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Format: 02/26/2017

Tuesday, January 31 2017

Miljohn Ruperto: 'Geomancies' at REDCAT

January 14, 2017 - March 12, 2017
Saturday, January 14, 2017 - 9:00am - Sunday, March 12, 2017 - 6:00pm

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 narrativeThe 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.

Last edited by rsdavid on Jan 09, 2017

Art School Gallery Exhibitions

January 30, 2017 - February 3, 2017
Monday, January 30, 2017 - 9:00am - Friday, February 3, 2017 - 5:00pm

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

Last edited by Belmer on Jan 26, 2017

Cinematic Voices: Alexander Stewart

January 31, 2017
Tuesday, January 31, 2017 - 7:00pm - 10:00pm

CalArts, Bijou Theater

Biography

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


Here There - TRAILER from Bonobostudio on Vimeo.

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.

Section 1.

  • 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. 

Section 2.

  • 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. 

Section 3.

  • 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.
Last edited by cziemba on Jan 27, 2017

'Piano Spheres Presents Vicki Ray: Dream Teams' at REDCAT

January 31, 2017
Tuesday, January 31, 2017 - 8:30pm

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. 

Purchase Tickets

Last edited by rsdavid on Jan 12, 2017
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