Martin Cid's Blog: Martin Cid Magazine, page 197
February 5, 2024
Episode Five of TRUE DETECTIVE: NIGHT COUNTRY To Debut Early On Max
Episode five of the HBO Original drama series TRUE DETECTIVE: NIGHT COUNTRY will be available to stream early on Max beginning FRIDAY, FEBRUARY 9 at 9:00 p.m. ET/6:00 p.m. PT in advance of its HBO linear premiere on Sunday, February 11 at 9:00 p.m. ET/PT. The season finale will debut Sunday, February 18 at the same time on HBO and will be available to stream on Max.
Logline: When the long winter night falls in Ennis, Alaska, the eight men who operate the Tsalal Arctic Research Station vanish without a trace. To solve the case, detectives Liz Danvers (Jodie Foster) and Evangeline Navarro (Kali Reis) will have to confront the darkness they carry in themselves, and dig into the haunted truths that lie buried under the eternal ice.
Cast: Jodie Foster, Kali Reis, Finn Bennett, Fiona Shaw, with Christopher Eccleston, Isabella Star LaBlanc, and John Hawkes. Guest stars: Anna Lambe, Aka Niviâna, and Joel D. Montgrand.
The Ringer declared TRUE DETECTIVE: NIGHT COUNTRY as the “first can’t-miss show of 2024” while Rolling Stone hailed it as “a gripping mystery from creator Issa López… ‘True Detective’ is must-see TV again.” New York Magazine proclaimed the new season is “appointment viewing [with] powerhouse performances.”
Credits: Showrunner, writer, director, executive producer, Issa López; star and executive producer, Jodie Foster. Executive Producers: Mari Jo Winkler; Barry Jenkins, Adele Romanski, and Mark Ceryak for PASTEL; Chris Mundy; Alan Page Arriaga; Steve Golin; Richard Brown; Matthew McConaughey; Woody Harrelson; Cary Joji Fukunaga; Nic Pizzolatto. Producers: Princess Daazhraii Johnson; Cathy Tagnak Rexford; Sam Breckman.
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Shahzia Sikander at La Biennale di Venezia, Cincinnati Art Museum, and Cleveland Museum of Art
Sean Kelly is delighted to delighted to share newly announced details about Collective Behavior, Shahzia Sikander’s major survey to premiere at the Palazzo Soranzo Van Axel in Venice during the Biennale Arte 2024. A Collateral Event of the 60th International Art Exhibition – La Biennale di Venezia, Shahzia Sikander: Collective Behavior is the most comprehensive presentation of the artist’s work to date, bringing together more than 30 works made over three and a half decades, including new site-specific drawings and glasswork created for this exhibition. Co-organized by the Cincinnati Art Museum and the Cleveland Museum of Art, Collective Behavior will be on view in Venice from April 20 to October 20, 2024.
For more than three decades, Sikander has been reframing South Asian visual histories through a contemporary feminist perspective. Working in a variety of mediums—painting, drawing, print, digital animation, mosaic, sculpture, and glass work—she reimagines the past for our present moment. Sikander emigrated from Pakistan to the United States early in her career. This gave her a transnational perspective, through which she examines diasporic experiences, gender, histories of colonialism, and western relations with the Global South and the wider Islamic world. Collective Behavior traces the evolution and expansion of Sikander’s practice over the course of her career, which has been rooted in a recurring lexicon of forms, figures, and ideas.
Collective Behavior traces Sikander’s ever-evolving explorations of gender, race, and colonial histories through her distinctive lexicon of forms. The exhibition brings together an exemplary selection of artwork from across Sikander’s career, illustrating her distinctive iconography and continuous reinvention through the adoption of new mediums. The exhibition includes her breakthrough work The Scroll (1989-90), created for her graduate thesis project at Lahore’s National College of Arts, which established her position at the vanguard of the neo-miniature movement. Encompassing the spectrum of her creative output from that career-launching work to the present-day, Collective Behavior also debuts new works by Sikander that respond to the architecture and history of the Palazzo Soranzo Van Axel, the city of Venice, and global histories of trade and artistic exchange.
Following the presentation of Collective Behavior in Venice, complementary iterations of the exhibition will travel to the two organizing institutions in Ohio: the Cincinnati Art Museum will share a comprehensive presentation of Sikander’s work (February 14 – May 4, 2025), and the Cleveland Museum of Art will present a focused account of the artist’s practice that frames her work in relation to historic South Asian artworks from the museum’s collection (February 14 – June 8, 2025). Together, these three presentations offer multiple vantages for engaging with Sikander’s remarkable career. The exhibition will be accompanied by an illustrated catalogue featuring scholarly and poetic responses to Sikander’s work.
For additional information about the Biennale Arte 2024, please visit labiennale.org
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Chinese Ceramics And Jades From The Metropolitan Museum Of Art Offered At Bonhams New York
New York – Bonhams, a leader in Chinese art, has been appointed by The Metropolitan Museum of Art, New York, to sell on its behalf an impressive selection of Qing ceramics and archaistic jades. The auction will be held at Bonhams New York on March 18 during Asia Week New York. Comprising 174 lots, all of which are offered without a reserve, the sale titled Passion and Philanthropy: Chinese Art from The Metropolitan Museum of Art celebrates the passion of the those who bequeathed the objects to The Met as well as their great philanthropy. The material on offer has exceptional provenance hailing from 24 illustrious figures of the Gilded Age such as John D. Rockefeller Jr. (1874-1960), Samuel Putnam Avery (1822-1904), William Rhinelander Stewart (1852-1929), and Samuel T. Peters (1854-1921). The Met annually deaccessions works of art, following comprehensive review with a focus on similar or duplicate objects. The funds from this sale will enable the Museum to further prioritize acquisitions of outstanding works of art.
“It is an incredible privilege to be entrusted with works of such impeccable provenance and present them to a wider audience for the first time in over a century,” said Dessa Goddard, VP and US Head of Asian Art. “Over the last few years, Bonhams has established itself as a world leader in Chinese art and have had resounding success bringing to auction some of the most remarkable collections formed throughout the 20th century. We look forward to this collection from The Metropolitan Museum of Art finding equal success.”
Asaph Hyman, Global Head, Chinese Ceramics & Works of Art, commented: “This historical selection sold by The Met – amongst the great world museums – offers worldwide collectors an exceptional opportunity to add a piece of superb collecting history to their own collection. We are truly honored to have been appointed by The Met to present this fascinating collection, and our entire team, led by Michael Hughes, is very much looking forward to this special event.”
Chinese Art and Philanthropy at The Met
Featuring more than 35,000 objects and encompassing 5,000 years of history, The Met’s collection of Asian art is one of the largest and most comprehensive in the world. Thanks to the generous contributions of numerous philanthropists who have contributed their time, wealth, and passion over the last century and a half, The Met boasts an encyclopedic collection in an abundance that far exceeds what can be showcased in public exhibitions. The upcoming sale presents a unique opportunity for the public to acquire works directly from the Museum and which have impeccable provenance.
One of the founders and lifelong trustees of The Met, Samuel Putnam Avery’s contributions include over 1,300 Chinese and Japanese porcelains to The Met in 1879 – 82 of which are featured in the sale. An art dealer, rare book and print collector, and wood engraver, Avery was dedicated to making sure that every major public collection in the US had Chinese ceramics. His contributions to The Met are exemplified by a massive lime-green sgraffito-ground enameled vase with dragon handles from the Qianlong/Jiaqing period, estimated at US$80,000 – 120,000.
The sale will also present a selection of over 350 jade carvings which were gifted by coal magnate, avid collector, and philanthropist Samuel T. Peters to The Met on three occasions between 1911 and 1916. A Trustee of the museum from 1914 until his death in 1921, Peters and his wife, Adeline Elder Peters (1859- 1943), utilized their discerning taste and deep knowledge to establish one of the early 20th century’s leading collections of Chinese ceramics and jades. Offered in unique groupings, many of the carvings were inspired by early jades dating from the Shang to Han dynasty while others are in the style of the Ming dynasty.
A group of archaistic jades from The Metropolitan Museum of Art.Highlights of the sale include:
Acquired from American locomotive magnate Jacob S. Rogers’ estate in 1920 is a large slender blue and white baluster vase and cover, Kangxi, estimated at US$20,000 – 25,000, and in 1918 is a large blue and white ovoid jar and domed cover, Kangxi, estimated at US$10,000 – 15,000.
Estimated at US$8,000 – 12,000, a pale green and russet jade ‘dragon’ boulder, 17th-18th century, from the collection of Florence (1920-2018) and Herbert (1917-2016) Irving. The second floor of the Museum’s Asian Wing was renamed after the couple in 2004 in honor of their major contributions to The Met.
An unusual famille verte brushpot, bitong, Kangxi, estimated at US$6,000 – 8,000, and a large vibrant blue and white ‘peacock’ dish, Kangxi, estimated at US$4,000 – 6,000. Both were acquired by The Met from Samuel Avery in 1879.
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Inaugural Season with Renée and Robert Belfer Music Director Jonathon Heyward – Lincoln Center, New York
NEW YORK, NY (February 5, 2024) – Lincoln Center for the Performing Arts today announced the inaugural season under Renée and Robert Belfer Music Director Jonathon Heyward with Lincoln Center’s beloved summer orchestra, the newly named Festival Orchestra of Lincoln Center. The full roster of Orchestra musicians follows after the program listings.
Presented as part of Lincoln Center’s third annual Summer for the City, the Orchestra’s season builds upon its legacy of exceptional music-making and dedication to welcoming new audiences into classical music with accessible and engaging concerts featuring exciting premieres and commissions paired with timeless classics.
Past meets present with pieces by Beethoven, Bologne, and Mozart performed alongside contemporary works by Louis W. Ballard, Peter Lieberson, Caroline Shaw, and a Lincoln Center and Musikkollegium Winterthur co-commission and world premiere by Hannah Kendall. The season also highlights the intersections of music and technology with an immersive AR exhibit on Schumann, Bach, and mental health in David Geffen Hall, and the North American premiere of Huang Ruo’s new City of Floating Sounds, co-commissioned by Factory International and Lincoln Center.
Core to the Festival Orchestra of Lincoln Center’s mission is expanding audiences for classical music—through repertoire, educational initiatives, and affordable ticketing options. All performances will be Choose-What-You-Pay, starting at $5.
“I believe strongly in respecting the traditions of classical music while reimagining the future, and this first season embodies that,” said Jonathon Heyward, Renée and Robert Belfer Music Director of the Festival Orchestra of Lincoln Center. “This Orchestra’s history is one I admire greatly, both from the perspective of its place in the hearts of so many New Yorkers who have found classical music through its summer performances and the incredible joy, care, and skill the musicians bring to the stage. Collaborating with them the past two summers has been thrilling and I know this summer will be even more so. I am grateful to these phenomenal musicians and the audiences we’re so looking forward to welcoming this summer.”
One of the most exciting conductors on the national and international scene, Heyward currently serves as Music Director of the Baltimore Symphony Orchestra and is in his third year as Chief Conductor of the Nordwestdeutsche Philharmonie in Herford, Germany. His commitment to education, community outreach, and the unifying power of classical music is the driving force behind his work. He made his Lincoln Center debut in August 2022 during the inaugural Summer for the City festival and made his New York Philharmonic debut in April 2023.
About the Festival Orchestra of Lincoln Center’s Summer 2024 Season:
The official opening concerts feature Heyward leading the Orchestra in the North American premiere of Huang Ruo’s City of Floating Sounds, a piece that expands the boundaries of orchestral music far beyond the walls of the concert hall. The interactive work fuses music and technology, beginning with a mobile app-enabled soundscape in several locations across the city that incorporate evolving musical fragments which illuminate the surrounding environment. The piece develops as participants gather towards Lincoln Center, culminating with a live performance as the audience is welcomed inside David Geffen Hall. The premiere is paired with Beethoven’s “Pastoral” Symphony No. 6, inspired by the composer’s profound appreciation for nature and the countryside.
To close out the season, Heyward conducts a pair of concerts during the final weekend of Summer for the City that shine a light on the transformative power of music and connection to mental health. The concerts are presented with the Jameel Arts and Health Lab in collaboration with the World Health Organization (WHO). The WHO recently designated loneliness and social isolation as a public health crisis—a concern that is artistically centered with this program. The concerts will include the world premiere of He stretches out the north over the void and hangs the earth on nothing by celebrated British-Guyanese composer Hannah Kendall, co-commissioned by Lincoln Center and Musikkollegium Winterthur. Anchoring the program is Symphony No. 2 by Schumann—a composer who famously used music to navigate his mental health challenges—performed as part of Heyward’s multi-summer exploration of Schumann’s four symphonies. Alongside the Symphony will be Bach’s Keyboard Concerto in A Major and Webern’s orchestration of Bach’s The Musical Offering.
Throughout the season, with the Jameel Arts and Health Lab in collaboration with the World Health Organization, an immersive Augmented Reality (AR) installation about Schumann will be on display throughout David Geffen Hall, spotlighting how he relied on the music of Bach during the period of hospitalization prior to his death. The virtual experience allows participants to learn about both composers and their backgrounds, with opportunities to explore musical offerings by Bach as well as a work Schumann composed during his hospitalization. The exhibit also includes an interactive station, giving participants the chance to virtually share a piece of art that has been a source of uplift.
A special “crowd-composed concert”, Symphony of Choice, previews the season on July 20, inviting audience members to co-create the evening’s program. Participants can vote, choosing from a menu of repertoire from the summer season, to collectively construct a unique “new symphony” conducted by Heyward.
Heyward and the Festival Orchestra of Lincoln Center welcome a host of exciting guest soloists throughout the summer including frequent Metropolitan Opera star mezzo-soprano J’Nai Bridges; soprano Sonya Headlam fresh off her New York Philharmonic debut; New York Philharmonic and Festival Orchestra of Lincoln Center oboist Ryan Roberts; violinist Benjamin Beilman (Avery Fisher Career Grant 2012), featured soloist in the Avery Fisher Legacy Concert and a frequent performer with the Chamber Music Society of Lincoln Center; and closing with Lincoln Center and New York Philharmonic favorite Conrad Tao.
The Orchestra also welcomes three dynamic guest conductors—Carlos Miguel Prieto, music director of the North Carolina Symphony; Jeannette Sorrell of Apollo’s Fire; and Kazem Abdullah, whose most recent Lincoln Center credit saw him conducting the critically acclaimed X: The Life and Times of Malcolm X at the Metropolitan Opera.
As part of Heyward’s commitment to education, the Orchestra is embarking on a path to embed itself more deeply into the fabric of the city, through initiatives that are paving the way for the next generation of composers and musicians. A new collaboration with the New York Philharmonic launches in 2024, through their Very Young Composers (VYC) program, as two VYC students will be given the opportunity to workshop their own compositions with the Orchestra. In addition, there will be a new initiative with the New York City Public Schools’ Summer Arts Institute (SAI). Musicians from the Festival Orchestra of Lincoln Center will work with students through coachings and sectionals, and SAI students will attend Orchestra rehearsals and engage in talk-backs.
“We’re thrilled to embark on this next chapter as the Festival Orchestra of Lincoln Center,” said Laura Frautschi, Violinist, Festival Orchestra of Lincoln Center & Orchestra Committee Member. “We believe the future is bright with Jonathon Heyward at the helm and are grateful for his vision and leadership. Along with my orchestra colleagues, I look forward to this season of exciting new works, repertoire classics, and education collaborations. See you this summer!”
A special focus for this chapter of the Festival Orchestra of Lincoln Center is providing new entry points to the unparalleled classical music and artistry happening across campus year-round. Several programs include distinct connections to Lincoln Center’s resident organizations—including Beethoven’s Symphony No. 6 as a prelude to The Chamber Music Society of Lincoln Center’s monumental upcoming feat performing the complete Beethoven Quartet Cycle; Stravinsky’s Pulcinella as an introduction to the upcoming Joffrey Ballet exhibit at The New York Public Library for the Performing Arts; and the overture to Mozart’s The Marriage of Figaro as a tribute to the Metropolitan Opera repertory favorite.
“I feel such gratitude to Jonathon and these musicians for their inspiring artistry and passion for this Orchestra,” said Shanta Thake, Ehrenkranz Chief Artistic Officer of Lincoln Center for the Performing Arts. “I look forward to this next chapter together.”
More details about the third annual Summer for the City will be announced in the coming months.
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February 4, 2024
Tomás Esson, MIMAMI POP – Fredric Snitzer Gallery
Fredric Snitzer Gallery is pleased to present MIMAMI POP, a solo exhibition featuring new paintings by Cuban artist Tomás Esson. This exhibition marks over 30 years since the artist first showed at the gallery in the early 1990s.
MIMAMI POP presents ten abstract paintings from the artist’s latest series accompanied by two vintage works spanning three rooms: the entry anchoring the show with two works utilizing collaged vintage ephemera of previous exhibitions and his emblematic talis symbology; the primary gallery showcasing a diverse range of medium- and large-format compositions; and the secondary gallery introducing a new smaller format painting size.
In recent years, Tomás Esson’s work has evolved to be more abstract with the less distinguished representation of physiques, honing in on interpretations of lines and shapes in the same dynamic style and bold assertion. His first venture into this approach was his Miami Flow series, which accentuated the technical aspects of his application and referenced his previous figurative works by blending commonly featured objects that viewers were still able to pick out, precisely the colors of human flesh, form, and interpretation of botanicals. Later works amplified the lively exertion of oil on canvas with dense applications, heightened velocity, and coloration.
Esson’s MIMAMI POP series further progresses this approach to painting, not referencing images but pulling pure expressions from his mind. This suspended state translates onto the canvas with layers of paint built out with energetic gestural motions capturing the essence at the core of all his work. In each work, a new palette of colors swirls and bends to the artist’s will. What sets MIMAMI POP apart from his previous series is its heightened sense of pigmentation – vibrant, even fluorescent hues merge against earthy ochre, browns, and flesh tones. Another element is the series’ use of centralized energy, the canvas laid bare at its edges, with a concentration of movement expanding and compressing from the core of the pictorial plane, creating a push-pull dynamic activation.
Tomás Esson, JUST THE WAY YOU ARE, 2024, Oil on linen, 96 x 80 inchesAbout Tomás EssonTomás Esson (b. 1963, Havana, Cuba) is considered one of the most important artists of his generation to have emerged in Cuba, and is a central figure in the 1980’s renaissance of Cuban Art. His first exhibition in Havana, A Tarro Partido II (with Broken Horn II) (1988) at Centro de Arte 23 y 12 was censored and closed by the Cuban authorities for citing grotesque representations of venerable icons of the Cuban Revolution, such as Che Guevara. Much of Esson’s work during the 1980s expressed critical questioning of the Cuban Revolution (1953–59), a project that nationalized and centralized the press, economy, and society instead of delivering the promised revolutionary socialist state. Esson participated in some of the most important exhibitions and biennials in Cuba and Latin America – his works later began to be exhibited and collected in Europe. In 1990, he left Cuba and moved to the United States. He currently resides and works in Miami, FL.
Tomás Esson’s work is housed in the permanent collections of the Museo Nacional de Bellas Artes, Havana; Institute of Contemporary Art, Miami; The Whitney Museum of American Art, New York; Museum of Contemporary Art, San Diego; Ludwig Forum für Internationale Kunst, Aachen, Germany; and Museo de Arte Contemporaneo, Monterrey, Mexico; among others.
Tomás Esson: MIMAMI POP – Fredric Snitzer Gallery
Start Date: February 3
End Date: March 2
Venue: Fredric Snitzer Gallery
Address: 1540 NE Miami Ct., Miami, FL, 33132, United States
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Dee & Friends in Oz – A New Netflix Series for Kids
Dee & Friends in Oz is a series created by Trey Parker.
On February 5, “Dee & Friends in Oz” will be available on Netflix as a regular kid named Dee embarks on a musical quest to rescue magic after being transported to the land of Oz by a mysterious key. She becomes the hero of the story in her adventures.
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February 3, 2024
Jill Mulleady & Henry Taylor – ‘You Me’ – Schinkel Pavillon, Berlin
Jill Mulleady (*1980 in Montevideo, Uruguay) and Henry Taylor (*1958, in Ventura, USA) share a long-standing, close friendship and an absolute dedication to painting. The duo exhibition You Me is testimony to a bond between two artists of different generations, origins and socialization, in which painting and the constant reference to art history act as a common denominator. In their figurative imagery, Mulleady and Taylor reveal ambivalences that inevitably demand a positioning of the viewer in relation to painting in the juxtaposition of the private and the public as well as the representation of bodies. The octagonal architecture of the pavilion becomes a glass panopticon that is repeated in the exhibition space, in whose illusory surfaces the painted figures and scenes are reflected, superimposed and distorted.
Jill Mulleady’s paintings show different perspectives on the recurring subject of a dimly lit bedroom, through which a narrative unfolds almost imperceptibly. When entering the mirrored panopticon, you can watch the viewers almost voyeuristically as they immerse themselves in the intimate pictorial worlds, protected from outside eyes. In addition to two works by Henry Taylor, drawings by Otto Dix and Käthe Kollwitz in particular cast the supposedly innocent scene in a new, ambivalent light.
Like Jill Mulleady, Henry Taylor also draws on iconic works such as Marcel Duchamp’s famous nude descending down a staircase or Édouard Manet’s scandalous painting Dejeuner sur L’Herbe and creates his own versions that are rooted in African-American history. In the ground floor, further paintings by Henry Taylor show the realities of black life in the USA. What at first glance can be perceived as a peaceful scene, reveals in the next moment the deeply rooted racist structures that still divide US society today. In his depictions, Henry Taylor captures people, places and events and resists a clear stylistic classification. In addition to well-known personalities, he portrays neighbors or friends in his studio, or spontaneous encounters that he captures in fleeting sketches.
Curated by Lina Louisa Krämer
Project assistants: Ella Křivánek & Anaïs Nyffeler
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Alison Nguyen at the op.cit./foundation
Alison Nguyen presents “history as hypnosis” at the op.cit./foundation in Mexico City, after its premiere at the Museum of Modern Art in December 2023. There will be a line-up of events including a listening session at the Radio Nopal on 4 February, and a film screening at the Queretáro Museum on 10 February. Solo exhibition “Confusion Technique” opens on 6 February at 7pm, on view through 7 April 2024.
“history as hypnosis” is a speculative road movie that unfolds through cultural memory of the US war in Vietnam, it follows three women, recently reprogrammed by an artificial intelligence that has wiped all traces of their previous lives, as they journey through an uncanny desert landscape to a nearby metropolis. In Nguyen’s hands, these figures without memory or history become a cinematic use case for themes of alienation, assimilation, and refusal.
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Elizabeth Dimitroff: Afterimage – Yossi Milo Gallery
Yossi Milo is pleased to announce Afterimage, Elizabeth Dimitroff’s debut solo exhibition in New York and first with the gallery. Afterimage opens to the public on Thursday, February 8, 2024, and the gallery will host an artist’s reception on Thursday, February 15, 2024 from 6 – 8 PM. The exhibition will be on view through Saturday, March 9, 2024.
Elizabeth Dimitroff’s (b. 1995; Chicago, IL) work examines the spaces between memory and truth, anchoring figurative paintings in unnamable emotional sensations that subvert legibility in favor of an immersive dedication to mood. Inspired by cyclical time and shared memories, Dimitroff favors an openness to speculation rather than concrete narrative, pursuing the impressions of memory rather than a perfect reconstruction. In the artist’s work, the lost nature of past events is a point of connection with viewers — audiences are welcomed into her luminous paintings, only to find a softly glowing retelling of an original. An afterimage, like a memory, loses shape and fades following initial exposure, which the artist parallels in the unravelling narrative threads of her work. Open-ended in nature, her work thus allows for parallel reads and associations.
The paintings in Afterimage are the result of Dimitroff’s intuitive process, in which the artist layers and blends images from a deep personal archive to create liminal environments, simultaneously sentimental and anonymous. Her spaces are inhabited by figures that bridge the uncanny and the approachable, rendered in soft, warm tones within half-emptied environments. These beings are present, but not fully real, made apparent in their closed or absent eyes. Unable to return their viewers’ gaze, these subjects leave audiences free to look and speculate, and to engage the work’s open-ended narratives. A projection-based form of viewership emerges, and stories appear in ways not unlike methods born of the classic Rorschach test, revealing as much about their viewers as they do their hidden content.
Dimitroff’s warm, inviting palette portrays an array of comforting spaces, forming empty beaches, homelike corners, and fragments of furniture. Further study, though, reveals anomalies within each scene, as details are blurred or absent, or identical figures appear more than once. The artist’s work posits that the apparent truth of memory is, in fact, constructed. Time is indelible in its passing, and though a figment left behind may still be present, it has a different, spectral life, animated by rules outside the physical realm.
Included in the exhibition is 8AM, a figurative painting that revels in the silence of a still life. Curled on a bench, a figure shies away from a beam of sunlight, which plays in shadows and reflects through to the back of the composition. Shielding their eyeless face, the subject’s refusal of the light mirrors Dimitroff’s concealment of identity, their particulars hidden from the viewer as though the sunlight might reveal this deeper truth. Despite their hiding, the morning sun illuminates muted, radiant colors all around them, enveloping the work in a wash of warmth and comfort. The sensation of the escalating light becomes the central emotive quality as the curled figure holds still, their twisted pose held calm.
Initially intended to be a self-portrait, 8AM shifted in identity, ultimately changing from a legible self-image into a ghostly figure and gaining a new life as a presence of its own. Apparitions like these are present throughout Afterimage, animating the likenesses of friends, relatives, and strangers to the artist alike. Ambiguating her relationships to these figures, Dimitroff distills her emotive connection to each scene to the level of sensation. These works draw their power from these points of divergence, which create spaces the viewer fills with their own associations.
In this pursuit, Dimitroff’s paintings echo the lauded emotive power of painting itself as a medium — a conduit for connection that is freed from the granular specifics of narrative. A memory is an imperfect image, and so is a painting, demonstrated by the artist in a removal of the specific in favor of singular, affective qualities. The works in Afterimage do not depict lost memories, but rather illustrate this loss, demonstrating this effect in surreal compositions of an elliptical, immersive world.
Elizabeth Dimitroff has presented work in group exhibitions at numerous institutions across Europe, including Studio West Gallery, London, UK; Gurr Johns International, London, UK; Truman Brewery, London, UK; D Contemporary, London, UK; Danuser & Ramirez, London, UK; Aktion Raumtausch, Dusseldorf, Germany; and SET, London, UK, among others. The artist earned a BFA from Rhode Island School of Design, Providence, RI; and an MA from the Royal College of Art, London, UK. Dimitroff was born in Chicago, IL, and currently lives and works in New York, NY.
Jill Mulleady & Henry Taylor: ‘You Me’ – Schinkel Pavillon, Berlin
Start Date: February 17
End Date: May 19
Venue: Schinkel Pavillon
Address: Oberwallstraße 32, Berlin, 10117, Germany
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New York City Opera presents “Enrico Caruso – His Songs” featuring tenor Mark Milhofer and pianist Marco Scolastra
New York City Opera presents Caruso and His Songs on Wednesday, February 21, 2024 at 7:30pm at Zankel Hall at Carnegie Hall, 881 7th Ave, NYC. Tickets are $10 for students, $35 for general admission, and can be purchased online at https://www.carnegiehall.org/calendar/2024/02/21/caruso-and-his-songs-0730pm.
150 years after his birth, tenor Mark Milhofer and pianist Marco Scolastra pay homage to one of the most famous singers of all time with a recital made up of songs written by and for Enrico Caruso, taken from their new double album. A 90 minute program that shows an unknown side of the tenor along with examples of how he influenced and inspired his friends, colleagues and admirers to write for his incredible voice. Caruso was really the first “cross-over” artist, the first international celebrity, bringing to a wider audience his stage roles alongside the Neapolitan songs of his homeland. He was either the first international operatic superstar to leave behind an extensive aural legacy, or he was the first singer to be propelled to that status as a result of his recordings. Either way, he became a household name, his recordings reaching an audience beyond any previous singer’s dreams.
Mark Milhofer has discovered at least ninety songs written for and dedicated to him. But what most people don’t realize is that Caruso himself also composed, writing a handful of songs. Sometimes he just wrote the tune, sometimes just the words and just once he wrote both. The inspiration for many of the songs was his colorful and sometimes tragic love life, dominated by his partner Ada Giachetti. Caruso’s life was full of drama, great wealth, generosity and a lot of hard work.
Mark and Marco had the incredible opportunity to perform these songs in Caruso’s house, his villa just outside Florence, around the time of the 100th anniversary of his death. Their new album, Enrico Caruso – His Songs, is made up of his nine songs, along with 39 of the 90 songs written for him, was recorded in Caruso’s house, and is available now, to coincide with the 150th anniversary of Caruso’s birth on February 25th 1873.
PROGRAM:
Enrico Caruso/Riccardo Barthelemy, Adorables Tourments
Ruggiero Leoncavallo, Mattinata
Francesco Paolo Tosti, Seconda Mattinata
Caruso/Calogero Adolfo Bracco, Serenata (Souvenirs d’un Concert)
Pier Adolfo Tirindelli, O Primavera
Mario Ferrarese, Portami Via
Raoul Gunsbourg, Le Moment Qui Passe
Luigi Denza, Vieni
Caruso/Earl Carroll, Dreams of Long Ago
Gaetano Calamani, Fiore Gentile – O Night Divine
Tirindelli, Amore e Fede
Caruso/Vincenzo Billi, Campane a Sera
Mary Helen Brown, Thoughts of You
Arturo Buzzi-Peccia, Lolita
Caruso, Tiempo Antico
Gabriele Sibella, Sotto il Ciel
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