Riot Material

Art. Word. Thought.

Archives for May 2017

Twin Peaks: Episode 3

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CINEMA DISORDINAIRE

Episode 3
by Christopher Hassett

The new Twin Peaks: The Return (2017) finds David Lynch working in fresh and sublimely haunting domains, ones that pleasurably flirt or unnervingly skirt the spectral drop-offs of some charged and sinister abyss. This seems no visional or evolutional change of tack, nor does it appear, at least in these early episodes, Lynch is newly surveying unmapped terrains. Rather, there is something more elevated in this late-career landscape, and something far more intimate as well. One senses, when viewing this new series, particularly his excursions into Lynchian Other-Realms, that his articulation of these doppelgänging worlds feel more experiential than conceptual, more occupied than conceptualized. [Read more…]

The Bad Batch

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CINEMA DISORDINAIRE

Reviewed by C von Hassett

The Bad Batch (2016) is a stark and stunning new film by Ana Lily Amirpour. And timely too, considering every effort by our current regime to cast those of seeming naught into the desperate oblivions of a world only slightly less unhinged than the one depicted in this film. With a nod to the current depravity of our day, the film opens (forgive my indulgence) in the wet dream of said regime whose spooging head is our ever-ranting, ever-pissy Child-in-Chief — let’s call him Boy — he who nightly wets his bed and in the dreamy slosh fingers blindly for his own plundered asshole. Were the Boy blessedly in this film, he’d be swiftly on a sizzling spit: fatted swine for its flesh-hungry natives.  [Read more…]

Raw

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CINEMA DISORDINAIRE

Reviewed by Alci Rengifo

While most of the republic’s cinema-goers flock to local theaters to indulge in the new incarnation of Stephen King’s It, your local RedBox is harboring a deliciously wicked and original work of cinematic viscera, Julia Ducournau’s Raw (2016). This cannibal parable created quite the stir at the 2017 Cannes Film Festival, where audience members were reported to have fainted due to the movie’s bloody moments. As with most movies of this type, the gore doesn’t do justice to the hype. The film’s power resides in what it has to say as opposed to what it wants to show. Like all good satire, it knows that showing too much ruins the effect. Like American Psycho, Raw gets under your skin by casting a mirror. Ducournau is essentially putting on display a civilization eating itself, like Goya’s painting “Saturno devorando a su hijo (Saturn Devouring His Son).” Raw is art as splatter, capturing in its own special way those moments when youth, sexual awakening and finding one’s place in the social labyrinth all crash together. [Read more…]

Janet Biggs and Regina José Galindo: Endurance

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at Cristin Tierney Gallery, NYC
Reviewed by Robin Scher

Picture documentary and artwork as a Venn diagram. Sometimes the line between the two categories is blurred. A fine example of this can be found in Janet Biggs’s three channel installation, Afar, currently on show at New York’s Cristin Tierney gallery, which offers viewers a brief visual sojourn to East Africa’s Great Rift Valley — “the most unlivable place on earth.” [Read more…]

Denis Johnson

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1949 | 2017

Excerpted from Jesus’ Son

Car Crashing While Hitchhiking

A salesman who shared his liquor and steered while sleeping . . . A Cherokee filled with bourbon . . . A VW no more than a bubble of hashish fumes, captained by a college student . . . 

And a family from Marshalltown who head­onned and killed forever a man driving west out of Bethany, Missouri . . . 

. . . I rose up sopping wet from sleeping under the pouring rain, and something less than conscious, thanks to the first three of the people I’ve already named–the salesman and the Indian and the student–all of whom had given me drugs. At the head of the entrance ramp I waited without hope of a ride. What was the point, even, of rolling up my sleeping bag when I was too wet to be let into anybody’s car? I draped it around me like a cape. The downpour raked the asphalt and gurgled in the ruts. My thoughts zoomed pitifully. The travelling salesman had fed me pills that made the linings of my veins feel scraped out. My jaw ached. I knew every raindrop by its name. I sensed everything before it happened. I knew a certain Oldsmobile would stop for me even before it slowed, and by the sweet voices of the family inside it I knew we’d have an accident in the storm. 

I didn’t care. They said they’d take me all the way.  [Read more…]

Georgia O’Keeffe: Living Modern

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at Brooklyn Museum, NYC
Reviewed by Phoebe Hoban

The Georgia O’Keeffe show at the Brooklyn Museum is an ode to the artist as icon. The exhibit combines little-seen early work with the artist’s own clothing–including dresses, jeans, shoes, and hats—as well as photographs taken by her famous husband, Alfred Stieglitz, and a dozen or so other noted photographers, to illustrate the extent to which O’Keefe — much like Warhol — was the brilliant architect of her own enduring image. [Read more…]

The Figured Absence: Spectral Works From Kang Seung Lee

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Leave of absence; Absence without leave
at Commonwealth & Council, Los Angeles
Reviewed by Christopher Michno

Kang Seung Lee’s two part exhibition at Commonwealth & Council reflects in part on photography’s documentary capacity by re-examining and reproducing photographs. Lee’s project grapples with the indexical nature of photography, but moves beyond merely exploring concerns surrounding what Roland Barthes called photography’s “evidential force.” [Read more…]

It is obvious from the map

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at REDCAT, Los Angeles
Reviewed by Ellen C. Caldwell

It is obvious from the map, an exhibition at REDCAT organized by Thomas Keenan and Sohrab Mohebbi, showcases a variety of maps, videos, archival material, and other multimedia ephemera that highlight migration, migrant rights, and social justice in both the twenty first century and the age of surveillance. This timely exhibit juxtaposes a variety of maps, ranging from hand-drawn maps passed and exchanged by migrants, to governmental maps used for tracking and surveillance purposes, to artistic renderings that visualize various migrants’ stories, to geospatial mappings. [Read more…]

The ‘Indescribable Fragrance’ of Youths

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A Third Gender: Beautiful Youths in Japanese Edo-Period Prints and Paintings (1600–1868) 
at the Royal Ontario Museum, Toronto
excerpted from a review by Ian Buruma

Read the full review in the May 11, 2017 issue of New York Review of Books, or read it on site at nybooks.com

Lusting after pretty teenage boys was not considered shameful in premodern Japan. Experienced older women did it. Young women did too. Older men indulged in it (as long as the boys were passive sexual partners). Adultery was not permitted, on the other hand, and it was unseemly for grown men to love other grown men. But the love of older men for young boys, a practice called shudo, literally “the way of boy love,” was considered, especially during the eighteenth century, and notably among samurai, to be a mark of erotic discernment. [Read more…]

The Soft Bite Of Surveillance

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Undercover Boss
at Reyes Projects, Detroit
Reviewed by Megan Garwood

The group exhibition, Undercover Boss, opens a conversation on the ubiquity of surveillance, insofar as the ability to view another’s intimate affairs without their knowledge through social media outlets, the multiplicity of images that dilutes their meaning, and how this information can be mishandled. The inaugural show at metro Detroit-based gallery Reyes Projects features artists Tony Cox, Greg Fadell, Sadie Laska, Jane Moseley, Jonathan Rajewski, Scott Reeder, Tyson Reeder, and Joe Roberts. [Read more…]

Los Angeles to New York: Dwan Gallery 1959–1971

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at LACMA’s Resnick Pavilion, Los Angeles
Reviewed by Jonathan Griffin

There was no way it was ever not going to be a mess: eleven years of one of the most influential American art galleries, condensed into a 100,000 square foot section of LACMA’s Resnick Pavilion. Consider the fact that many of the artworks in the 134 exhibitions held over those eleven years turned out to be canonical Modernist masterpieces, and were acquired by museums or major private collections around the globe, many now unwilling or unable to lend them. Others were destroyed, or lost, or are too delicate to go on public display. Some – not all of them masterpieces – entered LACMA’s own collection, so of course they wound up in this show, whether they fully deserved to be there or not. [Read more…]

Who Left Us Like Orphans?

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by Caroline N. Simpson

US Vice President Joe Biden and Turkish President Recep Tayyip Erdoğan sat in white and gold upholstered chairs in the Presidential Palace in Ankara. It was August 24, 2016, over one month past the July 15th failed coup attempt in Turkey.

Biden began by thanking Erdoğan for his friendship and for Erdoğan’s condolences when Biden lost his son. He leaned across the gap between chairs, placed his hand atop Erdoğan’s, and said it was hard to fathom that the coup attacked the hotel where he and his family had been staying just 15 minutes after they had left. [Read more…]

Creatures Present And In Wait: Marcel Eichner’s Point Blank

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at James Fuentes Gallery, NYC
Reviewed by Donald Lindeman

Point Blank is the title of the exhibition of four new paintings by Berlin based German painter Marcel Eichner (b. 1977, Siegburg, Germany) at James Fuentes Gallery, New York. In this show, Eichner works in acrylic and ink, with vigorous ink drawing and marks on broad washes of acrylic ground in pastel pinks and blues, and areas of white. These paintings mark the fulfillment of a new phase in Eichner’s approach to painting, since he has now moved away from his earlier idiom derived from the style of his mentor at Kunstakademie Düsseldorf, Jörg Immendorff. In his earlier work, Eichner emulated the piecework integration of figure and ground that is characteristic of Immendorff, an almost claustrophobic “interior-view” aesthetic so often found in the German Expressionist tradition. [Read more…]

Dubuffet Drawings, 1935-62

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at The Hammer Museum, Los Angeles
Reviewed by Nancy Kay Turner

“The voices of dust, the soul of dust: these things interest me many times more than flowers, trees, or horses because I sense they’re so much stranger.”  — Jean Dubuffet

The Hammer Museum’s exhibit entitled Dubuffet Drawings 1935-62 is, according to their literature, the “first in-depth exhibition of Dubuffet’s drawings.”

I’m not sure if they mean in the United States or perhaps even world -wide. No matter. It is an extraordinary grouping of almost 100 works on paper – many borrowed from France – and the sheer volume is not only a treat for the viewer but provides important insights into Dubuffet’s idiosyncratic technique. His “backstory” – as we say here in California – is quite unusual. Apparently, he showed early artistic talent and had many significant artist friends, but for twenty years was a wine merchant. Not until 1942, at the ripe old age of 41, did he finally commit to being a full time artist. He had his first solo show in Paris two years later. [Read more…]

Jimmie Durham: At the Center of the World

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at The Hammer Museum, Los Angeles
Reviewed by Nancy Kay Turner

“I am poor and I am naked, but I am the chief of the nation”
Red Cloud, Oglala Lakota Sioux

The Hammer Museum has mounted a massive, sprawling and entertaining retrospective (the first in North America) of the multi-faceted sculptor, poet and activist Jimmie Durham. He is little known in the United States since moving abroad 30 years ago. In 1990 the United States government passed the Indian Arts and Craft Act requiring Indian artists to register in order to protect the consumer. Durham refused to register and wrote the following tongue in cheek statement:

I am a full – blooded contemporary artist, of the subgroup (or clan) called sculptors. I am not American Indian, nor have I ever seen or sworn loyalty to India. I am not a Native ‘American’, nor do I feel that ‘America’ has any right [Read more…]