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Wednesday, 28 January 2015

Dear Serge Kaganski @ Les Inrockuptibles

Les Inrock en 1991: pour le credit - voir lien plus bas "Verse I"

Dear Serge,

J’ai eu plusieurs fois l’occasion de te citer lors de mes billets (film «sci-fi », Louise Maisons, Verse I) pour te « dénoncer » une certaine admiration… en tout bien tout honneur of course.
Il est vrai que ton article sur Amélie Poulain était très décevant, mais personne n’est en permanence un surhumain ! Tu n’as d’ailleurs jamais prétendu l'être.

Hier soir, j’ai visionné ton intervention n°1000 des Inrocks sur la page FB et c’était curieux de voir à quel point tu sonnais faux derrière ton micro – devant la caméra. Ton anecdote consistait à te souvenir de l’année où Christian Fevret te parlait d’un éventuel hebdo en 1993 ou 1994…

Comme anecdote, y’a mieux tout de même ! Tu aurais pu parler d’une interview rocambolesque, un truc drôle avec Fevret ?
Ensuite, Christian, c’était pas le genre à parler d’un truc et le faire tout de suite après. C’est quand même quelqu’un qui pense longtemps, qui cogite, qui revient en arrière pour mieux sauter. C’est l’image professionnelle que j’ai gardée de lui. Jamais rien au hasard !

J’écrivais sur mon poste FB que vous aviez tous commencé à parler de l’hebdo en 1992, mais je me suis trompée. C’était à l’automne 1991. J’ai retrouvé le papier Le Zouave. Les Inrocks devaient changer de nom et s’appeler Le Zouave. Si mes souvenirs sont bons, c’était une idée de Christian dont tous les garçons étaient d’une joie très retenue quant au titre. J’avais dû faxer un jour un « numéro » Le Zouave aux Cahiers Du Cinéma puisque certains devaient participer à l’aventure… Je me souviens que Christian prévoyait sa sortie pour 1993 ou 1994… Histoire de bien tout prévoir : logistique, nouveau bureau etc… Rue d’Alesia avec son aquarium graphique, c’était sympa, mais pour un rendement hebdo, ça aurait été chaud devant chaud derrière !
J’avais gardé contact avec quelqu’un qui avait travaillé quelque temps aux Inrocks et il y a une dizaine d’années, nous nous remémorions par emails ces instants prises de becs entre Christian et vous autres garçons qui étaient contre cette appellation "incontrolée" Le Zouave.

En même temps, ton anecdote n’est pas très grave, tu me crédibilises : j’ai rien balancé sur l’hebdo après mon départ Inrocks !

Sur FB hier soir, je proposais mes services pour les anecdotes, mais j’ai lu ce matin qu’il s’agissait du numéro 1000 à partir de la naissance de l’hebdo. Donc, effectivement, j’étais déjà partie.
Des anecdotes, j’en ai pleins : les garçons qui convertissent ton interview dans ton dos, tu t’assois et tu me demandes discrètement si j’avais touché ton ordinateur et puis tu « cris » lymphatiquement « eh les mecs, mon interview elle est en grec » ; Samuel Blumenfeld revient de New York épuisé et en colère (même pas peur sa colère) après avoir interviewé Abel Ferrara ; Telloche et sa valise guitare sans guitare ; le chat de Calou, Wampas et le chat de Telloche qui ont leur playlist dans l’Inrock de Noel 91-92 (je l’avais eu mauvaise cette « blague ») ; Jean-Louis Murat qui m’appelle, demande l’adresse et dit qu’il arrive pour mettre une bombe (après la tuerie dans la maison de disque de Mylene Farmer)… Ce sera pour une autre fois, mes anecdotes ! En attendant, congratz, bonne continuation et à la revoyure, if…
 Le chat Wampas qui me cache... 
en 2011 sur cette photo, il ne restait aux Inrocks que 
Jean-Daniel Beauvallet, Calou et Serge Kaganski

A corriger : le numéro 1000 ne sort pas le 28 fevrier ! = http://www.lesinrocks.com/inrocks.tv/numero-1000-des-inrocks-ils-se-souviennent-2/




Sybille Castelain pour babylondonorbital@gmail.com

Tuesday, 27 January 2015

bjork... vulnicura... lyrics and sounds... verse II


 cover character by björk
photographed by inez and vinoodh
designed at m /m (paris)

to view verse I, click here
(note: PR agency wouldn't send the album or an audio link, OLI sent a private soundcloud...)

vulnicura... giving birth to rupture...

family
6 months after
“...  where i can pay respects to the death for my family... so where do i go... to mourn our miraculous triangle... i raise a monument of love... this universe of solutions...

notget
11 months after
“... we carry the same wound... but have different cures... similar injuries... but opposite remedies...”

atom dance
“... love is the ocean we crave... am dancing towards transformation... healed by atom dance... enter the pain and dance with me...

mouth mantra
“... there is vocal of sadness... in vow of silence... this tunnel has enabled thousands of sounds... now i sacrifice this scar...

quicksand
“... our mother’s philosophy... it feels like quicksand... where choreographed oxygen... embroiders the air...

... like an animal’s intuition, björk smells the rupture. the stuttering phase of an end. björk documents the travelogue of her heart-broken-to-be through the long sobbing strings with electro-beat interferences... when the heart forgets to follow its ritual rhythm... when it limps...
the moments before the rupture: stonemilker, lionsong, history of touches.
the moments after the rupture: black lake, family, notget
the healing process... work (still) in progress! atom dance, mouth mantra, quicksand.

her ninth opus vulnicura is her second intimate adventure on record: a raw and spiritual journey where black lake (10 minutes) is certainly the most intense track. there is calm on black lake... but not that sort of calm when one feels pacified... a calm after a storm in the ocean... when finally the ocean rejects a “garbage” on safe-sand... a sense of dizziness... no more room for hope... a peaceful lament à la nusrat fateh ali khan. she is in shreds but safe on a no u-turn sinuous track...

in that sense, vulnicura is comparable, graphically and emotionally to medulla... the near acapella album documenting her blood current while pregnant with her child... the daughter of her now “defunct” lover...
both albums are hymn to tribal, minimal survival... organic... “gore” and cathartic... carnal... vulnicura murmurs to the lover in a much more sufism’s approach...

... it does bear sonic traces of björk’s pre-medulla (unstable) albums [the track Joga more specifically] ... but despite all the confusion of a rupture, vulnicura is firmly stable in sounds and its wound evolves in the course of the hour...

family asks in a tired anger where to mourn, but she also wants to build a monument... like these monuments that are built after conflict times... to forget that once souls lost their lives... replacing carnage... it is reincarnation time... reconnecting with the universe... grounding alone (with her daughter).
notget seems to function as a celebration of her rupture acceptance... a broken heart in reconstruction after being abandoned...

atom dance and mouth mantra open up as a timid victory on pain, suggesting a recovery... but not just yet...

written and composed by björk, except: 5, 6 written by björk, composed by björk & arca; 8 written by björk and oddnŷ eir, composed by björk; 9 written by björk, composed by björk and spaces
1, 9 produced by björk; 2, 3, 4, 6, 7, 8 produced by björk and arca
all vocals by björk


bjork related posts on vulnicura:


sybille castelain for babylondonorbital@gmail.com



Monday, 26 January 2015

bjork... vulnicura... lyrics and sounds... verse I


cover character by björk
photographed by inez and vinoodh
designed at m /m (paris)
to read verse II, click here
(note: PR agency wouldn't send the album or an audio link, OLI sent a private soundcloud...)

vulnicura... giving birth to rupture...

stonemilker
9 months before...
“... i better documents this... open chest... to synchronize our feelings... that makes me feel your pain... like milking a stone... I have emotional needs... who has shut down the chances...

lionsong
5 months before...
“... it reached its peak then transformed... abstract complex feelings... maybe he will come out of this... loving me... this wild lion doesn’t fit in this chair... i’m not taming no animal... i demand clarity...

history of touches
3 months before...
“... i wake you up... in the middle of the night... naked i can feel all of you... time together... therefore sensing all the moments... every single fuck... every single archive... compressed into a second...”

black lake
2 months after
“... our love was my womb... i am one wound... my heart is enormous lake... black with potion... drowning in this ocean... your heart is hollow... i’m drowned in sorrows... i am a glowing shiny rocket...”

Family
6 months after
...

björk screaming... from time to time... her pain... losing her lover... time on hold... hoping... knowing deep down... hope is like milking a stone... breastfeeding a rock... a cold rock... like walking among violins... violas... celli... bass... in a desert of snow... on a burning volcano... folk songs on open heart... ether strings on underground electronica... oppressing sounds... liberating wounds... documenting a rupture...

this project was worked on in reikjavik, london, new york, carribean... more to follow...

bjork related posts on vulnicura:


sybille castelain fro babylondonorbital@gmail.com

Friday, 23 January 2015

#JeSuisCharlie - La faute au père-noël…




Et voila! Tout le monde est enterré ou incinéré... Depuis quelques jours, il y a cette chanson qui revient en boucle dans ma petite tête ! Je préfèrerais un autre interprète. Quelqu’un de moins connu, de moins populaire, de plus anarchiste. Robbie Williams, Feel.

Une semaine (texte commencé le 15 janvier) que je regarde cette douce France chantée (et reprise) par Rachid Taha et sa Carte de Séjour. J’ai vu ma vie défiler au ralenti. Comprendre mon enfance entre la France et les pays musulmans. Comprendre pourquoi je ne me sens pas patriotique et pourtant si meurtrie. Je n’aurais jamais cru qu’un jour je sois aussi férocement pour la défense de la laïcité (bien qu’ambigüe), et pour la liberté d’expression (tant acquise)…

Je suis née avant l’heure. Signe du Lion au lieu de la Vierge. Tant mieux, c’est le seul signe qui me sied à merveille. J’ai gueulé fort au bout de quelques secondes et n’ai jamais vraiment cessé.

La maternelle était pénible et interminable. Je voulais lire et écrire et je m’ennuyais beaucoup. Très seule. Le dessin et la peinture me plaisaient mais rien sur le papier ne correspondait aux images que j’avais dessinées dans ma tête. Je ne serai pas très bonne en art, mais j’aimais l’art. A cinq ans, un psy est venu analyser l’état d’âme des enfants et j’étais cataloguée comme débile profonde (ou un truc du genre) ! Je ne pouvais suivre une scolarité normale… Pas de CP. L’institutrice m’a sauvée.

Charb pour Charlie Hebdo

Je suis allée au CP. Je me suis mise tout devant dans la classe : j’allais pouvoir décortiquer les mots. Le petit José, on lui a dit de se mettre au fond et on nous a dit de ne pas jouer avec lui. Il était gitan. Alors, on m’a appris à avoir peur des gitans. Mais quand je le regardais, il ne me faisait pas peur. Parfois, discrètement, je lui parlais. Je lui demandais s’il avait des amis, à quoi il jouait.

La vie était en syllabes : coi-ffeur ; bou-lan-ge-rie ; ta-bac. A ce petit garçon qui se disait fille et qui refusait de jouer dans la cour des garçons, je lui avais dit qu’il devait aller aux toilettes des filles. Et puis, il y avait ces histoires de père-noël qu’on me rabâchait. Je ne comprenais pas pourquoi dans un pays, on ne voyait jamais de père-noël et en France, ils pullulaient devant les magasins. C’était ridicule ! Il y a eu ce fameux jour où ma mère m’a finalement avouée qu’il n’existait pas. Ce jour-là m’a délivrée. J’avais raison ! C’était aussi le jour où je décidais de ne plus croire mes parents. Les adultes mentaient donc.

En seconde, je débarquais dans une ville qui évoquait les miettes de guerres. Des monuments aux morts à n’ en plus finir, un couvent devenu lycée. Beaucoup comme moi étions des enfants de militaires, d’autres des enfants d’ouvriers, d’autres encore des enfants d’immigrés. J’étais très copine avec Ouardia et Nicole. Ouardia écoutait du Heavy Metal, Nicole des trucs baba-cool et moi de la New-Cold Wave. En début d’année, Ouardia disait à tout le monde (profs et amis) qu’on pouvait l’appeler Sophie : ses parents Algériens voulaient qu’elle s’intègre. Les profs qui voulaient son échec l’appelaient Sophie. Avec Nicole, la Yougoslave, c’était plus difficile : son nom sonnait bien français, pas très à la mode, soit, mais français. Mon petit ami s’appelait Hamid, et de tous les couples d’ado qui s’embrassaient sous les arcades du lycée, nous étions les seuls victimes d’une pionne principale raciste qui condamnait notre « exhibitionnisme ». Ma mère l’avait su… le scandale ! J’embrassais un Arabe.
Ces jeunes-là, malgré leurs bonnes notes n’avaient pas les mêmes services scolaires. Certains profs s’acharnaient, d’autres les défendaient. Eux, ils disaient que les livres d’histoire ne représentaient pas leur identité, qu’ils ne s’identifiaient pas à Obélix. Leurs parents leur avait dit qu’ils devaient être discrets et s’intégrer, que ce pays d’accueil était le pays des droits de l’homme, droit de la pensée, liberté d’expression… qu’ils revendiquaient pleinement si un prof leur faisait une remarque désobligeante. C’était aussi l’époque où on nous parlait du respect de l’autre tout en faisant valoir cette fameuse liberté d’expression. Les religions, oui, mais chez soi. Et puis, nos classes n’étaient pas encore devenues des « prisons » en surenchère où le plus faible était laisser pour compte ! Ouardia et Nicole disaient ce qu’elles pensaient, mais chez elles, elles aidaient aussi les frères et sœurs pour leurs devoirs, elles aidaient leurs parents avec les papiers administratifs.  



L’école, pour moi c’était ça : une mixité de couleurs et de croyances avec des profs qui croyaient en nous et d’autres qui nous cassaient ; une liberté qui nous permettait de nous exprimer et qui nous protégeait ; une égalité à deux temps puisque malgré les mêmes devoirs, certains devaient s’occuper des papiers de leurs parents ; une fraternité constante d’une classe en dépit de nos différends ; une laïcité bancale. Je n’ai jamais compris pourquoi la plupart des jours fériés étaient des célébrations chrétiennes, ni pourquoi d’ailleurs on fait tout un plat de la naissance de Jésus jusqu'à en vomir des pères-noël et remplir les étagères de jouets des grandes surfaces de France (et d’ailleurs). C’est très vulgaire en réalité. Quelle autre religion peut-elle « s’enorgueillir » d’un tel capitalisme ? Pour une vraie laïcité, oui à l’abolition du père-noël ! Bon, y’a du boulot…

Aujourd’hui, ma peine Charlie Hebdo (CH) est mélangée à l’incompréhension des médias étrangers. The Guardian s’est montré plutôt en soutien avec CH. Cependant, je suis ébahie par Owen Jones (The Guardian) romantico-ignorant qui se masturbe devant des comparaisons incomparables ou un Giles Fraser (The Guardian) perdu dans son exemple « laïque » : non, personne ne veut que tous les enfants mangent du porc à la cantine. C’est un triste abus, aussi légal soit-il, d’un directeur d’école. Non personne ne veut d’une France islamophobe et j’ai plus eu l’impression, perchée sur mon îles de la Perfide Albion, que le gouvernement et les bons journalistes tentent d’éviter les amalgames. Et puis, il y a ceux qui connaissent peu ou pas la France comme Anthony Faramelli, prof en fac à Londres, et qui se permettent d’avoir un jugement en fonction de leur petit confort bourgeois et tirent sur Charlie Hebdo en comparant les réflexions de Charlie à Dieudonné ; qui ne font pas la différence entre liberté d’expression et discours haineux. Non, Dieudonné n’est pas musulman ! Non, la satire française ne se limite pas à se moquer des oppresseurs. Oui, la satire française pousse le crayon ! Vous savez quoi, mesdames et messieurs ? Les croyants ont des lieux pour se recueillir et Charlie Hebdo n’a jamais empêché personne d’y aller ; le vrai croyant est celui qui ne s’offusque pas d’un coup de crayon. Celui ou celle qui a la foi sait passer son chemin ! Et pour finir, toi qui a tout compris à la vie et qui vient me faire la morale par tes twits de petite bite : en France, il existe des magazines d’extrême droite qui écrivent des trucs bien crades sur les Musulmans, les Juifs, les « bronzés » etc… Tu sais pourquoi les terroristes ne les assassinent pas ? Parce que personne ne se déplacera pour les pleurer ! Charlie sert d’appât parce qu’ils sont minoritaires et qu’ils s’amusent de tout sans insulter. Et si tu te sens insulté par procuration, c’est parce que ton sens de l’orientation cérébrale est en roue libre.

Charlie Hebdo, comme tant d’autres piliers artistiques a participé à mon éducation extra scolaire, extra parental. Au final, le père-noël est une ordure et c’est lui qu’il faut assassiner. Lui, qui détermine le cadeau en fonction de la fortune…

Autres #JeSuisCharlie =

la communaute musulmane parle = http://www.liberation.fr/debats/2015/01/22/khlass-ca-suffit-le-silence_1186213?utm_source=Facebook&utm_campaign=Echobox&utm_medium=Social

Sybille Castelain pour babylondonorbital@gmail.com

18+ / new single \ 28 Jan @ Corsica Studios + other European dates

DRY

Announce new single Dry / Body - Released 23rd February on Houndstooth rec.

LA electronic duo Justin Swinburne and Samia Mirza better known as 18+ have boarded their European tour (see dates below) and will stop over @ Corsica Studios in London next week.

Their debut album Trust was released in November 2014 on London label Houndstooth to critical acclaim. While the visual artists’ band has been tickling several media formats of music, performance and visuals since 2011, their ground of interest tackles graphically complex issues between intimacy and public shows via identity, gender, sex and morality.

Expect gothic mechanical sex with a soupçon of guns firing deadpan hip-hop mystery melodies...

Dry will be released on a 7" (limited to 500 copies) and also available digitally. All formats are available to buy here - http://found.ee/Dry

Full tour dates as below:

Tue 27 Jan = Glasgow School of Art, Glasgow

Wed 28 Jan = Corsica Studios, London, UK

Thu 29 Jan = WesterLiefde, Amsterdam, Holland

Fri 30 Jan = V1 gallery, Copenhagen, Denmark

Sat 31 Jan = CTM Festival, Berlin, Germany

Sun 1 Feb = V ARE, Vienna, Austria

Wed 04 Feb = Meet Factory, Prague, Czech Republic

Thu 05 Feb = Magnolia, Milan, Italy

Fri 06 Feb = Beursschouwburg, Brussels, Belgium

Sat 07 Feb = La Flèche D'Or, Paris, France

Stream and embed 'Dry' here: https://soundcloud.com/houndstoothlbl/18-dry

Corsica Studios = 4/5 Elephant Road, London, SE17 1LB - http://www.corsicastudios.com/



Sybille Castelain for babylondonorbital@gmail.com

Wednesday, 21 January 2015

Beyond Clueless, a film by Charlie Lyne - In UK cinemas 23 January



Written, directed and edited by Charlie Lyne.
89 minutes
Rated 15 for strong sex, bloody violence, strong language and drug use.

Sex, death, paranormal, goth, gore, pom pom girls, parties, violence, drug, love, pop corn, baseball... Teenagers’ life outside their parents’ supervision in US high school and its close surrounding.



Charlie Lyne has dissected Hollywood’s high school kids through teens’ movie made in the 90’s and 00’s. With a scalpel, cinema director Lyne has punctured the functioning of adolescent brains when scanning 200 movies of the teen genre: a teen movie within 200 teen clip movies; add a pinch of “savage-life” like narrator Fairuza Balk and an original soundtrack by pop duo Summer Camp. You get the picture!



Whatever your relation is with your inner teen, left hopefully in a no-man’s land era, Beyond Clueless is here to challenge the gymnastic of your cells within a cultural kaleidoscope.
In five chapters, Lyne analyses life in a teen’s territory and gives birth to a film essay that is pretty lengthy and full of demonstrations at first. A bit like the preliminaries of a one night stand with the improbable partner (you will never meet again) who dedicates its time to the ultimate savoir-faire. Chances are you are a bit drunk and want to be banged as fast as possible.



Lyne takes his time to juxtapose film clips when Balks stabilo-es all facts. In chapter 3, things get serious and speed up a bit. In fact... it’s climax time with Summer Camp cutting short the narration and climbing the tension. It is both visually and sonicaly orgasmic. The duo does manage through the film to weave the near academic monologue into complete de-complex-ed moments.

Beyond Clueless has its shares of clichés and humour while stressing and celebrating teenagers’ secrecies: that one time in life you navigate between two worlds under parental pressure, but you find time to “ditch” your parents. It is guaranteed parents-free.

Perhaps Charlie Lyne next Beyond Clueless would be film clips from another country, another space, other faces and cultures... He seems to be himself a teenager for ever and a connoisseur of the topic.



THE BEYOND CLUELESS TEAM

Charlie Lyne (writer/director/editor/producer) is a columnist for The Guardian and the founder of cult movie blog Ultra Culture. Beyond Clueless is his first feature.

Fairuza Balk (narrator) is the star of more than 40 films, including a number of stone-cold teen classics like The Craft and Almost Famous.

Summer Camp is a pop duo made up of Elizabeth Sankey and Jeremy Warmsley (composers). They have released two critically acclaimed albums since forming in 2009.

Anthony Ing (producer) writes and records electronic music under the name Hometape. His latest release is The Redtube Album, a concept album built entirely from adult video clips.

Billy Boyd Cape (producer) directs music videos for the likes of Mr. Hudson and Jakwob, and in 2012 was featured in the main competition of the BFI Future Film Festival.

Catherine Bray (co-producer) is an award-winning writer and broadcaster. She is currently Editorial Director for Film4 and a regular guest presenter on BBC One's Film 2014.

Hattie Stewart (title designer) is a self-proclaimed 'professional doodler', staff illustrator for Rookie Magazine and one of the fashion world's most in-demand illustrators.

http://www.beyondclueless.co.uk/

Sybille Castelain for babylondonorbital@gmail.com



The Alice Look, E2, 2 May – 1 November 2015

Poster advertising ladies boots manufactured by T Elliot & Sons, 
incorporating a pastiche of designs after Aubrey Beardsley
1960s
V&A

The one tale of my childhood that disturbed me is Lewis Carroll’s Alice’s Adventures in Wonderland... and believe me I did read weird stuff full of witches and wolves and so on. To this day, I still don’t understand why... and why I am still uncomfortable about Alice. I never had an Alice as a friend... I guess it’s one of the things I forgot to tell my numerous therapists and shamans and charlatans! I wonder how I am managing to live on...

The one thing for sure I have been mostly successful in my life is to stick to my teen principle: never have kids. Ticked.
So why bother to write about something that’s got to do with kids? You are e-secretely-thinking! Well, I never give up on trying finding some truth, as illusion-ed as the answer might be, but also the press release mentions Vivienne Westwood... and Annie Leibovitz:


Baby the stars shine bright, Kumiko Uehara, Japan
 © Victoria and Albert Museum, London

2015 marks the 150th anniversary of the first publication of one of Britain’s best-known and most-loved children’s books, Lewis Carroll’s Alice’s Adventures in Wonderland. To mark the anniversary, the V&A Museum of Childhood’s display The Alice Look will bring together garments, photographs, rare editions and illustrations to show Alice as both a follower of fashion and a trendsetter.

Using photographs by Annie Leibovitz, book cover designs by Vivienne Westwood and Japanese Lolita clothing, The Alice Look will show how Alice has always embraced contemporary style. The display will also show how she has strongly influenced the way people dress and inspired designers and stylists the world over. The display culminates with a new commission by Josie Smith, pattern-cutter for Roksanda Ilincic, who will make fashion literally out of fiction, producing a 3-D version of Alice’s Wonderland outfit using fabric printed with text from the book.

Alice’s Adventures in Wonderland by Lewis Carroll, 
illustrated by Sir John Tenniel, 1886

The display will be divided into four parts:

Beginnings: will twin early editions of the Alice books with children’s garments from the Victorian period. Sir John Tenniel’s illustrations will be brought to life alongside the distinctive trademark elements of the original Alice look - striped stockings, apron, full-skirted dress and T-bar shoes from the V&A’s collections.

Follower of Fashion will show how illustrators have kept Alice relevant and up-to-date for contemporary audiences through a selection of 20th-century editions of Wonderland.

Inspiration will use magazines, photographs, posters and fabrics, as well as a compilation of films and still shots, to show how a vast array of people dress like Alice or wear clothes adorned with her image. A series of photographs that Annie Liebovitz shot for US Vogue featuring Natalia Vodianova and styled by Grace Coddington will sit alongside images of Lizzy Jagger in GQ. A selection of fabrics and supporting artwork from the Liberty Spring Summer 2015 Alice-themed fabric collection will demonstrate how Carroll’s work continues to excite and inspire. There will also be a film showing clips of pop videos and catwalk shows inspired by Alice, featuring Gwen Stefani, Avril Lavigne and Aerosmith among others.

Global Alice will combine costume and text to show how Alice’s appearance alters according to her location: Provençal Alice wears tropézienne sandals and a sundress, whilst a Swahili Alice dispenses with crinoline and opts for a local kanga. A complete Lolita-style outfit from the 1980s will show the pervasive influence of Alice on Japanese sub-culture.

On Saturday 9 May 2015 a one-day conference will be held at the Museum exploring Alice as both follower of fashion and trend-setter, with papers spanning the century and half since the publication of Wonderland. It will look closely at what Alice wears and what this can tell us about her, and at some of the diverse practices of dressing as Alice in different parts of the world. It will also explore the extent of and reasons for the profound influence of the Alice books on the world of fashion. Confirmed speakers will include Will Brooker, Aneesh Barai, Shahidha Bari, Ellen Kirkpatrick, Emma Mawston, Clare Rose, Mark Richards, Josephine Rout and Kiera Vaclavik.


 Molly Molloy illustration © Molly Molloy
The Curator
Kiera Vaclavik is a senior lecturer at Queen Mary, University of London working in the dynamic field of children’s literature and culture. Her current project as an AHRC Early Career Fellow is entitled Addressing Alice: The Emergence of a Style Icon. The project explores the many different ways in which Alice was dressed in the books and in the wide array of related articles – from wallpaper to biscuit tins – produced in Carroll's lifetime. It also traces the adoption of Alice as a character portrayed by children in dramatic adaptations of the stories (professional and amateur) and also in the hugely popular fancy dress balls and parties of the period. During the two years of the fellowship, she is researching and writing a book, curating the display at the V&A Museum of Childhood and organising a conference in conjunction with the Lewis Carroll Society.

V&A Museum of Childhood, Cambridge Heath Road, London E2 9PA.
Nearest tube: Bethnal Green.
Open daily: 10.00 – 17.45, last admission 17.30.
Switchboard: 020 8983 5200 www.museumofchildhood.org.uk
The Alice Look is a FREE display. It opens on 2 May 2015 and runs until 1 November 2015.


Sybille Castelain for babylondonorbital@gmail.com

Tuesday, 20 January 2015

BJÖRK: VULNICURA - OUT TODAY ON ITUNES - SELECT NEW YORK DATES ANNOUNCED

Head-shoulder piece by Maiko Takeda

VULNICURA

1. Stonemilker 2. Lionsong 3. History of Touches 4. Black Lake 5. Family 6. Notget 7. Atom Dance 8. Mouth Mantra 9. Quicksand

Vulnicura, the ninth studio album from Icelandic artist Björk, is rolling out on iTunes worldwide over the next 24 hours on One Little Indian Records. CD and vinyl versions will come out in March as originally planned.

Vulnicura was written, produced and recorded in collaboration with Venezuelan producer Arca and British musician The Haxan Cloak. Of the album's nine tracks, six are written by Björk with two co-written with Arca and one co-written with Spaces. Six songs are produced by Björk and Arca, one by Björk, Arca and The Haxan Cloak and two by Björk. All string arrangements are by Björk. The album was mixed by The Haxan Cloak, except two songs mixed by The Haxan Cloak and Chris Elms, and mastered by Mandy Parnell. Vulnicura is Björk's first release since the 2011 album and multimedia project Biophilia.

To celebrate the release of Vulnicura, Björk announces intimate shows this spring at Carnegie Hall on March 7 and 14 and at City Center March 25 and 28 and April 1 and 4. The series of shows culminates with a performance at the Governors Ball music festival in New York this June. Presale tickets will be available to fans Monday, January 19 at 11:00a.m. ET. Tickets will go on sale to the public Friday, January 23 at 11:00a.m ET. Please see below for ticket links.

(Vulnicura review:

BJÖRK LIVE

March 7 // New York, New York // Stern Auditorium / Perelman Stage at Carnegie Hall

March 14 // New York, New York // Stern Auditorium / Perelman Stage at Carnegie Hall

March 25 // New York, New York // City Center

March 28 // New York, New York// City Center

April 1 // New York, New York // City Center

April 4 // New York, New York // City Center

June 5-7 // New York, New York // Governors Ball

One Little Indian - http://www.indian.co.uk/

see also = http://babylondonorbital.blogspot.com/2015/01/bjork-vulnicura-out-in-march-2015.html 

Sybille Castelain – babylondonorbital@gmail.com

Saturday, 17 January 2015

Art Kane: Retrospective exhibition to 31 January 2015, SW1Y

Aretha Franklin "Halos"

I went. I liked. Press Release:

Art Kane: Retrospective

"I try to work as if there's no camera. That's why I love a small camera - there's less machinery between me and what God has created. I wish there were a thing that I could put in my eye, just blink, twist my ear and pull it out of my mouth." Art Kane 1961

Central London pop culture specialists, Snap Galleries, are to host a new exhibition of images by renowned photographer Art Kane. Running to 31 January 2015, the exhibition celebrates all aspects of Kane’s archive in this first major retrospective.

Bob Dylan, Close up

Art Kane was one of the most influential photographers of the twentieth century. A bold visionary, Kane's work encompassed fashion, editorial, celebrity portraiture, travel, and nudes with a restless and innovative eye, and he gravitated towards strong colour, eroticism and surreal humour. Of that handful of elite post-World War II photographers, Art Kane was the wild child. Unflinching, uncompromising and unsentimental, Kane's focus was on what would happen next.

Kane was the photographers' photographer, an inspirational practitioner whose approach to portraiture is best summed up when he said "Performance shots are a waste of time, they look like everyone else's. If you want to shoot a performer, then grab them, own them, you have to own people, then twist them into what you want to say about them."

Kane built his reputation as an Art Director (the youngest on a major NYC magazine) before embarking on a career as a photographer. He trained with the mercurial Alexey Brodovitch, a tough teacher who had a hand in the careers of legends such as Irving Penn and Richard Avedon.

'Who Killed Davey Moore?' (Dylan lyrics) 1970

Art Kane's first photographic assignment - in 1958 - was a portrait of no less than 57 of the world's most famous Jazz musicians, taken on the 126th Street in Harlem. This was published in Esquire magazine to worldwide acclaim. It is probably the single greatest photograph in the history of Jazz - not a bad place to start your career.

Throughout the sixties and seventies he turned his hand to editorial, fashion, celebrity portraiture, and nudes, and he excelled and innovated in each one. He pioneered the use of a wide angle lens for close up portraits, and his beautifully constructed work is characterised by the use of deeply saturated colours.

I think of Art Kane as being strong, say, like a pumpkin sun in a blue sky. Like the sun, Art beams his eye straight at his subject, and what he sees, he pictures - and it's usually a dramatic interpretation of personality.Andy Warhol

Andy Warhol (1962)

Examples of Kane's innovation abound. Smells Like Teen Spirit? Look at the portrait of Sonny and Cher, taken underwater in Los Angeles in 1966 and you'll see Kane was there more than 25 years before Nirvana. And who took the first punk rock picture? Look no further than Kane's tightly framed 1966 close-up of Brian Jones, a swirling contrast of skin pores, hair and fabric, with the Rolling Stone bad-boy biting into a portrait of the Queen. Maybe not quite 100% punk: look closely at the teethmarks and you'll see he just avoided her head.

The Rolling Stones, Brian Jones

Kane's beautifully constructed portraits didn't happen by chance. Far from it. He spent three thousand dollars in 1968 constructing plexiglass boxes to contain the individual members of Jefferson Airplane on the banks of New York’s East River. Kane went to the lengths he did to make the viewers look behind the accepted view of these musicians. Look at Frank Zappa and the Mothers of Invention, as scary looking a bunch of fellows you could ever encounter, but actually, family men to the core. This is how Kane portrayed them in 1968, with their babies in hand.

Frank Zappa and The Mothers of Invention

One of Kane’s most famous music images featured The Who wrapped in flags.

The Who. They were great, I loved these guys. For me they were like cute little ruffians. They made me think of Dickens, of Oliver Twist, Fagin’s gang.Art Kane

The Who with flag, Morningside Park, NYC

Knowing that John Entwistle and Pete Townshend wore jackets made from flags, Kane decided to wrap them in a Union Jack: actually two, sewn together for the session. Initially they worked in his Carnegie Hall studio shooting on a seamless white background. Subsequently Kane took the group to Morningside Park, near to NYC's Columbia University. Here he had them pose sleeping, against the base of the Karl Schurz monument. He wanted to show them as both irreverent and lovable in a devilish kind of way. The photograph was a homage to a Cartier-Bresson photograph of a vagrant asleep in Trafalgar Square. An underexposure in overcast conditions produced deeply saturated colours, causing the flag to jump out from the dark background. Pete Townshend always remembered the shoot - in the seventies he admonished another photographer who didn't give them enough instruction: "When Art Kane took our picture, he told us, go there, do this, do that, be asleep, put your head on his shoulder...we like that kind of direction"

Rubin 'Hurricane' Carter (1975)

Kane was a pioneer of the technique of ‘sandwiching’ images - combining two or more transparencies on a lightbox until he found a perfect, surreal juxtaposition of images. An early example featuring a close up face of an African-American boy against a barred door appeared in a photo-essay, Songs of Freedom in Look magazine in 1965, and as he perfected the technique, he worked with multiple impressions of the same image, notably in his evocation of The Beatles song ‘A Day in the Life’.

Kane possessed a keen eye and a sharp sense of surreal humour - as seen in the colour photograph of an old man walking past two mannequins of Stan Laurel and Oliver Hardy in Brazil in 1976, and only Kane would think of putting a beautiful model in a space helmet for a 1962 fashion shoot.

Kane died in 1995, but his legacy lives on. His son Jonathan curates his archive and releases small limited editions of these beautiful photographs. Each one is fully authenticated by Art’s son Jonathan Kane on behalf of the Art Kane estate. Admission to the exhibition is free, and all work displayed is for sale. Art Kane’s limited edition photographs start at £ 700.

Songs of Freedom (1965)

Location: Snap Galleries, 12 Piccadilly Arcade, London SW1Y 6NH
Opening hours Tuesday to Saturday 11-6 Exhibition closes: Saturday 31 January 2015 at 5.00pm.

Closed Sunday/Monday. Admission is free.


Sybille Castelain for babylondonorbital@gmail.com

Wednesday, 14 January 2015

Bjork. Vulnicura – out in March 2015; exhibition @ MoMA, New York



Somewhere in March, her ninth opus will strike light on earth. Bjork has already given it a magical name coming from an unknown but exotic planet: Vulnicura.

Nine tracks. Six written by Icelandic electronic elf Bjork. Three others written by Arca and John Flynn.

Venezuelan born, Dalston based Arca aka Alejandro Ghersi and English Bobby Krlic aka The Haxan Cloak have co-produced most of the tracks: Stonemilker, Lionsong, History of Touches, Black Lake, Family, Notget, Atom Dance, Mouth Mantra, and Quicksand.

On 8 March, the MoMA will open a Bjork retrospective to chronicle a 20 year career through sound videos, film, visuals, instruments, objects, costumes, and performance lasting until 7 June.



Björk’s collaborations with video directors, photographers, fashion designers, and artists will be featured, and the exhibition culminates with a newly commissioned, immersive music and film experience conceived and realized with director Andrew Thomas Huang and 3-D design leader Autodesk.

Biophilia Is First App to Enter MoMA’s Collection

MoMA announces the acquisition Biophilia (2011), a hybrid software application and music album with interactive graphics, animation, and musical scoring. Created by Björk with M/M Paris, Sjón, Scott Snibbe, Kodama Studios, Touch Press, Relative Wave, Nikki Dibben, Stephen Malinowski, and John F. Simon, Jr., it is the first app to enter the Museum’s collection, joining other digital design works such as fonts, video games, visualizations, icons, and custom interactive pieces. The app is a gift of Björk and her record label, One Little Indian.



Trailer = https://www.youtube.com/watch?v=EiXQ5qaUGDI

Oh... and there is a book... but... it’s... oh... so... quiet...

Sybille Castelain for babylondonorbital@gmail.com


Strike a pose exhibition / Who were the Slave owners at Hackney - Hackney Museum, E8 until 17 January



People with no names... names that have been added up since Strike a pose exhibition opened @ Hackney Museum. Hackney residents posed at Gibson studio mainly in the 60’s & 70’s. It was cheaper than owning a camera and studios were the cheapest way to have a photo taken. They posed in their work uniforms, their fashion outfits, as families or for their graduations.

After WWII, Hackney suffered high levels of bomb damages and was a cheap area to live when people from Caribean Island, Jamaica, Lucia, Pakistan, Bangladesh, Kenya, Nigeria and Uganda came to settle in London.
Stuart Hall said “The 70’s were a period of alienation: Black people did not feel British and White people refuse to consider Blacks as British.” Hall called it the “deepest crisis of identity”.



Influenced by icons in the British and North American music scenes and Rastafarian culture via Reggae, some poseurs were OTT dressed, in the positive sense of fashion. Unlicensed clubs, the “Shebeens” operated in Hackney as well as a number of record shops that mushroomed in the area to cater for these tastes.
Chris Blackwell had launched his label Island Record in 1959 in Jamaica and his records and new releases from the Jamaican scene could be found in Stamford Hill at R&B record shop (see vitrine in exhibition). The Four Aces club in Dalston was promoting these new releases. In the vitirine, one can see afro combs, snake skin platform shoes and so on...

The exhibition exhibits as well pieces of furniture from Gibson studio + a Rolleiflex camera + negatives of people photographed.

Strike a pose, an exhibition based on photographs taken mainly during the 1970s at Gibson’s photo studio, Lower Clapton Road, Hackney.


The exhibition also features images from weddings outside Hackney Town Hall from recently arrived African, Asian and Caribbean families and all the fashion and styles of the decade.

Cllr Jonathan McShane, Cabinet Member for Health, Social Care and Culture said: “The photos in the Gibson’s collection are a wonderful peek into the everyday lives of Hackney’s past residents. As a major part of the Council’s Black History Month celebrations I would encourage people to go along and see it.

The entire Gibson's photographic negative collection was generously donated to Hackney Archives by Kevin Danks. He said: "The collection illustrates a period of social change in Hackney after the Second World War. In the 1950s almost every shot features white, working class people and by the early 1970s this changes and the diversity we see today is evident. The rightful owner of this collection is Hackney Archives."


A selection of the negatives that make up the whole collection have already been digitised and can be viewed via flickr. These include a boxing match from 1952, possibly at Shoreditch Town Hall; a 1952 netball team from Nisbet House in Hometon and a Southwold School production of The Wizard of Oz.

While you are there, don’t miss the Who were the Slave-owners of Hackney? A small but insightful explanation of history on slave trade: TRANSATLANTIC SLAVERY IS INFAMOUS FOR ITS CONTRIBUTION TO EUROPE’S CAPITALISM AND WEALTH.
In 1700’s the slave economy was at its most profitable. Hackney was a fashionable semi-rural area close to the City of London, the finance capital of the system of slavery. With large houses and good schools, Hackney was popular with the healthy business and merchants classes.
Dr John Aiken was an abolitionist. He lived in Stoke Newington Church Street, around 1750. He wrote to his sister asking to boycott slave-produced sugar.
Hackney was home to slave owners, abolitionists and African who settled.
The small exhibition shows the acts of Slave Trade Abolitions / Slavery Abolitions and those claiming compensations for losing their slaves...

Free
Opening Times
Tues, Weds, Fri: 9.30am - 5.30pm. Thur: 9.30am - 8pm, Sat: 10am - 5pm. Closed: Sun, Mon
Hackney Museum, Ground Floor, Technology And Learning Centre, 1 Reading Lane, E8 1GQ


Sybille Castelain for babylondonorbital@gmail.com