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JCJ Vanderheijden 1928 – 2012

Wednesday, February 29, 2012







On Monday 27 February 2012 the artist JCJ Vanderheijden died in a hospital in 's–Hertogenbosch, the place where he lived and had his studio. JCJ Vanderheijden was one of the most important contemporary Dutch artists of his time. JCJ Vanderheijden was 83 years old. He had one person exhibitions at the Van Abbemuseum, Eindhoven (1967, 1981 and 1983), Gemeentemuseum The Hague (1977 and 1998), Centraal Museum, Utrecht (1981), Stedelijk Museum, Amsterdam (2001) and Boijmans Van Beuningen, Rotterdam (1990 and 2011-2012). In 1982 Rudi Fuchs presented his work at Documenta 7, Kassel and in 2009 there was a retrospective exhibition in Lisbon, Portugal.

images
JCJ Vanderheyden – Chapelet, Jacob's Ladder, 1962
JCJ Vanderheyden – Skyline, 1979
© JCJV / Borzo, JCJ Vanderheyden – Horizonte Oltramarino
exhibition JCJ Vanderheyden – In-Zicht, Boijmans Van beuningen, Rotterdam, 2011
JCJ Vanderheyden at opening exhibition Arti Capelli, 's-Hertogenbosch, 2011

herman de vries – transit / galerie aline vidal, paris

Tuesday, February 28, 2012



herman de vries
transit

3 March – 20 April 2012

Galerie Aline Vidal
70, Rue Bonaparte
75006 Paris

image © 2012, herman de vries, Galerie Aline Vidal – invitation card

Alec Finlay – 5 poem-objects & Question Your Teaspoons at Ingleby Gallery

Monday, February 27, 2012





Alec Finlay – 5 poem-objects

17 March – 21 April 2012

Ingleby Gallery
15 Calton Road
Edinburgh EH8 8DL
Scotland
info@inglebygallery.com

on 17 March also the publication Question Your Teaspoons, Stonypathian memories by Alec Finlay, published by Calder Wood Press, will be launched at the Ingleby Gallery


images
© 2012, Alec Finlay, Calder Wood Press, cover Question Your Teaspoons
© 2012, Alec Finlay, Ingleby Gallery – Alec Finlay, Untitled (5 poem-objects), 2012, thread, linen handkerchief (detail), 43 x 43 cm

in conversation: Hamish Fulton – Erling Kagge, Margate



on the occasion of the exhibition Hamish Fulton: Walk (17 January – 7 May 2012) there will be a talk between Hamish Fulton and the Norwegian polar explorer and mountain climber Erling Kagge on Thursday 1 March at 8pm at Turner Contemporary, Margate

for bookings:
www.turnercontemporary.org

Turner Contemporary
Rendezvous
Margate
Kent CT9 1HG
England

Oscar 2012: Post Mortem

Well... that happened.

Make it rain!

One of my ambivalent awards seasons has closed its doors, and, for the most part, it was business as usual. To no one's surprise, The Artist was the big winner, taking home Best Picture, Best Director, Best Actor, and Best Score. It tied Hugo for most wins, with the Scorsese film racking up an impressive amount of technical awards. Indeed, there was a fair amount of suspense early on the ceremony, when it seemed like every single award was going to Hugo. But, the charms of George Valentin proved to be too much to resist.

Midnight in Paris and The Descendants each won their solitary awards in the writing department, and The Help scored a sole acting win, which brings me to the biggest surprise of the evening.

Meryl Streep beat Viola Davis to claim the Best Actress oscar for The Iron Lady. A few months ago, I would have responded to that statement with a resounding, "duh", but as the season wore on, and people starting hating on The Iron Lady, Davis' chances seemed all but assured. She did win the SAG, after all. But no. Meryl is no longer the most "due" actress in Hollywood now. It's alright, because in her den of excellence and budding stardom, Rooney Mara is plotting sweet, justified revenge.

By the way, was I the only who was thrilled with the clip the Academy chose when they announced Mara? That's her best scene, and I was really hoping they would pick it, but I suspected they wouldn't, you know, because of the naked man and the torture. Imagine my delight.

In the other big surprise of the evening, Hugo took the Best Visual Effects trophy, beating out the heavily favored Rise of the Planet of the Apes. Shocking to say the least, especially since ROTPOTA looked completely photo realistic, and the stuff I've seen of Hugo, well... doesn't.

Moving on, I thought Billy Crystal was pretty bad as a host. He was definitely better than Franco and Hathaway (though, that's not exactly a challenge), but he was vastly subpar, especially compared the other times he's hosted. Indeed, this was a pretty wit free oscars. The best part came on the red carpet when Sacha Baron Cohen, in full on Dictator mode, "accidentally" spilled Kim Jong Il's ashes on Ryan Seacrest. Man, that guy is fearless.

Love it!

Also, Angelina Jolie's leg now has a twitter account. Follow that shit!

Oh well. I'm just happy that this awards season is over and we start looking forward to more interesting things... like predicting the 2013 race.

Anyway, my final score was 15/24. How did you do?

The Most Important Evening of the Year

Sunday, February 26, 2012

I'm not going to be doing Oscar Minutes this year. Last year proved to be too stressful, and, honestly, I'd rather just enjoy the show with the crowd instead of fiendishly writing the whole time.

Expect some sort of coverage though. I haven't decided what yet, but be sure to check back here and follow my ass on Twitter (@blackholecritic) for what it is I come up with.

This should be fun, if unsurprising. What are you wearing?

Ingleby Gallery at The Armory Show, NY

Saturday, February 25, 2012




Ingleby Gallery, Edinburgh
presents at The Armory Show works by the artists:
David Austen, David Batchelor, Susan Derges, Iran do Espírito Santo, Ian Hamilton Finlay, Richard Forster, Callum Innes, Peter Liversidge, Jeremy Millar, Harland Miller, Garry Fabian Miller, Jonathan Owen, Katie Paterson, Winston Roeth and Kay Rosen

8 – 11 March 2012
Pier 94
Booth 607

The Armory Show
Twelfth Avenue at 55th Street
New York City, NY

image ©Ingleby Gallery, Peter Liversidge
Peter Liversidge – Photograph Taken Whilst Walking (Ursus Rictus), 2009, c-type photograph, edition of 5

Sean Kelly Gallery at The Armory Show, NY


Sean Kelly Gallery
, New York
presents at The Armory Show works by the artists:
Marina Abramovic, Los Carpinteros, James Casebere, Leandro Erlich, Anthony Gormley, Laurent Grasso, Callum Innes, Idris Kahn, Peter Liversidge, Nathan Mabry, Robert Mapplethorpe, Alec Soth, Frank Thiel and Kehinde Wiley

8 – 11 March 2012
Pier 94
Booth 501

The Armory Show
Twelfth Avenue at 55th Street
New York City, NY

Dick Cassée – book launch at Gallery 9, Amsterdam



You are kindly invited for the book launch of

Dick Cassée – Grafiek

on Sunday 26 February 2012, 2-5pm, at

Gallery 9 (nine)
Keizersgracht 552
1017 EL Amsterdam
tel +31 (0)6 13212049
info@gallerynine.nl

Trailer Trash: Wrath of the Titans

Friday, February 24, 2012

It's time to root through some trailers. what sorts of wonderful things will be alluded to today?

Oh boy! The anticipation for this movie is off the charts! Can you feel it?
...
What? You can't? Oh, ok then. Suddenly this doesn't seem all that important.

Ok, so, apparently enough people got over the fact that Clash of the Titans was a mediocre piece of crap and saw a couple hundred times, since it made a lot of money. And now we have the sequel, which, honestly, looks to be copying the plot from Disney's Hercules. Anyone else getting that vibe?

That being said, I really like this trailer. This was sort of the same situation I found myself in when the first one was being promoted. The trailers made it out to be this incredibly bombastic action extravaganza. In reality, Clash of the Titans was surprisingly boring, with action that never really rose above average.

If Wrath is as relentless as this trailer makes it out to be, awesome! I'll pay top dollar for that. It's being directed by the guy who made the pretty relentless Battle: Los Angeles, so I'm not expecting anything in the realm of good story or acting, but as long as the adrenaline is coursing for most of it, then we won't have a problem.

Ha Ha What Does This Represent? – Standpoint Gallery, London

Wednesday, February 22, 2012





invitation card and catalogue published on occasion of the exhibition

Ha Ha What Does This Represent?

2 – 31 March 2012

Standpoint Gallery
45 Coronet Street
London N1 6HD

The LAMB Devours the Oscars 2012: Best Director

Blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah!

We're almost at Oscar night. What is normally one of the most exciting build ups of the year, frankly, has left me very disinterested. Sorry, but a vast majority of the movies I cared about last year didn't make the cut, so I really could care less who wins Best Picture.

This mindset comes shining through with the Best Director race. Whereas last year was chock full of directors doing awesome things, this year is just... well, eh. This is more personal opinion than anything, but out of the five chosen, I'd say only two, if that, deserve to be on it.*

*Bear in mind, I haven't seen Hugo yet.

But, for the second year running, it's my job to squelch through the muck and analyze all this stuff for you. Let's get into it.

Woody Allen (Midnight In Paris): I'm not the biggest Allen fan. I love Annie Hall, but I don't think anything he's done in the last twenty years deserves any sort of mention. But, he came screaming back onto the A list with Midnight In Paris, a wonderful film, full to bursting with biting humor, strong acting, some of the most lovingly composed shots of Paris ever seen, and all the while, pushing a solid message of how our society views nostalgia. It's good stuff.

So, Can He Win?: No! Not only are the other films on the list more "directed" than Midnight, Allen's film hasn't really racked up a whole lot of previous awards. If this film takes home anything, it's gonna be in the writing categories. Allen will have to wait it out until the next one, provided he is consistent this time.

Michel Hazanavicius (The Artist): Translating a gimmick (and let's be honest. The Artist is all gimmick) into an Oscar winning film is no small feat, but Hazanavicius manages it with ease. Even without all the hoopla of it being a silent film, The Artist would still be one of the best films of the year. Hazanavicius takes all the trademarks, visual cues, and touches that defined the silent film genre, and makes them feel new again. Not a word is spoken throughout the movie, and yet you won't be able to take your eyes off it.

So, Can He Win?: I'd say it's a damn certainty at this point. The Artist has been cleaning up shop these last few weeks, taking home the PGA, the BAFTA, and, most importantly, the DGA. It's not quite as clear as previous years, as there is another contender who could swoop in (more on that later), but if you put this guy on your ballot, you'll be considered a smart person.

Terrence Malick (The Tree of Life): My favorite of all the directors in this race, Malick does amazing things with this film, making it quiet and intimate one second, and grandiose and epic the next. Many people have bashed it for boring, ponderous, and slow. I loved it. I thought it was fascinating and moving. The actors, under Malick's wing, create fleshed out and memorable characters with their minimal dialogue. Also dinosaurs!

So, Can He Win?: He should... but he won't. I don't know what it is, but I think The Tree of Life has proven to be too much for the Academy to go for. They do love their moving epics, but they have their limits. No, I think the reason is that Malick is too much of an odd duck to warrant any sort of real chances. I don't even think he's gonna show up to the ceremony. Stupid reason, but since when has the Academy ever behaved like normal people?

Alexander Payne (The Descendants): A quirky family drama, set against the lush backdrop of Hawaii, with George Clooney in one of his best roles. Yeah, it's no wonder that this one got all the nominations it did. Even so, The Descendants is worth it, and Payne does an admirable job with it. It's funny, moving, and heartfelt. And the child actors are stupendous, and we all know how hard child actors can be to work with.

So, Can He Win?: This marks the second time that Payne has been nominated for a much beloved film, and he's the only multiple nominee in the race, apart from Malick, who hasn't won. This automatically helps him. Well, than and the fact that if any film is going to challenge The Artist, it's going to be this one. It's too close to call for sure. If I'm putting my money somewhere, it's going to Hazanavicius, but this guy may prove to have the cojones to go the distance.

Martin Scorcese (Hugo): Would you have expected this a couple months ago when the first trailer for Hugo dropped? I sure as hell didn't. But here we are, and Hugo is leading the pack with a whopping 11 nominations. Now, according to that little footnote up there, the writer of this post hasn't seen it yet, so there's not gonna be any mention of it's quality. But, from what other people are saying, Hugo is a vibrant, moving film that pays a crap ton of reverence to the cinematic medium. In other words, the Academy's wet dream. Also, the 3D is supposed to be awesome!

So, Can He Win?: He just won, and his last movie was completely shut out of the race to begin with, so, I don't think so. Granted, the Academy might be swayed by the whole birth of cinema thing, and the film does seem to employ a whole bunch of visual trickery, but, it's still too soon. Marty'll have to wait for a few more years before it's his time again.

So, Who Got Shafted?: There are three. Nicolas Winding Refn, David Fincher, and David Yates. Now, I understand why all three of these films got shafted. Drive and The Girl With the Dragon Tattoo are too cold and violent, and Harry Potter is too mainstream. How are those for stupid reasons? But, all three of those films deserved to be recognized, thanks in no small part to their directors. Yates had been getting better and better with the Harry Potter brand since the reprehensible Order of the Phoenix, and Deathly Hallows: Part 2 was not only the best Harry Potter film, but the best mainstream blockbuster to come out all year, or, indeed, in many years.


The Girl With the Dragon Tattoo was no doubt cast aside due to the whole "It's copying the swedish version" bull crap, but no one can deny that Fincher's dark sensibilities were right at home with Mikael and Lisbeth. He took everything he had learned from his previous movies, and applied them, making Dragon Tattoo more than just a rote cash in.

And Drive was the best movie of the year, bar none. Ok, yes, it was savagely violent and the protagonist was a bit too distant to really relate too, but so what? Drive was simply the best example of film as an art to be seen all year. Deftly combining steely cool, asphalt covered action movies with the bright pink, techno infused touches of europop, and then offering up a slow burn tale of crime, suspense, and violence, everything about Drive just worked.

Although, there is a scene where a man gets his wrist slit that is probably the most sickeningly gory scene of the year, so that probably had something to do with it.

Whatever, though. It doesn't matter. I don't know how you feel, but I'm just coasting on the coattails of this awards season, counting down the minutes until it is over and we can start looking ahead to when Christopher Nolan gets snubbed again. Anyway, that's all for now. Return to your daily tasks. Peace!

Hopped Up

Tuesday, February 21, 2012

Strange as it might be to hear coming from the... fingers of a person with somewhat refined taste in film, the fact remains that I dig the kind of movies that Mark Neveldine and Brian Taylor make. Though they have their names on some stinkers, I thought Crank was a fun, if formulaic flick. Crank 2, on the other hand, was the single biggest "fuck you" to mainstream action movies ever. Pretty much every single stupid thing you could imagine being packed into an action movie, Crank 2 had it. And I loved every single ridiculous inch of it. So, when I heard that Neveldine/Taylor were taking on the derided Ghost Rider franchise, my ears went all perky. Ghost Rider is the kind of comic book character that these guys were made for, totally insane and over the top. Now, the first Ghost Rider movie is one of the worst comic book films I've ever seen, so there wasn't much in the way of expectations for this one. That being said, there are elements to enjoy here. They are few and far between, and even though Ghost Rider: Spirit of Vengeance doesn't quite get a recommendation from me, it does so in a very half hearted manner.

This is me on a good day!

After accepting the fact that he can turn into a fiery demon death dealer at the drop of a hat, Johnny Blaze is sitting pretty in self imposed isolation in, where else, Eastern Europe. He's brought back into the action when a drunk monk comes to him with a proposition. Stop the devil from using a young boy as the harbinger of the apocalypse, and Blaze's curse will be lifted. What follows is whole lot of hammy acting and crazy violence. Along the way, Blaze finds himself getting attached to the kid and his absurdly hot mother, giving him more than one reason to see this thing through to the end.

Boring. So boring! The plot of this movie is so thin that to call it a plot would be an insult to plots the world over. The script only serves as a vehicle to shepherd the characters from one over the top action scene to the next. There's not even an attempt at character development or anything like that. Johnny meets the boy and his mother one minute, and the next he's willing to risk life and limb for them. And then, just like the first one, it ends rather abruptly and with no real resolution. Blah!

Nicolas Cage is Johnny. That should be all you need to hear. Truth be told, this is probably one of the better Nicolas Cage performances in a good while, but that might have to do with the fact that Cage is absolutely batshit insane in this! It's your classic, over the top, ridiculous Nicolas Cage. It's not necessarily a good performance, but it's certainly a memorable one.

And that about does it for actors. No one else really cares at all to really try in this. Idris Elba is alright as the drunk monk who sets Blaze on his course, but he's not in it enough. Ciaran Hinds is awful as the devil, and Violante Placido is eye candy and nothing else as the token female badass.

I will say that Johnny Whitworth is pretty good as the bad guy constantly hounding Blaze and Co, and when he gains some demonic powers of his own, he gets even more absurd. But it's not enough.

A classic Nic Cage face!
There's really no other way to describe it. This movie is on a lot of drugs. And when I say a lot, I mean every single kind known to man, and then a few yet undiscovered. Like the Crank films, Spirit of Vengeance is directed and shot in the most frenetic and crazy manner possible, even when there's no action. And while this does do something towards covering up the lack of anything interesting happening outside of the violence, it's also kind of nauseating. It also doesn't really fit, because while Crank was all about the main character on all kinds of drugs and stimulants, Ghost Rider is all about a brooding anti-hero, so the coked up camera man thing isn't all that appropriate.

Luckily, the action is pretty good. Now, any and all action is an immediate step up from the first installment; the first Ghost Rider is one of most the action-less superhero movies to come out in a long time. And while Spirit of Vengeance isn't as relentless as other Neveldine/Taylor movies, what action there is pretty sweet. The highlight comes at the halfway point as the Rider turns a small army into bacon bits with a huge ass crane thing, and though the finale isn't as cool, it's still well done.

That's what I really like about Neveldine/Taylor. Their camera work is all over the place and frenetic as all holy hell, but their action is always well shot, exciting, and easy to follow. This is most apparent in the finale, which sees the Rider singlehandedly taking on a heavily armored convoy. Though there are a lot of elements to consider, it's always easy to tell what's going on and where everything is in relation to everything else.

But, solid action and a ridiculous lead can only take you so far. It probably has everything to do with the Marvel brand and the PG-13 rating, but this thing is just tame for these guys. I've seen what crazy heights they will take their products to, and I'm sad to say that Ghost Rider: Spirit of Vengeance only scratches the surface of what these guys are capable of. But, it's an improvement over the last one, to be sure, and Nicolas Cage is at his batshit best, so... whatever.

That SNL skit described this movie perfectly. It's has the two elements of a classic Nic Cage movie. Every word is either whispered or shouted, and everything is on fire! Take it or leave it, but there it is!

Also a dude pisses fire. Awesome?


The Black Hole Presents: Final Oscar Predictions

Monday, February 20, 2012

First off, I don't care.

I don't care about this year. Too many films that I cared about were snubbed out of the big categories. Indeed, of my top 4, only The Girl With the Dragon Tattoo garnered a major nomination, and it only got one. Such is life.

But, I do want to stay relevant with my contemporaries, so here are my final predictions on who will take home gold next Sunday.



Best Adapted Screenplay: It's gonna be The Descendants. It's the only category where the two front runners aren't going head to head, so there's no chance this one won't win. As much as I would like to see Tinker Tailor Soldier Spy pick up the win, that's a vain hope. Payne will walk away with this one.

Best Original Screenplay: As much as I would like to say The Artist will sweep the board with its major noms, I can't here. I'm sorry, but I think Midnight In Paris is gonna take this one. I mean, The Artist didn't require that much of a screenplay, did it? It's all a bunch of action, but no words. Meanwhile, Allen's dialogue is fast and furious, bitingly funny, and wonderfully poignant. And it just picked up the WGA. Yeah, that's gonna win.

Best Supporting Actress: Shit, I don't know. Just by glancing at the wins so far this season, I'd say it's going to go to Octavia Spencer for The Help, though it could just as easily go to Jessica Chastain, not because her work in The Help was any better, but because her work everywhere else was. I'd say it's between those two. Janet McTeer has been nowhere, Bérénice Bejo doesn't have the momentum of her costar, and Melissa McCarthy, though deserving, was too crass to be seriously considered. If I had to make a final prediction, and I do, I'd give it Spencer. She has enough momentum to carry her through to the end.

Best Supporting Actor: No competition. Christopher Plummer will take this one home! Kenneth Branagh, Jonah Hill, and Nick Nolte have absolutely no chance, and Max Von Sydow just hasn't been seen enough. Plummer, meanwhile, has been in the forefront of everyone's mind since Beginners first came out. He'll win, no doubt about it.

Best Actress: Ooo, I just don't know. Ordinarily I'd say Streep would take it, but The Iron Lady has been being ripped to shreds by the critics and public, which doesn't help her case. Ditto with Albert Nobbs. So we have to two favorites suddenly at a disadvantage. Who does that leave us? Well, I'd say Michelle Williams is out. My Week With Marilyn hasn't been doing all that well this season. Which leaves us with Viola Davis and Rooney Mara. If I ran this, Mara would win in a landslide, but there is no way the Academy will go for a character like that. Which leaves us with Davis, who, like Spencer, has been doing quite well for herself this season. I still think that Streep will take it home, if only because the Academy is probably fed up by now of nominating her and not having her win, but if anyone can challenge her at this point, I'd say it would be Davis.

That being said, if Mara wins, I will be the happiest bastard in the world!

Best Actor: It's between Clooney and Dujardin. Pitt had a good run, but has waned in the past months. No one had even heard of Demián Bichir until he got nominated, and he still doesn't stand a chance now. And Gary Oldman, I'm sorry to say, just hasn't built up the momentum. Granted, the Academy might bow to him, because he likely won't get another chance at a win, and we know Clooney and Dujardin will. It's not likely however. It's too close to call between these two. Both of them picked up Globes, and have been doing well for themselves elsewhere. However, Dujardin got the SAG, which is going to put him over the top in my book. I'm hoping against hope for Oldman, but if I was betting man, and I am, I'd put my money on Dujardin.

Best Director: Again, with The Artist and The Descendants. While the other directors present solid cases, they just don't have the push that these two do. Again, I think the guild awards will do the trick. The Artist got that one, and so, I think it's gonna win here.

Best Picture: See above. It's the exact same thing. Both The Artist and The Descendants have plenty of momentum, but The Artist has cleaned up at the guilds. This one is taking the big prize, believe me.

Ugh.

Ok, whatever. We only have a week to wait it out! Boo-ya-ka-sha! See ya later!

Ha Ha What Does This Represent?

Thursday, February 16, 2012



Ha Ha What Does This Represent?

group show with
Andrew Bick
Matthew Collings and Emma Biggs
Katrina Blannin
Hazel Chalk
Ben Cove
Stewart Geddes
Dan Hays
Vanessa Jackson
Roger Kelly
Caroline List
Gina Medcalf
Alex Gene Morrison
Carol Robertson
James Ryan
Francesca Simon
Daniel Sturgis
Trevor Sutton

2 – 31 March 2012

Standpoint Gallery
45 Coronet Street
London N1 6HD

'Taking its title from the 1947 Ad Reinhardt cartoon, HA HA WHAT DOES THIS REPRESENT? brings together artists who consciously explore notions of abstraction.'
curated by Katrina Blannin and Francesca Simon.


Cecilia Vissers – Masters & Pelavin, NY

Tuesday, February 14, 2012



Cecilia Vissers
Ultima Thule (The Far North)

23 February – 31 March 2012

Masters & Pelavin
13 Jay Street
New York, New York 10013

Your Sunday Funny #26

Sunday, February 12, 2012

Dick Cassée – Syunik



Dick Cassée
Signature XV – Syunik, 2012

Portfolio with 6 linocuts published by Stichting Signature, entitled Signature XV – Syunik
print size 18 x 24 cm
printed by Steendrukkerij Aad Hekker
in linen bound box
edition of 40 copies, including 30 copies for sale
price until 1 April € 400, after that date € 475

the portfolio can be ordered at
Stichting Signature
Burg. de Wijslaan 16
NL – 6971 CD Brummen
tel +31 (0)575 56 4042

Soundtrack on a Saturday: Nightcall (From Drive)

Saturday, February 11, 2012

Richard Devereux – Encounters Take Precedence



Richard Devereux
Encounters Take Precedence, 2012

Digital Archival Pigment print
on Innova Soft Textured Natural White paper 315 gsm
59,4 x 42 cm
published by Richard Devereux and Peter Foolen Editions
text/design Richard Devereux
printing Peter Foolen
edition of 40 copies, numbered, signed and embossed colophon

price £ 125 + postage (unframed)

The Jeremy Renner Thing

Friday, February 10, 2012

The story of the Hollywood superstar who enjoys a meteoric rise from small timer to big leaguer is a timeless one. We all love to hear about how you started in a small indie, got noticed, and now are headlining one of the most anticipated new franchises of the year.

Wait, this post isn't about The Hunger Games. Damn it, Jennifer Lawrence! Get out of my head!

No, today we'll be talking about the guy who, up until two years ago, was a relative nobody. Then he headlines an Oscar winner, gets two nominations in a row, but it isn't until now that the craziness begins. Now, he's poised to take over two of the most popular action franchises currently going, and is an integral part of another. 

Did you guess who it is?

Could just turn off the swagger? Please?

That's right. Mr. Jeremy Renner. 

Now, I personally adore Mr. Renner. I think he brings a unique intensity and humanity to his roles, even if the person he is playing is real bastard; call me crazy, but when he was gunned down in The Town, a silent tear was shed. And he's pretty smart about what he does, nicely balancing out the heavy hitting action with poignant drama. 

Or, at least, he was. 

He was first noticed SWAT, a mediocre movie, to be sure, but he stood out a shining spot, playing a compelling villain. Then came the unappreciated 28 Weeks Later..., followed by a stint in The Assassination of Jesse James by the Coward Robert Ford. In both of those, his displayed the skill and commitment that would be soon be seen the world over. 

Then he opened The Hurt Locker, and everything changed. Now everyone wanted him and his steely cool demeanor. He picked up his second Oscar nom for The Town, which brings us to today. 

Renner has two big summer movies locked and loaded. The first is The Bourne Legacy, whose trailer dropped on Wednesday. It's his first lead role in a full on action thriller, but he looks poised to impress. That will probably only make a small ripple compared the tidal wave that The Avengers will cause. And yes, he isn't one of the main four in that, but he is still getting plenty of screen time (if the trailers are to be believed), and it looks like he will be doing the coolest things. Beating people with a red and blue shield or a magic hammer is awesome, but badass archery is way more awesome. 

And let's not forget that he stood shoulder to shoulder with Tom Cruise this past Christmas in the best Mission Impossible movie ever, and looks ready to take over that franchise as well. 

So, with Bourne, Mission Impossible, The Avengers, and, let's be honest with ourselves, the eventual Hawkeye movie, Mr. Renner is going to be very busy over the next few years. 

And this worries me. Mr. Renner is a gifted actor, and one of the brightest new sources of talent that we have seen in awhile. And I'm afraid he's going down the wrong road. Like it or not, with a resume like that, Mr. Renner is fast becoming one of the most typecast actors in the biz. Even more so when you realize that he was playing these types of roles before he was noticed. Have you seen 28 Weeks Later...? He kicks all kinds of ass in that one. 

This isn't the path my Ouija Board said I'd be going on!

And, hey. If he performs them well, then great. I sure would love to see a new Eastwood or McQueen on the block; an action star who headlines vehicles more interested in character and script than explosions. But those guys also did dramas, and the odd comedy (I think), and Mr. Renner has charm, wit, and emotion, in addition to muscles and a chiseled jaw. 

I think I'm getting away from the point here. Here's what I'm trying to say. I really hope that Mr. Renner does not fall victim to what befalls so many promising young actors; being typecast into the same role over and over again, and losing your touch on the others. He's far better than that. 

Lawrence Weiner – Alfonso Artiaco

Thursday, February 9, 2012



Lawrence Weiner
Just Before

16 February – 31 March 2012

Alfonso Artiaco
Piazza dei Martiri
80121 Napoli
Italy

image © 2012, Lawrence Weiner, Alfonso Artiaco

Haghpat Monastery, Armenia



Cathedral of St. Nishan, Haghpat Monastery
Armenia, (976 – 991 AD)

Dick Cassée – Haghpat






Dick Cassée – Haghpat, 2011

a print by Dick Cassée, published by Peter Foolen Editions, February 2012
linocut on Nepal paper
printed by Dick Cassée and Peter Foolen
21 x 28 cm
edition of 50 copies, numbered and signed

special edition published on occasion of the recent book Dick Cassée – Grafiek

price, including publication and print € 100

the print is based on the medieval monastery in Haghpat, Armenia, to which the artist made a journey in 2010

Dick Cassée – Grafiek / Prints







Dick Cassée – Grafiek

Publication about the graphic work of the Dutch artist Dick Cassée, published by Peter Foolen Editions in February 2012, showing an extensive selection of his prints from 1959 – 2011
Introduction by Rudi Fuchs
texts by Georges Braque, James Joyce, Thomas A Clark, Kevin MacNeil, Lucebert, Georg Trakl and Hans Arp
22 x 29 cm, 168 pages
softcover binding with embossed block printing
printed by Lecturis, Eindhoven
isbn 978-94-90673-06-2
limited edition of 250 copies, including 50 copies with a special edition of the numbered and signed print Haghpat, 2011, 22 x 29 cm

price € 35
including print sold out

this publication and the print will be presented at galerie nine (9) in Amsterdam on Sunday 26 February 2012 from 2 – 5pm

Robert Barry – Take Your Time to Sit Down for a Moment and Read a Book



Robert Barry – Taking Your Time

18 February – 28 April 2012

MFC – Michèle Didier
66 Rue Notre-Dame de Nazareth
75003 Paris

Exhibition of all the editions by Robert Barry published by Michèle Didier.
Also shown are more than 25 books, collected by Robert Barry between 1966 and 2008, which are related to time, placed on a table, the 'Time Table', and also duplicates of specific pages are displayed on the wall.

List of books chosen by Robert Barry:

97 date paintings – consecutives, journaux de 1966 à 1975, On Kawara
Non-Anthropomorphic Art, Joseph Kosuth, Christine Kozlov, Michael Rinaldi, Ernest Rossi
Statements, Lawrence Weiner
Robin Redbreast Territory, Jan Dibbets
Catalog from Addison Gallery exhibit, Douglas Huebler
Durata, Duration, Douglas Huebler
Ingres and Other Parables, John Baldessari
Steps, Stanley Brouwn
LEGGERE, Giovanni Anselmo
Fibonacci 1202, Mario Merz
Throwing a Ball Once to Get Three Melodies and Fifteen Chords, John Baldessari
A Voyage on the North Sea, Marcel Broodthaers
Having from time to time a relation to, Lawrence Weiner
Once upon a time, Lawrence Weiner
Skyline Ridge, Hamish Fulton
The Cube the White the Idealism followed by Going Through, Daniel Buren
The Red and Blue Books, Louise Lawler
Variations On I Am Still Alive On Kawara, Sol Lewitt
1, 2, 3, 4, 5, Niele Toroni; WITHIN (TIME), Peter Downsbrough
The Discussions, Ian Wilson
Squares With Sides and Corners Torn Off, Sol Lewitt
Zeichnungen, Max Neuhaus
And Now, Peter Downsbrough
The Telephone Book, John Baldessari
(Untitled), Louise Lawler
March 1969, Seth Siegelaub.

Take Your Time to Sit Down for a Moment and Read a Book
Robert Barry

image © Michèle Didier, Robert Barry – One Million Dots, 2008, DVD, 60 min, edition of 30 copies + 5 AP


 

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