Alone in the world

DAGGER

“I’m gonna rip your heart out

and bury it in the sand,

so the ocean can take it away”

 
 

This is my self protection amulet, my weapon.

In a symbolic way, I wanna use this dagger for stealing someone’s heart and at the same time to protect myself from a broken heart.

I’ve carried this piece from New York to Los Angeles, California, I had it in my lap and sometimes under my seat on the plane, we made it to Laguna where I thought I would move for the winter but there were other plans cooking in the meantime.

I took my dagger to one of my favorite beaches there at Sunset time but I wasn’t happy with how it looked with the orange tones from the sunset and I had no time to try another day so I had to wait a couple months until I got to my final destination and felt good to light it up. Finally February reminded me I had to use it so I could finally cut your chest in half and rip your heart out…

DIA:Beacon

DIA: Beacon is one of the most awesome places in New York if you’re into art and escapades like me. I love it!

Take the Metro North train ride from Grand Central (is only $35 dls round trip to Beacon) is about 1:30 min that feels like 30 minutes really.

I’m sharing just a few photos of what you can see in there but there’s way more! too bad the lower level was closed this time but I guess i’ll have to come back when they reopen it.

My always favorites: Richard Serra and Mary Corse, but this time I was completely seduced by Sam Gilliam’s work.

Jason Rhoades: "Tijuanatanjierchandelier" on view David Zwirner Gallery

I recently went to check this exhibit out in Chelsea, this is the first time I get to see Jason Rhoades’s work in person and Is pretty cool, lots of neon as you can see in the photos.

Here are some of the words from the press release…

The title of the work refers to the cities of Tijuana, Mexico, and Tangier, Morocco, two socially and culturally distinct locales separated by 6,000 miles, which Rhoades associates through their respective locations at the borders between the so-called developing world and the Euro-American West. The visually striking installation is composed of a chaotic web of dangling chandelier-like sculptures made up of neon lights and assorted wares the artist collected during his travels. Rhoades included fifty-one of these unique chandeliers in the original installation, forty-four of which are presented here. The sculptures are suspended above an array of items and souvenirs including mattresses, rugs, animal pelts, imposter handbags, sombreros, Moroccan lanterns, taxidermied animal heads, leather belts, ceramic gourds, trucker paraphernalia, bullwhips, and wooden maracas, among other found objects. Reminiscent of a bazaar or marketplace, the work addresses the rise of global tourism and consumerism—industries that have come to define the economies of these areas—while also visualizing the tension that emerges between cultural expression and identity, and cultural appropriation and stereotype. In his choice of these two locations, Rhoades also acknowledges the broader targeting of Latin Americans and Muslims in the post-9/11 political climate. Though created before the 2008 global recession, the global refugee crises, and the ensuing wave of xenophobic nationalism, Tijuanatanjierchandelier anticipated the tensions that have recently erupted between the drive for increased free trade and globalization and the persistence of traditional notions of national sovereignty and security.

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