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Man accused of unlawful possession of a firearm

Man with gun face tattoo arrested for unlawful possession of a firearm

The Aural Dissonance of Reza Abdoh

Abdoh and his partner, Brenden Doyle, in Paris, in 1993.
Photograph courtesy Estate of Reza Abdoh

The New Yorker: It is always startling to hear the dead breathe again, speak again. Reza Abdoh, one of the more profound and original theatre artists of the twentieth century, died, of AIDS, in the spring of 1995; he was thirty-two. And yet it’s his voice—political, inconsolable—that we have the privilege of hearing once again in “Reza Abdoh” (at MOMA PS1), the first large-scale retrospective devoted to this Iranian-born spinner of epic, omnivorous tales about queerness, AIDS, American TV and violence, the cult of celebrity, and the gay child’s relationship to the patriarchy. Co-curated by the museum’s director, Klaus Biesenbach, and Negar Azimi, Tiffany Malakooti, and Babak Radboy, of Bidoun, the show is a marvel of archival research and curatorial empathy, paying the kind of attention that Abdoh craved for most of his professional life but had trouble receiving.

In the exhibition’s six rooms, monitors flicker with scenes from the nine productions that Abdoh wrote and directed, including “Peep Show” (1988), which was staged in a derelict motel in Los Angeles and featured sometimes scantily clad performers, full of testiness and threat, acting out scenarios about porn, drugs, and the Contras. Two years later, in New York, Abdoh, with his brilliant company, Dar A Luz, devised “Father Was a Peculiar Man,” an event that took place in the ungentrified meatpacking district, where the air smelled of offal and the cobblestones were slippery with blood. Amid all that, Abdoh’s performers reënacted President Kennedy’s assassination; it was a show that tore apart the idea of heteronormative masculinity as strength, as damage >>>

Enduring heritage

Man watching the World Cup on the big screen in Plaza de Armas.

Living on the edge

Valentino on the patio of my friend and neighbor Jeremy.

Let them in

2018 World Soccer Cup, Saint Petersburg, Russia

Thank you Morocco!

The New York Times: After a chippy, unsatisfying game, Iran won its World Cup opener against Morocco on Friday in St. Petersburg, 1-0, thanks to an own goal in added time.

Trying to clear a last-second ball across the goalmouth, Aziz Bouhaddouz of Morocco dove for a header, and the ball went unerringly into the corner of his own net.

It was a hard result for Morocco, which played the more enterprising, offensive minded game. The team had several chances that fell short during the contest, but at least looked like getting a point, until the terrible finish.

Both teams, but especially Iran, engaged in a great deal of physical play, and numerous players from both sides hit the turf with injuries throughout.

While Morocco occasionally threatened to score, Iran failed to trouble the goal much at all, taking many of their shots from 40 yards or more and unsurprisingly failing to convert them >>>

Khayyam Fountain: Monir Farmanfarmaian

Triennial Bruges 2018: Liquid City has invited international artists and architects to reflect on how flexible, fluid, resilient a historic city like Bruges can be at a time when nothing seems certain... The Iranian artist imagines the perfect city. The tower, built from repetitive geometrical crystal structures inspired by patterns from the mystical Sufism, reflects our ideas and dreams about a new society.

In Khayyam Fountain, Monir Shahroudy Farmanfarmaian gathers together various aspects of her visual alphabet, inspired by Sufi mysticism. The geometrical patterns are piled up as multilayer volumes to form a glass fountain. The three-, four- and even eight- or nine-sided shapes are alternately twisted and cut out into a hollow sculptural installation. Each element has its significance, such as the triangle, which can represent the human being. With four points on the circumference of a circle, you can draw a square, the angles of which point in the four cardinal directions; the sides of a pentagon can stand for the five senses and the angles of a hexagon symbolize virtues. Inspired by mirror mosaics and stained glass in ancient palaces and temples in Iran, the artist uses light and glass to create a fantastical play of refractions, with an evocation of water as a symbol of clarity and life >>>

Russia 5 - Saudi 0 - No Sword Dancing in Moscow!

Offerings

Holding offerings to the Inca king, at Maukallaqta festival recreating one of the myths about how the dynasty was born.

Rare beauty

Poncho woven in 1970 in Combapata, Peru. At Arte Antropologia store in Cusco. Approximately $2,000.

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