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.
CalArts, Soccer Field
ART: Installation on soccer field, building a large secured tent made out of mylar and PVC pipes. Reception on Feb. 9th.
D300 Gallery: Esteban Perez BFA 4 ART
D301 Gallery: Christina Niazian BFA 4 PHOTO/MEDIA
L-Shape Gallery: Liza McKee-Cole BFA 4 ART
Main Gallery: Antonio Perez BFA 4 ART
A402 Gallery: Laura IM BFA 4 ART
Lime Gallery: Addison Fischer BFA 4 ART
Mint Gallery: Ace Shi BFA 4 PHOTO/MEDIA
CalArts, Roy O. Disney Music Hall
MUSIC: Gnarwhallaby consists of Brian Walsh, Richard Valitutto, Derek Stein and Matt Barbier. It was formed in 2011 to revive and perform the repertoire composed for the unique instrumentation of clarinet, trombone, cello, and piano. As its starting point, the quartet used the missions and repertoires of the now defunct, avant-garde polish ensemble Warsztat Muzyczny as well as the later German outfit quartet avance. As the third generation "grandchild" quartet – the first in the United States and the only currently active quartet of its kind in the world – Gnarwhallaby continues to expand this largely unknown and fascinating body of repertoire with active composer commissions and original compositions by its members. All are graduates of California Institute of the Arts.
CAREER SERVICES: Representatives from Nike will discuss their summer internship opportunities. For an on campus portfolio review, submit your application online at go.nike.come/article/internships.
CalArts, Bijou Theater
Harry Dodge is an American sculptor, performer, video artist, and writer, whose interdisciplinary practice is characterized by its explorations of relation, materiality, the unnamable with a special focus on ecstatic contamination. His solo and collaborative work has been exhibited at many venues nationally and internationally, including (currently), Selections from the Permanent Collection at MOCA (LA); the 2008 Whitney Biennial; a solo show titled, Meaty Beaty Big and Bouncy at The Aldrich Contemporary Art Museum in 2013; and Hammer Museum’s 2014 Biennial, Made in L.A. Dodge’s work is in collections including Museum of Modern Art (NY), Museum of Contemporary Art (LA), Hammer Museum (LA). His most recent solo exhibition was The Inner Reality of Ultra-Intelligent Life, at Pasadena’s Armory Center for the Arts, organized by Suzy Halajian, which followed 2015’s solo exhibition, The Cybernetic Fold at Wallspace, NY. Recent group exhibitions include: The Promise of Total Automation at Kunsthalle Wien Austria; a three-person show at London’s The Approach Gallery, Triples: Harry Dodge, Evan Holloway and Peter Shelton; Routine Pleasures a show organized by Michael Ned Holte at the MAK Center in Los Angeles; and a group show, Protuberances curated by Jess Arndt and Catherine Taft at LAX Art.
In 2016, a section from a Dodge’s short story titled High Five for Ram Dass was included in pamphlet/zine, Night Papers 8, curated by Sarah Lehrer-Graiwer and Kate Wolf. An interview that Dodge conducted with artist MPA, Mourning the Earth, was recently posted at BOMB Magazine, and an interview with Dodge (by Carrie Kellerby) is here: http://bombmagazine.org/article/0917518/mpa
In the early 90s, Dodge was one of the founders of the now-legendary San Francisco community-based performance space, The Bearded Lady, which served as a touchstone for a pioneering, queer, DIY literary and arts scene. During that time Dodge also wrote, directed, and performed several critically-acclaimed, evening-length, monologue-based performances, including Muddy Little River (1996) and From Where I’m Sitting (I Can Only Reach Your Ass) (1997). In the latter part of 90s, Dodge co-wrote, directed, edited and starred in (with Silas Howard) a narrative feature film, By Hook or By Crook, which premiered at Sundance in 2002 and went on to garner five Best Feature awards. From 2004 to 2008, Dodge was half of a renowned video-making collaboration with artist Stanya Kahn.
Dodge is currently working on a book-length essay titled My Meteorite.
Dodge holds an MFA from Milton Avery School of the Arts at Bard College and is permanent faculty of the School of Art at California Institute of the Arts, Program in Art.
Big Bang (Song of the Cosmic Hobo) (2016, video, color, sound, 11 mins.)
In Big Bang (Song of the Cosmic Hobo), Harry Dodge appears as a low-rent automaton in an urgent quest to launch a small group of cosmic particles back into a state of pure potentiality. In this film, a cyborg (a shirtless Dodge with a Chroma key green cardboard-box robot head) purchases a particleboard cabinet at IKEA and, after gloriously smashing it to bits with a sledgehammer, heads out to scatter the dust at a Grand Canyon scenic overlook. In swift order, the work invokes questions about consumerism, materiality, and the possible fecundity of dissolution or destruction.
Mysterious Fires (2016, video, color, sound, 24 mins.)
In Mysterious Fires, Harry Dodge plays a human-level machine intelligence being interviewed by a concerned interlocutor (played by Cay Castagnetto); the video reflects Dodge’s interest in the fast-moving, ethically-charged field of robotics and machine intelligence. The conceptual, pedagogical discussion the two characters engage in is faceted throughout by their amusing interpersonal dynamic and idiosyncratic means of verbal delivery, which extends to include other members of the filming crew, breaking the proverbial “fourth wall.” In short, while performing a script primarily concerned with the terrifying pall of absolute instrumentality (the future of machine intelligence), the characters and crew frequently interrupt themselves with wit, affection, delight, error, flattery, and absurdity. Through disruption and play, Mysterious Fires asks its audience to consider where fallibility, care, love, and laughter (affect) belong in a situation of absolute, super-charged intelligence—especially if intelligence is defined as the virtuosic mastery of goal-achievement.
Fred Can Never be Called Bald (2011, video, color, sound, 39:45 mins.)
Fred Can Never Be Called Bald is a sustained, essayistic meditation on the transformation of matter: into new states or new meanings, and, via digitization, into the virtual world. The title derives from a famous logical fallacy (called a continuum fallacy) in which bivalent thinking (i.e. “bald” or “not bald”) forecloses the apprehension of a change. In other words, in a continuum fallacy, a change is said to be impossible simply because its exact moment of arrival cannot be discerned. Via a distorted collage of YouTube clips, many of which depict explosions and other extreme physical incidents, the video attempts to slow down or otherwise make manifest transformation—to attempt, even if in vain, a better apprehension of the transitive. Its use of YouTube is driven by Dodge’s fascination with those YouTube participants who appear both enthralled with the digital or virtual world, and also enchanted by—even desperately engaged with—their own physical bodies and forces of nature. Made while Dodge’s mother was dying from cancer (and completed a week after her death), Fred Can Never Be Called Bald also reflects Dodge’s own awed, stricken response to the material transformation brought about by death, and concludes with Dodge’s own personal contribution to the collage of video clips here gathered.
CalArts, The Roy O. Disney Music Hall
MUSIC: A live audio/visual performance by Ryan MacGilvray, including original compositions + visual content, for his Music Technology BFA Final Project.