Posts Tagged ‘Matthew Barney’

The Mask and the Mirror

Friday, November 18th, 2011
Becoming Van Leo A project by Negar Azimi and Karl Bassil, Arab image Foundation  Self-portrait Cairo, Egypt, November 22, 1958

Becoming Van Leo A project by Negar Azimi and Karl Bassil, Arab image Foundation Self-portrait Cairo, Egypt, November 22, 1958 Collection Arab Image Foundation/ The American University in Cairo ©The American University in Cairo

A show of self-portraits curated by Shirin Neshat is on exhibit at the Leila Heller Gallery. Neshat began posing for her own camera in 1993 and this led to her series of photographs Women of Allah. Rather than a projection of her own persona, she styled herself after warrior women, drawing on the role Muslim women played in the 1979 Iranian Islamic Revolution.

Neshat says that her exploration into self-depiction was inspired by Frida Kahlo. “As a young art student in the mid 1980s, I remember developing an obsession with the Mexican artist Frida Kahlo and her self-portraits. I was astonished by how her powerful paintings pulled the viewer in to her private world to witness the beauty and the horror she experienced in her personal life. Through the depiction of her own body and the use of visual metaphors, Frida Kahlo let loose her emotional and psychological anguish, her spiritual and moral orientation, and most importantly she revealed that art operates somewhere between the artist’s conscious and subconscious.”

Shirin Neshat Photographed by Stephan Würth for SPREAD 2010

Shirin Neshat Photographed by Stephan Würth for SPREAD 2010


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An Erotic Encounter Between Man and Machine

Tuesday, April 5th, 2011

By Kiša Lala

Production still, HOIST © 2004 Matthew Barney, Photo: Chris Winget

Production still, HOIST © 2004 Matthew Barney, Photo: Chris Winget

The 14 minute film Hoist by Matthew Barney was a sequence from a longer film DE LAMA LÂMINA, shot in Salvador, Brazil. A ‘Green Man’ is harnessed under a fifty ton defrorestation Caterpillar truck amplifying, in a metaphoric sense, the frailty of nature subject to immense forces of destruction.

Though the film expresses man’s vulnerability against this monstrous assemblage of automated, indiscriminate power, it describes it as an erotic encounter between the man and machine.

 HOIST © 2004 Matthew Barney, Photo: Chris Winget (From screengrab)

HOIST © 2004 Matthew Barney, Photo: Chris Winget (From screengrab)

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Eve Sussman – on the making of her film, Rape of the Sabine Women

Tuesday, October 5th, 2010

By Kiša Lala

Production Still, Rape of the Sabine Women

Production Still, Rape of the Sabine Women, Marilisa on the Floor Photo by Eve Sussman & Ricoh Gerbl, Courtesy of Eve Sussman and Rufus Corporation

Eve Sussman’s film Rape of the Sabine Women is an operatic vehicle set in five locations – the first two segments shot at Pergamon Museum and Tempelhof Airport in Berlin, with its stylized treatment of austerely dressed men parading within the high-design decor, has the appearance of a Gucci commercial; these are followed by scenes shot in the Athens meat market, then, a modernist summer house, and finally the Herodion Theatre in Athens, where all the sophistication of the former scenes collapse, and the denouement, driven by the film’s title, takes place.

The theme is taken from the story of the founding of ancient Rome, where the men of Rome steal the women from the neighbouring Sabine tribe – here rape has the connotation of a kidnapping or an abduction, as represented in many of the renaissance paintings, originating from the Latin word rapere from which rapt or rapture is derived.
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Marilyn Minter’s Inspiration for Show on Perspiration

Monday, August 30th, 2010

By Kiša Lala

Marilyn Minter, Trickle, 2010 C-Print

Marilyn Minter, Trickle, 2010 C-Print

Far from the sweaty sidewalks of New York in the cooler climes of Gstaad, better known for its ski resorts, Marilyn Minter is co-curating a show with Fabienne Stephan titled SWEAT. The show at Patricia Low Contemporary includes works by Matthew Barney, Kate Gilmore, Mika Rottenberg, Cindy Sherman and Kiki Smith among others – with depictions of the skin’s secretions ranging from the erotic to the mundane.

Cindy Sherman : Untitled  1985

Cindy Sherman : Untitled 1985

Sweat is the conditional response of our skins, the body’s largest organ: try as we might to mask the hint of arousal and exertion, the thin wet odorous film is a primitive and instinctual expression of our latent desires, a Pavlovian reflex to fear and sex. While Minter’s work explores the erotic surface tension of dirt and sweat, Kiki Smith’s work is one of abstract crystallized droplets, and Ryan McGinley photographs a runner in the saintly glow of exhaustion.

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