Marti Domination squeezes into a tight space in CREMASTER 1
THE CREMASTER CYCLE (Matthew Barney, 1994-2002)
IFC Center
323 Sixth Ave. at Third St.
Wednesday, May 19 – Thursday, June 3
Tickets: $12.50 per program, series pass $30
212-924-7771
www.ifccenter.com
www.cremaster.net
Matthew Barney’s CREMASTER CYCLE is so much more than five essentially incomprehensible films totaling seven hours made over the course of eight years out of chronological order; it’s a state of mind, a whole other level of consciousness. The complete series, which is shown at art houses and museums and will never, according to Barney, be available on DVD or any other salable personal format, hasn’t been seen in its entirety in New York City since October 2003, when it screened at Anthology Film Archives shortly after the exciting Matthew Barney survey held at the Guggenheim earlier that year. Ostensibly following the ascension and descension of the cremaster muscle, which raises and lowers the testicles as sexual differentiation takes place inside the human body, the films feature strange characters in odd metaphorical situations that are rarely immediately apparent; we found ourselves continually referring to Cremaster Fanatic, which offers excellent meta-descriptions of each work, breaking down each bizarre symbol. But that doesn’t mean the narrative is impossible to follow or overly convoluted; instead, part of the fun is trying to figure out just what the heck is going on.
Artist Richard Serra plays the Architect in CREMASTER 3
In CREMASTER 1 (1995), the Goodyear blimp hovers over a stadium where the young Barney, a former quarterback, played football. Bright colors dominate as four flight attendants peer out the window, unaware that beneath a table topped with a Vaseline centerpiece a platinum blonde (Marti Domination) is stealing grapes. A beautifully choreographed Busby Berkeley-like dance ensues. In CREMASTER 2 (1999), Barney plays Gary Gilmore, re-creating the murder of Mormon gas station employee Max Jensen. There’s also a séance led by Baby Fay La Foe, graphic sex, a queen bee and her drones, the Bonneville Salt Flats, the Mormon Tabernacle, and Norman Mailer, who wrote THE EXECUTIONER’S SONG about Gilmore, as Harry Houdini at the World’s Columbian Exposition of 1893. At three hours, CREMASTER 3 (2002) is the longest and easiest to follow of the series. It details the heated 1929 fight between the Chrysler Building and the Bank of Manhattan (40 Wall St.) to be the tallest structure in New York, framed by the Irish legend of Fionn and Fingal and the Giant’s Causeway. The cast features Barney as the Entered Apprentice climbing up the Guggenheim’s spiral walls, conceptual artist Richard Serra as the Architect (Hiram Abiff) and himself (melting Vaseline that drips down the length of the museum), amputee Aimee Mullins as the Entered Novitiate, singer Paul Brady as the Cloud Club maitre d’ serving a small group of gangster-like Masons, Terry Gillespie as a bartender with a bit of a Guinness problem (in the series’ funniest scene), and punk bands Agnostic Front and Murphy’s Law engaged in a musical battle. In CREMASTER 4 (1994), the Ascending and Descending motorcycle sidecar teams race for the Tourist Trophy on the Isle of Man while the Loughton Candidate (Barney) carefully combs his hair (he has four potential horns on his head) and tap-dances as a trio of faeries bandy about. And in CREMASTER 5 (1997), the Queen of Chain (Ursula Andress) belts out a Hungarian opera above the Gellert Baths, where Fudor Sprites swim and Jacobin pigeons are prepared for a special purpose, with Barney appearing as the Queen’s Diva, the Queen’s Magician, and the Queen’s Giant.
Matthew Barney plays multiple roles in his experimental epic THE CREMASTER CYCLE
Watching THE CREMASTER CYCLE is an unforgettable experience, a thrilling foray into experimental film at its finest. It’s both mind-blowing and infuriatingly confusing, stunningly gorgeous and utterly ridiculous. Everything in it is laden with meaning, though you’ll be hard-pressed to know what much of it is about. And there are more references to male genitalia than in any teen sex comedy ever made. The films will screen for two weeks at the IFC Center in three programs, CREMASTER 1&2, CREMASTER 3, and CREMASTER 4&5. Barney will be at the 7:00 screening of CREMASTER 4&5 and the 9:25 showing of CREMASTER 1&2 on May 20. THE CREMASTER CYCLE is more than just a cinematic art project; it’s an event that has to be seen to be believed.