FINAESTAMPA—ILLUSTRATION AND FASHION features the work of nearly two dozen artists, including François Berhoud, Blair Breitenstein, Jason Brooks, Helen Bullock, Gill Button, Cecilia Carlstedt, Jean-Philippe Delhomme, David Downton, Ricardo Fumanal, Laura Gulshani, Mats Gustafson, Richard Haines, Amelie Hegardt, Richard Kilroy, Jordi Labanda, Tanya Ling, Jowy Maasdamme, Inés Maestre, Rosie McGuinness, Aurore de la Morinerie, Hiroshi Tanabe, and Unskilled Worker.

The exhibition is complemented by a fully illustrated catalogue.


Through May 19.

Museo ABC

Amaniel 29–31, Madrid.

From top, left to right, artwork by Gill Button, Rosie McGuiness, Aurore de la Morinerie, Amelie Hegardt, Richard Kilroy, Laura Gulshani, Mats Gustafson, Richard Haines, François Berthoud, and Blair Breitenstein. Images courtesy the artists and Museo ABC.


“I am always thinking about the cinema experience. That’s why I haven’t made television yet. Television is a writer’s medium. Not to say there aren’t good things in it, but television—no matter how good it is—is underwhelming. The size of it, and sitting in your living room. It’s pedestrian, whereas cinema is magic, it’s huge, it envelops you, and there’s something completely sensory when it works.” — Harmony Korine

On the eve of the release of The Beach Bum—his sixth feature—join Korine in Hollywood this week for two nights of double features and between-film conversations.

This American Cinematheque presentation of Korine’s films from the last twenty years includes his masterpiece Spring Breakers. All films will be screened in 35mm.


Tuesday, March 19, at 7:30 pm.


Wednesday, March 20, at 7:30 pm.

Egyptian Theatre

6712 Hollywood Boulevard, Los Angeles.

From top: Rachel Korine in Spring Breakers; Bunny Boy in Gummo; Ewen Bremner in Julien Donkey-Boy; Trash Humpers. Images courtesy the artist, A24, Warner Bros., and Drag City.


This is the final week of the local production of THE JUDAS KISS, David Hare‘s brilliant take on the last years of Oscar Wilde and his doomed relationship with Alfred, Lord Douglas—known to Wilde and the world as “Bosie.”

The play is directed by Michael Michetti, and Rob Nagle‘s uncanny portrayal of the iconoclastic Irish playwright is definitive.


Monday, Thursday, Friday, and Saturday

March 18, 21, 22, and 23, at 8 pm.

Saturday and Sunday, March 23 and 24, at 2 pm.

Boston Court Pasadena

70 North Mentor Avenue, Pasadena.

From top: Rob Nagle, (right) as Oscar Wilde, and Colin Bates, as Alfred, Lord Douglas, in The Judas Kiss; Bates, Kurt Kanazawa, and Nagle; Nagle (left) and Darius de la Cruz. Photographs by Jenny Graham, courtesy of Boston Court Pasadena.


In the art-for-art’s-sake world of Christophe Honoré and his characters—gay men in love with love and the legends of representation that give their at-risk lives sense, sensibility, and station—matters of love, life, death are navigated through a filter of literature and performance, and this combination of high art and pop sentimentality brings solace.

In PLAIRE, AIMER ET COURIR VITE / SORRY ANGEL—now playing at the Nuart—the brief 1990s encounter of Jacques (Pierre Deladonchamps) and Arthur (Vincent Lacoste) is haunted by the long shadows and quotations of some of the writers Honoré recently celebrated in his stage piece Les IdolesBernard-Marie Koltès, Hervé Guibert—supplemented by queer icons and allies Jean Genet, Isabelle Huppert, Robert Wilson, Walt Whitman, W.H. Auden, David Hockney, Andy Warhol, and Rainer Werner Fassbinder.

Jacques, not willing to undergo yet another course of AIDS treatment, is reaching the end of his story just as Arthur—like Honoré, a transplant from the provinces—is beginning his. With a little help from his idols, Jacques can put Arthur on the path to become a proper young Parisian.


Through March 21.

Nuart Theatre

11272 Santa Monica Boulevard, West Los Angeles.

From top: Pierre Deladonchamps (foreground) and Vincent Lacoste in Sorry Angel; Deladonchamps; Deladonchamps and Lacoste; Lacoste.


“We knew it was coming but the finality of his passing makes it even more devastating. Okwui was this enormously prophetic figure, wise beyond his years, whose insights—vision, if you will—literally shaped the universe many of us now inhabit. He was like an enormous tree in the glare, whose shadow provided refuge, hospitality, generosity, and love for so many.” — John Akomfrah

Okwui Enwezor—the great historian, curator, writer, editor, and former artistic director of Haus der Kunst—has died in Munich following four years of cancer treatment.

Enwezor, who was 55 at the time of his death, is celebrated for his paradigm-shifting directorship of Documenta 11 in 2002, and the 56th Venice BiennaleAll the World’s Futures—in 2015.

A writer and editor in demand, Enwezor’s contributions will live on in the work of the artists he championed.

From top: Contemporary African Art Since 1980 (2009), by Okwui Enwezor and Chika Okeke-Agulu, image courtesy Damiani; John Akomfrah: Signs of Empire (2018), contributing text by Enwezor, image courtesy the New Museum; Candice Breitz: The Scripted Life (2010), contributing text by Enwezor, image courtesy Kunsthaus Bregenz; Recent Histories: Contemporary African Photography and Video Art from the Walther Collection (2017), contributing text by Enwezor, image courtesy Steidl and the Walther Collection; Gary Simmons: Paradise (2012), conversation with Enwezor, image courtesy Damiani; Kerry James Marshall: Painting and Other Stuff (2014), contributing text by Enwezor, image courtesy Ludion; Lyle Ashton Harris: Excessive Exposure (2010), text by Enwezor, image courtesy Gregory R. Miller & Co.; Home Lands–Land Marks: Contemporary Art from South Africa (2009), contributing text by Enwezor, image courtesy Haunch of Venison.