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Friday, November 05, 2010

Dinner with the divinely talented writer Bruce Benderson is always joyeous, add to that Travis Jeppeson and a fine hoot of a time was wallowed by all at the Thai bistro Phucket on the Mehringdamn Corridor.La Benderson was in town from Paris where he had a launch for his new French tome Trans Human, set in the year 2045 where technology and biology become one.It’s a very scare thought.
Not so frightening was finding out that mega genius Bruce is very close to MGM star Leslie Caron of Gigi and An American in Paris fame.The legendary gamine’s favorite saying is, “Bruce needs something in his mouth at every moment”. Ms. Caron famously left her husband Peter Hall to get the hefty Warren Beatty past her lips in the early 1960s scandalizing two continents. I loved her in Ken Russell’s Valentino and she stole the film Le Divorce from Kate Hudson and Naomi Watts.I pointed Mr. Benderson smoking on his Hal9000 computerized ciggy toward Nollendorfplatz so that he could find some student prince at Tabasco’s or the Blue Boy pub.
This news shocker just in: Actress Jill Claybourgh died. She is best known for the film An Unmarried Woman from the 1970's and other similar proto feminist offerings, but I loved her the most in the Italian film La Luna directed by Bernardo Bertuluci where she plays an American opera singer who has sex with her beautiful 15 year old heroin addicted son, and also the TV movie Hustling that also starred the great Lee Remick.

Monday, November 01, 2010

Finally got the chance to take my son of the Abrahamic blood covenant Assaf Hochman to dinner for his belated birthday. He wanted to go to this cute little Asian fusion restaurant near his home in Mitte called Transit which wasn’t crowded and had amazing food. I adore my muscular bubble butt Israeli manchild who has performed with me in several projects including The Politics of Ecstacy and CHEAP Blacky.
Sunday Last evening I went to see him as one of the chorus boys in the new Peaches piece at Hebbel am Uffer called Peaches Does Herself, which is Peaches' celebration of her ten years in Berlin with all things Peaches by Peaches for Peaches starring written & directed by Peaches forever and ever amen.
The party spirit was running amok with her die hard fans in the audience who would love her even if she deposited a nice brown squiggly loaf on stage. The diva was in fine form and voice, and seemed to be having a blast playing with her own mythology. I loved the two girls, one on drums the other on guitar singing who started the piece against a shiny red curtain, and Peaches as the weenage Peaches writing songs on her spicy beef curtains sex red bedspread looking delicktable with a dark bewigged Jewfro.
Baby diaper Joel Gibb of the Hidden Cameras didn’t have much to do but look cute and adorable,while Danni Daniels aka Danni the Tranni has very nice large breastage and an impressive penowment.Of course no ones loins are bigger then Ms. Peach herself who seemed to delight in the amazing Sandy Kane running off with the entire spectacle. Ms. Kane is a 70something Times Square street performer and songstress who reminded me of a modern day Texas Guinan.What an Autumnal find!
Had a wonderous luncheon with fearless leader of CHEAP kollective Susanne Sachsse at Barcomi kaffeerusterie on Bergmanstr in the Mehringdamn coridor of Kreuzberg. Frau Sachsse is the busiest woman in Berlin with a million projects in the work, including an opera she will star in directed by Judy Labruce that premieres in Berlin in March and our Communist Bigamist performance piece that will most likely premier in 2012. In the morning was treated to a farmers breakfast with Cesar Vega my Beyond Lovely producer visiting the continent from Los Angeles. Sweet sexy Mexy Cesar came to Berlin from stops in Prague and Istanbul. Today he is off to Amsterdam. I took him Saturday to Gayhana’s Salon Oriental at SS36. We had a blast dancing to the middle eastern rhythms of DJ Ipek and Company. The floor show was stupendous with a muscular male belly dancer surrounded by a voluptuous harem scarem. I am suffering with my knees from all of the dancing I did with the beautiful Nazli Kilerci and her juicy posse. Nazli use to be roommates with kJohnny Blue and collaborated with Susanne Sachsse on their incredible X-Schulen performance piece this summer. Seen at Gayhana: icky little Udo Waltz the hairstylist to the German schtars and chancellor Angela Merkel.
I had a wonderful time in Frankfurt Germany where I was invited by cute and cuddily graduate student Zac Dempster to perform at the famous Staatliche Hochschule fuer Bildende Kunste Staedelschule. They housed me at the wonderful boutique hotel Nizza on Elbestr in the Auslander/Red Light District. My type of boutique hotel with a very accomodating staff and complimentary continental breaky. The night porter Tom Zimmerman was especially accomodating. My first evening Zac and his female husband the lovely and talented Romanian grad student Andrea Bellu took me to the famous Atschel traditional Apfelweingaststaette where I had the Frankfurt special of Gruner Saucer which was delicious. My performance took place at the site specific location of a haunted old gay bar in a condemned 16th century house in the old towne football hooligan section of the city. Josephine Baker and Le Corbusier were being invoked, but I kept seeing the spectre of Eileen Grey trying to plead her case of getting ripped off by Le Corbusier. Had a wonderful time even though I didn’t partake in any rousing fornication. Shout out of thanks to bicque dick Nick on tech, seductive Zusanna, dapper Wolfgang & Wendell who was the evenings MC. The celebs who came to check out the doll included German scandal heiress Katrin Radmacher, beauty boy Alexander Fehling, photo journalist Tim Hetherington and Nico Bandl of Think Inc.
This message just sent to me from the lovesexy Berlin film & video artist Liz Rosenfeld:

Dear Friends,

It is with extreme excitement to announce the completion of my latest film Frida & Anita. I would like to invite you to check out the new and improved official film website,, which includes a trailer for the film, along with upcoming screening information, stills, and bios about the amazing cast and crew I worked with.

Frida & Anita is slated to have a world premier at The British Film Institute on November 5th, as part of the 2- day program " After Image: Engagement with the Cinematic," and then I will be presenting Frida & Anita at The Tate Modern on November 27th, as part of a lecture/ film series about queer surrealism in art. At the moment I have no further official dates for screenings outside of Europe, I would love any further suggestions of venues/ festivals that any of you might suggest I contact.

Below is synopsis for Frida & Anita.

I hope this email finds you all well.

Sending wishes and love,


Frida & Anita
A Film By LIz Rosenfeld

Richard Hancock
Les Margeaux

Sex Intents
Sarah Goody
Katharina Klewinghaus
Sarah- Jane Norman

1924. Berlin, Germany. Mexican artist Frida Kahlo, traveling to Germany to connect with her father’s German/ Jewish roots, visits Berlin for the first time to experience the communist-inspired Proletarian Theater Movement. Late one evening, Frida finds herself meandering the streets of Berlin. She is searching for something to satisfy her curiosity, although unsure of what this is. Frida finds herself at the well-known La Garconne nightclub, where the infamous queer chanteuse Anita Berber is performing onstage as she walks in. Having never seen a woman perform nude before, Frida is moved and mesmerised by Anita’s sheer gall and direct intensity. She makes a promise to herself that she will not go home alone this evening, and that she will only go home with Anita.

The experimental video piece “Frida & Anita” imagines itself to be an intimate and personal document of one evening in 1924 when Frida Kahlo and Anita Berber spend the night together. As the video unfolds, one learns that this one-night-stand between these two artists, later appropriated as queer feminist icons, is not just about sex, but a discussion of sexuality, gender, cultural identity, between two people deeply invested in the idea that decadence is one of the ultimate revolutionary acts against the bourgeoisie.

In 1924 Frida Kahlo, 18 years old, was residing at home in Mexico City with her parents, learning the family business, photography, which many believe was a huge influence to her becoming an artist. Before her tragic accident that famously inspired her art practice, young Frida was working for her father while also interning for a draftsman in Mexico City. Considered to be one of “the wildest women of the Weimar Republic,” by 1924 Anita Berber had taken Berlin’s underground stages by storm. Her audacious dances, performances, and film appearances were both radical and scandalous, and it is said that she was the first woman to appear naked on the German stage. Historically, it is clear, that there was no possible way for Frida Kahlo and Anita Berber to have met in 1924. Anita Berber collapsed on the stage in 1929, and died in Berlin shortly after, while Frida Kahlo did not reach Europe until 1939, when she had her first solo exhibition in Paris, as well as her well-known affair with Josephine Baker.

But what if they had met? A fleeting touch. A graze between bodies in motion. A flash in time. The moment in which eyes lock. An instant where knowing smiles are exchanged. An effleurement; charged ephemeral experiences. Queer author Samuel Delany recalls cruising under the Williamsburg Bridge in the early 1950’s, and later finding out the man he had met that evening had been artist Jack Smith. “Frida & Anita” re-imagines a chance meeting of two women, who both became cultural figures representative and consequently superficial indicators of their cultures. Throughout their art careers, both Frida and Anita were heavily invested in their public personas, consciously performing the social climate they both influenced as politically- and erotically-charged figures. Modernist witches of their time, Kahlo and Berber were openly bi- sexual, political radicals, and married to their work which ultimately destroyed them. As artists they ruptured cultural boundaries, while troubling gender and sexuality; Anita through her fringe dances, which championed anti-Puritanism and sexual liberation, while with painting, Frida unapologetically forced the world to look at her. “Frida & Anita” illustrates one hot night in a historically radical time when decadence was seen as an act against the dominant class, and art and sex were used as tools for social consciousness.

“Frida & Anita” is a short experimental narrative piece shot in High Definition, with photography inspired by early German Expressionist silent film. Created to look like Berlin at its heyday during the 1920’s, “ Frida & Anita” will be shot in contemporary Berlin, pushing the definition and essence of historical re-enactment. This video is shot as a silent film of its day, with hand-drawn Spanish (spoken by Frida) and German (spoken by Anita) inter-titles with English subtitles underneath.

“Frida & Anita” is a political fantasy, intersecting the lives of two queer radicals who both left a huge dent in history, and clearly inspired artists who came after them. They both ruptured the immediate socio-political landscapes around them, defining, breaking, and re-defining the social classes with awkward grace and impenetrable energy, leaving what became both an art-historical and social-political legacy of work.