CYPRIENGAILLARD—ROOTS CANAL is an exhibition of the films, photographs, and sculptures by the artist—mostly from the last five years—that “describe and evoke the perpetual destruction, preservation, and reconstruction of [our] urban spaces.”*
The show includes Gaillard’s excavator heads—on view in Europe for the first time—and the Sober City Polaroid series.
“As much as I’m engaged with it, with violence, I remain ever hopeful that change is possible and necessary, and that we will get there. I believe that strongly, and representing that matters to me: a sense of aspiration, a sense of good will, a sense of hope, a sense of this idea that one has the right, that we have the right to be as we are.” — Carrie Mae Weems*
The timeless themes of political power, social justice, gender oppression, and valiant persistence are brought to life in a modern context in PAST TENSE, Carrie Mae Weems’ multimedia take on Antigone.
Combining music, spoken word, video, and projected images, PAST TENSE—presented this week in Los Angeles by CAPUCLA—includes works by poet Carl Hancock Rux and composer Craig Harris, and will be performed by Weems, Eisa Davis, Francesca Harper, David Parker, Imani Uzuri, and Alicia Hall Moran, who brought the house down at Disney Hall earlier this week in Bryce Dessner’s Triptych.
*Megan O’Grady, “Carrie Mae Weems,” T: The New York Times Style Magazine, October 21, 2018, 140.
From top: Carrie Mae Weems, Past Tense, in performance; Past Tense production photographs (2) by WilliamStrugs; Carrie Mae Weems, portrait by Jerry Klineberg; Past Tense, in performance with, from right, Alicia Hall Moran, Imani Uzuri, and Eisa Davis. Images courtesy CAP UCLA.
RED STAR FEAR NOT—an exhibition of work by feminist activist and pioneer video, installation, collage, and performance artist Sanja Iveković—surveys her “tireless and continuous investigation into the role of women in structuring societal conditions and performing the political in their own terms,” and includes the newly-commissioned works Greek History Lesson (2018) and WhetherWe Were Brave (2019).*
A FlorenceLazar retrospective YOU THINK THEEARTH IS A DEAD THING… is now on view at JeudePaume.
It’s title evoking the “ecological ravages of colonialism” and the “emancipatory potential of history,” the exhibition features Lazar’s new video work 125 HECTARES (2019), as well as her photographic portraits and previous films, including LES PAYSANS (2000) and KAMEN (LESPIERRES) (2014).
From top: Florence Lazar, Jeune militant, 2008, photograph; Florence Lazar, 125hectares, 2019, video; Florence Lazar, Confessions d’un jeune militant, 2008, video; Florence Lazar, LesFemmes en noir, 2002, video; Florence Lazar, Kamen (LesPierres) , 2014, film; Florence Lazar, Socialisme ou barbarie, 2008, photograph. Photographs courtesy the artist, FMAC, Cnap Paris, and Jeu de Paume. Film and video images courtesy the artist, Sister Productions, Fort du Bruissin, and Jeu de Paume.
“My beautiful city is set on rock between two flowing paths of water that run to the sea. My city is tall and jagged—with gold-slated towers… My city chokes on its breath, and sparkles with its false lights—and sleeps restlessly at night. My city is a lone man walking at night down an empty street watching his shadow grow longer as he passes the last lamp post, seeing no comfort in the blank, dark windows, and hearing his footsteps echo against the building and fade away.” — Jerome Robbins
Admired, disparaged, beloved, feared, JeromeRobbins (1918–1998) was one of the great choreographers of the twentieth century. ArthurLaurents told Robbins he was “a shit” for naming names as a “friendly witness” for HUAC. (Robbins feared being exposed as bisexual.) Yet Laurents continued to collaborate with him, most notably on West Side Story. (StephenSondheim, the show’s lyricist, said that Robbins was one of the only geniuses he’d ever worked with.)
Through his work with the American BalletTheatre and New York City Ballet, and on Broadway—On the Town, Gypsy, and Fiddler on the Roof, to name just three shows among dozens—Robbins was indelibly associated with his home base and muse: Manhattan.
A new exhibition curated by Julia Foulkes marks Robbins’ centenary and his lifelong celebration of the city, and includes dance films and videos, diaries, paintings, story scenarios, press clippings, and extensive photographic documentation.
From top: Sharks and Jets dance in West Side Story, on tour in Europe in the early 2000s; the original Fancy Free cast—MurielBentley, Janet Reed, Harold Lang, John Kriza, and Jerome Robbins—in Times Square in 1958, with photographer Gordon Parks leaning over his tripod, courtesy the Jerome Robbins DanceDivision/The New York Public Libraryfor thePerforming Arts; Mikhail Baryshnikov in the NewYork City Ballet production of The Four Seasons (1979), choreographed by Robbins; AntoinetteSibley rehearses Afternoon of a Faun with the choreographer, photograph by Michael Childers, courtesy Dance Magazine; Damian Woetzel and Tiler Peck dance Robbins at Kennedy Center, 2017; Carmen de Lavallade, Robbins, and Yves Saint Laurent—photograph by Whiteside—and Robbins in 1944, both courtesy Dance Magazine.