In MINOR MATTER—part two of her Blue, Red, and White trilogy that began with Sorrow Swag—dancer-choreographer Ligia Lewis and her dancers Jonathan Gonzalez and Tiran Willemse interrogate the color red as a medium between love and rage.
“[With this piece] I knew that I was working specifically with a very strong relationship to space, so I wanted to animate the periphery as much as possible. I knew that I was trying to interrogate a certain type of body and a certain type of embodiment. I was also trying to play with duration, or at least with creating a relationship to time that had an articulation of memory, and the present, and a sort of posturing towards the future… happening simultaneously…
“I have a very contentious relationship with abstraction, at least in early notions of abstraction being ‘pure’ or unadulterated form, so I go in knowing that I’m not entirely going to get that, or maybe not entirely interested in it, but it’s an interesting place to start for me…
“I was thinking about marks and traces in space, which is me thinking through what it means to be a marked body on stage. How do you leave a mark or a trace?” — Ligia Lewis interview with Emily Gastineau
Returning to L.A. after a preview at Human Resources—see Evan Moffitt’s review—MINOR MATTER is presented as part of this month’s Pacific Standard Time Festival: Live Art LA/LA.
Friday and Saturday, January 12 and 13, at 8 pm.
Sunday, January 14, at 6 pm.
Redcat, 631 West 2nd Street, downtown Los Angeles.
See Hannah Black on Lewis.
See Martha Kirszenbaum, interview with Ligia Lewis, Kaleidoscope 29 (Spring 2017).
“Pushing the manipulation of celluloid film to the level of performance,”* Jennifer West brings her new work to REDCAT this weekend for a one-night-only screening.
“With sensual, partly abstract, partly imagistic works that delve into how fiction weaves itself into our memories—and how our viewing experience has changed with the digital revolution,” the program features FILM TITLE POEM (2016), which West calls “a psychic montage of my inner history of film.” For this hour-long piece, “West re-shot more than 500 existing movie title cards on 35mm film and manipulated the print with etched patterns, scratches and punctures before transferring it to HD.”**
“A different kind of experimental film exists on the West Coast, but one of the things that people have done here is to deeply infiltrate, recycle, and use the underbelly of the Hollywood system.” — Jennifer West, PARIS LA*
JENNIFER WEST—FILM TITLE POEM AND OTHER WONDERS
REDCAT, DISNEY HALL, downtown Los Angeles
*Martha Kirszenbaum, “Jennifer West: Mind and Matter,” PARIS LA 10, Fall 2013, pp. 5, 10.
**Paragraph 2 quotes from: redcat.org/event/jennifer-west-film-title-poem-and-other-wonders
In PARIS, LA #10, Jennifer West talks with curator and writer Martha Kirszenbaum about filmmaking, her artistic process, and her roots as a native Californian growing up with hippie parents on the coast. West’s exhibition ‘One Mile Film’ was recently on view at Marc Foxx gallery in Los Angeles in January, 2014.
PARIS, LA | ISSUE #10 / FALL 2013
SPECIAL ART ISSUE | FRANCE X LOS ANGELES
Jennifer West: Mind and Matter | By Martha Kirszenbaum
Portfolio Ceci n’est pas… | By Sébastien Paquet
Celui qu’elle espérait | By Neil Beloufa
How to Build a House | Jorge Pardo in conversation with Oscar Tuazon
Lost in Los Angeles | By Andrew Berardini
A Cento | By Public Fiction
The Importance of Being Unfinished | Sylvère Lotringer in conversation with Dorothée Perret
COVER | Michael Jackson Estates, 2013 by Pentti Monkkonen
CENTERFOLD | Chanel Winter 2013 Ad Campaign Remix by Pierre-François Letué