TOXINOSEXOFUTURECUMMINGS is a “bodyfiction about pleasurable sex on a polluted planet. It’s a speech performance of a body making itself with words.

“In the performance, sex is seen as an evolutionary and developmental process. It opens up a world in which materials and multispecies bodies infiltrate each other, giving and receiving pleasure. The world is thoroughly polluted, but possible, queer and trans.

TOXINOSEXOFUTURECUMMINGS is a performance about an anticipatory and transformational state.”*

Helsinki-based performance and visual artist Ana Teo Ala-Ruona—in residency in Los Angeles over the past month—presents TOXINOSEXOFUTURECUMMINGS, in collaboration with trans-futurist sound designer and synthesist Scallion Chloe.


Saturday, July 27, at 8 pm.

Human Resources

410 Cottage Home Street, downtown Los Angeles.

Ana Teo Ala-Ruona, Toxinosexofuturecummings, 2019. Photographs, from top: Jaakko Pallasvuo; Nova Kaspia; Jaakko Pallasvuo (3); Nova Kaspia. Images courtesy and © the artist and the photographers.


Join filmmaker Marielle Nitoslawskal for the Los Angeles premiere of her Carolee Schneemann documentary BREAKING THE FRAME.

Presented by the Los Angeles Filmforum at MOCA, BREAKING THE FRAME—shot in 35mm, 16, Super 8, and HD video over the course of six years—is a “kinetic, hyper-­cinematic intervention, a critical meditation on the relation of art to the physical, domestic and conceptual aspects of daily life and on the attributes of memory. It uses Schneemann’s autobiographical materials to narrate the historic upheaval within Western art in post-­war America.”*


Thursday, July 25, at 7 pm.

MOCA Grand

250 South Grand Avenue, downtown Los Angeles.

Marielle Nitoslawska, Breaking the Frame (2012), stills. Images courtesy and the filmmaker and Possible Movements.


A month before the start of its commercial engagement at the Nuart, OUTFEST presents the Los Angeles premiere of THIS IS NOT BERLIN, writer-director Hari Sama’s loosely autobiographical take on the Mexico City of his youth.

The year is 1986, and Mexico is riding a wave a conformist nationalism leading up to the World Cup. But after one night at the Azteca—the capital’s underground hive of sexual and artistic liberation—best friends Carlos and Gera (Xabiani Ponce de León and José Antonio Toledano) are determined to go against the grain.


Wednesday, July 24, at 7 pm.

Chinese 6

6801 Hollywood Boulevard, Los Angeles.

From top: Xabiani Ponce de León in This is Not Berlin / Esto es no Berlín; Mauro Sanchez Navarro (left) and David Montalvo; Ximena Romo Mercado; Ponce de León; Ponce de León and José Antonio Toledano. Images courtesy and © the filmmaker, the performers, the photographers, and Samuel Goldwyn Films.


This week, La Collectionneuse and the American Cinematheque present the 4K restoration of Serge Gainsbourg’s 1976 film JE T’AIME MOI NON PLUS, its first Los Angeles screening in many years. Starring Jane Birkin, Joe Dallesandro, and Hugues Quester, this truck-stop triangle was the first of only two features films Gainsbourg directed.

“Serge is the one who approached me. [Jane and Serge] were great people. Just a great couple that were truly a couple. They were fun to be with. It was really difficult to shoot a film where your love interest is the wife of the man who’s directing it. The film had to be erotic and I had to be very cool. I was doing multiplication tables in my head the whole time. But I loved both of them very much. They were very special people…

“[JE T’AIME MOI NON PLUS] was ahead of its time. I thought the public was gonna be ready for that kind of story. I thought it’d have been a nice success if they’d released it back then. But they weren’t giving Serge the kind of play he wanted.” — Joe Dallesandro


Wednesday, July 24, at 7:30 pm.

Egyptian Theatre

6712 Hollywood Boulevard, Los Angeles.

From top: Jane Birkin and Joe Dallesandro in Je t’aime moi non plus, with Hugues Quester (third from top, right) and director Serge Gainsbourg (fourth from top, center, on raft, and sixth from top, second from right).


The Death of Michael Stewart—a 1983 painting by Jean-Michel Basquiat commonly known as Defacement—was Basquiat’s response to the killing of tagger Michael Stewart at the hands of New York City transit cops.

BASQUIAT’S DEFACEMENT—THE UNTOLD STORY—at the Solomon R. Guggenheim Museum—explores of the impact of Stewart’s death on the lower Manhattan art community.

The exhibition—organized by Chaédria LaBouvier—includes work by David Hammons, Keith Haring, Lyle Ashton Harris, George Condo, and Andy Warhol. A film series will play in conjunction with the show (see link below for details).


Through November 6.

Solomon R. Guggenheim Museum

1071 Fifth Avenue (at 88th Street), New York City.

From top:  Jean-Michel Basquiat, Defacement (The Death of Michael Stewart), 1983, acrylic and marker on wood, collection of Nina Clemente, New York, photograph by Allison Chipak, © the Solomon R. Guggenheim Foundation, 2018; David HammonsThe Man Nobody Killed, 1986, stenciled paint on commercially printed cardboard with cut-and-taped photocopy from a spiral bound periodical with works by various artists, from Eye magazine, no. 14, “Cobalt Myth Mechanics,” 1986, © the Museum of Modern Art, New York, licensed by SCALA / ARS, New York; Keith HaringMichael Stewart, USA for Africa, 1985, enamel and acrylic on canvas, collection of Monique and Ziad Ghandour, © the Keith Haring Foundation; card for benefit at Danceteria, October 3, 1983, collection of Franck Goldberg, photograph by Allison Chipak, © the Solomon R. Guggenheim Foundation; Jean-Michel BasquiatLa Hara, 1981, acrylic and oil stick on wood panel, Arora CollectionJean-Michel Basquiat, Charles the First, 1982, acrylic and oil stick on canvas, three panels; Lyle Ashton Harris, Saint Michael Stewart, 1994, photograph, courtesy and © Lyle Ashton Harris; Jean-Michel BasquiatUntitled (Sheriff), 1981, acrylic and oil stick on canvas, Carl Hirschmann Collection. Basquiat images courtesy and © the Estate of Jean-Michel Basquiat / Artestar, the collectors, and the photographers.