Join Marvin Astorga, Nao Bustamante, Ron Athey, Robert Crouch, JenniferDoyle, JamillahJames, Young Joon Kwak, Marcus Kuiland-Nazario, and Bradford Nordeen at Zebulon for an evening of performance, music, and dance at Nayland Blake’s FIRST INTERNATIONAL INTERGENERATIONAL GENDER DISCARD PARTY.
As a native Texan, I have witnessed firsthand the discrimination that immigrants face in the United States. I have heard from friends who visited detention centers, and from lawyers representing those detained. I have heard the stories of those who are separated from their families, and read transcripts from underfunded courtrooms operating far beyond capacity. It is devastating. That all of this occurs in the name of “security” and “safety” is the greatest farce of all. — Molly Gochman
DO YOU KNOW WHERE THE CHILDREN ARE (DYKWTCA) is a call to action and exhibition of over 100 unique works of art by 100+ leading visual artists that is organized by the artists and activists Mary Ellen Carroll and Lucas Michael. Each work incorporates, or represents an actual account (in whole or in part) from a child who was separated from their family and detained by the U.S. government. This text may be in the native language of the child or a translation into English. The accounts are taken from the interviews that were conducted by the Flores investigators that included legal, medical and mental health experts who visited the detention facilities six months ago in June of 2019. Upon witnessing the deplorable, inhumane, and illegal conditions they found the children in, they decided it was necessary to act upon their findings. They went public.*
As part of the citywide Eurydice Found program, the Hammer Museum presents three live performances of Samuel Beckett’s wordless, percussive teleplays QUAD I and QUAD II, first broadcast in Germany in 1981.
QUAD brings together the representational conventions of ritual, computational code, and matheme. This television play presents a clear connection between Beckett’s literary convictions, in particular his concept of the “unword” and its avant-garde possibilities, and the role of mathematics in art. The formal connections between the ritualistic, computational, and allegorical dimensions of this television play render QUAD a “hyperstitional” work, one that is composed of twin formal elements: symbols without significance and superstition without belief. The relation between the television play and mathematics is thus not superficial or referential: Beckett’s “hyperstitional” work produces a literary dimension that echoes the temporal and spatial stakes peculiar to twentieth-century mathematics.*
Adapted from the roman à clef by Klaus Mann (son of Thomas), MEPHISTO—directed by István Szabó and based on Gustaf Gründgens, the great German actor, extreme political opportunist, and Klaus’ former brother-in-law—traces the simultaneous rise and fall of Hendrik Höfgen, a leftist thespian (played by Klaus Maria Brandauer) who becomes the toast of Nazi Berlin for his portrayal of Goethe ’s Mephistopheles.
“In the energy they bring to the film, Brandauer and Szabó have made a mighty statement, but it is as much about acting, I think, as Nazism. In Höfgen, we see an empty man, standing for nothing. This doesn’t even bother him.” — Roger Ebert
This week at the Egyptian, the American Cinematheque and Kino Lorber present a screening of the 4K restoration of MEPHISTO—winner of the Academy Award for Best-Foreign Language film—on a double bill with the 4K restoration of Szabó’s Silver Bear winner CONFIDENCE (1980).
The rise of the feminist movement and the globalism that exposed United States audiences to other cultures were two energizing forces for artist Constance Mallinson, coinciding with the artist’s late-1970s move to Los Angeles. Mallinson worked downtown, creating paintings and drawings that channeled the form and logic of weaving. She focused her attention on employing pattern as a bridge between minimalist aesthetics and a more personal and feminine approach as part of the Pattern and Decoration art movement.