Video / Film

Bechdel Test Movie Night: Foxy Brown

Alison Bechdel. Bechdel Test, c. 1985; Dykes to Watch Out For. Courtesy of the Artist.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Tanya Gayer reviews Bechdel Test Movie Night: Foxy Brown  at New Parkway Theater in Oakland. Foxy Brown (1974) is widely described as a blaxploitation film—a genre that[…..]

Interview with Adriana Lara

Today from our friends at Kadist, we present a video interview with Adriana Lara. In it, Michele Fiedler talks with Lara about her relationship to the readymade, the exhibition, and the wearable. This video was originally published October 6, 2015.

Pope.L: Desert at Steve Turner and Pope.L: Forest at Susanne Vielmetter Los Angeles Projects

Pope.L. Forest, installation view, Susanne Vielmetter Los Angeles Projects, 2015. Courtesy of the artist. © Pope.L

Pope.L returns to Los Angeles, after his MOCA exhibition William Pope.L: Trinket this past summer, with a two-part, two-gallery, map-sprawling, time-spanning show—Desert at Steve Turner in Hollywood and Forest at Susanne Vielmetter Los Angeles Projects in Culver City—connected by a downloadable GPS driving tour. Samuel Beckett, whose influence appeared in Trinket, returns again in the GPS guide’s insistently jolted repetitive language, “this thing this thing this thing[…..]

Raiders and Empires

Stephanie Syjuco. Empire/Other: Morphset E, 2013 (video still); 3D animated video. Courtesy of the Artist and FLACC Workplace for Visual Artists, Belgium.

In these projects Syjuco harnesses technologies of distribution and reproduction—the web, photography, and 3D scanning and printing—to create objects that reveal the tangled history of colonization and cultural hybridization.

Del Kathryn Barton: The Highway Is a Disco at ARNDT Singapore

Del Kathryn Barton. The highway is a disco, 2015; Acrylic on French linen; 240 × 180 cm. Courtesy of the Artist and Arndt Singapore.

Framed against a starlit sky, two female figures with feathered hair and large, limpid eyes sit astride blue and purple kangaroos. Their lush, naked bodies are stark white against a vibrant canvas of marks, lines, and dots. They stare out of pictorial space into an unknown distance, with their detached gazes separated from the viewer’s own perusal of them. Disengaged from us, their distance forms[…..]

Black Box: Sergio Caballero at the Hirshhorn Museum

Sergio Caballero. Ancha La Castilla or N’importe quoi, 2014 (video still); digital video, 24:00. Courtesy of the artist and Smithsonian's Hirshhorn Museum and Sculpture Garden.

Sergio Caballero combines grotesque materials, low-budget techniques, and a healthy dose of dark humor in his film Ancha La Castilla or N’importe Quoi (2014). Ancha La Castilla is the latest iteration of Black Box, a series dedicated to moving-image works at the Hirshhorn Museum in Washington, D.C. The twenty-five-minute film tells the tale of a young girl named Alegría as she becomes possessed and thus[…..]

Tomás Saraceno: Arachnid Orchestra. Jam Sessions at NTU Centre for Contemporary Art Singapore

Tomás Saraceno, Omega Centauri 1 Nephila Kenianensis 4 Cyrtophora citricola, 2014; Spidersilk, carbon fibre, light, Tripod. Courtesy of the artist and Esther Schipper Gallery, Berlin.

The gallery hums with screechy sounds resembling acoustic feedback, punctuated by random bursts of bass and cartoonish sound effects. The soundscape is queasily amorphous and disorienting, built on dissonance and the chaotic rhythms resonating from a handful of arachnids that have woven fine, thick webs around delicate wire frames. Featuring a plethora of spiderweb sound installations, Tomás Saraceno’s latest show Arachnid Orchestra. Jam Sessions is[…..]