Category Archives: VIDEO

KATJA MATER — DEAR SIDES

In KATJA MATER—DEAR SIDES, the artist reveals “a different or alternative experience of reality… midway between information and interpretation.”

Creating “hybrids between photography or film with other media,” the interactions within Mater’s work “[blends and binds] them together, where they behave as one but at the same time reveal each other’s distinctive qualities and glitches.”*

I live in a text driven world with a severely dyslectic brain. Because of my dyslexia it often feels like things can flip around, and do, while it does not make that much of a difference to me. I can read almost as fast up-side-down as right-side-up. Left to right or right to left…

Why is it that dyslectics flip their letters, their numbers, follow their own logic and invent their own ways? People with dyslexia do not naturally process written words or take on tasks in a linear manner, they do not work their way from left to right or top to bottom. They tend to approach the world in a more visual way and take in word as shapes from all angles. While writing, they “draw a picture using letters” and orientation does not seem that important. — Katja Mater*

KATJA MATER—DEAR SIDES*

Through October 20.

MARIE NERLAND and NICKEL VAN DUIJVENBODEN reading

Sunday, October 13, at 5:30 pm.

Platform for Contemporary Art

P////AKT

Zeeburgerpad 53, Amsterdam.

This exhibition is in memory of Ruud Molleman.

Katja Mater—Dear Sides, Platform for Contemporary Art, September–October 2019, from top: Janus, 2019; Dear Sides, 2019, film installation, with Janus in background (2); <✺> A, B, C, 2019; “ ”, 2019 (2); Dare Not / Read On, 2019 (2); Mischievous Mirrors, 2019; Dear Sides, 2019 (2); Katja Mater—Dear Sides, P///AKT image. Photographs by Charlott Markus, images courtesy and © the artist and P////AKT. Special thanks to Jessica Gysel and Valeria Marchesini.

PEACHES — WHOSE JIZZ IS THIS?

WHOSE JIZZ IS THIS? is a “deconstructed musical” by Peaches, who “takes a trans-disciplinary and transgressive approach to expanding the format of the exhibition by creating a living organism. Working at the intersection of performance and visual art, she develops new and surprising artistic forms. The exhibition presents an amplified way of looking at and understanding Peaches’ universe and the critical thought that informs her work.”*

The exhibition, at Kunstverein in Hamburg, demonstrates how, “in a theatrical and humorous way, Peaches gives shape to an intersectional feminist perspective. Ever adept at boundary blurring, she has produced a site specific work with unexpected approaches and historical reflections on sex, queerness, and new millennial politics.”

WHOSE JIZZ IS THIS? incorporates “music production, live performance, performance art, video, theatrical direction, set and light design… combining them with sculpture, textiles manipulation, and animatronics.”*

PEACHES—WHOSE JIZZ IS THIS?*

Through October 20.

Kunstverein in Hamburg

Klosterwall 23, Hamburg.

Peaches, Whose Jizz Is This?, Kunstverein in Hamburg, 2019, installation views, photographs by Fred Dott. Images courtesy and © the artist, the photographer, and Kunstverein in Hamburg.


OOGA BOOGA — CLOSING WEEKEND

In 2017, when Ooga Booga founder Wendy Yao was awarded the White Columns/Shoot the Lobster award—”presented annually to individuals who selflessly create a context for other artists’ ideas and seek to build communities around them”— Asher Penn wrote:

Ooga Booga has become a non-institutional hub within the Los Angeles area; a go-to place for its selection of books, multiples, fashion items, and accessories. Outside Los Angeles, Ooga Booga is an icon of independent entrepreneurship, participating in art and book fairs, opening temporary satellite stores, creating online resources for independent publishers, and organizing events in various venues. 

PARIS LA is one of countless publications that Yao has supported over the years, facilitating introductions to future collaborators and providing a platform for imagination to take flight.

Ooga Booga’s Chinatown store is closing this weekend—Sunday, September 1 is the last day. Stop by and visit one last time. (The web shop is scheduled to continue operations.)

OOGA BOOGA

943 North Broadway, downtown Los Angeles.

From top: Wendy Yao, KCET; Ooga Booga, Chinatown, exterior and interior (2); Excursus III: Ooga Booga at ICA in Philadelphia, 2012, photograph by Alex Klein; Ooga Booga II at 356 Mission; sign in Chinatown, Los Angeles. Images courtesy and © Wendy Yao and the photographers.

AVENGERS AT GAGA AND REENA SPAULINGS

This is the closing week of AVENGERS—SOMEONE LEFT THE CAKE OUT IN THE RAIN, a group show at Gaga & Reena Spaulings Fine Art, Los Angeles.

The exhibition features photographs by Julie Becker and Reynaldo Rivera—including several from the Cha Cha Girls ’87 series—prints by Juliana Huxtable, Stephen Willats, and Felix Bernstein & Gabe Rubin, paintings by Jill Mulleady, Mayo Thompson, and Bedros Yeretzian & Nicole-Antonia Spagnola, multimedia works by Harry Dodge, Megan Plunkett, Matthew Langan-Peck, and Larry Johnson, and videos by Ken Okiishi and Gary Indiana.

In addition, Hedi El Kholti’s Collage sketchbook #10 is here, as well as ABC Pong, Bernadette Corporation’s table piece, featuring audio by Sylvère Lotringer.

On closing night the gallery will host a video program, with work by Alexander Kluge, Alex Hubbard, and exhibition artists Dodge, Huxtable, Indiana, and Spagnola.

 AVENGERS—SOMEONE LEFT THE CAKE OUT IN THE RAIN

Through Saturday, August 10.

Video program:

Saturday, August 10, at 8 pm.

Gaga & Reena Spaulings Fine Art

2228 W. 7th Street, 2nd Floor (entrance on South Grand View Street), Los Angeles.

Avengers—Someone Left the Cake Out in the Rain, 2019, from top: Matthew Langan-Peck, Untitled, 2019, digital C-print, wood, acrylic, oil paint; Mayo Thompson, Alligator & Turtle, 2019, gouache on canvas; installation view with Juliana Huxtable’s prints The Feminist Scam, 2017 (left) and The War on Proof, 2017, on wall and Bernadette Corporation’s ABC Pong in foreground; Megan Plunkett, The Encounter 01/The Prime Mover, 2019; installation view; Jill Mulleady, A Place in the Sun (Larry), 2019, oil on linen; Larry Johnson, Untitled (Century Schoolbook, Annotated), 1991, foamcore, photo mechanical transfer, rubber cement, ink, paint; installation view with Hedi El Kholti’s Collage sketchbook #10, 2015–2019, on stand; Mayo Thompson (2), Column and Bather, both 2019, gouache on canvas; Felix Bernstein & Gabe Rubin, Free Dissociation II, 2019, inkjet print; Reynaldo Rivera, Untitled (Fausto), inkjet print; installation view with four C-prints by Julie Becker from her The Same Room series; Felix Bernstein & Gabe Rubin, Free Dissociation I, 2019, inkjet print; Harry Dodge, The Gross Part (Stencil Series), 2015, plexiglass, primer, paint, UV-proof varnish, polished aluminum frame; Ken Okiishi, Being and/or Time, 2013–2016, HD video, 17 minutes, 15 seconds; Matthew Langan-Peck, J-U-, 2019, silkscreen on aluminum, wood,acrylic, oil paint, LED; installation view with Gary Indiana’s 2014 digital video Stanley Park on left. Images courtesy and © the artists and Gaga & Reena Spaulings Fine Art, Los Angeles. Special thanks to Jacob Eisenmann.

ALTERED AFTER

ALTERED AFTER—a group show at Participant Inc featuring work by Darrel Ellis, fierce pussy, General Idea, Jerry the Marble Faun, Leslie Kaliades, Kang Seung Lee, Ronald Lockett, Jonathan Molina Garcia, Cookie Mueller, Raúl de Nieves, Jason Simon, Manuel Solano, Gail Thacker, Julie Tolentino, and XFR Collective—incorporates “archives, archaeology, salvaged objects, material migrations, inherited knowledge, and bequests in response to HIV/AIDS.”*

The exhibition is curated by Conrad Ventur for Visual AIDS.

“I’ve learned that we have to find our own saviors. For me, I like to create a fantasy, and one of the ways I’ve found beauty is by stacking beads on top of each other. I usually work in circles and let time shape the work…

“I guess I choose shoes as a vehicle to adorn myself, to give off different identities… The shoes are very organic. I actually see them grow. It pushes me to want to learn more about weight and design, to push them into new forms. But I also want them to design themselves in a way.” — Raúl de Nieves

In conjunction with ALTERED AFTER, Anthology Film Archives and Visual AIDS present RECORD TIME, a free evening of films and videos on August 8, curated by Carmel Curtis and Leeroy Kun Young Kang.

The program includes SOMETHING FIERCE (1989)—Greg Bordowitz and Jean Carlomusto’s video for Gay Men’s Health CrisisColin Campbell’s SKIN (1990), Nguyen Tan Hoang’s K.I.P. (2002), Hayat Hyatt’s VILLANELLE (2015), Tran T. Kim-Trang’s KORE (1994), Barbara Hammer’s VITAL SIGNS (1991), and Jim Hubbard’s THE DANCE (1992).

ALTERED AFTER*

Through August 18.

Participant, Inc

253 East Houston Street, #1, New York City.

RECORD TIME film program

Thursday, August 8, at 7:30 pm.

Anthology Film Archives

32 Second Avenue (at 2nd Street), New York City.

Altered After, Participant, Inc, 2019, from top: Manuel Solano, Untitled, from the series, An Interior, A Sensation, An Instant, 2019, acrylic on canvas, courtesy and © the artist and Peres Projects, Berlin; Darrel Ellis, Untitled (from Thomas Ellis photo of child’s birthday party), circa 1990, gelatin silver print, courtesy and © the Estate of Darrel Ellis and OSMOS; Altered After installation views (3), including shoes by Raúl de Nieves; fierce pussy, Flag, 1992/2019, five photocopies on paper, courtesy and © the artist; Greg Bordowitz and Jean Carlomusto for Gay Men’s Health Crisis, Something Fierce (1989, 3:30 minutes, video), still, courtesy and © the artists and ONE National Gay & Lesbian Archives at the USC Libraries; Colin Campbell, Skin (1990, 18 min, 16mm), still, courtesy and © the artist and V Tape; Altered After installation view, including a painting by Darrel Ellis and a section of Kang Seung Lee, Untitled  (Garden) , 2018, 24K Nishijin gold thread on Sambe, ceramic (California clay, soils from Derek Jarman’s Garden, Nam San, Tapgol Park), pebbles from Dungeness and Tapgol Park, metal parts and dried plants from Derek Jarman’s Garden, courtesy and © the artist and ONE AND J. Gallery, Seoul; Kang Seung Lee, Untitled (Garden) detail; Jason Simon, Untitled (Video Against AIDS), 2013. three facsimile cassette wraps and original printed materials designed by Hannah H. Alderfer, courtesy and © the artist and Callicoon Fine Arts, New York; detail of Altered After exhibition catalog cover, designed by Jean Foos, image by Leslie Kaliades, still from Altered After, 1997, video, black and white, sound, 4:45 minutes; Altered After installation views (2); Tran T. Kim-Trang, Kore (1994, 17 min, video), still, courtesy and © the artist and Video Data Bank. Images courtesy Participant, Inc.