Beruflich Dokumente
Kultur Dokumente
CREMASTER
CYCLE
SINOPSIS
4
THE CREMASTER CYCLE
CREMASTER 1
8
CREMASTER 2
12
CREMASTER 3
14
CREMASTER 4
18
CREMASTER 5
20
ENGLISH VERSION
24
PROGRAMACIN - PROGRAM
32
CRDITOS - CREDITS
34
15-20.MAR.2016
THE CREMASTER CYCLE
4
SINOPSIS
7
THE CREMASTER CYCLE
8
CREMASTER 1
1996
Duracin: 40
9
10
11
THE CREMASTER CYCLE
12
CREMASTER 2
1999
Duracin: 79
13
THE CREMASTER CYCLE
14
CREMASTER 3
2002
Duracin: 182
15
16
17
THE CREMASTER CYCLE
18
CREMASTER 4
1995
Duracin: 42
19
THE CREMASTER CYCLE
20
CREMASTER 5
1997
Duracin: 55
21
THE CREMASTER CYCLE
22
CRDITOS
CREMASTER 1 CREMASTER 4
Escrito y dirigido por Matthew Barney Escrito y dirigido por Matthew Barney
Producido por Barbara Gladstone Producido por Artangel, James Lingwood,
y Matthew Barney Matthew Barney
Director de fotografa: Peter Strietmann Producido en asociacin con Fondation
Equipo de produccin: Chloe Piene, Cartier pour lArt Contemporain,
Paul Pisoni, Robert Wogan Paris, Barbara Gladstone Gallery,
1995 Matthew Barney Nueva York, con el apoyo de
The Arts Council of England
CREMASTER 2 Director de fotografa: Peter Strietmann
Escrito y dirigido por Matthew Barney Productor asociado: Herv Chands
Producido por Barbara Gladstone Asistente de director: Tom Johnson
y Matthew Barney 1994 Matthew Barney
Director de fotografa: Peter Strietmann
Msica compuesta por Jonathan Bepler CREMASTER 5
Productor asociado: Chelsea Romersa Escrito y dirigido por Matthew Barney
Diseo de produccin: Matthew D. Ryle Producido por Barbara Gladstone
1999 Matthew Barney y Matthew Barney
Msica compuesta por Jonathan Bepler
CREMASTER 3 Director de fotografa: Peter Strietmann
Escrito y dirigido por Matthew Barney 1997 Matthew Barney
Producido por Barbara Gladstone
y Matthew Barney
Director de fotografa: Peter Strietmann
Msica compuesta por Jonathan Bepler
Productor asociado: Chelsea Romersa
Diseo de produccin: Matthew D. Ryle
Maquillaje y efectos especiales:
Gabe Bartalos
Diseo de vestuario: Linda LaBelle
Diseo de iluminacin: Chris Winget
Diseador asociado de produccin:
Hal McFeely III
Supervisor de produccin: Jessica Frost
Manager de produccin:
Kristin Schattenfield
Supervisor de efectos especiales:
Matthew Wallin
Supervisor de grficos digitales especiales:
Adam Martinez
Equipo de produccin: Kanoa Baysa,
Nicholas Emmet, Chris Hanson,
Dow Kimbrell, Michael Koller
Supervisor de post-produccin:
Christopher Seguine
Maquillaje: Regina Harris
2002 Matthew Barney
23
THE
CREMASTER
CYCLE
THE CREMASTER CYCLE
26
SYNOPSIS
events, but also in the spaces, objects architecture. This figure synthetizes the
and signs that construct the aesthetic body, its cavities, and the spatial struc-
universe of Matthew Barney. This sys- tures that envelop it.
tem of meanings is adapted to the With the emblem as basis, Barney
goals of each episode; even though designed a logo or insignia for each
Barneys vision is evident throughout chapter in the Cremaster. The first
the cycle, each part offers its own aes- shows Goodyears winged boot; the
thetic resources. second arranges a beehive with the
A main characteristic of the proj- American Flag and the Canadian Red
ect is the preponderance of the visual Ensign; the third includes the Masonic
and the near-absolute absence of dia- symbol, a two-headed eagle and the
logue. The sequence of events, the Chrysler Building; the fourth presents
introduction of characters and their the triskelion of the Isle of Man; and
interactions, are framed by places and the fifth a stylized fleur-de-lis. These
objects, as well as a sophisticated cos- badges appear in different forms in the
tume and makeup design. The score, movies, contributing to their symbol-
composed by Jonathan Bepler, plays ism and narrative.
a fundamental role in the creation The five parts that conform the cycle
of moods. In a predominant way, the were not produced in order. The first
aesthetic of the Cremaster is made installment was Cremaster 4, in 1995;
patent in the use of materials and then followed episodes 1, 5 and 2, and
objects. Vaseline, a central material in finally 3, completed in 2002 and with
the work, is put in dialogue with plas- the longest duration (almost three
tic, cloth, metal, fluids. The sculptural hours). This sequence suggests that
components created for the movies the cycle can be read in multiple man-
are acknowledged as integral to the ners; the narratives refer to each other
workBarney considers the Cremaster and can be interwoven without a linear
to be more of a sculptural project than determination. The Cremaster is, after
a cinematographic one. all, a cycle, and reflects in its structure
Another important element is space, the recurrent conditions that implicate
which is frequently interior, personal the individual. In this way, the project
and almost claustrophobic. The inte- opens up possibilities for interpreta-
rior of a tunnel, a car, an elevator or a tion, allowing us to find in a certain
table; being under water or earth; the character, a certain cavity, something
intimacy of the mouth or the crotch; of ourselves.
all these interstices frame the themes
of the films as individual, hidden and
vulnerable. In this way, the vicissi-
tudes of the body unfold in space; both
manifest the limits of the individual.
This condition is also symbolized with
the field emblem, a stadium bisected
by a horizontal bar that predomi-
nates in Barneys graphic vocabulary.
This emblem alludes to the body as
a closed organism, but also works as
an iconic backdrop and as a field, an
27
THE CREMASTER CYCLE
28
SYNOPSIS
29
THE CREMASTER CYCLE
WMATTHEW BARNEY
30
CREDITS
31
PROGRAMA - PROGRAM
JUEVES - THURSDAY
17.03
32
PROGRAMA - PROGRAM
VIERNES - FRIDAY
18.03
33
Crditos de imgenes - Images Credits Este libretto fue publicado por Fundacin
Jumex Arte Contemporneo con motivo de
pp. 8, 10-11 la proyeccin de The Cremaster Cycle [El Ciclo
Matthew Barney Cremaster], Organizado por Rosario Nadal
CREMASTER 1, 1995 e Ixel Rion en Museo Jumex
Still de produccin - Production still
1995 Matthew Barney This libretto was published by
Fotografa - Photo: Michael James OBrien Fundacin Jumex Arte Contemporneo
Cortesa - Courtesy: Gladstone Gallery, on the occasion of the exhibition of
Nueva York y Bruselas The Cremaster Cycle [El Ciclo Cremaster],
organized by Rosario Nadal and Ixel Rion
p. 12 in Museo Jumex
Matthew Barney
CREMASTER 2, 1999
Still de produccin - Production still Coordinacin editorial
1999 Matthew Barney - Editorial Coordinator
Fotografa - Photo: Chris Winget Blanca Sotos
Cortesa - Courtesy: Gladstone Gallery, Textos - Texts
Nueva York y Bruselas Gabriel Villalobos
Diseo - Design
pp. 14, 16-17 Mariciris Herrera, Emilio Prez
Matthew Barney Estudio Herrera
CREMASTER 3, 2002 Traducciones - Translations
Still de produccin - Production still Gabriel Villalobos
2002 Matthew Barney Imgenes cortesa - Images courtesy
Fotografa - Photo: Chris Winget Gladstone Gallery, Nueva York
Cortesa - Courtesy: Gladstone Gallery, y Bruselas
Nueva York y Bruselas
Fundacin Jumex Arte Contemporneo, 2016
p. 18
Matthew Barney Todos los derechos reservados. Ninguna parte
CREMASTER 4, 1994 de esta publicacin podr ser reproducida sin
Still de produccin - Production still el permiso por escrito del editor.
1994 Matthew Barney
Fotografa - Photo: Michael James OBrien All rights reserved. No portion of this
Cortesa - Courtesy: Gladstone Gallery, publication may be reproduced without
Nueva York y Bruselas the written permission of the Publisher.
p. 20
Matthew Barney
CREMASTER 5, 1997
Still de produccin - Production still
1997 Matthew Barney
Fotografa - Photo: Michael James OBrien
Cortesa - Courtesy: Gladstone Gallery,
Nueva York y Bruselas
34