#phong bui

Richard Serra: Rolled and Forged, Gagosian, New York, NY, 2006 [Art: © Richard Serra]

Phong Bui (phong.h.bui)

Gillian Wearing

Bruce Conner, November 18, 1933 - July 7, 2008.

Phong Bui (phong.h.bui)

David Lynch

Phong Bui (F ‘06), Paul Pfeiffer (F ‘05, ‘10, ‘16) The New Social Environment  #79 The Brooklyn Rail Online  Monday, July 6, 20201 p.m. Eastern / 10 a.m. Pacific

Genesis Breyer P-Orridge pioneered performance art with h/er group COUM Transmissions (1969–1976) and is considered the father of Industrial Music with h/er band Throbbing Gristle (1975– 981). In 1981, P-Orridge formed the influential band Psychic TV, and Thee Temple ov Psychick Youth (T.O.P.Y.) as a magical network to advance alternative social ideas.

 In 1993, P-Orridge married Lady Jaye Breyer and the two commenced a series of surgeries to become a hybrid “pandrogyne” figure called BREYERP-ORRIDGE, a process documented in the acclaimed film The Ballad of Genesis and Lady Jaye by Marie Losier (2011). 

With the pandrogyne project, BREYER P-ORRIDGE began to use s/he, h/er, and first-person plural pronouns exclusively. While long considered a living legend in the music world, h/er work is only recently included in the larger narrative of art history and performance, a reconsideration signaled by the acquisition of h/er archives by the Tate and a full scale retrospective currently on view at the Andy Warhol Museum in Pittsburgh (GENESIS P-ORRIDGE: S/HE IS HER/E up through September 15th).

 This month the French publisher First Third Books will bring out an expansive collection of photographs drawn from a half century of Breyer P-Orridge’s life as art, edited by the artist Leigha Mason and music journalist Mark Paytress. Genesis Breyer P-Orridge sat down with Jarrett Earnest in h/er Lower East Side apartment to discuss the relationship between language, sex, power, and the future of art

11/22/2014 Red Bull Studios, New York, New York

Sometimes when I write these posts, I get a mini panic attack of remembering my other favorite exhibitions I’ve seen. Sometimes it’s just so overwhelming to think and grasps my feelings about all of the art that has influenced my creative thinking. I guess I will have to write them all out. 

Spaced Out curated by Phong Bui is a perfect example of how my mind and brain are expanding and breathing at the same time.  Many things get filter in, and many things get electrocuted at the same time.

I went to visit Red Bull Studios in New York last year, right around fall time in my third semester in graduate school. The timing of art in my life seem to always heal or reflect exactly my anxieties or joys at that moment. Spaced Out is my of my ultimate favorite exhibitions I’ve attended, and I still attend in my memories. Let me put in the curatorial statement. 

Thinking, feeling, intuitive, and sensing, four major functions of the mind, live within their 20th and early 21st century art offspring: conceptualism, expressionism, surrealism, and abstraction. By extension, artworks of these movements can invariable by psychedelically animated. as the contemporary world becomes more dictated by the apparatus of coded language, technological manipulation, political surveillance, and consumerism, psychedelic consciousness offers potential pathways to the unconstructed unknown. 

You know why I was so psyched about this exhibition? It was everything I wanted to do, inclusive artists, many asian culture based artists, immersive sick curator-built environment, large scale installations that changed the interior space, and all the right points an exhibition about the mind should hit. i was immediately taken away by how Bui was able to transfer tis usually dark space into a meaningful space for impressive artwork to exist.

One of the pieces stood out, by Jon Kessler. The darkest corner of the fuzzy second layer (second floor) hidden in the back. It is a innocuous looking block with what seems as an automatic bubble blowing device. It’s cute, and i can hear the mechanical machinery. There was some space behind it, and I walked behind and almost threw up. There is the very Kessler creep, of the uncomfortable subconscious of human made machinery. There was a small boy manicure, so lifelike and white as stone, it was a little too much for me. Inside the exhibition, as though it was a collection of psychedelic idealism, there is always something dark and psychotic in the human consciousness. I loved this afterwards. 

Bui put in a well balanced exhibition, including the extreme highs and self reflective power of the human consciousness and the dark deep seeded blackness inside everyone. During this show, you have intense reaction to the colors, physical touch, and anxieties of the installation.

Usually I take a lot of photos of the artwork, but here, the artwork was mixed into the experience. All of the artist though, on point. Doesn't matter that I have photos of the pieces, you just had to be there. 

Lets talk about the curator. I had the opportunity to meet this eccentric short stout man talk about his experience building this exhibition. He talked about his influences and his curatorial idea which was visually expressed through the colors and feelings of the space. Down to his pot leaf socks you knew who he was, and you knew what he is about. Many idolizing envies flashed before my eyes.