Matthew barney news7/31/2023 Installed in the small, cavernous spaces of Hydra’s Slaughterhouse, the works sit side by side, like toys in a doll house, alongside Marcel Duchamp’s maxim “A Guest + A Host = A Ghost.” Serving as inspiration for the exhibition, Duchamp’s piece of word play, which appears inscribed in a 1968 issue of the magazine S.M.S., suggests the transformations that occur when disparate ideas and objects are combined. ![]() Functioning much like a surrealist “exquisite corpse,” the exhibition sets in motion a series of chain reactions between artworks-a domino effect of intense proximities. As any gift, it is a complex tangle of generosity and self-interest.Īs in a chess game, several artists have been invited to “make a move” by selecting artworks and objects from the collection in response, Joannou and Gioni countered by choosing other pieces. Part-divertissement and part-collaborative project, this small exhibition borrows its title from a chess tactic-the “Greek gift sacrifice.” This move, for which a player sacrifices a bishop in order to checkmate, in turn is believed to have been named after the mythical gift of the Trojan Horse from the Achaeans to the city of Troy. This presentation doubles as a portrait of the collector and serves as a miniature survey of his collection.Ĭoordinated by Massimiliano Gioni, The Greek Gift brings together a series of new and existing works, alongside found objects and impromptu responses from a variety of artists who have maintained decades-long relationships with Dakis Joannou and the DESTE Foundation. The work has not been screened in New York since 2015, and its return coincides with the concurrent run of Secondary, a new moving image work from Barney that will be on public view in his Long Island City studio from 12 May to 25 June.Featured in THE GREEK GIFT at the DESTE Foundationįollowing the postponement of a special project by Jeff Koons commissioned for the DESTE Foundation’s Project Space at the old Slaughterhouse in Hydra, Greece, due to COVID-19, a group of artists and friends of Dakis Joannou and the Foundation have come together to swiftly organize a small group show. Named after the muscle that controls testicular temperature response, The Cremaster Cycle’s ambitious, interdisciplinary approach feels as bold and fresh today as it did upon at the time of the first film's release nearly 30 years ago. Of The Cremaster Cycle, Matthew Barney’s nine-year cinematic undertaking that would help cement his place as one of the premier artists to emerge in the 1990s, Barney would state that he was trying to take on a cinematic language that I had not dealt with before to see how this sculptural project could align itself with the cinematic form. ![]() The Cremaster Cycle put Barney on the cultural map in the 1990s, challenging and arresting viewers with its sumptuous visuals and ambitious, often macabre subject matter, ranging from sexual development to Celtic mythology to the act of creation itself. ![]() Matthew Barney and writer Maggie Nelson, literary critic and author of The Argonauts, will have a conversation at Metrograph on 4 June following a screening of Barney's re-mastered early works. Cremaster 2 (1999) will screen the week of 30 May, and the three-hour Cremaster 3 (2002) will show the week of 5 June. ![]() The American conceptual, video, performance artist's Cremaster Cycle series (1994-2002)-a five-part aesthetic storytelling system that was constructed over the course of a decade- will screen in its entirety across several weeks beginning 17 May.Ĭremaster 1 (1995) and Cremaster 4 (1994) will screen as a double bill on 17 May at 7pm, and Cremaster 5 (1997) will screen on 23 May at 7pm. This month, New York-based entertainment company Metrograph will be showcasing the work of Matthew Barney at its Lower East Side cinema.
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