Monday, September 26, 2016
Sunday, September 25, 2016
Announcing: Aria Dean appointed as Rhizome's assistant curator of net art [ARTICLE]
[Rhizome is pleased to announce that Los Angeles-based writer and artist Aria Dean will be joining the organization as assistant curator beginning October 1st. Dean will work with artistic director Michael Connor and preservation director Dragan Espenschied on Rhizome's efforts to preserve, present, and re-perform works of net art from the 1980s to the present day, as well as organizing events and publishing articles online. This appointment was funded by a generous grant from the Carl & Marilynn Thoma Art Foundation.
Dean graduated from Oberlin College in 2015. Her writing has been featured in Artforum, The New Inquiry, Real Life Magazine, Topical Cream Magazine, and X-TRA Contemporary Art Quarterly. She also co-directs gallery and project space As It Stands LA.
The appointment arrives at a moment of expansion for Rhizome's curatorial staff, which will also soon include a software curator and a net art Ph.D. student, a partnership position with Centre for the Study of the Networked Image, London South Bank University.]
Dean graduated from Oberlin College in 2015. Her writing has been featured in Artforum, The New Inquiry, Real Life Magazine, Topical Cream Magazine, and X-TRA Contemporary Art Quarterly. She also co-directs gallery and project space As It Stands LA.
The appointment arrives at a moment of expansion for Rhizome's curatorial staff, which will also soon include a software curator and a net art Ph.D. student, a partnership position with Centre for the Study of the Networked Image, London South Bank University.]
Elizabeth Mputu‘s 'Broken Windows' [ARTICLE & SERIES]
[Elizabeth Mputu‘s Broken Windows is an interactive web browser piece that transports the viewer into new insights via the the mystical alliance of digital guides. These guides, or ‘windows,’ appear in the form of varying ‘clickable’ objects positioned throughout different sets presented on the screen. The worlds explored include the realities of a police state that has weaponized surveillance, as well as the reactions of a public that rebels against it. Broken Windows is a look into how these groups of people are then subject to further violence that can at times be lethal on both ends, for example the police raids and the civil riots that challenge those tactics.]
[LINK 4 MORE]
[LINK 4 MORE]
Sunday, September 18, 2016
Saturday, September 17, 2016
Friday, September 16, 2016
'Kasukanaru koe (Fading Voice)', 2000 by Yamada Hikaru
[silver glazed stoneware screen-like sculpture with ear patterning; glazed stoneware; 6 7/8 x 20 5/8 x 1 3/8 inches]
LINK
LINK
Sugiura Yasuyoshi
I. [2009; stoneware; 5 7/8 x 6 1/8 x 7 3/8 inches]
II. [2008; stoneware; 9 7/8 x 15 3/4 x 15 3/4 inches]
LINK
II. [2008; stoneware; 9 7/8 x 15 3/4 x 15 3/4 inches]
'You Are Not Christ', 2012 by Rickey Laurentiis
New Orleans, Louisiana
For the drowning, yes, there is always panic.
Or peace. Your body behaving finally by instinct
alone. Crossing out wonder. Crossing out
a need to know. You only feel you need to live.
That you deserve it. Even here. Even as your chest
fills with a strange new air, you will not ask
what this means. Like prey caught in the wolf’s teeth,
but you are not the lamb. You are what’s in the lamb
that keeps it kicking. Let it.
For the drowning, yes, there is always panic.
Or peace. Your body behaving finally by instinct
alone. Crossing out wonder. Crossing out
a need to know. You only feel you need to live.
That you deserve it. Even here. Even as your chest
fills with a strange new air, you will not ask
what this means. Like prey caught in the wolf’s teeth,
but you are not the lamb. You are what’s in the lamb
that keeps it kicking. Let it.
Thursday, September 15, 2016
Tuesday, September 13, 2016
'Eat My Body Like It's Holy' [PORTLAND/USA]
Eat my body like its holy: On Queerness, Colonialism, Race and Religion
A panel discussion with Matt Morris, manuel arturo abreu, and bart fitzgerald. Presented with the support of Reed College's Art Department and The Douglas F. Cooley Memorial Gallery.
Presented in conjunction with Matt Morris’s exhibition A Magician, a Soldier, and Two Figures Watching a Burning Skull at Cherry & Lucic, this panel discussion addresses the intersections of queerness, race and religion through the lenses of artistic practices and religious study. Three panelists will engage their artistic and research practices as a means to interweave the diasporic religious and racial histories of western colonialism with the contemporary realities of queer identity. Each of the panelists draws from a background in religious education as well as fine arts and academic practices, embodying an intersectional approach to identity theory and fine arts.
Matt Morris is a fine artist and lecturer at the School of the Art Institute of Chicago who teaches in the Sculpture as well as the Painting and Drawing departments. His exhibition at Cherry & Lucic engages the work of Tiepolo as a figure of Rococo queer extravagance within the globalizing reality of Christian theology. Presented alongside Morris’s own monochromes, this exhibition and his contribution to this panel addresses the contemporary form of queer engagement as reflected through a history of multi-form expression and re-contextualizaiton of artworks.
manuel arturo abreu is a artist, poet and critic from the Bronx, who received their BA in linguistics from Reed College in 2014. Raised Pentecostal, they came out as atheist to their parents at age 10. Their contribution to the panel’s conversation revolves around their recent return to religion as a neophyte of Dominican vodou and what it means to deal with the trauma of colonial Chrisitianity as a new practitioner of a religion that syncretizes Dahomeyan, Haitian, Catholic, and Dominican practice.
bart fitzgerald is a Portland native whose work interrogates the prophetic, justice work, and liberation theology. Bart makes work as a visual artist, writer, and curator of vibrant life for black folks throughout Portland and now New York City. Trained in the King James Bible and outstanding Pentecostalist preaching in the age of unabashed black identity, they express themself with the dynamism and complicated tactics of the hip hop generation while communicating with the clarity and imagery of the foremost Christian preachers.
http://events.reed.edu/
LINK
A panel discussion with Matt Morris, manuel arturo abreu, and bart fitzgerald. Presented with the support of Reed College's Art Department and The Douglas F. Cooley Memorial Gallery.
Presented in conjunction with Matt Morris’s exhibition A Magician, a Soldier, and Two Figures Watching a Burning Skull at Cherry & Lucic, this panel discussion addresses the intersections of queerness, race and religion through the lenses of artistic practices and religious study. Three panelists will engage their artistic and research practices as a means to interweave the diasporic religious and racial histories of western colonialism with the contemporary realities of queer identity. Each of the panelists draws from a background in religious education as well as fine arts and academic practices, embodying an intersectional approach to identity theory and fine arts.
Matt Morris is a fine artist and lecturer at the School of the Art Institute of Chicago who teaches in the Sculpture as well as the Painting and Drawing departments. His exhibition at Cherry & Lucic engages the work of Tiepolo as a figure of Rococo queer extravagance within the globalizing reality of Christian theology. Presented alongside Morris’s own monochromes, this exhibition and his contribution to this panel addresses the contemporary form of queer engagement as reflected through a history of multi-form expression and re-contextualizaiton of artworks.
manuel arturo abreu is a artist, poet and critic from the Bronx, who received their BA in linguistics from Reed College in 2014. Raised Pentecostal, they came out as atheist to their parents at age 10. Their contribution to the panel’s conversation revolves around their recent return to religion as a neophyte of Dominican vodou and what it means to deal with the trauma of colonial Chrisitianity as a new practitioner of a religion that syncretizes Dahomeyan, Haitian, Catholic, and Dominican practice.
bart fitzgerald is a Portland native whose work interrogates the prophetic, justice work, and liberation theology. Bart makes work as a visual artist, writer, and curator of vibrant life for black folks throughout Portland and now New York City. Trained in the King James Bible and outstanding Pentecostalist preaching in the age of unabashed black identity, they express themself with the dynamism and complicated tactics of the hip hop generation while communicating with the clarity and imagery of the foremost Christian preachers.
http://events.reed.edu/
LINK
'Scriptures, the Word: Activating Text as Liberation' [NYC/USA]
"As we attempt to analyze dialogue as a human phenomenon, we discover something which is the essence of dialogue itself: the word. But the word is more than just an instrument which makes dialogue possible; accordingly, we must seek its constitutive elements. Within the word we find two dimensions, reflection and action, in such radical interaction that if one is sacrificed—even in part—the other immediately suffers. There is no true word that is not at the same time a praxis Thus, to speak a true word is to transform the world...On the other hand, if action is emphasized exclusively, to the detriment of reflection, the word is converted into activism." - Paulo Freire, The Pedagogy of The Oppressed
For text to be radicalized and revolutionary, it must be activated and become accessible through discourse and exchange. "Scriptures, the Word: Activating Text as Liberation" will be a moment of black and brown consciousness congregating to share sacred writings, where themes of self care, venting, rage, or love are explored. Giving "the word" is giving texts that are used to heal or guide the spirit via poetry, prose, lyrics, or even creative journalism.
The readers' works contribute to combating conditioning inflicted by adversarial like interactions with the systems of misogynoir, toxic masculinity, white male fragility, white supremacy and anti - blackness (or all combined). Through "Scriptures, the Word: Activating Text as Liberation" we readers will recite creative texts as we celebrate and revitalize African diaspora oratory traditions in efforts to promote humanizing interactions and empowerment.
// 5 - 10 sliding scale donation - no one will be turned away \\
The Readers
Devin N Morris
Abdu Mongo Ali
Rindon Johnson
Yatta Zoker
Rickey Laurentiis
Cristobal Guerra Naranjo
Music by Ushka
Curated by Abdu Mongo Ali
LINK
For text to be radicalized and revolutionary, it must be activated and become accessible through discourse and exchange. "Scriptures, the Word: Activating Text as Liberation" will be a moment of black and brown consciousness congregating to share sacred writings, where themes of self care, venting, rage, or love are explored. Giving "the word" is giving texts that are used to heal or guide the spirit via poetry, prose, lyrics, or even creative journalism.
The readers' works contribute to combating conditioning inflicted by adversarial like interactions with the systems of misogynoir, toxic masculinity, white male fragility, white supremacy and anti - blackness (or all combined). Through "Scriptures, the Word: Activating Text as Liberation" we readers will recite creative texts as we celebrate and revitalize African diaspora oratory traditions in efforts to promote humanizing interactions and empowerment.
// 5 - 10 sliding scale donation - no one will be turned away \\
The Readers
Devin N Morris
Abdu Mongo Ali
Rindon Johnson
Yatta Zoker
Rickey Laurentiis
Cristobal Guerra Naranjo
Music by Ushka
Curated by Abdu Mongo Ali
LINK
'Wonder What Else Could Be Different Around Here: Yolanda Wisher, Dick Lourie, Natalie Diaz and Christian Campbell' @ Institute of Contemporary Art [PHILADELPHIA/USA]
ICA Gather welcomes:
A little Monk. A little Bessie. A little Langston. Legendary troubadour, poet, and blues saxman Dick Lourie joins Philly Poet Laureate Yolanda Wisher and her band The Afroeaters for an intergenerational performance of blues and verse. They are joined by poets Natalie Diaz and Christian Campbell who will also collaborate in a reading that engages the themes of creative freedom and resistance that are part of the exhibition "The Freedom Principle: Experiments in Art and Music, 1965 to Now" on view at ICA starting Sept. 14th.
The readings on the terrace will be preceded by short "pop-up" readings throughout the gallery, near the works of art that inspired the Philadelphia poets commissioned to write ekphrastic poems for the event. This set features new work by Marie Alarcon, Cynthia Dewi Oka, Alina Pleskova, Lucia Gbaya-Kanga, Cindy Arrieu-King, Faye Chevalier, Stan Mir, Thomas Devaney, Kirwyn Sutherland, Warren Longmire, Sara Grossman, Lauren Yates and Nico Amador.
DJs Cardigan, Anthony Romero and Halfbreed will spin mixes inspired by the exhibition, and Keegan Tawa will play a unique blend of jazz saxophone and original production.
This event is the closing celebration for PHILALALIA, an annual small press/hand made book fair and poetry/book arts festival taking place Thursday-Saturday, September 15-17, at Tyler School of Art on the main campus of Temple University. PHILALALIA includes a full schedule of readings, performances, and workshops at the book fair and at venues throughout Philadelphia. More info can be found here: https://philalalia.com/schedule-2/
This event is sponsored by the City of Philadelphia's Office of Arts, Culture and the Creative Economy, The Leeway Foundation, Thread Makes Blanket press, APIARY Magazine, and Dock Street Brewery. With thanks to Mariposa Coop, Four Worlds Bakery, and Penn Book Center for their donations as well.
ICA Gather is a new programming series that presents special programs that are collaboratively produced in partnership with area community and campus groups.
This event is free and open to the public, but please do rsvp.
LINK
below: Muhal Richard Abrams, "View From Within," 1985. Collage and acrylic on canvas. 17 3/4 x 25 1/2 inches. Photo: Gavin Ashworth. Courtesy of the artist and Museum of Contemporary Art Chicago.
A little Monk. A little Bessie. A little Langston. Legendary troubadour, poet, and blues saxman Dick Lourie joins Philly Poet Laureate Yolanda Wisher and her band The Afroeaters for an intergenerational performance of blues and verse. They are joined by poets Natalie Diaz and Christian Campbell who will also collaborate in a reading that engages the themes of creative freedom and resistance that are part of the exhibition "The Freedom Principle: Experiments in Art and Music, 1965 to Now" on view at ICA starting Sept. 14th.
The readings on the terrace will be preceded by short "pop-up" readings throughout the gallery, near the works of art that inspired the Philadelphia poets commissioned to write ekphrastic poems for the event. This set features new work by Marie Alarcon, Cynthia Dewi Oka, Alina Pleskova, Lucia Gbaya-Kanga, Cindy Arrieu-King, Faye Chevalier, Stan Mir, Thomas Devaney, Kirwyn Sutherland, Warren Longmire, Sara Grossman, Lauren Yates and Nico Amador.
DJs Cardigan, Anthony Romero and Halfbreed will spin mixes inspired by the exhibition, and Keegan Tawa will play a unique blend of jazz saxophone and original production.
This event is the closing celebration for PHILALALIA, an annual small press/hand made book fair and poetry/book arts festival taking place Thursday-Saturday, September 15-17, at Tyler School of Art on the main campus of Temple University. PHILALALIA includes a full schedule of readings, performances, and workshops at the book fair and at venues throughout Philadelphia. More info can be found here: https://philalalia.com/schedule-2/
This event is sponsored by the City of Philadelphia's Office of Arts, Culture and the Creative Economy, The Leeway Foundation, Thread Makes Blanket press, APIARY Magazine, and Dock Street Brewery. With thanks to Mariposa Coop, Four Worlds Bakery, and Penn Book Center for their donations as well.
ICA Gather is a new programming series that presents special programs that are collaboratively produced in partnership with area community and campus groups.
This event is free and open to the public, but please do rsvp.
LINK
below: Muhal Richard Abrams, "View From Within," 1985. Collage and acrylic on canvas. 17 3/4 x 25 1/2 inches. Photo: Gavin Ashworth. Courtesy of the artist and Museum of Contemporary Art Chicago.
'Project Space Industrial Complex Session 3: Art Washing' [PORTLAND/NYC]
home school is so happy to announce the third session of our second class of second semester.
The third class of PSIC will focus on the impact of arts spaces within the systemic tide of gentrification. Delving into the topic through the recent anti-gallery activism in Boyle Heights, this session will address the topics of art washing, the historic struggles of public housing, and the supremacist implications of gallery spaces located in low income neighborhoods.
PSIC is co-instructed by Chloe Alexandra, Carmen Denison, Eleanor Ford and Devin Ruiz. As always we encourage audiences to be active participants in our discussions. If you’re interested in contributing to this session’s course (through resources, performances or first-hand accounts) feel free to contact us through the facebook page or at e.frances.ford@gmail.com.
LINK
The third class of PSIC will focus on the impact of arts spaces within the systemic tide of gentrification. Delving into the topic through the recent anti-gallery activism in Boyle Heights, this session will address the topics of art washing, the historic struggles of public housing, and the supremacist implications of gallery spaces located in low income neighborhoods.
PSIC is co-instructed by Chloe Alexandra, Carmen Denison, Eleanor Ford and Devin Ruiz. As always we encourage audiences to be active participants in our discussions. If you’re interested in contributing to this session’s course (through resources, performances or first-hand accounts) feel free to contact us through the facebook page or at e.frances.ford@gmail.com.
LINK
'Open Air Prisons' [LOS ANGELES/USA]
Curated by Kelman Duran
Does a railroad never finished by colonial agents in Brazil signify a free-market halt? Does it point to a utopia filled with de-growth and unattainability as opposed to competition and expansion? A win for the forest and the Natives in it who didn’t succumb and who threatened to commit mass suicide if the logging continued to face them? Doesn’t the body in these circumstances subscribe to a policy of something prison like, or of escaping the speed of currency?
As soon as we step on a reservation we can see there is no difference between the traumatic and the catastrophic, because for populations that live in open air prison zones (Gaza, Indian Reservations) the catastrophe is the everyday. Like Oxana Timofeeva states “after all isn’t capitalism itself a catastrophe? Does it not kill workers? Isn’t, finally, the number of the capitalist beast inscribed into the bar-code of every commodity, as some crazy Christians never stop warning?” The res; the massacres, the suicide rate, the frozen bodies; life under the constant watch of the FBI in “third world” conditions with all the ghosts of their pasts walking through creeks and lands filled with uranium. Eva Chaverniasky in dealing with the body and its eternal- or not- relation to the market states “the framing of self-determination as self-ownership, of rights as property rights, informs the delineation of freedom as the freedom to dispose of one’s capacities on the open market.” Since reservations are economically and politically planned to stifle self-determination, what happens is something close an open air prison, “the inorganic body, fully opened to capital” here knowing its position in this prison either resists or becomes fully abstracted.
The works on view in the Project Room at LACE all reference this idea or theme of an open air prison, and some of the works, pragmatically provide insight into ways in which specific peoples have tried to combat this type of “imprisonment.”
Opening Night Performance by Sarah Gail
September 13 – 9:00 PM in the LACE PROJECT ROOM.
Sarah Gail will be reading a series of excerpts from her most recent journal. Feelings and topics relating to the existence of an Black female will be expounded upon. The Journal was started on March 23rd, 2016.
Sarah Gail is a multi-platform, pansexual, pan-romatic artist with a lust for life that goes unrivaled. She is most well known for her introspective and equally thought provoking poems & performances. Much of Sarah’s work takes an intersectional feminist approach illuminating issues and experiences of race, gender, class and sexuality. Sarah’s most recent works include a zine entitled “Racial Disparity & the Plight of the African American Female” with an accompanying short film and a tape produced by Coolworld which showcasing Sarah’s artistic prose & views on the world. Recent performances include The Broad Museum, The Getty Museum, Human Resources Los Angeles, Blk Grrrl Bookfair, and the Los Angeles Zine Fest. Sarah Gail Armstrong lives and works in Los Angeles.
Exhibition by LeRoy Janis
On view: September 13 – 16, 2016
LeRoy will be showing a painting of a buffalo and a video series of LeRoy walking, a collaboration between LeRoy Janis and Kelman Duran since 2012 at Pine Ridge Indian Reservation.
LeRoy Janis is a Lakota artist from Pine Ridge Indian Reservation. LeRoy received his B.A. from Creighton University. LeRoy lives and works in Pine Ridge, South Dakota.
Exhibition by Hailey Loman
September 20 – 25, 2016
Folder 2 – Judge Steve Perren is part of an ongoing collection of transcribed oral interviews involving a selected group of people whose societal power or economic position differs from her own. Judge Perren and the artist speak about the interviewee’s financial situation and his outlook on his death. For these various conversations, Loman has created several objects that she situates or inserts into the interview. In this way, she places herself into their narrative.
With a recorded oral history the interviewer is not a neutral acquirer of goods, but rather a manipulator of the spoken information.
Art > Money > Death
Or Money > < Immortality
Hailey Loman (b. 1988, Ventura, California) is a multi-disciplinary artist working primarily in sculpture and performance. Hailey received a BFA from San Francisco Art Institute and is a Co Founder and the Director of Los Angeles Contemporary Archive (LACA). Hailey’s work has been shown at the Fowler Museum, Los Angeles, Queen’s Nails Annex, San Francisco, and Human Resources Gallery, Los Angeles. Hailey lives and works in Los Angeles, California.
http://
Exhibition by Monica Rodriguez
September 28 – October 9, 2016
Monica Rodriguez will create a temporary Caribbean research center in the Project Room at LACE.
Monica Rodriguez (b. 1981, San Juan, Puerto Rico) was part of the Whitney Independent Study Program, New York from 2012 to 2013. Monica received her from MFA California Institute of the Arts, Valencia, CA, and a BFA from Escuela de Artes Plasticas, San Juan, PR
http://
Work by Alice Wang
October 13 – 23, 2016
the earth is plummeting towards the sun while just missing it
Alice Wang makes sculptures, prints, videos, drawings, and experimental films. She received her BS in Computer Science and International Relations from the University of Toronto, BFA from the California Institute of the Arts, and MFA from New York University. Alice was a fellow of the Université Paris 1 Panthéon-Sorbonne in 2012, a Villa Aurora fellow in Berlin in 2013, and the recipient of the Project Grant to Visual Artists from the Canada Council for the Arts in 2016. She has presented work at Human Resources (Los Angeles), the Armory Center for the Arts (Pasadena), 18th Street Arts Center (Santa Monica), LACA (Los Angeles), Arturo Bandini (Los Angeles), Immanence (Paris), 80WSE (New York), and the Moscow Museum of Modern Art, among others; her forthcoming shows will be exhibited at Mass Gallery (Austin), ltd los angeles, and Capsule Gallery (Shanghai). Alice is based in Los Angeles, and teaches at the University of California, Riverside.. http://
Performance by Mireya Lucio
October 25, 2016 – 9:00 PM in the LACE PROJECT ROOM
Mireya will present a theatrical performance. As a national of Puerto Rico, her position as a citizen-outsider provides a vantage point from which to map the narratives performed as American identity. Her work de-colonizes cultural content, subverting authoritative ways of accounting for truth. She often portrays “important historical men,” an act of reverse appropriation which subjects these figures to crude pageantry, oscillating between craft/artifice and the authentic/real. Lucio’s artworks de-stabilize timelines and factual accounts through feminized, tangential, informal, and domestic filters.
Mireya Lucio (b. 1981, Puerto Rico) is a multi-disciplinary artist working primarily in video and live performance. A trained actor, singer, and physical performer (BFA Tisch/NYU; Moscow Art Theatre; MFA CalArts), Lucio allows amateur and do-it-yourself aesthetics to disturb established modes of theatrical performance. Lucio’s work has taken the form of dinners, lectures, walking tours, videos, audio recordings, stage shows, game nights, and site-specific happenings. Often framed as social events where the spectator is implicated, the performances seek the local, the ordinary, and the personal within the U.S. historical canon. Lucio’s performance practice engages a multi-referential and horizontal research sharing process, drawing on historical documentation, literature, user-generated online platforms, macro/micro cultural phenomena, and personal experience, in order to create events that consider American mythologies. Mireya Lucio works and lives in Los Angeles, California.http://mireyalucio.com/
Video work by Tasha Bjelic
October 28 – November 6, 2016
Tasha Bjelic recently completed an MFA in Photography & Media at CalArts, 2015 and was a participant at the Whitney Independent Study Program, 2015-16. Tasha works between Maine, New York City, and Los Angeles, California http://
Artist Screenings:
Megan Daalder
Andrea Franco
Haaris Baig
Guy Rusha
Niq Brynolfson
Anna Katerina
Francisco Janes
LINK
Does a railroad never finished by colonial agents in Brazil signify a free-market halt? Does it point to a utopia filled with de-growth and unattainability as opposed to competition and expansion? A win for the forest and the Natives in it who didn’t succumb and who threatened to commit mass suicide if the logging continued to face them? Doesn’t the body in these circumstances subscribe to a policy of something prison like, or of escaping the speed of currency?
As soon as we step on a reservation we can see there is no difference between the traumatic and the catastrophic, because for populations that live in open air prison zones (Gaza, Indian Reservations) the catastrophe is the everyday. Like Oxana Timofeeva states “after all isn’t capitalism itself a catastrophe? Does it not kill workers? Isn’t, finally, the number of the capitalist beast inscribed into the bar-code of every commodity, as some crazy Christians never stop warning?” The res; the massacres, the suicide rate, the frozen bodies; life under the constant watch of the FBI in “third world” conditions with all the ghosts of their pasts walking through creeks and lands filled with uranium. Eva Chaverniasky in dealing with the body and its eternal- or not- relation to the market states “the framing of self-determination as self-ownership, of rights as property rights, informs the delineation of freedom as the freedom to dispose of one’s capacities on the open market.” Since reservations are economically and politically planned to stifle self-determination, what happens is something close an open air prison, “the inorganic body, fully opened to capital” here knowing its position in this prison either resists or becomes fully abstracted.
The works on view in the Project Room at LACE all reference this idea or theme of an open air prison, and some of the works, pragmatically provide insight into ways in which specific peoples have tried to combat this type of “imprisonment.”
Opening Night Performance by Sarah Gail
September 13 – 9:00 PM in the LACE PROJECT ROOM.
Sarah Gail will be reading a series of excerpts from her most recent journal. Feelings and topics relating to the existence of an Black female will be expounded upon. The Journal was started on March 23rd, 2016.
Sarah Gail is a multi-platform, pansexual, pan-romatic artist with a lust for life that goes unrivaled. She is most well known for her introspective and equally thought provoking poems & performances. Much of Sarah’s work takes an intersectional feminist approach illuminating issues and experiences of race, gender, class and sexuality. Sarah’s most recent works include a zine entitled “Racial Disparity & the Plight of the African American Female” with an accompanying short film and a tape produced by Coolworld which showcasing Sarah’s artistic prose & views on the world. Recent performances include The Broad Museum, The Getty Museum, Human Resources Los Angeles, Blk Grrrl Bookfair, and the Los Angeles Zine Fest. Sarah Gail Armstrong lives and works in Los Angeles.
Exhibition by LeRoy Janis
On view: September 13 – 16, 2016
LeRoy will be showing a painting of a buffalo and a video series of LeRoy walking, a collaboration between LeRoy Janis and Kelman Duran since 2012 at Pine Ridge Indian Reservation.
LeRoy Janis is a Lakota artist from Pine Ridge Indian Reservation. LeRoy received his B.A. from Creighton University. LeRoy lives and works in Pine Ridge, South Dakota.
Exhibition by Hailey Loman
September 20 – 25, 2016
Folder 2 – Judge Steve Perren is part of an ongoing collection of transcribed oral interviews involving a selected group of people whose societal power or economic position differs from her own. Judge Perren and the artist speak about the interviewee’s financial situation and his outlook on his death. For these various conversations, Loman has created several objects that she situates or inserts into the interview. In this way, she places herself into their narrative.
With a recorded oral history the interviewer is not a neutral acquirer of goods, but rather a manipulator of the spoken information.
Art > Money > Death
Or Money > < Immortality
Hailey Loman (b. 1988, Ventura, California) is a multi-disciplinary artist working primarily in sculpture and performance. Hailey received a BFA from San Francisco Art Institute and is a Co Founder and the Director of Los Angeles Contemporary Archive (LACA). Hailey’s work has been shown at the Fowler Museum, Los Angeles, Queen’s Nails Annex, San Francisco, and Human Resources Gallery, Los Angeles. Hailey lives and works in Los Angeles, California.
http://
Exhibition by Monica Rodriguez
September 28 – October 9, 2016
Monica Rodriguez will create a temporary Caribbean research center in the Project Room at LACE.
Monica Rodriguez (b. 1981, San Juan, Puerto Rico) was part of the Whitney Independent Study Program, New York from 2012 to 2013. Monica received her from MFA California Institute of the Arts, Valencia, CA, and a BFA from Escuela de Artes Plasticas, San Juan, PR
http://
Work by Alice Wang
October 13 – 23, 2016
the earth is plummeting towards the sun while just missing it
Alice Wang makes sculptures, prints, videos, drawings, and experimental films. She received her BS in Computer Science and International Relations from the University of Toronto, BFA from the California Institute of the Arts, and MFA from New York University. Alice was a fellow of the Université Paris 1 Panthéon-Sorbonne in 2012, a Villa Aurora fellow in Berlin in 2013, and the recipient of the Project Grant to Visual Artists from the Canada Council for the Arts in 2016. She has presented work at Human Resources (Los Angeles), the Armory Center for the Arts (Pasadena), 18th Street Arts Center (Santa Monica), LACA (Los Angeles), Arturo Bandini (Los Angeles), Immanence (Paris), 80WSE (New York), and the Moscow Museum of Modern Art, among others; her forthcoming shows will be exhibited at Mass Gallery (Austin), ltd los angeles, and Capsule Gallery (Shanghai). Alice is based in Los Angeles, and teaches at the University of California, Riverside.. http://
Performance by Mireya Lucio
October 25, 2016 – 9:00 PM in the LACE PROJECT ROOM
Mireya will present a theatrical performance. As a national of Puerto Rico, her position as a citizen-outsider provides a vantage point from which to map the narratives performed as American identity. Her work de-colonizes cultural content, subverting authoritative ways of accounting for truth. She often portrays “important historical men,” an act of reverse appropriation which subjects these figures to crude pageantry, oscillating between craft/artifice and the authentic/real. Lucio’s artworks de-stabilize timelines and factual accounts through feminized, tangential, informal, and domestic filters.
Mireya Lucio (b. 1981, Puerto Rico) is a multi-disciplinary artist working primarily in video and live performance. A trained actor, singer, and physical performer (BFA Tisch/NYU; Moscow Art Theatre; MFA CalArts), Lucio allows amateur and do-it-yourself aesthetics to disturb established modes of theatrical performance. Lucio’s work has taken the form of dinners, lectures, walking tours, videos, audio recordings, stage shows, game nights, and site-specific happenings. Often framed as social events where the spectator is implicated, the performances seek the local, the ordinary, and the personal within the U.S. historical canon. Lucio’s performance practice engages a multi-referential and horizontal research sharing process, drawing on historical documentation, literature, user-generated online platforms, macro/micro cultural phenomena, and personal experience, in order to create events that consider American mythologies. Mireya Lucio works and lives in Los Angeles, California.http://mireyalucio.com/
Video work by Tasha Bjelic
October 28 – November 6, 2016
Tasha Bjelic recently completed an MFA in Photography & Media at CalArts, 2015 and was a participant at the Whitney Independent Study Program, 2015-16. Tasha works between Maine, New York City, and Los Angeles, California http://
Artist Screenings:
Megan Daalder
Andrea Franco
Haaris Baig
Guy Rusha
Niq Brynolfson
Anna Katerina
Francisco Janes
LINK
Acoustic Infrastructure - Discussions, Readings, Interventions @ Eyebeam [NYC/USA]
All are welcome to an intimate conversation and sounding on the concept of “acoustic infrastructure”. How does sound create space, and what are the politics of public address—or of P.A.?
We plan to read and discuss excerpts from the current issue of continent.cc Elements, ideas, and interlocutions from visitors and invitees for deviations are more than welcomed.
Guests include contributors to the current issue of continent: Shannon Mattern, Jacob Gaboury, Julie Beth Napolin, Orit Halpern, Jamie Allen, Paul Boshears, Isaac Linder, amongst others.
Artists Kenya (Robinson) and Doreen Garner will bring their radio show#trashDay to the Eyebeam restrooms—a bit of input for your output and an alternative to the screen scroll that now accompanies the daily flush. #trashDay elevates the vernacular of urban fiction, reality television, gossip publications, social dance, and fashion, and uses it as a point of departure for satire and social commentary.
Suggested reading:
"Acoustic Infrastructure"
continent. Issue 5.3
http://
Thanks to:
continent. journal
Dias Kunsthal in Vallenbaek
National Endowment for the Arts
LINK
We plan to read and discuss excerpts from the current issue of continent.cc Elements, ideas, and interlocutions from visitors and invitees for deviations are more than welcomed.
Guests include contributors to the current issue of continent: Shannon Mattern, Jacob Gaboury, Julie Beth Napolin, Orit Halpern, Jamie Allen, Paul Boshears, Isaac Linder, amongst others.
Artists Kenya (Robinson) and Doreen Garner will bring their radio show#trashDay to the Eyebeam restrooms—a bit of input for your output and an alternative to the screen scroll that now accompanies the daily flush. #trashDay elevates the vernacular of urban fiction, reality television, gossip publications, social dance, and fashion, and uses it as a point of departure for satire and social commentary.
Suggested reading:
"Acoustic Infrastructure"
continent. Issue 5.3
http://
Thanks to:
continent. journal
Dias Kunsthal in Vallenbaek
National Endowment for the Arts
LINK
Beverly Buchanan 'Ruins and Rituals' @ Brooklyn Museum [NYC/USA]
OCTOBER 21, 2016–MARCH 5, 2017
Elizabeth A. Sackler Center for Feminist Art, 4th Floor
Beverly Buchanan—Ruins and Rituals is part of A Year of Yes: Reimagining Feminism at the Brooklyn Museum, a yearlong series of ten exhibitions celebrating the 10th anniversary of the Elizabeth A. Sackler Center for Feminist Art. Leadership support is provided by Elizabeth A. Sackler, an anonymous donor, the Stavros Niarchos Foundation, the Calvin Klein Family Foundation, and Mary Jo and Ted Shen. Generous support is also provided by the Taylor Foundation, the Antonia and Vladimer Kulaev Cultural Heritage Fund, and The Cowles Charitable Trust.
Elizabeth A. Sackler Center for Feminist Art, 4th Floor
Beverly Buchanan (1940–2015) explored the relationship between place and personal, historical, and geological memory. Engaging with the most vanguard movements of her time, including Land Art, Post-Minimalism, and feminism, she linked political and social consciousness to the formal aesthetics of abstraction.
The most comprehensive exhibition of Buchanan’s work to date,Beverly Buchanan—Ruins and Rituals presents approximately 200 objects, including sculpture, painting, photography, drawing, and notebooks of the artist’s writing as well as documentation of performances. A new video installation of her existing earthworks is presented for the first time.
Emphasizing how Buchanan’s work resisted easy categorization, this exhibition investigates her dialogue not only with a range of styles, materials, and movements, but also with gender, race, and identity. Works on view examine histories of locations where she lived and worked, including Florida, New York, and Georgia.
According to Buchanan, "… a lot of my pieces have the word 'ruins' in their titles because I think that tells you this object has been through a lot and survived—that’s the idea behind the sculptures…it’s like, 'Here I am; I’m still here!' "Beverly Buchanan—Ruins and Rituals is organized by guest curators Jennifer Burris and Park McArthur, and coordinated by Catherine Morris, Sackler Family Curator for the Elizabeth A. Sackler Center for Feminist Art, and Cora Michael, Associate Curator of Exhibitions, Brooklyn Museum.
Emphasizing how Buchanan’s work resisted easy categorization, this exhibition investigates her dialogue not only with a range of styles, materials, and movements, but also with gender, race, and identity. Works on view examine histories of locations where she lived and worked, including Florida, New York, and Georgia.
According to Buchanan, "… a lot of my pieces have the word 'ruins' in their titles because I think that tells you this object has been through a lot and survived—that’s the idea behind the sculptures…it’s like, 'Here I am; I’m still here!' "Beverly Buchanan—Ruins and Rituals is organized by guest curators Jennifer Burris and Park McArthur, and coordinated by Catherine Morris, Sackler Family Curator for the Elizabeth A. Sackler Center for Feminist Art, and Cora Michael, Associate Curator of Exhibitions, Brooklyn Museum.
Generous support for this exhibition is provided by the Brooklyn Museum's Contemporary Art Acquisitions Committee.
Beverly Buchanan—Ruins and Rituals is part of A Year of Yes: Reimagining Feminism at the Brooklyn Museum, a yearlong series of ten exhibitions celebrating the 10th anniversary of the Elizabeth A. Sackler Center for Feminist Art. Leadership support is provided by Elizabeth A. Sackler, an anonymous donor, the Stavros Niarchos Foundation, the Calvin Klein Family Foundation, and Mary Jo and Ted Shen. Generous support is also provided by the Taylor Foundation, the Antonia and Vladimer Kulaev Cultural Heritage Fund, and The Cowles Charitable Trust.
below: Beverly Buchanan (American, 1940–2015). Untitled (Double Portrait of Artist with Frustula Sculpture) (detail), n.d. Black-and-white photograph with original paint marks, 8½ x 11 in. (21.6 x 27.9 cm). Private collection. © Estate of Beverly Buchanan
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