GARDAR EIDE EINARSSON

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The new show by Gardar Eide Einarsson is on view in London for one more week.*

GARDAR EIDE EINARSSON

Through May 26.

Maureen Paley

21 Herald Street, Bethnal Green, London.

*See “A man fights, and fights, and then fights some more…,” PARIS LA 6 (Spring 2011), 2–13.

Gardar Eide Einarsson, from top: The Spirit of Zen; a Way of Life, Work and Art in the Far East, 2019; untitled (Hand), 2019; untitled (Axe), 2019; all acrylic and gesso on canvas. Bring up irrelevant issues as frequently as possible, 2019, enamel on laser cut aluminium. Liquid Explosive Detonated by Pull-Friction Fuze, 2019; The German Peters Candybar Boobytrap, 2019; both acrylic, gesso, graphite and silk screen ink on canvas. Images courtesy and © the artist and Maureen Paley.

DAVID HAMMONS IS ON OUR MIND

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DAVID HAMMONS IS ON OUR MIND—the Wattis Institute catalogue that includes a 1994 artist’s talk as well as texts by Tongo Eisen-Martin and Fred Moten—is out of print, but Artbook at Hauser & Wirth has a few copies left.

DAVID HAMMONS IS ON OUR MIND

Artbook at Hauser & Wirth

917 East 3rd Street, downtown Los Angeles.

DAVID HAMMONS

Through August 11.

Hauser & Wirth

901 East 3rd Street, downtown Los Angeles.

From top: David Hammons is on Our Mind, book cover image courtesy and © the artist and the CCA Wattis Institute for Contemporary Arts; David Hammons, Orange is the New Black, 2017, mixed media; David Hammons, untitled, 2017. Artwork images courtesy and © the artist and Hauser & Wirth, photographs by Genevieve Hanson.

OSCAR TUAZON — COLLABORATOR

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Oscar Tuazon‘s sculptural works made in collaboration with artists and writers Ariana Reines, Matias Faldbakken, Elias Hansen, and Vito Acconci are now on view at the Bellevue Arts Museum—Tuazon’s first solo museum show in his native Washington State.

The exhibition—COLLABORATOR—also includes work in honor of Leonard Peltier, and “new sculptures and site-responsive interventions that respond, in part, to the porous, light-filled nature of architect Steven Holl‘s design” for the museum’s third floor galleries.*

OSCAR TUAZON—COLLABORATOR*

Through September 15.

Bellevue Arts Museum

510 Bellevue Way NE, Bellevue.

See PARIS LA 13—”CHEZ CHEZ PERV PERV” (Spring 2015), an issue guest-edited by Gardar Eide Einarsson, Matias Faldbakken, and Oscar Tuazon.

Oscar Tuazon—Collaborator, 2019, installation views, Bellevue Arts Museum. Photographs by Dorothée Perret. Images courtesy and © the artists and the Bellevue Arts Museum.

ALICE GUY-BLACHÉ

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If Agnès Varda was the mother of the nouvelle vague, Alice Guy-Blaché (1873–1968) was the mother of cinema, period. She was an early viewer of the Lumière brothers shorts and was one of the first filmmakers of either gender to explore the narrative possibilities of the medium—influencing the work of Eisenstein and Hitchcock, to name just two. In addition to directing and producing, she founded and ran Solax Studio out of Fort Lee, New Jersey.

Not that anyone would know these things, considering how her male colleagues in the fledgling industry erased her contributions. Her husband, Herbert Blaché, took credit for Solax, and her boss, Léon Gaumont, failed to acknowledge her in the studio records. Male film historians hardly picked up the slack during Guy-Blaché’s life or since her death.

The new documentary BE NATURAL—THE UNTOLD STORY OF ALICE GUY-BLACHÉ—directed by Pamela B. Green and narrated by Jodie Foster—goes a long way toward righting these wrongs, and is screening in downtown Los Angeles through Thursday.

BE NATURAL—THE UNTOLD STORY OF ALICE GUY-BLACHÉ

Through May 23.

Downtown Independent

251 South Main Street, Los Angeles.

From top: Alice Guy-Blaché directing Bessie Love in Great Adventure (1918); Guy-Blaché directing My Madonna, with Olga Petrova and John Hass; Alice Guy-Blaché, A Fool and his Money (still), one of the first narrative films to feature an African-American cast; Alice Guy-Blaché, Scarlet Woman (still); Guy-Blaché directing My Madonna; Love (left) and Guy-Blaché. Images courtesy and © Pamela B. Green and Kino Lorber.

HOUSE OF GAGA — A SENTIMENTAL EDUCATION

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The Dumas and Flaubert-derived title of the Air de Paris exhibition HOUSE OF GAGA—20 YEARS LATER (A SENTIMENTAL EDUCATION) refers to the year in the late 1990s when Fernando Mesta joined Air de Paris to do an internship.

Ten years later, Mesta and José Rojas founded House of Gaga in Mexico City. This Air de Paris show celebrates the gallery and two decades of art by Julien Ceccaldi, Nicolas Ceccaldi, Trisha Donnelly, Bruno Pelassy, Vivian Suter, and Danny McDonald (Mended Veil).

HOUSE OF GAGA—20 YEARS LATER (A SENTIMENTAL EDUCATION)

Through June 15.

Air de Paris

32, rue Louise Weiss, 13th, Paris.

In October 2019, Air de Paris will move to the Komunuma art center in Romainville, Seine-Saint-Denis.

House of Gaga—20 Years Later (A Sentimental Education), Air de Paris, from top: Julien Ceccaldi, Hooded Corpse, 2018, skeleton model, melted plastic, chicken wire, synthetic wig, hoodie, underwear, socks, slipper and woodstain, and acrylic paint; Bruno Pelassy, untitled, 2000-2001, silk, silicone, beads, lace, in an aquarium; Nicolas Ceccaldi, untitled, 2017, crucifix, holographic vinyl, plastic frame; Mended Veil (2), 1999–2019, mixed media; ; Bruno Pelassy, untitled, 1995, glass beads, nylon, wood; Vivian Suter, untitled and undated, acrylic, glue and mud on canvas; Julien Ceccaldi, Secret Base—10 years later, 2019, acrylic on canvas. Artwork and images courtesy and © the artists, the photographers, House of Gaga, and Air de Paris.