…(Thek’s nomadic existence later included periods living in Amsterdam, Paris, and Rome, in addition to New York, where he always kept his studio on East 3rd Street. He frequently retreated to the secluded island of Ponza, off Italy, and to Oakleyville, a remote section of Fire Island.) After returning to New York in 1959, his circle included, in addition to [Peter] Hujar and Raffaele, the artists Eva Hesse and Ann Wilson, the critic Gene Swenson, and the writer Susan Sontag, who became his great friend. Sontag later dedicated to Thek the American edition of her landmark book of essays Against Interpretation (1966). The relationship between Thek and Hujar developed into one of the most important in both their lives. They spent the summer of 1963 in Sicily and visited the Capuchin catacombs near Palermo, where Hujar took unforgettable photographs, and where the rows of human remains in glass boxes had a profound impact on Thek’s work.
INVISIBLE-EXPORTS is pleased to present I Killed My Father, I Ate Human Flesh, I Quiver With Joy | An Obsession with Pier Paolo Pasolini at Allegra LaViola Gallery, New York.
Featuring work by Michael Bilsborough, Lizzi Bougatsos, BREYER P-ORRIDGE, Asger Carlsen, Troels Carlsen, Walt Cassidy, Andy Coolquitt, Vaginal Davis, Carlton DeWoody, Joey Frank, Paul Gabrielli, Ludovica Gioscia, Luis Gispert, Terence Hannum, Karen Heagle, Timothy Hull, Doug Ischar, Brian Kenny, Jeremy Kost, Aaron Krach, Yeni Mao, Leigha Mason, Mark McCoy, Robert Melee, Lucas Michael, Jennifer Needleman, Brent Owens, Paul P., Paolo Di Paolo, Franklin Preston, John Russell, Xaviera Simmons, Duston Spear, Scott Treleaven, Ramon Vega, Jordan Wolfson, Dustin Yellin.
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Pier Paolo Pasolini - the filmmaker, poet, sentimental leftist, and transgressive legend - lived a life marked by curious contradiction and unimpeachable integrity. Sculpted by a nomadic Italian childhood filled with religion, war, Socialism, Facism, and run-ins with the law, Pasolini reconceived, in a prodigious obsessive body of remarkably diverse work, the entire patrimony of post-WWII-Italy as a personal mythology refracted by the urgent demands of modern continental life and contemporary politics in an age of extremes.
Beginning with his first film, Accatone (1961) on through to the game-changing Sálo (1975), Pasolini worked in an era in which avant-garde artistic gestures felt still truly dangerous, in which artists retained the power to shock, and in which the imposition of a personal artistic vision felt still like a radical, rather than narcissistic, act. Pasolini made the most of that power, and has become in the decades since an object of personal obsession for thousands of contemporary artists, many of whom offer up here, in a showcase that is as much open tribute as it is narrow appreciation, their own idiosyncratic homage to a person who has had an outsized influence on a whole generation enamored of radical gestures in a skeptical, ironic age.
Pasolini is a mercurial, even arcane influence on the 37 artists whose work is assembled here—sculptors, photographers, video and multimedia artists, romantics and transgressives, advocacy artists and ironists. The tributes are in some cases straightforward — painted portraits of Pasolini subjects, collage and video sourced from his own work — and in other cases more oblique — sculptures addressing the subject of restraint, watery sketches in which figures dissolve into gothic ethereality. Some are hardly tributes at all—idiosyncratic arguments instead with particular corners of Pasolini’s practice, often revealing far more about the work and obsessions of the contemporary artist than the too-divergent-to-be-uncontradictorially-contained miscellaneous Italian master. The result is a social-networking-style and purposefully-loosely curated exhibition that points in 37 directions at once—possibly more.
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INVISIBLE-EXPORTS is located in the Lower East Side, at 14A Orchard Street, just north of Canal. Gallery hours are Wednesday through Sunday, 11-6pm, and by appointment. For more information, call 212 226 5447 or email: email@example.com
TAG is pleased to announce Lee Adams will guest-curate for one week starting Monday the 18th. of February. Please tune in daily.
Lee Adams is a London based artist / curator / promoter and DJ.
For the past 25 years Lee Adams has been living and working in the fecund, esoterotic cracks between performance art and night culture, philosophy and dissidence. From strip clubs, tunnels, pissoirs, power stations and slaughterhouses to palaces, churches, galleries, opera houses, theatres and ruins, from New York to Naples and Berlin to the Mohave Desert he has staged elaborate acts of defiance, excess and abandon. He has collaborated with a wide range of maverick artists including Ron Athey, Vaginal Davies, Bruce LaBruce, Kira O’Rielly, Peter Christopherson, Franko B, Manuel Vason, Gio Black Peter, Julie Tolentino, Slava Mogutin and Brian Kenny, Othon Mataragas, Ernesto Tomasini and Hector De Gregorio.
Making History, Making Art: The Work of Jonathan Ned Katz, at the Leslie-Lohman Museum of Gay and Lesbian Art in New York City (2/15/13 – 3/31/13) will be the first solo show to highlight the visual art of the groundbreaking gay historian Jonathan Ned Katz, whose artistic talent has not received public attention. The same month that Katz celebrates his seventy-ﬁfth birthday, this exhibit will retrace the creative career of this late-emerging visual artist. This exhibit underscores the inherent social-historical content of art by illustrating how profoundly a shifting political landscape remade the ﬁeld for representing sexual difference.