Infinity

Yayoi Kusama

Sacrifice

Collages by Dawn Breeze.

Witch Dance

Beautiful

Self Obliteration

Sister

Queens

Queen's for a Day by Pascal Magnin.

Pina

Venus

The "Venus" of Lespugue, dated to between 26,000 and 24,000 years ago.

Warrior

Watch a trailer for Marina, a documentary by Matthew Akers and Jeff Dupre at Nowness.

Pink Draping

Images by devin lucid, see his photostream here.

Balkan Erotic

Stills from Marina Abramovic's 2005 multi-channel video installation Balkan Erotic.

The work explores Balkan pagan traditions and culture through sexuality and the human body. Abramovic researched Serbian folklore and discovered many historic instances of the employment of eroticism and sexuality to address everyday issues. For example, if it rained too much the women of the village would run into the fields and lift their skirts in an attempt to scare the gods and end the rain. Along with amateur actors, Abramovic dressed in traditional folk costumes and reenacted ancient rituals. The videos examine Balkan folklore and culture, the power of sexuality and tradition.

Blue Blood

Images by Erin Jane Nelson, see her photostream here.

A Haunting

Stills from Maya Deren's 1943 film, Meshes of the Afternoon.

Red Ribbon

Images inspired by Russian pagan rituals by Suzanna Zak .

Hero

This spring MOMA will present Marina Abramović: The Artist Is Present, a retrospective which traces the prolific career of Marina Abramović. The exhibition includes the first live re-performances of Abramović’s works by other people ever to be undertaken in a museum setting. In addition, a new, original work performed by Abramović will mark the longest duration of time that she has performed a single solo piece. All performances, one of which involves viewer participation, will take place throughout the entire duration of the exhibition, starting before the Museum opens each day and continuing until after it closes, to allow visitors to experience the timelessness of the works.

Marina Abramović: The Artist Is Present will be on view March 14–May 31, 2010

Summer Sister

Images by Bridget Collins, see her photostream here.

The Horror of Nothing to See

Holbein's originality, then, lies in this vision of Christly death that is devoid of pathos and is intimate on account of its very banality. Humanization thus reached its highest point: the point at which glory is obliterated through the image. When the dismal brushes against the nondescript, the most disturbing sign is the most ordinary one.  

-Julia Kristeva, Holbein's Dead Christ 

Last weekend, Steve Turner Contemporary presented Zackary Drucker's performance,  The Inability to Be Looked at and the Horror of Nothing to See.  Drucker, dressed only in white panties, laid prone  atop a cold steel table like a corpse prepared for dissection.  Her mouth was blocked by a silver ball, as if she were filled up with the glamour of death. She offered her hybrid body, as an idealized Christ who contained both male and female in an organic mutuality. 

Viewers were directed, by a disembodied voice, through a series of breathing exercises, new-age visions, and dysphoric confessions, all the while being instructed to pluck out the hair from the androgynous body of the artist. The often satirical voice directed the viewers to manifest their own fears and anger into the action of hair removal, as Drucker took on the emotional suffering of the audience through her own physical pain. She did not flinch or cry out, her suffering was silent. At one point the voice directed the audience to chant that "despite all efforts to become a woman, she will be doomed to a life as a man," reiterating a psychic and physical pain akin to spiritual damnation. 

While live art is always riveting, what is remarkable about Drucker's performance is her ability to decenter gender identity through mundane ritual. She does not present an erotic or monstrous body, rather she enacts a vulnerable being who embodies death. She reveals the transgender body as a natural body, a mortal body like all the other bodies in the room. Drucker's body transformed into a connective tissue, and became a mirror for the audience to reflect upon their own existential afflictions.

From the gallery press release: 

Zackary Drucker is a limp-wristed, switch queen/Los Angeles-based artist. Infusing elements of installation, performance, text, photography, and video, Drucker's work explores under-recognized aspects of queer history while simultaneously inscribing her own experience and position within it. Drucker reactivates Bruce Rodgers’ The Queens’ Vernacular, documents relationships and secret legacies, and challenges conventions of entertainment and drag performance, as well as existing art-historical representations of queer people. Oscillating between documentary, mythology, and personal narrative, the work is an exploration of gender as it is constructed, deconstructed, and experienced.

Drucker's exhibition, The Inability to Be Looked at and the Horror of Nothing to See will be on view at Steve Turner Contemporary June 6 - July 2, 2009, opening reception June 6, 6-8pm