09/29/2016 - 10/02/2016
D300 Gallery: Elizabeth Webb MFA 1 PHOTO/MEDIA
D301 Gallery: Pilar Gallego MFA 1 ART
L-Shape Gallery: Lindsey Schulz MFA 1 ART
Main Gallery: Jihyun Kim MFA 1 ART
A402 Gallery: Andre Daughtry MFA 1 PHOTO/MEDIA
Lime Gallery: Dan Centofanti MFA 1 PHOTO/MEDIA
Mint Gallery: Dina Abdulkarim MFA 1 ART
CalArts, Second Floor by D206B
ART: For four days, we will use the space to generate, perform and discuss short pieces around the way we interact with each other on social media.
REDCAT: The Wooden Floor, the Santa Ana youth company composed of gifted dancers from underserved communities, has been inspiring audiences and elevating young lives for 30 years. Its latest program offers works by Herb Alpert Award-winning choreographer Susan Rethorst, New York’s Ivy Baldwin, and company artistic director Melanie Ríos Glaser. Known for a collaborative dancemaking process that enables youth to work side by side with internationally recognized choreographers, The Wooden Floor’s vision of contemporary dance dissolves ethnic, gender, class and age stereotypes in the service of creating transformative art.
CalArts, The Wild Beast
MUSIC: A performance by CalArts students reflecting their participation in Ed Carroll's The Art of Transcription Interim Class.
D300 Gallery: Kang Seung Lee MFA 1 ART
D301 Gallery: Joshua Petker MFA 1 ART
L-Shape Gallery: Avery Lawrence MFA 1 ART
Main Gallery: Brenna Ivanhoe MFA 1 ART
A402 Gallery: Laura Schawelka MFA 1 ART
Lime Gallery: Taylor Stephens MFA 1 ART
Mint Gallery: Elise Harkins MFA 1 ART
ART: MFA1 Art first year show installation in studio space. To be open three hours each day for viewing.
Still from Your Day is My Night.
REDCAT: "A strikingly handsome, meditative work…a mixture of reportage, dreams, memories and playacting." —The Nation
Shot in the kitchens, bedrooms, weddings halls and mahjong parlors of New York’s Chinatown, Your Day Is My Night (2013, 64 min., HD) is a provocative, many-layered hybrid documentary in which Lynne Sachs explores the immigrant stories that unfold in a "shift-bed" apartment—a domestic space shared, due to economic necessity, by people neither in the same family nor in a relationship. Seven characters ranging in age from 58 to 78 play themselves as Sachs transforms the shift-bed into a stage, illuminating a collective history of Chinese immigration through intimate conversations, dreams, autobiographical monologues, songs and theatrical improvisations. Since 1994, Sachs’ experimental films have investigated the intricate relationships between personal observation and collective memory, notably in locations of international conflict such as Vietnam, Bosnia and Israel.
CalArts, Bijou Theater
FILM/VIDEO: TACITA DEAN
will present a selection of her recent 16mm work.
The films, drawings and other works by Tacita Dean are extremely original. Her recent film portraits express something that neither painting nor photography can capture. They are purely film. And while Dean can appreciate the past, her art avoids any kind of academic approach. Dean‘s art is carried by a sense of history, time and place, light quality and the essence of the film itself. The focus of her subtle but ambitious work is the truth of the moment, the film as a medium and the sensibilities of the individual.
Tacita Dean studied art at the Falmouth School of Art in England, the Supreme School of Fine Art in Athens, and the Slade School of Fine Art in London. In 1998 she was nominated for a Turner Prize and was awarded a DAAD scholarship for Berlin, Germany, in 2000. She has received the following prizes: Aachen Art Prize (2002); Fondazione Sandretto Re Rebaudengo, Turin, Italy (2004); the Sixth Benesse Prize at the 51st Venice Biennale (2005) the Hugo Boss Prize at the Solomon R. Guggenheim Museum, New York (2006) and the Kurt Schwitters Prize (2009). Dean has also participated in the Venice Biennale in 2003 and 2005 and Documenta 13 (2012). Her work has been shown internationally at such institutions as the Schaulager, Basel (2006), New Museum, New York (2008), Tate Modern, London (2011), the Museo Nacional Centro de Arte Reina Sofia, Spain (2010), and the Hirshhorn Museum and Sculpture Garden, Washington, DC (2001).
CalArts, The Cube, C-Art
Chaos and Cosmos
A Group Exhibition Inspired by the thought and writings of Jorge Luis Borges
Chaos and Cosmos [chaosandcosmos.com], a multimedia exhibit co-curated by Suzanne Kite, Martin Plot, and Charles Gaines, and produced by CalArts students, opens Thursday, January 21st in the Cube inside the Butler Building at California Institute of the Arts. This group exhibition interrogates the political and philosophical dimensions of Jorge Luis Borges’ thought and writings, and is inspired by the Critical Studies course, “Borges and the Political,” taught by Borges scholar and political theorist Martin Plot.
This multimedia exhibition includes works in media ranging from selfies to sand, from fiction to theory. Participating artists include: Anya Levy, Andrew Young, Chris Dyson, Alice Lang, Cori Redstone, Daniel Bruinooge, Danielle Bustillo, Drew Straus, Jihyun Kim, Joey Cannizzaro, Johanna Kozma, Justin Crosby, Lucia Prancha, Nicholas Johnston, Nick Saltrese, Nick Hanson, Christopher Cole, Stephanie Deumer, Maria Valentina Pelayo, Megan Broughton, Nathaniel Deines, and Suzanne Kite.
The closing party will take place on Thursday, January 30th from 6:00-7:00 p.m. in C-Art, and from 7:00-8:00 p.m. in the Butler Building. Wine and cheese will be served. At 8:00 p.m. closing performances will take place in the Cube (inside Butler Building.) The exhibition will also be accompanied by an artist book, which includes an introduction by Martin Plot and original texts by the artists.
CalArts, Main Gallery
INSTITUTE: A performance celebrating MLK Day.
CalArts, Pool Area
MUSIC: Hinter is a small-scale musical performance centered on the transformational time/space of twilight. Performers will sing and play a few instruments outside of the pool.
Pablo Bronstein, Primitive facade variations (2014), ink and watercolour on paper 6 parts, each part: 115 x 200 cm / 45.2 x 78.7 in approx (unframed). | Courtesy of Herald St, London and Franco Noero, Turin
REDCAT: Opening reception: Friday, January 24, 6–9pm
Daily performances: 3–6pm, or through intermission
Exhibition hours: Tuesday–Sunday 12–6pm
The work of London-based artist Pablo Bronstein (Buenos Aires, 1977) is distinguished by a series of projects and public interventions in which he assumes the roles of art historian, architect and choreographer as he reconstructs historical moments and mimics them in tableaux vivants. Camouflaged within the guise of history and imitating architectural forms or urban lifestyles from a certain era, Bronstein reinvents the past with great subtlety and perception.
The newly commissioned project that Pablo Bronstein creates at REDCAT functions as a "staged essay" where the artist articulates, by means of a series of drawings and furniture, the origins of architecture from the naturalistic perspective of the Enlightenment. In a certain way, Bronstein satirizes the insistence with which the architectural culture of the Enlightenment sought to guarantee a "nature" uncontaminated by historical events.
In the gallery, a series of drawings and furniture/buildings appear and together create a traditional 18th-century room. Each unit changes shape and location by means of a set choreography, transforming the suite into an urban plaza reminiscent of the idealized view of a city in traditional Renaissance painting. The intricate setting is activated by a performer who opens, closes and rearranges the objects in the exhibition, and then returns them to their initial state. In their open position, these objects create a complex pattern, imitating the possible uses of a bourgeois city. In their closed position, they return to the rigid and symmetrical grid of the room, an abstract representation of State power and order. Each of these pieces also functions as a sign that refers indirectly to the search for the first building or an architectural model of universal validity. By exaggerating their decorative and constructive morphology, these pieces seem to have an essential and practical function of creating a "real architecture" that emphasizes not the mythological or religious perspectives that dominated in the past, but the archeological interests of Enlightenment thinkers and the historical research into the era.
However, the inherent contradictions that Pablo Bronstein establishes between the drawings and furniture/buildings—the shapes they refer to, their irreducibility to pure theory or mere physicality, functionality or artifice—are also ironic comments about the role of art historians, highlighting the pleasure but also the danger of historical discourse. Pablo Bronstein establishes processes that enable fissures between the past and present, the human and inanimate and, above all, between the practice of history and lived experience. He also questions the common ground between the construction of discourse and the subject of study, as well as our own body and the way we look through objects, involuntarily searching for their capacity to reveal a history to us. As in any historical discourse, Pablo Bronstein creates a temporary, incomplete setting, one that can always change shape, demonstrating to us that there is no single origin, and that the original always seems to be preceded by its copy.
Pablo Bronstein (b. 1977, Buenos Aires) lives and works in London. Solo shows include Centre d’Art Contemporain Genève (2013); Institute of Contemporary Art, London (2011); Kunsthal Charlottenborg, Copenhagen (2011); Sculpture Court, Tate Britain, London (2010); The Metropolitan Museum of Art, New York (2009); and Städtische Galerie im Lenbachhaus und Kunstbau, Munich (2007).
Pablo Bronstein has participated in numerous group exhibitions, including Tate Live: Performance Room at Tate Modern, London (2012); MOVE: Choreographing You at Hayward Gallery, London, Haus der Kunst, Munich, and K20, Dusseldorf (2010–2011); and The Garden of Forking Paths at Migros Museum für Gegenwartskunst, Zurich. Pablo Bronstein has participated in Manifesta 8 (2010–2011); Performa 07; The Second Biennial of Visual Arts, New York (2007); and at the Tate Triennale, Tate Britain, London (2006).
His books Postmodern Architecture in London (2007), Ornamental Designs (2008), and Gilded Keyholes (2013) have been published by König Books.
The exhibition will be accompanied by a small publication with an essay from Ellis Woodman (architecture critic and executive editor of BD, London, UK.)
CalArts, Roy O. Disney Music Hall
MUSIC: Mid-residency recital featuring original compositions by Jacques Pradel and The Big Panther.
A More Convenient Season. | Photo: Andi Rice
REDCAT: "Yotam Haber has not only composed a monument to Birmingham’s civil rights legacy. He has made an important contribution to a larger body of works that focus on historic world events." —Birmingham News
Taking its title from a key phrase in Dr. Martin Luther King Jr.’s seminal “Letter from a Birmingham Jail,” internationally acclaimed composer Yotam Haber’s soaring, impassioned three-movement work for orchestra, chorus, four soloists, electronic sound and video commemorates watershed events of the Civil Rights Movement that took place in Birmingham, Alabama, in 1963—in particular the fatal bombing of the 16th Street Baptist Church. Haber’s immense 75-minute opus is performed by the CalArts Orchestra and Choral Ensemble under the direction of Mark Menzies, and accompanied by a live soundscape created by Philip White and a silent documentary directed by filmmaker David Peterson. The text of the oratorio incorporates writings by Dr. King as well as oral histories and FBI records from the Birmingham Civil Rights Institute.
D300 Gallery: Nebras Hoveizavi BFA 4 PHOTO/MEDIA
D301 Gallery: Anna Knecht MFA 1 PHOTO/MEDIA
L-Shape Gallery: Beatriz Cortez MFA 1 ART
Main Gallery: Meghan Gavin BFA 4 PHOTO/MEDIA
A402 Gallery: Johann Munn BFA 4 PHOTO/MEDIA
Lime Gallery: Abigail Han MFA 1 PHOTO/MEDIA
Mint Gallery: Tasha Bjelic MFA 1 PHOTO/MEDIA
CalArts, The Wild Beast
MUSIC: The Instrumental Performance Program presents visiting artist Gary Bovyer, as part of the Performance Forum.
Neasden Control Centre is a studio by illustrator / artist Stephen Smith. Stephen’s work spans illustration, typography, interior, motion and publishing. He has published 4 monograph publications with Gestalten, Mu and Rojo as well as contributing to group publications most recently The Age of Collage Art, Contemporary Collage in Modern Art, Gestalten, 2013. He has exhibited site specific installations internationally including More with Less MU, Netherlands, 2010, Now Jump! at Nam June Paik Centre, South Korea, 2009 and Spank the Monkey Baltic Centre for Contemporary Art, UK, 2006 where he was one of 3 UK artists selected alongside Banksy and David Shrigley. His work has been supported by the Arts Council of England and British Council Visual Artist Awards. Stephen was invited by Liam Young as artist in resident with the Unknown Fields Division (Architectural Association, London) on a field trip to Chernobyl, the Aral Sea and Baikonur Cosmodrome (Russian Space Centre). He has lectured and led workshops at Universities and Institutions widely including the Semi Permanent Conference and Cal Arts in Los Angeles.
ART: A lecture with slides from a projector.
Still from Red Hollywood.
REDCAT: "A highly illuminating, groundbreaking, and entertaining video documentary that defies a major taboo in most mainstream writing about current movies." —Jonathan Rosenbaum
Remastered and re-edited 17 years after its original release, Thom Andersen and Noël Burch’s insightful essay film Red Hollywood (1996/2013, digital video, 114 min.) still offers a radically different perspective on a key period in the history of American cinema. "The victims of the Hollywood blacklist have been canonized as martyrs, but their film work in Hollywood is still largely denigrated or ignored," Andersen and Burch noted in 1996. "Red Hollywood considers this work to demonstrate how the Communists of Hollywood were sometimes able to express their ideas in the films they wrote and directed." The work draws on extensive original research, interviews with blacklisted artists, and clips from 53 films that span numerous genres and raise questions about war, race relations, class solidarity, women’s labor and the studio system itself.
In person: Thom Andersen
MUSIC: The Percussion Program presents visiting artist Mindy Seegal Abovitz, as part of the Percussion Workshop.
Mindy Abovitz is a self taught drummer and drum machine programmer with a Masters in Media Studies who started Tom Tom Magazine; the first and only magazine about female drummers, in 2009. Tom Tom is a full color print magazine based out of NYC that is currently distributed globally and is carried by Guitar Centers and Barnes & Noble nationwide. She hopes to impact the music industry through print media, new media, showcases, panels and community interactions and see a 50% increase of female drummers in the next ten years. The magazine has a feminist mission and seeks to raise awareness about female percussionists from all over the world and hopes to inspire women and girls of all ages to drum, while strengthening and building the community of otherwise fragmented female musicians.
Mindy has lectured and held panels at: Sarah Lawrence, Carnegie Melon, Smith College, UCSD, University of William & Mary, RISD and MoMA PS1 amongst other institutions. She has received press in FADER Magazine, Paper Magazine, BUST, Bitch, OUT Magazine, Miami New Times, LA Weekly, Miami Herald, Lemondrop, AfterEllen, Autostraddle and more. www.tomtommag.com
CalArts, Butler Building #4
CRITICAL STUDIES: Bruce Robbins is the Old Dominion Professor in the Humanities at Columbia University. He works mainly in the areas of nineteenth and twentieth century fiction, literary and cultural theory, and postcolonial studies. He is the author of Perpetual War: Cosmopolitanism from the Viewpoint of Violence (2012), Upward Mobility and the Common Good: Toward a Literary History of the Welfare State (2007), Feeling Global: Internationalism in Distress (1999), The Servant's Hand: English Fiction from Below (1986) and Secular Vocations: Intellectuals, Professionalism, Culture (1993). He has edited Intellectuals: Aesthetics, Politics, Academics (1990) and The Phantom Public Sphere (1993) and co-edited Cosmopolitics: Thinking and Feeling beyond the Nation (1998). He was co-editor of the journal Social Text from 1991 to 2000. Robbins will be screening his film, Some of My Best Friends are Zionists, Q&A with Thomas Altheimer to follow.
CalArts, Bijou Theater
FILM/VIDEO, ART: STRUCTURING STRATEGIES: CALARTS SCHOOL OF ART FACULTY MEMBER
CHARLES GAINES will present MANIFESTOS 1 and 2
For more than forty years, Charles Gaines’ art has explored the relationship between aesthetics, politics, language and systems. Gaines employs rule-based methodologies to investigate ways in which meaning can be experienced in images and words. Informed by sources as varied as Tantric Buddhist drawings, the systemized work of Hanne Darboven, and John Cage’s notions of indeterminacy, Gaines creates work that often employs plotting and mathematics to organize visual components. He does not, however, deny the viewer’s sense of subjectivity.
Manifestos 1 (2008) is a work that applies the text of several manifestos to a system that transcribes the texts into musical notation. The music that is realized is played and recorded by a string quartet plus piano (quintet). The idea of the work comes from the tradition of revolutionary manifestos and the linkage of music to revolutionary ideology.
Manifestos 2 (2013) is an installation consisting of two parts: four single channel video monitors, each one dedicated to one of four texts of revolutionary manifestos; and four large graphite drawings of music scores that were created through a systemized translation of the texts. The texts are from An Indigenous Manifesto(1999) by Canada’s Taiaiake Alfred; Malcom X’s last public speech, held in 1965 at Detroit’s Ford Auditorium; Raul Alcaraz and Daniel Carrillo’s Indocumentalismo from 2010; and the Declaration on the Rights of Women, written by Olympe De Gouges in 1791. Gaines has composed scores from each manifesto, translating the letters of the texts to their corresponding musical notes.
Charles Gaines received his BA from Jersey City State University and his MFA from the Rochester Institute of Technology. He has had over 70 one-person shows and several hundred group exhibitions in the US and Europe. He is represented in the US by Paula Cooper Gallery (NY) and Susanne Veilmetter Los Angeles Projects. In 2013 he will have one person exhibitions at the Studio Museum, (NYC) and the Paula Cooper Gallery (NYC). Continuing and past exhibitions include: Blues For Smoke, Bennett Simpson, curator, Museum of Contemporary Art, Los Angeles, CA (Sept. 2012) and the Whitney Museum (2013); Now Dig This! Art and Black Los Angeles 1960 – 1980, Curator: Prof. Kellie Jones, Hammer Museum (2011) and PS 1 MOMA (NYC, 2012), All Of This And Nothing, Hammer Museum Invitational, curated by Anne Ellegood and Douglas Fogle, Los Angeles, CA (Jan. 2011); State of Mind/Art from California Circa 1970, Berkeley Art Museum and Orange County Museum of Art, co-curated by Constance Lewallen and Karen Moss, (October 2011); Under the Big Black Sun: 1974-1981, Paul Schimmel, curator, Museum of Contemporary Art, Los Angeles, CA (2010) and the Tang Museum (Saratoga Springs, NY, 2012); Human Nature, Los Angeles County Museum of Art, Los Angeles, CA (2011); “Dance / Draw”, The Institute of Contemporary Art, Boston, MA, (2011); "Locations", Paula Cooper Gallery, New York, NY (2011); Other exhibitions include: The Artist Museum, Museum of Contemporary Art (MOCA), Los Angeles, CA (October 2010); Collection: MOCA's First Thirty Years, Museum of Contemporary Art, Los Angeles, CA (November 15-May 3, 2011); Venice Biennale, Robert Storr, curator (2007). He is in the collection of many museums including: Museum of Modern Art (NYC), Whitney Museum (NYC)‚ Museum of Contemporary Art (Chicago), Walker Art Center (Minn.), The Blanton Museum of Art, (Austin), Hammer Museum (LA), Los Angeles County Museum of Art, Museum of Contemporary Art (LA), Pomona Art Museum (Pomona, CA), Orange County Museum of Art, San Francisco Museum of Art, Oakland Museum, Fresno Art Museum.
CalArts, Roy O. Disney Music Hall
MUSIC: Laura Rizzotto and her band will perform original songs from her new upcoming sophomore album and also a few covers.
CalArts, The Wild Beast
MUSIC: Music of Coleman Zurkowski featuring Andrea Young, Sharon Kim, Sarasita Gomez.
CalArts, Roy O. Disney Music Hall
MUSIC: A 3/4 Residency recital for two BFA3 composers, showcasing their current works of electro-acoustic music.