BABALU - NOVEMBER 2005

BABALU SUPER STAR

another exhibition in Cologne to see: BEARFIGHTER at COX

At Cox, the world of bears and real men in Cologne you can see the exhibition Bearfighter - Photographer for brute souls

More info about the exhibition and COX at:
http://www.cox-cologne.de/

REFERENCE: EXHIBITION - “Pariser Leben” and “Toulouse-Lautrec und die Künstler des Montmartre – eine Sternstunde der Lithographie”

“Pariser Leben” (Life in Paris). From Manet to Toulouse-Lautrec. French drawings and prints 1860 – 1910 5 November 2005 to 8 January 2006 Paris around 1900 – the metropolis par excellence! It is here that life pulsates and the arts explore new paths – realism, impressionism, Art Nouveau. Apart from Manet and Toulouse-Lautrec, there are other great masters such as Renoir, Degas, Pissaro, Bonnard, Vuillard, and Cézanne. It is above all the imagery of the graphic arts that reflects the wide variety of the period – light and shade, tradition and new beginnings, rich and poor and the dramatic relationship between the sexes. The works presented range from views of the city and portraits to posters and illustrations and architectural designs. The core of this selection comes from the Niedersächsische Landesgalerie in Hanover (Nitschner Collection) and is complemented with loans and works from Cologne collections (e.g. Hittorff Estate).
At the same time the Käthe Kollwitz Museum Cologne presents the exhibition “Toulouse-Lautrec und die Künstler des Montmartre – eine Sternstunde der Lithographie” (Toulouse-Lautrec and the artists from Montmartre – a highlight in the history of lithography).

OBJECTS: CHANDELIER

at QUO VADIS in Cologne

REFERENCE: EXHIBITION - ‘James Avati: King of Paperbacks’ at GEMEENTE MUSEUM in Helmond - Holland

From October 9, 2005 thru January 15, 2006, the Helmond Municipal Museum presents the first museum retrospective ever of the work of Avati. He created attractive cover designs for the novels of authors of world literature like Steinbeck, Faulkner, Salinger, Caldwell and Moravia. Thanks to the unique combination of his personality and his talent as a painter, James Avati is generally viewed as the best painter of paperback covers of the second half of the twentieth century.The exhibition, entitled ‘James Avati: King of Paperbacks’, presents approximately 90 paintings, 20 sketches, 50 black and white photographs, 150 paperbacks and a video documentary.

PaperbacksIn 1950s’ America, during the so-called "paperback revolution", literary novels were sold in ‘softcover’ editions and had a circulation of millions. This way real literature reached a new audience, formerly not accustomed to reading novels. Realistic cover illustrations were used to attract the audience’s attention. Avati was the first and also the best of these paperback illustrators. Not surprisingly, his colleagues called him the "King of the Paperbacks".Over the past 25 years many of Avati’s original paintings have been rescued from the vaults of American publishing firms like Signet, Avon, Dell and Bantam. Today many of these paintings are considered real art.

MAKING OFF: CELSO JUNIOR at VAGEVUUR

CELSO JUNIOR at VAGEVUUR, EINDHOVEN – HOLLAND

16 PAINTINGS from November 19th to January 20th (2006)

José Carlos
Calica
Nisa
José Luis and Antonio
Tapis
The Kiss V
Zé Pedro and Marco
Brit I
RUDY II
EDUARDO
Skins
BRUNO and DUARTE
JOÃO PAULO II
THE KISS III (MANUEL JOÃO and LUÍS)
Davide
Octavio

You can find all information concerning these 16 paintings at the archives August 2005 to October 2005.
Illustrating this post. Davide

Expositie Celso Junior

Vanaf 18 november exposeert het Vagevuur een aantal schilderijen van deBraziliaanse schilder Celso Junior.
Opdat de thema's van de verschillendewerken aansluiten bij de thema's van onze party's, zal er wekelijks eenselectie uit de beschikbare werken worden gemaakt, die dan in hetbargedeelte zullen worden tentoongesteld.
In totaal zal de expositie zo'n 2 maanden duren, zodat bezoekers metinteresse in de verschillende thema's in de gelegenheid zullen zijn met hetwerk van deze kunstenaar kennis te maken.
Voor hen die niet kunnen wachten zijn de schilderijen ook te zien op www.celso-junior.com, waar ook meer informatie over Celso te vinden is.Exposition

Celso Junior

A partir du 18 novembre, le Vagevuur expose une série de tableaux dupeintre brésilien Celso Junior.
Puisque les thèmes des différentes ouvrescorrespondent à ceux de nos différents soirées, nous avons fait unesélection de peintures qui seront exposées dans notre bar.
Notre exposition durera environ deux mois de manière à ce que nos visiteursintéressés par les divers thèmes puissent faire connaissance avec l'ouvrede notre artiste.
Pour ceux qui ne peuvent attendre, les peintures peuvent aussi être vuessur le site
www.celso-junior.com ou on peut également avoir de plus amplesinformations sur le peintre Celso.

Showing Celso Junior's workAs of November 18th the Vagevuur will be showing the Brazilian painterCelso Junior's pictures.
We aim to have a connection between the themes inthe paintings and themes of our parties. To do that we will show aselection of those paintings each week in the bar area.
The exhibition will last for about two months, so that all visitors who areinterested in those various themes will be able to see the artist's work.Those of you who can't wait to see them may go to www.celso-junior.comwhere you will also find additional information on the artist.

Ausstellung Celso Junior

Ab dem 18. November stellt das Vagevuur eine Reihe von Bildern desbrasilianischen Malers Celso Junior aus.
Da die Themen der verschiedenenWerke zu den Themen unserer Parties passen, werden wir Woche für Woche ausden verfügbaren Werken Bilder auswählen, die dann im Barbereich ausgestelltwerden.
Insgesamt wird die Ausstellung etwa 2 Monate dauern, sodass alle Besuchermit Interesse an den verschiedenen Themen Gelegenheit haben werden, dasWerk dieses Künstlers näher kennenzulernen.
Für alle, die nicht warten können, sind die Bilder bereits auf www.celso-junior.com zu sehen. Dort findet Ihr auch weitere Infos über Celso.

Stichting het Vagevuur
Kanaaldijk Noord 11
5613 DH EINDHOVEN
The Netherlands
www.vagevuur.com

SITES: Rubberdocs

a trip in rubber, waders and boots

Visit: http://rubberdocs.net/index2.html

CELSO JUNIOR: Cosas de Casad@s lgbt

Cosas de Casad@s lgbt

Cosas de Casad@s lgbt

La mirada de los artistas sobre a legalizacíon del matrimonio homosexual en España

MADRID: VISIBLE

VISIBLE é um Festival Internacional de Cultura LGBT que acontece em Madrid durante o mes de Junho.
VISIBLE é uma iniciativa cultural, multidisciplinar e aberta, pensada como uma forma de estabelecer um diálogo cultural entre este colectivo e a sociedade a que pertence.
Para saber mais sobre este Festival visite o site em: http://www.festivalgayvisible.com/

REFERENCE: FILM - THE PICTURE OF DORIAN GRAY

The Picture of Dorian Gray (1945)
Directed by Albert Lewin
Cast: George Sanders as Lord Henry Wotton, Hurd Hatfield as Dorian Gray, Donna Reed as Gladys Hallward, Angela Lansbury as Sibyl Vane, Peter Lawford as David Stone, Lowell Gilmore as Basil Hallward, Richard Fraser as James Vane
Runtime: 110 min
Country: USA
Colour: Black and White / Colour (Technicolor)
Sound Mix: Mono

Plot Summary for The Picture of Dorian Gray
Innocent young Dorian Gray has his portrait painted by a close friend. Soon after, under the influence of amoral Lord Henry Wotton, he jilts his fiancée, leading to her suicide. This is the start of a life of increasing debauchery, Gray realising that the outward signs of this are apparent only in the portrait. Eventually the picture, secreted in his childhood playroom, becomes almost hideous to behold.

O que eu fabuloso neste filme todo realisado em Preto e Branco exceto o retrato, que nos é mostrado em Technicolor , foi pintado por Henrique Medina, pintor português, muito em voga na Hollywood dos anos 40.

REFERENCE: BOOK - THE PICTURE OF DORIAN GRAY de Oscar Wilde

uma luz no fim do túnel - Vale a pena conferir este SITE

National Coalition for Sexual Freedom (NCSF)
http://www.ncsfreedom.org/whycare.htm

National Coalition for Sexual Freedom
822 Guilford Avenue, Box 127
Baltimore, MD 21202-3707
e-mail: ncsfreedom@ncsfreedom.org
phone: 410-539-4824

UMA QUESTÃO DE MORAL: NÃO ÀS OBSCENIDADES

Não canso de pensar que cada povo tem o governo que merece, ou vice-versa, não sei...
Farto deste povo burro que não sabe votar, que não é lúcido, que não tem capacidade de perceber que o hiato criado pelos seus medos mesquinhos tem sempre um alto preço a pagar.
Nem eu nem o mundo merecemos esta espera angustiante, pelos 4 ou 8 anos necessários para este povo nojento perceber a cagada que fizeram.
Como disse antes, estou encantado com Madrid e com o povo Espanhol, governo e povo em estado de graça, construindo um futuro digno de uma nação civilizada. Vontade e firmeza política, visionários, lutadores e vencedores. Souberam deixar para trás o pesado ónus de certas tradições e valores ultra-conservadores.
Sobre Portugal, não me apetece ir para além do concluir que um dia este país há de imitá-los na sua fórmula, talvez daqui a uns 50 anos, quem sabe!
Mas não estou aqui para perder meu tempo em falar sobre Portugal e seu povo, no panorama mundial não é representativo e segue normas, não as dita: Estou aqui para, uma vez mais, falar da administração Bush.
OS AMERICANOS DECLARARAM GUERRA À OBSCENIDADE EM HOLLYWOOD.
Reeditando o esquadrão anti-pornografia do FBI dos anos 80, não são apenas os filmes mais ousados ou a multi-milionária indústria pornográfica que estão na mira de Bush e seu séquito. Agora, mesmo as produções convencionais, com cenas de sexo simulado, vão estar sob a vigilância.
Imagino já, aqueles polícias, juristas, promotores, pastores, homens e mulheres, que fazem BEM o seu trabalho, heróis e heroínas, soberbos, com o orgulho e a protecção de um Estado para cometer seus abusos de poder em nome de uma moral datada e iludida, a mãe ignorância dando asas e liberdade a esta horda de anjos prontos a matarem, como sempre, o Dragão. Tipo, São Jorge.... Sugiro uma leitura no DICTIONNAIRE DES SYMBOLES do verbete DRAGAO, certamente compreenderão onde quero chegar.
Em termos práticos isto quer dizer que, seja na área do Cinema, Televisão, Fotografia, Artes Plásticas, todas as cenas que mostrem actos sexuais ou eróticos, serão classificados como pornografia.
Já não há diferença, está tudo dentro do mesmo saco...em analogia, isto me faz lembrar que uma grande maioria de portugueses(as) crêem que pedofilia e homossexualidade são a mesma coisa.
Sempre batemos na mesma tecla: que falta faz a Educação!

Esta novidade fulgurante e querida da direita conservadora me levou a buscar um texto que li há muito tempo e que aqui reproduzo fielmente.
Li-o em francês, não no seu original inglês, mas creio que a tradução é merecedora de crédito.

Extracto do Processo da Coroa de Inglaterra contra Oscar Wilde

WILDE – Tout ce qui stimule l’esprit des gens, à quelque âge que ce soit, est bon pour eux. (rires)

CARSON (Advogado da Coroa) – Que cela soit moral ou immoral?

WILDE – La pensée n’est jamais ni l’un ni l’autre

CARSON (Advogado da Coroa) – Ah! Il, n’y a pas de pensées immorales, alors ?

WILDE – Non, il y a des sentiments immoraux, mais la pensée est un processus de l’intellect.



A MORAL QUESTION: NO TO OBSCENITIES

I do not tire to think that each people has the government that he deserves, or vice versa, I do not know...
Fed up of these silly people who do not know to vote, who cannot discern, who don’t have the capacity to perceive that the hole created by its stingy fears has always one high price to pay.
The world and I, we don’t deserve this overwhelming wait, for the 4 or 8 years necessary, for these disgusting people to perceive the shit that they have made.
As it said before, I am fascinated with Madrid and the Spanish people, government and people in a state of grace, constructing a worthy future of a civilized nation. Wilful and firm politics, visionaries, fighters and winners. They had known to leave stops backwards, heavy prices of certain traditions and ultraconservative values.
About Portugal, I’ not in the mood to go me for beyond concluding that one day this country has to imitate them in its formula, perhaps on 50 years from now, who knows!
But I am not here for losing my time tanking about Portugal and its people, in the world-wide panorama he is not representative and it follows norms, not said them: I am here for, once more, to talk about the Bush administration. THE AMERICANS HAD DECLARED WAR TO THE OBSCENITY IN HOLLYWOOD.
Reediting the squadron anti-pornography of the FBI of years 80, they are not only the films boldest or the multimillionaire pornographic industry that are in the aiming of Bush and his angels.
Now, even the conventional productions, with scenes of simulated sex, go to be under the monitoring. I imagine already, those policies, jurists, promoters, priests, men and women, who make its work, heroes and heroines, magnificent GOOD, with the pride and the protection of a State to commit its abuses of being able on behalf of a moral deluded and, the mother ignorance giving wing and freedom to this legion of angels to kill, as always, the Dragon. like, Saint Jorge.... I suggest a reading in the DICTIONNAIRE DES SYMBOLES of the entry DRAGON; certainly you will understand I’m meaning.
In practical terms this wants to say that, either in the area of the Cinema, Television, Photograph, Arts, all the scenes that show sexual or erotic acts, will be classified as pornography. Already it does not have difference, it is everything inside of the same bag... in analogy, this makes me to remember that a great majority of Portuguese people believe that paedophilia and homosexuality is the same thing. We always beat in the same keyboard key: how lack makes the Education!

This shinning and wanted newness of the right conservative took me to search a text that I read has much time and that here I reproduce faithful.
I read it in French, not in its original English, but I believe that translation is deserving of credit.

Extract of the Process of the Crown of England against Oscar

WILDE – Tout ce qui stimule l’esprit des gens, à quelque âge que ce soit, est bon pour eux.
(to laugh)

CARSON (Lawyer of the Crown) – Que cela soit moral ou immoral?

WILDE – La pensée n’est jamais ni l’un ni l’autre

CARSON (Lawyer of the Crown) – Ah! Il, n’y a pas de pensées immorales, alors ?

WILDE – Non, il y a des sentiments immoraux, mais la pensée est un processus de l’intellect.

REFERENCE: BOOK - DICTIONNAIRE DES SYMBOLES de Jean Chevalier et Alain Gheerbrant

uma referência obrigatória

REFERENCE: FILM - THE WILD BUNCH (1969)

Suddenly a new West has emerged. Suddenly it was sundown for nine men. Suddenly their day was over. Suddenly the sky was bathed in blood

The Wild Bunch (1969)
Directed by Sam Peckinpah
Cast: William Holden as Pike Bishop, Ernest Borgnine as Dutch Engstrom, Robert Ryan as Deke Thornton, Edmond O'Brien as Freddie Sykes, Warren Oates as Lyle Gorch, Jaime Sánchez as Angel (as Jaime Sanchez), Ben Johnson as Tector Gorch, Emilio Fernández as Gen. Mapache (as Emilio Fernandez), Strother Martin as Coffer, Bo Hopkins as Clarence 'Crazy' Lee, Jorge Russek Maj. Zamorra
Runtime: 134 min / USA:145 min (1995 re-release) / 179 min (director's cut)Country: USAColour: Black and White / Colour (Technicolor) Sound Mix: 70 mm 6-Track (70 mm prints) / DTS (1995 re-release) / Dolby Digital (1995 re-release) / Mono (35 mm prints) / SDDS (1995 re-release)

Plot Summary for The Wild Bunch
Outlaws on the Mexican-U.S. frontier face the march of progress, the Mexican army and a gang of bounty hunters led by a former member while they plan a robbery of a U.S. army train. No one is innocent in this gritty tale of desperation against changing times. Pump shotguns, machine guns and automobiles mix with horses and Winchesters in this ultra violent western.

MY BOOT COLLECTION

BROWN WADERS SUPERGA
Made in Italy
Bought in Caorle, near Venice on 2003

MY BOOT COLLECTION

BALCK HALF WADERS TRETORN
Made in Germany – Hamburg
They will become rare soon, I’m sure.
I have two pairs, one bought in Paris and other brought from Berlin for my rubber mate Thomas (both acquired on 2005)

Online Humiliation

Online humiliation is the desire to be seen in a sexually embarrasing context via the internet. This is generally thought of a "safe" as the fetishist can control the time and degree of exposure, however some adherents have over estimated the privacy the net allows and found themselves in difficulty; probably a somewhat Freudian outcome.
Online humiliation allows the submissive to seek fetish partners across the world, to send them embarrassing pictures or to submit to their demeaning instructions without it directly affecting their home life (hopefully).
The process can be conducted via chat and webcam, or via email, or via dating and contact websites or even via online auctions where the person publicly bids for items that reveal their fetishes.

MY BOOT COLLECTION

... this paper was inside these boots
I got them as a gift in Lisbon on 2004
the owner died and his family was planning to thru them away
lucky me!!!

PERSONAL ALBUM - Brazil 1987

TALKING ABOUT ...PORNOGRAPHY, BRUCE LABRUCE and CAZZO FILMS

Believe or not, I’m not really into pornography.
I’m this kind of person who truly believe that there is an huge distance between Pornography and The Erotic.
Any way, SKIN GANG, a Porno Film by Bruce La Bruce is an exception. The film is brilliant, especially because it was made as the soft SKIN FLICK, same cast, same story

SKIN GANG (London 1999)
Directed by Bruce La Bruce
Cast: Steve Masters, Eden Miller, Tom International, Ralph Steel, Tim Vincent, Jens Hammer, Nikki Richardson, Bastian
Runtime: 90 min Country: UK/GermanyColour
Plot Summary for SKIN GANG
The gang of skinheads isn’t gay, but that doesn’t stop them from fucking each other.
Reinold kicks his girlfriend out of the house and much to the amusement of his buddies opens his gates wide! To rise the stakes they crash in on a fashionable gay couple. But the tables get turned and the leader of the pack is forced to submit!

Visit: www.CazzoFilm.com
and you can find the best available titles for Porno Films

INTEREST: BROWSING OLD OR SECOND HAND SHOPS

CELSO JUNIOR: PEDRO DIAS

PEDRO DIAS
Oil on canvas 1996
88cm x 100cm / 34,64” x 39,36”
Available

SITES: Scotbiker

If wrestling bikers appeal to you, click on http://www.scotbiker.co.uk/
to find lots of hot fighting scenes

Message from the owner:
You're supposed to have grown out of playground wrestling when you graduated from school.
But if you never quite did, and you like cute bikers, jeans, bike leathers, fun wrestling, the schoolboy pin - this site is for you.
Welcome to Bikers Wrestling for Fun. Enjoy!
Scotbiker

All American Kink Interview by Fred Kaplan

The Gospel According to Artist Celso Junior: "The Only Salvation Is To Yield To The Prick"

1. First, tell us about your name? How prevalent is the name “Celso” and does it mean anything? “Junior” isn’t your surname, is it?
Mmmmmmmm. “Celso” means whatever comes from heaven and its origin is in the word “excelsior,” which signifies the same. Can you believe that? I’m more into hell than heaven, anyway … “Junior” is what distinguishes me from my father, given we both have the same name.

2. When did you decide that painting is how you wanted to express yourself? Are there other artistsin your family? And how did sexual expression relate to your decision to become an artist?
My painting expresses both my desires and thoughts and, above all, my passion for difference. And my reality is sometimes quite difficult, derived from being the kink among the kinks. I don't have any other artists in the family, so my references don't derive from there. I believe [my sexuality] to be mere consequence. I never gave much thought on the subject, but I think in the beginning, both were separated, and only came together later. Today, they are intimately linked and I don't see how to dissociate them.

3. I am assuming that you were raised Catholic. You have been quoted as stating that the “artist is a cursed figure … who is damned for illuminating his tortured existence.” How much has your art been influenced by Catholicism?
My family, Catholic — although not attending Mass or any other religious ritual — is feverous in faith. My parents gave me space for my choices, educating me in freedom in order to discover for myself the price to pay for my acts, and to assume the responsibility of my choices. Undoubtedly Catholicism was a major influence in both my life and work, specifically until my late 20s. In the meantime, I’ve grown the antibodies against this disease, which is the Catholic religion. In fact, I’ve grown antibodies against all religions. There was a period in my life when I deeply questioned myself on this subject. I studied a lot: theology, philosophy and psychoanalytic essays. I read, and read again, La Legende Dorée by Jacques of Voragine, a medieval work that compiles the life of saints. Deep inside my idiosyncrasies that privilege contradiction, I devoured these subjects with both a fascination and repugnance for those unhealthy biographies, replete of the purest masochism, derived from an obvious sublimation of sexuality. The example of Saint Sebastian is flagrant, who, not satisfied in driving himself to self-sacrifice, indoctrinated others to follow him in death. There was a time when I portrayed many men as saints or in their own martyrdom. I no longer have the patience for these implicit references that, want it or not, as a result of being born in Latin countries, impregnate our souls. It’s true that there is a notion, hovering in the air, of a curse, and that we artists are some kind of damned convicts walking always on the edge of things.
Of Catholicism, what remains for me is the architecture of it and every work that resulted from a constant sublimation of the senses over centuries.

4. You were born in San Paulo, but have lived in Lisbon since you were twenty-four. Why did you choose to leave Brazil and what made you choose to live in Portugal?
I was 27 when I moved to Lisbon. My great issue with life or with God summarizes itself in the concept and the truth of FREE WILL.
How was I able to be born in Brazil if my entire imagery was in Europe? I always had the best life conditions in Brazil, but I wasn’t happy for the simple fact of being there. Lisbon was the chosen city because, for me, it’s a privileged spot to keep vigil, and glimpse over an entire Europe without hurting me, a lot. Paris, Berlin and Amsterdam were always my cities of election, but when we decide to live somewhere, we instantly kill the illusions and dreams we built beforehand about that place, no matter how solid they were. For that reason, I decided that a more neutral city would be the ideal to live in, keeping those other cities of my dreams reserved for occasional visits.
The Portuguese men, although dealing constantly, in my opinion, with unresolved sexual issues, are, on the other hand, beautiful. In Portugal, the uniforms of the military forces are a gift to the eyes. In certain fishing towns, you can still find men marked by the hard working life they’ve lead, walking around in the streets with their paved waders.
I guess my greatest pleasure really derives from eternally feeling foreign.

5. I've read that since you were a child, you've acquired more than 250 pairs of boots and you’re quoted as saying that “the best boots are the ones that fit other men … my eyes were made only to appreciate them.” What is your first memory of a man's boots and can you explain the feeling you got from it?
I started collecting boots when I was around 24, 25 years old. As a child, I never owned a pair of boots, and the ones I later bought during adolescence I ended up destroying, for fear or shame of this newly found sensation that I couldn’t really understand.
There were never any military, police, farmers or fishermen in my family, so all my references were external and strange to my environment. When I say that the most beautiful boots are those of the “other,” what I mean is that I constantly seek my object of desire, and possessing it is not enough to satisfy me.
The boots that the other wears will always be more beautiful because my gluttony knows no limits and I assume the pretension of knowing that few people in the world can appreciate them as much as I do.
The beauty and the desire are in my glance. Besides, this intense and insatiable exercise is one of the forms of living my fetish.
As of my first memory of boots, this happened when I was 4 years old, when for the first time in the life I saw a pair of rubber boots in a neighbor’s depot. I remember it so well, and almost 40 years later, I still lively recall both the image and the special sensation caused by the touch, the smell and specially the way I pressed them against my body.

6. What would make a pair of boots ugly to you?
All women’s boots. I assume my misogyny; I hate women using boots, especially if they’re men’s boots. It’s a profanation to my senses.

7. Your art often portrays authority figures, such as police and soldiers. How much do you think the politics of Latin America, where you grew up, contribute to this fetish?
OH YES! They certainly contributed in a decisive way, but they were not at all the source of inspiration for my work.
My imagery is constituted and was built after the colours and violent images of the Spaghetti Westerns and Italian war films of the 60s and 70s. Examples are films directed by Sergio Corbucci such as The Mercenary (1968) and Django (1966), where, in one single sequence, I find all my fetishes combined: BOOTS, UNIFORMS and DEATH. It’s also fundamental to mention Inglorious Bastards by Enzo Castellari (1978), where, from the very beginning to the end, we see Nazis being shot, falling with their legs to the air, exhibiting their high boots. Quentin Tarantino has a project, for 2005, of a remake of this film; I await it eagerly.
Authority figures always fascinated me above all, if they belong to totalitarian armies such as Los Federales, the soldiers in the Mexican army at the turn of the 20th century. With their khaki uniforms combined with high, black leather boots, they provide the right profile and contrast that directly motivates two universes: Underdevelopment and Fascism.
These men, by putting on these uniforms that emphasize their masculinity, become brutalized, arrogant, superb and extremely beautiful — which are characteristic qualities of their army. They lose all human expression, just to become mere objects, ready to die for any illusion.
I can also enumerate some other armies that have a strong effect on me and my art work: such as The German Uniforms, (Wehrmacht, Healthy, and the SS), the great majority of the uniforms of the military police of Latin America, and particularly, those worn by the guerrilla fighters of the FARC of Colombia that tastefully accessorize their camouflaged uniforms with rubber boots. However, this answer would not be complete without the contradictory element that characterizes me: Fascination and Contempt. In spite of giving myself whole to my fetish, I detest all violence perpetrated by those who represent authority, probably men with badly resolved sexual issues who ejaculate with the pleasure given them by this small and illusorily attributed power.

8. What fetish or form of sexual expression have you never approached in your art but have always wanted to?
None. I don't limit or frustrate my fantasy. All elements are present. Just to give you an example, although I’m left wing, I don’t deprive myself of my fetish for Nazi helmets and uniforms. And this is shocking for many people. But above any notion of what is or isn’t politically correct, is my desire. What makes the difference, and certifies my posture as a fetishist and not a racist, is that I have no problem in either painting or fucking a black or Jewish man wearing a Nazi uniform.

9. You've written that you only work from live models. How do you find models and what obstacles exist in finding models in Lisbon because Lisbon is still not considered a European Gay Mecca, is it? Or are you viewed as a celebrity so that there are men who are always eager to pose for you?
Every human being, without exception, one way or the other, longs for immortality. A picture has the power to keep that illusion, at least for one moment. In this game of sensations, it becomes easy for me to seduce the models to pose for me.
I’m no celebrity and this easiness in finding models results merely of seduction games and the vanities of human kind. I don't limit myself to the Portuguese men; I have models of all nationalities. For me, beauty and horniness know no borders.

10. As part of your creative process, do you pose models in actual S/M or other sexual positions? Many of the men in your portraits are in the throes of orgasm? What does orgasm mean to you in addition to the traditional sexual definition?
Yes, definitely.
I pose them in sexual positions. Regarding the series: Death and Transfiguration and Transcendence. All men that posed for me on the verge of, or after, an orgasm, were portrayed as in the instant of death or in its very last second. In my personal progress, where the body aesthetic has always been decisive, I was never convinced or content with conventional standards of beauty or any pictorial or written references.
BEAUTY is an attribute exclusive to the beholder and, in the beauty of sensuality and desire, the only salvation is to yield to the prick. Sentiments and thought are prohibited under threat of being punished by the loss of our erection. Tumescence becomes God and we submit in passion. The theatre, ballet, fine arts, advertising, fashion and cinema — areas in which I have lived professionally since a young age — have always tacitly connived with the tyranny of established canons.
ENOUGH! My penis defines my canon in my selection of models; my tumescence decides the best way to represent them. Academic positions, static or moving, tensing muscles in athletic positions or sensitive lightness of movement as in any choreography, whether it’s a ballet or a tango, leave me completely unaffected; they are commonplace compared with the beauty that the male body exhibits in the act of climax.
Death that comes in a violent form, muscles out of control as bullets definitively break the monotony of the established and present a “figure” in disarray, unstructured, BEAUTIFUL. The facial muscles in particular, go from surprise to pain and finally to the realization of what is definitive, almost loss; this physical lack of control stamped on the face of a macho male superbly reproduces one of our most authentic moments when we permit it: AN ORGASM! DEATH, ORGASM AND TRANSFIGURATION. Three words that define a single moment, one or two seconds, or even a fraction of a second in which we dissolve in a mixture of pleasure, pain and transcendence.

11. While the sexual acts that you portray in your works reflect realism, the colors you choose are generally more vibrant than in reality. What influences your use of color?
It’s atavic. I’m Brazilian, Latin, coloured and I’m sure that the strength and the vibration of my work is in the colour.

12. What is the most difficult thing about capturing the feelings between two lovers?
There is no difficulty; just the opposite.
It facilitates the whole process above all because I’m attracted by threesome male relationships.

13. In “Tapis,” you have three guys: two Tops and a bottom and the Top is inserting a nightstick into the ass of the bottom. Was this painted from reality or was it posed? In other words, do you pose your models or do you capture actual acts in real time?
Both processes are common; they always depend on the atmosphere that builds up and on the interaction between models.
For “Tapis,” it was posed, not meaning that the “game” didn’t continue latter. And that all the energy derived for that “game” wasn’t channelled for the accomplishment of the picture. Don't forget that role-playing is also one of my passions.

14. “Octávio,” the work — and I assume the model — on the cover of this issue of All American Kink, is very professionally bound. Did you do execute the bondage yourself or is this merely how he was instructed to pose for you? How often do your models get off sexually while posing for you and, how do you feel about it if they do (or don’t)?
NOPE! Here is the reason for such a short answer. I’ve had very few bondage sessions in my life, because bondage is not one of my fantasies, not as bottom, nor as Top. However, being as curious and extremely voyeuristic as I am, I gave myself — body and soul — to those few experiences. Octávio (Portuguese) was the third element in a session with a Master in bondage (American), and unlike “Tapis”, it was done in real time.

15. Your statement, “I never paint thinking about other people,” is truly provocative. Does that mean that you don’t take commissions for new work?
I’ve already created many works on commission and I am never closed to this type of proposal. But I recognize that a commission can generate a painful and difficult process, in comparison with a painting that is born and executed solely driven from my desire.
When I state that I don't paint with the “OTHER” on my mind, what I mean is that the selection of my models and themes emerges from my horniness and from the foreseen pleasure that I want to take out of it, and not from the possibility to create something desirable for the OTHER, and to consequently create a work that is more easily marketable.

16. How is the process of painting a landscape different from that of painting a sexual image? When you exhibit your work, do you include your landscapes along with those that contain sexual imagery?
I’ve painted many landscapes and sold them all, but the pleasure in making them is zero. They are worthy as formal studies and experiences on colour mutations. I don't even have the desire to exhibit them — notice that the very background of my pictures is, in their majority, neutral or with interior scenes.
What I really like to paint are portraits because I can touch the soul of the models and always bring to light something that is hidden, or in latent potency, something that they have still not discovered or manifested. And since it is almost impossible to dissociate sensuality from the human figure, the final picture comes up with a strong sexual appeal.

17. In addition to painting, you are a photographer and video producer. Which of these forms the basis of how you earn your livelihood? And I’ve also read somewhere that you own 25,000 fetish photos! Can this be true?
All these professions are exclusively linked to survival. Now there are about 60,000 photos and it’s an ever-increasing number. They are compilations, newspaper and magazine pictures, and about 12,000 taken by me. The point in common among all: MEN WEARING BOOTS!

18. You are credited with starting the Lisbon Gay and Lesbian Film Festival when you improvised a retrospective of gay films by screening your personal videotape collection. How important do you see film and video in your future and how will it affect your relationship to painting?
I created the Lisbon Gay and Lesbian Film Festival — it is already undergoing its 8th edition — and I remain its director and programmer.
This retrospective to which you refer was presented in the Festival’s 1st edition, in 1997, and it was decisive in solidifying both our public's regular attendance, and the support of our sponsors. As I already said previously, cinema is my main source, and from which I’ve built my imagery. Cinema and video assume a crucial importance in giving life to something that the painting limits: THE MOVEMENT.
I have many projects for video (SHOTS) and I’m planning to accomplish my first documentary: TALKING ABOUT RUBBER BOOTS AND MACHINE GUNS, where I will tell in images the depositions and experiments of several fetishists, without ever justifying them.

19. You are involved with John Scagliotti, the gay American documentary filmmaker, on two new documentaries. Tell us more about this.
I already invited John twice to present his documentaries (After Stonewall and Oliver Button Is Star) in Lisbon and this year he will come for the third time. John is a sensitive man and has the talent to perfectly marry cinema and LGBT activism. As for my involvement with John’s latest documentaries, on his last visit to Lisbon, he was working on them, interviewing many people, so I just helped him out on whatever I could, contacting people, etc.

20. You’ve exhibited your paintings in many European cities. Where do you find that your work is most appreciated and by whom? How come, other than the Tom of Finland Foundation in Los Angeles — where you are a “Permanent Artist” — you’ve shied away from promoting your work in the US?
Hard to tell, I guess Paris, where besides some exhibitions, I’ve been represented by a gallery. If someone invites me to exhibit my work, normally it’s because they truly appreciate it.
There is no middle term, people hate or love my work and I believe that what I do is hardly commercial.
The Tom of Finland Foundation called me after seeing my work at Greasetank.com, an artist with whom you’re quite familiar.
[Editor’s Note: The artist, known as Greasetank, was interviewed and featured in AAK, vol. 3, no. 4.]
No, no one represents me in the US. Yet.

21. You exhibit your work online on several different gay art web sites? What thought have you given to creating your own site to promote your work in diverse media?
I’m a disaster on taking care of myself. It’s very difficult for me to deal with the commercial part of my work. In fact, I’ve always wanted to find a tyrannical manager that would rip me off — honestly — and exploit me in every sense!

22. Is there a typical aficionado of the work of Celso Junior? And what is the best method for collectors to contact you regarding purchase of your work?
If there is any “typical aficionado,” just come by my house. As for the second question, just e mail me.

23. So whom did you have to fuck at this magazine to get this interview?
Not really. What a pity … Well, I’m not averse to this occurrence, nor limited by distance. Just put your boots on.

CELSO JUNIOR: SAN SEBASTIAN (PHILIPPE)

SAN SEBASTIAN (PHILIPPE)
Mixed Technique – 1989
125cm x 40cm
Exhibited in Lisbon “DO FINO GOSTO” – Galeria Príncipe Real – 1989
Exhibited in Oporto “SANTOS DA CASA” Galeria Labiryntho – 1990
Galeria Labiryntho Collection

my dearest Collection

CELSO JUNIOR: TAPIS

TAPIS
Oil on canvas 1997
110cm x 110cm / 43,30” x 43,30”
Exhibited at COX – COLOGNE – Germany 2003
Exhibited at VAGEVUUR – Eindhoven – Holland – November 2005
Available

CELSO JUNIOR: OCTÁVIO

OCTÁVIO
Oil on canvas 1997
78cm x 106cm / 30.75” x 41.75”
Exhibited in Stockholm – SLM 1998
Exhibited in Los Angeles – OCTOBER 2002 L.A. EROTIC ART WEEKEND
Exhibited at VAGEVUUR – Eindhoven – Holland – November 2005
Available

CELSO JUNIOR: IGREJA DE SANTO ESTEVÃO I - LISBOA

IGREJA DE SANTO ESTEVÃO I - LISBOA
Oil on Canvas – 1996
70cm x 130cm
Private Collection – Lisbon – Portugal

my scrapbook

An image from the artist's personal fetish scrapbook

Poster from 1st Lisbon Gay and Lesbian Film Festival

Lisbon, September 13th -28th, 1997

CELSO JUNIOR: MASSACRE

MASSACRE
Oil on Canvas – 1993
120 x 80 cm
2002 - Tom of Finland Foundation’s Collection – Los Angeles - USA

CELSO JUNIOR: PAULO and INÁCIO

PAULO and INÁCIO
Oil on canvas 1999
122cm x 160cm
2002 - Tom of Finland Foundation’s Collection – Los Angeles – USA

SITES: gay.fleshbot

Visit SITE: http://gay.fleshbot.com/ and check what they’ve wrote about me and my BLOG

Celso Junior

One day, everyone will have a blog, even the erotic artists who still seem wedded to an earlier iteration of the internet, an internet of badly-formed html, and forums that go offline unexpectedly, when Yahoo shuts them down. Celso Junior, the Portuguese painter, is on hiatus right now, and the front page of his Blogspot site takes far too long to load. But it still contains an interesting mix of his leatherman paintings, personal photographs, samples from other artists, and screencaps from the war movies to which he seems unhealthily drawn.Read More: art, gay, leather, painting, uniform, war

MY BOOT COLLECTION

PSP PORTUGUESE HIGH LEATHER BOOTS
Bought in Lisbon at Feira da Ladra (famous Portuguese Flee Market) on 1989

MY BOOT COLLECTION

GNR PORTUGUESE HIGH LEATHER BOOTS
Made by measure for me at the Guarda Nacional Republicana on 1998

MY BOOT COLLECTION

GNR PORTUGUESE HIGH LEATHER BOOTS
Made by measure for me at the Guarda Nacional Republicana on 1992