Jack Reacher must uncover the truth behind a major government conspiracy in order to clear his name. On the run as a fugitive from the law, Reacher uncovers a potential secret from his past that could change his life forever.
In theatres October 20th, 2016
TweetCali Thornhill DeWitt’s new body of work takes it departure in recent American history. The series consists of 29 vintage Stars & Stripes, with flock lettering, in various sizes and from various time periods and places. Each work refers to a specific event in American history; from the death of Marilyn Monroe, The Waco siege, Elvis comeback concert, The cult of the Manson family, Traci Lords’ underage porn, The Unabomber to the trial of O.J Simpson.
Exhibition runs through to November 19th, 2016
Eighteen
Slagtehusgade 18c
Kødbyen
1711 Copenhagen
Denmark
Growing up under the repressive sociopolitical environment during the Cultural Revolution, Wei Dong’s early works are profoundly shaped by the political legacy of this period of the time. Over the course of his career, the artist’s oeuvre has departed from the grotesque imagery of voluptuous women and a deformed reality in a political context. Discovering a new pictorial language, the artist has paired men and women with animals, disclosing a secretive and sensual intimacy that results in a voyeuristic aesthetic.
In Wei Dong’s earlier works, this kind of intimacy is often decoded in anachronistic scenes with oddly mismatched elements and protagonists. My Trouble with Gentleman (2011), for example, shows the corner of an interior decorated in ancient Chinese style, and a woman standing in front of an old man who perhaps belongs to dynastic China. Seen from the behind, only the woman’s full-grown body and porcelaneous skin are visible, it is as if her identity has been erased or solely decided by her naked flesh. Powerless and vulnerable as the woman may appear to be, the painting is subverted by a pair of scissors, held by the woman from the back. The tightly secured scissors opposes the skeptical expression from the old man, which not only builds up a tension but also issues a warning from the seemingly defenseless woman
Opposite – Goose Rider, 2015
Exhibition runs through to November 12th, 2016
Klein Sun Gallery
525 W 22nd street
New York, NY
10011
New York
For Piffaretti, the title usually functions as a kind of opening credit and passage (à la ligne) is no different. A painting from 1982, from the series Paradigme – Peinture du doute, 1982-1983, in which the central axis slowly takes shape, is a case in point. A large painting from 1999 is placed in between paintings from 2016, a brief punctuation, which shows that the passage in question is also a continuum. The past always remains unfinished, turning the present into a future memory. Bernard Piffaretti’s last solo exhibitions, No Chronology at Klemm’s in Berlin in 2016 and Moving Pictures at Cherry and Martin in Los Angeles in 2015, all followed the leitmotif of the passage, transforming the viewers themselves into cultural mediators.
Opposite – Untitled, 2016
Exhibition runs through to December 24th, 2016
Galerie Frank Elbaz
66 rue de Turenne
75003
Paris
As with his acclaimed tree portraits (New York Arbor), these large-format black and white pictures were made in the five boroughs of New York City, and deepen Epsteinʼs investigation of how nature and society interact. Epstein is less interested in wilderness than in how the natural world exists in an urban landscape, where architecture is, at its most elemental, made of rock. These pictures evoke the human aspiration, and inability to harness time and nature. Epstein uses his signature technique of pictorial layering, and with Rocks and Clouds he further refines his convergence of the conceptual and documentary. A pioneer of fine art color photography in the 1970s, Epstein employs his formal mastery to describe the cityʼs sky and bedrock, as both sculptural and potent. The mirroring of rocks and clouds and the synthesis of whatʼs above and below the horizon have intrigued ancient Chinese painters, as well as modern earthwork artists such as Robert Smithson,
both of whom were inspirations for this series. Made with an 8×10 field camera, Rocks and Clouds salutes slow photography in a digital culture. In this way, the subject of time informs the workʼs content and its methodology. When it seems impossible to make a fresh picture of New York, Epstein surprises us with an unfamiliar view of it.
Opposite – Clouds #33, New York City, 2014
Exhibition runs through to October 22nd, 2016
Yancey Richardson Gallery
525 West 22nd Street
New York
NY 10011
Cavern Of Anti-Matter follow the rip-roaring return LP void beats / invocation trex with the star gazing I’m the unknown on their legendary Duophonic imprint.
Video by Sally Sibbet
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