Join Kim Gordon and Loretta Fahrenholz for a NO HOME RECORD video party.
NO HOME RECORD VIDEO PARTY
Thursday, January 16, from 7 pm to 9 pm.
Reena Spaulings Fine Art
165 East Broadway, New York City.
Loretta Fahrenholz, Kim Gordon—Sketch Artist video. Images courtesy and © the artists, Matador, and Reena Spaulings Fine Art.
DANCE CAMERA WEST 2020 is here.
Join founder Kelly Hargraves at Redcat and the Downtown Independent Cinema for a long weekend of extraordinary artistry, resilience, and performance on film.
Opening night will feature a Q & A with special guests Katrina McPherson and Édouard Lock following a screening of the CalArts School of Dance film ONE ANOTHER.
On Friday evening there are two programs of shorts, and Saturday’s programs include the features THREE DANCES (directed by Glória Halász), FROM KNEE TO HEART (a portrait of Sol Picó directed by Susanna Barranco), and KREATUR (featuring members of the dance company Sasha Waltz and Guests).
The first three days are at Redcat before moving to the Downtown Independent for Sunday’s free matinee program. See links below for full schedule.
Thursday, Friday, and Saturday, January 9, 10, and 11.
Redcat
631 West 2nd Street, downtown Los Angeles.
Sunday, January 12, from noon.
Downtown Independent Cinema
251 South Main Street, Los Angeles.
From top: Sasha Waltz and Guests, Kreatur(2); Susanna Barranco, From Knee to Heart; Juan Medellín (left) and dancer in Andrew Houchens, Juan of the Witches; Will Johnston, Cielo; Janique Robillard, From There to Here; Teddy Tedholm, Don’t Miss It; Sofia Castro, Maids; Kelly Hargraves; Antoine Panier, Making Men; Glória Halász, Three Dances; Roseanna Anderson and Joshua Ben-Tovim, The Ballet of the Nations (2). Images courtesy and © the artists, dancers, photographers, producers, Dance Camera West, L.A. Dance Chronicle, and Kelly Hargraves.
An image has been created to suggest things have changed [for women in the art world] but really they haven’t. It’s just an image…
There is a certain community of male collectors who solely support male artists. These circles strive to perpetuate the male power structures. There is very little support in male structures toward female artists unless maybe someone thinks that the prices might go up in the future. It’s often in the future with female artists, while for the male artists it’s often already interesting in the present. With female artists it’s a speculation. Maybe it will “go up” in the future. — Valie Export
VALIE EXPORT—THE 1980 VENICE BIENNALE WORKS is a re-installation of the works the artist presented at the 39th Venice Biennale—originally shown with work by Maria Lassnig in the Austrian Pavilion—which “embodies the fierce and fearless interrogation of oppressive power structures and hierarchical systems of control at the heart of the artist’s practice, [employing] a combination of investigative photography, sculpture, and novel image-making techniques, challenging audiences by examining the politics of the body, eroticism, the male gaze, and liberation.”*
VALIE EXPORT—THE 1980 VENICE BIENNALE WORKS*
Through January 25.
Galerie Thaddaeus Ropac
Ely House, 37 Dover Street, London.
Valie Export, from top: Geburtenbett, 1980; Valie Export—The 1980 Venice Biennale Works, Galerie Thaddaeus Ropac, November 28, 2019–January 25, 2020, installation views (2); Die Geburtenmadonna, 1976) (after Michelangelo Buonarroti’s Pietà, Madonna della Febre, 1498-99); Einkreisung (1976). Photographs by Ben Westoby, images courtesy and © the artist, the photographer, and Galerie Thaddaeus Ropac.
We do not feel represented by our governments and do not agree with decisions taken in our name. We witness European nations building giant walls and fences around borders that already didn’t seem useful in the first place, rejecting rescue ships at the harbors. Philosopher Achille Mbembe speaks of the “Society of Enmity.” Queer scholar José Esteban Munoz calls the here and now a “prison house.” People stop using gender neutral language and move from their polyamorous groups into traditional families. Hate speech not only seems acceptable, but becomes a motor of aggressively arresting us into what is considered a normal life. Do you sometimes feel as if you are massively being forced to move backwards?
We have, of course, no recipe. But after taking a deep breath we are up for turning disadvantage into a tool: Let’s collectively move backwards…
Women of the Kurdish guerrillas wore their shoes the wrong way round to walk from one place in the snowy mountains to the other. This tactic saved their lives. It seems as if you are walking backwards, but actually you are walking forwards. Or the other way around.
Let’s take this story as a starting point for the project: Can we use the tactical ambivalence of this movement as a means of coming together, re-organizing our desires, and finding ways of exercising freedoms? Can its feigned backwardness even fight the notion of progress’ inevitability?
We will move backwards and think about the ways in which we wish to live with loved but also unloved others. We will move backwards, because strange encounters might be a pleasant starting point for something unforeseen to happen. — Renate and Pauline
This weekend, Joan presents the United States premiere of Pauline Boudry and Renate Lorenz’ 2019 Venice Biennale video installation MOVING BACKWARDS.
The Venice iteration in the Swiss Pavilion—curated by Charlotte Laubard—incarnated a nightclub environment, and the opening weekend in Los Angeles will feature a live performance by Marbles Jumbo Radio.
PAULINE BOUDRY and RENATE LORENZ—MOVING BACKWARDS
Opening Night
Saturday, December 7, from 7 pm.
PAULINE BOUDRY and RENATE LORENZ IN CONVERSATION WITH ANNE ELLEGOOD
Sunday, December 8, at 4 pm.
Performances
Opening Night at 7 pm and Sunday, December 8, from noon to 4 pm.
Joan
1206 Maple Avenue, suite 715, downtown Los Angeles.
In addition to Marbles Jumbo Radio, performers in the video include Julie Cunningham, Werner Hirsch, Latifa Laâbissi, and Nach.
The MOVING BACKWARDS exhibition catalog is available from Skira.
Pauline Boudry and Renate Lorenz, Moving Backwards, 2019, installation and performance photographs from the 58th Venice Biennale, Swiss Pavilion. Images courtesy and © the artists, the photographers, the performers, la Biennale di Venezia, and Skira.
Join artist and curator Telémachos Alexiou at Human Resources for SECRET CEREMONY—QUEERNESS AND SPIRITUALITY AT THE DAWN OF THE NEW DECADE.
Alexiou has brought together a group—including Christopher Argodale, Camila Maria Concepción, Emi Fontana, Kathryn Garcia, Carlos Medina-Diaz, Eva Mitala, Tyler Matthew Oyer, Deborah Smaragdi Isous, Mohammad Tayyeb, and Ares Zolo—who will conduct a “selection of ritualistic performances by queer artists who use spirituality, shamanism, and witchcraft as part of their work. The event follows a storyline of death and rebirth including stillness, vocalization, ecstatic dance, exorcism, healing, matrimony, and Tarot reading, among other practices.”*
See link below for program schedule.
Friday, December 6, from 7:30 pm to 11:30 pm.
Human Resources
410 Cottage Home Street, Chinatown, Los Angeles.
From top: Ares Zolo, Control of the Astral Body; Camila Maria Concepción, Diary of a Sad Trans Woman; Kathryn Garcia, Goddess Healing with Pyramids and Gong; Christopher Argodale, Excerpt Channel; Mohammad Tayyeb, My Speech Tinged His Cheeks with Pink Blush As If My Words Were Splashes of Dye; Emi Fontana and Telémachos Alexiou, Corpse Pose; Tyler Matthew Oyer, Brutal Language; Eva Mitala, High Priestess. Images courtesy and © the artists and the photographers.
