Instagram photos and videos
@69us: “I don't care about or believe in notoriety… I think one of the things we have to learn in life is to release our ego.” 69: Déjà Vu is now on view at MOCA Pacific Design Center! [Installation view of 69: Déjà Vu, August 4–October 28, 2018 at MOCA Pacific Design Center, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Brian Forrest]
Marlene McCarty: “There are a lot of layers within the work and people tend to connect to different combinations of things within the pieces. I am not generally privy to those experiences, although comments that I have heard run the gamut from fear, empathy, sexual attraction, voyeurism, moral ambiguity, beauty, ugliness, tragedy, fashion illustration, heroism, guilt to awe.” #fromthearchive [Marlene McCarty, Melinda Loveless, Toni Lawrence, Hope Rippey, Laurie Tackett, and Shanda Sharer - January 11, 1992 (1:39 am), 2000-2001, Graphite and ballpoint pen on paper, 120 3/4 x 160 in. (306.71 x 406.4 cm) Each: 120 3/4 x 80 in. (306.71 x 203.2 cm)]
BOOTYCHAAAIN (@auntyokaaay) will be performing Thursday, August 16 at MOCA Music: COMFORT ZONE W/ HOODBOI, PROMNITE, ZIKOMO, BOOTYCHAAAIN at MOCA Geffen–this program is FREE with RSVP! (Link in bio)
Hannah Wilke (1976): “Since 1960 I have been concerned with the creation of a formal imagery that is specifically female, a new language that fuses mind and body into erotic objects that are nameable and at the same time quite abstract.” Hannah Wilke’s White Plains is on view at MOCA Grand! [Hannah Wilke, White Plains, 1975, Voltex, Liquitex, and snaps, 19 x 27 x 6 in. (48.26 x 68.58 x 15.24 cm)]
Christian Boltanski: “There are many things we’d like to understand that we will never have sure answers to. But for me, being is to look for those answers nonetheless.” #fromthearchive [Christian Boltanski, Autel De Lycee Chases (Altar to Chases High School), 1988, Six black and white photographs, 31 tin biscuit boxes, and six lamps, 81 1/2 x 86 1/2 in. (207 x 219.7 cm)]
Now on view on moca.org/SCREEN is Vishal Jugdeo’s (@vjugdeo) VQUEERAM–click the link in our bio to check out this film! VQUEERAM will be on view through September 6.
VQUEERAM is part of an ongoing collaborative film project initiated by Vishal Jugdeo in 2016 with Vikram ‘Vqueeram’ Aditya Sahai (@vqueer), a poet, activist and teacher based in New Delhi, India. This instance of the project is a documentary 'portrait' of Vqueeram, filmed over several days in January 2016 with additional footage shot a year later. Over the course of the 14 minute film, which takes place in both public and private spaces throughout Delhi, Vqueeram delivers several anecdotal accounts of his experience as a visibly genderqueer person living in the city. Through a mode of address that moves fluidly between direct and casual, Vqueeram’s stories and observations speak to the failings of language, of identity categories, and of the body as a site of any kind of ontological definition around sexuality or gender. Vqueeram’s meandering, although salient contemplations seem to suggest that any attempt at autonomy related to identification becomes futile within the cultural frameworks of family, community, love, civic obedience and ultimately, neoliberalism. Through the duration of the film, what becomes resonant is a convivial relationship between Vqueeram and Jugdeo. This relationship is evidenced by moments of laughter and banter that posit queer friendship and companionship as respite from the alienation–or perhaps a sense of nonbeing–Vqueeram experiences when moving through his world.
SCREEN: VISHAL JUGDEO is organized by Nevin Kallepalli.
Lauren Halsey (@summaeverythang): “I’ve always felt that the built environment exists in dialogue with oppressive, or liberating, systems. Architecture and its materials can be exploitative or freeing. The policies, planning, and buildings themselves can serve the interests of their constituents by obliging certain implicit and explicit habits, affects, and economies.” Lauren Halsey: we still here, there, which is currently on view at MOCA Grand, closes September 3. [Installation view of Lauren Halsey: we still here, there, March 4–September 3, 2018 at MOCA Grand Avenue, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Zak Kelley]
Nan Goldin: "I have been taking pictures of my life since I was sixteen... I was obsessed with recording my life. The major motivation for my work is an obsession with memory." Real Worlds: Brassaï, Arbus, Goldin, currently on view at MOCA Grand, closes Sept 3! [Nan Goldin, Empty beds, Boston, 1979, Cibachrome print, Frame: 17 5/8 x 21 5/8 in. (44.8 x 54.9 cm), The Museum of Contemporary Art, Los Angeles The Nimoy Family Foundation]
Joan Semmel: “So I came to figuration because of its content, because I can say things with figuration that I can’t say abstractly. I can get the impact that I need. But my love is still the paint; it’s always about paint for me.” Joan Semmel’s painting Self-Made is currently on view at MOCA Grand! [Joan Semmel, Self-Made, 1980, Oil on Canvas, 78 × 120 in. (198.12 × 304.8 cm)]
Maurizio Cattelan: “Surrealism, and also dadaism, were pure gold. Maybe they got a bit carried away.” #fromthearchive [Maurizio Cattelan, Charlie, 2003, Tricycle, steel, varnish, rubber, resin, silicone, natural hair, and fabric, 31 x 34 x 21 in. (78.74 x 86.36 x 53.34 cm)]
Adrian Ghenie: “I think there's something present in my work, something malefic, because it's the work of someone interested in those type of things, but not from some positivist, Western perspective.” #fromthearchive [Adrian Ghenie, DADA is Dead, 2009, Acrylic and collage on paper, Paper: 19 x 22 in. (48.26 x 55.88 cm) Frame (White painted wood): 24 x 27 x 1 1/4 in. (60.96 x 68.58 x 3.18 cm)]