NOUR MOBARAK — SPHERE STUDIES AND SUBTERRANEAN BOUNCE

SPHERE STUDIES AND SUBTERRANEAN BOUNCE—an exhibition by Nour Mobarak at Hakuna Matata—is on view through the first week of November.

NOUR MOBARAK—SPHERE STUDIES AND SUBTERRANEAN BOUNCE

Through November 8.

Hakuna Matata

3529 Roseview Avenue, Mount Washington, Los Angeles.

Nour Mobarak, Sphere Studies and Subterranean Bounce, Hakuna Matata, October 4, 2020–November 8, 2020. Images courtesy and © the artist and Hakuna Matata.

SUNIL GUPTA IN CONVERSATION



Those were halcyon times, our salad days indeed…raising our “consciousnesses” and creating a lifelong family of friends. — Fakroon (below), friend and photographic subject of Sunil Gupta

On the occasion of FROM HERE TO ETERNITYSunil Gupta’s first comprehensive retrospective exhibition in Great Britain—the artist and photographer will join curator Mason Leaver-Yap for an online conversation.

See links below for details.

ARTIST TALK—SUNIL GUPTA

Wednesday, October 28

10:30 am on the West Coast; 1:30 pm East Coast; 6:30 pm London; 7:30 pm Paris..

SUNIL GUPTA—FROM HERE TO ETERNITY

Through January 24.

The Photographers’ Gallery

16-18 Ramillies Street, Soho, London.

Exhibition catalog published by Autograph.

Sunil Gupta, From Here to Eternity, The Photographers’ Gallery, October 9, 2020–January 24, 2021, from top: Sunil with NY Review of Books, circa 1975; Shalini, Rudi, Sunil, Léo, 3425 Stanley, circa 1974; India Gate, 1987, from the series Exiles; Untitled #9, from the series Sun City; Fakroon, circa 1974; Untitled #50, from the series Christopher Street, 1976/2020; Shroud, 1999, from the series From Here to Eternity; Sunil Gupta, Queer (2011) exhibition catalog courtesy and © the artist, Vadehra Art Gallery, and Prestel; Sunil Gupta, Lovers: Ten Years On (2020) exhibition catalog cover image courtesy and © the artist and Stanley / Barker, design by The Entente; Sunil Gupta, From Here to Eternity (2020) exhibition catalog cover courtesy and © the artist and Autograph, graphic design Fraser Muggeridge Studio; Untitled #13, 2008, from the series The New Pre-Raphaelites; Untitled #22, from the series Christopher Street, 1976; Untitled #7, 2008, from the series The New Pre-Raphaelites; Jama Masjid, 1987, from the series Exiles. Images © Sunil Gupta, courtesy of the artist, Hales Gallery, Stephen Bulger Gallery, and Vadehra Art Gallery, © DACS 2020.

NEWFEST 2020 — CICADA AT THE DRIVE-IN

Ben (Matthew Fifer) meets Sam (Sheldon D. Brown) browsing-cruising the Strand bookstore bargain bin in CICADA, a collaboration between the film’s co-stars. The actors brought their own histories of trauma to the screenplay, which Ben powers through with a steady flow of wisecracks and Sam negotiates with caution. Shot through what seems like an endless golden hour, CICADA is also a love letter to New York, celebrating the kind of freedom and spontaneity that has largely gone missing over the last seven months.

As part of Newfest 2020, CICADA—directed by Fifer and Kieran Mulcare—screens this weekend at the Brooklyn Drive-In, preceded by a Brooklyn Boys program of short films. A post-screening Q & A with the filmmakers is also scheduled. See link below for details.

CICADA

Newfest 2020

Saturday, October 24.

Brooklyn Boys shorts program at 7:30 pm.

Cicada at 8:15 pm

Q & A at 9:45 pm.

Brooklyn Drive-In

Brooklyn Army Terminal

80 58th Street, Sunset Park, Brooklyn.

Matthew Fifer and Kieran Mulcare, Cicada (2020), from top: Sheldon D. Brown (left) and Matthew Fifer; Cobie Smulders and Fifer; Brown; Brown and Fifer (2). Images courtesy and © the filmmakers and the actors.

LAWLER, QUAYTMAN, AND ROWLAND AT BUCHHOLZ

When Metro Pictures asked me to do a show in 1982, they already had an image. They represented a group of artists whose work often dealt with issues of appropriation and was often spoken of and written about together. A gallery generates meaning through the type of work they choose to show. I self-consciously made work that “looked like” Metro Pictures. The first thing you saw when you entered my show, Arrangements of Pictures, was an arrangement of works the gallery had on hand by “gallery artists” Robert Longo, Cindy Sherman, Jack Goldstein, Laurie Simmons, and James Welling. A wall label titled it “Arranged by Louise Lawler.” It was for sale as a work with a price determined by adding up the prices of the individual pieces, plus a percentage for me. I went to the collectors to whom Metro had sold work and photographed the Metro artists’ works in those contexts. I printed the resulting images a “normal” picture size and titled them “arrangements,” too—for example, “Arranged by Barbara and Eugene Schwartz, New York City.” The Metro situation at that time formed that work, and it also formed a way of working for me. — Louise Lawler*

Invited to exhibit together for the first time, Louise Lawler, R. H. Quaytman, and Cameron Rowland present new work along with selected older pieces for a group show in Cologne, now in its final week.

LOUISE LAWLER, R. H. QUAYTMAN, CAMERON ROWLAND

Through October 24.

Galerie Buchholz

Neven-DuMont-Strasse 17, Cologne.

*“Prominence Given, Authority Taken: An Interview with Louise Lawler by Douglas Crimp,” in Louise Lawler: An Arrangement of Pictures (New York: Assouline, 2000).

Louise Lawler, R. H. Quaytman, Cameron Rowland, Galerie Buchholz, September 4, 2020–October 24, 2020, from top: Louise Lawler, Water to Skin (catalogue size), 2016/2017, digital Fujiflex print face mounted to Plexiglas on museum box (The Swimming Pool, 1952, Henri Matisse, gouache on paper, cut and pasted on painted paper, installed as nine panels in two parts on burlap-covered walls, photographed at the Museum of Modern Art, New York City); Louise Lawler, Water to Skin (traced), 2016/2020, vinyl adhesive wall material (the work is as a tracing by Jon Buller available as a PDF vector file for production and installation at any scale as an adhesive wall graphic); Louise Lawler, Corner (distorted for the times, perturbée), 2014/2018, digital Fujiflex print face mounted to Plexiglas on museum box (A work by Jean-Michel Basquiat photographed at Yvon Lambert’s office, 108 Rue Vieille du Temple, Paris); Cameron Rowland, Management, 2020, time horn clock; Cameron Rowland, Out of Sight, 2020, 19th-century slave iron, 19th-century slave iron with missing rattle; R.H. Quaytman, Spine, Chapter 20 [Fraser, Anastas, Lawler], 2010, oil, silkscreen ink and gesso on wood (featuring the silkscreened image of Andrea Fraser viewing Louise Lawler’s The Princess, Now the Queen—utilized in four paintings from Painters Without Paintings and Paintings Without Painters, Chapter 8, 2006—combined with a second silkscreened image of Rhea Anastas—utilized in two paintings from Ark, Chapter 10, 2008. Two black bars and the cropping orthogonal of the Andy Warhol painting in Louise Lawler’s photo delimit the silkscreened imagery along with overpainting in Marshall’s photo oils. Down the center is a line of red, green and blue. This line was placed on all paintings in Chapter 20 that reused a silkscreen for a second time.); R.H. Quaytman, + ×, Chapter 34 [V], 2018, indigo distemper and gesso on wood; Louise Lawler, Position (noun), 1982/2020, gelatin silver print, installation view. Images courtesy and © the artists and Galerie Buchholz.

AFI FEST 2020 — SHE PARADISE

I’m inspired by the women in my life and telling stories that prominently feature women making decisions, being active and at the forefront of the narrative… I simply knew I wanted to explore sisterhood and tap into some of my experiences as a teenager living in Trinidad. I then started interviewing dancers and the story for the film became clearer from those interviews. I was lucky enough to get women to open up to me about their personal stories. Those interviews helped affirm that there was an important story to tell. — Maya Cozier

SHE PARADISE—directed by Cozier, and co-written by the filmmaker and Melina Brown—started out as a feature-length script. Cozier then devised a short version as a festival calling card before developing her story of a work hard/play hard Trinidadian dance troupe, negotiating gigs—video shoots and party appearances—and demanding their due. Sisterhood above all is an inviolable precept, and it is a pleasure to watch Sparkle (Onessa Nestor), Diamond (Kimberly Crichton), Mica (Chelsey Rampersad), and Shan (Denisia Latchman) build a life through exhilarating movement and hustle.

This world premiere engagement is now streaming at AFI Fest 2020. See link below for details.

SHE PARADISE

AFI Fest Presented by Audi.

Streaming through October 22.

Following the film, AFI FEST Senior Programmer Claudia Puig leads a conversation between Maya Cozier, Melina Brown, and Onessa Nestor.

Maya Cozier, She Paradise (2020), from top: Onessa Nestor; She Paradise; Chelsey Rampersad; She Paradise; Nestor. Images courtesy and © the filmmaker, the actors, and She Paradise Instagram.