#omer fast

[alchemisedsenlinyu]

remainder (2015) dir. omer fast

[tsintotwo]

Tom Sturridge in Remainder (2015)

[lancialote]

"Remainder" (dir. Omer Fast)

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[memoriafilmica]

Remaider.

(2015) Omer Fast.

[mentaltimetraveller]

Omer Fast

Der Oylem iz a Goylem, Salzburger Kunstverein, Austria, July 26 - October 6, 2019

[skowhegan]

Firelei Báez (’08), Omer Fast (F ‘12), Michelle Grabner (F ‘15), Trenton Doyle Hancock (’97), Yun-Fei Ji (F ‘08), Byron Kim (A`86, F `99 `13), Richard Long (F ‘92), Josiah McElheny (F ‘08), and others James Cohan: Twenty Years James Cohan 48 Walker St. and 291 Grand St., New York, NY November 1 – December 20, 2019

[blakegopnik]

THE WEEKLY PIC: Head into the front gallery at James Cohan, on the Lower East Side in Manhattan, and you get to see a classic Omer Fast video playing there on a flat screen. “Looking Pretty for God (After G.W.)” explores our funerary culture  through interviews with several morticians and footage of bronze caskets and stainless-steel body-prep tables.

This being Fast, however, nothing is as straightforward as I’ve made it sound. The morticians’ words are often shown coming from the lips of small children being made-up for a cheesy photo-shoot – the labors that go into saving face at the end of life being made to parallel our earlier face-saving.

More tellingly, the accounts that Fast’s morticians give of their craft could often be coming from the lips of artists: One funeral director talks about a revamped corpse as “a piece of work you’re going to put out in front of everybody”; another describes the narrative he strives to capture in each body he prepares. Fast’s video, with its extreme artifice, has obvious echoes of the mortuary regime that it documents, as both strive to pull us into their fantasies.

At Cohan, Fast proves to be the more dogged fantasist. In one of the bolder, stranger moves to hit the New York art scene in a while, Fast has recast his dealer’s posh, white-cube gallery in perfect simulation of a scruffy discount store – the kind you’d have expected in this corner of Chinatown before gentrification set in. A pair of cheap ATMs stand on mismatched floor tiles; Fast’s flat-screen is flanked by lacquer-red paper lanterns.

Just as Fast’s morticians try to return a corpse to some earlier, more “natural” state (without really knowing when or if such a state might have existed), so Fast turns back the clock on the gallery’s real estate, giving it the healthy glow of a fluorescent-lit calling-card shop.

After Fast’s show, when the gallery goes back to its pristine white walls and modernist fixtures, will the “afterlife” it presents be an image of heaven or hell? I guess that depends on how you choose to mourn the passing of a city we knew in its younger days. (Photo by Phoebe d’Heurle, courtesy James Cohan)

 For a full survey of past Pics visit blakegopnik.com/archive.

[tsintotwo]

Hostage x Remainder (THIS IS JUST TOM + KISSES FANCAM Y'ALL)