à l'allure garçonnière

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“In 1958, aged 47, [Louise] Bourgeois compiled a melancholy account of her failures: “I have failed as a wife / as a woman / as a mother / as a hostess / as an artist / as a business woman”, and so on. She made a suicidal list of “seven easy ways to end it all” (and throws in another for good measure). She listed her fears: “I am afraid of silence / I am afraid of the dark / I am afraid to fall down/ I am afraid of insomnia / I am afraid of emptiness … On another loose leaf she wrote: “To be hurt / fear to be hurt / to hurt before you are hurt / what hurts?” (She answered her question by reverting to more list making: “to be abandoned / to be criticised / to be attached / to be asked too much / used / to be refused …”)”

Analysing Louise Bourgeois: art, therapy and Freud (via vespertinal)

heavenrants:

creativetime:

The cat is out of the bag! The New York Times previews Kara Walker’s upcoming exhibition, which opens May 10 at the Domino Sugar Factory.

“Rising to the rafters and stretching 75 feet from paws to rump is a great sphinx, demure as her Egyptian cousin but glowing from a recent sugar coating. It is a sight so unlikely it seems Photoshopped.”

We can’t wait to share it with all of you!

“Sugar crystallizes something in our American Soul. It is emblematic of all Industrial Processes. And of the idea of becoming white. White Being equated with pure and ‘true’ it takes a lot of energy to turn brown things into white things. A lot of pressure.” — Kara Walker

heartdashbeats:

heartdashfashion:

Talked with the super talented Casey Mecija about her band Ohbijou, new projects and immigrant parents. More on the Heartbeats blog.

Photos and words by Karen Campos Castillo

Casey was so amazingly sweet to shoot and put up with my questions that always manage to hint at my failed musical aspirations. Her short film My Father, Francis made me weep it was so beautiful. You guys need to book it and see it. ALSO HANDSUMPUP!

She’s also playing a benefit show for the people of the Philippines on December 4th in Toronto — Facebook event

Infinity Kisses by Carolee Schneemann (2008)
In related “events I wish I could go to but can’t” - if you are in Ottawa, you have to go to this! Fine Cuisine for the Street Cats of Hull.
(Facebook event)

AXENÉO7 is proud to present, Fine Cuisine for the Street Cats of Hull, with invited guests American performance art legend Carolee Schneemann, prize-winning chef Marysol Foucault of Chez Edgar, joined by her mother, Diane Foucault and local artist Stefan St-Laurent, who has created this event as a closing for his exhibition Please Feed the Animals.
At once an artist talk, a cook-off and a screening, Fine Cuisine for the Street Cats of Hull is above all an unorthodox activist performance inciting discussion around humanity’s precarious relationship with the animal world.
Highlights of this one-night only presentation:
Screening of the newly edited version of Carolee Schneemann’s 1964 seminal performance Meat Joy, which features a cameo by her belated cat-companion Kitch.
A cooking station stocked with organic and regionally-sourced produce and meats for the preparation of fresh dishes for the areas cats.
Members of the public can participate in the interactive discussion and cook-off.
Accompanied cats will be allowed to attend the event for taste testing. 
WEDNESDAY 20 NOVEMBER 2013 AT 7PM 

Infinity Kisses by Carolee Schneemann (2008)

In related “events I wish I could go to but can’t” - if you are in Ottawa, you have to go to this! Fine Cuisine for the Street Cats of Hull.

(Facebook event)

AXENÉO7 is proud to present, Fine Cuisine for the Street Cats of Hull, with invited guests American performance art legend Carolee Schneemann, prize-winning chef Marysol Foucault of Chez Edgar, joined by her mother, Diane Foucault and local artist Stefan St-Laurent, who has created this event as a closing for his exhibition Please Feed the Animals.

At once an artist talk, a cook-off and a screening, Fine Cuisine for the Street Cats of Hull is above all an unorthodox activist performance inciting discussion around humanity’s precarious relationship with the animal world.

Highlights of this one-night only presentation:

  • Screening of the newly edited version of Carolee Schneemann’s 1964 seminal performance Meat Joy, which features a cameo by her belated cat-companion Kitch.
  • A cooking station stocked with organic and regionally-sourced produce and meats for the preparation of fresh dishes for the areas cats.
  • Members of the public can participate in the interactive discussion and cook-off.
  • Accompanied cats will be allowed to attend the event for taste testing. 
WEDNESDAY 20 NOVEMBER 2013 AT 7PM 

Cultural Appropriation: A conversation by Sanaa Hamid

This body of work is an exploration of the extent of cultural appropriation and encourages a discussion about it. I give the appropriator and the appropriated the opportunity to defend themselves and create a dialogue between them, while maintaining a neutral stance myself. I am not attacking those who appropriate, merely educating and creating awareness. Neutrality is key in this series, as i remove myself from my political and social status and opinions, stripping the problem to the most basic issue; taking an item that means a great deal to somebody and corrupting it.

picturedept:

The Glittering World

Molly Surno is a multi-disciplinary artist, her work ranging from immersive and itinerant public film screenings (Cinema 16), to an upcoming documentary about the Miss Trans World Indian pageant. “The Glittering World” is a series of Polaroid photographs taken with the transgender Native American community while working on this film.

Her work reveals a new reality not only outside of societal norms, but also outside of stereotypical perspectives on subcultures altogether. When we think drag queens, we think pink, heeled, altogether with Western feminine ideals. When we think desert, we do not think disco ball. “The Glittering World” reminds us of the profound diversity of America, and how we yield new traditions through our historical fantasies and present desires. Surno’s use of expired Polaroid film even feels radical, and outside of the usual analog mourning—“nostalgia isn’t what it used to be.”

“The Glittering World” is on view, along with more of Surno’s work, at Gasser / Grunert, closing this week, Friday, July 13.

Images courtesy the artist and Klemens Gasser & Tanja Grunert, Inc.

this is so many of my favourite things in one art project. if only i were in nyc this week… go see this if you are!