{"id":155842,"date":"2021-11-19T12:30:00","date_gmt":"2021-11-19T17:30:00","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=155842"},"modified":"2022-03-21T11:51:28","modified_gmt":"2022-03-21T15:51:28","slug":"the-reviews-review-en-garde","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/11\/19\/the-reviews-review-en-garde\/","title":{"rendered":"En Garde"},"content":{"rendered":"
\"\"<\/a>

Umar Rashid, F Anon Is Me (Fanonisme as an answer to the scourge of colonialism) However, sometimes it is difficult to get to the ringleaders atop the pyramid and one must be satisfied by dispatching proxies. Ultimately, a wasted effort. Or, red woman on a horse<\/em>, 2021. Acrylic and spray paint on canvas. 72 x 72 x 1 1\/2 inches. Photo: Josh Schaedel<\/p><\/div>\n

For the past few months, I\u2019ve been avoiding museums. Even the smallest among them overwhelms me, a side effect, I assume, of the simultaneous overstimulation and sensory deprivation of life (my life) during the pandemic. It\u2019s not their fault, really, and galleries are hardly the solution, but when I visited En Garde \/ On God<\/em>, Umar Rashid\u2019s first solo show at Blum & Poe in Los Angeles earlier this week, I felt the exhibition to be a kind of relief. In a series of large-scale paintings (and one sculpture), Rashid meticulously documents artifacts belonging to the fictitious Frenglish Empire (1658\u20131880), a portmanteau ushered in by the consolidation of French and English colonial powers. Together, the works read as something of an oblique but determining taxonomy, like the consequential false memories of a bad dream. Missionaries take the form of conversion therapists, white Jesus and black Jesus share the same lowrider, and everyone seems as if they might be on the verge of losing their heads. The show is up until December 18, and images of Rashid\u2019s older works, belonging to the same narrative, are archived online<\/a>.\u00a0\u2014Maya Binyam<\/strong><\/p>\n

I\u2019m feeling like it\u2019s been a while since this column has done something meta, so I\u2019m recommending the UK magazine The Happy Reader<\/em> as an excellent source for recommendations, both in their print issue\u2019s Snippets column and their newsletter<\/a>. From Denton Welch\u2019s 1945 novel In Youth Is Pleasure<\/em> to Stoicon (a convention for Stoics held annually in Toronto) to maxims overheard in Paris, reading their breezy appreciations is like skimming through a feed curated by your coolest friend\u2019s algorithm.\u00a0\u2014Lauren Kane<\/strong><\/span><\/p>\n

The guitarist and living jazz legend Pat Metheny is a sort of guilty pleasure of mine, like listening to Rush\u2014both are sometimes a bit too cheesy for their, and my, own good. But when the mood\u2019s right, nothing else will work. I\u2019ve been swooning a bit over Metheny\u2019s latest, Side-Eye NYC (V1.IV)<\/a><\/em>, a live trio recording featuring the keyboardist James Francies (who seems to have twenty hands and at least as many keyboards at his disposal) and the drummer Marcus Gilmore, one of my favorites. They tackle old and new Metheny songs, with synths and effect-heavy guitar washing over Gilmore\u2019s crumbly rhythms. Nothing here will surprise Metheny fans, but that\u2019s part of what makes this disc so delicious. \u2014Craig Morgan Teicher<\/strong><\/p>\n

I recently visited the Met\u2019s phenomenal Surrealism Beyond Borders<\/a><\/em>\u00a0exhibition, an in-depth look at the global impact of surrealism in the twentieth century. Works by the usual suspects\u2014a painting by Leonora Carrington, a sculpture by Dali\u2014are included, but so too are wide-ranging examples from artists active in South Korea, Iran, Greece, and more. My particular favorites include the U.S. poet and artist Ted Joans\u2019s \u201coutographs,\u201d a series of ghostly-looking photos with the subjects\u2019 faces cut out; photographs of members of the Cairo surrealist collective al-Fann wa-I-Hurriya (Art et Libert\u00e9) by the Egyptian artist Georges Henein; manifestos from the Montreal-based Les Automatistes; and the 1954 Colombian film The Blue Lobster<\/em>, featuring contributions from a young Gabriel Garc\u00eda M\u00e1rquez. With a firm emphasis on the politically revolutionary potential of surrealism and its various outgrowths, it’s a thought-provoking, creatively\u00a0invigorating way to spend an afternoon. \u2014Rhian Sasseen<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Meta-recommendations, museums, and music. <\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68386],"tags":[8146,68311,68308,7318,68310,16252,68309],"class_list":["post-155842","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-denton-welch","tag-pat-metheny","tag-reviews-review","tag-surrealism","tag-the-happy-reader","tag-the-met","tag-umar-rashid"],"acf":[],"yoast_head":"\nEn Garde by The Paris Review<\/title>\n<meta name=\"description\" content=\"November 19, 2021 \u2013 Meta-recommendations, museums, and music.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2021\/11\/19\/the-reviews-review-en-garde\/\" \/>\n<meta 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