Cremaster 5

CREMASTER 4 adheres most closely to the project's biological model. This penultimate episode describes the system's onward rush toward descension despite its resistance to division. The logo for this chapter is the Manx triskelion - three identical armored legs revolving around a central axis. Set on the Isle of Man, the film absorbs the island's folklore...

CREMASTER 1 is a musical revue performed on the blue Astroturf playing field of Bronco Stadium in Boise, Idaho - Matthew Barney's hometown. Two Goodyear Blimps float above the arena like the airships that often transmit live sporting events via television broadcast. Four air hostesses tend to each blimp. The only sound is soft ambient music, which suggests the hum of the engines.

CREMASTER 2 is rendered as a gothic Western that introduces conflict into the system. On the biological level it corresponds to the phase of fetal development during which sexual division begins. In Matthew Barney's abstraction of this process, the system resists partition and tries to remain in the state of equilibrium imagined in Cremaster 1.

CREMASTER 3 is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. These factions find form in the struggle between Hiram Abiff or the Architect...

CREMASTER 3 is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. These factions find form in the struggle between Hiram Abiff or the Architect...

CREMASTER 2 is rendered as a gothic Western that introduces conflict into the system. On the biological level it corresponds to the phase of fetal development during which sexual division begins. In Matthew Barney's abstraction of this process, the system resists partition and tries to remain in the state of equilibrium imagined in Cremaster 1.

The film concerns the theme of self-imposed limitation and continues Matthew Barney's interest in religious rite, this time focusing on Shinto.

Visionary artist Matthew Barney returns to cinema with this 3-part epic, a radical reinvention of Norman Mailer’s novel Ancient Evenings. In collaboration with composer Jonathan Bepler, Barney combines traditional modes of narrative cinema with filmed elements of performance, sculpture, and opera, reconstructing Mailer’s hypersexual story of Egyptian gods and the seven stages of reincarnation, alongside the rise and fall of the American car industry.

CREMASTER 4 adheres most closely to the project's biological model. This penultimate episode describes the system's onward rush toward descension despite its resistance to division. The logo for this chapter is the Manx triskelion - three identical armored legs revolving around a central axis. Set on the Isle of Man, the film absorbs the island's folklore...

CREMASTER 1 is a musical revue performed on the blue Astroturf playing field of Bronco Stadium in Boise, Idaho - Matthew Barney's hometown. Two Goodyear Blimps float above the arena like the airships that often transmit live sporting events via television broadcast. Four air hostesses tend to each blimp. The only sound is soft ambient music, which suggests the hum of the engines.

A compilation of erotic films intended to illuminate the points where art meets sexuality.

An ordinary family goes on a trip by car, but their car breaks down. The dutiful father of the family immediately sets off to get help and seems to find it with a nice elderly lady. The woman invites the whole family to dinner, but the hospitality soon turns out to be an ambush.

Commissioned as part of the Destricted Short Film Series, 'Hoist' was shot in Bahia, Salvador. It's described by the director as "a juxtaposition of sexuality and industrial machinery".

The goddess Diana and her two attendants traverse the rugged terrain of Idaho’s Sawtooth Mountains in pursuit of the elusive wolf. An Engraver (Matthew Barney) furtively documents their actions in copper engravings and provokes a series of confrontations. The characters communicate through dance, letting movement replace language as they pursue each other and their prey.

The first collaboration between Matthew Barney & Elizabeth Peyton, Blood of Two is a unique, site-specific work that draws its references from Hydra itself – the surrounding environment, animals, humans, and local traditions are all part of the project in equal measure. Blood of Two centers on the former function of the Slaughterhouse and the customs of Hydra to establish connections between paganism and religion, ancient and modern, the ritualistic and familiar. As much as its conflicted terms strive for balance and fusion, it is Blood of Two’s greater resistance to these impulses, its failure to surrender unconditionally to them that ultimately counts, as a network of overlaps and crisscrosses.

Goo, orifice fixation, medical procedures, non-human/inanimate entities considered as bodies. Scabaction records the welding of a sculpture, some antics with Vaseline, and the removal of an ingrown hair.

A "video action" in which Barney crosses the ceiling of the Gladstone Gallery using a harness and ice-climbing screws, propelling himself by the forces of muscle and will.

In September 2021, Barney and Bepler presented a live performance at Schaulager titled ‘Catasterism in Three Movements.’ CATASTERISM draws from documentation of those performances and expands the narrative with cinematic scenes filmed in the galleries and workspaces of Schaulager. The film elaborates on the characters’ private rituals and deploys forensic examinations of artworks within Schaulager to evoke connections between the material qualities of art objects and the ephemeral qualities of the music. The project continues Barney’s and Bepler’s long history of collaborative projects with distinguished musicians in experimental and unconventional settings.

Secondary maps two different narratives onto each other, using movement as the formal through-line. The first describes the complex overlay of violence and spectacle inherent in American football, and more broadly within American culture. Barney’s personal involvement in the sport served as a starting point for the development of this project. The extreme physical and psychological conditions of the game have been abstracted in Barney’s art practice since his earliest work, and now provide a context for this subject that is both retrospective and a new, direct engagement.

American WWII soldiers open a mold, exposing a solid architectural structure made entirely of petroleum jelly. The soldiers violently soften the structure with shovels. The wall of a large metal box slams down revealing Douglas MacArthur (played by Matthew Barney) smoking a large corncob pipe. MacArthur wades through the petroleum jelly morass to a Japanese general wearing a top hat. Both generals sign several white plastic tablets with inkless tattoo guns. Over a bunsen burner, Barney heats up a branding iron bearing his insignia and presses it into each white tablet. After each tablet has been signed and branded, Barbara Gladstone, who attends in period attire, ceremonially places a sticker label bearing the work’s name, date, and Gladstone Gallery logo on each tablet.