![]() “There’s a way that the violence in our culture has become so exposed everywhere you look…,” said Barney in a past interview with the New York Times. There’s an array of commentary poignantly made here, from gender and racial inequality to the appropriation of Indigenous tribes and the short lifespan of an average player. ![]() Unlike the overt spectacle of football, much of the social commentary is implied: the cast is largely black, the female performers only appear as referees on the sideline, Jacquelyn Deshchidn, a Native American Pueblo soprano sings the national anthem, the actors are all older bodied, while the violence and football itself is also absent entirely. ![]() Made in collaboration with movement director David Thomson and composer Jonathan Bepler, the ensemble features dancers, actors and musicians who reenact all of the game’s rituals - from the pregame ceremony and warmup drills, to the choreography in each play all the way down to to painful conclusion of that 1978 preseason outing.Īt its core, the ensemble explores the inherent violence of football and the culture in which it reflects, while injecting the artist’s personal connection to the game and the surrealist feeling that Barney is known for. Today, Tatum would have been suspended and there would be an outcry of concern throughout the news and social media, but like Barney who continued to play the sport, the game assuredly too would continue.įor his latest five-channel video installation, Barney revisits that traumatic memory in Secondary, a 60-minute film entirely shot in his Long Island City sculpture studio and is comprised of two narratives that are united along the concept of movement. Stingley was left paralyzed and not one flag was thrown on the play. 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.During the preseason of 1978, American artist Matthew Barney was watching as Oakland Raiders safety Jack “The Assassin” Tatum delivered a bone-chilling hit on wide receiver Darryl Stingley of the New England Patriots. 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. ![]() 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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