'Jailbait (For Us By Us),' Hamishi Farah @ monCHERI [BELGIUM]

Your big boy Hamishi been in Brussels having fun here

rose grow
recovered stolen artwork left unclaimed, rotting, safe, protected in Interpol storage
painting of a photo taken by cops of art
but french keyboqrd is auite different fro, english
painting G O O D B Y E . . .
and here is the kernel of such apocalyptic dreams
capitalism too is pushing for rupture within itself
Virginia Company song sung by sailors in Disney Pochohontas in 20 different languages
child sex tourist robot triggers girlfriend who walks out

crowdsources funding for child sex tourist robot
samsung was an early supporter of FUBU LL Cool J Gap ad
Everyone wants to be a nigga but no one wants to be a nigga (sic) (tru) watches whole first seasonof The wire in room alone
Tupac vertical panel grecian painting
i use a lot of stationery personally
schoolgirl

Foreigners Everywhere in French Flemish and English chinese character tattos come back in fqshion
i have a beautiful photo of this work in an earlier stage of progress xx
international, universal cops
Europeqn Pqrliq,ent Belgiqn Congo
ouroboros of drqgons eqting zhole drqgons
its always eqster here
feels colder thqn it is becquse of the dq,p
simple code of skipping over the 5 hqs nothing to do zith mqth or qlgebrq
little resting dog looks scqred

painting of q photo of unclqi,ed recovered stolen qrtzork protected by internqtionql police [custodiqns 9curqtors9]
dog hqs hqd q bqd dqy; been beqten up
,usic boxM lq vie en rose
yes
i zqs q rose once

a rose was a rose was a rose

r i p shakur
mackeivelli

first dog on the Seq Venture trqnsitioned seqmlesly fro, mqscot of the coloniqlists qnd cqpitqlists to the mqscot of
the pirqte secessionists from coliqnlis, qnd cqpitqlis,
visiting high en vet in legend bruxelles procures retroactive permission for landing of
beautiful french bulldog is very healthy with no fleas and all vaccines
the first dog c1609
cqn you see the colours of the zind?
visa certificate for international movement of small
frontier capitalism by dosmetic animals
stays with the old forms
Only God Can Judge My Interracial Relationship

Fountain being one of a group of objects made from
Oceans, seas, and waters outside of national jurisdiction also referred to as the high seas or, in Latin, mare liberum
(meaning free sea)

Jacket is FUBU
Bitch better have my money
– Hamishi Farah is a 24 year old Somali-Australian big boy artist

When u trying to finish a work called ‘best interests’ but cops forcibily remove u from the studio citing ‘bomb threat’ and ‘ur safety’

how these are held to the wall,
my chien
parlez anglais?

my birthday
merci
bedankt
thank you

Anything is alright

Text by Aurelia Guo

“Only god can judge me (Untitled)”, 2015 [carpet; 195 x 47 cm]

Exhibition view

“Interpol lost & found (Working Title)”, 2015 [whiteboard, mix media; 190 x 160 x 60 cm]

“No Title”, 2015 [whiteboard, mixed media; 190 x 160 x 60 cm]

“Wifi poem”, 2015 [5 wifi extenders, australian power box; 34 x 5 cm]

LINK

'Hitman 2,' 2015 by Jarret Rubin

[oil on canvas; 40 x 30 inches]

‘Vertical Elevated Oblique,' Martine Syms @ Bridget Donahue [NYC/USA]

Bridget Donahue presents Vertical Elevated Oblique, a new body of work from Martine Syms. For her first solo show with the gallery, Syms was inspired by a riff on a popular joke. “Everybody wanna be a black woman but nobody wanna be a black woman.” Using the 17th century text Chirologia: Or the Natural Language of the Hand as a guide she created an inventory of gestures for performance. 

Notes on Gesture is a video comparing authentic and dramatic gestures. The piece alternates between title cards proposing hypothetical situations and short, looping clips that respond. The actor uses her body to quote famous, infamous, and unknown women. She repeats and interprets each movement several times, switching from a physical vernacular to acting techniques likes blocking and cheating. The world of the film is imported to the gallery through costumes, staged objects, a monochromatic fake wall, and a color filter used for simulating purple neon or a nightclub atmosphere. 

Alongside these works is a suite of double-sided photographs mounted on century stands, a standard workhorse of film production. This ad hoc collection gathers images of women sourced from family photos, magazines, advertisements, movies, and television. Each image features a “speaking motion” forming a chorus of action. The women pictured are models of agency. Their bodies are frequently used to express popular ideas and emotions. What do they signify? What politics do they perform?

In the office: For the duration of the exhibition, the gallery will host a bookshop featuring editions from Dominica and associates, including Lauren Anderson, Black Radical Imagination, E. Jane, Gene’s Liquor, Nicky Benedek, Marco Braunschweiler, Kayla Guthrie, David Hartt, Kahlil Joseph, Chloe Maratta, Hassan Rahim, Diamond Stingily and Wilmer Wilson IV. 

Martine Syms (b. 1988) is an artist based in Los Angeles. She is the founder of Dominica, a publishing imprint dedicated to exploring blacknuss in visual culture. From 2007–11, Syms directed Golden Age, a project space focused on printed matter. Her artwork has been exhibited and screened extensively, including presentations at the New Museum, The Studio Museum in Harlem, Museum of Contemporary Art Los Angeles, MCA Chicago, Green Gallery, Gene Siskel Film Center, and White Flag Projects. She has lectured at Yale University, SXSW, California Institute of the Arts, University of Chicago, Johns Hopkins University, and MoMA PS1, among other venues.

'Black Panthers,' 2015 [resin with flocking, 20 x 24 x 22 inches]

Installation view

'Prone Elevated Forwards,' 2015 [archival pigment print on sintra, 72 x 24 inches]

LINK

‘Behold A Pale Horse,' Dennis Wornick @ Phil Gallery [LOS ANGELES/USA]

LINK

‘Winner's Circle (VII),’ 2015 by Larissa Lockshin

[oil on canvas with artist's frame; 42 x 52 cm]

LINK

'JERRY BRUCKHEIMER FILMS' @ gallery SENSEI [NYC/USA]

I. INSTALLATION VIEW
II. GINA BEAVERS
III. L-R: NICK FUSARO, JARRET RUBIN, GINA BEAVERS
IV. JARRET RUBIN
V. INSTALLATION VIEW
VI. L-R: PAUL METRINKO, TANIS MEYER-THORNTON
VII. L-R: BRIAN KOKOSKA, NICK FUSARO, PAUL METRINKO, TANIS 
MEYER-THORNTON
VIII. BRIAN KOKOSKA
IX. NICK FUSARO
X. NICK FUSARO
XI. INSTALLATION VIEW
XII. NICK FUSARO
XIII. INSTALLATION VIEW
XIV. KIM WESTFALL
XV. INSTALLATION VIEW
XVI. STEPHANIE HIER
XVII. STEPHANIE HIER
XVIII. JARRET RUBIN
XIX. STEPHANIE HIER
XX. INSTALLATION VIEW
XXI. WINSLOW LAROCHE
XXII. BRANDON DREW HOLMES
XXIII. WINSLOW LAROCHE
XXIV. ZACH REINI
XXV. GINA BEAVERS
XXVI. LARISSA LOCKSHIN
XXVII. INSTALLATION VIEW
XXVIII. ALEX ITO
XXIX. QUINTESSA MATRANGA
XXX. DENNIS WORNICK
XXXI. INSTALLATION VIEW
XXXII. JARRET RUBIN
XXXIII. TANIS MEYER THORNTON
XXXIV. LARISSA LOCKSHIN
XXXV. INSTALLATION VIEW
XXXVI. TED GAHL
XXXVII. QUINTESSA MATRANGA
XXXVIII. PAUL METRINKO
XXXIX. TED GAHL
XL. INSTALLATION VIEW
XLI. DEVIN KENNY

JERRY BRUCKHEIMER FILMS

INT. COFFEE SHOP - MORNING

A busy, murky diner in Lower East Side Manhattan. It’s about 9:00 in the morning. The place is jammed with people drinking coffee, munching on bacon and eating various eggs.

It is impossible to tell where VOICE #1 or VOICE #2 is from or how old they are. The COMPUTER GENERATED VOICE is bright yet stern. The noise of the breakfast crowd comes to a low murmur as VOICE #1 and VOICE #2 speak:

COMPUTER GENERATED VOICE (V.O)
LEGAL WARNING/FOR PRIVATE HOME USE ONLY
ALL OTHER RIGHTS RESERVED
(Louder with more conviction)
ANY UNAUTHORIZED COPYING, EDITING, EXHIBITING, PUBLIC PERFORMANCE, SILK-SCREENING, INSTAGRAMING, SCULPTING, CASTING, 3D PRINTING, TRACING, RADIO OR TELEVISION BROADCASTING OF THIS VIDEO PROGRAM OR ANY PART THEREOF IS STRICTLY PROHIBITED.

VOICE #1
(On the phone)
A proper press release invokes clear, academic resonance. 
(Clears throat)
It must be no longer than a one page, consisting preferably three short paragraphs. No one will hire you if its two pages.
(Pours coffee)
There will be statement upon statement declaring a niche-hooking pseudo-manifesto. Each word will be dried out, ironed over, cleaned, stripped of meat to the bone. Followed by hackneyed Western scripture, dread will enter the horizon line.
(Loud cough)
Just some good ol’ fashioned balderdash to scan while you drink…
(Takes a long sip)
The works selected for JERRY BRUCKHEIMER FILMS do not occupy the same sales bracket. 
(Coughs again)
Similar to the yearnings of an adept storyteller, the primary goal of this group exhibition is to be didactic yet not patronizing, inclusive while maintaining significance. 
(Clears throat again)
This show begs to ask the question: When did group shows stop being for the people?

VOICE #2
(On the phone)
Jerry Bruckheimer was born in Detroit, Michigan in 1943. He received a degree in psychology from the University of Arizona with an algebra minor. He currently lives in Los Angeles, California and is executive producer of the TV series “CSI: CYBER”.

LINK