CalArts Archive, from top: Conny Cavazos, Lei Lei, 2019; Onyou Kim and Vivian Naranjo, Martha Friedman, 2017; Florencio Zavala and Victor Hu, Miranda July & Phil Elverum, 2007; Jae-Hyouk Sung, Matmos, 2003; Cassandra Cisneros, Juyoung Kim, and SoYun Cho, Redcat: Cauleen Smith: “Black Utopia LP,” 2013; Jens Gehlhaar, Anthony Hernandez: Landscape for the Homeless, 1997; Bijan Berahimi and Sarah Faith Gottesdiener, No Age & Brian Roettinger, 2013; Angela Bac and Jessie Zo, 2014 CalArts Halloween, 2014; Scott Barry, Rachel Harrison (3/3), 2010; Louise Sandhaus, Ed Fella Farewell Lecture: Educated, Philosofated, Detroitated, Esplicated, 2013; Allison Hsiao, Redcat: Adentro, 2018. Images courtesy and © the artists and CalArts.
Artificial intelligence, genetic engineering, and the accelerated evolution of the species as seen through the recent films of Alex Garland—Ex Machina and Annihilation—are the topics of a Wednesday talk at Redcat by literature professor N. Katherine Hayles, the author of How We Became Posthuman.
On Saturday, Hayles will give the closing presentation of the day-long Algorithms, Infrastructures, Art and Curation (AIAC) seminar at the City Council Chambers in West Hollywood.
AIAC explores “explores aesthetic and political issues related to algorithms and infrastructures in art and curation, ranging from finance to climate change, from human exclusion zones to bitcoin and blockchain, from search algorithms to theories of natural selection and more.”*
Wednesday, January 23, at 8:30 pm.
631 West 2nd Street, downtown Los Angeles.
Saturday, January 26.
AIAC seminar starts at 10 am.
Hayles speaks at 6 pm.
West Hollywood Library
City Council Chambers
625 North San Vicente Boulevard, West Hollywood.
From top: Alicia Vikander and director Alex Garland rehearsing a scene in Ex Machina (2014), image credit A24; Annihilation (2018), image credit Paramount Pictures.
This weekend, CalArts Winter Dance at Redcat takes an iconic turn with a presentation of works by revolutionaries Jawole Willa Jo Zollar, Trisha Brown, Rennie Harris, Jiří Kylián, and Merce Cunningham, staged by dancers who carry deep histories of the choreographers’ practices and intentions.
Cunningham’s CANFIELD (1969) will be staged by his former company member Holley Farmer, Zollar’s SHELTER (1988) by fellow Urban Bush Women member Marjani Forté, and Brown’s SOLO OLOS (1976) by her former company member Samuel Wentz.
For CANFIELD, Ben Richter, Justin Scheid, and Davy Sumner will perform a score by Pauline Oliveros, and actor-vocalist Toritseju Danner and drummer Emilia Moscoso Borja will accompany SHELTER.
Kylián’s FALLING ANGELS is staged by Fiona Lummis, who danced with Nederlands Dans Theater in the 1989 premiere of the piece. Live percussion will be provided by drummers Brandon Carson, Katie Eikam, Jason Fragoso, and Kevin Good performing a composition by Steve Reich.
FACING MEKKA was choreographed in 2003 by Harris—whose new Lazarus for the Alvin Ailey company created a sensation in New York last week—and will be staged by Nina Flagg, a former member of Rennie Harris Puremovement.
Friday and Saturday, December 7 and 8, at 8:30 pm.
631 West 2nd Street, downtown Los Angeles.
From top: Facing Mekka, Rennie Harris; Canfield, Merce Cunningham; Shelter, Jawole Willa Jo Zollar; Solo Olos, Trisha Brown; Falling Angels, Jiří Kylián; and Facing Mekka. All images from the CalArts Winter Dance Concert, November 2018, at CalArts. Photographs by Rafael Hernandez, courtesy CalArts. Special thanks to Kelly Hargraves and Margaret Crane.
WHILE I WAS ALSO LISTENING TO NY & LA is a “dynamic and performative extension of the series of exhibitions and events Alors que j’écoutais moi aussi […], developed at La Criée Centre d’Art Contemporain, in Rennes, throughout 2017.
“The different components of this project are linked by a common thematic and conceptual concern: narrative. What is a narrative in art (i.e. as exemplified by the two extremes of a personal story and a general art history)? How is narrative used as a medium and form in the arts? How does narrative in turn generate different forms of interdisciplinarity and intermediality?…
“In March the series crosses the ocean and develops in Los Angeles and New York. David Antin—the American poet and performer who is the figurehead of this ambitious and polyphonic program—has history with both cities. It seemed meaningful to pay a tribute, starting in Los Angeles and ending in his hometown, to two cities that have been (and still are) a reference for artists and writers whose practice blurred the boundaries of poetry, performance, fiction and art.”*
Join Jennie Liu, David Horvitz, Lucky Dragons, Felicia Atkinson, LeRoy Stevens, Julien Bismuth, Krysten Cunningham, and Yann Sérandour for Parts One (at Human Resources) and Two (at CalArts, as part of REFRAMING THE HOUSE OF DUST) of the local iteration of the event.
WHILE I WAS ALSO LISTENING TO NY & LA
PART ONE, Thursday, March 22nd, at 8 pm.
HUMAN RESOURCES LOS ANGELES, 410 Cottage Home Street, Chinatown, Los Angeles.
PART TWO, Friday, March 23, from 3 pm to 8 pm.
HOUSE OF GLASS, CALARTS, 24700 McBean Parkway, Valencia.
Tonight, DOCU SLATE—a New Filmmakers, Los Angeles program—presents a rare screening of SHERRY, directed by Eliane Lima.
SHERRY is an experimental documentary which witnesses the private life of Robert, who—on a daily basis—transforms himself into Sherry, a living doll.
“I began this project in fall 2014—my first semester as a graduate student at CalArts—when Lucrecia Martel took a group of CalArts students to Robert Sherry’s house. The constant exchange between fantasy and reality in Robert’s world fascinated me. He constructed his own world where desire is free from any moral judgment.” — Eliane Lima*
SHERRY, Saturday, December 2, at 10 pm.
NEW FILMMAKERS, 1139 South Hill Street, downtown Los Angeles.
*Eliane Lima is a Brazilian artist. She immigrated to the U.S. in 1999, and received a BA in Cinema from Binghamton University, State University of New York, and a Master of Fine Arts in Film from San Francisco Art Institute. Lima’s work has been shown at the Liverpool Biennial, SFMOMA, Anthology Film Archives, and Pacific Film Archives, and in Brazil, Cuba, Canada, and elsewhere. She was awarded the SF Weekly Mastermind 2012 prize, and her installation in homage to George Kuchar was presented at the SF Art Pad the same year. Recently, she received her second Master’s degree from the California Institute of Arts, in which she explored sexuality through film, video installation, and performance.
Eliane Lima, Sherry.