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Podcast featuring discussions and interviews about the cultural happenings in the United Arab Emirates presented by Hind Mezaina (The Culturist) and Wael Hattar.

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Saturday
Jun162018

Cinem'Art - Film screenings at Louvre Abu Dhabi 

 

Cinem'Art is a new program of film screenings starting at Louvre Abu Dhabi this summer. Yours truly was invited to curate its first film series and I hope to work on more film screenings later this year. Needless to say, I am honored and beyond happy and excited to be working on thi. I hope as many of you in Abu Dhabi and nearby can attend the screenings. 

The films are inspired by art works in the museum, to create a dialogue between cinema and art. This first series includes classics, documentaries, experimental and short films. Melissa Gronlund from The National asked me a few questions for a feature about the film screenings, you can read it here

The screenings will take place in the Louvre Abu Dhabi Auditoroum every Saturday at 5pm, from 23 June until 28 July. They are free to attend, and you can register in the Events section on Louvre Abu Dhabi's website.  

Here's the line up, synopsis, images, trailers and the schedule: 

 

Saturday, 23rd June - 5pm

SHIRAZ 
Directed by Franz Osten | 1928 | Silent with English intertitles  105 min   

Based on the romance between 17th-century Mughal ruler Shah Jahan and his queen, this epic silent film is theravishing, romantic tale behind the creation of one of the world’s most iconic structures: the Taj Mahal.

Shot entirely on location in India, it features lavish costumes and gorgeous settings – all the more impressive inthis restoration by the BFI National Archive which features a specially commissioned score by the GrammyAward-winning Anoushka Shankar.

Produced by and starring Indian film legend Himansu Rai, the film is performed by an all-Indian cast, featuringRai as humble potter Shiraz, who follows his childhood sweetheart Selima (Enakshi Rama Rau) when she’s soldby slave traders to the future emperor (Charu Roy).   

This film screening is inspired by The Mughal Empire paintings (Gallery 7 in Louvre Abu Dhabi) which depict a certain lifestyle and elegance that is reflected in this film, set in 17th century India. 

 

 

Saturday, 30th June - 5pm 

PAA JOE AND THE LION
Directed by Benjamin Wigley | 2016 | Documentary | English subtitles | 72 min   


Once upon a time in Ghana, Paa Joe's business—bespoke "fantasy coffins," meticulously crafted simulacra of mythic beasts—was booming, but that time appears long past. His son Jacob seeks to return the family business to its former glory, a plan that begins with an artist residency in the UK where they will craft their biggest and boldest coffin yet: a majestic lion.

Paa Joe and The Lion is the heartwarming fish-out-of-water story about a father and son embracing life through art that celebrates death.  

This film screening is inspired by the Reliquary casket (on display in Gallery 6 in Louvre Abu Dhabi) made from Fatimid rock crystal plaques, dated 1200-1210. 

 

 

 

Saturday, 7th July - 5pm

★ 
Directed by Johann Lurf | 2017 | Experimental | 90 min 


 invites viewers  to enjoy stargazing in this conceptual work of cinematic interpretations of the night sky. A film that defies explanation, Austrian filmmaker Joahnn Kurf has chosen an audacious and ever expanding subject for this feature film: the stars in the night's sky.

The film is a brilliantly edited compliation of scenes ofthe night sky from 550 films, from the beginning of film history up to the present day, including the original soundtracks. 

This film screening is inspired by Astrolabe by Muhammad Ibn Ahmed Al Battuti (Maghreb, 1726-1777) which represents a celestial sphere in a flat projection. The artwork is on display in the Cosmopgraphy Gallery in Louvre Abu Dhabi. 

  

 

 

Saturday, 14th July - 5pm 

AROUND CHINA WITH A MOVIE CAMERA 
Directed by various filmmakers | 1900-1948 | Silent with English intertitles | 68 min

Take a trip back to China in the first half of the 20th Century with this programme of extraordinary, rare and beautiful travelogues, newsreels and home movies from the BFI National Archive, featuring music by Ruth Chan.

Made by a wealth of British and French filmmakers, from professionals to intrepid tourists, colonial-era expatriates and Christian missionaries, the film explores 50 years of Chinese history across a diverse range offootage. The collection includes what might be the oldest surviving films.

This film screening is inspired by A Chinese Scene (Jean Baptiste Pillement, 1765-1767) which looks at daily life in China through Western eyes in the 18th century. The artwork can be seen in Gallery 9 at Louvre Abu Dhabi.

  

 

Saturday, 21st July - 5pm 

HORIZONTES 
Directed by Eileen Hofer | 2015 | Documentary | Spanish with English subtitles | 70 min 

 

Through different generations of Cuban ballet dancers Eileen Hoffer shows love and passion for dance. Threestrong women who completely dedicated their lives for ballet-​ the legend​ and the​ local hero Alicia Alonso, ​prima ballerina assoluta, ​now 93, who  founded the National Ballet of Cuba, Viengsay Valdes ​at the beginning of her international career and young Amanda, who​ is dreaming about entering the famous ballet school​​.

Together, their interwoven stories give an enchanting glimpse of ballet talent, past, present and future. ​

This film screening is inspired by Edgar Degas: Dancer Fourth Position on the Left Leg, Third Study which represents movement, strength and control in ballet dancing. This artwork is on display in Gallery 10 in Louvre Abu Dhabi. 

 

 

Saturday, 28th July - 5pm

UAE STORIES - A SELECTION OF SHORT FILMS 
Directed by various filmmakers | 2017-2018 | Arabic with English subtitles | 60 mins) 

Still from Arasian (Dir. Ahmed Al Tunaiji)

Inspired by the home city of Louvre Abu Dhabi, the last screening of this series will be dedicated to short films made by young filmmakers in the UAE, and part of Louvre Abu Dhabi's programming for the Year of Zayed.

The films touch on personal memories, struggles achievements, the meaning of home. They were all screened at the Zayed University Middle East Film Festival 2018 curated by Sascha Ritter and Alia Yunis which took place in February at Warehouse 421. 

Films selected for this screening: 

Arasian (Dir. Ahmed Al Tunaiji): A boy struggles at school to prove he is more Emirati than Asian.

From A to Bee (Dir. Maryam Moustafa) : Honey production in the UAE is more complicated than it looks.

A Time to Pray (Dir. Ahmed Al Kuwaiti): The member of a mosque must help a woman deliver her baby.

Robbama (Dir. Malak Mansoura): Expats in the UAE discuss their definition of home.

Odyssey (Dir. Maryam Al Romaithi): The UAE’s first female mountain climber talks about what keeps her going.

Sheikh Zayed’s 100th Birthday (Dir. Hooraya Al Muflahi): A man recalls his encounters with Sheikh Zayed, which began when he was a child.

 

 

Please spread the word and hope to see you at these screenings. 

www.louvreabudhabi.ae/en/events/CinemArt   

 

Friday
Jun152018

Happy Eid Al Fitr 2018

 

Eid Mubarak to everyone celebrating. Wishing you a happy Eid Al Fitr. This is Here's Naima Akef offering you some ka'ak (Eid biscuits). This is an image from Kawakeb magazine that I found online.


Monday
Jun112018

New York Diary: Films watched at the cinema  



My second week in New York was filled with more film viewings at the cinema: 

  • Welcome to L.A. (Alan Rudolph, 1976, 35mm) at Metrograph
  • The Art of Vision (Stan Brakhage, 1965, 16mm) at Anthology
  • 2001: A Space Odyssey (Stanley Kubrick, 70mm unrestored) at Village East Cinema - this was terrific!
  • The  Tale (Jennifer Fox, 2018) on HBO 
  • Close Up (Abbas Kiarostami, 1990, 35mm) at IFC 
  • Klute (Alan J Pakula, 1971, 35m) at Metrograph 
  • Barry Lyndon (Stanley Kubrick, 1975, 35mm)  

 

 

 

Monday
Jun112018

New York Diary: The Jim Henson Exhibition at Museum of the Moving Image


The Jim Henson Exhibition at Museum of Moving Image is a permanent exhibition dedicated to him, his work and his influence on pop culture. This is a must see exhibition for all Jim Henson fans. 

The Jim Henson Exhibition features a broad range of objects from throughout his remarkable career. It reveals how Henson and his team of builders, performers, and writers brought to life the enduringly popular worlds of The Muppet Show, the Muppet movies, Sesame StreetFraggle RockThe Dark Crystal, and Labyrinth. It also includes material from Henson’s experimental film projects and his early work, presenting him as a restlessly creative performer, filmmaker, and technical innovator. 

Among the nearly 300 objects on view are 47 puppets—including Kermit the Frog, Miss Piggy, Rowlf, The Swedish Chef, Statler, Waldorf, Big Bird, Elmo, Cantus Fraggle, a Skeksis, and other popular favorites—character sketches, storyboards, scripts, photographs, and costumes. Film and television clips and behind-the-scenes footage are presented on monitors and projections throughout. Interactive experiences allow visitors to try their hand at puppeteering on screen and designing a puppet character. 

Many of the objects featured in The Jim Henson Exhibition are drawn from a major donation by Jim Henson’s family to the Museum’s permanent collection. This donation of nearly 500 artifacts includes historic puppets, costumes, production design material, and licensed merchandise.    

 

I didn't take many photos from the exhibition, but I found this video, which gives you a tour of it and shows you what's on display.   



The Jim Henson Exhibition is organized into the following sections:

Threshold immerses visitors in a flood of images from Jim Henson’s diverse body of work as they enter the exhibition. On a set of monitors that forms a large, seamless canvas, brief clips featuring iconic puppet characters and moments from Henson’s lesser-known works signal that the exhibition will offer familiar favorites and surprising revelations. Another aspect of the entry experience is a “wall” of twelve puppets just past the wall of screens.


Introducing Jim Henson
is a short section that offers biographical background about Henson, and looks at his influences and development as a visual artist and performer. Highlights include:

  • Comics created by Henson as a young teenager
  • Kermit the Frog puppet and the microphone headband that Henson used when he puppeteered
  • 1940s television showing clips of comedian Ernie Kovacs and Kukla, Fran and Ollie
  

Early Works looks at Henson’s first productions for television and film in the 1950s and 60s, in which his unbridled imagination, wit, and capacity for creative innovation were established. Highlights include:

  • The “Perform a Puppet on Screen” interactive, which gives visitors an opportunity to watch themselves perform a puppet on a television monitor
  • Yorick puppet from Henson’s first television series, Sam and Friends (1955-1961)
  • Clips and puppets from Henson’s television commercials in the 1950s and 1960s
  • Design sketches, scripts, clips, and a puppet for Rowlf, the first Muppet “star”


Experiments
considers the film, TV commercial, and other projects that Henson worked on in the mid- to late-1960s, a period when he considered himself more of an experimental filmmaker than a puppeteer. Highlights include:

  • Material related to Cyclia, an unrealized immersive nightclub, including film clips projected onto a faceted surface, suggesting the effect Henson intended for the club
  • Notes, storyboard, and clip from Time Piece (1965)
  • Annotated editing script for the documentary Youth 68 (1968) 

Sesame Street
explores Henson’s work on the groundbreaking educational series, including the development of new puppet characters, short live-action and animated films, and the explosion of related licensed merchandise. Highlights include:
  • The “Design an Anything Muppet Character” interactive experience, which begins with a short video featuring Henson puppet-builder Rollie Krewson demonstrating how she designs “Anything Muppet” characters for Sesame Street. Visitors select facial features and accessories for an “Anything Muppet” form, and can see what their character looks like on screen
  • Big Bird, Cookie Monster, Elmo, and Prairie Dawn puppets, along with specialized equipment used by puppeteers to perform these characters
  • Storyboard for “counting film” created by Henson for the first season of the series


The Muppets features material from The Muppet Show (1976-1981) and Muppet feature films. Highlights include:

  • Puppets created for two pilots for The Muppet Show on ABC in 1974 and 1975, including The Swedish Chef, Statler, Waldorf, and Zoot
  • Set design material for The Muppets Take Manhattan (1984)
  • Projection of all 120 episodes of The Muppet Show playing simultaneously
  • Miss Piggy puppet, with costume sketches and development art for her character


Immersive Worlds
explores the creative and technical innovations that Henson and his collaborators pioneered during production of the imaginary worlds of Fraggle Rock (1983- 1986), The Dark Crystal (1982), and Labyrinth (1986). Highlights include:

  • “Ritual Master” Skeksis puppet from The Dark Crystal
  • Costumes for Jareth and Sarah from Labyrinth
  • Uncle Travelling Matt, Cantus, and Gobo puppets from Fraggle Rock
  • Concept art and development notes for Fraggle Rock

Looking Ahead
is a small section that looks at the television and film projects Henson worked on between 1985 and his death in 1990, including the development of the first digital puppet character. Highlights include:
  • “Waldo” - a radio-controlled remote puppeteering device
  •  Henson’s shooting script for “The Heartless Giant,” an episode of The Storyteller


Legacy
is a video installation at the end of The Jim Henson Exhibition. The installation comprises twelve monitors of various sizes showing images and clips of Henson’s characters and collaborators.   

 

www.movingimage.us/exhibitions/2017/07/22/detail/the-jim-henson-exhibition 

 

Sunday
Jun032018

New York Diary: Radical Women: Latin American Art, 1960–1985 at Brooklyn Museum

Gloria Camiruaga (Chile 1941-2006 Chile). Popsicles 1982-84. Video, colour, sound: 6:00 min 


Radical Women: Latin American Art, 1960–1985
 at Brooklyn Museum
is an important exhibition about contributions to contemporary art of Latin American and Latina women artists during a period of conceptual and aesthetic experimentation.

The exhibition features 123 artists from 15 countries, the complete list of artists can be found here, and focuses on their use of the female body for political and social critique and artistic expression.

The exhibition is on until 22 July 2018 and I strongly suggest you visit, and take your daughters, sisters, nieces to this. (Note: This exhibition contains mature content.)

The artists pioneer radical forms and explore a female sensibility with overt or, more often, covert links to feminist activism. Many works were realized under harsh political and social conditions, some due to U.S. interventions in Central and South America, that were complicated or compounded by the artists’ experiences as women.

The artworks on view range from painting and sculpture to photography, video, performance, and other new mediums.

Included are emblematic figures such as Lygia Pape, Ana Mendieta, and Marta Minujín, alongside lesser‐known names such as Cuban‐born abstract painter Zilia Sánchez; Colombian sculptor Feliza Bursztyn; Peruvian composer, choreographer, and activist Victoria Santa Cruz; and Argentine mixed‐media artist Margarita Paksa.

The Brooklyn presentation also includes Nuyorican portraits by photographer Sophie Rivera, as well as work from Chicana graphic arts pioneer Ester Hernández, Cuban filmmaker Sara Gómez, and Afro-Latina activist and artist Marta Moreno Vega. 

 

Watch these two videos about the exhibition. Note: The videos and exhibition contains mature content.

 

 

 

 

www.brooklynmuseum.org/exhibitions/radical_women  

 

 

Sunday
Jun032018

New York Diary: Maria Lassnig: New York Films 1970–1980 at MoMA PS1 

Kopf. c. 1976. USA. Directed by Maria Lassnig. Courtesy of the Maria Lassnig Foundation. © 2018 Maria Lassnig Foundation

I am not familiar with the artist Maria Lassnig, but when I read there's an exhibition featuring her experimental films, I decided to visit and learn about a new artist. The screenings were shown in a dedicated screening area in MoMPA PS1 with cinema seating. The exhibition ends on 18th June 2018.

 

MoMA PS1 presents the world premiere of a series of experimental films the artist Maria Lassnig made in New York City in the 1970s. This presentation focuses on a selection of newly discovered and restored films that examine ways of looking and seeing bound up in bodily sensation. Newly restored by the Maria Lassnig Foundation in close collaboration with the Austrian Film Museum, these films incorporate animation, sound, and poetic voiceovers that encourage entry into the artist’s internal world.

Maria Lassnig: New York Films 1970–1980 highlights both finished films and film fragments, all produced using 16mm, 8mm, and Super 8, comprised of live action footage, animated drawings, animated paper cut-outs, and documentary footage of the artist’s studio and her surroundings in New York. These newly surfaced films enrich and complicate our understandings of Lassnig's approach to figuration and self-portraiture, as well as other key themes that she investigated throughout her career, including the social roles assigned to women, the tension between public engagement and private seclusion, and questions of technological advancement, especially of imaging technologies and shifts in the way images circulate. 

 

Read this Observer interview with MoMA PS1 assistant curator Jocelyn Miller who worked hard over the past few years to bring us this exhibition.  

 

www.moma.org/calendar/exhibitions/3928 

 

 

Sunday
Jun032018

New York Diary: Zoe Leonard: Survey at the Whitney Museum of American Art

Zoe Leonard (b. 1961), detail of You see I am here after all, 2008. 3,851 vintage postcards, 11 × 10 1/2 × 147 ft. (3.35 × 3.2 × 44.8 m) overall. Installation view, Dia: Beacon, Beacon, New York, 2008. Collection of the artist; courtesy Galerie Gisela Capitain, Cologne. Photograph by Bill Jacobson, New York

Zoe Leonard: Survey at the Whitney Museum was an opportunity for me to see Leonard's work up close after only seeing her work online. It ranges from photography, found objects and sculptures, each asking the viewer to "reengage with how we see".  The exhibition was on from 2nd March - 10th June 2018. 
  

New York–based artist Zoe Leonard (b. 1961) is among the most critically acclaimed artists of her generation.  Over the past three decades, she has produced work in photography and sculpture that has been celebrated for its lyrical observations of daily life coupled with a rigorous, questioning attention to the politics and conditions of image making and display.           

Zoe Leonard: Survey is the first large-scale overview of the artist’s work in an American museum. The exhibition looks across Leonard’s career to highlight her engagement with a range of themes, including the history of photography, gender and sexuality, loss and mourning, migration, displacement, and the urban landscape.

More than it focuses on any particular subject, however, Leonard’s work slowly and reflectively calibrates vision and form. Using repetition, subtle changes of perspective, and shifts of scale, Leonard draws viewers into an awareness of the meanings behind otherwise familiar images or objects. A counter-example to the speed and disposability of image culture today, Leonard’s photographs, sculptures and installations ask the viewer to reengage with how we see.

 

Here are some of the works from the exhibition: 

Zoe Leonard (b. 1961)­, Untitled, 1989. Gelatin silver print, 9 3/4 x 7 in. (24.77 x 17.78 cm). Collection of the artist; courtesy Galerie Gisela Capitain, Cologne, and Hauser & Wirth, New York

Zoe Leonard (b. 1961), detail of The Fae Richards Photo Archive, 1993-96. Gelatin silver prints and chromogenic prints, dimensions variable. Whitney Museum of American Art, New York; purchase with funds from the Contemporary Painting and Sculpture Committee and the Photography Committee

nstallation view of Zoe Leonard (b. 1961), You see I am here after all, 2008. 3,851 vintage postcards, 11 × 10 1/2 × 147 ft. (3.35 × 3.2 × 44.8 m) overall. Dia: Beacon, Beacon, New York, 2008. Collection of the artist; courtesy Galerie Gisela Capitain, Cologne. Photograph by Bill Jacobson, New York

Zoe Leonard (b. 1961), TV Wheelbarrow, 2001. Dye transfer print, 20 × 16 in. (50.8 × 40.6 cm). Collection of the artist; courtesy Galerie Gisela Capitain, Cologne, and Hauser & Wirth, New York
Installation view of Zoe Leonard (b. 1961), Strange Fruit, 1992-97. Orange, banana, grapefruit, lemon, and avocado peels with thread, zippers, buttons, sinew, needles, plastic, wire, stickers, fabric, and trim wax, dimensions variable. Collection of the Philadelphia Museum of Art; purchased with funds contributed by the Dietrich Foundation and with the partial gift of the artist and the Paula Cooper Gallery, 1998. Image courtesy the Philadelphia Museum of Art. Photograph by Graydon Wood
Zoe Leonard (b. 1961)­, detail of New York Harbor I, 2016. Two gelatin silver prints, 21 × 17 1/8 in. (53.3 × 43.5 cm) each. Collection of the artist; courtesy Galerie Gisela Capitain, Cologne, and Hauser & Wirth, New York
Zoe Leonard (b. 1961), detail of How to Make Good Pictures, 2016. 429 books, 25 1/4 × 6 1/8 × 248 3/4 in. (64.1 × 15.6 × 631.8 cm) overall. Collection of the artist; courtesy Galerie Gisela Capitain, Cologne. Photograph by Simon Vogel

 

More Zoe Leonard from these recent talks at the museum: 

On the occasion of Zoe Leonard: Survey, the artist speaks with writer Rebecca Solnit about their shared interests and commitments ranging from the history of photography and landscapes of the natural and built environment, to feminism and the current political climate. 

 

This conversation between Zoe Leonard and critic Elisabeth Lebovici explores their intersecting practices and mutual histories, reflecting on the exhibition Zoe Leonard: Survey and Lebovici’s recent book, Ce que le sida m’a fait (What AIDS has done to me).  

  

 

Over five years, Zoe Leonard sewed together skins of fruit. Leonard chose not to preserve the resulting work, Strange Fruit (1992–1997), intending for its decay to be on view. It has not been seen publicly since 2001. On the occasion of the work's appearance at the Whitney, a range of voices will reflect on Strange Fruit and its multiple historical inflections, its relevance and resonance today, and its very specific material existence. Speakers include Gregg Bordowitz, Jonah Groeneboer, Katie Hubbard, Fred Moten, Christian Scheidemann and Cameron Rowland.

 


 

www.whitney.org/Exhibitions/ZoeLeonard

Wednesday
May302018

New York Diary: Films watched at the cinema 

 

I am currently staying near three cinemas that are walking distance (Angelika, Metrograph, Anthology and IFC) and I've watched films everyday during my first week here, sometimes 3 films a day. I guess my sightseeing in New York is visiting the cinemas. How can I not? 

First Reformed (dir. Paul Schrader) is by far my favourite film seen this week and will no doubt be in my top 10, possibly top 5 by the end of the year. It's the only film I've been thinking about a lot this week, to an extent where I went to see it for the second time. 

 

Here's the list of films watched this week:

  • First Reformed (Paul Schrader, 2017) at Angelika
  • 20, 30, 40 (Sylvia Chang, 2004) at Metrograph
  • Revenge (Coralie Fargeat, 2017) at IFC
  • It's Great to be Alive (Alfred L. Werker, 1933, 35mm) at MoMA
  • 6 Hours to Live (William Dieterle, 1932, 35mm) at MoMA
  • The Day After (Hong Sang-soo, 2017) at Film Society 
  • The Birds (Alfred Hitchcock, 1963, restored) at Metrograph
  • The Man Who Fell to Earth (Nicolas Roeg, 1976, 35mm) at Anthology
  • Ganha & Hess (Bill Gunn, 1973, restored) at Metrograph
  • The Gospel According to Andre (Kate Novack, 2017) at Angelika
  • Disobedience (Sebastián Lelio, 2017) at Angelika
  • A Fistful of Dollars (Sergio Leone, 1964, restored) at Metrograph
  • First Reformed (Paul Schrader, 2017) at Angelika  

 

 

Wednesday
May302018

New York Diary: David Bowie Is at Brooklyn Museum 

Installation images of "David Bowie is" at the Brooklyn Museum. Courtesy of the Brooklyn Museum/Jonthan Dorado

Installation images of "David Bowie is" at the Brooklyn Museum. Courtesy of the Brooklyn Museum/Jonthan Dorado

Installation images of "David Bowie is" at the Brooklyn Museum. Courtesy of the Brooklyn Museum/Jonthan DoradoInstallation images of "David Bowie is" at the Brooklyn Museum. Courtesy of the Brooklyn Museum/Jonthan Dorado

David Bowie Is has been touring around the world for the past five years and it's final stop in New York at the Brooklyn Museum is the one I was finally able to attend. It's a very rich and dense exhibition with lots to see, read and listen to. The mandatory headphones makes it an immersive and rich experience because you get to hear his songs and hear his voice from recorded interviews. All automatically linked to whatever section of the exhibition you are in. The exhibition is on until 15th July 2018, if you are in or near New York, DO NOT MISS THIS. 

 

Organized with unprecedented access to David Bowie’s personal archive, this exhibition explores the creative process of an artist whose sustained reinventions, innovative collaborations, and bold characterizations revolutionized the way we see music, inspiring people to shape their own identities while challenging social traditions. David Bowie Is has been touring globally for the past five years and is taking its final bow at the Brooklyn Museum, providing an opportunity to view this one-of-a-kind material.

David Bowie Is presents approximately 400 objects drawn primarily from the David Bowie Archive, including the artist’s original costumes, handwritten lyric sheets from famous songs, original album art, photographs, and videos, all tracing Bowie’s creative process from his teenage years in England through his last twenty years, when he resided in New York City. The archive is presented within an immersive, multimedia installation that includes continuous audio along with projected animation and video.

Highlights of the exhibition include more than 60 custom-made performance costumes, including six designed by Freddie Burretti for Ziggy Stardust / 1980 Floor Show and seven designed by Kansai Yamamoto for Aladdin Sane. There are 85 handwritten lyric sheets, including those from “Fame” and “Fashion”; drawings, including a sketch for the Young Americans album cover; and oil paintings, including two of musician Iggy Pop, all by Bowie. There are also more than 40 pioneering music videos, television clips, and filmed roles as well as a multimedia presentation of international tour footage with rare scenes from the legendary Diamond Dogs tour, filmed in Philadelphia. A custom audio mix made up of snippets of Bowie’s songs—produced by longtime collaborator Tony Visconti—is also featured. 

 

There's no photography allowed, and the photos I've shared here do not do it any justice. Watch this short news report to give you an idea of what to expect and just make sure you go. 

 

 

Images via www.app.com/media/cinematic/gallery/32771021/david-bowie-is-at-the-brooklyn-museum/  

www.brooklynmuseum.org/exhibitions/davidbowieis  

 

 

Wednesday
May302018

New York Diary: Multiply, Identify, Her at ICP

Multiply, Identify, Her at ICP features works by women artists - from cut-photograph collage to an exploration of life-extending arti cial intelligence. It "showcases work by an intergenerational group of women artists exploring the construction and implications of hybrid and multiple identities".  The exhibition is on until 2nd September 2018. 

 

Multiply, Identify, Her: This exhibition features an intergenerational group of women artists whose work explores the construction of hybrid and multiple identities. Working in photography, video, and lm, through assemblage, collage, multi-part portraiture, and the use of avatars both analogue and digital, these artists reckon with complex and mutable selves.

These selves—mirrored, repeated, trans gured, and cloned—emerge from intersecting confrontations: with their own image, with social histories that elide with intimate ones, with the weight of gendered archetypes, and with the ambivalent promises of technology.

Made between the late 1990s and today, the work on view has roots in key feminist art historical discussions and presents non- singular selves that, in their multiplicity, vulnerability, and radicality, challenge patriarchal modes of power. Featuring work ranging from cut-photograph collage to an exploration of life-extending arti cial intelligence, this exhibition considers transcending the singular, unified self as a psychological and political aspiration, as well as a future, technology-enabled reality.

 

Multiply, Identify, Her includes the following artists: 

  • Geta Brătescu
  • Stephanie Dinkins
  • Christina Fernandez
  • Barbara Hammer
  • Roni Horn
  • Wangechi Mutu
  • Gina Osterloh
  • Sondra Perry
  • Lorna Simpson
  • Mickalene Thomas   

 


Here are my favourite works from the exhibition:  

Geta Brătescu 

Geta Brătescu, Autoportret în oglindă [Self-Portrait in the Mirror], 2001. © Geta Brătescu, Courtesy the artist; Ivan Gallery, Bucharest; Hauser & Wirth. Photo: Ștefan Sava.


Christina Fernandez 

Christina Fernandez, Untitled Multiple Exposure #7 (Bravo), 1999. © Christina Fernandez, Courtesy of the artist and Gallery Luisotti.

 

 

Gina Osterloh 

Gina Osterloh, Press and Outline, 2014. 16mm film, silent, 5:30 min. © Gina Osterloh, Courtesy the artist, Ghebaly Gallery, Los Angeles; Higher Pictures, New York; and Silverlens, Manila.

 

Lorna Simpson  

Lorna Simpson, Blue Wave, 2011. Collage and ink on paper, 11 x 8 1/2 in. (28 x 21.6 cm). The Studio Museum in Harlem; gift of the artist on the occasion of the Romare Bearden (1911–1988) Centennial and the Bearden Project. © Lorna Simpson, courtesy the artist and Hauser & Wirth.

 

Mickalene Thomas     

Mickalene Thomas, Angelitos Negros (detail), 2016. Eight-channel video, sound, 23:18 min. © Mickalene Thomas, Courtesy the artist and Artists Rights Society (ARS), New York.

 

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