MATTHEW BARNEY
The Cremaster Cycle

Guggenheim Museum New York
Matthew Barney, Valve 1994
Nancy Spector, Curator of Matthew Barney
The Crernaster Cycle

CREMASTER 1,1995 (00:40:30)
Written and Directed by Matthew Barney
Produced by Barbara Gladstone and Matthew Barney
Director of Photography: Peter Strietmann
Starring Marti Domination

CREMASTER 1 is a candy-coated musical revue performed on the blue Astroturf playing field of Bronco Stadium in Boise, Idaho-Matthew Barney’s hometown. Two Goodyear Blimps float above the arena like the airships that often record and transmit live sporting events via television broadcast. Four air hostesses, uniformed in trimly fitted 1930s outfits, tend to each blimp. The only sound is soft ambient music, which suggests the hum of the engines. In the middle of each cabin interior sits a white-clothed table, its top decorated with an abstract Art Deco centerpiece sculpted from Vaseline and surrounded by clusters of grapes. In one blimp the grapes are green; in the other they are purple. Under both of these otherwise identical tables resides Goodyear (played by Marti Domination), a platinum blonde Hollywood starlet. Inhabiting both blimps simultaneously, this doubled creature sets the narrative in motion. After prying an opening in the tablecloth(s) above her head, she plucks grapes from their stems and pulls them down into her cell. With these grapes, Goodyear produces diagrams that direct the choreographic patterns created by a troupe of dancing girls on the field below. The camera switches back and forth between Goodyear’s drawings and aerial views of the chorus girls moving into formation: their designs shift from parallel lines to the figure of a barbell, from a large circle to an outline of splitting and multiplying cells, and from a horizontally divided field emblem (Barney’s signature motif) to a rendering of an undifferentiated reproductive system (which marks the first six weeks of fetal development). Gliding in time to the musical score, the chorus girls delineate the contours of a still-androgynous gonadal structure, which echoes the shapes of the two blimps overhead, and symbolizes a state of pure potential.

CREMASTER 2, 1999 (1:19:00)
Written and Directed by Matthew Barney
Produced by Barbara Gladstone and Matthew Barney
Director of Photography: Peter Strietmann
Music composed by Jonathan Bepler
AssociateProducer: Chelsea Romersa
Production Design: Matthew D. Ryle
Starring Norman Mailer and Matthew Barney

CREMASTER 2 is rendered as a gothic Western that introduces conflict into the system. On the biological level it corresponds to the phase of fetal development during which sexual division begins. In Matthew Barney’s abstraction of this process, the system resists partition and tries to remain in the state of equilibrium imagined in Cremaster 1. Cremaster 2 embodies this regressive impulse through its looping narrative, moving from 1977, the year of Gary Gilmore’s execution, to 1893, when Harry Houdini, who may have been Gilmore’s grandfather, performed at the World’s Columbian Exposition. The film is structured around three interrelated themes-the landscape as witness, the story of Gilmore (played by Barney), and the life of bees-that metaphorically describe the potential of moving backward in order to escape one’s destiny. Both Gilmore’s kinship to Houdini (played by Norman Mailer) and his correlation with the male bee are established in the séance/conception scene in the beginning of the film, during which Houdini’s spirit is summoned and Gilmore’s father expires after fertilizing his wife. Gilmore’s sense of hisown doomed role as drone is expressed in the ensuing sequence in a recording studio where Dave Lombardo, former member of Slayer, is playing a drum solo to the sound of swarming bees. A man shrouded by bees with the voice of Steve Tucker, lead vocalist of Morbid Angel, growls into a telephone. Collectively these figures allude to Johnny Cash, who is said to have called Gilmore on the night of his execution in response to the convict’s dying wish.
Barney depicts Gilmore ‘s murder of a Mormon gas station attendant in both sculptural and dramatic forms. Inferring that Gilmore killed out of a kind of perverse longing for union with his girlfriend, Nicole Baker, he represents their relationship through two conjoined Cars: the blue and the white 1966 Mustangs that they coincidentally both owned. These vehicles are connected via a honeycomb tunnel, which joins the front seats into one channel and traverses the pump island of the filling station where they are parked. In the murder sequence, Gilmore shoots his victim in the back of the head on the floor of the gas station bathroom. This act sets in motion the trial and verdict that will condemn him to death, a sentence he embraces despite all efforts to overturn it. Barney stages the judgment of Gilmore in the Mormon Tabernacle Choir’s elaborate, pipe-organ-studded hall. Gilmore welcomes death, refusing to appeal his sentence and opting for execution by firing squad, in a literal interpretation of the Mormon belief that blood must be shed in order for a sinner to obtain salvation.
Gilmore’s execution is staged as a prison rodeo in an arena cast entirely from salt in the middle of the flooded Bonneville Salt Flats. A posse of mounted state troopers begins the proceedings by parading through the arena. Gilmore is lowered Onto a Brahman bull; the gates are opened and he rides to his death. In Barney’s interpretation of the execution, Gilmore was less interested in attaining Mormon redemption than in performing a chronological two-step that would return him to the space of his alleged grandfather, Houdini, with whom he identified the notion of absolute freedom through self-transformation. Seeking escape from his fate, he chose death in an act of ultimate self-will. Gilmore’s metaphoric transportation back to the turn of the century is rendered in a dance sequence featuring the Texas two-step. The film ends in the foggy environs of the Columbian Exposition hall where Houdini has just completed his magic act. He is approached by Gilmore’s future grandmother Baby Fay La Foe who will seduce him, an act that sets in motion the circular narrative of Cremaster 2.

CREMASTER 3,2002 (3:0 1:59)
Written and Directed by Matthew Barney
Produced by Barbara Gladstone and Matthew Barney
Director of Photography: Peter Strietmann
Music composed by Jonathan Bepler
Associate Producer: Chelsea Romersa
Production Design: Matthew D. Ryle
Starring Richard Serra, Aimee Mullins and Matthew Barney

CREMASTER 3 forms the spine of the cycle. As the central chapter of the five installments, it functions like a double mirror, reflecting those before and anticipating those to follow. Set in New York City, the film weaves an account of the construction of the Chrysler Building, which is in itself a character-host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. These factions find form in the struggle between Hiram Abiff or the Architect (played by Richard Serra), and the Entered Apprentice (played by Matthew Barney), who are both working on the building. They are reenacting the Masonic myth of Hiram Abiff, purported architect of Solomon’s Temple, who possessed knowledge of the mysteries of the universe. The murder and resurrection of Abiff are reenacted during Masonic initiation rites as the culmination of a three-part process through which a candidate progresses from the first degree of Entered Apprenticeship to the third of Master Mason.
After a prologue steeped in Celtic mythology, the narrative begins under the foundation of the partially constructed Chrysler Building. A female corpse is digging her way out of a grave. She is the undead Gary Gilmore, protagonist of Cremaster 2. Carried out of her tomb by five boys, she is transported to the Chrysler Building’s lobby. The pallbearers deposit her body in the back seat of a Chrysler Imperial New Yorker. During this scene, the camera cross-cuts to images of the Apprentice troweling cement over carved fuel-tank caps on the rear chassis of five 1967 Chrysler Crown Imperials, each bearing the insignia of a Cremaster episode. Packed with cement, these caps will serve as battering rams in a demolition derby about to begin. The Apprentice then scales one of the building’s elevator shafts until reaching a car resting between floors. Using this cabin as a mold, he pours cement to cast the perfect ashlar, a symmetrically hewn stone that in Masonic ritual symbolizes moral rectitude. By circumventing the carving process to create the perfect ashlar, the Apprentice has cheated in his rites of passage and has sabotaged the construction of the building.
The ensuing scene in the Chrysler Building’s Cloud Club bar is a slapstick routine between bartender and Apprentice. Almost everything goes wrong; and these humorous mishaps result in the bartender playing his environment like a bagpipe. The various accidents leading up to this are caused by a woman (played by Aimee Mullins) in an adjoining room, who is cutting potatoes with blades on her shoes and stuffing them under the foundation of the bar until it is no longer level-a condition that echoes the corrupted state of the tower. This interlude is interrupted by a scene shift to a racetrack, where the Apprentice is accosted by hit men who break all his teeth in retribution for his deception. Back in the Cloud Club, he is escorted to a dental office, where he is stripped of his clothes, under which he is wearing the costume of the First Degree Masonic initiate. An apron of flesh obtrudes from his navel, referencing the lambskin aprons worn by Masonic candidates as a symbol for the state of innocence before the Fall.

 
The Architect descends from his studio to confront his opponent in the dental suite. He fits the compressed remains of the post-demolition-derby Imperial New Yorker into the Apprentice’s mouth like a pair of dentures. At that moment, the Apprentice’s intestines prolapse through his rectum. This ceremonious disembowelment symbolically separates him from his lower self. For his hubris he is simultaneously punished and redeemed by the Architect-whose own hubris, however, equally knows no bounds.
Returning to his office, and anxious about the tower’s slow progress, the Architect constructs two columns from large black plates that he lifts into place with a chain hoist. These pillars allude to the columns, Jachin and Boaz, that Hiram Abiff designed for the Temple of Solomon. Meanwhile, the Apprentice escapes and climbs to the topmost region of the tower. The Architect uses his columns as a ladder and climbs through an oculus in the ceiling. The next scene describes an apotheosis, the Architect becoming one with his design, as the tower itself is transformed into a maypole. At this point in the narrative the film pauses for a choric interlude, which rehearses the initiation rites of the Masonic fraternity through allegorical representations of the five-part Cremaster cycle, all in the guise of a game staged in the Guggenheim Museum. Called “The Order,” this competition features a fantastical incarnation of the Apprentice as its sole contestant, who must overcome obstacles on each level of the museum’s spiraling rotunda. In the ensuing scene, which returns to the top of the Chrysler Building, the Architect is murdered by the Apprentice, who is then killed by the tower. Both men have been punished for their hubris and the building will remain unfinished. The film ends with a coda that links it to Cremaster 4. This is the legend of Fionn MacCumhail, which describes the formation of the Isle of Man, where the next installment of the Cremaster cycle will take place.

CREMASTER 4, 1994 (00:42:16)
Written and Directed by Matthew Barney
Produced by Artangel, London; Foundation Cattier pour l’Art Contemporain, Paris; and Barbara Gladstone Gallery, New York
Director of Photography: Peter Strietmann
Starring Matthew Barney

CREMASTER 4, the first of the cycle’s installments to be completed, adheres most closely to the project’s biological model. This penultimate episode describes the system’s onward rush toward descension despite its resistance to division. The logo for this chapter is the Manx triskelion- three identical armored legs revolving around a central axis. Set on the Isle of Man, the film absorbs the island’s folklore as well as its more recent incarnation as host to the Tourist Trophy motorcycle race. Myth and machine combine to narrate a story of candidacy, which involves a trial of the will articulated by a series of passages and transformations. The film comprises three main character zones. The Loughton Candidate (played by Barney) is a satyr in an Edwardian suit. He has two sets of impacted sockets in his head-four nascent horns, which will eventually grow into those of the mature, Loughton Ram, an ancient breed native to the island. Its horns- two arcing upward, two down-form a diagram that proposes a condition of undifferentiation, with ascension and descension coexisting in equilibrium. The second and third character zones comprise a pair of motorcycle sidecar teams: the Ascending and Descending Hacks. These primary characters are attended to by a trio of fairies who mirror the three narrative fields occupied by the Candidate and the two racing teams. Having no volition of their own, these creatures metamorphose in accordance with whatever field they occupy at any given time.

Cremaster 4 begins and ends in a building on the end of Queen’s Pier. As the film starts, the Candidate is being prepared by the fairies for a journey. They fit taps onto his brogues and fill his pockets with large pearls. The motorcycle race begins, and each team speeds off in opposite directions. The camera cuts back and forth between the race and the Candidate, who is tap-dancing his way through a slowly eroding floor. As the bikes vie for the title, the camera pulls in for close-up shots of the riders’ torsos. Gelatinous gonadal forms-undifferentiated internal sex organs-emerge from slots in their uniforms in a migratory quest for directionality. In the case of the Ascending Hack, the organs move upward toward a second set of slots in the leather. With the Descending Hack, they ooze downward.

Back at the pier, the Candidate plunges through the floor into the sea and heads toward the island. At the moment of his fall-a transition from the utopian realm of pregenital oneness to that of bifurcation-the Ascending Hack collides with a stone embankment and the Descending Hack pulls off the course for a pit stop, where the fairies service its motorcycle. The Candidate reaches land and begins to burrow his way up into the body of the island through a curving channel that he must navigate in order to reach the finish line. This conduit leads him to a bluff, where the fairies are having a picnic. They frolic in a game that mirrors the conflict enacted by the principal characters, but with none of the tension. Still in his underground tunnel, the Candidate finally reaches his destination. The Loughton Ram stands at this junction-a symbol for the integration of opposites, the urge for unity that fuels this triple race. But before the Candidate and Hacks meet, the screen goes white. The Candidate’s dream of transcending his biology to dwell in the space of pure symmetry embodied by the Loughton Ram is shattered.
In the final sequence the narrative returns to the pier, where the Hacks are parked on discrete ramps sloping down from the building’s exterior. In the closing image the camera peers through an open crotch at the top of the frame toward the end of the pier. A tightly retracted scrotum is pierced with clasps connected to vinyl cords, which trail off to the awaiting Hacks, who will drive toward the island to pick up the slack. Full descension is guaranteed.

CREMASTER 5,1997 (00:54:30)
Written and Directed by Matthew Barney
Produced by Barbara Gladstone and Matthew Barney
Director of Photography: Peter Strietmann
Music composed by Jonathan Bepler
Starring Ursula Andress and Matthew Barney

When total descension is finally attained in CREMASTER 5 (1997), the concluding chapter of the cycle, it is envisioned as a tragic love story, a lamentation on separation and loss set in the romantic dreamscape of late-nineteenth-century Budapest. The film is cast in the shape of a lyric opera. Biological metaphors have shifted form to inhabit emotional states-longing and despair-that become musical leitmotivs in the orchestral score. The opera’s primary characters-the Queen of Chain (played by Ursula Andress) and her Diva, Magician, and Giant (all played by Matthew Barney)-enact collectively, as a musical ensemble, the final release promised by the project as a whole.
Cremaster 5 opens with an overture that introduces the opera’s characters and lays out the map of Budapest that the narrative will traverse. The Magician crosses the Lánchid Bridge on horseback. The Queen ascends the staircase of the Hungarian State Opera House with her two ushers. She settles onto her throne in the royal booth, and the ushers arrange a fleet of Jacobin pigeons around her. Pearls float on the surface of the pools in the Gellért Thermal Baths, partially concealing the Füdór sprites, which inhabit their underwater realms. The curtain rises to an empty theater, the conductor readies his orchestra, and the opera begins. As the Queen begins to sing, her Diva appears on the stage before her. He delineates the proscenium arch of the stage by laying ribbons across its floor and then scaling its contours. The Queen’s mind wanders to memories of her beloved Magician. She reinvisions him standing on the Lánchid Bridge, preparing for a leap into the waters of the Danube below. Stripped naked, he positions plastic shackles over his wrists and ankles, then fits molded gloves on his hands and places weighted balls between his toes. Standing on a plinth jutting out from the bridge, the Magician recalls the famed bridge jumps of Harry Houdini, who was born in Budapest in 1874. The Magician is seeking transcendence, but the Queen misunderstands his actions and thinks he is trying to take his own life.
Her focus shifts back to the opera house, and the ushers direct her attention to orifices in her throne through which she can see into the Gellért Baths below. The Queen’s retinue of birds plummets through the passages in her throne, trailing long satin ribbons into the bath. Her Giant enters the watery path between the two pools, wading through the pearls to hip level. The sprites cluster around him with a garland of ribbons they have woven together out of those attached to the birds. They reach up through the water and affix the garland to the Giant’s scrotum. The Queen’s thoughts return to the Magician. She relives his leap into the river and swoons from the recollection. At this point the narrative mirrors the path of descension just revealed: having completed his climb, the Diva tumbles to the stage, in an accident that ends his existence. Meanwhile, the Magician plunges to the bottom of the river, landing, manacled, on a flowerbed. Water sprites caress his fallen body and insert a black pearl into his mouth. The Queen performs her mournful aria, preparing to join her lover in death. A thin stream of liquid emanates from her mouth, trickling onto her ruffle and throne, then falling into the pools below. On its descent, the stream divides into two droplets that strike the water simultaneously. Two perfect circles resonate outward, filling the surface of the bath with their waves, suggesting, in turn, eternal renewal or the echoes of a system expiring. The Cremaster cycle defers any definitive conclusion.