Tag Archives: Suicide


The year is 1978. Punk rock has captured the imagination of the world, but another group of musicians has taken a different path into the world of machine-driven electronica. The new film LE CHOC DU FUTUR—the directorial debut of Marc Collin, co-founder of the band Nouvelle Vague—explores the birth of a scene through the eyes and ears of a young woman in Paris.

Housesitting for a producer and availing herself of the wall of synthesizers in his apartment, Ana (Alma Jodorowsky)—a commercial jinglest and budding composer—works to create a new music-sans-musicians, what she calls “a dance for oscillators,” a layering process the film considers with lovely, unhurried detail. She dreams of leaving behind the old rock venues, “stinking of beer and piss,” and communing with nature in a mass gathering.

LE CHOC DU FUTUR features music by Throbbing Gristle, Human League, Julie London, Aksak Maboul, Jean-Michel Jarre, Suicide, and Clara Luciani—who co-stars—and is dedicated to the female pioneers of electronic music, among them Clara Rockmore, Wendy Carlos, Daphne Oram, Delia Derbyshire, Eliane Radigue, Laurie Spiegel, Suzanne Ciani, Johanna Beyer, Charlotte “Bebe” Barron, Pauline Oliveros, Else Marie Pade, and Beatriz Ferreyra.

See link below for details.


A film by Marc Collin.

Cleopatra Entertainment

Marc Collin, Le choc du futur (2019), starring Alma Jodorowsky. Photographs and film poster courtesy and © Cleopatra Entertainment.



What moves a spirit to inhabit a building?

Join us this Sunday as Bea Schlingelhoff opens a non-denominational, secular space of worship at Corner Door*. A dysfunctional storefront church without a congregation, the room has been prepared nonetheless as a space for reflection, awaiting visitation, the back wall cut away to reveal a double altar.

To one side, a short film from 1971 by Edit DeAk, founding editor of Art-Rite Magazine, grants redemption to the fictional Frankie Teardrop from the song of the same title by the band Suicide. Teardrop, a shimmering reflection in moving water, is a tragic metaphorical figure, everywoman, one of us. On the other side of the altar is a holy toilet, a common object, the source of inexhaustible waters, but still a working toilet. If an artwork can save Frankie Teardrop, Schlingelhoff asks us to think about the relation between art and redemption.

The building has been newly renovated and repainted, ready for service. Faith-based painting, if that’s an actual thing, is not an artwork at all but, I don’t know, color on a wall. Freed, redeemed, answering to a higher power. [Source: from the invitation.]





*Corner Door is a not-for-profit, independent exhibition space run by the artist Oscar Tuazon. Located in the neighborhood of Glassel Park in northeast Los Angeles, the space is open by appointment only. If you wish to schedule a visit please email to cornerdoor@oscartuazon.com