Category Archives: BOOKS/PERIODICALS

PAULINE BOUDRY AND RENATE LORENZ — MOVING BACKWARDS

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.

CELIA PAUL

[Celia Paul’s] story is striking. It is not, as has been assumed, the tale of a muse who later became a painter, but an account of a painter who, for ten years of her early life, found herself mistaken for a muse, by a man who did that a lot. [Self-Portrait] is about many things besides [Lucian] Freud: her mother, her childhood, her sisters, her paintings. But she neither rejects her past with Freud nor rewrites it, placing present ideas and feelings alongside diary entries and letters she wrote as a young woman, a generous, vulnerable strategy that avoids the usual triumphalism of memoir. For Paul, the self is continuous (“I have always been, and I remain at nearly sixty, the same person I was as a teenager…. This simple realisation seems to me to be complex and profoundly liberating”), and equal weight is given to “the vividness of the past and the measured detachment of the present.” — Zadie Smith, 2019

Landscapes and portraiture—self- and otherwise—are the focus of an exhibition of paintings by Celia Paul, who has just published an extensively illustrated memoir.

CELIA PAUL

Through December 20.

Victoria Miro Gallery II

16 Wharf Road, London.

CELIA PAUL—SELF-PORTRAIT

2019, Jonathan Cape.

Celia Paul, from top: Self-Portrait, Early Summer, 2018, oil on canvas; Self-Portrait, 1983, ink on paper; Kate in White, Spring, 2018 (detail), oil on canvas; Room and Tower, 2019, oil on canvas; 2016 photograph of Paul in her London studio by Gautier Deblonde; My Sisters in Mourning, 2015–16, oil on canvas; Last Light on the Sea, 2016; Celia Paul, Self-Portrait (2019), cover image courtesy and © Jonathan Cape; Lucian and Me, 2019, oil on canvas; Painter and Model, 2012, oil on canvas. Images courtesy and © the artist, the photographers, Jonathan Cape, and Victoria Miro.

SUSAN SONTAG — DUET FOR CANNIBALS

I don’t feel this film is necessary. This film exists because I always wanted to make films.Susan Sontag, to Jonas Mekas

In 1968—after her trip to Hanoi and a year before the publication of her second essay collection, Styles of Radical Will—Sontag went to Sweden to make her first film. DUET FOR CANNIBALS, which premiered at the 1969 New York Film Festival, has been restored by Metrograph Pictures and is playing at its Manhattan cinema.

The film is in Swedish—with subtitles by its director—and stars Adriana Asti, Lars Ekborg, Gösta Ekman, and Agneta Ekmanner.

DUET FOR CANNIBALS

Through November 28.

Metrograph

7 Ludlow Street, New York City.

From top: Susan Sontag on the set of her film Duett för kannibaler (Duet for Cannibals, 1969), courtesy and © Grove Press / Photofest; Gost Ekman (left) and Agneta Ekmanner; cover of the Noonday publication of the screenplay, courtesy and © the publisher; Swedish film poster; Adriana Asti and Ekman (2). Images courtesy and © the artists, their estates, Evergreen Film, and Metrograph Pictures.

ALEX HUBBARD — THE CORNER OF THE TABLE

The videos involve a long, slow process, hunched in front of the computer… The paintings, when they started, were about changing gears in the studio and working quickly… With most if not all of the materials I use, there is no going back. With the plastics, the urethanes, and the resins, once they are mixed, the clock is ticking. The slower I am to start, the less time I have to work with them.Alex Hubbard*

THE CORNER OF THE TABLE—Hubbard’s solo show at Regen Projects—includes his new multimedia works on linen and cotton as well as two handmade projectors streaming animated videos.

ALEX HUBBARD—THE CORNER OF THE TABLE

Through December 21.

Regen Projects

6750 Santa Monica Boulevard, Los Angeles.

*”Alex Hubbard in conversation with Debra Singer,” in Alex Hubbard—Eat Your Friends (Los Angeles: DoPe Press, 2015), 37–38.

Alex Hubbard, The Corner of the Table, November 16–December 21, 2019, Regen Projects, Los Angeles, from top: Youth Apparatus, 2019, urethane, acrylic, UV print, epoxy resin, fiberglass, and oil on linen; Vaper’s Salon, 2019, urethane, acrylic, UV print, epoxy resin, fiberglass, and oil on cotton; Romeo’s Purple Welcome, 2019, urethane, acrylic, UV print, epoxy resin, fiberglass, and oil on linen; The way things I wish they used to be, 2019, urethane, acrylic, UV print, epoxy resin, fiberglass, and oil on cotton; Boule’s, 2019, urethane, acrylic, UV print, epoxy resin, and fiberglass on cotton; Life Preserver, 2019, urethane, acrylic, UV print, epoxy resin, fiberglass, and oil on cotton; Animal Dance, 2019, urethane, acrylic, UV print, epoxy resin, and fiberglass on linen; Infrared, 2019, urethane, acrylic, UV print, epoxy resin, fiberglass, and oil on linen; 1,000,000 (Iguana), 2019, urethane, acrylic, UV print, and oil on linen. Images courtesy and © the artist and Regen Projects.

DARRYL PINCKNEY AND MARGO JEFFERSON IN CONVERSATION

Darryl Pinckney—longtime contributor to the New York Review of Books and the author of the novel Black Deutschland—will join Margo Jefferson for a conversation about the essays in his new collection Busted in New York, the “cumulative effect of [which]… is a contextualization of recent history in a manner only Pinckney’s prose can articulate.”*

BUSTED IN NEW YORK—DARRYL PINCKNEY WITH MARGO JEFFERSON*

Monday, November 18, at 6:30 pm.

New York Public Library

Wachenheim Trustees Room

476 Fifth Avenue (at 42nd Street), New York City.

From top: Darryl Pinckney, photograph by Dominique Nabokov; Darryl Pinckney, Busted in New York and Other Essays, 2019, cover image courtesy and © Farrar, Straus and Giroux; Margo Jefferson, Negroland: A Memoir, 2015, cover image courtesy and © Pantheon; Jefferson. Images courtesy and © the authors and photographers.