  Top: film still from Pasiphäe, Witch Queen of Crete: A Glory Hole Origin Story, 2021. Courtesy of Ron Athey & Hermes Pittakos
Above: detail of Apollo of Belvedere, 2022. Courtesy of Adam Parker SmithRON ATHEY AND ADAM PARKER SMITH Thursday, July 28th from 5:30 - 8pm844 N La Brea Ave, Los Angeles For Gallery Weekend Los Angeles and in conjunction with Adam Parker Smith's ongoing exhibition, Crush, The Hole is proud to present a special screening of two short films by Ron Athey, the performance artist recognized as a founding father of the Cinema of Transgression movement of the 1980s. Gourmet French fries by Fried Out LA and draft beers by BRAMS Premium French Pilsner in our parking lot.About the screening:
Pasiphäe, Witch Queen of Crete: A Glory Hole Origin Story, Ron Athey with Hermes Pittakos. 9 minutes.
Entering the Forest of Acéphale, Ron Athey. 10 minutes.
Ron Athey has been working at the vanguard of performance art for 25 years. Self-taught, his earliest work developed out of post-punk/pre-goth scenes, informed by the club actions of Johanna Went and the formulation of Industrial Culture. In the 1990s, Athey formed a company of performers and made Torture Trilogy, a series of works addressing the AIDS pandemic with the physical intensity of the 1970s body-art canon, such as COUM Transmission, Carolee Schneeman and the Viennese Actionists. His current body of work is largely inspired by the secret society of Acéphale, drawing parallels between pre-Occupation 1930s Paris and pre- Operation Spanner UK, responding to a reality where neo-fascism is mutating, creeping, and marching.About the exhibition:
What is it about ancient statues that inspires breathless adoration, even occasional palpitations and fainting spells? For Crush, his fifth solo exhibition with The Hole, Adam Parker Smith poses this question in the form of five monumental marble sculptures, taking a drastic departure from his typical material and scale. The sculptures, which stand or rest at one cubic meter each, give the impression that the canon of classical statuary has been put through an industrial compactor. Such machined units as we know them are for shipping, stocking, stacking; like the square watermelons in Japan they are functional, disturbing. This ancient stone, from the same Carrara mountain owned by the same family as in Michaelangelo’s time, makes the sculptures faithful to their historical antecedents, but in this new form Smith interrupts our inclination to exalt in their presence, helping us to see these icons of mythology in a profoundly new way.
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