Matthew Barney's Big (No) Show
Some New York Times art critic called multi-media artist Matthew Barney the most important artist of our generation, and Los Angeles believed him.
Upper-crust art lovers - beautiful people in beautiful clothes - came out of the proverbial woodwork to Regen Projects Saturday night, where Barney’s new movie premiered in a small room next to an exhibition of accompanying drawings.
“It’s like everyone’s dirty little secret,” noted commercial director/ex-boyfriend Ben Weinstein. “We all love Matthew Barney.”
Ish. I wouldn’t call myself a fan, merely a curious observer. I snored my way through the Cremaster series, hoping for a pay-off that never came. I approach Barney’s work like those 3-D mind maps that if you stare at long enough, reveal a picture. It’s like, if I keep at it, something will come through.
I’m still waiting.
“People go to a Matthew Barney show hoping to be shocked or offended or violated or creeped-out,” explained Weinstein. “Even moreso than hoping to see Bjork.”
Oh yeah, Barney and Bjork are an item. They share a child and a similar sensibility that renders them hip, edgy and abstruse. The artist was nowhere in sight. I imagined him canoodling in a nearby zeppelin with his rock-star girlfriend and a big bowl of concord grapes.
His latest film, Guardian of the Veil, is, as far as I could tell, another lengthy, inchoate exploration into Barney’s incomprehensible mythology.
Weinstein, all dandied-up in black velvet with pink accents, gave my friend Nina and I the Cliff Note version of the new film complete with wildly gesticulated improvisation and colorful descriptions of a woman in “like, a hoodie, but with sixty hoods,” and a naked woman urinating.
“Was she really urinating?” I asked.
“Uh-huh,” he enthused, wide-eyed, grinning from ear-to-ear. “It was, like, the best part of the movie.”
Weinstein, an idiot-genius of sorts and a talented artist in his own right, loves Matthew Barney.
“It’s like couture meets The Chronicles of Narnia,” he riffed. “He does it so unapologetically without flinching. I don’t get it, but I can’t stop looking at it.”
He gushed enthusiastically about Barney’s mysterious, disassociative explorations of sex and violence and bodily fluids, and his ability to move freely, and deftly, between various media – sculpture, painting, drawing and film.
I gave it one last try, going nose-to-glass with the faint, chalky sketches that hung between a smattering of larger photographs of smashed cars. But, aside from a cute boy wearing a stripey scarf and holding tightly to the leash attached to his dog, there was nothing at Regen Projects to excite me.




























The Ninja's biggest problem is that he just wasn't very funny. Patton Oswalt on the other hand, who went on before the Ninja, killed the audience in a way the Ninja can only dream about. In full-on computer geek mode, Oswalt dreamed about only communicating with the world through MySpace messages. YouTube, he said, allows us to act like demented Roman Emperors, demanding to see gay pandas and farting Republicans for our enjoyment. 









