the catalysis of such a process.

For Virilio, one of the most important aspects of the new technologies of digital imaging and of synthetic vision made possible by optoelectronics is the "fusion/confusion of the factual (or operational) and the virtual," the predominance of the "effect of the real (18)" over a reality principle. In other words, everything now involves images in one way or another. Not necessarily images in the traditional sense of representation, but images of light that are part of the contemporary landscape as electricity invaded towns in the late nineteenth century, an "electronic lighting." Images now are invasive and they are used by such diverse social groups as artists and the military.
- Paul Virilio, La Machine de Vision (Paris: Galilée, 1988), p.128.
On performing arts I always remember Marion Zimmer Bradley's book "The Catch Trap" where the one of the characters talks about the importance of making the act of 'flying' something easy and conceal the fact that it's something risky and that could fail at any time. I find myself thinking about that on this kind of artistic (but not only) endeavours, specially because they are successful. That dissipation of what would take one's mind of what's really important is the key to make the fusion, in this case, between the two remote places and "to be everywhere, to be [a new] reality."

domingo, maio 20, 2012

LGBTIQQ in New York

“queer” is a person interested in destabilizing norms around sexuality — i.e. those interested in resisting not only the idea that to be straight is the norm, but also resisting the idea that there is only one way to be lesbian or gay or trans. And when I use it in the title of this article I’m pushing it a step further and saying that the point is to question any argument that there’s only one way to be anything — female, black, Christian, Muslim, disabled, human, etc.

CARLOS MOTTA @ New Museum

It’s well worth a look, regardless of whether you identify as LGBTIQQ or not.

Marina Abramovic and the future of (HER) Performance:


“To me, when you die, you can’t leave anything physical — it doesn’t make any sense; but an idea can last for a long time,”… Was the statement for the opening reception of what is about to be the future Museum dedicated to the Performance Art – Marina Abramović Institute for the Preservation of Performance Art – quoted in Hyperallergic website.

The paradox between the two posts: Is Marina Abramović Trying to Create a Performance Art Utopia? by Jillian Steinhauer and The End of Performance Art as We Know It. by Thomas Micchelli; makes us think about Performance Art itself and the one that is no less responsible for it stating that “I feel like I have become a brand,” she said, “like Coca-Cola or jeans. When you say Marina Abramović, you know it’s about performance art — hardcore performance art.”.

This project aims in its core to become “a school for the public” where both performers and audience are part of the same experience and as it can be read in the first post about it, where the project is presented, allied to different utopic/ethereal experiences that somehow transform the idea of Performance Art from a body-action-centered experience to a museological spectacle utopically thought to be a on going durational experience.

“Once upon a time, Performance Art was synonymous with shock and danger. In contrast, the control, pedagogy and research embedded in those contracts and white lab coats come off as, to say the least, the tools of predictability.”

The experienceurs of this utopia are invited to learn Performance Art by watching and being watched for the architecture of this project was thought to be like that.
A different group of thinkers on the subject would say that the core of the performance art is in the fact that despite the repetitions and documentation it happens one time ONLY, and that the idea of perpetuing it into this state of confortability is the idea of an Abramovic trying to push forward the boundaries of what is this form of Art that somehow has been transformed throughout the years but not given a lot of importance of how it can happen in our world. Like the Queen of Performance says: “Our life is more and more busy, so our art should be longer.”
To enter this space will be to enter a space of experimentation, where you can be inside the works – those being a song, a sculpture, perhaps a painting… - a laboratory where Performance Art will be a subject of study under the Abramovic Method, and that’s the part where some of us can – or not – agree with. The practice of bringing performance art into a museological spectacle is also one that has been known through the historical strain of such artistic practice.

Although what is being proposed here is a overtaking project focused on a subject that would be odd to address in this Money vs. Art World, it’s more than a book on performance, it’s more than just building theory it’s intrinsically an action and (can we call it?) a performative/installation project focused on not only what the artist wants to say by it’s own body but taking a step to a sensorial experience that is requested nowadays, refusing what is already know of the performance that is to end with the artist.

Isn’t she leaving something physical after her own death? The Abramović Legacy will, for sure, live long before after her own death, and what we’ll have to see it’s not only the documentation of her work and her ideas, but we’ll be able to see what she is now predicting for the Future of Performance Art.

the god that put dot's over people's faces

WE'RE SORRY


Danilo Correale “National Anatema (We’re Sorry)” 2012
C.sy Raucci/Santamaria Gallery Naples - Photo E. Velo

...WE'RE SORRY FOR MAKING YOU BELIEVE THAT WE'RE TRULY SORRY.

found in MOUSSE PUBILISHING

Digital Duets




quinta-feira, maio 17, 2012

addicted to Patrick Watson

to love somebody

To feel that you can go deeper and beyond the fragile, transparent, undeniably brilliant surface that tells the truth.

may in black and white



terça-feira, maio 15, 2012

beach



sábado, maio 12, 2012

intimacy


quinta-feira, maio 10, 2012







quarta-feira, maio 09, 2012

GUILT

Tattoo (for Reflexion) . Douglas Gordon . 1997

.
Deadly weapon.
Heart of fire.
Growing anxiety
Voluptuous, incestuous
Red shaped – untrue.
Intertwined with fate
Appealing for DARKNESS
Concealing lips
Silence. Fire. Beats.
Hands touching
Bursting cocks
Desire.
Melted eyelashes
Unspoken names
-------------
Do you know your name?
Not anymore.
SILENCE.
Sweat, drops of madness
Sweet bitterness
Guilt
.




via Instagram http://instagr.am/p/KYz4HAiNUI/







via Instagram http://instagr.am/p/KYzyTyCNUG/



a report on:

Photobucket

"The Homosexuals" is a 1967 episode, anchored by Mike Wallace, of the documentary television series CBS Reports.

self indulged repressed repression


I had the distinct pleasure of watching Angie, Zagreb’s only drag queen do a sound check:

Did you catch that? Zagreb’s only drag queen. In a city of one million, in the capital of Croatian gay nightlife, there is only ONE drag queen. This means that Beloit, Wisconsin has a drag queen population that outpaces Zagreb by a ratio of roughly 15:1. This positively blew my mind. Her performance was nothing short of incredible. She sang LIVE, people. LIVE. And while her song selections were nothing groundbreaking–Abba, Dana International, and Tina Turner–I cannot tell you how great it was to watch her perform.

... I started thinking about their presence here in Porto, Portugal.
Despite some begginner's mistake from me as "the connecting bridge between NY's PUSSY FAGGOT! and Maus Hábitos", which I will take full responsability forever - note to self: don't stay completly wasted if you're or feel in charge of something - and having enjoyed having one of the things that gave me a lot of fun in NY in my city, and trying to make it as right as I could so Pussy Faggot could be at least half of what I was used to, I felt that we have still a long way to go, in what matters queer studies, happenings, parties, you name it...

A few weeks ago I was at this party called Femme Fatale in my city, a lesbian party with a ton of men and only a few women that made the party really fun, and now this experience reminded me of where I'm living - again, Porto!!! A town where the Pride Parade happens mostly inwalls because it cannot happen outside without having the fear of being hurt. Stonewall hasn't happened yet around here, maybe because the walls are just too thick... Some drags here and there, some fun in the gay night, a fun that repeats itself again and again every weekend; is that because we wouldn't have people going out some other days in the week? Is that because we're talking about an audience (or part of it) that during the day isn't 'gay' at all? Or is that because we're talking about lack of freedom???
Now thinking about a place where there's only ONE drag queen in town, and feeling that people are still struggling to free themselves from a lot prejudices, in my opinion prejudices agains the possibility of having free fun, fun unattached from judgement and guilt, I wonder about all this repression that sometimes is a self indulged repression, and I'm not talking only in gender issues, I'm talking generally, in so many different aspects; what makes me insane is to have the sense that there's a self repression, a self indulged guilt that floats around and that keeps everything from bursting out. I'm not talking about Sodom and Gomorrah, I'm talking about the simple joy of being free and not falling into those common places where crazyness comes out of so much repression and so much hold inside.

I remember the first time I felt that I would enjoy that freedom everywhere, and that was when I first was in Madrid, Spain, going out to some queer bars and watching drags, go-go dancers, strippers all in the same place for the first time, and it was not only in one place, the freedom of it is that you could choose, you had an option, and made a lot easier.
I know that we're not the only gays in the village, probably there are more drags in Beloit, Wisconsin than here, I know that people had lot's of fun in the party last Friday night, but what I also know is that people were uneasy by showing that they were actually enjoying. Were all of them enjoying?

One of the things that I love of going to parties is not knowing who's on stage, or just be curious about it, I enjoy it because I feel completely open to listen/watch it and that means that I will enjoy it wether it's groundbreaking or not, if I'm there I rather be 'big about it or just go home'; the fact is (despite that I was eager to watch something that was already in my 'Like' list) that Shane-Shane, Gio Black Peter and DJ Lady Miss Kier went on stage last friday as they've been doing for the European Tour by the hand of Earl Dax (the mentor behind all of this) and they did it along with portuguese performers that joined them to be part of this event, like Ágata Fever, Marianne Baillot, the group of young performers of ESBAN, Tales Frey and Flávio Rodrigues... all of them not only because they're queer as in 'weird' but because they represent an ecletic group of people that are free doing what they do, wether it's walking in high heels, or shouting out loud that we're fags... but like we say around here "primeiro estranha-se, depois entranha-se"(First you think it's strange, then it becomes a part of you!!!)... so let's not be pussies about it... who're you calling pussy, faggot?

It's not about the party. It's about all the struggles that have been throughout the years, overcoming prejudices against, cabaret, burlesque, against everyone that 'pinned' those that had that freedom as weirdos and promiscuous... so what?! are we still labelling everything before we have fun around here? Let's follow some of the good examples that are around and overcome this general apathy that leads to a dismay of those who still try.

segunda-feira, maio 07, 2012

obrigado, sereio returns...

obrigado, daniel

tu és o teu nome. o nome com que nasces.
tu és os nomes que aceitas que passem a ser teus. nem que os largues um dia, ou que te agarres a eles por não os saber ou querer largar.
tu és a data em que nasces.
tu és o que gostas.
tu és aquilo que, quando te falta, te faz transformar em quem não gostas. és o sítio onde nasceste, o sítio onde queres morrer, o sítio onde achas que vais morrer, o sítio onde morres e o sítio onde cais morto.


os outros são o contexto.
os outros são o que não queres por perto.
os outros são aquilo que tens medo de ser no futuro.
os outros são a única maneira de seres tu.
são o tu que não queres ser.

tu sabes que és o que és na cabeça. o resto não interessa.
tu sabes que és o que queres ser.
tu sabes o que os outros precisam que tu sejas.
tu sabes que podes ser quem não és.
sabes e não dizes a ninguém. nem a ti.

ele é o que encontras. no contexto que encontras. com quem tu encontras.
ele é o que pode ser.
é o outro ou o tu.

@ sereioreturns.blogspot.pt

dark room

Photobucket

Live Video Installation for Pussy Faggot Party @ Maus Hábitos, Porto - Portugal (2012)

rainy days!


sexta-feira, maio 04, 2012

quinta-feira, maio 03, 2012





via Instagram http://instagr.am/p/KKsNmWiNX2/



quarta-feira, maio 02, 2012

are we turning into this

Before Time Altered Them

They were full of sadness at their parting.
They hadn't wanted it: circumstances made it necessary.
The need to earn a living forced one of them
to go far away -- New York or Canada.
The love they felt wasn't, of course, what it once had been;
the attraction between them had gradually diminished,
the attraction had diminished a great deal.
But to be separated, that wasn't what they wanted.
It was circumstances. Or perhaps Fate
appeared as an artist and decided to part them now,
before their feeling died out completely, before Time altered them
the one seeming to remain for the other always what he was,
the good-looking young man of twenty-four.

C.P. Cavafy

hockney meets cavafy


David Hockney
Fourteen Poems by C.P. Cavafy
Etching
1966

Two Young Men, 23 to 24 Years Old


He’d been sitting in the café since ten-thirty
expecting him to turn up any minute.
Midnight went by, and he was still waiting for him.
It was now after one-thirty, and the café was almost deserted.
He’d grown tired of reading newspapers
mechanically. Of his three lonely shillings
only one was left: waiting that long,
he’d spent the others on coffees and brandy.
He’d smoked all his cigarettes.
So much waiting had worn him out. Because
alone like that for so many hours,
he’d also begun to have disturbing thoughts
about the immoral life he was living.
But when he saw his friend come in—
weariness, boredom, thoughts vanished at once.
His friend brought unexpected news.
He’d won sixty pounds playing cards.
Their good looks, their exquisite youthfulness,
the sensitive love they shared
were refreshed, livened, invigorated
by the sixty pounds from the card table.
Now all joy and vitality, feeling and charm,
they went—not to the homes of their respectable families
(where they were no longer wanted anyway)—
they went to a familiar and very special
house of debauchery, and they asked for a bedroom
and expensive drinks, and they drank again.
And when the expensive drinks were finished
and it was close to four in the morning,
happy, they gave themselves to love.

C.P. Cavafy

may day - live coverage

May Day 2012: VICE Live Coverage



8:26 PM WEST, Portugal: David Pinheiro Silva just checked in from our Portugal office. He says, "Much like unemployment and temp jobs, the use of masks is on the rise in public protests here. According to the latest report from the International Organization of Labour, Portugal has the fourth-highest rate of temporary jobs, coming in just behind Spain, Cyprus, and Greece.

1:46 PM, New York: Just got some photos of the arrests on the Williamsburg Bridge from our associate editor Harry Cheadle. Why is it that the crusties are always the first to get cuffed?

Colin Self as Laura Dern in Jurassic Velvet



Colin Self

terça-feira, maio 01, 2012

MAY DAY PORTO, PORTUGAL





The performance of Melati Suryodarmo


EXERGIE - butter dance (2000)


www.lilithperformancestudio.com
www.melatisuryodarmo.com

I LIKE



LIKE

voguing and judson's postmodern dance

Casper Hedberg for The New York Times
Trajal Harrell created “Antigone Sr.” The all-male cast includes from left, Stephen Thompson, Thibault Lac and Rob Fordeyn

SEVERAL years ago Trajal Harrell, a brainy downtown dance experimentalist with a sharp sense of humor, created a choreographic labyrinth in the form of a question: What would have happened in 1963 if someone from the voguing ball scene going on in Harlem had traveled downtown to perform alongside the early postmoderns at Judson Church? 

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pussy riot (re-blogging)


feelings of distress


catholic identity

This article is addressed to my Catholic readers.

The issue of identity came to mind as I was reading an article at the Daily Caller about a man who identifies as both “gay” and “Republican” being accosted, apparently by “gay rights” activists.

A cast member of the gay reality TV show “A-List Dallas” tells The Daily Caller that he was punched to the ground and bloodied Friday night by someone vandalizing his car because he’s a gay conservative associated with commentator Ann Coulter.

Taylor Garrett, a Republican consultant in Texas who stars in the reality series on the channel LOGO TV, said in an interview that he was attacked outside a birthday party in Dallas after finding a vandal scratching “F–k Coulter” on the side of his car.

Garrett said the incident reflects a troubling mindset.

“The Democrats want me to live on their plantation as their slave, because I’m a gay person,” he said. “And I refuse to do that.”

Actually, what really got me to thinking about this in the context of “identity” was a post about it by Chris Wysocki: Is it a hate crime to beat up a gay Republican?

read more

burguer girl *new*

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