I’m at the Silverman Gallery and Larry Rinder has just done his best to make Poland’s Pavel Kruk seem fascinating in their onstage interview, but Kruk, who looks so commandingly Olympian in his videos, keeps reminding me of the posts in a fence I once had to plant on the prairies of Manitoba. Afterwards in a dark corner of the cellar space I ask Marc Arthur and Job Piston their ideas on the box. First thought best thought, I urge them. “Off the record?” “Yes,” I lied. “In that case how about The Cell with Jennifer Lopez?” asks Marc. Job nods enthusiastically, adding, “And you know what was my favorite—Cube!” I hadn’t thought of horror movies, how the box permeates horror cinema. My brow frowns as I try to recall what The Cell was about. I think it was to save the life of a kidnapped girl, brave Jennifer Lopez goes to a desert laboratory where she gets strapped into the “cell” and virtual memory electrodes are taped to her temples and she relives the horror of the other girl’s ordeal. I know I saw it, but not during my formative years unlike Marc who must have been an extreme version of nine or ten. And what about Boxing Helena, I intersperse, but neither boy seems to know that film, despite the enormous furore of its production when its lead, Kim Basinger, dropped out due to the disgustingness of the material. If I remember right, weird stalker scientist Julian Sands captures the heroine, cuts off her arms and legs, and keeps her in a box because he loves her so much, yuck. It was made by David Lynch’s daughter—case closed—get it? Job’s still talking about The Cube and how everyone wakes up and they’re all in a cube and each of them represents something else and they have to figure out what. “Story of my life,” think I.
Pavel Kruk at Silverman Gallery
Kevin Killian and Job Piston, photo by William E. Jones