Tag Archives: David Wojnarowicz

LUCIO CASTRO — END OF THE CENTURY

I’m getting closer to the coast and realize how much I hate arriving at a destination. Transition is always a relief. Destination means death to me. If I could figure out a way to remain forever in transition, in the disconnected and unfamiliar, I could remain in a state of perpetual freedom. David Wojnarowicz, Close to the Knives

The passage from Wojnarowicz’s “memoir of disintegration”—inscribed onscreen two-thirds of the way through END OF THE CENTURY, the remarkable debut by writer and director Lucio Castro—suggests a directive for both the film’s characters and its audience as we parse distinctions between imagination and reality, dream reunions and deathless regret.

Marked by a fluidity that sets the present against a non-objective past, the film is a mysterious evocation of a passionate fling and its possible reminiscence—Ocho (Juan Barberini) and Javi (Ramón Pujol), both traveling for work, meet as strangers in Barcelona… but what happens next? Javi’s “Kiss” T-shirt—which functions, in a Lacanian sense, not unlike the small blue box in David Lynch’s Mulholland Drive—may offer a clue.

END OF THE CENTURY / FIN DE SIGLO (2019, Argentina)—co-starring Mía Maestro as Sonia—won Best Film at the Buenos Aires Film Festival and Best First Film at Frameline in San Francisco.

Join the director for opening weekend Q & A’s at the Nuart. (See link below for details.)

END OF THE CENTURY

Now playing.

LUCIO CASTRO Q & A

Friday and Saturday, September 20 and 21, at 7:30 pm.

Nuart Theatre

11272 Santa Monica Boulevard, West Los Angeles.

Lucio Castro, Fin de siglo / End of the Century, from top: Juan Barberini (foreground) and Ramón Pujol; Barberini (2); Barberini (left) and Pujol; Barberini (2). Images courtesy and © the filmmaker, the actors, the Cinema Guild, and Cinema Tropical.

DAVID WOJNAROWICZ AND BEN NEILL — ITSOFOMO

“In 1983, Ben Neill moved from Ohio to New York City. What was going on at the time in music was a very free improvisatory kind of style, a way of fusing different elements together through oppositions and similarities. The result was rather superficial. Ben was more interested in isolating some elements in order to produce a kind of deep resonance keeping each element separate, unexpected, untimely, a kind of creative chaos, in which the pieces clashed and resonated in the distance without ever being pinned down logically. It was the aesthetic of the collage. This is what attracted Ben to David Wojnarowicz’s work.

“With David you always got the feeling that the pieces weren’t randomly chosen; they made some kind of underlying structure that held the pieces together. There was something in his visual work that Ben was trying to do in a musical sense, putting together styles from different historical periods and contemporary forms, but always with the idea of creating some kind of larger by-product. It was very profound. So he called up David and he suggested that they do a collaborative piece at the Kitchen with him. And this was ITSOFOMO [In the Shadow of Forward Motion].

“In 1946 Antonin Artaud recorded a radio version of his famous text To Have Done with the Judgment of God. Directed by Artaud himself, this remarkable recording set shrieks and drumbeats inspired by the Tarahumara Indians against Artaud’s reading of a text about the mid-century American technology of war. War in a test tube, as the Virus of the Invisible, a destruction that is accomplished without bodily contact, spreading as seamlessly as the dream-transmission of primitive plagues.

“Fifty years later we are plagued by the invisible violence of a technology so accelerated that human life has come to a standstill. A globe cut up into cities of dead time. The texts that Wojnarowicz reads are an antidote to abstraction. Passionate, grounded, and dead precise, these texts violently reclaim the body by forcing us to experience the visceral reality of space and time. Set against Neill’s delicate, composed mutantrumpet, percussion, interactive electronics, and South American ethno-music, ITSOFOMO‘s forward motion becomes a battle to reclaim the organism of life.” — Sylvére Lotringer*

This weekend, Wojnarowicz and Neill’s multimedia performance piece ITSOFOMO will be restaged and performed by Neill and Don Yallech at KW Berlin.

ITSOFOMO (IN THE SHADOW OF FORWARD MOTION)

Friday, April 26, at 8 pm.

Saturday, April 27, at 6 pm.

KW Institute for Contemporary Art

KW Hall

Auguststrasse 69, Berlin.

*Sylvère Lotringer, in conjunction with the 1992 CD ITSOFOMO by David Wojnarowicz and Ben Neill, and included in the liner notes for the 2018 vinyl release by Jabs.

From top: David Wojnarowicz, ITSOFOMO, performance (1) and rehearsal (2, 3) at the Kitchen, 1989, photographs © Andreas Sterzing; Ben Neill (left) and Don Yallech perform ITSOFOMO at the Whitney Museum of American Art, 2018.

WOJNAROWICZ — LOTRINGER — SCEMAMA

Following a screening of DAVID WOJNAROWICZ—A CONVERSATION WITH SYLVÈRE LOTRINGER AND MARION SCEMAMA, Lotringer and Amy Scholder will join Hedi El Kholti for a conversation about Scemama’s film and Wojnarowicz’s life and work.*

The film intercuts footage from Lotringer‘s extensive 1989 interview with Wojnarowicz—itself filmed by Scemama—with documents from the artist’s estate and papers, and Scemama’s personal archives.

DAVID WOJNAROWICZ—A CONVERSATION WITH SYLVÈRE LOTRINGER AND MARION SCEMAMA

Tuesday, February 19, at 7:30 pm.

ArtCenter College of Design

Hillside Campus

1700 Lida Street, Pasadena.

*At the recent Berlinale, the film screened under the title SELF-PORTRAIT IN 23 ROUNDS: A CHAPTER IN DAVID WOJNAROWICZ’S LIFE, 1989–1991.

David Wojnarowicz. Images courtesy Marion Scemama.

7 MILES A SECOND

This week, Printed Matter will launch the new edition of 7 MILES A SECOND, the graphic novel by David Wojnarowicz depicting the artist’s life as an underage hustler, and an adult living with societal indifference to AIDS.

James Romberger (who drew the book) and Marguerite Van Cook (its colorist) will sign copies.

7 MILES A SECOND WITH JAMES ROMBERGER AND MARGUERITE VAN COOK

Thursday, December 6, from 6 pm to 8 pm.

Printed Matter St. Mark’s, 38 St. Mark’s Place, New York City.

7 Miles a Second. Image credit: Ground Zero.

WEIGHT OF THE EARTH

WEIGHT OF THE EARTH—THE TAPE JOURNALS OF DAVID WOJNAROWICZ is a collection of “audio journals that document Wojnarowicz’s turbulent attempts to understand his anxieties and passions, tracking his thoughts as they develop in real time.”*

Artforum editor David Velasco has written an introduction for book, out now from Semiotext(e).

WEIGHT OF THE EARTH—THE TAPE JOURNALS OF DAVID WOJNAROWICZ, edited by Lisa Darms and David O’Neill (South Pasadena, CA: Semiotext(e), 2018).*

Top: Andreas SterzingDavid Wojnarowicz and Peter Hujar at an opening at Civilian Warfare Gallery in the East Village, 1983.

Above: David Wojnarowicz, Jean Genet Masturbating in Metteray Prison, 1983.

Below: Wojnarowicz.