Post image for This Weeks Must-See Events: Election 2016 Edition

Expect the next three days to be filled with election news. Events are largely election related, and thus I will be wearing pant suits the whole god damned time. (Go Hillary!) Once that’s passed, there’s a whack of openings in Chelsea Thursday—Andreas Gursky, Paul McCarthy, etc—a must-see ceramics inspired show at Present Company in Bushwick Friday, and Smack Mellon’s 20th Anniversary exhibition Saturday. In short, nothing, not even an election, disrupts the art world.

Post image for Wikileaks: Marina Abramović Invited Clinton Campaign Chair to Satanic Menstrual Blood & Sperm Fest?

Halloween may be over, but this shit-show of an electoral haunted-hay-ride just got a little spookier.

Wikileaks has released an email purportedly hacked from Clinton campaign chair John Podesta’s inbox from none other than performance art star Marina Abramović. The email had been forwarded from his brother, lobbyist Tony Podesta last June, inviting John to join him at a “Spirit Cooking” party hosted by Abramović in New York, at the artist’s request.


“Spirit Cooking” is an Abramović piece supposedly inspired by famous Satanist Aleister Crowley’s occultist rituals. It involves the artist painting the walls with menstrual blood, breast milk, and other bodily fluids.

Post image for With A Little Help From My Friends: Ellen Cantor’s ‘Pinochet Porn’ At MoMA

It’s quite a surprise that a film titled Pinochet Porn depicts a tender portrait of friendship. Granted, Ellen Cantor’s final film buries that theme under a shocking mélange of spank-heavy sex scenes, depressed clowns, descriptions of rape and torture over vintage Pepsi ads and disturbing archival footage of the Pinochet dictatorship, Hitler and September 11th. But looking beyond its violent and erotic imagery, the film is a celebration of a close-knit avant-garde community.

This became clear at the film’s premiere at MoMA on Monday night, part of the museum’s Modern Mondays film program. Playing to a sold-out theater, the screening also featured a post-film discussion between the Museum’s Chief Curator of Media and Performance Art Stuart Comer, Participant Inc.’s founding director Lia Gangitano, who appears in the film, and filmmaker John Brattin, who acted as Director of Photography. While this is common with MoMA’s screenings, it seemed particularly important on Monday. Firsthand accounts of the film’s production and posthumous completion, provided here by Gangitano and Brattin, seem irrevocably intertwined with any analysis or enjoyment of the film itself.