The Body as Matrix: Matthew Barney's Cremaster Cycle movie poster

The Body as Matrix: Matthew Barney's Cremaster Cycle (2002)

6.5audience score
2 votes on TMDB
Released March 15, 2002Runtime 0h 53mDirector Anna Maria Tapeiner

With the five-part Cremaster Cycle of films, multi-award-winning artist Matthew Barney invented a densely layered and interconnected sculptural world that surreally combines sports, biology, sexuality, history, and mythology as it organically evolves. In this program, Barney, Guggenheim curator Nancy Spector, and others deconstruct the Cycle’s filming and subsequent translation into sculptural installations. The locations, characters, and symbols that organize the Cycle films; the Cycle installations as spatial content carriers and extensions of the performances; and objectification of the body and undifferentiated sexuality are addressed, as are the intricacies of costuming, makeup, and sculpting with Barney’s signature materials: plastic, metal, and Vaseline.

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Cast of The Body as Matrix: Matthew Barney's Cremaster Cycle

Matthew Barney

Matthew Barney

Himself

About The Body as Matrix: Matthew Barney's Cremaster Cycle

Where can I watch The Body as Matrix: Matthew Barney's Cremaster Cycle?

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Who stars in The Body as Matrix: Matthew Barney's Cremaster Cycle?

The Body as Matrix: Matthew Barney's Cremaster Cycle stars Matthew Barney.

Who directed The Body as Matrix: Matthew Barney's Cremaster Cycle?

The Body as Matrix: Matthew Barney's Cremaster Cycle was directed by Anna Maria Tapeiner.

How long is The Body as Matrix: Matthew Barney's Cremaster Cycle?

The Body as Matrix: Matthew Barney's Cremaster Cycle has a runtime of 0h 53m.

What is The Body as Matrix: Matthew Barney's Cremaster Cycle about?

With the five-part Cremaster Cycle of films, multi-award-winning artist Matthew Barney invented a densely layered and interconnected sculptural world that surreally combines sports, biology, sexuality, history, and mythology as it organically evolves. In this program, Barney, Guggenheim curator Nancy Spector, and others deconstruct the Cycle’s filming and subsequent translation into sculptural installations. The locations, characters, and symbols that organize the Cycle films; the Cycle installations as spatial content carriers and extensions of the performances; and objectification of the body and undifferentiated sexuality are addressed, as are the intricacies of costuming, makeup, and sculpting with Barney’s signature materials: plastic, metal, and Vaseline.