Tag Archives: Raúl de Nieves

ALTERED AFTER

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ALTERED AFTER—a group show at Participant Inc featuring work by Darrel Ellis, fierce pussy, General Idea, Jerry the Marble Faun, Leslie Kaliades, Kang Seung Lee, Ronald Lockett, Jonathan Molina Garcia, Cookie Mueller, Raúl de Nieves, Jason Simon, Manuel Solano, Gail Thacker, Julie Tolentino, and XFR Collective—incorporates “archives, archaeology, salvaged objects, material migrations, inherited knowledge, and bequests in response to HIV/AIDS.”*

The exhibition is curated by Conrad Ventur for Visual AIDS.

“I’ve learned that we have to find our own saviors. For me, I like to create a fantasy, and one of the ways I’ve found beauty is by stacking beads on top of each other. I usually work in circles and let time shape the work…

“I guess I choose shoes as a vehicle to adorn myself, to give off different identities… The shoes are very organic. I actually see them grow. It pushes me to want to learn more about weight and design, to push them into new forms. But I also want them to design themselves in a way.” — Raúl de Nieves

In conjunction with ALTERED AFTER, Anthology Film Archives and Visual AIDS present RECORD TIME, a free evening of films and videos on August 8, curated by Carmel Curtis and Leeroy Kun Young Kang.

The program includes SOMETHING FIERCE (1989)—Greg Bordowitz and Jean Carlomusto’s video for Gay Men’s Health Crisis—Colin Campbell’s SKIN (1990), Nguyen Tan Hoang’s K.I.P. (2002), Hayat Hyatt’s VILLANELLE (2015), Tran T. Kim-Trang’s KORE (1994), Barbara Hammer’s VITAL SIGNS (1991), and Jim Hubbard’s THE DANCE (1992).

ALTERED AFTER*

Through August 18.

Participant, Inc

253 East Houston Street, #1, New York City.

RECORD TIME film program

Thursday, August 8, at 7:30 pm.

Anthology Film Archives

32 Second Avenue (at 2nd Street), New York City.

Altered After, Participant, Inc, 2019, from top: Manuel Solano, Untitled, from the series, An Interior, A Sensation, An Instant, 2019, acrylic on canvas, courtesy and © the artist and Peres Projects, Berlin; Darrel Ellis, Untitled (from Thomas Ellis photo of child’s birthday party), circa 1990, gelatin silver print, courtesy and © the Estate of Darrel Ellis and OSMOS; Altered After installation views (3), including shoes by Raúl de Nieves; fierce pussy, Flag, 1992/2019, five photocopies on paper, courtesy and © the artist; Greg Bordowitz and Jean Carlomusto for Gay Men’s Health Crisis, Something Fierce (1989, 3:30 minutes, video), still, courtesy and © the artists and ONE National Gay & Lesbian Archives at the USC Libraries; Colin Campbell, Skin (1990, 18 min, 16mm), still, courtesy and © the artist and V Tape; Altered After installation view, including a painting by Darrel Ellis and a section of Kang Seung Lee, Untitled  (Garden) , 2018, 24K Nishijin gold thread on Sambe, ceramic (California clay, soils from Derek Jarman’s Garden, Nam San, Tapgol Park), pebbles from Dungeness and Tapgol Park, metal parts and dried plants from Derek Jarman’s Garden, courtesy and © the artist and ONE AND J. Gallery, Seoul; Kang Seung Lee, Untitled (Garden) detail; Jason Simon, Untitled (Video Against AIDS), 2013. three facsimile cassette wraps and original printed materials designed by Hannah H. Alderfer, courtesy and © the artist and Callicoon Fine Arts, New York; detail of Altered After exhibition catalog cover, designed by Jean Foos, image by Leslie Kaliades, still from Altered After, 1997, video, black and white, sound, 4:45 minutes; Altered After installation views (2); Tran T. Kim-Trang, Kore (1994, 17 min, video), still, courtesy and © the artist and Video Data Bank. Images courtesy Participant, Inc.

FIRE AT BABY COMPANY

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“Every time I enter a new room I scan for other queers. Maybe it’s a hunt for fleeting solidarity, maybe safety—not that the two are opposed. I didn’t know I did this until I didn’t have to, when I arrived in a place—[Fire Island]—where queer and its variants was the baseline. It is a profound experience, one I will never take for granted, even as I know the exclusions it enacts.

“This is a very personal show, in the sense that it has no pretensions of thoroughness or coherence. A series of friendships and encounters organized around a shared experience of finding one’s place. Just some people inhabiting a tiny speck of the world and—to borrow a phrase by Douglas Crimp, another friend from the island—misfitting together.” — Ryan McNamara*

McNamara brings Fire Island to Manhattan with a new exhibition of work by Travis Boyer, Jack Brusca, TM Davy, Raúl de Nieves, Nicole Eisenman, K8 Hardy, Kia Labeija, Matthew Leifheit, Hanna Liden, Tiffany Malakooti, Samuel Roeck, Paul Mpagi Sepuya, Devan Shimoyama, A.L. Steiner, Wolfgang Tillmans, Cajsa von Zeipel, and himself.

FIRE*

Through April 14.

Baby Company

73 Allen Street, New York City.

*”Misfitting together” is a quote from Popism: The Warhol Sixties, by Andy Warhol and Pat Hackett (1980), referenced by Douglas Crimp in his book “Our Kind of Movie”: The Films of Andy Warhol (Cambridge, MA: MIT Press, 2012), 157, note 29:

“I [Warhol] was reflecting that most people thought the Factory was a place where everybody had the same attitudes about everything; the truth was, we were all odds-and-ends misfits, somehow misfitting together.”

From top: Ryan McNamara, Cemical Compound (6/8/2018), 2019, wood, plaster, paint, psilocybin, amyl nitrate, gamma-hydroxybutyrate, Truvada; Wolfgang Tillmans, Far away inside (Echo Beach), 2017, inkjet print; Matthew Leifheit; Meat Rack Gathering, 2018, dye sublimation print on aluminum; Nicole Eisenman and Tiffany Malakooti, Remarkable Lesbian Chess Set, 2016, clay, wood, and paint; A.L. Steiner, Untitled (Rachel on bay, Pines), 2016–2019; Fire installation view with K8 Hardy‘s jockstrap collection—Look Pines, 2016, fiberglass mannequin, metal base, cloth, enamel paint, synthetic wig—in foreground; Devan Shimoyama, Untitled, 2015–2018, dye-sublimation print on aluminum (2); Cajsa von Zeipel, Boy’s Tears, 2019, styrofoam, fiberglass, aqua resin, plaster; Travis Boyer, Le Fountain, 2019, embellished and dyed wool blanket on beeswax, wood, and steel frame; Jack Brusca, Pines Pavilion Logo, 1980, acrylic on canvas; Kia LaBeija, New Legend Lucky 007 on Fire Island, 2018, digital inkjet print.

K8 HARDY AND RAÚL DE NIEVES AT PARTICIPANT

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“In K8 Hardy’s performances, the body makes itself a transmitter in order to update and queer the world with its broadcasts….If contemporary art is first and foremost a system for producing subjects in the form of contemporary artists…it’s probably time for artists to rethink their own role in this system’s reproduction….Instead of simply feeding the network in new and creative ways, artists would get more involved in de-creation, and engage subjectivization as an ever-recurring opportunity for unworking.” — John Kelsey*
K8 Hardy, Raúl de Nieves, and Participant present BEAUTIFUL RADIATING ENERGY, with de Nieves in a piece Hardy first performed at Reena Spaulings in 2004.
BEAUTIFUL RADIATING ENERGY, Sunday, May 21. Doors open at 7 pm.
PARTICIPANT, 253 East Houston Street, New York City.

participantinc.org/

At the 2017 Whitney Biennial, a room of de Nieves’ work—robed figures, taxidermy birds, a wall of faux stained glass—anchors the east end of the fifth floor. “Part church, part nightclub, part tomb.”**

RAÚL DE NIEVES—2017 WHITNEY BIENNIAL, through June 11.

WHITNEY MUSEUM OF AMERICAN ART, 99 Gansevoort Street, New York City.

whitney.org/Exhibitions/2017Biennial

 

*John Kelsey, “Information in Drag,” in K8 Hardy, How To: Untitled Runway Show, eds. K8 Hardy and Dorothée Perret (Los Angeles: DoPe Press, 2013), 111, 117–118.

**Charlotte Ickes, Whitney Biennial 2017, exh. cat., ed. Jason Best (New York: Whitney Museum of American Art, 2017), 152.


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Raúl de Nieves, 2017 Whitney Biennial. Image credit: Company Gallery, New York.