CARRIE MAE WEEMS — PAST TENSE

“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 CAP UCLA—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.

CARRIE MAE WEEMS—PAST TENSE

Friday, March 8, at 8 pm.

Theatre at Ace Hotel

929 South Broadway, downtown Los Angeles.

*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 William Strugs; 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.

K8 HARDY’S OUTFITUMENTARY

“A record of the way a young lesbian feminist dressed in her coming of age” — K8 Hardy

K8 Hardy’s directorial debut OUTFITUMENTARY (2016) will screen this week as part of the Jason Simon series Blame the Audience at MOCA.

Also on the bill: If Andy Warhol’s Super-8 Camera Could Talk, directed by Roddy Bogawa, and Tiger Morse, directed by Warhol.

OUTFITUMENTARY

Thursday, March 7, at 6 pm.

MOCA Grand Avenue

250 South Grand Avenue, downtown Los Angeles.

From top: K8 Hardy, Outfitumentary, still; Andy Warhol, Tiger Morse, aka Tiger Morse (Reel 14 of ****), still; K8 Hardy, How To: Untitled Runway Show book cover, published by DoPe Press in 2013, cover design by Madame Paris.

A COMMON TREASURY

As the March 29 deadline looms and a stumbling United Kingdom lurches toward a “no-deal” exit from the European Union, Mark Wallinger’s new large-scale anti-Brexit posters have hit the streets of London, Manchester, Bristol, and Glasgow.

The poster’s text is by Gerrard Winstanley (1609–1676), founder of the True Levellers—an agrarian colony also known as the Diggers—during the English Civil War.

Mark Wallinger, This Way Up, 2019, © Mark Wallinger, photograph by Andrew Parsons / i-Images.

HARRY DODGE — WORKS OF LOVE

At Tufts, outside Boston, the exhibition HARRY DODGE—WORKS OF LOVE brings together sculptures, drawings, and videos that “revel as much in theoretical ideas about a post-human future as they do in the ecstasy of the workaday present.”*

This week join Dodge and Amy Sillman in a public conversation for the annual Beckwith Lecture at the Museum of Fine Arts.

HARRY DODGE—WORKS OF LOVE*

Though April 14.

Tufts University Art Gallery

Aidekman Arts Center

40 Talbot Avenue, Medford.

HARRY DODGE and AMY SILLMAN

Wednesday, March 6, at 7 pm.

Museum of Fine Arts

Remis Auditorium

465 Huntington Avenue, Boston.

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HARRY DODGE—WORKS OF LOVE is an expanded version of Dodge’s 2018 show at Joan, Los Angeles.

From top: Harry Dodge, Emergency Weapon #26Harry Dodge, Emergency Weapon #21Harry Dodge, Works of Love installation view, Joan, Los Angeles, 2018. Photograph by Paul Salveson. Images courtesy the artist.

SANJA IVEKOVIĆ

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 Whether We Were Brave (2019).*


SANJA IVEKOVIĆ

RED STAR FEAR NOT*

Through May 11.

State of Concept

Mpotsari Tousa 19, Athens.

From top: Sanja Iveković, Personal Cuts, 1982., video (black-and-white and color, sound), 3:35, © Sanja Iveković, 2011, courtesy the artist and the Museum of Modern Art, New York; Sanja Iveković, Monument to Revolution, 2017, recycled bricks from Omonoia, Monastiraki, and Syntagma and Lipasmata, Piraeus, documenta 14, Avdi Square, Athens, photograph © Yiannis Hadjiaslanis; Sanja Iveković, Lady Rosa of Luxembourg, gilded polyester and wood, public art project, Luxembourg.