Audio of filmmaker Werner Herzog’s talk with 2012 Biennial curators Jay Sanders and Elisabeth Sussman is now up on our website. Hearsay of the Soul, Herzog’s Biennial contribution is on view through May 27, 2012.
Photograph by Tiffany Oelfke
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Kevin Jerome Everson’s feature film Quality Control screens May 23-27, 2012. The Biennial closes May 27.
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John C. Welchman, co-director of the Mike Kelley Foundation for the Arts, gave a lovely presentation on Kelley’s work on May 20, 2012. One of Welchman’s slides, above, features photos of Kelley and his childhood home, which was the inspiration for his Mobile Homestead project.
The 2012 Biennial is dedicated to Mike Kelley.
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“Art, Ancestry, and Africa: Letting it All Bleed”: Ben Ratliff of The New York Times on BLEED, Alicia Hall Moran and Jason Moran’s Biennial residency, which took place May 9-13, 2012.
Photograph of Kara Walker performing as Karaoke Walkrrr by Yana Paskova for The New York Times
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Mike Kelley (1954–2012), The Mobile Homestead in front of the abandoned Detroit Central Train Station, 2010. © Mike Kelley. Photograph by Corine Vermuelen
MOCA Detroit and Artangel announced today that construction will begin on a full-size replica of Mike Kelley’s childhood home.
From May 16-20, 2012, the Whitney will screen three videos Kelley created during the first phase of the Mobile Homestead project. On May 20 John C. Welchman, co-director of the Mike Kelley Foundation for the Arts, and Scott Benzel, a frequent Kelley collaborator and producer of the Mobile Homestead videos, will discuss the project.
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Wu Tsang, Production still from WILDNESS, 2012. © Wu Tsang; courtesy the artist
Tsang will join fellow filmmaker Matt Wolf in conversation on Sunday.
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Werner Herzog, Excerpt from Ode to the Dawn of Man, 2011.
Cellist Ernst Reijseger will be performing at the Whitney on May 11, 2012. Herzog’s short film, Ode to the Dawn of Man is incorporated into his Biennial work, Hearsay of the Soul.
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Wu Tsang, Production still from WILDNESS, 2012. © Wu Tsang; courtesy the artist
WILDNESS screens May 9-13, 2012 as part of the 2012 Biennial. The film presents a portrait of the Silver Platter, a historic landmark bar on the east side of Los Angeles that has provided a home for Latin/LGBT immigrant communities since 1963.
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“It’s a time when, increasingly, visual artists are working with film and video, and drawing upon the codes, conventions, and visual grammar of documentary, or narrative cinema. It makes sense that you think about these things together.”
2012 Biennial film program co-curators Thomas Beard and Ed Halter talk to BOMB Magazine.
Photographs by Braden King. Copyright Braden King, 2012
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“I really went through a hard time. I really reached a hopeless state. It was a matter of survival that I make something. I had people that believed in me, believed in the project. So we decided to just do something totally new with the money we had in place.”
Matt Porterfield talks to BOMB Magazine about his film Putty Hill, which screens through Sunday, May 6 as part of the Biennial.
Photograph by Andrew Laumann
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Werner Herzog reads his wall label at the 2012 Biennial opening party.
Herzog will discuss his Biennial contribution with exhibition curators Jay Sanders and Elisabeth Sussman Thursday, May 17 at noon. Free with admission, but reservations are required.
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Production still from Matt Porterfield’s Putty Hill, 2011. Putty Hill screens May 2-6 as part of the 2012 Biennial.
Putty Hill was conceived and shot in 12 days after financing fell through for another film Porterfield had been planning to shoot. He used untrained actors who improvised most of their dialogue. The film follows a group of people coping with a young man’s death by heroin overdose.
Photograph by Joyce Kim.
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Production still from Matt Porterfield’s Putty Hill, 2011. Putty Hill screens May 2-6 as part of the 2012 Biennial.
Photograph by Joyce Kim.
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“I guess I’m becoming more interested in how to articulate the experience of exalted daily life. … If our extra time is spent surrounded by things that move us in a spiritual way, it can play out in, I think, very banal, seemingly mundane environments and conditions. So we don’t have to go to a place of worship in an official capacity to experience something spiritual, revelatory. We can be open to minor revelations, daily ones.”
Matt Porterfield, whose film, Putty Hill, screens May 2-6 as part of the 2012 Biennial. Quote via an interview with Matt Papich in the exhibition catalogue.
