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familyvisionis2020 · 4 years

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Day 5 - Huntsville

Jeremy’s up the earliest and sends a text to us that he’s getting breakfast with Noah at a place called the Grit. Rather than opt to join I just post up on the porch with Trey and indulge in a long long blog post.The weather is cooler and grayer, joggers and dog-walkers and kids on bikes roll down the streets, slow syrupy sunday morning, humidity and gristle, butter pats wouldn’t melt if you left them out on your plate but they wouldn’t be too taut to sink your teeth into. I feel a fundamental sense of repair from typing, reviving a column of spirit I’d quietly suffocated, knock loose a clot of rust in my clockwork and the machinery is humming along again. Now that I have the link to the blog to share to people I feel like I’m gingerly handing the missing puzzle piece to my patrons and well-wishers and companions, indulging a curiosity and rounding something out to myself that might prove the regard and sensitivity my quietness can bely, might be a kindness or a service to people who find me austere or impenetrable or bristly. I was staring at a picture of a cactus and identifying with it the other day, tall, two arms, tiny head, spiky, full of water, not so bad if you’re careful with them, just like me.

Later tonight I will watch Tired Frontier play the last set of their tiny tour with us and what will end up being our last show of the tour as well. Watching the face of the guys I see things so so different then when I saw them for the first time, when they were complete strangers, tourmates but sight unseen. What I saw in their faces the first time I saw them play: Royal is tall and broad-shouldered and country and active and maybe a little sloppy and expanive and reminds me a ton of my friend Mike, so I have love for him off the bat, also his weird tuning and rococo pedal board setup and heedless mustache and you know, wife, set off little clockworks of insecurity in me and my mind props up baseless criticisms of him sourced solely from my ignorance of him. After three shows we are not friends but I know him much better, have seen him from more angles, have a better sense of him, he loves doing bits and laughs high and loud and chills endlessly, in this way he matches the tone and cadence of Kabir magnificently. Paul is beautiful and has a face like a svelter Jim Carrey and kneads the keyboard effortlessly, digital dough, his fingers are narrow and elegant and move only enough to play the next keys, the same sort of parsimony of motion I used to see from chefs with expert knife skills. I envy his bouny raven thick-sable hair. Trey looks plainly joyful when he plays drums. He extends his crash cymbal hardware to the maximum length so his crash is preposterously high up. I can’t discern a reason other than it’s kind of fun or different. He’s enthusiastic about my writing, I get to share him some other work I’ve done, he says he loves it, I swell with gratitude and we exchange emails.

The morning in Athens goes more or less like the morning before: me and Kabir and John and Paul all go get breakfast at Donderos’ again, drink tea and coffee, pack up our stuff. We take some group photos with both bands outside on the porch with the orbs and they’re cute and silly. Kabir flipped a coin to decide whether me or John drives the next stretch, it’s me, I’m a little apprehensive because I haven’t driven a 15-passenger van in awhile, but once I’m in it’s like riding a bike, I have muscle memory of driving big vehicles from U-Haul trips and, before that, the box truck I drove to transport food donations to the pantry of the Servant Center in Greensboro. I’m a good driver, I check my mirrors, I put on a halloween mix I made in 2015 and I am feeling myself, focused, caffienated, surrounded by friends, there’s some clouds in the sky and drizzles but it’s not bad and we’re making good time. The boys just listen along with me to the DJ mix for awhile then start up a new crossword puzzle and we all 4 do it collaboratively, one person describing the clue, letters, cross-clues, and we brainstorm for answers, between the four of us we’re really good at this, and we’re all laughing and in great spirits as we methodically complete the puzzle. We stop in Marietta Georgia at one point to use the bathroom, we stop at a KFC with a 20-foot mechanized/animatronic chicken head whose eyes roll back in its head and whose giant beak opens and closes in regular time like a campy pendulum. I buy a postcard and a souveneir cup from here because I think my Mom has family from Marietta Georgia but when we’re back in the car I can’t remember if it’s Marietta Georgia or Marietta Ohio, but I figure it will be well-received either way. We get back on the road and now we’re off the highway and onto some more remote state routes and we pass into Alabama and the rain lets up but its still overcast so the light is gentle and diffuse, the hills are rolling, we pass a colony of tiny homes, weird, livestock, bulls with giant horns that when I see them I just say ‘aurochs’ absent mindedly, livestock and cotton fields and when we see police someone will just say ‘ops’ and the whole drive everyone is just in a good mood, making jokes, kind and breezy. I marvel at how these boys do not seem to carry the same sort of darkness I feel I do, or maybe they just don’t wear it on their sleeves, or maybe none of them are neurodivergent or addicted or traumatized, or maybe they are but hide it well, or have coped and healed…something I’m used to is being around people who require a space to talk about extremely serious and heavy and heartbraking things. Maybe it’s a vestige of a lifestyle I’ve left behind. In all the time I’ve spent with Kabir and Jeremy and John and David (our NC bassist who plays home shows when Jeremy is in NY), I’ve never seen anyone come close to losing their temper, yelling, crying, crumbling, whatever. I marvel at the putative stability of my friends. I like having stable friends, I like having a stable life, it’s not how my life has always been. There is a level of tranquility and calm that washes over me while I’m driving through rural Alabama with my stable friends in a well-maintained van in my healthy body wrapped around a heart that is not broken and a mind that feels as clear and capable as it has ever been. Grace is unearned, I’m told.

We make it to Huntsville on time, the venue is called the Salty Nut, kind of a spacious and tidy bar with a kind bartender my height but with a double thick country accent and the show booker is slight and soft spoken and exceedingly kind, he receives us and then points us in the direction of a nearby restaurant called Banditos Burritos. The restaurant is festooned with vaguely southwestern or hispanic decorations and also random camp like a dirty 1990s Bart Simpson doll, a ruined acoustic guitar, a King Khan poster, a garden gnome on an old-fashioned scale with the sliding thing, a skateboard without trucks painted with a sleeping cactus person wearing a sombrero, etc. The people there are so so nice and when we say we are playing the Salty Nut tonight the guy behind the counter explains that menu items with steak and all beers will cost, but otherwise we can order whatever we want for free. We get burritos, nachos, beans, rice, salsa, hot sauce, ice water in a paper cup. We feast, scarf down, all hungrier than we realized, it’s essentially a non-franchise Taco Bell by my appraisal, which is absolutely perfect as far as I’m concerned, the beans and rice feel good and substantial. Tired Frontier shows up a little after us, gets the same stuff basically, we eat and laugh and finish and go back to the venue and wait around for awhile, I join Jeremy and Royal outside skateboarding and act crazy and try to film them doing tricks but my phone dies and and eventually they stop and we go inside and set up and play. The show goes fine, TF sounds as good as they have so far. They’re playing to a crowd of the other two bands and maybe 8 people in the bar sitting at a table eating food they brought over for Banditos Burritos. The show is fine, unremarkable. When we play, I do the usual routine of trying to play my hardest and with my whole body, and end up dropping sticks more than once and missing some snare hits and not being able to keep up on the driving floor tom parts, mostly because I’m not warmed up and maybe not focusing enough, I’m letting myself get a little carried away trying to play hard and fast rather than keep things tight, I worry this may miff the other guys but after the show there is no indication that anyone even noticed it or cared. There was a cool part where I dropped a stick but instead of it falling to the floor it bounced around on top of the snare and tom and I managed to snatch it out of mid air and keep playing and Jeremy noticed that and that made me feel cool. We played hard and to my ear we got good claps between songs, we are pretty live and high energy and I think even if people don’t like our sound they appreciate the energy, but also some of the songs are earworms and catchy and people like that too, I’ve heard. We finish, the other drummer from the other band, Golden Flakes, says great set man, we perch at the merch table but sell nothng. We listen to Golden Flakes play for close to an hour, very jam band vibe, many many guitar solos, kind of sloppy, sort of high energy rock and roll I guess, I by this time am tired and pretty disinterested, get on my phone for most of it. Toward the end of their sets someone who I assume is a townie is drunk and heckling them between songs in a way that they are clearly fine with and they know the guy and to me for some reason he looks the way I imagine the way the protagonist John from Shit Town the podcast would look. We are in Alabama after all. He sounds like John (not from our band, from the podcast). He’s annoying and I’m being judgy in my head about him when I should maybe feel sorry or indifferent, idk. It feels sad to me, I don’t feel like writing more about it. It’s awkward enough, the heckling and banter from Golden Flakes, that by the end of the set we all kind of joke-rush out of there, quietly agreeing that what’s happening is awkward and unpleasant and we should go. We get put up in Thomas’s apartment, and on on the ride home the guys talk about how Huntsville’s claim to fame is being the place where the Nazi engineers taken during Operation Paperclip were taken after WW2, whose skills were put to use developing rockets, and that all manner of testing has taken place in and around the nearby military base, the Redstone Arsenal. Kabir tells a story about how a nuclear warhead was dropped on NC and by freak chance did not detonate. It would have wiped out the population of the entire Southeast. I didn’t believe it but you can read about it here:

https://en.wikipedia.org/wiki/1961_Goldsboro_B-52_crash?wprov=sfti1

At the apartment I make a b-line for the couch, get my sleeping stuff out, eat an apple and a banana and a bunch of peanut butter out the jar and go to sleep. At the end of every day I feel so much more irritable and grumpy than I do at other times. I still really treasure a quiet space all to myself to sleep in and so this troubles that. But I just listen to a youtube video on European history, learn nothing, and have no dreams I remember.

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micaramel · 4 years

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Artists: Yason Banal, Sky Hopinka, Cici Wu

Venue: 47 Canal, New York

Exhibition Title: MIFFED BLUE RETURN

Date: October 31 – December 20, 2019

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Video:

Yason Banal, For a long time the glitch remained motionless and in disbelief!_1, Double-Channel Video, 00:32

Yason Banal, For a long time the glitch remained motionless and in disbelief!_2, Double-Channel Video, 00:33

Images courtesy of the artists and 47 Canal, New York. Photos by Joerg Lohse.

Press Release:

MIFFED BLUE RETURN is an exhibition of moving image installations by Yason Banal, Sky Hopinka, and Cici Wu, each of which addresses the unstable currents that link remembrance, place, and aftermath.

Filmed in Hong Kong and Minneapolis, Cici Wu’s Unfinished Return of Yu Man Hon stars Jonathan Chang—a child actor known for his role in the Taiwanese classic Yi Yi (dir. Edward Yang, 2000)—as a grown-up Yu Man Hon, an autistic boy who crossed the Hong Kong– Shenzhen border into mainland China on August 24, 2000. Occurring not long after the 1997 handover, Man Hon’s unsolved disappearance remains a vivid memory for many in Hong Kong, and has come to symbolize the vanishing of local culture.

Wu’s film subverts familiar interpretations of Man Hon, positioning him not as an avatar of death and loss, but instead as a celestial being. Wu’s camera, like a paper lantern, animistically trails the protagonist as he returns to the material world. Man Hon revisits places of sentiment and attachment, resurfacing lost memories of his own disappearance. In the process, the unfinished return of a city’s sovereignty is associated with the state of incomplete reconstitution that characterizes ghostliness.

Cloudless Blue Egress of Summer, by Sky Hopinka, likewise examines the porous connection between environment and memory in the afterlife of colonialism. Fort Marion, also known as Castillo de San Marcos, was built in 1672, and is located in St. Augustine, Florida. It was used as a prison during the Seminole Wars in the 1830s, and again towards the end of the Indian Wars in the late 1880s. Richard Henry Pratt, as the prison’s warden, developed protocols of forced acculturation that were spread, through boarding schools, across the United States, manifesting his belief “that all the Indian there is in the race should be dead. Kill the Indian in him, and save the man.”

Each section of the two-channel video recounts an aspect of Fort Marion’s history, from Seminole chieftain Coacoochee’s account of escaping, with nineteen other Seminole, from the fort, to ledger drawings made by prisoners given pen and paper in order to sketch recollections from the plains. The work traces the persistence of presence and memory despite the colonial paradigms of confinement and incarceration. In the ebb and flow of the ocean, which is overlooked by the fort, the artist develops a parallel, incomplete narrative thread, finding hope in what is innately unstable and effortlessly resolute.

Yason Banal’s jostling installation For a long time the glitch remained motionless…and in disbelief.. again! centers upon the Parthenon-inspired Manila Film Center, built to provide a venue for the first Manila International Film Festival (MIFF) in 1982, a soft power extravaganza organized at the height of Ferdinand and Imelda Marcos’ plunderous conjugal dictatorship in the Philippines. Scaffolding tragically collapsed during the brutalist design’s hurried construction, fatally trapping a number of workers under quick-drying cement. The constellation around the failed structure and its troubling history of pageantry and power as well as its patrons’ recent, dark, triumphant return is made manifest through video collage, drone painting, hyperlink research, sculpture and intermittent technology.

Yason Banal lives and works in Manila, Philippines. His practice traverses installation, photography, video, performance, text, curating, and pedagogy, employing critical and poetic strategies amidst intersections and frictions as well as mechanisms and mysteries among seemingly divergent systems. His works have been exhibited widely including the Tate, Frieze, Vargas Museum, Christie’s, Singapore Biennale, Shanghai Biennale, Asia Pacific Triennial and more recently at National Taiwan Museum of Fine Arts, Asia Film Archive and Venice Architecture Biennale. He obtained a BA in Film at the University of the Philippines, MA in Fine Art at Goldsmiths, University of London and art residencies at AIT Tokyo and CCA Singapore. He teaches at the University of the Philippines Film Institute and heads its Film Center.

Sky Hopinka (Ho-Chunk/Pechanga) was born and raised in Ferndale, Washington and spent a number of years in Palm Springs and Riverside, California, Portland, Oregon, and is currently based out of Vancouver B.C. and Milwaukee, WI. In Portland he studied and taught chinuk wawa, a language indigenous to the Lower Columbia River Basin. His video work centers around personal positions of Indigenous homeland and landscape, designs of language as containers of culture, and the play between the known and the unknowable. He received his BA from Portland State University in Liberal Arts and his MFA in Film, Video, Animation, and New Genres from the University of Wisconsin-Milwaukee and currently teaches at Simon Fraser University in Vancouver, British Columbia.

His work has played at various festivals including ImagineNATIVE Media + Arts Festival, Images, Wavelengths, Ann Arbor Film Festival, Sundance, Antimatter, Chicago Underground Film Festival, FLEXfest, and Projections. His work was a part of the 2016 Wisconsin Triennial and the 2017 Whitney Biennial. He was awarded jury prizes at the Onion City Film Festival, the More with Less Award at the 2016 Images Festival, the Tom Berman Award for Most Promising Filmmaker at the 54th Ann Arbor Film Festival, the New Cinema Award at the Berwick Film and Media Arts Festival and the Mary L. Nohl Fund Fellowship for Individual Artists in the Emerging artist category for 2018. He was a fellow at the Radcliffe Institute for Advanced Study at Harvard University in 2018-2019 and Sundance Art of Nonfiction Fellow for 2019.

Cici Wu (b.1989) lives and works in New York. She received her BA from The City University of Hong Kong, School of Creative Media. In 2013, she moved to the United States, where she earned an MFA in Sculpture from Maryland Institute College of Art in Baltimore. Wu has had solo exhibitions at Empty Gallery, Hong Kong (2019) ; 47 Canal, New York (2018), Bonnevalle, Noisy-le-Sec, France (2018); and has participated in group exhibitions at Interstate Projects, Brooklyn (2019), Para Site, Hong Kong (2018), and Triangle Art Association, Brooklyn (2017), among others. She also co-founded PRACTICE: a studio, residency, and exhibition space based in New York which has been operating since 2015.

Link: Yason Banal, Sky Hopinka, Cici Wu at 47 Canal

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2R7H17h

#micaramel

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durfeehtbelloraco98insuranc-blog · 5 years

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From bomber jackets to bling, MIFF struts its fashion cred

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From bomber jackets to bling, MIFF struts its fashion cred

Now there’s laughter. “Maybe we shouldn’t use models, but athletes!” But Pei, who speaks only Mandarin, has missed the joke and is still busily nutting out logistics, not compromises. Maybe, she thinks aloud, the model assigned to a particularly huge 20-metre-wide frock could be “sort of running” up the catwalk?

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Brettkelly’s deliciously intimate film, Yellow is Forbidden (the title comes from a rule Pei’s grandmother handed down to her – and which Pei often and joyfully broke – from the fringes of the last emperor’s court), is one of four rich and surprising documentaries picked to lead the Melbourne International Film Festival’s Fashion X Cinema suite. The others focus on designers Vivienne Westwood and Alexander McQueen and illustrator Antonio Lopez.

Another 10 films – swivel points in 20th-century fashion history and culture – were chosen from a list of 100, “off the top of my head” by MIFF artistic director Michelle Carey. “Films that show the way the body is clothed [costume] influences the character,” she says. “And films that show that how fashion, which is another thing entirely, is of its time.”

After a decade with MIFF, this year’s program is Carey’s last before moving overseas and the fashion retrospective is a labor of love.

Guo Pei, ‘Legend’ collection backstage, Paris Haute Couture week, January 2017.

Photo: Supplied

“I love all genres of film – comedy, drama, Hollywood, documentary, European arthouse – so the fashion [retrospective] has got that diversity in it.”

She’s picked classics such as Funny Face (1957) and Picnic at Hanging Rock (1975) as blips on fashion history’s horizon; the years modern glamour was defined and Audrey Hepburn’s trim hips pulled ahead of Marilyn Monroe’s busty beauty in the pop-cultural stakes (and never left), and Miranda’s virginal ruffles and ribbon sash drifted across the most potent years of women’s liberation.

Antonio Lopez 1970: Sex Fashion & Disco explores the life of the legendary New York fashion illustrator.

Not all the films, however, will be as neat to unravel and as easy to love. A couple, I found difficult to watch; bad acting, naff narratives, improbable production by today’s standards. But Carey’s advice was to open up, plumb deeper, find their art. And, it worked.

Wild Style (1983), for example, seemed a jerky, cliched garage production about graffiti gang night manouevres on my first viewing, but on my second, a nuanced record of the earliest rumblings of hip-hop style and culture, still the most penetrating influence on fashion today. Before blinged sport-street wear, global logos and frayed twerk-shorts, yes, there were natural afros, no-name bomber jackets and sandshoes.

Rhianna wears a 25-kilogram number by Guo Pei to the Met gala in 2015.

“Wild Style is a great example of that renegade, low-fi style of film I love,” Carey says. “Not winning any awards for acting or plot or anything, but the music, the fashion, the quasi-documentary style of looking at street life in New York in the early 1980s, it deserves its place in fashion history beside those more quality films like Funny Face or Picnic at Hanging Rock.”

Fashion’s reactive nature – to everything from politics and poverty – and its role as a unifying language also bubbles in Carey’s pick of flicks such as Paris is Burning (1990). It’s a rollicking record of the legendary fashion and dance contests – “balls” – staged by African American gays in the death-fearing age of AIDS in New York.

An illustration by Antonio Lopez.

Photo: Supplied

Poverty and racism were rife beyond the ballrooms, but a seriously glamorous drag or archetypal fashion ensemble (sometimes stolen, often starved for), and a vogue-ish strut was entry to a tightly knit, familial community. “It’s like crossing into the looking glass,” says one character. “You go in there, and you just feel right.”

Carey picked documentary Antonio Lopez 1970: Sex Fashion & Disco for similar reasons. The film is a rocket-fuelled ride through the glamorous life of legendary New York fashion illustrator Lopez, via Paris, Tokyo and St Tropez. “An amazing film,” Carey says. “The prudishness of the 1960s had just completely dropped away, queer and drug-taking lifestyles had become almost mainstream and fashion was all about that: looking fabulous, being fabulous.”

Yellow is Forbidden director Pietra Brettkelly.

Photo: Supplied

It’s hard to imagine now, but the era’s distinctive high-voltage glamour was not linked to brands and logos either. “Noooo!” Carey says, laughing. “[Fashion] was people putting their own outfits together, using pharmacy-grade cosmetics, whatever, and just looking amazing.”

It’s precisely fashion’s spectacular visual history that fools many into believing it’s all surface, no substance. “So our mission statement was to highlight films that make you think about fashion in a different way,” Carey says.

Guo Pei’s ‘Legend’ collection, Paris Haute Couture week, January 2017.

Photo: Supplied

Yellow is Forbidden was a case-in-point, lovely at its surface, but with a tangled socio-cultural web illuminating an east-west schism in current fashion history underneath. “She’s a Chinese fashion designer with an amazing purity of vision,” Carey says of Pei. “She’s very much of her time when now, all eyes are on China.”

For two extraordinary years, Brettkelly and her crew tracked Pei like a Kardashian, through her first visit to New York and inclusion in the Met’s “China Through The Looking Glass” exhibition, to her listing among Time magazine’s most influential women in the world and finally, her hard-won invitation – the first to a Chinese designer – by the Chambre de Syndicale de la Haute Couture to show her collection in Paris.

“I didn’t know what the story was at first,” Brettkelly says. “I just thought I’d found somebody really fascinating and a really beautiful visual environment.”

And so she did, but the film is also probing, spectacular in parts and a near-visceral experience for fashion craft die-hards, if you count such moments as needles squeaking gold thread through stiffened silk, or red dye running like blood in water, darkening pale sheaves of raw yarn.

But below the beauty, Brettkelly says the wider, more complex storylines were easy to spot. “China’s at a really interesting place, and I could see Pei feels the responsibility of redefining that international perception. China might have become known in recent years for knock-offs and plastic toys but [Pei] is always saying, ‘We have 5000 years of history, we were embroidering before anybody was embroidering, we introduced colours into the fashion landscape through the Silk Road’ …”

Ironically, Pei’s couture has also been accused of closely echoing iconic designs by iconic designers: McQueen, Gaultier, Lacroix, Saint Laurent, Lanvin. The criticism plugs conveniently into fashion’s current obsession with the definition of “knock-off”, but also throws an inconvenient cracker into the last century of Western fashion, “inspired” at one time or another, by Chinese culture.

“Pei’s at that intersection [of Western and Chinese fashion],” Brettkelly says. “She’s unique; she believes the heavier the garment, the higher the shoes, the bigger the crown, the more you put on a [model], the more she shines and becomes regal, like a queen. It’s the opposite of what others believe but it’s beautiful and actually comes from this incredible sense of self and culture.

“Guo Pei has a particularly tender and very instinctual response to a lot of things whirring around [that] the rest of us might just not take a second look at.”

The Melbourne International Film Festival runs August 2-19. www.miff.com.au