Audre Lorde once declared “Caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare.” In 2020, the million dollar question has become how can we care for ourselves amid multiple crises? Many artists answer this question of self-care with warm creamy imagery, but such work often overheats and curdles. Ronald Vill keeps it cooler and subtler — embellishing Havana pandemic scenes with blossoms.
In Japan, it is a contemplative art to cherish cherry blossoms before they wilt. As Murasaki Shikibu observed in Tales of the Genji (c. 1021), “blossoms of spring are all the more precious because they bloom so briefly.” Ronald Vill invites us to perceive 2020 through this mentality, superimposing sakura blossoms over otherwise banal moments like cooking in “In the Afternoon” (2020).
Is joy a crime in 2020? Or might self-care reenergize us to keep on fighting as Audre Lorde intimated?
Living in Cuba, striking a faustian bargain with Castroism, Vill might have something to teach us about defiant jubilance. For example, cherishing a good book during the pandemic can become radical self preservation and “The Secret Weapon.” (2020)
As Vill explained to Hyperallergic, “I am not sure if I can find joy in 2020, but I try to. I am trying to find joy in my reality.” Each drawing’s vignette evokes that search.
Ronald Vill’s exhibition, El Zorro Y La Flor (The Fox and the Flower) continues through November 15 at Thomas Nickles Project (47 Orchard Street, Lower East Side, Manhattan) and online, until a vaccine is found.
Now playing the Cannes Film Festival, the new film from the director of The Square embarks on a luxury cruise that goes to hell.
By enshrining her memories into sculptural form, Juárez celebrates her emotional pilgrimage through the growing pains of childhood to adulthood.
A journey spanning three continents over 1,500 years comes to the National Mall in Washington, DC. On view at the Smithsonian’s NMAA through September 18.
These university museum leaders are bridging cultural chasms through elaborate and generative work with their students.
Curators at the Maidan Museum in Kyiv are sifting through the rubble for items that “tell the story of ordinary people’s lives, of their deaths.”
Graduate student work representing 19 disciplines is featured in a digital publication and returns as an in-person exhibition at the Rhode Island Convention Center.
The cube, which has fallen into disrepair, was strapped in place by supportive metal implements at its base.
Inigo Philbrick misrepresented the ownership of and fraudulently traded in works by Jean-Michel Basquiat, Yayoi Kusama, and others.
Installations by Jessica Campbell, Yasmine K. Kasem, Suchitra Mattai, Haleigh Nickerson, and Nyugen E. Smith are now on view at JMKAC in Sheboygan, Wisconsin.
Author M. T. Anderson walks us through a sonic gallery of Vasily Kandinsky’s musical influences, which guided the painter’s pursuit of art that reveals a mystical, inner truth.
In yet another horror movie that’s actually about trauma, writer-director Alex Garland makes his points bluntly, having one actor play many facets of misogyny.
Time is itself a recycling process for Cole, whose freewheeling spirit transcends linearity in his excavations of art and music history.