01/14/2017 - 03/12/2017
02/24/2017 - 02/28/2017
02/25/2017 - 03/06/2017
REDCAT: Opening Reception: Sat. January 14 6-9 pm
The cross-disciplinary work of Los Angeles-based, Philippine artist Miljohn Ruperto includes photography, cinema, performance and digital animation. His work refers to historical and anecdotal occurrences, and speculates on the nature of assumed facts and construction of truth. He creates illusory images and disconcerting effects that challenge the viewer’s perception.
Geomancies consists of a film, a series of photographic and video works, as well as a new performance piece. Ruperto works with the concepts of possession, opposition and metamorphosis as common themes and as a background for the exhibition´s narrative. The work investigates the constant battle waged by humans to control nature. Modifications of the landscape and the economic exploitation of nature are counteracted by its unexpected force and how it affects the course of history.
The centerpiece of the exhibition, Ordinal (SW/NE), 2017, is an experimental documentary created with filmmaker Rini Yun Keagy. The film traces the cultural and environmental influences of a soil-dwelling, pathogenic fungus, Coccidioides immitis, and its associated disease, valley fever, in California's Central Valley. Interweaving past, present and mythological time, the film draws upon historical and cultural references, including the plight of migrants during the Depression, the spread of the disease in recent years, contemporary theories of climate change, and the significance of the desert wind in ancient Assyria. In Ruperto and Keagy’s film, natural phenomena remain neutral, fleeing from any kind of judgment and avoiding binary oppositions of positive and negative, destruction and regeneration, life and death.
Driving South at Sunset. The Camera Faces East (2007) is a short video of a woman driving south on Interstate Highway 5 toward San Diego. She stares into the distance, intermittently singing a country song about heartache. The camera faces east, blocking the sunset. The rigid axis of the camera and the horizon with the North to South direction of the vehicle's movement is broken up by the woman's oblique focus, weaving in and out of song.
The exhibition also features Re-animating "Valley Turbulence" by Sam Chase (2016). For this piece, Ruperto animated the photograph taken by Chase, who was then an employee of Chevron, to create a loop. The video illustrates the massive dust storm that buried the south of the San Joaquin Valley and caused severe damage to the area. Meteorological phenomena, the video suggests, cannot be managed, controlled or captured by human technology.
In line with these film and photographic works, Ruperto presents a new performance, in which the empty space itself is an essential part of the atmospheric construction of the exhibition. Possession (2017) makes direct reference to the cult film Possession (1981) by Andrzej Żuławski, and the memorable scene of actress Isabel Adjani suffering a convulsive seizure in the subway station. In Ruperto’s piece, two actors re-enact Adjani’s performance in synchronous mirror symmetry. The actress’ hysterical scene is meticulously mapped out in an attempt to outline the perimeter of her subjectivity.
This exhibition is accompanied by a public program and regular performances in the gallery.
About the artist:
Miljohn Ruperto (b. 1971 Manila, the Philippines) received his M.F.A. from Yale University in 2002 and his B.A., Studio Art from University of California, Berkeley in 1999. Recent exhibitions featuring his work include: Nervous Systems, Haus der Kulturen der Welt, Berlin; Afterwork, Para-Site, Hong Kong; The As-if Principle., Magazin4 Bregenzer Kunstverein, Austria; 2014 Whitney Biennial, Whitney Museum of American Art, New York; Janus, Dunlop Art Gallery, Regina Public Library, Saskatchewan, Canada; Ulrik Heltoft and Miljohn Ruperto, Voynich Botanical Studies, Thomas Solomon Gallery, Los Angeles, CA; Made in L.A., The Hammer Museum, Los Angeles, CA; and Picture Industry (Goodbye to All That), organized by Walead Beshty, Regen Projects, Los Angeles, CA. Ruperto lives and works in Los Angeles, CA.
D300 Gallery: Elisabeth Preger MFA 1 PHOTO/MEDIA
D301 Gallery: Annie Render MFA 1 ART
L-Shape Gallery: Alexandre Saden MFA 1 ART
Main Gallery: TBA
A402 Gallery: Luna Galassini MFA 1 ART
Lime Gallery: Coffee Kang MFA 1 PHOTO/MEDIA
Mint Gallery: Wesley Hicks MFA 1 ART
REDCAT: "Given that he has the massive technique to play anything he wants, what he wants becomes of great, and revealing, interest." - The Los Angeles Times
Piano Spheres continues its series of "Deconstructions: The Leonard Stein Centenary Season," with Mark Robson in a program including William Kraft’s Translucences; Karlheinz Stockhausen: Natürliche Dauern; Wolfgang Rihm: Tombeau; Ferruccio Busoni: “Sonatina #4” (honoring the Leonard Stein centenary); Philip Glass: Selected Etudes; and a world premiere by Daniel Rothman: Life Between Tidemarks on Rocky Shores, written for Mark.
CalArts, The Sharon Disney Lund Theater
DANCE: Narcisa Reflection A film by Silvina Szperling on Narcisa Hirsch screens in the Lund Theatre.
Narcisa Hirsch (Berlin, 1928) is the mother of experimental film in Argentina. Although her work was born amidst utterly difficult historical circumstances, or maybe for that reason, Hirsch’s films have constituted a space of freedom and resistance. NARCISA REFLECTION observes a woman in her last journey, witnessing how she looks at herself in her art work. It will be necessary to take the risk of drowning, in order to know oneself.
A possible portrait -the most intimate one– of Narcisa Hirsch, German-Argentine filmmaker, experimental films pioneer.
Departing from encounters in which the artist explores the path of her memories, some men traces appear, which are transposed to the constant reference to the desert: that landscape that Narcisa seems to visit permanently, and is portrayed in a contemplative and ecstatic work of Art. - Eloísa Solaas at Bafici Film Catalogue
CalArts, The Sharon Disney Lund Theater
DANCE: Videodanza: Argentinian Screendance Pieces, curated by guest artist Silvina Szperling. The films will be preceded by pieces developed in Szperling's CalArts' weeklong workshop.
REDCAT: “Cooley High showed a slice of urban life rarely seen in 'blaxploitation' movies of the time.” – NPR
Co-presented with The Broad. ARRAY @ The Broad is created and curated by Ava DuVernay.
Friendship, first loves and fatality are navigated by four young men in Cooley High, written by Eric Monte and directed by Michael Schultz. Set in 1960s Chicago, this coming-of-age story provides a slice-of-life look at both the light and grit of black teen spirit. The film's 1975 release provided a shift away from blaxploitation cinema common during that time and features breakout performances from Glynn Turman, Lawrence Hilton-Jacobs, Garrett Morris, and Cynthia Davis. Curated by filmmaker Ava DuVernay (13TH, Selma).
A post-screening discussion with actor Glynn Turman, director Michael Schultz, and screenwriter Eric Monte will be moderated by Common. The screening of this classic film will serve as the springboard for a dynamic post-screening discussion with Cooley High actor Glynn Turman, director Michael Schultz, screenwriter Eric Monte,and rapper, actor, and film producer Common and about male identity and black images, and the representation of both in cinema and mainstream media.
ARRAY @ The Broad is an ongoing series featuring classic and contemporary films curated with an eye toward the intersection of art, history and cultural identity. With the cinematic image as the centerpiece, the series engages audiences through post-screening conversations with a spectrum of artists and scholars for an immersive exchange of ideas and insights beyond the screen that enliven many issues addressed by artists in the Broad collection. ARRAY, founded in 2010 by filmmaker Ava DuVernay, is an arts collective dedicated to the amplification of films by people of color and women filmmakers.
REDCAT: The trailblazing JACK Quartet joins forces with the multi-instrumental Lightbulb Ensemble (LBE) for a special collaborative concert that combines contemporary composition, newly created instruments, and complex contrapuntal gamelan percussion. JACK has been hailed for its “explosive virtuosity” (The Boston Globe) while LBE is known for “refreshingly innovative performances [that] challenge conventional notions of how gamelan music should sound” (San Francisco Classical Voice). The program features Hydrogen(2) Oxygen, a three-movement work by LBE founder, director and instrument builder Brian Baumbusch.
D300 Gallery: Nae Howard MFA 1 ART
D301 Gallery: Jinal Sangoi MFA 1 ART
L-Shape Gallery: CLOSED
Main Gallery: Vickie Aravindhan MFA 1 ART
A402 Gallery: Alexandra Leon MFA 1 ART
Lime Gallery: Bridget Driessen MFA 1 ART
Mint Gallery: Hannah Varamini MFA 1 ART
ART: Poised between Martin Luther King, Jr. Day and the presidential inauguration, #J18 is an opportunity to affirm the role of critical thinking and academic knowledge in challenging Trumpism. Educators and students across the United States and around the world—at universities, colleges, high schools, and research organizations—are organizing a day-long program of workshops and demonstrations that speaks to the many issues and themes related to this national and indeed global moment. Alumni, students and faculty of the Art School at CalArts have come forward with a rich array of events. The majority of these will take place in F200, from 10 am until evening. A separate program will occur in the IM classroom, C108, beginning at 9 am.
Events in F200
Yair Agmon: A Skype conversation with the Palestinian collective, Active Stills
“I am coming back from a research and filming trip in Palestine/Israel where I investigated the role of the photographic archive in establishing national myths and narratives. ActiveStills, one of the subjects of the film, is a collective of photographers who employ their cameras to promote political and social agendas by sharing both their position and their archives with the communities they work with. Thus combining a form of social activism with a form of social documentary. I would like to present both their approach to working with a community as well as their work as resistance to dominant or prevailing narratives of oppression.”
Dorit Cypis: a workshop on identity, difference and leadership
We know that conflict is human and necessary for democracy and change, but how do we engage with conflict other than avoidance, denial, accommodation or attack? Fascinated with human difference I aim to turn notions of identity inside out, question who is the individual, what is the collective, and how can conflict be generative? We will look at Occupy as a platform of resistance and explore tools of conflict engagement I have developed between my roles as artist and mediator.
Ashley Hunt, Kean O’Brien, Dont Rhine
A three hour workshop and conversation that introduces the work of the Tenants Union through Dont Rhine (has been visiting faculty in P&M and founding member of Ultra-red, the sound art group you might know), a rapid response network that Kean is building with some East LA organizations to respond to ICE/immigration raids, and a civil disobedience training with an NLG lawyer they’ve done an amazing recent training with, who can cover histories, meanings, tactics, rights and precautions of CD right now, which includes rights to people’s own footage, cameras, etc. The amazing part would be how organically this all can be articulated *in relation to* the students’ practices as artists (the cameras and image rights, renters’ rights as artists, understanding how many artists are understanding organizing as a facet of their practice, etc), so that while it helps connect them to and protect them within the work they want to take on outside their school and artwork, it will also address in very practical ways their current questions about what it means to make art and what’s urgent about art in these kinds of times. I think it would be a hybrid sort of presentation and workshop that we can structure very dynamically, our students would be very responsive to them.
Scott Benzel: Inaugural Rupture; Knot of Mirrors; and Atavistic Liaison
Three short presentations with discussions
Inaugural Rupture explores the dérive, Breton's Arcanum 17, The Yippies' Levitation of the Pentagon and Wall Street Action, the actions of the Women's International Terrorist Conspiracy from Hell (WITCH), and other works of 'late Romantic Anticapitalism' as models of resistance; Knot of Mirrors looks at disinformation, mirror, and gold and their positions within the Trump signifying regime; Atavistic Liaison examines DJT and his cohort in the context of Noys' Malign Velocities and Williams' and Srnicek's Manifesto for an Accelerationist Politics.
Bridget Rosalia Driessen and Beth Fiedorek: Painting in Resistance
We propose a focus group geared at how painting operates in a world that needs intervention. Students are invited to collect and submit examples of painters that shape how they understand painting in a violently fraught political climate. We will then meet as a group to think together about how we can forge visual languages that resist white supremacy, misogyny, xenophobia, militarism, and oligarchic rule. All insights are welcome!
Interested students are encouraged to submit up to three images of paintings/artists to firstname.lastname@example.org or email@example.com by Jan 18 for inclusion in our discussion.
Audrey Chan and Clara Lopez Menendez: CalArts Resistance Reader
This semester we will begin as an artistic community to build an online reader comprised of texts and media rooted in multi-front political resistance and advocacy to serve as a resource during the Trump administration and beyond. We'll need your help to solicit contributions, update and maintain the website, develop curricula, and more.
Jack Taylor: Cryptoparty
With the impending administration looming in sight, effective modes of private and protected communication will be of paramount importance in terms of resistant activity. No form of civil disobedience or reformative rhetoric is functional in the event of communicative breakdown. We will be going over various encrypting technologies, as well as the philosophical and poetic underpinnings to digital privacy, as an introduction to precautions and techniques of digital security. Bring thoughts, devices, and friends.
Events in C108
The Center for Integrated Media presents a series of screenings and a micro-salon for Teach! Organize! Resist!
Watched Over By Machines of Loving Grace
Director: Adam Curtis, Runtime: 180 minutes
Micro-salon/Potluck Lunch 'Eat Trump'
“a frozen moment when everyone sees what is on the end of every fork” - William Burroughs
A student-led open discussion. Topics may include: the 2016 campaign and election, immigration/migration, student debt, health care, race relations, fake news, politics in the age of social media, reactionary politics, dissent, resistance, community building and any other topic the group is interested in pursuing.
Students can bring orange food to share…
Director: John Frankenheimer, Runtime: 126 minutes
Director: D.A. Pennebacker, Runtime: 60 minutes
Point of Order!
Director: Emile de Antonio, Runtime: 97 minutes
CAREER SERVICES: Matthew Manos is the founder of Very Nice, a global design strategy consultancy. Matthew is also the creator of Models of Impact, a stretegic business design tool kit.
CalArts, Langley Hall
CAREER SERVICES: Mr. Underkloffer is the founder and CEO of Oblong Industries. He has been a science advisor for films like Minority Report, The Hulk, & Iron Man. John is a member of the HIVE.
CalArts, The Roy O. Disney Music Hall
MUSIC: A performance of selected pieces from Karlheinz Stockhausen's collection of text music "From the Seven Days." The work was composed in solitary retreat in 1968.
CalArts, Main Gallery
MUSIC: A one-hour performance to conclude the "Reinventing the Renaissance" Interim course. Concert will run from 2:45-3:45.
CalArts, The Wild Beast
MUSIC: Chamber concert featuring Amy Beach Piano Quintet and Brahms String Sextet in Bflat op 18. Performed by students with Lorenz Gamma, celebrating the end of his 11 year tenure at CalArts.
REDCAT: "Nugroho mixes pop influences with Indonesian motifs to question issues of identity and democracy.” – The New York Times
“Eko Nugroho is one of the most acclaimed members of the young generation of Indonesian contemporary artists.” – Art Review
Presented in association with Asia Society.
With a whirlwind of shadows, humor and iconic visual images from street art, popular culture and traditional Javanese forms, provocative artist Eko Nugroho riffs on the story of how Islam first came to Java in the 15th century, eventually resulting in Indonesia becoming the world’s largest Muslim-majority country. After gaining notice with his controversial ‘zine Daging Tumbuh (Rotting Flesh) in the moments after the end of president Suharto’s reign, Nugroho has gained international fame for work that uses found materials, graffiti techniques and hip hop music forms with the rich traditions of Indonesian shadow puppetry while confronting vital socio-political issues. Nugroho and his team of 10 collaborators use a distinctive blend of high and low art in the work of Wayang Bocor, in which puppets and actors weave together traditional elements of Indonesian wayang (shadow puppets) with live theater and scripts that cast
Performed in Javanese and Indonesian with English supertitles.
CalArts, Wave Cave
MUSIC: The installation consists of a live, audio-visual projection of a Fibonacci-based microtonal composition, served in YouTube. The code generates an infinite flow of sound based on the Fibonacci series. It would take more than 1 million years to hear a repeated group of 5 notes. The video shows all the notes that the code produces in realtime.
D300 Gallery: Cyndhia Valle MFA 1 PHOTO/MEDIA
D301 Gallery: Michelle Lee BFA 4 ART
L-Shape Gallery: Don Tinling MFA 1 PHOTO/MEDIA
Main Gallery: Beth Fiedorek MFA 1 ART
A402 Gallery: Sarah Naim MFA 1 ART
Lime Gallery: CLOSED
Mint Gallery: Gabby Rosenbery MFA 1 ART
CAREER SERVICES: Learn how to effectively engage others and communicate your message through networking & outreach.
CAREER SERVICES: Workshop covering the basics of copyright, how to protect your work, how to register with the copyright office. Judith Karfiol will also cover contracts.
CalArts, The Soccer Field
CRITICAL STUDIES: A series of short plays in and around vehicles.
REDCAT: "Meg Stuart has an astonishing intuition for the temporality of movement." -Deutschlandfunk
“This is no less than a synthesis of the arts, a thrilling phantasmagoria.” –De Standaard
Staged within an exquisite installation created with video, scenography and light, choreographer Meg Stuart’s acclaimed solo Hunter explores her own body as an archive populated with personal and cultural memories, ancestors and artistic heroes, fantasies and invisible forces. Discovering traces in the land of small things that linger around her body, Stuart translates them into a series of self-portraits. Experiences are cut up and spliced together on the editing table to reveal potential connections and forms, such as a cartoonesque body, a shamanist chanting ritual or a noisy sound sculpture.
CAREER SERVICES: Workshop will teach students about customer segmentation and market sizing as well ash ow to communicate value and create market position.
REDCAT: “Hampton struggled against the same problems black America faces today, and lost his life for it. His life mattered.” – David A. Love, The Grio
The landmark documentary The Murder of Fred Hampton (1971, 88 min.), by Howard Alk and Michael Gray, is a testament to black activism and a chilling record of covert police and FBI actions. Begun in 1969 to portray the activities of the Chicago branch of the Black Panther Party and its dynamic young leader, Fred Hampton, the film becomes a passionate, clear-eyed response to Hampton’s brutal assassination by police later that year. “Hampton’s killing was the gravest domestic crime of the Nixon administration,” Noam Chomsky has said.
The screening is followed by a panel discussion with artist Sam Durant, activist and educator Ericka Huggins, and UCLA scholar Robin Kelley.
D300 Gallery: Blake Jacobsen BFA 4 PHOTO/MEDIA
D301 Gallery: Joel Orozco BFA 4 PHOTO/MEDIA
L-Shape Gallery: D'Angelo Christian BFA 4 PHOTO/MEDIA
Main Gallery: CLOSED
A402 Gallery: John Wu MFA 2-1 PHOTO/MEDIA
Lime Gallery: Courtney Kimmey BFA 4 PHOTO/MEDIA
Mint Gallery: Clara Philbrick BFA 4 ART
CalArts, Bijou Theater
Alexander Stewart (1981, Mobile, Alabama) received his MFA from the School of the Art Institute of Chicago. His short films have screened internationally, including at the International Film Festival Rotterdam, the Ottawa International Animation Festival, the Ann Arbor Film Festival, and Image Forum in Japan. He is co-founder of the Eyeworks Festival of Experimental Animation, and curated the film and video screening series at Roots & Culture Contemporary Art Center in Chicago from 2006 to 2013. He lives in Los Angeles and teaches in the experimental animation program at CalArts.
Program: Films by Alexander Stewart, 2005-2015
Representing 10 years of work, this program demonstrates Stewart’s ongoing interests in abstract animation and experimental film. The films collectively reveal a fascination with gradual accumulation of marks and movements; with self-imposed challenges and limitations; and with the legacies of structural film and psychedelic cinema. Included in the lineup is his 2005 film Errata, an abstract animation made using photocopiers; Crux Film, an animation made with his frequent collaborator Lilli Carré; Here There, an animation made in conjunction with research into experimental cinema practices in Croatia; and Fort Morgan, a six-years-in-the-making piece exploring a star-shaped brick fort near Stewart’s hometown on the Alabama Gulf Coast. Also featured in the program are several projects representing Stewart’s recent work with musicians, including What I Want, a found-footage film with a score by Sam Prekop (The Sea and Cake), and a music video for the Chicago band Disappears.
- Errata, 2005, 5:00, 16mm
An animation made using photocopiers. Each frame is a photocopy of the previous frame.
- Crux Film, 2013, 5:00, video. With Lilli Carré.
Animated forms in moments of transition loop and interrupt one another.
- Power, 2013, 4:15, video
Drawn fragments of animation accumulate into geometric fields. Music video for the Chicago band Disappears.
- Here There, 2015, 5:00, video
Here There begins as a traveler’s sketchbook, drawn in Zagreb and on the Croatian coast. As the film progresses, observational fragments of landscape and architecture are refined into geometric forms and minimal marks. Details fade away, morphing into abstract impressions on the edges of memory. Here There is a travelogue through the Croatian coast in the summer of 2014 that gives graphic form to memory’s malleable, straying lines.
- 100 Foot Pull, 2010, 2:45, 16mm, silent
A camera is pulled 100 feet across a field in the time it takes to shoot 100 feet of 16mm film. Rocks are attached to the camera to make it appropriately challenging.
- 4000 Frame Throw, 2011, 2:45, 16mm, silent
A 16mm camera is set up with a piece of Plexiglas in front of the lens. The Plexiglas is attached to a lever and a string that clicks one frame of film each time it is struck. Tennis balls are thrown at the Plexiglas from across the room 4,000 times. Each ball that hits the Plexiglas exposes one frame of film. All of the missed throws are added together, and that many frames of film are run off at 24 frames per second at the end of the roll.
- Battle of the Stand-Stills, 2010, 15:00, video
A re-creation of a 1990 world championship bicycle race focuses on an unusual tactic; an announcer's narration of an invisible race is set against an abandoned and decayed velodrome. A film about speed and standing still.
- What I Want, 2013, 6:30, video
A found-footage film using material from the Chicago Film Archives. The urban environment prompts a desire for peaceful isolation. A research facility gets to work to make that fantasy a reality.
- Very Similar To, 2009, 2:45, 16mm, silent. With Peter Miller.
Mirror experiments to fold, collapse, and refract a forest.
- Fort Morgan, 2014, 22:00, video
Fort Morgan uses animation and live action footage to examine the geometry, materials, and structure of a star-shaped brick fort on the Alabama gulf coast. A wandering figure begins to construct a fort, following an intricate geometric diagram. The fort grows of its own accord like an oyster shell or a crystal forming, until it is eccentrically shaped, encrusted, and overgrown. Eventually the fort succumbs to the calcification of its own geometric logic.
- Peacock, 2014, video, 5:00
An exploration of pattern, repetition and visual overload. A small geometric form unfolds into a shimmering display of color and movement.
REDCAT: "Musical thoroughness and technical panache that puts a composer's thoughts directly before the listener.” – The Los Angeles Times
Continuing the Piano Spheres 2016–17 season, this program led by virtuoso keyboardist Vicki Ray includes the world premiere of Dylan Mattingly’s Dreams and False Alarms, for 2 microtonal keyboards; Brad Lubman’s Tangents, for 2 pianos and 2 percussion instruments; and Erik Griswold’s A the Wolfe in the Mangroves (Concerto for Prepared Piano and Percussion Quartet). It also features the world premiere of a suite of compositions by the founders of Bang on a Can: On Desbrosses Street by Michael Gordon; a new version of East Broadway by Julia Wolfe; and spring and green by David Lang.