Shirin Neshat’s new “Summer” film in her Seasons series, entitled “Before My Eyes” was posted on the New York Times website earlier this week. The intentions of the film are political, as is the nature of Neshat’s work. Neshat asks us to reflect on “[measuring] the rise and fall of our hopes in the Middle East and … the catastrophic earthquake in Japan.” The video shows a woman in a solitary landscape experiencing fire and disaster, and the reflection of the event in someone’s eye.
David Lachapelle has returned to his career. Much like the similarly-named Dave Chapelle, Lachapelle retreated to a farm after his documentary Rize flopped. But evidently nature wasn’t quite thrilling enough for him, and so he’s back in New York, with a retrospective at the Michelman Gallery and a show of new work at Lever House. I attended Lachapelle’s talk on his new exhibition at the Michelman Gallery, a retrospective of early works from the 1980s. Lachapelle spoke thoughtfully, choosing his words slowly and with great care for how each phrase would be perceived (a good choice, given the reaction to his recent New York Times profile). He was gracious, soft-spoken and polite. The gallery’s tiny audience hung on to his every word. I did not. I fell asleep.
Entering Japanese artist/composer Ryoji Ikeda’s new installation “the transfinite,” which is currently showing at the Park Avenue Armory, feels like sitting inside of a computer.