Jason Underhill, b. 1982 in Los Angeles. Jason’s work has been screened and exhibited internationally in the U.S. and around Europe, at venues including The Hayward Gallery, London, ICA, London, Dan Graham Gallery, Los Angeles, Landmark at Bergen Kunsthall, Bergen, Norway, The Royal Academy of Art, London, and Sala Rekalde, Bilbao. In 2008, Jason’s film JESSIE LIVES was selected for Bloomberg’s New Contemporaries, an annual traveling exhibition of emerging artists in the UK.
JESSIE LIVES - B.M.O.C. (Big Man on Campus) (03:07) push play or go tovimeo
“Drift will offer you a random series of creative cues to guide you on your own “psychogeographic walk” through the city. Maybe it’ll ask you to head two blocks to the west, then look for a crack in the sidewalk, then head in the opposite direction until you stumble across something terrible. The app invites you to photograph your findings – something “undervalued,” something “warm,” something “out of the ordinary” – to upload into a group photostream that Broken City Lab plans to curate on its website. The directions are all meant to be broadly interpreted (“Find an exchange”? This may mean to one person an exchange of glances on the sidewalk, or to another an exchange of cash at a hot-dog stand.)
All of these idiosyncratic directions won’t literally make you “lost.” Drift is trying to use that word playfully….”
An acute awareness of the contradictory relationship between human need an desire is at the heart of Jana Sterbak’s art. A contradiction which weaves itself into a dialectic between autonomy and dependency throughout her work. Sterbak was born in Prague in 1955, and old enough, in 1966, to remember the election by the peoples’ party of the radical political leader Alexander Dubcek. But with the imposition of Russian state capitalism in 1968, Sterbak moved with her family to Toronto, Canada, to a very different political agenda. What Canada and Czechoslovakia both offered Sterbak was an experience of colonised identity, political in the case of Czechoslovakia, which for centuries had been under the domination of various foreign powers, and cultural and economic in the case of Canada. Not surprisingly, the theme of constraint, imposed both from within and without, would become a major preoccupation in the development of her work.
The desire to transcend our biological condition, with its innate organic needs, has been systematically scrutinised. In the field of psychoanalytic discourse Jacques Lacan has pointed out: The object of human desire is neither the object which saturates a need nor a fixed and pre-established object of instinct; it is properly speaking their negation. It is the ‘Unnatural’ object of the desiring subject who metaphysically transcends, transgresses and exceeds every corporeal or vital ‘given’.
source: Clement Page
Making of Vanitas: Flesh Dress for an Albino Anorectic (05:01) push play or go toyoutube
A performance art collaboration between the director/composer team of BLUE VELVET and TV’s TWIN PEAKS, staged at the Brooklyn Academy of Music. As always the collaboration between Lynch and Badalamenti yields a disturbing, fascinating, and comic combination of image and music. The story begins with Cage telling Dern, WILD AT HEART style, “I gotta go, baby”. Heartbroken, Dern reacts like Lula might, then dreams that she’s floating above a landscape (as Julee Cruise) littered with dwarfs, men on stilts, abandon cars crawling with naked women, and grotesque monsters, while singing songs about love.
David Lynch - Industrial Symphony No.1 (49:25) push play or go toyoutube
Michael Berryhill‘s paintings exude vibes of the surreal yet stoic variety. The unnerving echo of a pulse seems to beat under each still life. Mostly, we are presented with inexplicable assemblages of inanimate objects: some real, some abstract. The human consciousness at their core is hidden from view, but easily perceived. A book pretends it is just a book, a form does its best to appear form-ish– but we know better.
The objects Berryhill represents aren’t just visually pleasing, they’re relatable. You find yourself identifying with a draped piece of fabric, a blue polyhedron floating in pink mist. Though static, they manage to convey some element of the artist’s personality that’s just immediately likable. These paintings prove that anthropomorphism isn’t a quality reserved for talking animals and furniture with faces, it can be achieved subtly, graciously.
Artist and UCL alumna Luis Gispert sees his work situated at an intersection of certain arcane aesthetic ideals, notions of the constructed photographic image, and an interest in concepts of the picturesque and sublime in landscape photography. Unlike a number of his fellow artists, however, he has no interest in a seamless weave; on the contrary, it’s the rough seams that give the work its vigour. Gispert puts the viewer in the back seat of richly upholstered cars or trucks and takes us off on a ride through the Californian desert and the Grand Tetons. Or so it would appear. It’s hard not to think of these interiors as a video game, but fact is stranger than fiction, and facts they are – of a kind.