Tag Archives: REDCAT

MICHAEL RAKOWITZ

Artist and professor Michael Rakowitz—whose work focuses on “singular subjects as literal and symbolic embodiments of the history of Iraq, its diaspora, and the broader Middle East”—recently seceded from the Whitney Biennial in light of the museum’s decision to appoint and defend a tear gas manufacturer as its vice chairman.

Redcat presents Rakowitz’s first Los Angeles exhibition—DISPUTE BETWEEN THE TAMARISK AND THE DATE PALM—in their gallery.

MICHAEL RAKOWITZ—DISPUTE BETWEEN THE TAMARISK AND THE DATE PALM

Through June 2.

Redcat

631 West 2nd Street, downtown Los Angeles.

From top: Michael RakowitzReturn, 2004-ongoing, mixed media installation view, Michael Rakowitz: Backstroke of the WestMCA Chicago, 2017–18, photograph by Nathan Keay, © MCA Chicago; Michael Rakowitz, Minaret, performance, 2001–ongoing, mosque alarm clock, megaphone, image courtesy the artist.

MALCOLM LE GRICE IN LOS ANGELES

Malcolm Le Grice—”one of the most compellingly original and radical artist-theorists in the history of the post-war moving image”—will be in Los Angeles for the next week or so.

During this rare visit Le Grice and Los Angeles Film Forum will present his work around town in a series of venues, including the world premiere of the new edit of his immersive multi-screen piece FINITO at the Spielberg Theatre.

See links below for locations. Le Grice—author of Experimental Cinema in the Digital Age— will be on hand to talk with the audience at all three programs.

MALCOLM LE GRICE AT USC

Thursday, February 14, at 7 pm.

USC School of Cinematic Arts 

Broccoli Theatre

900 West 34th Street, Los Angeles.

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MALCOLM LE GRICE—HERE AND NOW

Sunday, February 17, at 7:30 pm.

Spielberg Theatre at the Egyptian

6712 Hollywood Boulevard, Los Angeles.

MALCOLM LE GRICE—BEFORE AND AFTER CINEMA

Monday, February 11, at 8:30 pm.

Redcat

631 West 2nd Street, downtown Los Angeles.

From top: Malcolm Le Grice, Berlin Horse (1970); Malcolm Le GriceHorror Film 1 (1971); Le Grice presenting his work in Europe, early 2000s; Malcolm Le Grice, Marking Time, 2015; Malcolm Le Grice, Reign of the Vampire, 1970; Le Grice in the early 1970s; Malcolm Le Grice, Threshold (1972). All images © Malcolm Le Grice and courtesy the artist.

SEBASTIAN HERNANDEZ — HYPANTHIUM

After a preview last summer during the NOW Festival, Sebastian Hernandez’s HYPANTHIUM returns to Redcat for a three-night run.

Augmented by visuals by Rafa Esparza and Maria Meae, this engagement will be performed by Angel AcuñaAutumn Randolph, and Hernandez.

(Next month, Hernandez will join Kevin Williamson and company at the Odyssey for three performances of Williamson’s Gnarled.)

SEBASTIAN HERNANDEZ—HYPANTHIUM

Thursday through Saturday, January 24, 25, and 26, at 8:30 pm.

Redcat

631 West 2nd Street, downtown Los Angeles.

From top: Angel Acuña, Autumn Randolph, and Sebastian Hernandez in Hypanthium (2); Hernandez and Acuña; Hernandez. Photographs by Vanessa Crocini, courtesy the photographer, the performers, and Redcat.

N. KATHERINE HAYLES — THE POSTHUMAN

Artificial intelligence, genetic engineering, and the accelerated evolution of the species as seen through the recent films of Alex GarlandEx 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.”*

N. KATHERINE HAYLES

Wednesday, January 23, at 8:30 pm.

Redcat

631 West 2nd Street, downtown Los Angeles.

N. KATHERINE HAYLES—

MEDIA AND/AS THE ENVIRONMENT*

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 A24Annihilation (2018), image credit Paramount Pictures.

WINTER DANCE AT REDCAT

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 HarrisJiří 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.

CALARTS WINTER DANCE

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

Redcat

631 West 2nd Street, downtown Los Angeles.

From top: Facing Mekka, Rennie HarrisCanfield, Merce CunninghamShelter, Jawole Willa Jo ZollarSolo Olos, Trisha Brown; Falling AngelsJiří 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.