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Los Angeles
Group Show
Pacific Standard Time Festival
2640 S La Cienega Blvd., (Co-organizer - Laxart), Los Angeles, California 90034
January 19, 2012 12:00 PM - 10:00 PM

An Honest Schedule
by Andrew Berardini

The climax of all this Pacific Standard Timing is here. Funded (like much of PST) mostly by the Getty, the PST Festival of Performance and Public Art stretches an official ten days (January 19-29) from the beach to Pomona and many environs in-between. Like all festivals, there’s always more than you could possibly see. And like all festivals the demand to make a schedule is paramount and declaring it to others helps ensure that wants and wishes become reality. So here’s a bit of a curated schedule, a few things this writer is actually going to see.

First of all, the things I can't or won't do:  I really, really  want to go to Hirokazu Kosaka’s performance of Kalpa at the Getty but to get there from downtown where I live might take two hours during Friday rush hour traffic on January 20. Ditto to the Channa Horwitz choreographed performance in Santa Monica at 7pm on Monday, January 23. Is this laziness? Possibly. I may have sacrificed a life to art, however there is very little in this world for which I’ll sacrifice two hours in traffic. I also love the idea of seeing Lou Reed and his installation for Metal Machine Music at Cal State Long Beach, but there’s something gross about forty-five bucks to see him have a staged conversation. I’ll just check out the installation after Lou has left the building.

So as much as I may enjoy going to many or all of the performances, I’m only listing the ones that I’m actually going to try and go to. A potpourri, a sampling, an honest schedule. Perhaps I will see you at some, or maybe you'll tell me about the great thing I missed. Here's the plan:
John WhitePreparation F performance at Pomona College, 1971. Photo courtesy of the artist
Saturday, January 21, 2012: 5:00-7:00 p.m. in Pomona
(1) Liz Glynn: No Second Troy at Pitzer College. Opening from 2:00-5:00 p.m. (get there at 4:45 p.m.)
(2) Preparation F, by John White -A re-staging of White’s 1971 performance with the Pomona College football team, at 5:00 p.m.
(3) A Butterfly for Pomona, by Judy Chicago -A new pyrotechnic performance inspired by Judy Chicago’s 1970 Atmosphere performance at Pomona College, at 6:00 p.m.
(4) Burning Bridges, by James Turrell -A recreation of Turrell’s 1971 flare performance, at 6:45 p.m.
(5) Clay’s Tectonic Shift: John Mason, Ken Price and Peter Voulkos, 1956-1968 at Scripps College. Opening and live music, at 7:00 p.m.

Five Events in two hours. Three Performances and Two Openings. There’s something about this that has a lovely simplicity, the schedule is from 5-7, two easy hours. Alone I’m not sure any of these events could get me to Pomona, but with five at once it seems fulsome, satisfying, to have the critical mass to make one feel that you’re actually at a festival. All three performances have a great frisson of violence: indoor football, pyrotechnics, flares. And though not performances, the two openings are for exhibitions that I’m really looking forward to seeing: one for three wonderfully weird ceramicists, John Mason, Ken Price, and Peter Voulkos, all of whom, and especially in the 60's, made incredibly stronge, trippy and sometimes downright libidinal ceramics; and the other for Liz Glynn, the grand dame of Black Box.
I think this series of events, like the ongoing exhibition curated by Rebecca McGrew and Glenn Phillipps, It Happened at Pomona, that kicked off Pacific Standard Time and which the three performance are associated with, will be the gem of this particular series.
Saturday, January 21, 2012: Late night in the Black Box
(6) Liz Glynn: Black Box at  830 North Highland Ave., Los Angeles. 8:00 p.m. - 2:00 a.m. 
Admittedly I am a fan of Liz Glynn’s, having written a ton about her work, its collapsing of the Rise and Fall of civilization and material, her modern, makeshift ruins, and I will be doing a panel in Pomona in February for her exhibition. Black Box, her late-night speakeasy impromptu performance space off Highland during the ten-day PST festival, will find me in attendance at least two times, if not many more (but two works nicely to make the roughly ten of the title of this piece).
Richard Jackson, Untitled, 2002, Oil and acrylic paint on Mylar. © Richard Jackson
Sunday, January 22, 2012: 4:00 p.m. in Pasadena
(7) Richard Jackson: Accidents in Abstract Painting
Admission: Free; open to the public.
Location: Rose Bowl Stadium, Area H, Seco St. and N. Arroyo Blvd., Pasadena 91103

There will be a plane laden with paint crashing into a forty foot canvas. Jackson takes automatism, sculpture, abstract expression, and painting to the next messy level.

Thursday, January 26, 2012: 8:00 p.m. in West Hollywood
(8) The Particles (of White Naugahyde), a three-act play written by William Leavitt
Admission: Free; reservations required.
Location: The Annex (of the Margo Leavin Gallery), 817 North Hilldale Ave., Los Angeles, CA 90069 

Though there was a performance of one of Leavitt’s plays during his retrospective last Spring at MoCA, I was stupidly out of town and missed it. Ever since his exhibition I feel more and more that I live in Leavitt’s Los Angeles and that his work captures the permeability of fiction and fact, theatricality and mundanity that defines the city.

Bob Wilhite in concert, A Telephone Concert, 1975. Photo by Gary Beydler/Jerry Byrd
Sunday, January 29, 2012: 4:00–10:00 p.m. in Eagle Rock
(9) Welcome Inn Time Machine, six-hour event featuring experimental music originating in Southern California between 1949 and 1977. Organized by The Society for the Activation of Social Space through Art and Sound (SASSAS)
Admission: Free; no reservations required.
Location: Welcome Inn Eagle Rock, 1840 W. Colorado Bl., Los Angeles

Sometimes re-engaging the historical avant-garde can feel like a pretty boring history lesson. The class taught by Ben Stein in "Ferris Bueller’s Day Off" with its humming fluorescents and droning voice effectively sucks all the energy out of something that’s really fucked-up, exciting, and relevant. And vanguardism, usually cooked up by weirdos in back rooms, suffers the worst when its re-presented through the venues and the methods of the mainstream (though admittedly Minimalist Jukebox at Disney Hall was pretty incredible). There’s something about this event's set up at a motel and the ability to potentially wander from room to room that suggests more in the spirit of the thing,  not a dramatic re-enactment or spirit-sucking history lesson. It hits the sweet spot and will be a beautifully strange and fitting conclusion to Los Angeles' first city-wide performance festival since 1980.
Sunday, January 29, 2012: Back to the Box
(10) Recap and night cap in the Black Box.

Posted by Andrew Berardini on 1/18/12

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