i challenge all who view this video to not just watch it, feel helpless and they get back in their SUVs.

DO SOMETHING, ANYTHING, TAKE ACTION- park your cars and walk, ride a bike, take public transportation, boycott, write a letter, install solar panels, use less oil, begin to ween yourselves off oil.


('Untitled', diptych, David Adika, 2008)

'memoria technica' at east central gallery, London

memoria technica - examining the tension between aesthetics and the representation of the self
east central gallery


chloe sideris
gallery manager
Phone: +44 (0)20 7739 6649

east central gallery
23 bateman's row
ec2a 3hh London

5 June - 23 July 2010
Opening Hours:
Wednesday to Friday 10am-6pm
and Saturday 11am-5pm

This group show addresses a fundamental issue that is an integral, and unavoidable, part of producing any art piece: the balance the artist aspires to create, in the imagery of choice, between his or her aesthetic inclination and the way it reflects on the subject matter - a process which is leading, by default, to self defining. Assuming that most ideas and thoughts derive, in one way or another, from a personal bank of memories, and, in a similar way, so are aesthetic preferences, this show examines the path which connects the two and what referral systems are used to activate this relationship.

The title of the show is borrowed from the name Lewis Carroll (the 19th century mathematician and nonsense author, mostly known for his surreal novel 'Alice's Adventures in Wonderland') gave a mnemonics he developed, a device to aid memorising. Carroll, a man of many virtues and of great general knowledge, had employed in developing his method an ancient set of principles, known as the Art of Memory.

This set is known to have existed since the middle of the first millennium. A group of techniques commonly employed in the art include the association of emotionally striking memory images within visualised locations, the chaining or association of groups of images, the association of images with schematic graphics or notae ('signs, markings, figures' in Latin), and the association of text with images.

Any or all of these techniques were often used in combination with the contemplation or study of architecture, books, sculpture and painting, which were seen by practitioners in the art of memory as externalizations of internal memory images and/or organisation

Strictly speaking, Carroll's attempt, when he published the invention in 1875, was to create a system to help remember numbers. However, it is also a fact that issues related to memories and one's ability to retrieve them when desired, preoccupied Carroll well beyond his work as a scientist, and were regularly addressed also in his prose. It is possible to assume that the author had a detailed knowledge of the Art of Memory and, by default, of the use of those principles in the process of creating art.

By relating to the idea of a possible internal system that utilises different memories when an association is created, this show attempts to establish a link which exists between different artists, working in different media, in how they interpret the image they create (or use), through their unique process of facilitating memories and references, as well as aesthetic preferences.
The Artists

David Adika (Israel, 1970) has been investigating themes of aesthetics and ethnicity in his photography. While on residency in Paris, Adika photographed immigrants and iconic objects (such as a miniature Eiffel Tower) and in pairing them challenges our perception of beauty and belonging.

Vivienne Koorland (South Africa, 1957) draws on personal and collective memories in order to create a distinctive vocabulary of images in her paintings. Many times referring to troubled and painful events, Koorland never ceases to dig into a past many would like to forget. Never the judge, but always the provocateur, Koorland is clearly always referring to here and now.

Carlos Garaicoa (Cuba, 1967) is an interdisciplinary artist who examines political issues through means proposed by architecture. In photography, light boxes, paper cut outs, video works and 3D installations, Garaicoa questions the ethical and moral issues arising by architectural structures and their individual histories, as well as by the grouping of such buildings into cities. Time and again, the artist returns to comment on the basic right for freedom as expressed, throughout history, in urban living.

Zadok Ben-David (Yemen, 1949) is a sculptor who has been using science-related imagery to develop a unique visual language. Heavily influenced by the drawings documenting the great leap of science during the Victorian age, Ben-David has created a vast body of works in which he has been looking at themes such as evolution and theory, magnetic fields and the art of the illusionists. Other significant interests are the human body, the Victorians' obsession with cataloguing and the volumetric effect of the shadow and silhouette on beings and objects. Ben-David is forever reflecting on the tension created by knowledge and advancement.

Clarissa Cestari (Brazil, 1977) has been looking into the process of painting and the place of the paint itself as both an object and a subject matter. In a systematic and lengthy practice, Cestari has developed her unique technique, in which she is creating abstract art using method usually not associated with this movement. Working with a projector which throws small 'accidental' paint doodles into a large canvas, the artist reproduces the image as an imitation, and an interpretation, of the original sketch.



antebellum presents


with your host

Saturday, June 5, 2010


Tea will be served with our tarts

surprise performances!

also on display~ NARCISISSY a collaborative art exhibition by barry morse

~ $10 cover~

1643 n las palmas ave
hollywood, ca 90028
323 856-0667

About the Klaus Nomi Tart contest~

Besides being a legendary figure of downtown NYC and 80s icon, Klaus Nomi was also an excellent baker.
His favorite dessert was lime tart that he created from scratch.

In honor of our late/great gay icon, antebellum proudly presents


*You may enter as a baker, or taster*

Rules for bakers~

You must make a tart similar to Klaus’s original recipe.
Bring your finished tart to antebellum gallery on June 5th @ 3pm.
The winner will receive a luxurious gift!

Here is the original recipe.. good luck!

Three Easy Steps:
Step 1. The crust. You need a 9-inch pie pan to make the tart in. To make the crust, you need 1 1/4 cups fine graham cracker crumbs, 1/3rd cup brown sugar, and 1/4 melted butter. You mix these ingredients together and shape the crust into the pie pan. (Klaus mentions that it may not seem like the crust will hold together, but if you pack it tightly enough and when it sits over nite, it should hold). Klaus also cautions about making the crust too sweet – you may not need to use as much brown sugar.

Step 2. The filling. You need 4 eggs, 1 can sweetened condensed milk (Klaus used Borden’s condensed milk), and 1/2 cup lime juice- First you want to separate your eggs; place yolks in one bowl and whites in the other bowl…Klaus uses the egg shell to actually separate the whites from the yolk by putting the yolk on one side of the cracked shell and letting the whites drip in to a separate bowl. Take your bowl with the egg yolks and add the sweetened condensed milk and lime juice. Mix together….Then, in your bowl with the egg whites, you want to whip them until the whites are very, very stiff. Once the whites are stiff it dramatically increases in volume, you slowly fold the whites into the other bowl. Once mixed together, place the filling into the crust.

Step 3. Take lime peel and cut it into thin strips. Place the lime peel on top of the pie. This has two purposes; a beautiful presentation but also for flavor. The zest really adds a punch to the taste and is meant to be eaten. Then place the tart into the refrigerator for at least several hours, but overnight is recommended. The firmer the tart, the easier to cut and better consistency.

1643 n las palmas ave
hollywood, ca 90028
323 856-0667



$5 cover

1643 n las palmas ave
hollywood, ca 90028
323 856-0667



this is how i want to remember belinda & the go-go's.
cute, fast & raw- circa- 1978.

Formed in Los Angeles, in 1978, the Go-Go's initially consisted of Belinda Carlisle (vocals), Jane Wiedlin (guitar, vocals), Margot Olaverra (bass), and:Elissa Bello (drums).
They were formed as a punk band and had roots in the L.A. punk community; they shared a rehearsal space with X, and Carlisle (under the name "Dottie Danger") had briefly been a member of punk-rock band The Germs. Due to illness, she left The Germs before playing a gig.

The band started out playing at seminal punk rock venues such as The Masque and the Whisky A Go Go in Los Angeles. Charlotte Caffey (lead guitar, keyboards) was added later in 1978, and in the summer of 1979, Gina Schock replaced Bello on drums. With these line-up changes, the group began moving towards their now more-familiar power pop sound.

During late 1979, the band recorded a 5-song demo at Gold Star Studios in Los Angeles, and in 1980 supported the British ska revival group Madness in both Los Angeles and England. The Go-Go’s subsequently spent half of 1980 touring England, earning a sizable following and releasing the demo version of "We Got the Beat" on Stiff Records, which became a minor UK hit.


THE GO-GO's, - TURN TO YOU- CIRCA- 1984. belina makes a cute guy!

The Very Rare Go-Go's Turn To You 1984 Music Video! Also Look For A Young Rob Lowe In The Video.


my ol pal belinda carlise with the priscillas perform- WE GOT THE BEAT- in london- 2010


these are photos of birds stuck in the oil off the gulf coast.
what else is there to say....
stop using oil.. switch to solar, walk to work, ride a bike, take the subway, use public transportation... do something.


(Merce Cunningham and Mikhail Baryshnikov in Occasion Piece-1999), Photo by Robert Whitman)

The Cunningham Dance Foundation & the Roy and Edna Disney/CalArts Theater

Cordially invite you to an historic evening with the Merce Cunningham Dance Company and guest artist Mikhail Baryshnikov

Occasion Piece2
Music by John Cage from Song Books,
performed by Paul Berkolds, Jacqueline Bobak, and Mark Bobak
Costumes by Romeo Gigli for io ipso idem
Lighting by Christine Shallenberg

With Merce
A special screening of a film by Charles Atlas
Costumes were designed by Romeo Gigli.
Hosts: Marisa Tomei and Sutton & Christian Stracke

June 7, 2010

6 pm cocktails

7:30 Performance
Roy and Edna Disney/CalArts Theater (REDCAT)
631 West 2nd Street
Los Angeles, California

9 pm Dinner with the Artists

They still have tickets left for the 2 options.
$350 for cocktails, film screening, & the performance
$1,000 includes the above plus an intimate dinner for about 100 including the man himself, Mikhail Barishnikov & the dance company.
Proceeds from the evening will jointly benefit the Cunningham Dance Foundation (CDF) and the Roy and Edna Disney/CalArts Theater (REDCAT).

Attendance at this intimate benefit is extremely limited. MORE INFO

Proceeds from the evening will jointly benefit the Cunningham Dance Foundation (CDF) and the Roy and Edna Disney/CalArts Theater (REDCAT).

This historic evening at REDCAT concludes the Merce Cunningham Dance Company's final appearance in Los Angeles, following public performances of the premiere of the revival of Roaratorio (1983).

Two of the most recognizable names in dance–Mikhail Baryshnikov and the Merce Cunningham Dance Company–headline a show on June 7 to benefit REDCAT and the Merce Cunningham Dance Foundation, which works to preserve the legacy of the iconoclastic choreographer, who died at 90 last year.

The evening at REDCAT marks the Dance Company’s final appearance in Los Angeles, following public performances (June 4-6) of the premiere revival of Roaratorio (1983), featured as part of Glorya Kaufman Presents Dance at the Music Center series.

Baryshnikov, the noted Russian ballet dancer who defected to Canada in 1974, has had a long and storied history in dance with Cunningham.



here are some pics i just received from my visit with the MAO brothers- mauricio & roger padilha at their gorgeous showroom on west 14th st & 10th.. back in the day i used to live on 14th & 10th.. across the street was THE VAULT, next door was J'S, down the street was JACKIE 60, and across the street were lines of trannie hookers working the streets.. my how times have changed.

(photos courtesy~ matthew bell)


(Ron Performs ~1960’s)

a very interesting exhibition about the life & times of a gay man is opening in london. if you're in that part of the world, check it out. here's the info~

FLESH: THE GREAT ILLUSION An exhibition celebrating the life and work of Ronald Wright 03.06.10 – 27.06.10

Oh to live life like Ronald Wright!
Spiritualist writer, ‘Physique’ magazine illustrator, celebrity portrait artist, nude model, performer, healer and psychic medium, Ronald Wright’s 83 years have been filled with strange encounters and extraordinary experiences.

Seduced by the sparkle of cinema’s entertainers the young Ronald Wright was drawn to London’s West End in the early 1950’s. With youthful determination Wright found ways to meet the stars he idolized, and more importantly stumbled upon the secret world of London’s homosexual scene.
First gaining a reputation drawing the likeness of ‘Theatre-land’ stars like Marlene Dietrich, Mae West and Vivien Leigh, Wright eventually turned his graphic skills to the burgeoning ‘Physique’ and ‘Men’s Interest’ magazine industry. Wright’s artwork featured in many of the internationally renowned publications including Fizeek, Adonis, Sir Gay, Male Classics, Modern Man and Body Beautiful.
Imprisoned for being gay in 1959, he was released a year later and began a successful career as artist model, most notably posing as ‘the body’ of Rudolf Nureyev for a Madam Tussaud’s waxwork. Priapically blessed, Wright himself became entertainer, model and muse, performing at private parties and clubs throughout the 1960’s.
The 1970’s and 80’s saw Wright’s interest in the spiritual world taking centre stage. After a visitation from ‘The Spirit of Light’ during a séance in Belgrave Square, he became a man with a mission to channel, write and distribute the message of Hafed Prince of Persia, leader of the legendary ‘Three Magi’ of biblical fame. He also became a well-known healer.
At the heart of the exhibition will be a re-creation of Ronald’s living room. His home and workplace for many years has been a small bungalow in Watton-at-Stone, a Hertfordshire village. The living room will be used throughout the exhibition for talks and performances.
FLESH: The Great Illusion reveals through archives, drawings, sound, writing and photography the wondrous life of this remarkable man.

Georgina Starr and Paul Noble present
An exhibition celebrating the life and work of Ronald Wright
Private View: Wednesday 2nd June 2010, 6-10pm
Exhibition dates: 3rd June – 27th June 2010
Opening times: Thursday-Sunday 12-6pm
First Thursdays late opening – 3rd June 6-9pm
Artist-in-conversation: 2pm, Saturday 12th June




i took penny, ( and later lawrence elbert joined us) on a little walking tour of hollywood. some of my fave spots. it was a nice relaxing day.

(all photos courtesy~ lawrence elbert)


check out- Tony Buff wearing a latex Roman Catholic priests’ cassock in heavy rubber designed by Tonya Winter of Winter Fetish for a kinky twist of social commentary at the Grabby awards, May of 2010.


i really like this new kylie video- ALL THE LOVERS, and i don't even like kylie!
i guess this makes me an "official" gay..
this video really is so sweet & romantic.. to me anyway.


take a look @ antebellum artist~ alva bernadine's new film- INTERVIEW WITH A SERIAL KILLER

How to Become a Serial Killer

Alva Bernadine has a head full of bad thoughts, and in emptying them out on this blog, he offers a few tips on how to become a serial killer.

Ever since I can remember, I have wanted to be a serial killer. I see the serial killer as the great performance artist of modern society. The killer dispatches strangers in grim and gruesome ways and the public thrill with disgust and revulsion but are held in the thrall of this great attractant. To murder is the supreme form of transgression. To do it once and with motive is bad enough, but to do it repeatedly without apparent motive is beyond the reasoning of most ordinary people. It implies madness and there is nothing more frightening than the madness of others. After all, there is no reasoning with the mad, they can do anything at anytime and that scares us. The serial killer who murders six people is far more frightening and news worthy than the contract killer who murders twelve. READ MORE-

(all photos by alva bernadine)



i bet you didn't know there was a fetish for falling water towers.

"everything can and will be fetishized. at this very moment someone is fetishizing a lamp."~ rick castro- 2000


today~ may 31st, 2010 is Rainer Werner Fassbinder's 65th Birthday!

Rainer Werner Maria Fassbinder (May 31, 1945 – June 10, 1982) was a German movie director, screenwriter and actor. He is considered one of the most important representatives of the New German Cinema.

He maintained a frenetic pace in film-making. In a professional career that lasted less than fifteen years, Fassbinder completed 40 feature length films; two television film series; three short films; four video productions; twenty-four stage plays and four radio plays; and 36 acting roles in his own and others’ films. He also worked as an actor (film and theater), author, cameraman, composer, designer, editor, producer and theater manager.

Underlying Fassbinder's work was a strong provocative current. His phenomenal creative energy when working were in violent contrast with a wild, self-destructive libertinism that earned him a reputation as the enfant terrible of the New German Cinema, as well as being its central figure. He had tortured personal relationships with the actors and technicians around him who formed a surrogate family. However, his pictures demonstrate his deep sensitivity to social outsiders and his hatred of institutionalized violence. He ruthlessly attacked both German bourgeois society and the larger limitations of humanity.

Fassbinder died at the age of 37 from heart failure resulting from a lethal interaction between sleeping pills and cocaine. His death is often considered to mark the end of the New German Cinema.

Scandals and controversies ensured that in Germany itself Fassbinder was permanently in the news, making calculatedly provocative remarks in interviews. His work often received mixed reviews from the national critics, many of whom only began to take him seriously after the foreign press had hailed him as a major director.
There were frequent exposés of his lifestyle in the press, and attacks from all sides from the groups his films offended. His television series Eight Hours Do Not Make a Day was cut from eight to five episodes after pressure from conservatives The playwright Franz Xaver Kroetz sued over Fassbinder's adaptation of his play Jail Bait, alleging that it was obscene. Lesbians and feminists accused Fassbinder of misogyny (in presenting women as complicit in their own oppression) in his 'Women‘s Picture'.

The Bitter Tears of Petra von Kant has been cited by some feminist and gay critics as both homophobic and sexist.
Gays complained of misrepresentation in Fox and his Friends. Conservatives attacked him for his association with the radical left. Marxists said he had sold out his political principles in his depictions of left-intellectual manipulations in Mother Küsters' Trip to Heaven and of a late-blooming terrorist in The Third Generation. Berlin Alexanderplatz was moved to a late night television slot amid widespread complaints that it was unsuitable for children. The most heated criticism came for his play Garbage, the City, and Death, whose scheduled performance at the Theater am Turm in Frankfurt was cancelled early in 1975 amid charges of anti-semitism. Though published at the time, and quickly withdrawn, the play was not performed until 1985, after Fassbinder's death. In the turmoil, Fassbinder resigned from his directorship of that prestigious theater complex, complaining that the play had been misinterpreted.

Fassbinder did little to discourage the personalized nature of the attacks on himself and his work. He seemed to provoke them by his aggressively non-conformist lifestyle, symbolized in his black leather jacket, battered hat, dark glasses and perennial scowl.

By the time he made his last film, Querelle (1982), Fassbinder was using heavy doses of drugs and alcohol to sustain his unrelenting work schedule. On the night of June 9–10, 1982, Wolf Gremm, director of the film Kamikaze 1989 (1982), which starred Fassbinder, was staying in his apartment. Early that evening, Fassbinder retired to his bedroom. He was working on notes for a future film: Rosa L, based on the life of Rosa Luxemburg, the Polish-German revolutionary socialist, with Jane Fonda in the title role. Fassbinder was watching television, video and reading in between when shortly after one o'clock in the morning he received a phone call from his friend and assistant Harry Baer. At 3:30 a.m, when Juliane Lorenz arrived home, she heard the noise of television in Fassbinder’s room, but she could not hear him snoring. Though not allowed to enter the room uninvited, she went in, and she found him lying on the bed, dead, a cigarette still between his lips. A thin ribbon of blood trickled from one nostril. It was ten days after his thirty-seventh birthday.

The cause of death was reported as heart failure resulting from a lethal interaction between sleeping pills and cocaine. The notes for Rosa Luxemburg were found next to his body.

(this portrait painted on pages of fasbinder's screen plays by antebellian artist~ Rinaldo Hopf)



the grandmother of gothic films to end all gothic films.


although i think this boy is cute as a button, i don't understand the look he's going for.....
the cross between euro-chic/otter/intellectual,
but where he throws me are the zouave pants, new guinea knapsack and the deco,blue wing tip dress shoes.