REVIEWS

/ ANDREW BERARDINI
pascALEjandro’s “Alchemical Love”

BLUM AND POE, Los Angeles

View of pascALEjandro’s “Alchemical Love,” Blum & Poe, Los Angeles, 2018.
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Andrew Berardini

For true mystics, there is no division between the real and the spiritual. The symbolic folds into our lives, shaping the world and us in it. The cool kiss of rain can be a curse or a blessing from the gods. Stumbling in the street en route to meet your... continue reading
Elaine Cameron-Weir’s “wave form walks the earth”

HANNAH HOFFMAN GALLERY, Los Angeles

View of Elaine Cameron-Weir’s “wave form walks the earth,” Hannah Hoffman, Los Angeles.
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Andrew Berardini

The medieval wardrobe of a sadomasochist, the secret torture chamber gear of a conflicted superhero, grim relics of gods from the deepest abysses of a broken dimension, or, as they truly are, artworks, sparsely hung, dangling from ropes, splayed like bodies, and rippled into curtains of parachute silk, with one... continue reading
View of Brian Bress’s “In Lieu of Flowers Send Memes,” Cherry and Martin, Los Angeles, 2017.
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Andrew Berardini

Here’s the latest Spring menswear line worn by the hottest male models of the twenty-eighth century, those jaunty scions of cyborg overlords. Our wetwear bodies found a hardware durability after we and our machines, long flirting, finally coupled. Moodily lit with mint and hot pink, humanoid bods sport flight jackets... continue reading
Marnie Weber, The Day of Forevermore, 2016.
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Andrew Berardini

During the day, Halloween masks look pretty cheesy. Hanging from the drugstore rack’s seasonal aisle under the terrible clarity of fluorescents and the afternoon sun, it’s hard to image these killer clowns and fat-cheeked Frankensteins frightening anyone. Their warped faces and weeping pustules, yellowed horns and sharpened teeth, all a... continue reading
Laida Lertxundi, 025 Sunset Red, 2016.
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Andrew Berardini

I’ve lost all my pride I’ve been to paradise And out the other side. With no one to guide me, Torn apart by a fiery wheel Inside me. –The West Coast Pop Art Experimental Band’s “I won’t hurt you” (1966), heard in Laida Lertxundi’s Vivir para Vivir / Live to Live (2015) In LA, everyone’s Marlon... continue reading
View of Simone Forti's "On An Iron Post," The Box, Los Angeles, 2015.
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Andrew Berardini

Dear Simone, Your performances are the jump and splash of a brook, the color of a found leaf, a painted flag wrapping a woman as the river dances around her. At 80, your nimble movements inspire. When I stop to read back about your lifetime of accomplishments and confluences, I can’t... continue reading

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GALLERY

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Abc
Bq
Kow
M+B
Non
Vw

ARTIST

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Marion
ArtAsiaPacific
Air the paris
Aperture
Xavier Hufkens
Afterimage
Vitamin creative space
P420
Deweer
Carolina Nitsch
MIA Art Fair
The breeder
Friedrich Petzel