Tackling the topic of feminism is a monumental task for any art exhibition, let alone one that fits inside a downtown art space called White Box–which you already know, or maybe just guessed, is not all that enormous. Even if the curator had the MoMA to herself, a show like this would require some epic planning. And from the viewer’s perspective? Yeah right. Seeing everything in one go would be require an Odyssean attention span which, let’s be real, just doesn’t exist anymore.
So when curator Lara Pan was commissioned by the non-profit art space White Box to put together a show “about women,” she and her co-curator Ruben Natal-San Miguel came up with Supercalifragilisticexpialidocious (on view through January 21), a 27-piece show that fits neatly within a realm of feminism she knows well. She may have felt compelled to whittle down the larger theme, but she managed to keep the feeling of an epic, history-sweeping, time-spanning, half-the-human-race, cross-culturally inclusive narrative. At the same time, the show defies what we’ve come to expect from women’s art exhibitions: those one-note, temporary deviations from the default (i.e. white men) that are plagued by tokenism, tiptoeing, stale themes, and work that’s about as revolutionary as a closet full of pantsuits.
What’s Revenge? Saturday October 8 and Saturday October 15, 10 pm at Spectacle: $5
I trust that most of us here can agree that far too many films about sex and relationships are heteronormative, replete with sexist tropes, gender binarism, the male perspective, and/or female archetypes that are just godawful and tend to make those of us with brains in our heads question whether we are just totally insane for feeling zero identification with these boring storylines and banal characters. So we either play along, grumble and complain, laugh darkly, develop a self-depleting tick like methodically tearing out each and every hair on our heads, or avoid any sort of TV/film portrayals of romance and relationshits as if they were a postulating butt rash.
Genesis Breyer P-Orridge in “Bight of the Twin,” a new documentary from Hazel Hill McCarthy III
I’ll be the first to admit it, my total “experience” with voodoo involves not much more than occasional trips to my local botanica to refresh my incense supply, and subsequently stressing about my decision to go with the “Fast Luck Egyptian Money Drawing” candle (*alleged) over the Reverse Action Evil Eye one (*also alleged). Which is to say, I have exactly no actual experience. I’m totally gonna let the lovely Haitian shop owners dress my devotional candle of choice with what looks like confetti and smells like potpourri, because why not? In my understanding, it’s best to cover all your bases on the warpath to riches, and I’ll take any and all of the help that the Supernatural Powers That Be, whoever they may be, are willing to give me. More →
There might be no other artist breathing today who lives their art as deeply and consistently as Genesis Breyer P-Orridge. The renowned occultist and “wrecker of civilization” has repeatedly taken a spiky club to the larger culture, even to h/er own body, as a means of dismembering ingrained mores. S/he did this first as a founding member of Throbbing Gristle– a band whose embrace of bristling, harsh sounds and antagonistic politics sought to dishevel the status quo, and sparked the inception of industrial music– and subsequently with Psychic TV. With h/er new exhibition, Try to Altar Everything(opening March 11), P-Orridge will transform the Rubin Museum into a participatory “shamanic space,” inspired by h/er travels to the Kathmandu Valley of Nepal. “We’re developing this bouncing conversation between the mundane and the sacred,” Genesis explained. “Everything can be sacred, and if you start to look for the sacred, you will find it.”
Carol Bove “Legal Status of the Moon,” 2015 (Photo: Nicole Disser)
“Ordinary morality is only for ordinary people,” Aleister Crowley once said. That maxim echoes inside the walls of a new exhibit at 80WSE, Language of the Birds: Occult and Art. Even now, when dabbling in the occult has become morally ambiguous rather than universally derided, the work shown at NYU Steinhardt’s gallery is far from ordinary. Spanning the beginning of the last century to the present day, its authors range from avant-garde filmmakers (Kenneth Anger), to spiritual philosophers (Aleister Crowley), to industrial music makers (Genesis Breyer P-Orridge), and “just” plain artists (Kiki Smith). Somehow these varied participants share a similar worldview, which they’ve communicated (at various points in time) through symbols and talismans that have remained fairly static throughout.
Gigawatts Fest is happening this weekend, which is great and all — I need my pop fix as much as the next guy. But sometimes I want to be surrounded by sounds that whinge, “I’mmmmmmm differentttttt.” If that’s you, too, get thee to these smaller shows where you’ll find acts that don’t exactly qualify as festival material, if you catch my drift.
Throughout h/er entire career in art, music, film, and writing, Genesis Breyer P-Orridge has constantly evolved — no matter how non-liner that path may seem to outsiders. That life and journey has now been crystalized in a photographic autobiography, featuring over 350 candid and often previous unseen images from the artist’s personal archives. More →
Ryan Martin’s two-years-in-the-making collaboration with Italian noise composer Maurizio Bianchi, “As Strong As Death Is,” isn’t available on Spotify, or Bandcamp, or even CD. It was released today as a double cassette (yes, cassette) on his tape-centric label, Robert & Leopold. More →