![]() ![]() ![]() It’s a work, writes Times theater critic Charles McNulty, that “doesn’t prettify the ugly side of our history.” Lindsey) and a white widow looking to restart her life ( Austin Highsmith Garces) in the wake of World War II. Playwright Warren Leight’s “Home Front,” currently on view at the Victory Theatre in Burbank, imagines the romance between a Black naval officer (played by C.J. Interesting fact: there’s a monument to disgraced former L.A. It tells the story of the famous Rocky statue in Philadelphia - everything it represents and all that it elides. Speaking of monuments, I’ve been digging into a new podcast titled “The Statue” by Monument Lab director Paul Farber. In an interview with CNN, Thomas says he will not be making any changes to the piece. in Boston by artist Hank Willis Thomas - featuring a pair of disembodied arms inspired by a photo of the civil rights leader embracing his wife - has been making headlines for the other body parts it may or may not resemble. Phil the second, a performance by the Pacific Symphony led by Carl St.Clair.Ī monument to Martin Luther King Jr. Times classical music critic Mark Swed got two intriguing perspectives on Mahler’s Ninth Symphony this past week - “an abstract symphony that contains his deepest and most enduring last thoughts.” The first was led by Michael Tilson Thomas, ending his two weeks as guest conductor of the L.A. Nos gustaría contestar algunas preguntas: colectivo marcelaygina,” 1997-2010,” is on view at the Museo de Arte Contemporáneo de Monterrey (MARCO) through February 2023. If you find yourself in Monterrey, do not miss. Emerging from the industrial landscapes of Monterrey, at a time in which the city’s politics and economics were in flux, these are artists who made work without consideration for the market or for the entrenched hierarchies of the art world. But its their context, ultimately, that makes their work so intriguing - and so fearless. ![]() Marcelaygina would probably be far better known had they lived in a more prominent art center. In addition to issues of gender, the pair have also taken on violence, the border and migration. The show at MARCO, titled “Nos gustaría contestar algunas preguntas: colectivo marcelaygina, 1997-2010,” brings needed attention to “las niñas terribles del performance mexicano” - the bad girls of Mexican performance - as they have been described. (It is absolutely worth picking up the catalog for “Below the Underground” for the essay by Michele Fiedler, which not only gives their work some context, it provides an interesting overview of the Monterrey scene of the late ‘90s and early aughts.) Whether the police were in on it is unclear. That exhibition featured documentation from a show in Mexico City, in which marcelaygina - decked out in black vinyl ensembles - reportedly got drunk and drove around the zócalo before being delivered to their show by police. The pair were featured in the PST: LA/LA show, “Below the Underground: Renegade Art and Action in 1990s Mexico” at the Armory Center for the Arts in Pasadena in 2017. You may occasionally receive promotional content from the Los Angeles Times. “Trad endorses gender role models previously found in church sermons and 1950s suburbia,” she writes, “which are now being hailed by men and women across social media-disillusioned by the ways they feel the sexual revolution failed them and exhausted by the economic pressure of surviving capitalism in failing states.” ![]() Trad, of course, being a conservative subculture that generally spends a lot of time agitating for Classical architecture and the hetero-nuclear family with gendered divisions of labor. Siddiqi on her Substack ( read it!) that pairs an analysis of the Icelandic horror film “Lamb” with an examination of “Trad” politics and aesthetics. I’ve been thinking a lot about the marcelaygina show recently, spurred by a recent essay published by Ayesha A. The artists, who don sunglasses as part of the look, appear, in turn, indifferent and deranged. 1 y 2,” from 2002, show the artists - real names: Marcela Quiroga and Gina Arizpe - riding a bus, their lipstick looking as if it had been applied by the Joker, if the Joker were afflicted by a particularly acute case of delirium tremens. The videos, titled “Lipstick graffiti No. Miranda, art and design columnist at the Los Angeles Times, with the week’s essential arts news and TV art criticism: Pink punksĭuring my trip to Monterrey, Mexico last month, I completely inhaled a pair of short videos in a ground floor gallery at the Museo de Arte Contemporáneo de Monterrey created by the art collective known as marcelaygina. It is Day 20 of Drynuary as I write this and I’m distracted by thoughts of the perfect Manhattan. ![]()
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