The artist's offering is a trippy odyssey through the art world, premiering at MoMA's New Directors/New Films festival.
“I did have one very long last day at grad school, and what did and did not happen at the party may or may not be depicted accurately,” Martine says. “The role was written for Diamond from the beginning, so she informs the character. I was interested in showing a Black woman in an elite world, in depicting what it looks like to navigate that experience, how hilarious and painful it can be. The exposure and the exhaustion.
as ‘the dissonance of the Black spotlight’, of being revered in one way and reviled in another, a revulsion that makes clear the hollowness of the reverence.’ Community and friendship are the way you get through it.”Ruby McCollister , swimming in the lake at some early morning hour. It is a deep breath after a series of claustrophobic conversations in red-lit studio spaces, where Palace’s peers avoided acknowledging their privilege bubble. Palace just accidentally guzzled Portia’s bottle of molly water. Of the drugs, Martine says, “[They] are a portal. They collapse and create dimensions. Behavior, dress, and the laws of physics need not apply.
”, Martine vowed to recognize “the opportunity to make sense of the nonsense that regularly — and sometimes violently — accents black life.” In one day with Palace, nonsense abounds. A white woman declares she hates white women; literally no one in the program has an Android charger; men breeze past Palace struggling with three suitcases. But tense interactions mostly stay at a simmer, a form of labor for Palace to keep the peace, to let it slide.
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