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PALAIS DE TOKYO

Mercredi 9 AVRIL 2008 - 19h30

VAGINAL CREAM DAVIS

Vaginal Davis is an originator of the homo-core punk movement and a gender-queer art-music icon. Ms Davis made her name in LA's club performance scene, and has earned herself a similar notoriety as a cultural antagonist and erotic provocateur. Set apart from gallery-centered art, and Hollywood movies, and from those systems' necessities of high-polish, low-substance production, Vaginal Davis's low-budget - often no-budget - performance, experimental film and video practice has critiqued exclusionary conceits from the outside. Davis has been a prolific producer of club performance, video and Xerox-produced Zines, and other forms of antagonistic low-cost, high-impact work. Ms Davis derails collector-friendly raciness in spectacles of femininity, queerness and blackness. She critiques both the gallery system and the larger cultural trend that it mirrors, with tongue-in-cheek self-exploitation and rude provocations of racial and gender confusion.

http://www.vaginaldavis.com

PROGRAMME AU PALAIS DE TOKYO

Porno Adorno. F*ck Like the F*cking Blacks. A Performative Talk

This coursework by the gifted, international teacher Vaginal Davis is designed specifically for cosmopolitan whites looking to explore and bring out their inner dinge and for assimilationist blacks ready to re-connect with their Mandingo/Mandinga jungle realness.

"Dinge" literally means dirty, dark soiled or black, but it is also an old school derogatory gay term for black people. It refers to whites who are only sexually excited by blacks, and nothing else will provide them sexual solace. Whites who only desire blacks are called Dinge Queens.

We will review relevant films like Mandingo (Richard Fleischer, 1975) experimental classics like Sweet Sweetback (Melvin Van Peebles, 1971) comedic Blaxploitation legend Rudy Ray Moore and his Dolemite, (1975) and Peter Wheats traw, 1977 fare, to Fassbinder's Whity(1970) the Quebecois failure, Comment faire l'amour avec un négre sans se fatiguer [How To Make Love to a Negro and Not Get Tired] (Jacques W. Benoit, 1989) and the gonzo black porn of Hyphy studkin Brian Pumper, plus concentrate on the newest urban Hip-Hop subculture phenomena of Hyphy as it relates to black sensuality and a plethora of interactive activities and aktionist niggeradarie under the headings of Dialectica of Enlightenmentos, Hyphosophy of Moderna Muzica, Authoritarian Personalitikus, and Minimata.

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