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M 2 3 opens an exhibition of works by Bat-Ami Rivlin
Installation view.
NEW YORK, NY
.-M 2 3 is presenting No Can Do - an exhibition of recent work by Bat-Ami Rivlin. No Can Do is on view 12 February through 21 March 2021.
Re-mesh sheets, foam, zip ties, felt, wood plank. Metal gate, yellow foam, duct tape. Wire, spring. Bat-Ami Rivlins sculptures are titled with industrial incantations, lists of materials that conjure larger systems if only to be released from their terms. While these materials are all described as found, some could plausibly have been found together, like the gate of a chain link fence jutting out from the wall that has been softened by the addition of foam padding at hip-height, as if by a worker who had bumped into its lock or latch one too many times. All of these objects were, in fact, previously used or cast off. Yet here, moved off the construction site or out of the factory or beyond the institution, the materials new arrangements and function
Animal Farm in August 1945, in the closing weeks of the Pacific War. Even then, most naïve supporters of the wartime Soviet-British-American alliance were no longer in denial about the contours of Moscow’s impending postwar communist aggression.
(Article by Victor Davis Hanson republished from AMGreatness.com)
The short, allegorical novel’s human-like farm animals replay the transition of supposedly 1917 revolutionary Bolsheviks into cynical 1930s Stalinists. Thereby, they remind us that leftist totalitarianism inevitably becomes far worse than the supposed parasitical capitalists they once toppled.
Orwell saw that the desire for power stamps out all ideological pretenses. It creates an untouchable ruling clique central to all totalitarian movements. Beware, he warns, of the powerful who claim to help the helpless.
Red Line 7000 (1965)
Critic Nick Pinkerton recently fired out the Twitter provocation that âfor decades nearly the entire weight of the industrial American film criticism apparatus has been put into forcing people to pay attention to Sundance indies that no one will remember in a year when it should have been telling them to just chill and watch Red Line 7000.â With this yearâs Sundance titles already starting to appear on these shores, and said Howard Hawks racing-car drama showing up on Talking Pictures TV this weekend, itâs a fine time to trial his theory. Hawksâ late-period movies have long played the role of a stress test for the auteur theory. Can a fishing movie involving a shot of a bear riding a motorbike (1964âs Manâs Favorite Sport?) be an autumnal masterpiece? Indeed it can. Red Line 7000 is the picture he made just after that, a flabbier return to the speedway thrills and off-track camaraderie of his 1932 The Crowd Roars â one tha