More spaghetti please, comrade
February 4, 2019 – March 31, 2019
Calle del Artículo 123 No. 116, Int 301
Centro, 06040 Cuauhtémoc, CDMX, Mexico
Twilight comes twice a day, at end of westerns and the dawn of new regimes. We search for a plot amidst the soft light of its interlude encountering a duo beneath desert heavens. They’ve set out for the cinema, but not gotten very far. Props and idle instruments lay about. “More spaghetti please, comrade” beckons Industry, a young gringo and hired gun. Collective as carbohydrates in a sauce of strategy are garnered through consultation with the Franco Solinas Constellator. Franco wrote for the movies and was a man of the left. And as someone once said “every Marxist on the block wanted to make a western,” so Franco did four of them, or many more depending who you ask. Peering into moments of his oeuvre the would-be filmmakers glimpse common practices and recurring themes. They redevelop and juxtapose. Protagonists and plots slip between centuries and continents. In turn, they do with the aesthetic object what we do with the technical in a dream of mistaking their sets for the real. “Cinema is war by other means” whispers Politics, who’s tattered and unshaven. Franco might disapprove, but for us it’s enough to move the plot forward.
Noah Barker lives and works in New York, NY. Recent solo exhibitions include Air de Paris (2018), Eclair, Berlin, (2017) AndNow, Dallas, (2016); First Continent, Baltimore, MD (2015). Recent curatorial projects include Une Chambre Comme Les Autres, Sydney, Sydney, (2018); A Few Open Systems, AndNow, Dallas, (2017); encore mode, Lodos, Mexico City, (2017); International Currency, Lodos Contemporáneo, Mexico City, (2015).