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.
Presented by the Los Angeles Filmforumat 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.”*
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.
This week, La Collectionneuse and the American Cinematheque present the 4K restoration of Serge Gainsbourg’s 1976 film JE T’AIMEMOI NON PLUS, its first Los Angeles screening in many years. Starring Jane Birkin, JoeDallesandro, 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’AIMEMOI 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
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.
The exhibition—organized by ChaédriaLaBouvier—includes work by David Hammons, KeithHaring, Lyle Ashton Harris, George Condo, and Andy Warhol. A film series will play in conjunction with the show (see link below for details).