terça-feira, novembro 29, 2011

road trip

Motel Reflection (somewhere in the Niagara Falls - 2011)

Gas Girl (on the road to the Niagara Falls - 2011)

segunda-feira, novembro 28, 2011


Born in 1930, Keith Arnatt's life as an artist falls into two distinct parts. In the late l960s his iconoclastic and witty performances, sculptures and texts, challenging the tenet of 'art', established him as an influential Conceptual artist.

But then in the mid 1970s, in an act defying the prevailing values of the art world, Arnatt chose to become a photographer instead. Over the following 28 years he immersed himself in the history of photography, making progressive photo series in the immediate vicinity of his home in South Wales.

sábado, novembro 26, 2011

Happy Thanks Giving

terça-feira, novembro 22, 2011

It's a wonderful life in NY


On composing

"There is always so much in a work that we are unaware of having put there. (...) It seems to me that when these elements, known and unknown, counscious and unconsious, mesh perfectly an overtune is produced, a synchronicity created, that sings off the page and becomes a 'work of art' rather than simply 'authorship.' "

Last Exit to Brooklyn by Hubert Selby Jr.

segunda-feira, novembro 21, 2011


Window at French Connection, USA - SoHo, NY (2011)

1st series of an Identity Project

last week's top of performa: Liz Magic Laser

Scene from Liz Magic Laser's "I Feel Your Pain." Photo credit: Yola Monakhov

For Performa 11, Liz Magic Laser will present presented a new mixed-media performance, I Feel Your Pain, that will restage America’s recent political contests as a romantic drama. Drawing on a variety of agitprop theater tactics, particularly the Russian Constructivist idea of a “living newspaper,” the performance will examine how emotion is used to establish authenticity on America’s political stage. Staged in a movie theater, the performance will take place in the midst of the audience and on the cinema’s screen. Eight actors will perform a sequence of scenes that will trace the progression of a romantic relationship in adapted dialogues from political interviews and press conferences. Borrowing elements from historic “living newspaper” productions, the performance will feature live voice-overs, pantomime fight scenes, and mute commentaries by a clown. As the actors perform, footage from two cinematographers will be projected onto the screen as a continuous live-feed, and Laser will act as a real time editor, choosing which camera angles the audience will see.

For me it felt just like being in some of the John Cassavetes's movies, like in 'Opening Night'. The seats of the SVA Theatre were almost full with a huge audience that followed on and off the screen Liz's parody of America's own love story. Just that was by itself overwhelming, bringing theatre into the cinema and making bringing it to its own level by playing around with the language of meta-cinema, building up a story where you could either choose to be a part of it or just go through your pop-corn inside the movie theatre. As an example of the Performa festival (which meets its end today) this piece can somewhat be related to what live-performance is turning into, a hybrid between languages and expressions but somehow mediated and blurring the limitations between all of them. In this three-live camera shoot of a theatre play being turned into a live movie, all that it missed was probably the fact that it wasn't going into a live-stream; by live-streaming it, which nowadays becomes easier everyday, the art piece could have a been a full-length movie online free for everyone to watch and still bring an internet audience to think that probably it would be better if they were there seating and being part of the live experience!

...Similar to her recent, warmly-received performances Flight at PS1, in which references to violent movie scenes enacted on a staircase, and Chase, a staging of Bertolt Brecht’s 1926 play Man Equals Man around ATM vestibules, actors reframe bits of political interviews amongst the audience in I Feel Your Pain. Performers – Lynn Berg, Audrey Crabtree, Ray Field, Annie Fox, Kathryn Grody, Rafael Jordan, Liz Micek, and Ryan Shams – are surrounded by a throng of black-clad cameramen and projected on a screen, while Laser selects camera angles from a projection room. more

141 Wooster Street

[no pictures allowed] video taken from here

Walter De Maria, The New York Earth Room, 1977. Long-term installation at
141 Wooster Street, New York City. Photo: John Cliett. Copyright Dia Art Foundation.

The New York Earth Room, 1977, is the third Earth Room sculpture executed by the artist, the first being in Munich, Germany in 1968. The second was installed at the Hessisches Landesmuseum in Darmstadt, Germany in 1974. The first two works no longer exist.

The New York Earth Room has been on long-term view to the public since 1980. This work was commissioned and is maintained by Dia Art Foundation.

Walter De Maria was born in 1935 in Albany, California, and studied history and art at the University of California, Berkeley. In 1960 he moved to New York City, where he continues to live and work. With Robert Whitman, De Maria cofounded a gallery at 9 Great Jones Street, Manhattan, in 1963, and held a show of his sculptures there that year. His work was included in the "Primary Structures" exhibition at the Jewish Museum, New York, in 1966. De Maria has had numerous international shows, at venues including the Kunsthaus Zürich (1999), the Museum für Moderne Kunst, Frankfurt (1991), the Staatsgalerie Stuttgart (1987), and the Museum Boymans-van Beuningen, Rotterdam (1984).

sexta-feira, novembro 18, 2011

Benetton is Back!

quinta-feira, novembro 17, 2011

Liberty Plaza [empty]

terça-feira, novembro 15, 2011

Lonesome Cowboys or the story of Ramona and Julian

(Andy Warhol) 1968

Lonesome Cowboys was shot at the end of January 1968 in Tucson Arizona - on location in Old Tucson and at the Rancho Linda Vista Dude ranch 20 miles outside the city where some John Wayne movies had been filmed. (L&D285)
It was edited by Andy while he was recuperating from the gunshot wounds inflicted by Valerie Solanas on June 3, 1968 and won Best Film at the San Francisco Film Festival in November.

Yvonne Rainer vs. Marina Abramovic

After being present and having her own life and death staged, Abramovic's was building a new performance for the L.A. Museum of Contemporary Art where naked bodies and rotating heads were the center pieces of an on-going dinner where the audience played the rules of the performance... in the artist's words: "... and I want this to feel as though we're observing and being observed."
Last Friday, after having attended a rehearsal of the performance, Yvonne Rainer sent a letter in opposition to this, in her words, “exploitative” performance.

“I hope the performance itself will bring some kind of dignity, serenity, and concentration to the normal situation of a gala, and actually change the energy of the space. … “All these accusations, you can’t have them before you actually experience the situation and see how I can change the atmosphere, that’s my main purpose.”
Ms. Abramovic statement on Artinfo


... As the crowd moved in to find their seats—among them artists like Shepard Fairey, John Baldessari, Ed Moses, Ed Ruscha; arts supporters Maria Bell, Dasha Zhukova; actresses Rosanna Arquette and Kirsten Dunst; and dealers like Honor Fraser (co-chair Larry Gagosian didn’t make it, having already left for an art fair in Abu Dhabi)—we found ourselves face to face, or in some cases, face to crotch, with Ms. Abramovic’s centerpieces, aka the aforementioned supposedly economically exploited actors. Yes, Ms. Abramovic continued on her performance art trajectory of 2010 and caused us all a bit of initial shock. Here’s how it went: At each of the round tables, a nude woman was stretched out, draped with a skeleton. As in Ms. Abramovic’s own performance with a skeleton, these women were instructed to show no emotion and remain immobile. At the rectangular tables, things were a little different—heads popped out of the middle of each rectangular table, and rotating slowly, the actors seated, below the table,on lazy Susans. Since the event was 3 hours plus, and these centerpieces were not allowed to leave their respective posts, they were all wearing Depends, a source told The Observer, on condition on anonymity. We thought we knew the head at our table but, respecting the dictate of ‘no touching, feeding, or communication (other than the non-verbal kind) we were unable to say, “Don’t I know you?” (read the full article here)

family friends

I heard this when watching a live concert somewhere around Lower East Side. I was with a group of recently acquired friends here in NY. This was said as portrait of New York while the singer was dedicating his song to his 'family friends' - meaning that in this city, where most of the people aren't from here they find a new family within the new friends they make. Friends from work, friends from social groups, friends derived from strange acquaintances, friends of different friends... that get together in gatherings (sometimes all of them, sometimes in small parts of a whole). This made me think about my own friends (which as a consequence/circumstance of growing up have diminished into this small group of really close persons whose I don't consider myself as a person if I'm not near (or feel far near) from them; and also made me think about this new additions that due to the new environment I've been (as every social being) 'forced' to interact with and the thought continued to become a conclusion that even though almost every breathing existence is capable of co-existing with similar or different specimens of all different creatures we tend to find our different families wherever we are. Here in NY I've met some people some Friends from work, friends from social groups, friends derived from strange acquaintances, friends of different friends that have become after this two months my family, fortunately people that I relate with and that made me feel at home from the very beginning even if almost anyone is actually from here. I've felt alone in this situation of 'home disembodiment', and home is where the hear is so like a new friend of mine said today, I'll wear my heart in a sleeve so everyone can see it and feeling at home becomes easier wherever I go. I thought about similar experiences and I've found family friends across the places I've been and although sometimes time isn't enough and I feel unfulfilled for not being able to get everyone together, that's what family is. Even if the family concept sometimes feels to tiny, full of limitations, this larger family that we're able to build throughout our lives is a process that becomes silent and unconscious which I've been aware during the last few months because I feel at home. Away from the one's I love, but close to people that make it worth it. It's not only about wine and good laughs, but it's about road trips, sharing beds, splitting costs, trusting each other, and having a few laughs in the end... with a good wine.

sexta-feira, novembro 11, 2011

last week's top of performa: Boris Charmatz

Manifesto for a National Choreographic Centre.

Boris Charmatz performs at the Musée de la Danse. Photograph: Adeline Keil

To not cut the matter short, ten commandments:

a micro-museum
but a real one. It fully embraces its museum tasks and maintains a balance between its
various functions of conservation, creation, research, exhibition, diffusion, raising of public
awareness, mediation, without neglecting any of them. Such interdependence is what justifies
the creation of a museal structure.
an immediate museum
it exists as soon as the first gesture has been performed.

Boris Charmatz
Written in Leipzig, Berlin, Vienne, Rennes, Vanves, Bruxelles,
Montreuil, in the space of a few obstinate nights.

read more about the Performa11

terry vs. terry

The opening reception for my new show Mom Dad is this Friday from 6-8 at the Half Gallery, located at 208 Forsyth Street in NYC… come check it out!
Terry Richardson

material (art) girl

quinta-feira, novembro 10, 2011

BRUCE LABRUCE: Gay Culture is Dead

La Bruce: “Gay Culture is Dead.” (We say, “Finally, now can we get back to what we do best?”)

Bruce LaBruce writes: “Gay culture is dead. I guess the idea of gay culture was always an oxymoron, but lately I find myself declaring to it more definitively, “You’re dead to me,” as you might say to a former lover. Now, the gay movement is a zombie movement. It vaguely looks like its former self, operating remotely like it used to, going through the motions. But there’s no real life to it, no purpose, beyond bland consumerism.

The engine of the gay movement used to be an idea of adventurous and extreme sexuality. Gay culture itself was regarded by the status quo as something pornographic and sexually radical. Today, with the emergence of the gay conservatism, pornography appears to be the last bastion of sexual radicalism. That’s why I always express solidarity with gay pornographers. They’re the last glimmer of glamour in the gay movement.”


On 11 November 2011 the time will have arrived: in 11 European cities, more than 60 artists with some 300 more aiders & abettors – will initiate moments of encounter and confrontation in the heart of everyday life. Together, they will make time stand still.


What is being exchanged?

performa festival

sábado, novembro 05, 2011

the bath

The Bath by Paul Cadmus, 1951

The Bath by Bill Costa (Homage to Paul Cadmus), 1985

sexta-feira, novembro 04, 2011

[contains spoilers] the skin i live in

La Piel Que Habito is a psychological thriller very different from anyother Almodóvar's movies. It's set in 2012 resembling a science fiction movie by the subject is dealing with. Antonio Banderas plays the Frankstein dream of building a human skin free of diseases and injuries after his wife died burned up. Almost the whole movie runs in a flashback kind of way to let us know what is already perceived in the beggining of the movie. Transgender, Identity, Plastic Surgery are the objects of study in this new movie where Elena Anaya acts in a magnificient way.
After his incursions in the queer, travesti and transgender issues, Almodóvar takes a ride inside Thierry Jonquet's book "Mygale" builiding up a plot where the main character's identity gets trans-gendered having him (Vicente Piñeiro) starting this journey of being kidnappend until becoming Vera Cruz the skin clone version of Robert Ledgard (Banderas) diseased wife.
The movie ends at the point where one wonders where this new person is, in a point of no return, where it has nothing more than the memory of what he was and has lived with nothing else than trying to learn how to live in this this new skin. "Soy Vicente..." is the last line of the movie and at the moment it fades to a Jean Paul Gautier's credits roll the question remains... "Eres Vicente... pero eres Vera Cruz, y ahora?"

quarta-feira, novembro 02, 2011


The new HBO tv show stars Laura Dern. Going for it's 5th episode next week Enlightened shows Amy (Laura Dern) going through a state of change, a woman who is struggling to put herself together after a life of misbehaviour... It brings up some similiarities to the inner struggle of Julia Roberts playing Erin Brockovich in a light David Lynch set of this America (aka World) where retreats of enlightenenment have the price of gold. But just as Ghandi used to say... “Be the change you want to see in the world.” even if that means you have to fake it and take a deep breathe everytime you curse someone or feel like jumping on top of them and KILLING them just because you feel like it, and the world doesn't suit you at all...

jersey girls

Jersey Girls by Jenny&Lee

missing home