This endlessly-copied artist knows no bounds of time or space. Colette was born in North Africa to mixed ancestry, raised in France and has been characterized by social gadfly Anthony Haden-Guest as "a gauze-draped pillar of the New York art world."
As she is being revived by a new generation seeking the authentic feminine repressed by 20th century feminism, the 2015 Artist in Residence @ Stiftung Starke brings her Laboratoire Lumiere to the once divided city...
The Guido Schirmeyer "Spring Fever" production at the Hagn Coiffeurs in West Berlin is where Colette's own subversive "fight terror with glamour" C.I.A.
...has decamped in a new form of "living beauty in process" installation...
...celebrating the Colette unmistakably Lumiere herstory as testimony to the irrepressible Contemporary body.
If Colette and her image as Lumiere seem indistinguishable from one another...
...it is due to the timeliness of her breaking the vertabrae of time...
Colette in BOMB Magazine:
My art began in the streets and it began anonymously. Even though it soon found its way to galleires and museums, I continued to explore unorthodox and alternative spaces. Art does not have to be displayed in a museum or a major gallery to be significant, to speak to people and influence art and culture.
The new DO breakthrough is revealed in a detail, the "work in progress" missive tacked-on as evidence of a "living process" converting a beauty salon into the eternal ground of the Contemporary.
...it is because, like Magritte and his self-reverential imagery, they are one and the same!
With this innovative installation celebrating a new cycle of the year, Colette reveals the bounty of breaking free from the feminist straight-jacket: recycling the eternal beauty of the feminine as a Contemporary style honoring the eternal life/death/rebirth cycle. This art for(u)m knows no bounds of time, reviving the pre-patriarchal splendor of the bi-polar feminine of antiquity through the process of self-transformation rituals.
As such, she has become the touchstone for an outcry of the celebrity invading the art museum space, eroding the crucial boundary between art and commerce. With the ubiquitous celebrity brand of the 24/7 corporate-contolled kulture industry intentionally eroding the boundary for the masses, origins along with their meanings are lost in the sheer speed of the voyage.
Drawing boundaries on the pavement: Lady Gaga's outright theft of Colette's living aesthetic in the windows of Barneys New York prompted the original to strike an art intervention. VIMEO SCREENSHOT
With Colette as the art world con-figuration of a newly-defined ontology of Venus, perpetually on the periphery as gender-bender ascendent.
The Berlin new '"DO" living beauty installation is a breakthrough, a reminder that the eternal feminine is everywhere, above in heaven and hell below -- and how the Persephone casket of beauty ordered by Aphrodite is retrievable in the alchemy at work in the salon and how tge fashion and beauty industries glamourize the inner process of transformation.
This truly is Colette,s Botox-free gift to humanity....
Riding the zeitgeist of the Berlin resurgence are two fiercely beautiful gender=bending icons, Colette and Penny Arcade, at the portal Arcade's "PUSSY FAGGOT" in East Berlin. The April revue ushered in a new holistic queer=defined era for Berlin.
Lisa Paul Streitfeld is a philosopher based in Berlin writing her dissertation on the origin of Nietzsche!s "Übermensch." She is author of Hermeneutics of New Modernism and editor of Peggy Bloomer's Surfgeist: Epic Mythology in New Media, pubished by Atropos Press.
All photos by Lisa Paul Streitfeld and taken with the permission of Colette C.I.A..
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