The Stimuleye is proud to announce the release of the latest film of the Vogue.it – A Short Film With series, CHIARA SKURA, a collaboration with Marios Schwab featuring his hot Spring Summer 2012 collection.
It has been one year now since I moved to Ottawa, Canada. During the past year I’ve come across a few people who are always trying to make the city exciting. Guy Bérubé, a good friend now, is one of them. He owns a gallery – La Petite Mort, a place where taxidermy meets with iconic furniture pieces and fundraising art sales for several charities (including Guy’s own).
Lizard photo: Whitney Lewis-Smith.
Far from presenting “Hockey art” or Canadian landscapes, in Guy’s gallery you will find work ranging from portraits of the city’s crack addicts by photographer Tony Fouhse, to poems on pieces of cardboard by Crazzy Dave of the Ottawa homeless community.
With the look and fame of a bad boy, I can only say that Guy is doing a great job for the art community in Canada: making art available and affordable to whoever is interested.
Legs with severed head (Guy's head, btw) Peter Shmelzer.
What was the last thing that stimulated you?
It happened here in Ottawa, it happened to be a lesbian wedding performance by former American prostitute and porn star turned performance artist, Annie Sprinkle, and her partner, hosted by SAWGallery. It was very interesting for me to see. They are already married, but they do an annual wedding with a theme, and this time here in Ottawa it was marriage to nature, and marrying snow. They are eco-sexual; they have sexual feelings about nature (laughs). I hadn’t seen Annie Sprinkle in over 25 years, and I had met her before at a performance in NY where she had a live orgasm on stage.
So, it happened next door to my gallery at St. Brigid’s (a deconsecrated Church), and a lot of people came, and they saw the look and the aesthetics of a wedding. Everybody wearing white, everything was beautifully decorated, the light was coming through the stained glass… but then the performance started. They rode a pile of snow, exposing themselves by lifting their wedding dresses, and then inserted icicles up their vaginas, as they recited their wedding vows.
That seems a bit unusual for the city…
I’m seeing change, slowly but surely, over the 10 years that I have been here. I know that I’ve had some credit for some of the change. I’m seeing a difference in the art that is featured in galleries, even the Municipal galleries are showing things from my artists. It is something positive; Ottawa is a city where there is a possibility of starting from scratch, even though you’ve seen it in other places. Ottawa is a funny little town, very voyeuristic; it’s like the dude at the orgy who complains about the bad drapes and doesn’t jump into the fun.
What would be a good example of this change coming from your gallery and artists?
The USER series by Tony Fouhse is a perfect example of what my gallery does, something of which I’m very proud. It was featured in New York Times, Japan Newsweek… people got it, but it was very difficult at the beginning; lots of people in the neighbourhood, politicians, people were very against the work.
Men wrestling: Matthew Dayler / Photo of man laughing: Tony Fouhse.
Creepy baby head: Robert Farmer.
What’s the deal with the stuffed animals?
Before I had the gallery I had the fake tortoiseshell lamp, which I bought in Paris, and then I bought, not knowing why, the baboon. I think I felt sorry for him, it was on the floor of a junk store and people were grossed out by it, so I paid $20. And so, when I got the gallery, a friend of mine asked me if I was going to bring the “creepy animals”. Then people just started bringing their stuffed animals to me, and it became a depository, kind of like an orphanage. You can bring your stuffed animal, but it needs to have a good valid story, like all the other animals there. I’m not online desperately looking for an owl! I don’t buy them.
Guy's taxidermy collection.
You must have some good stories…
A woman once told me she wanted to give me a bison’s head, and I have always loved the look of them.
So, we had a long conversation, and in the end she told me, “well, it hasn’t been taxidermied yet, it’s just the severed head” (laughs…) it was frozen!!!
Hot on the heels of Marios Schwab’s breakthrough SS12 collection “chiaroscuro”, The Stimuleye is proud to announce “CHIARA SKURA – A Short Film With Marios Schwab” for Vogue Italia, coming September 28th…
Directed by Antoine Asseraf & René Habermacher
Starring Amy Bailey
First, he covered them up with a resin mask, then he cut their eyes out, with a scalpel and after with a laser. This is not Dexter, this is artist Marc Turlan, who always finds new ways of torturing magazines.
With his latest solo show EXO STAR he is taking an artistic leap, opening this saturday at Galerie Anne de Villepoix in Paris.
Marc Turlan: protest board 1 and 2, a collaboration with british photographer Timur Celikdag.
Courtesy gal Anne de Villepoix
The new sculptures of Marc Turlan conclude a logical extension of his appropriative work with the pages of glossy magazines:
“The base of all i do is collage. The technique for my sculpture is the same way, it’s like 3 dimensional collages.”
Right in the first room, the program for the exhibit gets clear: a gym workbench, weight bars in a stack, and 6 sheets of mirror, each with a word inscription of mirror mosaic, that serve as the commandments for this show: WORK – NOTORIETY – SINCERITY – POWER – LOVE
Marc Turlan: Statement Carpets. Courtesy gal Anne de Villepoix
“It’s about the body. it’s erotic. Its a fetish to have in your mind to transform your body, to make a new image of yourself” he explains, next to two sculptures that look like snaffle headpieces with star shaped marble weights hanging from its leather thongs. It is inspired by gym gear to work your trapezius muscle. The materials surrounding us – leather, marble, mirror, wood. Marc Turlans recurrent structural elements are evident: eroticism, vanity, fetishism and notoriety.
Left: Marc Turlan's "Star Rack", and right: the artist himself
And there is of course, the star: “The star is the representation of the absolute, its a simple symbol for everyone. This desire, or fantasy to be recognised, to be famous, to arrive at this point… I use the star in marble.”
In Marc Turlans “gym” you actually work out with the star as a marble weight, stemming the symbol of the desired recognition and thus transform yourself through and towards that idea.
The first room of EXO STAR with "Home Star-Gym". Courtesy Gallery Anne de Villepoix
The second room is pitch black and only lit by pulsating light bulbs on a cluster of stars, an array of audio sculptures speak to the visitor with each a “collage sonore” (sound collage). Corresponding to the acoustic rework of a writers text hangs a framed object, containing a book of the same author with a mirror mosaic highlighting a sentence.
“I keep a sentence very different to the audio collage. It is a proposition, an open invitation. I don’t work in an interactive way. I am interested in the object. It becomes a sculpture” he explains.
The collage sonore / sound collage installation in room 2. Courtesy Gallery Anne de Villepoix
Near the pass to the next room the only book that depicts an image and with this marks the transition to the last complex of works. It’s all about stars and fashion magazines. But now the presentation enhances the fact that the magazines departed from being just the source of material. They become objects themselves, so does the frame and the fixture. It becomes altogether an installation: A cabinet of seven blocks present the works on shelves, hung, or in frames that at times can be turned and reveal a mirror. Mirrors everywhere. “Beyond, beyond, beyond the mirror”, as Patti Smith proclaims earlier in one of the audio collages.
Object in room 3 at Gallery Anne de Villepoix
Marc Turlan: EXO STAR
opening Saturday 10th, running to October 15th 2011
Once upon a time, we made a fashion film shoot with some of the best men’s designs around.
Givenchy, Raf Simons, Ann Demeulemeester, Rick Owens, Gareth Pugh, Comme des Garçons…we had it all. We also had a great concept (think butoh meets inception), a fantastic cast (Ippei is an amazing butoh performer, while Matvey and Willy, both top men’s models, would film Woodkid’s IRON video a few days later), great hair and great make-up, everything great.
RAEVE stroke-inducing poster by Clément Roncier.
Only problem was, we never really found the time to edit it.
So without further ado, ræve.
by Antoine Asseraf & René Habermacher
starring Ippei Hosuka + Willy Cartier @ Success Paris + Matvey Lykov@ Success Paris
styling Jean-Luc Française / photo assistant Laurent Dubain / styling assistant Tiphaine Menon / hair Tanya Koch @ B Agency /make-up Akiko Sakamoto / studio Le Petit Oiseau Va Sortir
editing Axelle Zecevic / Clément Roncier / postproduction Clément Roncier / music Oedo Sukeroku “Shunrai” + John Cage “Sonata V” / special thanks Jean-Marc Locatelli
‘Build With Erosion’, doesn’t pertain to any set form or principle. It’s a challenge: a deeply experimental and infectious third album from The Berg Sans Nipple, combining devastating melodies and a mind bending rhythm section informed by disciplines as diverse as gamelan, dancehall and DC Hardcore. THE BERG SANS NIPPLE is Lori Sean Berg and Shane Aspegren.
Lori Sean Berg and Shane Aspegren jamming on a cloudy day in Paris. Photo by René Habermacher
What was the last thing that inspired you?
S: That’s a hard one to answer. As time goes on, it’s a lot harder to be really be blown away by things. We just did the project with Le Musee Du Quai Branly in Paris and had the chance to dig through their audio archive. This was really refreshing to work on to discover new sounds from around the world. Also, Lori and I saw the Anish Kapoor installation at Le Grand Palais together and that was really amazing. It was something that you needed to spend some time inside to appreciate the full effect. I suppose we like things without immediate gratification.
Can you remember a particular inspiration for your latest album BUILD WITH EROSION?
S: The record was created over such a long period of time that there were so many things that were poured into it. In the end, the theme of erosion was really important.
L: We use a lot of eroded musical equipment. I’m not sure how to say it? We love dust!
S: In a way it’s always been a theme of the band… using instruments that are on their way out, or loving the sounds that came from pedals with dying batteries…
THE BERG SANS NIPPLE in action. Photo by René Habermacher
Is the concept of “erosion of instruments” something that interests you conceptually or is it the frailty of sounds created?
S: I guess it’s both of those things. There’s always been a balance of harshness and beautiful sounds in there. Also, lyrically, it all ties in together, but that’s all there for people to digest as they’d like.
L: I love instruments on their last legs. I want to give them a second life
Tell us a little more about why you work with concepts. In advance of the album release, you set up a site for BUILD WITH EROSION incorporating the surrealist concept of the exquisite corpse. You used this concept again for the promotional video for Change the Shape. Why?
S: A band that I was part of back in the late 90’s used to make exquisite corpses in the van on tour and, at that time, I was really into the Surrealists. I’ve always wanted to do a project like that and it worked really well with the “Change the Shape” theme. It also gives a different energy to a project when you can get a bunch of other artists involved.
L: Although “Build with erosion” is not a “conceptual” album…
S: Maybe not conceptual in the sense of advance planning but, in the end, it developed into a unified concept. Things become what they are and it all makes sense together.
Lori Sean Berg of THE BERG SANS NIPPLE
One of my favourite tracks on the album is DEAD DINOSAURS RULE THE EARTH. How did that track develop?
S: Of course, the title came from my daughter and I jotted it down in a notebook. We had a bass line and drumbeat in a tape full of improvs that we had done together and I thought that the title was perfect for the bass line. As always, it went through a lot of transformation to get to the end of that track, but it all stemmed from a child’s mouth and an improv.
L: An old old idea. Probably recorded from my minidisc.
S: Yep, that wasn’t one that we created from opposite sides of the world. Apart from the lyrics, it was worked on in an old fashion style, when we were together. I think even all of the kalimba lines were from that minidisc!
Lori, you live in France and Shane, you live in Nebraska. Do you work together while living apart by exchanging ideas or do you tend to do most of the work in the concentrated periods when you are actually together?
L: We really need to be together for “the moment “. But maybe we could do a conceptual album through skype next time?
S: It’s really combination of the two. The best stuff comes out in the concentrated periods of being together though. The brooding and frustration comes at the other points, but then gets weeded out when we meet up again.
L: That sounds agonizing. But when were together we have a lot of fun, we play pinball and drink wine and champagne.
S: visit caves…
L: and meet cavemen…
S: Cro-mags from the perigord noir!
Shane Aspegren has a fable for unusual soundtools..
The Berg Sans Nipple is known for its amazing live shows. How do the two of you go out there and recreate the complexities of your sound?
S: We started as a live band. In fact the first few shows we did, we never repeated any of the music that we made, but were really just writing a set of music to perform live. Now thing are a lot more complicated in that we’re writing in the studio and then trying to figure out how to transform that into a two person live setting. I love both sides, but it’s become more challenging as things have evolved.
L: It’s always a “casse-tête chinois” when we play shows! I think it would be much easier for us to simply work in the studio. But it’s important for us to play live music… to be connected with people.
S: We’ve always tried to make a connection between each other, even through sampling each other live and setting up face-to-face. I think that was our first goal in playing with each other. So the idea was the inception of the band. And hopefully that’s how we connect with our crowd.
...and malt brew
You both work outside the band, including work in film and photography. Do you have any favourite photographers or visual artists?
S: I have a hard time pinpointing favourites of anything. I was really into Robert Frank and Duane Michaels and photographers like that when I first started taking photos, but there’s a lot to love about so many things. I like colour a lot more now. But speaking of visual artists, we’re really lucky to have been working with Cody Hudson and Stephen Eichhorn (who were responsible for the artwork for “Build with Erosion”).
If THE BERG SANS NIPPLE could work with anyone who would it be?
L: Johnny Cash.
S: That’s interesting. I feel like it’s always the thing that’s the most exotic that interests both of us, which is maybe why the trans-atlantic game works for us. I’d probably say that scoring something with Ennio Morricone or maybe even moreso, Bernard Herrmann. It wouldn’t necessarily be a film though… maybe something in a public setting. Or we could score Johnny Cash’s life.
In what direction do you see THE BERG SANS NIPPLE developing into in the future?
L: Pinball sound design. That is the future for me!
S: If Lori is going to go off on his own to get lost in pinball world, then I guess that it’s, the end! We’re trying not to focus too much on the future but to work on the present as much as possible. We’re starting to do a lot more film work together and that’s what we’re really interested in. I don’t see us ever stopping making music together, but we’re also ready for another step into other things. We’ve got another project in the works as well… a new record with a different concept that won’t necessarily be the BSN, but will still be in the same spirit.