Tag Archives: Hammer Museum


Maybe within the museum dance can have another rhythm, temporality, be made more elusive. Dance could then escape the heavily prescribed regime often found in theaters, with concise beginnings and ends and a required length. Here then it could even be made “ghostly.”

Even then, I can attest to my general feelings of unease with the weightlessness of History and the collecting of objects within the museological frame. This unease also bears on questions of site/sight as it pertains to the museum as space for viewing dance and performance. I have become increasingly more comfortable and, let’s say, provoked by the role of seeing and being seen by an audience. This relation to an audience is crucial and in large part where the resistance lies in my work. — Ligia Lewis*

As the Hammer Museum, the Huntington, and an art-starved public wait for the chance to experience Made in L.A. 2020: a version in person, artist and choreographer Ligia Lewis has created a video documenting deader than dead, her work for the biennial.

Performed by Jasper Marsalis, Jasmine Orpilla, Austyn Rich, and Lewis, deader than dead “began with an intrigue-based inquiry into deadpan, an impassive mannerism deployed in comedic fashion in order to illustrate emotional distance. Utilizing this expression as a type of stasis, Lewis initially developed a choreography for ten dancers that remained expressively flat or dead, resisting any narrative or representational hold tied to a climactic build or progression. Lewis had relegated deader than dead to this corner of the gallery (a kind of ‘dead’ space) where the dance would ostensibly emerge, although deadened in its repetition, limited in its fate, as it ricocheted from wall to wall.

“[Lewis] abandoned this recursive ensemble of death due to COVID-19, reducing the cast to four performers and pivoting to a more traditionally theatrical presentation. In this new work the dancers use Macbeth’s culminating soliloquy (‘Tomorrow, and tomorrow, and tomorrow,’ a reflection on repetition and meaninglessness) as the beginning of a work that unfolds in modular parts, each one an illustration or parody of death, stasis, and the void, each one tied to its own carefully selected soundtrack or sample.”*

See link below to watch the video.


Made in L.A.: a version

Hammer Museum and the Huntington Library, Art Museum, and Gardens

Through March 2021.

*“Ligia Lewis and Ikechukwu Onyewuenyi in Conversation,” in Made in L.A. 2020: a version (Los Angeles: Hammer Museum; Munich: DelMonico-Prestel, 2020).

Ligia Lewis, deader than dead (2020), Made in L.A. 2020: a version. Video images © Ligia Lewis, courtesy of the artist and Various Small Fires, Los Angeles and Seoul.


Coincident with the exhibition of his works in the Hammer Museum’s Made in L.A. 2020 biennial, Reynaldo Rivera will join Chris Kraus—who wrote a contributing essay for the forthcoming monograph Reynaldo Rivera: Provisional Notes for a Disappeared City—in conversation as part of ArtCenter’s online Graduate Art Seminar series.

For r.s.v.p. information, see link below.


ArtCenter Graduate Art Seminar

Tuesday, November 10.

7:30 pm on the West Coast; 10:30 am East Coast.

A signed limited edition of Reynaldo Rivera—which Includes a 7 x 7 archival pigment print on Canson Platine of Gaby and Melissa at La Plaza, 1993—is available.

Reynaldo Rivera, from top: Performers la Plaza,1992; Made in L.A. 2020: a version, Hammer Museum, installation views (2), photographs by Joshua White / JWPictures.com; Reynaldo Rivera: Provisional Notes of a Disappeared City cover image courtesy and © the artist and Semiotext(e); Chris Kraus; backstage at La Plaza; Gaby and Melissa at La Plaza, 1993. Images © Reynaldo Rivera, courtesy of the artist and Reena Spaulings Fine Art, New York and Los Angeles.


The Hammer Museum and the Museum of Contemporary Art Chicago present a virtual studio visit with Andrea Bowers, who will be joined in conversation by Dr. Kaitlin Reed.

The co-curators of Bowers’ forthcoming survey exhibitionConnie Butler (the Hammer) and Michael Darling (MCA)—will introduce the event. See link below to r.s.v.p.


Hammer Museum and MCA Chicago

Friday, October 16.

Noon on the West Coast; 2 pm Chicago; 3 pm East Coast.

From top: Andrea Bowers, photograph courtesy and © the artist and the Hammer Museum; Hammer Projects: Andrea Bowers (detail), Hammer Museum, March 11–July 16, 2017, image courtesy and © the artist and the Hammer Museum; Andrea Bowers (2021), edited by Connie Butler and Michael Darling, forthcoming exhibition catalog cover image courtesy and © Hammer Museum, MCA Chicago, and Prestel / DelMonico; PARIS LA 14, the Arts Education Issue, Winter 2016, Andrea Bowers, Educate, Agitate, Organize, 2010, low-voltage LED lights, plexiglas, and aluminum, cover image courtesy and © the artist; Kaitlin Reed, photograph courtesy and © Dr. Reed and the Hammer Museum.


The Hammer Museum and Clockshop present the livestream premiere of Carmen Argote’s new short film LAST LIGHT, followed by a Q & A with the artist and the museum’s associate curator Erin Christovale.

Shot during the first wave of the pandemic, LAST LIGHT is a meditation on walking and memory in Los Angeles. Argote describes her walking habit as synonymous with thinking, a way of taking in and digesting the conditions of her environment. Through walking, the artist “deconstructs and reconstructs my ideas, thoughts, and self.” Combining video and still images of an evacuated city with an intimate voice-over, the narrator reflects on feelings of vulnerability and betrayal, and draws on childhood memories to make sense of a city transformed. Over the course of the piece, day moves to night as the artist traces a path from demolition and sickness to envisioning a different world.*

Also this week, the artist will launch her limited edition print BLOAT—a LACE edition guided by artist and printmaker Eric Gero—and join a conversation with LACE chief curator and director of programming Daniela Lieja Quintanar.

See links below for details.


Tuesday, July 21.

6 pm on the West Coast; 9 pm East Coast.


Wednesday, July 22.

7 pm on the West Coast; 10 pm East Coast.

Carmen Argote, Last Light (2020), images courtesy and © the artist.


We felt that this was very exciting. That this film could be something very new. But we couldn’t judge. Because the script didn’t say so much.Agneta Ekmanner, actor in Duet for Cannibals*

On Friday, two UCLA institutions—the Film and Television Archive and the Library Special Collections—will screen the 2K restoration of Susan Sontag’s directorial debut DUET FOR CANNIBALS and present a selection of the Susan Sontag Papers.


Friday, February 7, at 7:30 pm.

Billy Wilder Theater—Hammer Museum

10899 Wilshire Boulevard, Los Angeles.

*Agneta Ekmanner, author’s interview in Benjamin Moser, Sontag: Her Life and Work (New York: Ecco, 2019), 313.

See “Benjamin Moser’s Pulitzer Prize for Biography is a Travesty,” by Nádia Gotlib, Lisa Paddock, Carl Rollyson, and Magdalena Edwards.

From top: Susan Sontag, photograph by Jill Krementz, 1974; Sontag, Duet for Cannibals (1969) (4). Images courtesy and © Jill Krementz, the filmmakers, actors, producers, stills photographers, and Metrograph Pictures.