Tag Archives: Anne Ellegood

PAULINE BOUDRY AND RENATE LORENZ — MOVING BACKWARDS

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We do not feel represented by our governments and do not agree with decisions taken in our name. We witness European nations building giant walls and fences around borders that already didn’t seem useful in the first place, rejecting rescue ships at the harbors. Philosopher Achille Mbembe speaks of the “Society of Enmity.” Queer scholar José Esteban Munoz calls the here and now a “prison house.” People stop using gender neutral language and move from their polyamorous groups into traditional families. Hate speech not only seems acceptable, but becomes a motor of aggressively arresting us into what is considered a normal life. Do you sometimes feel as if you are massively being forced to move backwards?

We have, of course, no recipe. But after taking a deep breath we are up for turning disadvantage into a tool: Let’s collectively move backwards…

Women of the Kurdish guerrillas wore their shoes the wrong way round to walk from one place in the snowy mountains to the other. This tactic saved their lives. It seems as if you are walking backwards, but actually you are walking forwards. Or the other way around.

Let’s take this story as a starting point for the project: Can we use the tactical ambivalence of this movement as a means of coming together, re-organizing our desires, and finding ways of exercising freedoms? Can its feigned backwardness even fight the notion of progress’ inevitability?

We will move backwards and think about the ways in which we wish to live with loved but also unloved others. We will move backwards, because strange encounters might be a pleasant starting point for something unforeseen to happen. — Renate and Pauline

This weekend, Joan presents the United States premiere of Pauline Boudry and Renate Lorenz’ 2019 Venice Biennale video installation MOVING BACKWARDS.

The Venice iteration in the Swiss Pavilion—curated by Charlotte Laubard—incarnated a nightclub environment, and the opening weekend in Los Angeles will feature a live performance by Marbles Jumbo Radio.

PAULINE BOUDRY and RENATE LORENZ—MOVING BACKWARDS

Opening Night

Saturday, December 7, from 7 pm.

PAULINE BOUDRY and RENATE LORENZ IN CONVERSATION WITH ANNE ELLEGOOD

Sunday, December 8, at 4 pm.

Performances

Opening Night at 7 pm and Sunday, December 8, from noon to 4 pm.

Joan

1206 Maple Avenue, suite 715, downtown Los Angeles.

In addition to Marbles Jumbo Radio, performers in the video include Julie Cunningham, Werner Hirsch, Latifa Laâbissi, and Nach.

The MOVING BACKWARDS exhibition catalog is available from Skira.

Pauline Boudry and Renate Lorenz, Moving Backwards, 2019, installation and performance photographs from the 58th Venice Biennale, Swiss Pavilion. Images courtesy and © the artists, the photographers, the performers, la Biennale di Venezia, and Skira.

JUDITH HOPF — HAMMER PROJECTS

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HAMMER PROJECTS—JUDITH HOPF, organized by senior curator Anne Ellegood (with MacKenzie Stevens, curatorial assistant), will be up through August 13.

HAMMER MUSEUM, 10899 Wilshire Boulevard, Westwood, Los Angeles.

 

hammer.ucla.edu/exhibitions/2017/hammer-projects-judith-hopf/#gallery_5de844e90bc4369d902cb020bed28b133d6ccab4


Judith Hopf, Brick–Foot, Bricks, cement. 12 1/4 x 30 11/16 x 13 inches (31 x 78 x 33 cm). Image credit: Judith Hopf and Kaufmann Repetto, Milan and New York.

Judith Hopf, Hand 1, 2016 Bricks, cement. 44 7/8 x 24 x 14 1/2 inches (114 x 61 x 37 cm). Image credit: Judith Hopf and Kaufmann Repetto, Milan and New York.

Judith Hopf, Hand 1, 2016
Bricks, cement. 44 7/8 x 24 x 14 1/2 inches (114 x 61 x 37 cm).
Image credit: Judith Hopf and Kaufmann Repetto, Milan and New York.

Judith Hopf, Waiting Laptops, 2016. Collaged paper, lacquer. 39 3/8 x 27 1/2 in. (100 x 70 cm). Image credit: Judith Hopf and Kaufmann Repetto, Milan and New York.

Judith Hopf, Waiting Laptops, 2016.
Collaged paper, lacquer. 39 3/8 x 27 1/2 inches  (100 x 70 cm).
Image credit: Judith Hopf and Kaufmann Repetto, Milan and New York.

hopf

JIMMIE DURHAM — PROGRAMS

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“The official history is certainly not true.” — Jimmie Durham*

JIMMIE DURHAM: AT THE CENTER OF THE WORLD, the retrospective exhibition at the Hammer Museum, is open through the first week of May, 2017. In the coming weeks, the museum will present a series of on-site programs related to Durham’s life and practice: conversations, readings, screenings, and artist walk-throughs.

 

INTERROGATE, COMPLICATE, INTEGRATE. At the Center of the World curator Anne Ellegood discusses Durham’s work and influence with artists and Durham friends Abraham Cruzvillegas and Jeffrey Gibson. Tuesday, February 21, at 7:30 pm.

STANDING TALL FOR TRIBAL RIGHTS. UCLA law professors Carole Goldberg and Angela R. Riley, and scholar and activist Melanie K. Yazzie discuss tribal rights, activism, and sovereignty. Wednesday, March 1, at 7:30 pm.

INCIDENT AT OGLALA, Michael Apted’s 1992 documentary about Leonard Peltier, screens in the Billy Wilder Theater on Wednesday, March 8, at 7:30 pm.

THE POLITICS AND PROBLEMATICS OF REPRESENTATION. Ellegood, art historians Richard Hill and Miwon Kwon, and curator Elisabeth Sussman discuss how multiculturalism in the 1980s created opportunities while reinforcing existing racial and cultural divides. Thursday, March 9, at 7:30 pm.

A GOOD DAY TO DIE, David Mueller and Lynn Salt’s 2010 documentary about AIM founder Dennis Banks, screens in the Billy Wilder Theater on Wednesday, April 12, at 7:30 pm.

 

JIMMIE DURHAM: AT THE CENTER OF THE WORLD, through May 7, 2017.

Hammer Museum, Westwood. Admission free.

hammer.ucla.edu/exhibitions/2017/jimmie-durham-at-the-center-of-the-world/

*Cristian Manzutto, Not About Me (Jimmie Durham Documentation Project 2008–2016), video, 2017.

Jimmie Durham, Still Life with Stone and Car Image credit: Creative Commons Licensing

Jimmie Durham, Still Life with Stone and Car Photograph by Bidgee
Creative Commons Licensing