Published by Matt on April 27th, 2011 in Events
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REVOLUCION(ES) is an exhibition of work from the political revolutions across North Africa opening on Thursday April 28th at Instituto Cervantes in New York City, NY. This show is part of the ongoing program Amster Yard Project and it will be on view until May 7.
Photographs filed from the front lines by Samuel Aranda, Michael Christopher Brown, David Degner, Bryan Denton, Mathias Depardon, Guy Martin, Gabriele Micalizzi, Katie Orlinsky, Andy Rocchelli, Luca Santese, Gabriele Stabile, Nicole Tung and Ricardo Garcia Vilanova.
200 13×18 posters featuring work from the show will be available in limited numbers.
Curated by Julien Jourdes (Fovea Gallery) and Matthew Craig (MJR). Design by Elana Schlenker.
Facebook – http://www.facebook.com/event.php?eid=109185432499402
photographs by MUSTAFAH ABDULAZIZ
Curated by Jordan Rockford, the Personal Renaissance portrait series will be on view in Dilworth Plaza at City Hall, Philadelphia, from May 19 through July 29, 2010, with a public opening on Wednesday, May 19, at 5:00pm.
As part of the Porch Light Initiative, a partnership between the Mural Arts Program and the Philadelphia Department of Behavioral Health, program participants at the Act II Center of the JEVS Human Services building in Kensington, North Philadelphia, have been exploring both the personal and the communal process of recovery from addiction through the creation of a new mural.
Sharing its name with that mural project, photographer Mustafah Abdulaziz’s Personal Renaissance portrait series depicts participants from that program in moments of reflection along the journey towards recovery. Large-scale photographs paired with text will be exhibited along the arcades at Dilworth Plaza, Philadelphia City Hall, an active transit hub where people from all walks of life share their daily journey. In sharing the journey of those working towards a renewal of the self, these portraits will bridge a greater understanding of the real nature of human dignity and the paths we all travel in the pursuit of understanding our own.
Mustafah Abdulaziz is a Brooklyn-based photographer, member of the photo collective MJR and his client list includes Newsweek, The Wall Street Journal, and The New York Times.
For more information, please contact Netanel Eliezer, Exhibition Project Manager, at +1 215-685-0729 or firstname.lastname@example.org.
ACT II methadone clinic, 2009.
We are launching our joint publication, Make-Do. For the past few months both MJR and Luceo have been hounding each other through phone, email, FTP, and carrier pigeon. We came up with something pretty sweet. Working with curator Gillian Tozer and designer Nicholas LeMessurier, we have produced Make-Do, a limited edition fine-art publication. Make-Do features the work of all MJR and Luceo photographers beautifully laid out and bound. The magazine itself is limited to 200 copies so make sure to stop by on Thursday for the event. All photographers will be present so come hang out, grab a magazine and enjoy the night with us.
6pm-10pm Thursday January 21, 2010 at 25 Central Park West at 62nd Street. New York, NY
October 31, 2009
Shooting the breeze on the shores of the Atlantic. MJR together at Barnegate Light.
Extraordinary Journeys: Four Visionaries on October 18th at Splashlight SOHO in New York City. As an Offical Event of Lucie Week, MJR’s Mustafah Abdulaziz will be speaking on the artist panel about his travels through South America and showing more work culled from undeveloped film. With Sue Flood, Rachel Papo, Rania Matar.
Mandatory RSVP for artist talk to email@example.com
Sunday, October 18th
Splashlight SOHO – 5.30 p.m.
One Hudston Square (aka 75 Varick Street), 3rd Floor
New York City – 10013
Mustafah Abdulaziz was awarded the Nikon Emerging Professional Grant and accepted to the prestigious Missouri Photojournalism Workshop 61 in September/October of 2009.
Some of this years instructors include: Carolyn Cole, Pulitzer prize winning photographer from the Los Angeles Times; Dennis Dimick, executive editor (environment), National Geographic; MaryAnne Golon, former director of photography of TIME and Jury Chair, World Press Photo 2009.
Photography by Matthew Craig and Julius Metoyer of MJR
The common misconception with regards to the Northwest is that the rain never ceases. And it’s not just any old rain—we’re talking wondrous deluges of biblical proportions.
Still, every year, on what is considered to be the last legitimate weekend of the summer the sun decides to irradiate one last time. It’s as though a prime-mover wiped the bleariness straight from your eyes. People of all colors, shapes and sizes surface from the sinkholes with high hopes of seizing the moment. Everyone drops whatever it is they are doing to soak up that singular concession of sunshine.
Yet whether it be the benign climate or the bustling synergy amidst the multifarious masses, the music is the one magical thread that truly ties the whole experience together.
Performers like Bay Area funk and soul singer Darondo—the man, the myth, the legend—artfully thread the needle. His remarkable journey, albeit tumultuous and murky, is conveyed succinctly in a sermonic slew. And his commanding performance of such relatively neglected hits, particularly the Isley-esque “Didn’t I,” evinces an overwhelming sense of triumph.
The mere mental picture is a delight in many respects, for it has been over thirty years since the release of three stand-out 45s. But perhaps even more satisfying to uninformed onlookers is Darondo’s sexually-driven tone, which tends to be tackled with an innate physical fervor. An excess of groping amidst songs like “Legs” really left nothing to the imagination. Possessing an insatiable sense of prurient curiosity—cherries, whipped cream and all—he is, arguably, as ribald now as he was then.
Between doing the splits and crooning the intense, archetypally woeful tune “How I Got Over,” his salacious grin never faltered. But when all was said and done, it was the voluminous trousers, which billow out around his meager body like a well-worn umbrella, that seemed to encompass a lifetime of staggering disappointments—his seemingly unrequited musical career. Sadly but surely, everything was as it would have appeared in decades past apart from one staggering element: the resounding affirmation of his brilliance. Even so, because the true mark of success does not require recognition from others, Darondo will be regarded as a victor forevermore.
More contemporary acts, like Tel Aviv’s shock-rock troupe Monotonix and Baltimore’s experimental electronic whiz Dan Deacon, clearly flourish on Bumbershoot’s bleeding edge. They do cater to the youthful and rather brazen demographic. But the irrepressible synergy between fringe artist and audience truly befit the moment—as if they had somehow hand-sewn the festival’s very seams.
The scantily clad Israeli rockers of Monotonix, who performed off the stage for less than a quarter of an hour, could only be deterred by forcible appeals. That is to say, their set was cut short by security for safety reasons. A literal pancake of people folding like pleats is, by definition, a rock concert. But the notion of playing an entire set virtually mid-air, atop a sea of open palms, certainly drives the point home. The rollicking foundation of rock and roll is very much alive and kicking—just on the opposite side of the world.
And for however short their set may have been, it seemed like an eternity. Every second stretches out and slows down in a euphoric free-for-all. In the maelstrom of activity, a leg, a guitar, or even a human being in a trash can whip past you. The whole experience—a relatively woozy entanglement—is comparable to a swift yet perpetual rush of blood to the head.
Like most performers that weekend, Dan Deacon fed off of the crowd’s energy; unlike the almost riotous ones though, as he demonstrated in Seattle, he cannot fully supply that energy himself. The Baltimore-bred behemoth of a man relies heavily upon the responsiveness of a crowd. And, much like Monotonix, Deacon shuns the stage, performing literally within the audience. He pounces around like a predator, pummeling toy-like gadgets and singing with one claw-shaped fist in the air.
But no less than measured conduct and orderliness are physical necessities; to perform amidst a brimming crowd, face-to-face and arm-in-arm with fresh-faced fans, utterly drives him. Deacon successfully employs wild games en masse during his zany dance-infused songs. His playful disposition nudges, almost galvanizes, the crowd into action.
And thus it is this sort of unedited, unbearably close interaction that distinguishes the Bumbershoot Festival from the rest. Surely, it is an annual congregation of the arts that draws summer to an idyllic and salubrious close. But it expresses movingly the profound nature of music. No other festival properly conveys the interconnective concepts on which the edifice of music was built.
Like figurative loose stitching, music not only bands people together, but also provides a structural sense of closure. It is an exoskeleton of humanity, so to speak.
LAist.com | Bwank.com
Published by MJR on November 7th, 2008 in Events
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Obama on the TV of the Shangri- La bar, Playa Del Carmen, MX.
Sean Flanigan | firstname.lastname@example.org
Last Sunday afternoon marked the culmination of an emblematic Brooklyn-based band’s career. Whether or not you’ve witnessed one of their performances in a dingy club, like behind the Domino Sugar Factory in South Williamsburg just four months prior, any Brooklynite could supply a lengthy dissertation on MGMT’s short road to success. For it is generally regarded as the product of happenstance and epoch-making psychedelic pop music.
Yet on stage Vanwyngarden and Goldwasser, the true visionaries at the helm of the project, make it perfectly clear that they hadn’t simply succeeded with the aid of some providential wind. Initially, the aim may have been playful, seemingly tongue in cheek. But with McCarren Pool filled to capacity—literally brimming with five thousand some-odd vibrantly clad fans—they were expected to own up to it all.
Notwithstanding a slight line-up change, which finds their previous drummer manning guitar duties, MGMT rocked out steadily and patiently. Now, unlike before, the band seems to will their set into motion with pitch-perfect wailing solos and tight percussive direction. Surefire hits from 2007′s Oracular Spectacular, like “Of Moons, Birds & Monsters,” “The Youth,” “Weekend Wars,” “Time To Pretend” and even the fifteen-minute-long b-side “Metanoia,” are meticulously reconstructed with a contemplative spirit. They are brought to a degree of perfection which fans, both old and new, scarcely see.
Moreover, the band’s unprecedented precision is as rousing as it is surreal. They are now the demigods that they had once, albeit half-jokingly, regarded themselves to be. So perhaps what fans witnessed this past weekend was the Second Coming of MGMT. The very moment in which Vanwyngarden and Goldwasser reinvent themselves.
However, to assert that this magnificent sonic evolution, which extends far beyond their conceptual range, was likely to have happened would be downright fallacious. It was entirely unforeseen. And the lack of any obvious principle is still integral to their allure. But the collective ardor of their disciples will be tempered by conscious volition forevermore. Sunday’s performance revealed a distinctively different MGMT, distinguished by far more mastery and maturity than ever before.
Photography by Matthew Craig of MJR
Joshua Pressman is a Brooklyn based writer and the publisher of www.bwank.com
Many thanks to JELLYNYC and MGMT.