Tag Archives: Gary Indiana

AVENGERS AT GAGA AND REENA SPAULINGS

This is the closing week of AVENGERS—SOMEONE LEFT THE CAKE OUT IN THE RAIN, a group show at Gaga & Reena Spaulings Fine Art, Los Angeles.

The exhibition features photographs by Julie Becker and Reynaldo Rivera—including several from the Cha Cha Girls ’87 series—prints by Juliana Huxtable, Stephen Willats, and Felix Bernstein & Gabe Rubin, paintings by Jill Mulleady, Mayo Thompson, and Bedros Yeretzian & Nicole-Antonia Spagnola, multimedia works by Harry Dodge, Megan Plunkett, Matthew Langan-Peck, and Larry Johnson, and videos by Ken Okiishi and Gary Indiana.

In addition, Hedi El Kholti’s Collage sketchbook #10 is here, as well as ABC Pong, Bernadette Corporation’s table piece, featuring audio by Sylvère Lotringer.

On closing night the gallery will host a video program, with work by Alexander Kluge, Alex Hubbard, and exhibition artists Dodge, Huxtable, Indiana, and Spagnola.

AVENGERS—SOMEONE LEFT THE CAKE OUT IN THE RAIN

Through Saturday, August 10.

Video program:

Saturday, August 10, at 8 pm.

Gaga & Reena Spaulings Fine Art

2228 W. 7th Street, 2nd Floor (entrance on South Grand View Street), Los Angeles.

Avengers—Someone Left the Cake Out in the Rain, 2019, from top: Matthew Langan-Peck, Untitled, 2019, digital C-print, wood, acrylic, oil paint; Mayo Thompson, Alligator & Turtle, 2019, gouache on canvas; installation view with Juliana Huxtable’s prints The Feminist Scam, 2017 (left) and The War on Proof, 2017, on wall and Bernadette Corporation’s ABC Pong in foreground; Megan Plunkett, The Encounter 01/The Prime Mover, 2019; installation view; Jill Mulleady, A Place in the Sun (Larry), 2019, oil on linen; Larry Johnson, Untitled (Century Schoolbook, Annotated), 1991, foamcore, photo mechanical transfer, rubber cement, ink, paint; installation view with Hedi El Kholti’s Collage sketchbook #10, 2015–2019, on stand; Mayo Thompson (2), Column and Bather, both 2019, gouache on canvas; Felix Bernstein & Gabe Rubin, Free Dissociation II, 2019, inkjet print; Reynaldo Rivera, Untitled (Fausto), inkjet print; installation view with four C-prints by Julie Becker from her The Same Room series; Felix Bernstein & Gabe Rubin, Free Dissociation I, 2019, inkjet print; Harry Dodge, The Gross Part (Stencil Series), 2015, plexiglass, primer, paint, UV-proof varnish, polished aluminum frame; Ken Okiishi, Being and/or Time, 2013–2016, HD video, 17 minutes, 15 seconds; Matthew Langan-Peck, J-U-, 2019, silkscreen on aluminum, wood,acrylic, oil paint, LED; installation view with Gary Indiana’s 2014 digital video Stanley Park on left. Images courtesy and © the artists and Gaga & Reena Spaulings Fine Art, Los Angeles. Special thanks to Jacob Eisenmann.

GARY INDIANA IN LOS ANGELES

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“In 1985, the Village Voice offered me a job as senior art critic. This made my life easier and lousy at the same time. I now had to actually enter all those galleries instead of peeking in the windows.” — Gary Indiana, Vile Days

Indiana’s art reviews for the Voice—collected and republished as Vile Days: The Village Voice Art Columns, 1985–1988—combine “his novelistic and theatrical gifts with a startling political acumen to assess art and the unruly environments that give it context.”

Indiana will give this week’s graduate art lecture at ArtCenter’s Hillside Campus.

In mid-January he will read from Vile Days and present the Michael Haneke film Happy End (2017) at a Hard to Read event in West Hollywood.

GARY INDIANA ON VILE DAYS

Tuesday, December 4, at 7:30 pm.

ArtCenter College of Design

Hillside Campus

1700 Lida Street, Pasadena.

GARY INDIANA AT HARD TO READ

Tuesday, January 15, at 7 pm.

Standard Hotel

8300 Sunset Boulevard, West Hollywood.

See ArtCenter Talks: Graduate Seminar, The First Decade 1986–1995, Stan Douglas, ed. (New York: David Zwirner Books/Pasadena, CA: ArtCenter Graduate Press, 2016).

Image credit above: Semiotext(e).

Below: Gary Indiana. Photograph by Hedi El Kholti, courtesy El Kholti and Indiana.

CHRIS KRAUS — SOCIAL PRACTICES

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Chris Kraus will be in London this week, making several appearances around the capital with Social Practices—her new collection of essays, stories, biography, and conversation—published this month by Semiotext(e).

CHRIS KRAUS IN CONVERSATION

Monday, October 29, at 6 pm.

Gorvy Lecture Theatre, Royal College of Art Dyson Building

Riverside, 1 Hester Road, Battersea, London.

CHRIS KRAUS IN CONVERSATION WITH KRISTEN KREIDER

Tuesday, October 30, at 6:30 pm.

Institute of Contemporary Arts, The Mall, St. James’s, London.

CHRIS KRAUS IN CONVERSATION WITH ELLEN MARA DE WACHTER

Wednesday, October 31, at 7 pm.

Waterstones, 82 Gower Street, Bloomsbury, London.

Top image credit: Semiotext(e).

Above: Jessica Kao, CalArts poster, 2013.

Below: Chris Kraus by Reynaldo Rivera, whose book of photographs will be published by Semiotext(e) in 2019.

GARY INDIANA — DO EVERYTHING IN THE DARK

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“Jesse eats a heavy meal, avoiding wine to keep the edge from creeping near. He’s privy to histrionic inner turmoil after several drinks. He gets excited, aggrieved, sad, stupid. Jesse needs clarity. He hasn’t thought about where he’ll go after Rome. If he drinks beyond a fixed threshold, in the wrong place, he knows he’ll start to perceive himself an interesting person, and want to involve a stranger in his subjectivity. This would not be dangerous in Rome, as it might be in South America, but it would be obnoxious. Jesse has become economical about giving himself ugly memories.”

— Gary Indiana, Do Everything in the Dark (New York: St. Martin’s Press, 2003), 112.

See: nomadicpress.org/reviews/doeverythinginthedark

Gary Indiana.

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CARMEN — CARMEN

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In the busy, declamatory plays of Simon Stephens, the most interesting characters explosively stake their claims on a loveless, transactional playing field with little regard to the consequences of their actions. Vulnerability is sneered at—often by the most vulnerable themselves—or dismissed as a form of mental illness.

In CARMEN DISRUPTION (now at City Garage, directed by Frédérique Michel), Stephens kicks the major characters from Bizet’s opus to the curb of a large, unnamed European city. Micaela is bereft at the loss of her 62-year-old boyfriend, the taxi driving Don Jose. Escamillo has gone from bulls to bull markets as a high-stakes trader, and Carmen is a male prostitute who survives a rape but whose days may be numbered.

The players are alone in their traumas—the text is Bizet as a Gary Indiana monologue. With scant acknowledgement, they occasionally cross paths in bars and on bridges. They are lost and they’re definitely screwed, but with drollery intact, they’re not quite doomed:

“I take out a Viagra and swallow it right in front of him. There’s a fake log fire in the corner of the room.” — Carmen.

Across town—in the title role of the L.A. Opera production of CARMEN at the Dorothy Chandler Pavilion—Ana María Martínez perfectly insinuates herself on a large, crowded stage and takes command as the only adult in the room. While the men bluster and parade, playing soldier and tormenting livestock, Carmen never abandons her policy of generosity and love con gusto. She knows her value, and doesn’t waste time nursing fragile martinet egos back to health. Naturally, her independent attitude must be punished.

In addition to Martínez, Liv Redpath as Frasquita and Kelley O’Connor as Mécèdes are particular stand outs. James Conlon conducts.

CARMEN DISRUPTION, through October 15.

CITY GARAGE, Bergamot Station, 2525 Michigan Avenue, Santa Monica.

citygarage.org/

CARMEN—L.A. OPERA, September 17, 20, 23, 28, and October 1.

DOROTHY CHANDLER PAVILION, Music Center, downtown Los Angeles.

laopera.org/season/1718-Season/Carmen/

Top: Ana María Martínez (on table) in Carmen, L.A Opera 2017. Photograph by Ken Howard.

Bottom: Lindsay Plake, Kimshelley Lessard, Anthony Sannazzaro and David E. Frank in Carmen Disruption at City Garage, 2017.

PARIS LA

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Tag Archives: Gary Indiana

AVENGERS AT GAGA AND REENA SPAULINGS

GARY INDIANA IN LOS ANGELES

GARY INDIANA — DO EVERYTHING IN THE DARK

CARMEN — CARMEN