Tag Archives: Chris Kraus

AT THIS STAGE AT CHÂTEAU SHATTO

This is the closing weekend for AT THIS STAGE at Chateau Shatto, an exhibition that considers the violent and contaminating “intrusion of images and the assault of narrative structures on consciousness.”*

The show includes paintings and sculptures by Body by Body, Aria Dean, Gardar Eide Einarsson, Hamishi Farah, Parker Ito, and Martine Syms, as well as videos by Chris Kraus (Terrorists in Love, and How to Shoot a Crime, with Sylvère Lotringer), Bunny Rogers (Mandy Piano Solo in Columbine Cafeteria), Sturtevant (Warhol Empire State), and Jordan Wolfson (Con leche).

AT THIS STAGE, through August 12.

CHÂTEAU SHATTO, 406 West Pico (at Grand), downtown Los Angeles.

*  chateaushatto.com/exhibition/at-this-stage/

Top: Body by BodyCafe U.S.A., 2015. High density polyethylene, powder-coated steel, aluminum frame. 48 x 36 x 4.75 in / 121.95 x 91.45 x 12.1 cm. Image courtesy Body by Body and Chateau Shatto.

Bottom: Gardar Eide Einarsson, Flagwaste (Stars and Stripes), 2016. Refuse collected from American flag manufacturers. Dimensions variable. Image courtesy Gardar Eide Einarsson and Team Gallery.

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CRITICAL METHOD

Chris Kraus, interview, Sleek 53 (Spring 2017): 57.

“I was writing a column for an art magazine, Artfest, in the late ’90s and early 2000s. I had just moved to L.A. and I really didn’t know that much about art. I still don’t—actually I have a very limited knowledge of great art—but I had to come up with a column every three months! So what I did was I ended up writing about all the conditions around me, combining a description of the arts with everything else that I was doing and seeing and thinking and feeling. It was about discovering L.A. and a lot of it was about living alone for the first time. But I copied that from Gary Indiana, he did something similar in the Village Voice in the 1980s—he copied it from Jill Johnston, who did that in the late ’50s and the early ’70s. And I think if we go back into history and art criticism, we can talk about Proust doing that and the damn radical depiction of visual art that’s contained within some of the books in In Search of Lost Time. I mean there’s a great tradition of writers embracing and describing and understanding and interpreting visual art, and it doesn’t have to come from a purely technocratic and theoretical place….

“It’s not that I can only think about my own little life, but when I think about larger things, I like to think about larger things in simpler and more human ways….”

sleek-mag.com/2017/05/05/chris-kraus-interview-i-love-dick/

Chris Kraus.

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JOHN DOUGLAS MILLAR

John Douglas Millar’s BRUTALIST READINGS—“a significant intervention into recent debates on the place of literature and writing in the context of contemporary art”*—brings together ten new essays by the London-based writer.

Here is Millar on Pierre Guyotat, on “conceptual writing and its discontents,” on Paul [Beatriz] Preciado’s Testo Junkie and Lauren Oldfield Ford’s Savage Messiah, on the October generation and the novels of Chris Kraus, on the critical misreadings of Walter Benjamin’s Arcades as a “roadmap” to everything from Burroughs and Acker to surfing the web.

BRUTALIST READINGS concludes with a 2012 conversation between Millar and Simon Critchley, the author of The Ethics of DeconstructionVery Little…Almost Nothing, Memory Theatre, and Bowie.

John Douglas MillarBRUTALIST READINGS (Berlin: Sternberg Press, 2016).

sternberg-press.com/index

See: conversations.e-flux.com/john-douglas-millar

Image credit: Sternberg Press.

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CHRIS KRAUS AND JILL SOLOWAY AT CINEFAMILY

It’s hard to imagine a better writer–director–producer to turn Chris Kraus’ I LOVE DICK into a limited-series than Jill Soloway. The creative force behind Transparent, as well as the 2013 feature Afternoon Delight, Soloway first attracted notice in Los Angeles with a truly subversive theater piece—created with her sister, Faith, and updated weekly—based on scripts from The Brady Bunch.*

At Cinefamily this weekend, Soloway, Kraus, and Kathryn Hahn, who plays “Chris” in the series, will present a free screening of the entire series, followed by a Q & A.

 

I LOVE DICK, Sunday, April 30, at noon. Free with r.s.v.p.:

cinefamily.org/films/special-events-april-2017/#i-love-dick-the-complete-series-with-jill-soloway-kathryn-hahn-chris-kraus-in-person

CINEFAMILY AT THE SILENT MOVIE THEATRE, 611 North Fairfax, Los Angeles.

 

See: Jill Soloway and Van Jones in conversation, Out, May 2017.

out.com/out-exclusives/2017/3/31/transparent-creator-jill-soloway-talks-van-jones-about-new-queer-revolution

*The Real Live Brady Bunch—the first-ever TV screen-to-stage transition—had a long run at the Westwood (now Geffen) Playhouse in the early 1990s.

Kathryn Hahn in Afternoon Delight, written and directed by Jill Soloway Image credit: Collider

Kathryn Hahn in Afternoon Delight, written and directed by Jill Soloway
Image credit: Collider