7 p.m. Taxi from Larry’s. It’s the eleventh hour. He’s stoked. I’m already stoked. Butterflies briefly in my stomach. Harold missed one rehearsal, Justin Pierce (Casper) has also missed one. One fear of mine is that there will be a day when an actor doesn’t show up for shooting. Do they know that $16,000 a day is being spent and forgetting a call time or a day means something?
—Eric Alan Edwards, New York, Sunday, July 17, 1995
—Eric Alan Edwards, New York, Sunday, July 17, 1995
Whippets
Galerie Hideout at Mustard Hotel Shibuya
1 Chome-29-3 Higashi, Shibuya City, Tokyo 150-0011, Japan
Sept 4 — 11, 2023
Open 7 days a week from 11:00 - 22:00
Vernissage: September 4, 17:00 - 20:00
Finissage: September 11, 12:00 - 16:00
Artist
Eric Alan Edwards
View the installation documentation here.
Galerie Hideout introduces Whippets, the first solo exhibition by photographer Eric Alan Edwards on view at the gallery at Mustard Hotel Shibuya. For the first time, ten of Edwards’ photographs, taken during the production of Kids in the late 90s, are shaped into a non-linear photostory and presented as part of a larger installation documenting that era and Edwards’ process. The exhibition opens with a Vernissage on September 4 from 17:00 to 20:00 and a Finissage on September 11 from 12:00 to 16:00. The artist will be present.
Edwards worked as the lensman on Larry Clark’s debut feature narrative film, Kids. This cult classic narrates the story of a group of New York City teenagers and their unflinching attitude during a hot summer day filled with sex, drugs, drinking, and partying. As Edwards was filming the movie, he simultaneously captured and chronicled the unfolding history, scene by scene. In this exhibition, Edwards’ photograph, Doing Whippets and candid talk about sex. (1995-2023), captures a film scene where Justin, one of the film’s lead actors, is doing whippets with a non-actor.
In the golden age of independent cinema, Edwards took it upon himself to intuitively photograph the world in front of him, an act he has carried on since age ten. What is uncanny about the artworks is how they question what is cinematic, what is real, or what actually took place during the making of this storied American film.
Accompanying the exhibition will be various ephemera including movie artifacts, as well as the documents of the creative process of Edwards’ involvement in the film-making process that work alongside the artwork to offer a new glimpse into both the subculture and his artistic process, reflecting life, passion, and craft. In a journal excerpt from the 1996 book Projections 6: Film-makers on Film-making, Edwards’ passion is evident:
Edwards worked as the lensman on Larry Clark’s debut feature narrative film, Kids. This cult classic narrates the story of a group of New York City teenagers and their unflinching attitude during a hot summer day filled with sex, drugs, drinking, and partying. As Edwards was filming the movie, he simultaneously captured and chronicled the unfolding history, scene by scene. In this exhibition, Edwards’ photograph, Doing Whippets and candid talk about sex. (1995-2023), captures a film scene where Justin, one of the film’s lead actors, is doing whippets with a non-actor.
In the golden age of independent cinema, Edwards took it upon himself to intuitively photograph the world in front of him, an act he has carried on since age ten. What is uncanny about the artworks is how they question what is cinematic, what is real, or what actually took place during the making of this storied American film.
Accompanying the exhibition will be various ephemera including movie artifacts, as well as the documents of the creative process of Edwards’ involvement in the film-making process that work alongside the artwork to offer a new glimpse into both the subculture and his artistic process, reflecting life, passion, and craft. In a journal excerpt from the 1996 book Projections 6: Film-makers on Film-making, Edwards’ passion is evident:
Thursday 18 August
Day off!!!…
…At Wall Street Camera, Chris and I dwell on the possibility of buying Leica M-6s. Chris is way excited. He mocks shaking. ‘Why am I doing this? My heart is pounding!’ We put out our plastic and go for it. I have reservations thinking about the possibility of saving a few hundred by looking further for a used M-6.
When asked about his artwork, Eric remarked:
It’s in our nature to observe and look at and record for our reasons. I kept doing that as I went along. As I look back at these pictures, I think there’s enough that it’s of interest to show people. I think that there’s enough fragments of things that were recognizable, obvious, iconic scenes from the film, that it’s enough to at least feel like you’re a witness to something behind the scenes that I was a witness to behind the scenes as I was filming it. They’re voyeuristic images of a film that is in itself voyeuristic.
I think the way that, again, I get back to composing, how I compose things, there’s something satisfying about these images in the way that I spontaneously—Now, this is me patting myself on the back here—there’s something satisfying about the way these pictures came out, and I feel satisfied with the way I shot them as well as what they were, the things that I was shooting pictures of.
Day off!!!…
…At Wall Street Camera, Chris and I dwell on the possibility of buying Leica M-6s. Chris is way excited. He mocks shaking. ‘Why am I doing this? My heart is pounding!’ We put out our plastic and go for it. I have reservations thinking about the possibility of saving a few hundred by looking further for a used M-6.
When asked about his artwork, Eric remarked:
It’s in our nature to observe and look at and record for our reasons. I kept doing that as I went along. As I look back at these pictures, I think there’s enough that it’s of interest to show people. I think that there’s enough fragments of things that were recognizable, obvious, iconic scenes from the film, that it’s enough to at least feel like you’re a witness to something behind the scenes that I was a witness to behind the scenes as I was filming it. They’re voyeuristic images of a film that is in itself voyeuristic.
I think the way that, again, I get back to composing, how I compose things, there’s something satisfying about these images in the way that I spontaneously—Now, this is me patting myself on the back here—there’s something satisfying about the way these pictures came out, and I feel satisfied with the way I shot them as well as what they were, the things that I was shooting pictures of.
Special thanks
Andrew Balasia, Bjarne Bare, Erika Dreskler, Gu, Michael Ho, Jimmy Le, Thuong Le, Lauren Kocher, Hiroko Maruyama, Makoto Nagatomo, Andy Nguyen, Miki Omagari, Kota Ozawa, Alec Recinos, Sunsiaré, Gus Van Sant, Van Dung Tran, Kaito Yamamoto, and Shohei Yoshida.
Press
© 2013 - 2023 Galerie Hideout. All Rights Reserved.