SADAK is a Berlin based fashion label founded by designer Saša Kovacevic, who has graduated at the Kunsthochschule Berlin-Weißensee in 2010. Kovacevic was born in Serbia and was a dancer at the National Theater in Belgrad before he decided to dedicate his live to fashion – the label’s name refers to a traditional sleeveless jacket from the Balkan. The designer has just recently finished the shooting for the lookbook for his new collection “Mendeš”, which pays tribute to one of his friends from Bosnia, who lived as a refugee in Amsterdam after having to leave the country as a result of the war. The collection is a mixture between traditional Bosnian costumes and Mendeš’ very own style. Below you find a little preview of the last four SADAK collections (full collections linked in the headlines or on Facebook) – the beautiful spring/summer 2013 looks will soon be distributed via WUT Berlin (Tokyo). All pictures below (c) SADAK by Daniel Samo Bolliger.
“I was living in Nicaragua, El Salvador, and Oaxaca producing videos”, wrote me artist and Catch Fire contributor Paul Rodriguez about his exhibition HIV CA LA. “I ended up in Mexico City to show this work, but I had to get out of the country. HIV CV LA was a one night video installation in Los Angeles. I am interested in making videos that change the way a space feels by using color.” The show was curated by Philippe de Sablet, for more pictures and videos please visit the exhibition site.
boychild is an emerging performance and make-up artist currently residing in LA and soon to be based in NYC, whose work after a show at Art Basel Miami and collaborations with Hood By Air and make-up artist Robin Black has spread quickly on the internet during the last few weeks. My most recent contact with the young artist’s work was Jack Halberstam’s lecture “Going Gaga” (see below), which concludes with a video of boychild re-performing Rihanna’s “Rude Boy” during a show San Francisco – a performance which for Halberstam stands for a new sort of ”wildness” in pop culture that subverts and transforms ideas of gender, race and sexuality. The following collection of photos and videos show some of boychild’s most recent works and collaborations – for more of the beautiful make-up looks please check out boychild @ Instagram (preview below).
What do Jay-Z/Kayne West, rapper Angel Haze and emerging performance artist Boychild have in common? All three of them are prophets of a new social (dis-)order, at least in the eyes of queer theorist Jack Halberstam, who believes that we might slowly be drifting towards a new order of queer anarchy and post-civilisation. With the lecture “Going Gaga – Chaos, Anarchy and the Wild”, which derives from the book Gaga Feminism from last year and was held both atSilverfuture and at ICI Berlin last week, Halberstram tried to make these shifts in the meaning of sexuality and gender in contemporary pop culture visible. The idea was to perceive these cultural moments of “wildness”, especially in the field of music, as indicators for bigger changes in society as a whole, defining “anarchy” in a new, more abstract and less formalized way.
The talk is now online and can be streamed on the ICI website (If you ever wanted to know what my voice sounds like stream discussion video 3). Below you find a little excerpt the center uploaded on YouTube, and I posted some additional video material of stuff mentioned in the lecture below that. For more Halberstam please check out bullybloggers.wordpress.com and jackhalberstam.com.
+++ Cakes Da Killa‘s new album “The Eulogy” is now online and can (and SHOULD) be streamed and downloaded for free via Bandcamp / Mishka NYC or right here:
+++ Planningtorock has released a new song Misogyny Drop Down - a wonderful, de-gendered hymn against gender-based discrimination with nice house references. The song will soon be released on a new EP on the new exciting Human Level label, which also released Planningtorock’s Patriarchy over & out split single with rRoxymore last year.
+++ THEESatisfaction have a beautiful new EP dedicated to Erykah Badu. You can stream “THEESatisfaction Loves Erykah Badu” here and buy it via Bandcamp (price on a sliding scale):
+++ Portland based duo Unicorn Domination aka Chelsea Dixon and Clint Havard have self-released a cute synth and beat based debut album entitled “Status” in March last year. Last week I’ve stumbled over the video to their single “Babblestacks”, and since then I can’t get the track out of my head. The video shot in Los Angeles was directed by artist and filmmaker Jessie Kahnweiler.
The tickets for the 63. Berlinale are now on sale. We’ve taken a closer look on this year’s program and put together a list of the film screenings we’re looking forward to the most. For the individual screening dates please check out the film’s pages on the Berlinale website linked below the trailers.
Director: Cesar Oiticica Filho
Short synopsis: Found-footage documentary about Brazilian artist Hélio Oiticica (1937-1980), the filmmaker’s uncle.
In 1989 British artist Malcolm McLaren (1946 – 2010) invited vogue legend Willi Ninja (1961 – 2006) to London to record a spoken word introduction to his song “Deep In Vogue”, with which he wanted to present the New York ballroom culture to a new audience. The main part of the song was performend by singer Lourdes Morales and released as a single from McLaren’s album Waltz Darling in a remix by producers Mark Moore and William Orbit, which McLaren liked better than his own version. Singer Lordes today claims that McLaren stole the original idea for the song from house DJ and producer David Delvalle, while Willie Ninja shortly before his death criticized McLaren for misspelling his name on the single and not mentioning him as the writer of intro’s lyrics.
McLaren for his part later on openly criticized Madonna for stealing his idea of introducing ballroom to the mainstream with her single “Vogue”, which was released one year later: ”I found myself on the same bill as Madonna at some Greenpeace concert and I remember her watching my dancers voguing from the side of the stage. A few weeks later she had stolen all my dancers, brought out her own single and carried it over into the mainstream. The cheek of her!” It is said that Madonna learned about voguing through actress Lauren Hutton, who was McLaren’s girlfriend at the time.
The epic video to “Deep In Vogue” starring ballroom legend Willi Ninja and his crew was shot in 1989, shortly before the release of “Paris is Burning”, which already existed on VHS at that time. It was director Jenny Livingston herself, who allowed producers Mark Moore and William Orbit to use samples from the film for their version of the song.
If you live in Berlin and don’t have plans for tomorrow yet, we might have something for you: Queer theorist, drag performer and Catch Fire contributor Tim Stüttgen (Post/Porn/Politics) has just recently finished a new book entitled In a Quare Time and Place and will present it Haus der Kulturen der Welt on the last day of the transmediale festival. The book, which deals according to Tim deals with “post/slavery, Queer of Color politics, debates around intersectionality and assamblage, blaxploitation cinema and Sun Ras afrofuturism” (as mapped out in his most famous movie Space is the place, still on top), will be released in a few weeks and be presented to the public for the first time. The event takes place tomorrow, February 3rd, at 2 pm in the Konferenzsaal K1, for more detailed information please check out this link. And if you’re already there, we can also recommend you two other queer events – the talk by artist and theorist Sandy Stone (4pm) and the performance Eier haben by legendary drag artist Diane Torr (Venus Boyz, Man for a Day) and a group of other performers (6:30pm, followed by a conversation between Torr and Warbear).
When the media hype around new queer hip hop artists reached its peak last year, many journalists and bloggers highlighted House of Ladosha in line with artists such as LE1F and Mykki Blanco, assuming that the name stands solely for a music act. But it would be a mistake to reduce the New York based collective to its music, even if the music created and performed by Ladosha members Dosha Devastation and Cunty Crawford Ladosha is the most visible part of the collective.
Nevertheless, “Ladosha” stands for a group of individual artists and performers, who in their own way continue the concept of the “house” as it emerged from the Ballroom community as a way of opposing traditional ideas of family and “the home”. The concept of “house” is meant in a more abstract way. It is about a state of mind, about friendship and shared interests such as music, art and fashion, with house members who all question and transform stereotypical ideas of race, sexuality and gender in their own creative ways.
New Yorkers now have the possibility to explore the Ladosha world through an exhibition at Superchief gallery, which will open on Thursday. “The Whole House Eats” curated by artist and Ladosha member Christopher Udemezue aka Neon Christina Ladosha will feature artwork, video and photography by the members of the Ladosha family, as well as a live performance by Dosha Devastation and Cunty Crawford Ladosha, who will perform at the opening. If you want to know what awaits you can check out the video below or the exhibition tumblr, as well as the Ladosha soundcloud page, where they just recently posted a new track entitled “9 or 11″. For a more theoretical introduction to the exhibition and the galleries opening hours check out the Superchief website.
“The Whole House Eats”, February 7th to 14th at Superchief Gallery at Culturfix, 9 Clinton Street, New York.
“The film started to grow as an embryo in the song´s lines ‘Who looks after my story’. Who takes care of our stories when the big history, written by straight rich white men, erase the complexity of human´s lives, desires and conditions? The film consists of a network of fates, fears, cravings, longings, losses, and promises. Fates that at first sight seem isolated from each other, but if we pay attention, we can see that everything essentially moves into each other. Our lives are intertwined and our eyes on each other, our sounds and smells, mean something. Our actions create reality, we create each other. We are never faceless, not even in the most grey anonymous streets of the city. We will never stop being responsible, being extensions, of one another. We will never stop longing for each other, and for something else.” (Quote via YouTube).
“a doubling, a haunting, a generational negotiation”
– Elisabeth Subrin on Shulie
The brilliant radical feminist Shulamith Firestone died this past year at the age of 67, though she essentially withdrew from public life four decades ago, as if let down by the movement she helped build. I first heard of her work via feminist band Le Tigre, and promptly read her bestselling book, The Dialectic of Sex: The Case for Feminist Revolution (1970). Years later, I found out about the 1997 film Shulie by American experimental filmmaker Elisabeth Subrin, which has become a classic of the avant-garde and an object of passionate study for scholars interested in non-fiction cinema, memory and historical re-enactment; and queer and feminist temporalities. Queer theorist Elizabeth Freeman calls Shulie “feminist history’s outtakes.”
In 1967, as a BFA student at the School of the Art Institute of Chicago, Firestone was featured in a short documentary made by four male film students: a portrait of an emerging female artist of the so-called “Now” generation. Discovering the long-forgotten short in the 1990s, Subrin decided to remake Shulie shot by shot with an actor playing Firestone and with the thirty years of hindsight that knows this unremarkable young woman featured on film would go on to become one of the most articulate and boldly original voices of 20th-century feminism, soon moving to New York and then completing The Dialectic of Sex a mere three years later. (At the time of the shooting, Firestone was already a part of the radical feminist organizing in Chicago, though this remains unspoken in the film.) Shulie asks us to scrutinize Firestone in art school for the traces of who she would soon become, and the radical theories she would evolve. (And not only this, but to do so at a remove – through an actor, in a remake.)
Subrin wanted to investigate the “residue” of the late 1960s and, identifying strongly with Shulie, she asks, “Why, if we had reaped the benefits of second-wave feminism, should Shulie’s life seem so contemporary?” Part of the contemporary power of the film is the awkwardness of the 22-year-old woman as she goes through the painfully familiar machinations of art school – including a torturous critique by her male painting professors – and the other small indignities that attend a life on the margins (which have not changed much), as well as having to unwillingly articulate her place in a “generation.” It is precisely these “minor” historical forces – and not just great political events and movements – that compel individuals to take on certain identifications and positions in the world. MORE >>>