Category Archives: PERFORMANCE

CHARLES GAINES — MANIFESTOS 3 IN PERFORMANCE

In conjunction with the exhibition CHARLES GAINES—PALM TREES AND OTHER WORKS, the artist’s MANIFESTOS 3—”a multimedia installation that functions as a systematic transliteration of two revolutionary manifestos into musical notation”—will be performed by pianist Richard Valitutto at Hauser and Wirth in Los Angeles.*

An interpretation of Martin Luther King, Jr.’s 1967 speech at Newcastle University and James Baldwin’s 1957 essay “Princes and Powers”—a report from the famous 1956 Sorbonne conference of black writers—this MANIFESTOS 3 premiere will be followed by a conversation with Gaines and a book signing of the artist’s current exhibition catalog.

MANIFESTOS 3 BY CHARLES GAINES*

Tuesday, December 10, at 7:30 pm.

CHARLES GAINES—PALM TREES AND OTHER WORKS

Through January 5.

Hauser and Wirth

901 East 3rd Street, downtown Los Angeles.

From top: Charles Gaines, photograph by Fredrik Nilsen; Martin Luther King, Jr., in 1967 at Newcastle University; James Baldwin; Charles Gaines, Manifestos 3 (detail), 2018, photograph by Nilsen; Richard Valitutto; Numbers and Trees: Palm Canyon, Palm Trees Series 2, Tree #7, Mission (detail), 2019, acrylic sheet, acrylic paint, photograph, two parts, photograph by Nilsen. Images courtesy and © the artists, the photographers, and Hauser & Wirth.


PAULINE BOUDRY AND RENATE LORENZ — MOVING BACKWARDS

We do not feel represented by our governments and do not agree with decisions taken in our name. We witness European nations building giant walls and fences around borders that already didn’t seem useful in the first place, rejecting rescue ships at the harbors. Philosopher Achille Mbembe speaks of the “Society of Enmity.” Queer scholar José Esteban Munoz calls the here and now a “prison house.” People stop using gender neutral language and move from their polyamorous groups into traditional families. Hate speech not only seems acceptable, but becomes a motor of aggressively arresting us into what is considered a normal life. Do you sometimes feel as if you are massively being forced to move backwards?

We have, of course, no recipe. But after taking a deep breath we are up for turning disadvantage into a tool: Let’s collectively move backwards…

Women of the Kurdish guerrillas wore their shoes the wrong way round to walk from one place in the snowy mountains to the other. This tactic saved their lives. It seems as if you are walking backwards, but actually you are walking forwards. Or the other way around.

Let’s take this story as a starting point for the project: Can we use the tactical ambivalence of this movement as a means of coming together, re-organizing our desires, and finding ways of exercising freedoms? Can its feigned backwardness even fight the notion of progress’ inevitability?

We will move backwards and think about the ways in which we wish to live with loved but also unloved others. We will move backwards, because strange encounters might be a pleasant starting point for something unforeseen to happen. — Renate and Pauline

This weekend, Joan presents the United States premiere of Pauline Boudry and Renate Lorenz’ 2019 Venice Biennale video installation MOVING BACKWARDS.

The Venice iteration in the Swiss Pavilion—curated by Charlotte Laubard—incarnated a nightclub environment, and the opening weekend in Los Angeles will feature a live performance by Marbles Jumbo Radio.

PAULINE BOUDRY and RENATE LORENZ—MOVING BACKWARDS

Opening Night

Saturday, December 7, from 7 pm.

PAULINE BOUDRY and RENATE LORENZ IN CONVERSATION WITH ANNE ELLEGOOD

Sunday, December 8, at 4 pm.

Performances

Opening Night at 7 pm and Sunday, December 8, from noon to 4 pm.

Joan

1206 Maple Avenue, suite 715, downtown Los Angeles.

In addition to Marbles Jumbo Radio, performers in the video include Julie Cunningham, Werner Hirsch, Latifa Laâbissi, and Nach.

The MOVING BACKWARDS exhibition catalog is available from Skira.

Pauline Boudry and Renate Lorenz, Moving Backwards, 2019, installation and performance photographs from the 58th Venice Biennale, Swiss Pavilion. Images courtesy and © the artists, the photographers, the performers, la Biennale di Venezia, and Skira.

WINTER DANCE 2019 AT REDCAT

Once again, the CalArts Winter Dance program celebrates the canon, this year with a program of works by Yvonne Rainer, Danielle Agami, Salia Sanou, and Wayne McGregor, staged either by the original choreographers or their close associates.

Rainer’s DIAGONAL—part of her 1963 dance Terrain—will be staged by dance artist and certified Rainer transmitter Sara Wookey, and McGregor’s FAR (2010) by former Company Wayne McGregor dancer Louis McMiller.

Sanou is staging his own work DU DESIR D’HORIZON (2016), and ONLY THEN—the Agami selection of excerpts—is staged by the choreographer and her Ate9 dancers Sarah Butler and Rebecah Goldstone.

CALARTS WINTER DANCE—REPERTORY RIGHT NOW!

Friday and Saturday, December 6 and 7, at 8:30 pm.

REDCAT

631 West 2nd Street, downtown Los Angeles.

Dancers this season include Mandolin Burns, Yunju Cho, Faith Johnson, Claire Kilgore, Breonna Leigh, Andrea Soto, Matreya Teichrow, Madeline Wray, Josie Anders, Jaden Johnson, Kiara Jones, Ava Kough, Jules Mara, Lena Martin, Alicia Pak, Mao Tokunaga, Justin Farmer, Mia Givens, Damontae Hack, Bethanie Hayes, Ally Hernandez, Emara Neymour-Jackson, Sofie Oldenboom, Nicholas Ruscica, Makayla Sifuentes, Gloria Tonello, Chloe Crenshaw, Genevieve Fletcher, Yunni Lin, Luciana Lyons, Jade Moreno, Risa Padilla, Nia Scovel, Madyson Thornquest, Keely Uchida, Emilio Wettlaufer, Aaron Wilson, Hannah Wu, Lilly Wylde, Delisa Bass, Kaitlyn Benzant, Eliana Grimes, Shannon Hafez, Kehari Hutchinson, Madison Lynch, Dave McCall, Kait McKinney, Taliha Scott, Andrew Tiamzon, Annmarie Arcuri, Emilee Iuvara, and Seamus Peart.

From top: Wayne McGregor, Far (2010), (2); Salia Sanou, Du desir d’horizon (2016), (2); Yvonne Rainer, Diagonal, part of Terrain, (1963/2019); Danielle Agami, Only Then, (2014/other); Sanou, Du desir d’horizon; McGregor, Far. Photographs by Rafael Hernandez, courtesy and © the choreographers and stagers, the dancers, the photographer, and CalArts.

SECRET CEREMONY

Join artist and curator Telémachos Alexiou at Human Resources for SECRET CEREMONY—QUEERNESS AND SPIRITUALITY AT THE DAWN OF THE NEW DECADE.

Alexiou has brought together a group—including Christopher Argodale, Camila Maria Concepción, Emi Fontana, Kathryn Garcia, Carlos Medina-Diaz, Eva Mitala, Tyler Matthew Oyer, Deborah Smaragdi Isous, Mohammad Tayyeb, and Ares Zolo—who will conduct a “selection of ritualistic performances by queer artists who use spirituality, shamanism, and witchcraft as part of their work. The event follows a storyline of death and rebirth including stillness, vocalization, ecstatic dance, exorcism, healing, matrimony, and Tarot reading, among other practices.”*

See link below for program schedule.

SECRET CEREMONY*

Friday, December 6, from 7:30 pm to 11:30 pm.

Human Resources

410 Cottage Home Street, Chinatown, Los Angeles.

From top: Ares Zolo, Control of the Astral Body; Camila Maria Concepción, Diary of a Sad Trans Woman; Kathryn Garcia, Goddess Healing with Pyramids and Gong; Christopher Argodale, Excerpt Channel; Mohammad Tayyeb, My Speech Tinged His Cheeks with Pink Blush As If My Words Were Splashes of Dye; Emi Fontana and Telémachos Alexiou, Corpse Pose; Tyler Matthew Oyer, Brutal Language; Eva Mitala, High Priestess. Images courtesy and © the artists and the photographers.

TEO HERNÁNDEZ — SALOMÉ

For the viewer enamored with arthouse, experimental, experiential and extremely lyrical cinema, it takes less than five minutes to get wholly immersed in this ethereal, boldly unconventional phantasmagoria which eschews historical/biblical narrative in favor of the sensual visuals and chic baroque atmosphere. Although it does feature the Dance of the Seven Veils, SALOMÉ refuses to tell the (familiar) story and instead opts for satiating our appetite for aesthetic pleasure. Ars gratia artis it may be, yet it hardly ever fails to impress, holding you in its gentle embrace…

Its pure, unadulterated magic relies on soft light, warm colors, strong chiaroscuro, deliberate pacing and slow-motion ‘action’ which turns the archetypal characters into partakers of a strange ritual of unfathomable purpose. As Eros and Thanatos dance like they are making love, the ripe darkness that surrounds them engulfs their hypnotized worshippers and drives them into sublime ecstasy. However, it is not only them who are under hypnosis, but us as well, with our gazes transfixed to the screen and ourselves lost in contemplative reveries.Nikola Gocić

Dirty Looks and the Los Angeles Filmforum present a special, one-night-only screening of Teo Hernández’ richly impressionistic take on SALOMÉ at the Philosophical Research Society.

Dorian Wood—fresh off his Redcat incarnation in Xavela Lux Aeterna—will perform a score created for the event, “marrying the operatic evocations of Wood’s singular voice with Hernández’ baroque cinematography in the unique, Mayan-inspired architecture” of the venue.*

SALOMÉ*

Thursday, December 5.

Doors at 7:30 pm, screening at 8 PM.

Philosophical Research Society

3910 Los Feliz Boulevard, Los Angeles.

Teo Hernández, Salomé (1976), images courtesy and © the Teo Hernández Fund, Kandinsky Library, and Centre Pompidou, Paris.