SULA BERMÚDEZ-SILVERMAN — SIGHS AND LEERS AND CROCODILE TEARS

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In the show SIGHS AND LEERS AND CROCODILE TEARS—now in its final week in Los Angeles—Sula Bermúdez-Silverman “explores the expansive use of monsters ––in particular zombies–– and haunted spaces in the horror genre as metaphors for the actions societal systems inflict upon groups of people on a spiritual and physical level.”*

SULA BERMÚDEZ-SILVERMAN—SIGHS, AND LEERS, AND CROCODILE TEARS*

Through April 10.

Murmurs

1411 Newton Street, downtown Los Angeles.

Sula Bermúdez-Silverman, Sighs and Leers and Crocodile Tears, Murmurs, Los Angeles, March 7, 2021–April 10, 2021, from top: Porthole 2 (Parentheses of Blood), 2021, isomalt sugar, found object; Paradise Regained, 2021, isomalt sugar and glass found object; The Monster’s Bride (She’s Alive!), 2020, wool and viscose yarn; Repository II: Dead Ringer, 2021 (detail), glass, Himalayan pink salt, water; installation view with (foreground) Turning Heel, 2021, Himalayan pink salt, isomalt sugar, glass found object, (center) Repository I: Mother, 2021, isomalt sugar, Himalayan pink salt, epoxy resin, found object, and (against wall) Lady with the Ring, 2021, glass, carpenter bee; Carrefour Pietà/Be My Victim, 2021 (detail), wool and acrylic yarn; To Fear a Painted Devil’s Trumpet, 2021, Himalayan pink salt, kosher salt, sea salt, glass, carpenter bees, crushed emerald, Devil’s Trumpet seed pods (Datura inoxia), Devil’s Trumpet seeds (Datura inoxia), raw sugar; Porthole 6 (Julian’s Hatchet), 2021, isomalt sugar, epoxy resin, transparency film. Images © Sula Bermúdez-Silverman, courtesy of the artist and Murmurs.

SUSAN WEIL

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To perceive something you have to visualize it. For me, working is putting together images that move you, and so on, but then you have to have a way to describe it to yourself. And it’s been marvelous. There are themes that go through my work for twenty or thirty years, but they take different forms. When I was a kid growing up on the Outer Island [Connecticut], the horizon was a very powerful thing for me. My father, we were in a boat together and he said to me, “That’s not a straight line. That’s the edge of the earth,” and that stuck with me forever. — Susan Weil

The exhibition SUSAN WEIL, in upstate New York, brings together the artist’s spray paint works on paper, her Soft Folds series on unstretched canvas, the Configurations collages, as well as a selection of her artist’s books published with Vincent Fitzgerald & Co.

SUSAN WEIL

Through April 17.

JDJ

17 Mandalay Drive, Garrison.

Susan Weil, JDJ, Garrison, February 27, 2021–April 17, 2021, from top: Untitled, circa 1971, spray paint on paper; Flower Folds, 1991, acrylic on canvas; Black Configuration, 2000 (detail), charcoal, watercolor, and acrylic on paper; Color Configurations 2 (Red), 2000, acrylic on paper; Susan Weil installation view; Susan Weil installation view with (foreground) Brideship & Gulls, 1991, text by James Joyce, handmade artist book with gold leaf, etchings, and watercolor; Moon (Half Moon), 1990 (detail), acrylic on canvas; Untitled, circa 1971, spray paint on paper. Images © Susan Weil, courtesy of the artist and JDJ.

RACHEL KUSHNER IN CONVERSATION

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Sometimes I am boggled by the gallery of souls I’ve known. By the lore. The wild history, unsung. People crowd in and talk to me in dreams. People who died or disappeared or whose connection to my own life makes no logical sense, but exists, as strong as ever, in a past that seeps and stains instead of fading. The first time I took Ambien, a drug that makes some people sleep-fix sandwiches and sleepwalk on broken glass, I felt as if everyone I’d ever known were gathered around, not unpleasantly. It was a party and had a warm reunion feel to it. We were all there.

But sometimes the million stories I’ve got and the million people I’ve known pelt the roof of my internal world like a hailstorm. — Rachel Kushner*

A series of online events:

On Tuesday, Kushner will join Hal Foster to talk about her new book of essays The Hard Crowd. The following day she will join Dana Spiotta in conversation. And a week after that, Kim Gordon will sit down with the author.

RACHEL KUSHNER and HAL FOSTER—THE HARD CROWD

London Review 

Tuesday, April 6.

11 am on the West Coast, 2 pm East Coast, 6 pm London, 7 pm Paris.

RACHEL KUSHNER and DANA SPIOTTA IN CONVERSATION

City Lights 

Wednesday, April 7.

6 pm on the West Coast, 9 pm East Coast.

RACHEL KUSHNER with KIM GORDON

Skylight Books

Wednesday, April 14.

6:30 pm on the West Coast, 9:30 pm East Coast.

*Rachel Kushner, The Hard Crowd: Essays 2000–2020 (New York: Scribner, 2021). Text © Rachel Kushner, courtesy of the author and Scribner.

From top: Rachel Kushner, photograph by Chloe Aftel; Rachel Kushner, The Hard Crowd: Essays 2000–2020. Images courtesy and © the author and Scribner.

BARBARA LONDON IN CONVERSATION

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Barbara London—author of Video Art: The First Fifty Years, and founder of the video-media program at MoMA—will discuss her curatorial practice and forthcoming traveling exhibition Seeing Sound.

See link below to register for the online talk.

CURATOR’S PERSPECTIVE—BARBARA LONDON

Independent Curators International

Tuesday, April 6.

1 pm on the West Coast, 4 pm East Coast.

From top: Barbara London, courtesy and © London and Independent Curators International; London, Video Art: The First Fifty Years (2020), cover image courtesy and © Phaidon; Yuko Mohri, You Locked Me Up in a Grave, You Owe Me at Least the Peace of a Grave, 2018, installation view Childhood: Another Banana Day for the Dream-Fish, Palais de Tokyo, Paris, 2018, image © Yuko Mohri, courtesy of the artist and Project Fulfill Art Space, Mother’s Tankstation; Juan Cortés, Supralunar, 2018, custom-built mechanisms in perspex (dimensions variable), Arduino, LED lights, custom-built speakers, 4 channel sound, installation view, image © Juan Cortés, courtesy of the artist.

BERNADETTE CORPORATION — I ACCEPT

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We became aware of a space in which there was just the apex of a pyramid…. then realized over a period of years that the apex was actually one corner of a cube. Many years pass by, and we become conscious of a blob growing on the lower corner of the cube, which had been the original apex corner. As the blob grows, we realize that it’s our brain… and some years later we realize other people are there too... *

After I ACCEPT closes this week, posters may still be available.

BERNADETTE CORPORATION—I ACCEPT*

Through April 3.

Gaga

Amsterdam 123, Colonia Condesa, Mexico City.

Bernadette Corporation, I Accept, Gaga, Mexico City, February 25, 2021–April 23, 2021. Images © Bernadette Corporation, courtesy of the artists and Gaga.