Latin American Art Triennial Shows How Bonds Transgress Borders
An oil painting on canvas by Martin Riwnyj of Argentina, titled “EXODO.” (Photo Credit: Brittany Aufiero)
By Brittany Aufiero
The Lehman Art Gallery premiered “Progressive Transition,” a new art show that raises awareness about geographical and emotional transitions Hispanics and Latin Americans have experienced worldwide, recognizing their contributions to the history, heritage and culture of the U.S.
The exhibition brings together art by 21 artists from eight different Latin American countries, and was organized by the Bronx Hispanic Festival, Inc. as a part of New York’s Latin American Art Triennial, a series of exhibits that will be showcased in 10 galleries across New York City, including BronxArt Space, Queens College Art Center and Boricua College Art Gallery.
Each unique piece is representative of a different Latin American artist, all with their own perspectives on the transitions they and those they care about have faced. Vividly colorful, the pieces appear to come alive as one makes their way deeper through the gallery.
Gracing the entrance is “Roots and Rises,'' an installation by Dominican Republic-born artist Iliana Emilia Garcia. Traditional wood-and-wicker chairs from the Caribbean wrap elegantly around the base of the gallery’s iconic rotunda, suspended from the ceiling and interconnected by thin wire. The display is a vision of history and transcendence that acknowledges ordinary objects as powerful symbols of a shared human experience.
The use of chairs, common tools of physical support, also suggest networks of emotional support between individuals that can be crucial to anyone undergoing a major transition. “Roots and Rises” perfectly captures the sense of how, through the sacrifices of those who came before us, we can rise to even greater heights, just as the chairs rise up to the ceiling.
Garcia has also used chairs in her earlier work, such as in her installation “The Sage and the Dreamer,” featured in the 2018 exhibition “Bordering the Imaginary: Art from the Dominican Republic, Haiti and Their Diasporas,” curated by Abigail Lapin Darshati. Like “Roots and Rises,” it was site-specific and depicted chairs as a treasured cultural heirloom and source of commonality.
In another room, the wall installation “Borders” by Ezekiel Taveras makes a powerful statement about the complex relationship between Dominican Republic and Haiti. Despite sharing the former Hispaniola island, the countries have vastly different beliefs and cultures, which often clash. Taveras’ piece utilizes rope held in place by pegs to signify the contrasting worlds of the two countries, which are divided by a black painted gash.
Even as they remain separate, Taveras connects them through a metal, umbilical cord-like link between the hearts of the Dominican Republic and Haiti. “Borders” is a moving installation that conveys how the strength of heart that underlies the people’s convictions in both countries is ultimately a unifying force.
The gallery’s curatorial assistant, Laura J.A. De Riggi, served as the project’s venue coordinator, working closely with Director Luis Stephenberg and Chief Curator Alexis Mendoza to curate the featured installations in Lehman’s unique art space.
De Riggi emphasized the fact that the artists’ countries of origin are explicitly printed beside their names on the wall plaques describing their pieces. “Immigrants who leave their homes and settle elsewhere experience a great shift in their lives, not unlike the shift freshman students experience when they make the transition from high school to college. It’s important for these students, especially, to see their heritage represented when they walk through the gallery,” she said.
Open to the public until Jan. 25, 2020, “Progressive Transition” is an engaging portrayal of Latin American life and cultural significance. The powerful art it showcases testifies how influential an individual’s origin can be to their future growth.
‘The Addams Family’ Makes a Fun and Spooky Return to Theaters
‘The Addams Family’ (Photo Credit: Universal Pictures)
By Nelson Fernandez
They're creepy and they're kooky, and they’re back on the big screen. More than two decades since its last appearance in 1998, the new ‘Addams Family’ film was released on Oct. 11 that features the scary-yet-lovable gang, rendered in 3D computer animation. The animators at MGM Studios did a splendid job recreating the famous fictional family using modern animation tools, and the transitions from dark and gritty scenes to bright and colorful settings capture the comical tone of the characters as well as the film’s story.
Directed by Conrad Vernon, known for the film series ‘Shrek’ (2001-2010), and Gregory Tiernan, whose 2016 debut was ‘Sausage Party’, “The Addams Family” grossed $59.6 million in just one week. It has come a long way from its humble beginnings. Originally a comic created by cartoonist Charles Addams in 1938, it was later adapted into a black-and-white sitcom that lasted four seasons from 1964 to1999. The humorously dark family had been a nostalgic childhood memory before the announcement that a computer-animated reboot was in the works.
This history means that most of the audience who grew up with the live-action films and shows were displeased with the CG character style, as they ignore current designs resembling Charles Addams’ original vision for the family back in the 1930s. While it is understandable for older fans to criticize the animation based on previous adaptations, the comic reboot turned out surprisingly well.
Morticia and Gomez in ‘The Addams Family’ (Photo Credit: Universal Pictures)
The screenplay, written by Matt Lieberman and Pamela Pettler, tells a simple story about the family’s desire to be their creepy selves in peace. As seen in the film’s opening sequence, Gomez, voiced by Oscar Isaac and Morticia, by Charlize Theron, are attacked by pitchfork-wielding villagers during their wedding, simply for being perceived as too scary.
In search of a new life, the newlyweds drive off to live in an old haunted asylum they love. Soon after, audiences are introduced to new additions to the family: the lovable and violent children. Their daughter Wednesday is played by Chloe Grace Moretz, and son Pugsley, by Finn Wolfhard. The rest of the film makes the topic of character differences throughout the narrative, showing how people can be brought together, as opposed to torn apart.
At one point, the Addams’ prepare for “Mazurka,” a coming-of-age ceremony for young men in the family, whose traditions include performing a dance with a sword passed down to each male member in recognition of their ascension to manhood. However, Pugsley prefers explosive artillery over swords and struggles to express his true self during his turn.
Wednesday, on the other hand, finds conflict when she meets Parker (Elsie Fisher), a classmate who prompts her to begin attending junior high school. While spending time together, the new friends switch clothing styles; Wednesday decides to wear pink and a unicorn hairpin while Parker shaves her hair and dons all black, “going goth.”
Furious at her daughter’s transformation, Parker’s mother Margaux Needler, voiced by Allison Janney, commits herself to make the Addams family’s home brighter, more colorful, and “normal.”
‘The Addams Family’ (2019) may have a simple story to tell, but it teaches the moral of dealing with and accepting differences in people and their cultures, which is always an important topic to discuss. This dark comedy is entertaining, and any family would enjoy watching it together.
“The Testaments” Proves Margaret Atwood Still Has What it Takes to Enthrall Readers
“The Testaments” (Photo Credit: Penguin Books)
By Kadija Doumbia
While Margaret Atwood’s, “The Handmaid’s Tale,” remains successful both in bookstores and on screen, its sequel, “The Testaments,” also continues to gain mass critical acclaim, selling over 120,000 copies since its release two months ago. Fans of dystopias and realistic horror novels, or even casual readers will likely find this book a worthwhile read, and those who waited anxiously with high expectations of the book will not be disappointed.
In both, “The Handmaid’s Tale,” and “The Testaments,” handmaids and other women are second-class citizens in the Republic of Gilead, expected to bear children for the infertile wives of powerful men, in a world ravaged by toxic wastes from nuclear fallout.
Conventional styles suggest reading “The Handmaid’s Tale” first works best, but reading “The Testaments” as a stand-alone novel promises fun as well. The sequel conveys the hopelessness its protagonist Offred feels about her new world and carries a more positive tone, focusing on the promising future Agnes and Daisy represent.
“The Testaments” continues from the ending scene of “The Handmaid’s Tale,” where Offred escaped Gilead with Nick alongside a group of men posing as “The Eyes,” the states’ secret police. The plot picks up 15 years after and follows the story of two half-sisters named Daisy and Agnes who were raised in completely different worlds.
Atwood gives the sisters an agency that Offred did not have as a Handmaid; their personalities and environment gives life to the story and reveals the characters’ differing attitudes and actions. While Daisy grew up in Canada with her adoptive parents among women who benefit from human rights and privileges, such as reproductive freedom, Agnes knows no liberty living in Gilead, the same society as her birth mother.
One of the most surprising moments of the book takes place in chapter three, where readers are given an inside glimpse into the life of the mysterious Aunt Lydia.
Throughout the series, Aunt Lydia, who is responsible for disciplining and training the handmaids on childbearing duties, served as a source of terror more than an instructive figure. Her character exists to prove that women, too, are complicit in their own oppression within Gilead.
In “The Testaments,” she describes herself, “I’m a bugaboo used by the Marthas to frighten small children - if you don’t behave yourself Aunt Lydia will come and get you! I’m also a model of moral perfection to be emulated.”
Aunt Lydia is one of the most powerful women in her society, and seeing the world through her image within the novel is a fascinating experience. Her legendary status is addressed when a statue is erected in her honor, which both terrifies and flatters her.
At almost 80 years old, Margaret Atwood has demonstrated through “The Testaments” that she still has what it takes to turn fictional accounts into hot topics of the 2010s. Indeed, Atwood won her second $50,000 British pound Booker Prize for Fiction in London on Oct. 14 this year, sharing the award with Bernardine Evaristo, who released her novel “Girl, Woman, Other.”
Margaret Atwood (Photo Credit: Wikipedia )
With her latest fantasy of a dystopian world with a realistic twist on our present-day world, it’s no wonder the book has gained such traction in such a short time. “The Testaments” is an emotional rollercoaster readers won't want to miss.
Bronx Female Celebs Shine in Feminist “Goodfellas”
‘Hustlers’ Movie Poster (Photo Credit: STX Entertainment)
By: Sally Barrilla
Audiences flooded theaters to see stars Constance Wu, Keke Palmer, and well-known Bronxites Cardi B and Jennifer Lopez in “Hustlers.” The film tells the story of Ramona (Jennifer Lopez), Diamond (Cardi B), and Destiny (Constance Wu), who desire success despite being extremely poor women of color.
Though there’s a heavy stigma surrounding stripping, “Hustlers” excels at humanizing its characters and shows stripping as a good way of earning money, especially for a diverse group of responsible and driven women of color. It rapidly became a hit, earning $121 million dollars at box offices worldwide as of Oct. 11.
This plot reverses the trope of the usual male cast, portraying a bunch of workers-turned-criminals. Instead, director Lorena Scafaria’s all-female cast emphasizes that women are as capable as men.
Their rise starts amidst the 2008 recession when they decide to work together to take their money-making struggles to the next level. These women’s decision to include rich white men in their scheme to earn some extra cash through the use of drugs classifies them as modern-day “Goodfellas.”
In one powerful scene, Ramona explains to Destiny her motive behind secretly drugging wealthy men and robbing them. Her views on how the world run includes that the poor are constantly oppressed. With a glare in her eyes, she tries to justify her actions to Destiny.
She argues that the poor end up losing more money than they gain, whereas most Wall Street employees take home more of the bacon. Attempting to prove that even in a capitalist society, money is the key factor that makes the world go round, Ramona tells Destiny that it is their time to shine with more money in their pockets.
Although Destiny is hesitant to participate in the scheme, she remembers her grandmother and young child, Lily, at home. Her house is about to be foreclosed on, due to lack of payments, which will leave her grandmother on the street. Since she cannot afford proper childcare for Lily, and does not have a college degree, Destiny has difficulty getting a job. As she clearly narrates her struggles, Destiny’s desperation along with Ramona’s words justify taking any necessary action to make some money.
“The way those women helped each other is how women, in general, should be building each other up and helping one another.”
Though Diamond, played by Cardi B, does not get much time on the big screen, she takes on a role as a caring, confident, and funny companion from the Bronx who also teaches Destiny how to work the pole and make clients come back for more. As a result of her colorful vocabulary, Diamond comes off as a rude person trying to make money, but the more of Diamond audiences see, the more hilarious she becomes. Her character doesn’t hinder other girls from making money nor from showcasing their skills; rather is she a fun-loving girl who is willing to cash in a few bucks any way she can.
Cardi B and Jennifer Lopez’s roles in the film symbolize how ordinary individuals can rise above their circumstances to make something of themselves, and Lehman students overwhelmingly supported their resilience.
Constance Wu and Jennifer Lopez in ‘Hustlers’ (Photo Credit: STX Entertainment)
“I wanted to see the movie since the first time it was announced, and honestly, I think it shows strong women who were trying to make it the best way they could,” said 25-year-old senior English major, Davidia Boykins. “Yes, stripping is frowned upon, but some of the women in that movie have kids, so they're just trying to provide for their kids. The way those women helped each other is how women, in general, should be building each other up and helping one another.”
'Joker' Gives a Chilling Portrayal of Mental Illness
Joaquin Phoenix in ‘Joker’ (Photo Credit: Warner Bros. )
By Keisha Paul
A gripping psychological thriller, “Joker” is a must-see for the uninitiated, as much as for DC fans who will appreciate the effort put into the eccentric portrayal of the Joker as a known villain in the DC universe. Other fans may find the portrayal of psychological imbalance intriguing, and possibly relatable.
The film was produced by Warner Bros. Pictures, DC Films, and Joint Effort. It was written by Todd Phillips, known for “Old School” and “The Hangover;” and Scott Silver, known for “8 Mile” and “The Fighter.” The iconic movie is on track to become one of the most profitable superhero movies in history, according to Variety. It surpassed gross estimates of approximately $90 million during its opening weekend in North America on Oct. 4, later becoming the seventh highest-grossing film of 2019 with a total of $849.1 million recorded worldwide.
Through the main character, Arthur Fleck, it explores the circumstances and living conditions of the Joker who would someday become Batman’s most well-known nemesis. Set in Gotham City in 1981, the film grants audiences a glimpse into how traumatic life events can cause and worsen mental illness. A failed stand-up comedian, Fleck lives with his aged mother in poverty in a high-crime area. He also suffers from an uncontrollable nervous system disorder that causes him to laugh during inappropriate situations. Despite his troubles, he continues to write jokes, take care of his mother and see a therapist to try to overcome his issues.
However, multiple incidents make him bitter and angry, bringing him to his breaking point. At the beginning of the movie, he is attacked by a group of kids while advertising for an entertainment company. The kids steal his sign and beat him with it. When his boss scolds him for not returning the sign and abandoning his shift, he tries to explain what happened but to no avail. His boss demands that he either gives the sign back or pay for it out of his paycheck.
On his way home, Fleck witnesses three guys harassing a woman on the train. He tries to ignore it, but due to his disorder, he laughs uncontrollably. Subsequently, the men turn their attention towards him and beat him violently. In what is considered the key turning point of the film, Fleck commits his first offense and feels liberated because of it.
Joaquin Phoenix in ‘Joker’ (Photo Credit: Warner Bros. )
Fleck’s transformation is a thrilling experience to watch as his suppressed feelings of wanting to retaliate towards his offenders are finally released. In this eerie scene, the music and Fleck’s dancing show the dark path Fleck has descended upon.
Understanding the Joker and his motives is difficult when there are no known reasons for his behavior. The film gives us the background story that we’ve all been missing, and seeing it in the theater makes the experience more exciting with the amplified sound system. Throughout the plot, the music paired with the Joker’s unique dance routine plays a key role in the tone of the movie.
What stands out the most is the effort put into Fleck’s physical appearance. He was really skinny, which shows that not only was he physically deprived because of his poor economic status, but he was also emotionally deprived of healthy relationships throughout his life. Arthur’s mental disorder and reliance on social services and medication are issues that many impoverished people face today. Overall, the movie is worth seeing as viewers finally understand how Arthur Fleck becomes the Joker.