You are a spacious fluid sac
François Ghebaly, Los Angeles, CA
September 12 – October 24, 2015
You are a spacious fluid sac
François Ghebaly, Los Angeles, CA
September 12 – October 24, 2015
Parker Ito’s show at Chateau Shatto, A Little Taste of Cheeto in the Night, is a fully-immersive, claustrophobic, phantasmagoric experience. The artist transformed a vast, multi-roomed warehouse behind the gallery with architectural interventions, punching holes in the walls and ceiling. Double-sided paintings hang from silvery chains and LED light strands, and the floors are haphazardly carpeted in astro-turf and red plush. Custom-made slippers, screen-printed buckets, ceramic figurines and action figures litter the space, sometimes in precise constructions, and at other times lying about in wait for a crushing step. Photos simply don’t do the show justice; go and see it for yourself before it closes on April 26.
This week we visited the new exhibition of Martin Laborde at Corner Door; we learned more about Kenneth Anger, we passed by the exhibition Juiceworks, we watched artist movies made by Heidi Bucher and Liz Magic Laser; and we wished you Happy Valentine’s day with the song Je t’aime…moi non plus performed by Serge Gainsbourg & Jane Birkin.
The air in Human Resources was fragrant, full of fresh citrus. Shimmering ceramic bowls of tangerines, lemons, and grapefruits lay scattered about the gallery, adding splashes of bright color to the cool and dimly lit space.
Michael Parker’s interactive Juiceworks installation ended today at Human Resources Los Angeles. Over the past several months, Parker created dozens of ceramic juicers, bowls, plates, and cups, and arranged them on halved-log tables in HR’s white cubic space. The instruments themselves look like the briny vertebrae of mysterious sea creatures, fragments of barnacle-coated abalone shells shining opalescent under the soft glow of ethereal lamplight.
When I visited, several small groups had gathered around tables, sitting on low stools of wood and soft coiled rope, chatting as they juiced their citrus. I picked up a delicate ceramic bowl, its pale blue rim mottled fuscia like a head of cabbage, and washed it in a nearby sink. Even the basins full of running water were made of porcelain.
As I sipped from my cup of fresh-squeezed juice, I looked around the room and noticed that citrus fruit had brought us all together. A symbol of Southern California utopianism, citrus has–since the early days when Orange County meant oranges–been commodified, transformed into a major agribusiness. Cold steel machines in distant factories do our juicing, further alienating our labor as Marx once predicted. But sitting there with a handmade porcelain tool and cup in hand, I felt connected to the fruit and their tart, refreshing taste. This was a juicery of dreams.