The pointed work of marcelaygina gets museum treatment in Monterrey. Plus: Mahler's Ninth and pre-gentrification Santa Monica, in our weekly arts newsletter.
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[Essential Arts] PRESENTED BY The Soraya*
[Click to view images]A detail from "We would like to answer a few questions," 2003-2004, by marcelaygina â an art collective that is currently the subject of a retrospective at MARCO in Monterrey. (Carolina A. Miranda / Los Angeles Times) It is Day 20 of Drynuary as I write this and Iâm distracted by thoughts of [the perfect Manhattan](. Iâm Carolina A. Miranda, art and design columnist at the Los Angeles Times, with the weekâs essential arts news and TV art criticism: Pink punks During my trip to Monterrey, Mexico last month, I completely inhaled a pair of short videos in a ground floor gallery at the Museo de Arte Contemporáneo de Monterrey created by the art collective known as marcelaygina. The videos, titled âLipstick graffiti No. 1 y 2,â from 2002, show the artists â real names: Marcela Quiroga and Gina Arizpe â riding a bus, their lipstick looking as if it had been applied by the Joker, if the Joker were afflicted by a particularly acute case of delirium tremens. The artists, who don sunglasses as part of the look, appear, in turn, indifferent and deranged. Iâve been thinking a lot about the marcelaygina show recently, spurred by a recent essay published by Ayesha A. Siddiqi on her Substack ([read it!]( that pairs an analysis of the Icelandic horror film âLambâ with an examination of âTradâ politics and aesthetics. Trad, of course, being a conservative subculture that generally spends a lot of time agitating for Classical architecture and the hetero-nuclear family with gendered divisions of labor. âTrad endorses gender role models previously found in church sermons and 1950s suburbia,â she writes, âwhich are now being hailed by men and women across social mediaâdisillusioned by the ways they feel the sexual revolution failed them and exhausted by the economic pressure of surviving capitalism in failing states.â In their work, Quiroga and Arizpe, who both hail from Monterrey, relentlessly puncture the Trad ideals within Mexican culture: hyperfeminization, impossible standards of beauty and the various conditions (patriarchy, economics, government) that support this. [A formal portrait of artists Gina Arizpe and Marcela Quiroga poses for a faux quinceañera portrait in frilly pink gowns]
âQuinceañeras / Dulce recuerdo 1,â 1999, by marcelaygina. (MARCO) The pair, who worked as a collective from 1997 to 2010, were ahead of their time. Together, they spoofed the arch qualities of quinceañera portraiture and created an interactive art nail salon that featured highly exaggerated creations (ridiculously long falsies for toes, for example), as well as other pieces with a more cutting edge. Think: press-on nails made out of X-Acto knives. They also engaged in far more extreme actions. At an event in Paris, they publicly urinated while wearing schoolgirl outfits. On another occasion, they painted a mural of themselves in which their faces are splashed with milk â an image that draws from the conventions of pornography while poking at stick at the objectification of women in Mexican muralism. The pair were featured in the PST: LA/LA show,[âBelow the Underground: Renegade Art and Action in 1990s Mexicoâ]( at the Armory Center for the Arts in Pasadena in 2017. That exhibition featured documentation from a show in Mexico City, in which marcelaygina â decked out in black vinyl ensembles â reportedly got drunk and drove around the zócalo before being delivered to their show by police. Whether the police were in on it is unclear. (It is absolutely worth picking up [the catalog]( for âBelow the Undergroundâ for the essay by Michele Fiedler, which not only gives their work some context, it provides an interesting overview of the Monterrey scene of the late â90s and early aughts.) The show at MARCO, titled âNos gustarÃa contestar algunas preguntas: colectivo marcelaygina, 1997-2010,â brings needed attention to âlas niñas terribles del performance mexicanoâ â the bad girls of Mexican performance â as they have been described. In addition to issues of gender, the pair have also taken on violence, the border and migration. [An installation in a gallery shows a row of black inner tubes suspended like swings from the ceiling]
âColumpio (Swing),â 2007, by marcelaygina. (MARCO) marcelaygina would probably be far better known had they lived in a more prominent art center. But its their context, ultimately, that makes their work so intriguing â and so fearless. Emerging from the industrial landscapes of Monterrey, at a time in which the cityâs politics and economics were in flux, these are artists who made work without consideration for the market or for the entrenched hierarchies of the art world. If you find yourself in Monterrey, do not miss. âNos gustarÃa contestar algunas preguntas: colectivo marcelaygina,â 1997-2010,â is on view at the Museo de Arte Contemporáneo de Monterrey (MARCO) through February 2023; [marco.org.mx](. ADVERTISEMENT BY The Soraya
[The Soraya]( The Soraya's second annual Jazz at Naz Festival kicks off February 2 at 8PM, with Christian McBrideâs âThe Movement Revisited,â celebrating heroes of the Civil Rights movement during Black History Month. The second-annual festival features three concerts in our Great Hall including Christian McBride, Vince Giordano and the Nighthawks with Loudon Wainwright III, and The Clayton Hamilton Jazz Orchestra with Samara Joy. Two nights of intimate performances in our Jazz Club with saxophonist Melissa Aldana and vibraphonist Joel Ross put you right on stage with table seating and exclusive access to food and drinks. [TICKETS ON SALE NOW!]( End of advertisement Classical notes Times classical music critic Mark Swed got [two intriguing perspectives]( on Mahlerâs Ninth Symphony this past week â âan abstract symphony that contains his deepest and most enduring last thoughts.â The first was led by Michael Tilson Thomas, ending his two weeks as guest conductor of the L.A. Phil; the second, a performance by the Pacific Symphony led by Carl St.Clair. [Michael Tilson Thomas, in a blue shirt, presses a finger to his lips while he leads the L.A. Phil ]
Michael Tilson Thomas conducts a matinee concert with the L.A. Phil at Disney Hall. (Dania Maxwell / Los Angeles Times)
In and out of the galleries For the past eight years, the 18th Street Arts Center has been leading the community creation of a map intended to document âcultural assetsâ in Santa Monicaâs Pico neighborhood â such as individuals, locations, organizations and events, with an emphasis on those that predate the areaâs gentrification. Now, thanks to a $3.3 million grant from the California Arts Council, the program is expanding statewide. Want to join in? Cultural writer Deborah Vankin [has the deets](. Enjoying this newsletter? Consider subscribing to the Los Angeles Times Your support helps us deliver the news that matters most. [Become a subscriber.]( There is a new gallery in downtown L.A.: Good Mother Gallery, which has its roots in Oakland, has opened up shop in the Arts District, near the 6th Street Viaduct. Led by brothers Ian and Jared Jethmal, part of the aim is to [forge more artistic connections]( between L.A. and the Bay Area. [The exterior facade of a building features the title Good Mother Gallery]
Good Mother Gallery is a new exhibition space in the Arts District. (Good Mother Gallery) A monument to Martin Luther King Jr. in Boston by artist Hank Willis Thomas â featuring a pair of disembodied arms inspired by a photo of the civil rights leader embracing his wife â has [been making headlines]( for the other body parts it may or may not resemble. In [an interview]( with CNN, Thomas says he will not be making any changes to the piece. Speaking of monuments, Iâve been digging into [a new podcast]( titled âThe Statueâ by Monument Lab director Paul Farber. It tells the story of the famous Rocky statue in Philadelphia â everything it represents and all that it elides. Interesting fact: thereâs [a monument]( to disgraced former L.A. councilman José Huizar in Zacatecas. ADVERTISEMENT
On and off the stage Playwright Warren Leightâs âHome Front,â currently on view at the Victory Theatre in Burbank, [imagines the romance]( between a Black naval officer (played by C.J. Lindsey) and a white widow looking to restart her life (Austin Highsmith Garces) in the wake of World War II. Itâs a work, writes Times theater critic Charles McNulty, that âdoesnât prettify the ugly side of our history.â [Austin Highsmith Garces, in a print dress, and C.J. Lindsey, in a naval uniform, clink champagne in a scene from "Home Front"]
Austin Highsmith Garces, left, and C.J. Lindsey appear in Warren Leightâs âHome Front.â (Tim Sullens)
Essential happenings Heading out to Palm Springsâ Modernism Week? Writer Lisa Boone rounds up [the best events and tours](. As always, Steven Vargas has [all the best happenings]( in his latest L.A. Goes Out newsletter, including the annual Dance Camera West film festival and a new Kehinde Wiley show at Roberts Projects. Plus, he reports on the performances accompanying Simone Fortiâs show at MOCA. [A black and white image shows a group of dancers on a slanted structure, supporting themselves using knotted ropes]
Simone Forti, âSlant Board,â performed at the Stedelijk Museum, Amsterdam, May 1982. (Museum of Modern Art) And Matt Cooper has [his latest culture guide]( â itâs got dance, comedy, jazz and classical music â conveniently arranged by neighborhood, so you know whatâs going down near you. Moves The L.A. New Play Project announced its support of four plays, three playwrights and four producers as part of its [2022/2023 awards](. They include âUnrivaledâ by Rosie Narasaki and âSHEâ by Marlow Wyatt. Last August the Museum of Contemporary Art Santa Barbara announced it would be shutting down due to financial problems. [Now it is back]( â reopening to the public this weekend with an open house. Passages Arthur Duncan, a tap dancer known for keeping the form visible, in part through an 18-year-run on âThe Lawrence Welk Show,â has [died at 97](. [In a vintage publicity still, tap dancer Arthur Duncan is seen dancing ebulliently in front of the Eiffel Tower ]
Tap dancer Arthur Duncan performs in front of the Eiffel Tower. (Carole Carbone-Duncan / Sean Carbone) Lupe Serrano, a prima ballerina with American Ballet Theater, who was known for her virtuosity, and for dancing with figures such as Rudolf Nureyev, is [dead at 92](. Jean Velez, an acrobatic dancer known for her way around the Lindy Hop, has [died at 98](. Guadalupe Rivera MarÃn, a historian and former Mexican senator who was the daughter of muralist Diego Rivera and writer Lupe MarÃn, has [died at 98](. In other news â âThe dampened thud of a silver spoon falling on a plush dining-room carpet.â Rob Anderson on the closing of Noma, a restaurant that was celebrated by critics but [operated largely on free labor](.
â A new book tracks artist Barbara Chase-Riboudâs life through [her letters to her mother](.
â Cave paintings may contain [a proto-written language](.
â Musician Nick Cave wants [nothing to do with]( Chat GPT: âAs far as I know, algorithms donât feel.â
â How the design of LACMAâs Scandinavian design show embodies its principles [within the installation](.
â My colleague Nabih Bulos has a terrific dispatch on Saudi Arabiaâs [building ambitions](. Maybe âdelusionsâ is a better word.
â Matteo Messina Denaro, a notorious Mafia boss who ordered a series of â90s bombings that led to many fatalities and damaged the Uffizi Galleries, [has been arrested](.
â Temple Grandin on how our educational system is [failing visual thinkers](.
â The personal effects of André Leon Talley are [up for auction]( at Christieâs and I do believe I may need that [gold brocade caftan](. And last but not least ... The Daily Showâs Leslie Jones on [that MLK statue]( in Boston. Includes the best description yet of the Mona Lisa. (Starts at minute 5:01) ADVERTISEMENT
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