Martin Cid's Blog: Martin Cid Magazine, page 169

Tschabalala Self’s first solo exhibition in Finland to open at EMMA – Espoo Museum of Modern Art

EMMA – Espoo Museum of Modern Art, in collaboration with the Saastamoinen Foundation, is delighted to present Around the Way, US artist Tschabalala Self’s first solo exhibition in Finland. This expansive presentation is part of the InCollection series of exhibitions co-produced by the museum and the foundation. On view from 8 May 2024 until 5 May 2025, Around the Way includes nearly 20 works, including recent paintings, life-size sculptures and three new paintings created for the exhibition. 
 
Born and raised in Harlem, New York, Tschabalala Self (b. 1990) pushes the traditional boundaries of painting with her innovative use of pigments, textiles and printmaking methods, creating works that blend painting with collage. She infuses her work with her experiences as a Black American woman, deconstructing and reimagining Western portrayals of the Black body. Creating new archetypes, Self constructs immersive environments that invite viewers to engage with themes of identity and representation.
 
The title of the exhibition, Around the Way, is Black-American vernacular for the local neighbourhood, implying a sense of familiarity and belonging, or describing someone who embodies the neighborhood’s essence. The exhibition presents a multidimensional portrait of people from around the way, claiming space in their streets and homes, determining how they are seen and understood.
 
The exhibition highlights Self’s distinctive artistic approach. In the first room, visitors encounter 12pm on 145th Street, a large-scale triptych named after an intersection in Harlem. Dominated by a brick-patterned wall mural, the space features paintings embodying the bustling, layered spirit of the neighborhood. In the next gallery, the focus shifts from street views to domestic scenes that reflect the inner worlds of Self’s characters, with Anthurium as a centerpiece. Named after the anthurium plant, the work epitomizes Self’s technique of blending sewn, printed, and painted elements. The third exhibition space is dedicated to works that depict metaphorical interiority, displaying figures in their most intimate spaces.
 
Tschabalala Self says: “I am excited to share my work for the first time with audiences in Finland at the EMMA. This project in particular is very important to me as it is an ode to my hometown; Harlem, USA. All of the characters in my painting have in some shape or form been inspired by the loved ones, friends, neighbors and strangers I encountered growing up in Harlem. Around the Way hopes to show the beauty and complexity of the Black American character.’’
 
Around the Way also features scheduled screenings of Sounding Board, Self’s only performance work to date, commissioned for the Performa 2021 Biennial in New York, and captured in a video recording. Alongside Anthurium, Saastamoinen Foundation has acquired a furniture sculpture by Self, created for the Sounding Board set. This piece will be exhibited together with Self’s paintings of domestic scenes. The Sounding Board screenings will take place during the autumn of 2024 and the spring of 2025 and will also be accessible online via the museum’s digital platform, EMMA Zone.
 
Launched in 2018, the InCollection series of exhibitions presents contemporary works that provide audiences with diverse perspectives on today’s sociopolitical landscape and our collective futures. Each year, a new work is commissioned by a leading contemporary artist for Saastamoinen Foundation Art Collection, and this commission forms the focal point of the artist’s solo exhibition at EMMA. The initiative allows artists to craft an exhibition tailored for EMMA’s unique architecture: designed by renowned Finnish architect Aarno Ruusuvuori, the former printworks is a classic example of 1960s concrete brutalism. Through site visits, artists become acquainted with the museum’s architecture and its forest surroundings. The collaboration allows EMMA and Saastamoinen Foundation to foster a more profound dialogue with artists, facilitating the best presentations of their work. Self is the seventh artist to participate in the series, which has also featured: Pierre Huyghe, Pilvi Takala, Chiharu Shiota, Eeva-Leena Eklund, Tatsuo Miyajima and Alicja Kwade.

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‘Hexguardian’ New Game: Build cities and defend them in this fantasy-inspired roguelike

Bristol,  United Kingdom — March 27, 2024 | Some days mean more, some days are remembered in history. The First Transatlantic Flight (June 15, 1919), the first telephone call (March 7, 1876), the Yogscast’s First Video (July 25, 2008), and now a new day is on the horizon, one that will live with players forever. That’s right, Hexguardian is coming, and it’s sooner than you think! 

Yogscast Games and Split Second Games are delighted to reveal that their highly anticipated hex-based city-building, tower-defence, roguelike extravaganza will be arriving on PC on May 2. 

Perfectly combining these previously never-before-wed genres, Hexguardian is a truly stand-out experience in a world where uniqueness can often be hard to come by. This perfect combination of city building and tower defence sees players literally building the place they’re then on a mission to protect, giving this title a level of consequence previously unattainable to the genre.

Shaping terrain, terraforming the world and creating towers of destruction that can repel forces beyond players’ wildest fears, Hexguardian gives players spells and fearsome units to take on their enemies.

Check out the Steam page here. 

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SPLTS: Two shows of new works by Rita Ackermann – Hauser & Wirth, New York

New York…On 2 May, Hauser & Wirth will present Rita Ackermann’s latest series of paintings and prints in simultaneous exhibitions spanning the gallery’s two West Chelsea locations. At 542 West 22nd Street, the artist will debut a suite of new canvases expanding upon the techniques, themes and imagery she has explored over the course of her career since the early 1990s, while at 443 West 18th Street she will unveil a series of complex large-scale silkscreens. Heralding a significant leap in her artistic practice, these prints represent a dramatic convergence of the technical processes of printmaking with Ackermann’s sustained exploration of form, movement and erasure.

Shutters. Acrylic, oil and carpenters pen on canvas. 238.8 x 218.4 cm / 94 x 86 in. Photo:SarahMuehlbauer. Rita Ackermann 2023 © Rita Ackermann. Courtesy the artist and Hauser & WirthMouchette’s Manners. Oil, acrylic and carpenter’s pencil on canvas. 233.7 x 218.4 cm / 92 x 86 in. Photo: Sarah Muehlbauer. Rita Ackermann 2023 © Rita Ackermann. Courtesy the artist and Hauser & Wirth

Dr. Pamela Kort on Rita Ackermann’s exhibitions:

Splits

Titled ‘Splits,’ Ackermann’s latest paintings mark a pinnacle in the artist’s ongoing concern with the creation of dynamic, moving images. In these canvases, forms cascade downward and upward, at times merging seamlessly into one another. To optimize the potential of such chance transformative processes, Ackermann conceptualized the canvas as divided into three screens, as she aptly calls them. This enabled her not only to guide the flow of line and paint, but also to forestall the coalescence of drawing and painting. No sketch prefigured the images that surfaced, except those carved into the recesses of her memory. Instead, Ackermann allowed an instinctive force to guide her hand as it moved across the fields before her.

The fluctuation between the screens she populated with diaphanous lines and those carrying weightier, gestural strokes of color also conspired to infuse the paintings with an unexpected rhythm. In ‘Shut Eye’ (2023), for example, two screens brimming with fragments of drawn shapes entice the eye to actively pull open the middle register and thereby show more of the painted forms within. This occurs even as the upper and lower screens seem to press inward, creating a dynamic tension between revelation and concealment. To enhance this impression, Ackermann occasionally used luminous yellow pigment to further instill in these paintings a sense of lightness and transparency.

Composed as a sequence of stacked-up semi-translucent frames, these canvases can also be seen as the visual equivalent of images imprinted on a film strip. Ackermann, in fact, draws parallels between the transformative essence of the images in the ‘Splits’ and the dynamic permutations observed when montaged photographic images are projected in a cinema. In both mediums, meaning opens in the infinitesimal split between what the eye sees and the elusive. There, a unique motion also unfolds, one that oscillates between appearance and truth. In all these paintings, there is mystery, one that hints at the presence of the profound and unknowable. Through their enigmatic allure, the ‘Splits’ encourage the viewer to ponder the ineffable, reminding us that while transcendence eludes sight, its essence can nonetheless reveal itself.

27 Takes. 27-color screenprint on Saunders Waterford watercolor paper 425gsm Ed. of 15 + 5 AP. 141×121.9cm/551/2x48in. Photo: Sarah Muehlbauer. Rita Ackermann 2023 © Rita Ackermann. Courtesy the artist and Hauser & WirthMisfit. Acrylic and oil on canvas. 279.4 x 264.2 cm / 110 x 104 in. Photo: Sarah Muehlbauer. Rita Ackermann 2023 © Rita Ackermann. Courtesy the artist and Hauser & Wirth

Splits: Printing | Painting

In the thick of bringing to canvas the metamorphic forms that would become the ‘Splits,’ Ackermann embarked on a new artistic endeavor, delving into the realm of printmaking. In the resultant seven large-scale silkscreens, which she produced in collaboration with master printer Keigo Takahashi, her concern with making manifest such images became imbued with a related objective: the transformation of paintings into prints, without recourse to the reproduction of a model. Though these silkscreens diverge from the compositional principles of the ‘Splits,’ like them they probe the boundaries of optical perception. To emphasize this, the exhibition includes two recent paintings. One of these—’The Rule of Nature’ (2023)—which belongs to the ‘Splits,’ even bears the marks of Ackermann’s concern with combining monotype printing with painting. Viewers who perceive that will nevertheless find it difficult to distinguish between the look of the other painting—’Misfit’ (2023)—and the silkscreens.

This visual feat owes just as much to the artist’s decision to approach the making of these silkscreens as though she were working on a canvas, as to any sleight of the hand enabled by their production. Ackermann began by layering drawings onto paper and then gradually superimposed gestural brush strokes, color stains and delicate droplets of pigment onto the underlying drawings, welcoming the occurrence of accidents through this process. This not only made the contrast between emerging and disappearing forms integral to many of her paintings visible, but also conveyed a sense of the centrifugal motion that frequently ensues in them. As such, those who contemplate these first silkscreens by the artist may well find themselves questioning whether the alleged split between printmaking and painting is, in fact, purely theoretical.

About the artist

Born in Budapest, Hungary, in 1968, Rita Ackermann currently lives and works in New York.

Ackermann’s recent solo exhibitions include: ‘Hidden,’ MASI Lugano, Switzerland (2023); ‘Vertical Vanish,’ Hauser & Wirth Downtown Los Angeles (2023); ‘Mama ‘19,’ Hauser & Wirth New York, 22nd Street (2020); ‘Brother Sister,’ Hauser & Wirth Zurich, Switzerland (2019); ‘Movements as Monuments,’ La Triennale di Milano, Italy (2018); ‘Turning Air Blue,’ Hauser & Wirth Somerset, England (2017); ‘KLINE RAPE,’ Hauser & Wirth New York, 22nd Street (2016); ‘The Aesthetic of Disappearance,’ Malmö Konsthall, Malmo, Sweden (2016); ‘Chalkboard Paintings,’ Hauser & Wirth Zurich, Switzerland (2015); ‘MEDITATION ON VIOLENCE-HAIR WASH,’ Sammlung Friedrichshof, Burgenland, Austria and Sammlung Friedrichshof Stadtraum, Vienna, Austria (2014); ‘Negative Muscle,’ Hauser & Wirth New York, 69th Street (2013); ‘Fire by Days,’ Hauser & Wirth London, Piccadilly (2012); the Museum of Contemporary Art, Miami FL (2012); ‘Bakos,’ Ludwig Museum, Budapest, Hungary (2011); and ‘Rita Ackermann and Harmony Korine: ShadowFux,’ Swiss Institute, New York NY (2010).

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Demetri Martin: Demetri Deconstructed – Stand-up Comedy Special on Netflix

Demetri Deconstructed is a stand-up comedy special starring and written by Demetri Martin, who leaves it all on the stage. Welcome to the world of Demetri Martin and his uniquely surreal humor, in which he is excellent at poking fun at himself to create this distinct, enjoyable and characteristic stand-up.

This stand-up is presented in a more cinematic formula, divided into parts and with touches of psychoanalysis: a deconstruction of himself, his own persona and the very principles of comedy. It’s a real challenge.

If you already know him, you’re sure to enjoy this distinct humor, with a keen sense of irony and aesthetic appeal, but above all, loaded with charm and originality.

Just so you know, from this Tuesday, on Netflix.

Release date

April 2, 2024

Where to Watch “Demetri Martin: Demetri Deconstructed”

Netflix

Who is Demetri MartinDemetri Martin

Demetri Martin is an American comedian, actor, and writer. He is best known for his deadpan humor and unique style of comedy, which often features one-liners and drawings on a large pad. Martin gained popularity through his stand-up specials, including “If I” in 2004 and “Standup Comedian” in 2012. He has also appeared in various TV shows and films such as “Important Things with Demetri Martin,” “Contagion,” and “Take Me Home Tonight.” In addition to his successful career in entertainment, Martin is also a talented musician and has released albums of his comedic songs.

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Premiere of Eduardo Vilaro’s BUSCANDO A JUAN set to music by Osvaldo Golijov – Ballet Hispánico at New York City Center

Ballet Hispánico, the nation’s largest Latine/x/Hispanic dance organization recognized as one of America’s Cultural Treasures, continues its 2023/24 season. A Company that “compels audiences to think differently and lean into an unseen, unimaginable cultural vibrancy” (Broadway World), Ballet Hispánico amplifies Latinx artists and cultures through innovative contemporary works.

In honor of Eduardo Vilaro’s 15th season as Artistic Director of Ballet Hispánico, the program (Fri, Sat, Sun) will feature the World Premiere of Buscando a Juan. Vilaro’s new work, inspired by The Met’s exhibition of Juan de Pareja, Afro-Hispanic Painter, is a layered and immersive piece inspired by the life of Juan de Pareja, the Afro-Hispanic painter who was enslaved in Spanish painter Diego Velázquez’s studio for over two decades before becoming an artist in his own right. The work, set to music by Osvaldo Golijov, is a thought-provoking homage to the nuanced dance of shared vulnerability and intimate collaboration among artists that redefines the boundaries of individual creativity, beckoning us to question the very essence of artistic identity. In House of Mademoiselle, internationally acclaimed choreographer Annabelle Lopez Ochoa takes us on a wild romp through a campy world that explores iconic female representations found in Latin American culture. From femme fatales to the delicate language of fans, boas and Latin dance, the work highlights how the culture is enamored and obsessed with the iconic high-octane female stars of past and present; and 18+1, Gustavo Ramírez Sansano’s celebration of the vulnerability, care, and hope that comes with each artistic endeavor. Tickets start at $45 ($20 for the En Familia Matinee) and are available here.

Ballet Hispánico 2024 Gala Performance (6:30pm) and Dinner

Tickets for the April 25 Gala Performance may be paired with a reservation for the Quinceañera Gala at the Plaza Hotel in tribute to Eduardo Vilaro’s 15th anniversary as Artistic Director & CEO. For more information, please contact Ellie Craven at ecraven@ballethispanico.org or visit www.ballethispanico.org/support/events/2024-gala.

Gala Performance Program: Recuerdo de Campo Amor by Talley Beatty; Con Brazos Abiertos (excerpts) by Michelle Manzanales; Doña Perón (excerpt) by Annabelle Lopez Ochoa; Pas de O’ Farrill, duet by Pedro Ruiz; Buscando a Juan by Eduardo Vilaro.

Ballet Hispánico 2024 En Familia Matinee

The En Familia Matinee offers a journey through Latin American culture and traditions as Vilaro leads the audience on an interactive and fun-filled afternoon featuring excerpts of classic pieces from the Company’s repertory: a re-staging of Talley Beatty’s electrifying Recuerdo de Campo Amor, the ever-popular Sombrerísimo by Annabelle Lopez Ochoa, Geoffrey Holder’s Caribbean-influenced Danse Creole, and the Latin social dance extravaganza Club Havana by Pedro Ruiz. Made possible thanks to the generosity of the RBC Foundation USA, the charitable arm of RBC Capital Markets, and New York City Center, all tickets for En Familia Matinee are $20 and can be purchased online at NYCityCenter.org ($3 facility fee and $2 reduced handling fee), by calling 212.581.1212, or in person at the City Center Box Office ($3 facility fee).

With cultural and historical content and movement exercises for the whole family, the audience is in for a performance to remember. After the show, young audience members will have the opportunity to meet the dancers for a photo op, learn dance moves, and enjoy Caribbean beats from musicians throughout the theater!

“Leading this company continues to be the honor of my life. Fifteen years is quite a milestone; I’m humbled,” said Eduardo Vilaro, Artistic Director & CEO. “I look forward to celebrating at City Center with several exciting pieces, including the World Premiere of my new work Buscando a Juan, inspired by the Metropolitan Museum of Art’s exhibition Juan de Pareja, Afro-Hispanic Painter.”

Ballet Hispánico is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council; by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature; and by the National Endowment for the Arts.

MetLife Foundation is an Official Tour Sponsor of Ballet Hispánico.

PERFORMANCE SCHEDULE:

Thursday, April 25th at 6:30pm – Gala Performance

Recuerdo de Campo Amor by Talley Beatty

Con Brazos Abiertos (excerpts) by Michelle Manzanales

Doña Perón (excerpt) by Annabelle Lopez Ochoa

Pas de O’ Farrill duet by Pedro Ruiz

Buscando a Juan by Eduardo Vilaro

Friday, April 26th at 7:30pm

House of Mad’moiselle by Annabelle Lopez Ochoa

Buscando a Juan by Eduardo Vilaro

18+1 by Gustavo Ramirez Sansano

Saturday, April 27th at 2:00pm – En Familia Matinee

Recuerdo de Campo Amor by Talley Beatty

Danse Creole (excerpt), duet by Geoffrey Holder

Sombrerísimo by Annabelle Lopez Ochoa

Club Havana (excerpts) by Pedro Ruiz

Saturday, April 27th at 7:30pm

House of Mad’moiselle by Annabelle Lopez Ochoa

Buscando a Juan by Eduardo Vilaro

18+1 by Gustavo Ramirez Sansano

Sunday, April 28th at 2:00pm

House of Mad’moiselle by Annabelle Lopez Ochoa

Buscando a Juan by Eduardo Vilaro

18+1 by Gustavo Ramirez Sansano

Eduardo Vilaro is the Artistic Director & CEO of Ballet Hispánico (BH). He was named BH’s Artistic Director in 2009, becoming only the second person to head the company since its founding in 1970, and in 2015 was also named Chief Executive Officer. Mr. Vilaro has infused Ballet Hispánico’s legacy with a bold brand of contemporary dance that reflects America’s changing cultural landscape.

Mr. Vilaro’s philosophy of dance stems from a basic belief in the power of the arts to change lives, reflect and impact culture, and strengthen community. He considers dance to be a liberating, non-verbal language through which students, dancers, and audiences of all walks of life and diverse backgrounds, can initiate ongoing conversations about the arts, expression, identity, and the meaning of community.

Born in Cuba and raised in New York from the age of six, Mr. Vilaro’s own choreography is devoted to capturing the Latin American experience in its totality and diversity, and through its intersectionality with other diasporas. His works are catalysts for new dialogues about what it means to be an American. He has created more than 40 ballets with commissions that include the Ravinia Festival, the Chicago Sinfonietta, the Grant Park Festival, the Lexington Ballet and the Chicago Symphony.

A Ballet Hispánico dancer and educator from 1988 to 1996, he left New York, earned a master’s in interdisciplinary arts at Columbia College Chicago and then embarked on his own act of advocacy with a ten-year record of achievement as Founder and Artistic Director of Luna Negra Dance Theater in Chicago.

The recipient of numerous awards and accolades, Mr. Vilaro received the Ruth Page Award for choreography in 2001; was inducted into the Bronx Walk of Fame in 2016; and was awarded HOMBRE Magazine’s 2017 Arts & Culture Trailblazer of the Year. In 2019, he received the West Side Spirit’s WESTY Award, was honored by WNET for his contributions to the arts and was the recipient of the James W. Dodge Foreign Language Advocate Award. In August 2020, City & State Magazine included Mr. Vilaro in the inaugural Power of Diversity: Latin 100 list. In January 2021, Mr. Vilaro was recognized with a Compassionate Leaders Award, given to leaders who are courageous, contemplative, collaborative, and care about the world they will leave behind. In May 2022, he was honored to serve as a Grand Marshall of 2022 Dance Parade. Mr. Vilaro is a well-respected speaker on such topics as diversity, equity, and inclusion in the arts, as well as on the merits of the intersectionality of cultures and the importance of nurturing and building Latinx leaders.

Ballet Hispánico is the largest Latinx/Latine/Hispanic cultural organization in the United States and one of America’s Cultural Treasures. Ballet Hispánico’s three main programs, the Company, School of Dance, and Community Arts Partnerships, bring communities together to celebrate the multifaceted Hispanic diasporas. Ballet Hispánico’s New York City headquarters provide the physical home and cultural heart for Latinx dance in the United States. It is a space that initiates new inclusive cultural conversations and explores the intersectionality of Latine cultures. The Ballet Hispánico mission opens a platform for new social dialogue, and nurtures and sees a community in its fullness. Through its exemplary artistry, distinguished training program, and deep-rooted community engagement, Ballet Hispánico champions and amplifies Latine voices in the field. For over fifty years Ballet Hispánico has provided a place of honor for the omitted, overlooked, and othered. As it looks to the future, Ballet Hispánico is pushing the culture forward on issues of dance and Latine creative expression.

NEW YORK CITY CENTER (Michael S. Rosenberg, President & CEO) has played a defining role in the cultural life of the city since 1943. The distinctive Neo-Moorish building was founded by Mayor Fiorello La Guardia as Manhattan’s first performing arts center with the mission of making the best in theater, dance, and music accessible to all audiences. This commitment continues today through celebrated dance and musical theater series like the Fall for Dance Festival and the Tony-honored Encores! series; the annual season by Principal Dance Company Alvin Ailey American Dance Theater; and new dance series Artists at the Center. City Center welcomes audiences to experience internationally acclaimed artists including Kyle Abraham, Matthew Bourne, Ayodele Casel, Manhattan Theatre Club, Nederlands Dans Theater, and Twyla Tharp, on the same stage where legends made their mark. Dedicated to a culture built on the values of curiosity, collaboration, accessibility, and inclusivity, City Center’s dynamic programming, art exhibitions, and studio events are complemented by education and community engagement programs that bring the performing arts to thousands of New York City students, teachers, and families every year.NYCityCenter.org

About MetLife Foundation

At MetLife Foundation, we are committed to driving inclusive economic mobility for underserved and underrepresented communities around the world. We collaborate with nonprofit organizations and provide grants aligned to three strategic focus areas – economic inclusion, financial health and resilient communities – while engaging MetLife employee volunteers to help drive impact. MetLife Foundation was established in 1976 to continue MetLife’s long tradition of corporate contributions and community involvement. Since its inception, MetLife Foundation has contributed over $1 billion to strengthen communities where MetLife has a presence. To learn more about MetLife Foundation, visit www.MetLife.org. 

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Parisian Psych Trio HOWLIN’ JAWS Unleashes Rock Magic with Second Album, “Half Asleep Half Awake”

Paris, France – Howlin’ Jaws has once again set the rock scene ablaze with the release of their second album, “Half Asleep Half Awake”. Following the success of their debut album, “Strange Effect”, this latest offering from Djivan Abkarian (vocals and bass), Lucas Humbert (guitar), and Baptiste Leon (drums) promises to reignite the flames of rock music with its potent blend of luminous melodies and diabolical jams. The album garnered attention from esteemed publications such as Rock & Folk and Rolling Stone France who featured them on their covers.

Drawing inspiration from rock legends like Cochran, Small Faces, Beatles, Kinks, and Slade, Howlin’ Jaws showcases their modern twist on a classic sound. Recorded at Liam Watson’s prestigious Toe Rag Studios in London, “Half Asleep Half Awake” embraces spontaneous creativity and psychedelic elements to deliver an immersive sonic experience.

With standout tracks like “Lost Songs” and “Mindreader”, Howlin’ Jaws invites listeners on a journey filled with dynamic ballads brimming with nostalgic emotions. The band’s experimentation shines through on tracks like “Mirror Mirror”, featuring unique vibrato effects created through sitar-like guitars and vocals run through Leslie speakers.

“Half Asleep Half Awake” represents a significant evolution in Howlin’ Jaws’ sound—a coming-of-age moment for the trio. With themes exploring dreams, clairvoyance, and mysticism reminiscent of iconic works like “Sgt. Pepper”, this album offers listeners an enchanting musical voyage that solidifies Howlin’ Jaws as trailblazers of modern psych-rock.

Step into the world of Howlin’ Jaws and experience the euphoria and enchantment of “Half Asleep Half Awake”—a sonic triumph that cements their status as trailblazers in contemporary rock music.

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Parasyte: The Grey (2024): Netflix’s spectacular new sci-fi series premieres April 5

Parasyte: The Grey is a new Korean science fiction series created by Yeon Sang-ho and starring Jeon So-nee, Koo Kyo-hwan and Lee Jung-hyun.

As unknown parasites aggressively seize control of human hosts and gain dominance, the human race must take a stand against the rapidly increasing danger.

Release date

April 5, 2024

Where to Watch “Parasyte: The Grey”

Netflix

The CastParasyte: The Grey (2024)

Jeon So-nee is a South Korean actress. She was born on September 25, 1993 in Seoul, South Korea. Jeon made her acting debut in 2016 with the film “The Truth Beneath” and gained recognition for her role in the hit drama series “Mother” in 2018. Since then, she has starred in various films and dramas, including “He Is Psychometric” and “When My Love Blooms”.

Parasyte: The Grey (2024)

Koo Kyo-hwan is a South Korean actor who rose to fame with his breakout role in the film “1987: When the Day Comes” in 2017. He was born on April 12, 1982 and made his acting debut in 2006. He has since appeared in various films and dramas such as “The Merciless”, “Misaeng: Incomplete Life”, and “Idol”. Koo Kyo-hwan is known for his versatile acting skills and has won several awards for his performances.

Parasyte: The Grey (2024)

Lee Jung-hyun is a South Korean singer, actress, and model. She debuted as a singer in 1999 with her first album “Let Me Dance” and has since released numerous hit songs. As an actress, she has appeared in various films and TV dramas, gaining recognition for her versatile acting skills. Her notable works include the film “The Battleship Island” and the TV drama “Guardian: The Lonely and Great God.” She continues to be an influential figure in the Korean entertainment industry.

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The Antisocial Network: Memes to Mayhem (2024) – Documentary on Netflix Debuts on April 5th

The Antisocial Network: Memes to Mayhem is a 2024 documentary film directed by Arthur Jones and Giorgio Angelini.

The Antisocial Network: Memes to Mayhem

“The Antisocial Network: Memes to Mayhem” is a documentary focused on 4chan, a website that became a hub for groups of young people to gather and express themselves freely, without any censorship or restrictions. It was an uncontrolled website that also became the axis for some sociocultural movements that, covertly, managed to gain considerable traction and power.

This documentary examines how these movements emerged, the dissatisfaction among the youth, and why the internet became the best way for them to express themselves and, in a way, forever altered the way we communicate.

It is also a political documentary that explores how these groups partially transformed and influenced the political life in the United States.

Release Date

April 5, 2024

Where to Watch “The Antisocial Network: Memes to Mayhem”

Netflix

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‘Brandy Hellville & The Cult Of Fast Fashion’ – HBO Documentary Debuts April 9

The HBO Original documentary BRANDY HELLVILLE & THE CULT OF FAST FASHION, directed by Academy Award®-winning filmmaker Eva Orner and produced by double Emmy®-winning Jonathan Chinn and double Academy Award®-winning Simon Chinn of Lightbox (HBO’s “The Princess” and “Tina”), debuts TUESDAY, APRIL 9 at 9:00 p.m. ET/PT on HBO and will be available to stream on Max.

Synopsis: In the early Tumblr era of the 2010s, Brandy Melville became the must-have clothing brand for young girls across the world. Through a calculated social media presence and promoting an unattainable aesthetic, fueled by Instagram campaigns featuring its own employees and select “Brandy girls,” Brandy Melville conferred a sense of coolness to the teens who wore the tiny “one size fits most” clothes that quickly exploded and today has nearly 100 stores in over 15 countries and over 80 cities worldwide. However, candid interviews with former employees and fashion insiders, as well as troubling accounts from former executives, reveal a troubling toxic work environment and discriminatory recruiting methods at the company and shed light on the inner workings of a business that flourished by setting impossible beauty standards on social media and in real life for its customers and employees.

Behind the scenes, an environment of alleged discriminatory work practices thrived by preying on the desires of young girls to fit into the Brandy Melville aesthetic. Broadening its focus, the film examines the far-reaching reverberations of mass-produced fast fashion by Brandy Melville and other mainstream fashion brands, as well as the consequences of the collective increase in consumption and production of cheap clothing, traveling to Accra, Ghana, a destination for discarded textiles that end up polluting landfills and waters. From the microcosm of one cult-like brand to the universal detriments of disposable clothing, BRANDY HELLVILLE & THE CULT OF FAST FASHION exposes a wide system of exploitation within the global fashion industry.

Featured Participants: Former Brandy Melville employees and former executives; investigative journalist, Kate Taylor; former Teen Vogue fashion editor, Alyssa Hardy; The Or Foundation’s Liz Ricketts, Sammy Oteng, and Chloe Asaam; CEO of Remake Advocacy Group, Ayesha Barenblat; Matteo Biffoni, mayor of Prato, Italy; CEO of Textile Exchange, Claire Bergkamp; and Manteco s.p.a. executives Matteo Mantellassi, Marco Mantellassi, and Franco Mantellassi.

Credits: HBO Documentary Films presents A Lightbox Production BRANDY HELLVILLE & THE CULT OF FAST FASHION. Directed by Eva Orner; produced by Jonathan Chinn, Simon Chinn, Eva Orner; line producer, David Kraemer; edited by Claire Didier; director of photography Nick Higgins; original music by Cornel Wilczek.

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Christie’s ‘A Park Avenue Collection’

NEW YORK – Christie’s is pleased to announce A Park Avenue Collection, a sale of almost 270 lots from the Park Avenue home of a European collector. The sale will take place live, at Christie’s Rockefeller Center, over a morning and an afternoon session, on 17 April 2024. Representing the passion of more than 40 years collecting, this sale offers a rich array of 18th century French furniture, Old Master paintings and drawings and Chinese works of art. Many great collectors can be found in the provenance of objects in the sale, including Jayne Wrightsman, Florence Gould, Champalimaud, Elizabeth Parke Firestone, Sir Richard Wallace, J. Paul Getty, perhaps the earliest American collector of French furniture Gouverneur Morris, as well as the Vienna, Paris, and London branches of the Rothschild family,

JEAN-BAPTISTE GREUZE (TOURNUS 1725-1805 PARIS)
A girl weeping over her dead bird
signed and dated ‘I. GREUZE. 1757’ oil on canvas, oval
27 7⁄8 x 23 ½ in. (70.7 x 59.6 cm.)
Estimate: $600,000 – $800,000.
Image: CHRISTIE’S IMAGES LTD. 202
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The collector was forced to flee Hungary with his family in the 1940s and eventually settled in New York. To cross the threshold of his apartment on Park Avenue was to enter a bygone age of elegance, perhaps an attempt by the collector to recreate the lost world of his childhood. Richly mounted furniture was in every corner, candelabra glistened on every surface and a remarkable profusion of paintings and works on paper ranging from the Dutch Golden Age to French Impressionist and European modernism were hung salon style throughout the apartment. His strongest passion though was for 18th-century France and each room in the apartment was imbued with that spirit and arranged to evoke the formal groupings of the dix-huitième siècle.

Christie’s will offer further works from this collection during the 20/21 Marquee Week sales in May, in New York. Highlights include, Claude Monet’s 1886 oil on canvas, Prairie à Giverny, with an estimate of $2,000,000 to $3,000,000; Paul Klee’s 1918 watercolor, Stadt der Kirchen, with an estimate of $200,000-300,000; Salvador Dali’s oil on canvas, Madone corpusculaire, with an estimate of $150,000-250,000.

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