![]() The final film of the five-part cycle ranks as the most mesmerizing and elaborately designed. The story line hews closely to the historical Gilmore, while also exploring a fanciful parallel plot linking his clairvoyant grandmother to legendary escape artist Harry Houdini (played by Norman Mailer, author of The Executioner’s Song). The second film in the cycle (fourth in production) is a dark Gothic Western that feverishly tracks three generations of condemned murderer Gary Gilmore’s family from the Chicago World’s Fair of 1893 to his execution in 1977. Starring: Norman Mailer, Matthew Barney, Anonymous Using notations made of grapes, she choreographs an armada of chorus girls into patterns of biological cells forming the contours of an androgynous body that symbolizes, for the artist, a state of pure potential. Two Goodyear blimps hover above the arena, each with a glamorous parcel of flight attendants in Isaac Mizrahi–designed uniforms and each with a stowaway played by legendary dominatrix Marti Domination. The first film in the cycle (second in production) takes place on the blue Astroturf football field of Bronco Stadium in Barney’s hometown of Boise, Idaho. Starring: Marti Domination, Gemma Bourdon Smith, Kathleen Crepeau The film River of Fundament combines documentation of these three live acts with scenes set in a reconstruction of Norman Mailer’s brownstone apartment in Brooklyn Heights. The project was conceived as a nontraditional opera with a series of one-time-only live acts performed across the American landscape. In 2007, Matthew Barney and Jonathan Bepler began a new collaborative project inspired by American author Norman Mailer's 1983 novel Ancient Evenings, set in pharaonic Egypt. Between 19, he created the “CREMASTER Cycle,” a series of five films described by Jonathan Jones in The Guardian as “one of the most imaginative and brilliant achievements in the history of avant-garde cinema.” The series doesn't have a full story or dialogue, just grotesque plot pieces, images, sounds, and imaginary makeup, props, scenes, and character-modeling. Beginning as a young artist at Yale University, his early works were privately filmed actions that evolved into sculptural installations combined with performance and video. Matthew Barney is an American artist who works in sculpture, photography, drawing, and film. Also featured are five monumental sculptures, more than fifty engravings and electroplated copper plates, and an artist-conceived catalogue.ĭuring the exhibition, UCCA will screen the entirety of the “CREMASTER Cycle” and River of Fundament, from the dates of November to December 29. The exhibition includes an eponymous two-hour film that traces the story of a wolf hunt in Idaho’s Sawtooth Mountain range, intertwining the theme of the hunt with those of mythology and artistic creation. "A mesmerizing movie.From Septemthrough January 12, 2020, UCCA presents “Matthew Barney: Redoubt,” a major new body of work realized between 20 that marks the artist’s first solo exhibition in China. "Barney paints a cinematic picture of the American West, trading his familiar baroque visuals for the straightforward sublimity of the landscape and the ineffable strangeness of its inhabitants." - Catherine Taft, Artforum "Conjures a magisterial world similarly balanced between the natural and the supernatural." - Jeffrey Kastner, 4Columns "The most beautiful film Barney has made." - Sebastian Smee, Washington Post Has a graceful fluidity, enhanced by an aurally mesmerizing score by Jonathan Bepler, Barney’s long-time collaborator… recalls the laconic, enigmatic dreaminess of Terrence Malick.” - Clayton Press, Forbes ![]() ![]() Stunning cinematography… Viscerally satisfying, emotionally cathartic… An unsettling mediation on humanity’s relationship to nature and to itself.” - Shana Nys Dambrot, LA Weekly “Matthew Barney’s Redoubt is as much an experience as a film. Barney of Redoubt." - Jason Farago, The New York Times ![]() Barney’s most engrossing film in over a decade. Redoubt has a mystical pull." - Robert Abele, Los Angeles Times Builds an emotional power that’s unusual in any kind of art." - Glenn Kenny, The New York Times “Critic’s Pick! Breathtakingly beautiful… Matthew Barney’s film is a western that reaches for the cosmic. ![]()
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