BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

1301PE is pleased to announce its second collaborative exhibition with Rirkrit Tiravanija and SUPERFLEX.< br />
I believe in censorship\, I made a fortune out of it.
& ndash\; Mae West

Censorship is never over for those who have e xperienced it. It is a brand on the imagination that affects the individual who has suffered it\, forever.
&ndash\; Noam Chomsky

I n retrospect one needs to re-examine the reception and perception of the wo rk done in the past 20 years by the collective SUPERFLEX. In their question ing of identity\, authenticity and originality\, the modes of production an d circulation\, commodification and distribution of knowledge and disparity of economies\, SUPERFLEX have made a life&rsquo\;s work of problematising cultural and social\, personal and public issues the core of their artistic practice.

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In their work\, the ideas of ownership of both material and immaterialare put into question\, are pla yed out through collaborative and collective initiatives. The works of SUPE RFLEX require that there be interaction\, both individually and collectivel y\, exchange and change occurs\, dictated by the will (through the interact ion) of the collaboration. Because of the open-ended condition that SUPERFL EX has put forth in their methodology of working\, there are exchanges whic h are by nature volatile in their conception and reception.

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Volatility of course can be read as both positive an d negative energy in the open pasture of exchange and interaction\, the und erstandingand reading of the works can be excavated through many layers of experience\, and meanings are formed through the passage of interaction and exchange. But the line along which this volatility is accepted\, or reject ed\, is a narrow thread\, and an understanding of the importance of the col lective practices of SUPERFLEX demands that the viewer/reader/participant i s alert and paying attention. This line of volatility which we as active an d/or passive participants are confronted by in the work of SUPERFLEX has br ought on with great and interesting results\, misunderstandings and/or refu sals in dialogues with the institutions which the work itself is reflecting upon.

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The idea of censorship\, and t he process of litigation in some cases against the work of SUPERFLEX\, is a reflection of the volatility which their works tend to thread within\, and the line it carries is the necessary path by which the work or the concept ion of the work attempts to challenge\, first within the cultural sphere an d secondly in the greater social\, political sphere of our daily existence.

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In that I am interested to make a fo rmat of presentation which will bring to light the mechanics of the process \, &ldquo\;how things go&rdquo\;\, when the group SUPERFLEX begins to conce ptualise a work of art\, a project\, a production\, and how within that pro cess a narrative of events leads to the realisation and/or the diversion by which SUPERFLEX has to manoeuvre their way through the bogs of bureaucrati c institutionalised corporate mindsets\, which use their authoritative posi tion against the idea of difference\, of diversity\, and of poetry.

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― Rirkrit Tiravanija\, Catalogue\, SUPERFLEX An artist with six legs\, Kunsthal Charlottenborg 2014.
For more inf ormation please contact Isha Welsh or Brian Butler 323.938.5822.

DTEND:20141101 DTSTAMP:20140930T220125 DTSTART:20140906 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Rirkrit Tiravanija\, Superflex UID:347359 END:VEVENT BEGIN:VEVENT DTEND:20140906T200000 DTSTAMP:20140930T220125 DTSTART:20140906T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Superflex\, Rirkrit Tiravanija UID:347360 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For the latest iteration of 18th Street Arts Center&rsquo\;s Artist Lab series\, artist \;Miljohn Ruperto \;brings the Lab framework int o dialogue with science and philosophy. In collaboration with animator Aim& eacute\;e de Jongh and neuroscientist Rajan Bhattacharyya\, he will investi gate the speculative possibilities of mineral &ldquo\;deformities&rdquo\; i nspired by Georges Canguilhem&rsquo\;s text\, \;Knowledge of Life. The three come together to grapple with a particular assertion by Cang uilhem\, a philosopher of science\, that &ldquo\;there are no mineral monst ers\,&rdquo\; or rather that the scientific category of mineral is incompat ible with human notions of deformity. Ruperto&rsquo\;s exhibition \;Mineral Monsters \;delves into a space wherein humans are irrelev ant\, unable to project their own attributes onto or against the material w orld. His work then troubles that space by introducing visual aspects that trigger our implicit\, negative responses\, such that the neutral tenor of Canghuilhem&rsquo\;s position shifts to a more troubling\, oppositional one . Ruperto will use the Artist Lab as a working studio to untangle the relat ionship between science and philosophy and contemplate the ways in which ou r categorization of natural phenomena both shapes and hinders our broader c onceptualization of life. Working together with animator de Jongh\, Ruperto will create computer-generated visuals. These visual forms will be derived from conversations with Bhattacharyya and from his research based in concr ete scientific principles.

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Canguilhem\, a French philosopher and physici an\, served as a mentor to many scholars and philosophers\, notably Foucaul t and Derrida. \; His work often questions accepted science\, arguing t hat it serves to reduce organisms to neatly functioning and predictable mac hines when in fact biology is complex and subject to wide variation. Accord ing to Canguilhem\, all minerals exist in nature\, whether they contain mut ations or not\, and thus the idea that there exists typical and atypical va rieties of minerals is simply a human construction. Ruperto and his collabo rators use Canguilhem&rsquo\;s negation of human potential for influence ov er nature as the starting point for a meditation on the basic nature of hum ans to be governed by attraction and repulsion.

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Ruperto&rsquo\;s interes t in scientific philosophy and history is ongoing\, represented by his earl ier collaboration with artist Ulrik Heltoft\, \;Voynich Botanical S tudies\, exhibited at the Thomas Solomon Gallery in New York in 2013 a nd in the 2014 Whitney Biennial. \;Voynich Botanical Studies \; was inspired by a 16th \;century manuscript containing drawings of various species of plants whose historical existence cannot be corroborate d scientifically. Also displayed at the Whitney was an earlier collaborativ e animation created by Ruperto with de Jongh.

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Miljohn Ruperto&rsquo\ ;s Artist Lab Residency at 18th Street Arts Center and all associated event s have been made possible through the generous support of the \;Los Angeles County Arts Com mission \;and \;The Andy Warhol Foundation for the Visual Arts.

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Saturday\, September 6\, from 6 - 9pm.

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To RSVP\, please visit:&nbs p\;h ttp://reception6sept2014.eventbrite.com.

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DTEND:20141003 DTSTAMP:20140930T220125 DTSTART:20140714 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Mineral Monsters\, Miljohn Ruperto UID:345455 END:VEVENT BEGIN:VEVENT DTEND:20140906T210000 DTSTAMP:20140930T220125 DTSTART:20140906T180000 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Mineral Monsters\, Miljohn Ruperto UID:345456 END:VEVENT BEGIN:VEVENT DESCRIPTION:

18th Street Arts Center&rsquo\;s visiting artist \;Yukako Ando \; presents several site-specific installations in the Atrium Gallery that eng age with themes of urban daily life in Los Angeles. This exhibition documen ts Ando&rsquo\;s questions and impressions informed by the humor of America n &ldquo\;pop consumption culture&rdquo\; and by her interior responses. An do&rsquo\;s approach to her work is diaristic\, instinctive\, and personal. Ando uses daily necessities to create the important elements of her work a nd explore ideas of time and space\, drawing additional inspiration from th e city&rsquo\;s climate\, buildings\, and freeway connections. The works on exhibit reflect her experiences of Los Angeles collected from past visits and during her residency.

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Yukako Ando is a visual artist who focuses on the everyday phenomena from which the fundamental questions of life are con figured. Ando\, born in 1972 in Osaka\, Japan\, currently lives and works i n Dü\;sseldorf\, Germany. She graduated from the Department of Sculptur e of Kyoto Seika University in 1994 and earned her MA degree from Kunstakad emie Dü\;sseldorf in 2001. She has won numerous international scholarsh ips and prizes. Most notably she is a recent recipient of the Program for A rts Fellowship by the Japanese Department of Cultural Affairs who is the fu nder for her current residency at 18th Street Arts Center. Additionally\, s he is currently a 2014 Japan-United States Exchange Friendship Program in t he Art Fellow\, which is sponsored by the Art of Japan-United States Friend ship Commission.

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 \;Atrium Gallery programming is underwritten b y the \;Andy Warhol Foundation for the Visual Arts

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Saturday\, September 6\, from 6 - 9pm.

\n< p style="text-align: justify\;">To RSV P\, please visit: \;http://reception6sept2014.eventbrite.com.

DTEND:20141003 DTSTAMP:20140930T220125 DTSTART:20140714 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Priority Required\, Yukako Ando UID:345459 END:VEVENT BEGIN:VEVENT DTEND:20140906T210000 DTSTAMP:20140930T220125 DTSTART:20140906T180000 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Priority Required\, Yukako Ando UID:345460 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141004 DTSTAMP:20140930T220125 DTSTART:20140906 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:20 Years at ACME.\, Amy Adler\, Jonathan Apgar\, Kristin Baker\, Mi les Coolidge\, Daniel Cummings\, Tomory Dodge\, Tony Feher\, Carlee Fernand ez\, Natalie Frank\, Iva Gueorguieva\, Kevin Hanley\, Bill Jensen\, Kurt Ka uper\, Martin Kersels\, Matthias Merkel Hess\, Aaron Morse\, Michael Norton \, Yuval Pudik\, Dario Robleto\, Brion Nuda Rosch\, Lisa Sanditz\, Katie Si nnott\, Jennifer Steinkamp\, Neal Tait\, Amir Zaki UID:350694 END:VEVENT BEGIN:VEVENT DTEND:20140906T200000 DTSTAMP:20140930T220125 DTSTART:20140906T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:20 Years at ACME.\, Amy Adler\, Jonathan Apgar\, Kristin Baker\, Mi les Coolidge\, Daniel Cummings\, Tomory Dodge\, Tony Feher\, Carlee Fernand ez\, Natalie Frank\, Iva Gueorguieva\, Kevin Hanley\, Matthias Merkel Hess\ , Bill Jensen\, Kurt Kauper\, Martin Kersels\, Aaron Morse\, Michael Norton \, Yuval Pudik\, Dario Robleto\, Brion Nuda Rosch\, Lisa Sanditz\, Katie Si nnott\, Jennifer Steinkamp\, Neal Tait\, Amir Zaki UID:350695 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ambach &\; Rice is pleased to present the invisible subject\, an informal survey of sculpture and draw ing by Los Angeles based artist Deborah Hede.
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Hede&rsquo\ ;s work employs myriad visual cues\, and her hand and body as measuring too ls. \; She brings the experience of her daily walks into close proximit y with her work in the studio\, describing her practice as being akin to &l dquo\;a heartbeat\, or breathing.&rdquo\; Her modest processes manifest dra wings and sculptures that embody an uncanny confluence of humanity and form alism\, life and art.
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Jack Kerouac once described Los Ang eles as &ldquo\;that loneliest and most brutal of American cities.&rdquo\; Hede encountered this quote spray-painted across a wall on one of her outin gs. She was struck by this commentary\; amplified by its discovery along em pty sidewalks.
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Her recent readymade sculptures cast back this latent sense of place. On her walks Hede happens upon throw aways&mdas h\;spent light bulbs\, gnarled dog toys and mysterious fragments of objects divorced from their source. \; In the studio these diminutive vestiges are memorialized in plaster bases. \; Each sculpture registers an isol ation and absence that collectively shape an index of the city's present te nse. Encountering these works can feel akin to discovering a narrative that has been abandoned by its protagonist.
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The exhibit will also include a site-specific sculptural work that will incorporate Hede&rsq uo\;s plaster wrapped wire configurations. These metal forms will build upo n a part of the gallery's interior space to create a destabilized 'architec ture' that alludes to the body.

Deborah Hede lives and works in Los Angeles. In 2013 she was awarded a Pollock-Krasner Foundation grant. He r work can be found in numerous private and public collections including Th e Whitney Museum of American Art\, The Los Angeles County Museum of Art\, a nd the Frederick R. Weisman Foundation in Los Angeles.

DTEND:20141004 DTSTAMP:20140930T220125 DTSTART:20140906 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:the invisible subject\, Deborah Hede UID:349512 END:VEVENT BEGIN:VEVENT DTEND:20140906T200000 DTSTAMP:20140930T220125 DTSTART:20140906T180000 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:the invisible subject\, Deborah Hede UID:349513 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Anat Ebgi is pleased to announ ce \;Aftermarket Interior\, Factory Paint\, \;a solo exhib ition of new works by Joe Reihsen opening September 13 and on view until Oc tober 25\, 2014.

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Aftermarket Inte rior\, Factory Paint \;is Joe Reihsen&rsquo\;s third solo exhibiti on with Anat Ebgi\, and his first show in the newly expanded gallery space. In his previous show\, \;Clean Title\, No Accidents\, Reihsen focused on an intimate scale of works\, akin to the size of a computer scr een or sheet of paper. For this exhibition\, Reihsen continues his explorat ion of the medium of paint\, but on large-scale surfaces. Each panel deftly synthesizes three particular methods that Reihsen utilizes&mdash\; the bac kground stripes\, gestural swathes of gesso emphasized with pneumatic paint ing devices\, and the newest addition of paint &ldquo\;skins&rdquo\; applie d to the top most layer of the abstraction.

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The amalgamation of Reihsen&rsquo\;s techniques creates panels that are entrenched in the language of abstract painting\, while still exerting their relationship to contemporary digital culture. Like the ubiquitous dig ital screen\, each of Reihsen&rsquo\;s panels contains a profound sense of physical depth while remaining almost entirely flat. \;Aftermarket Interior\, Factory Paint \;is a collection of Joe Reihsen&rsquo\;s most sophisticated works in which the tensions between abstraction\, digit al technology and industrial materials are collapsed into monumental painti ngs.

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Joe Reihsen (b. 1979. Blaine\, M innesota) lives and works in Los Angeles. Joe received his BFA in painting and New Genres at the San Francisco Art Institute. In 2008\, Joe received a n MFA from the University of California\, Santa Barbara where he was awarde d the UC Regents Fellowship. Recent exhibitions include a solo presentation at Miart Milan. Upcoming exhibitions include a solo shows at Brand New Gal lery\, Milan\, and Praz-Delavallade\, Paris.

DTEND:20141025 DTSTAMP:20140930T220125 DTSTART:20140913 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Aftermarket Interior\, Factory Paint\, Joe Reihsen UID:346814 END:VEVENT BEGIN:VEVENT DTEND:20140913T200000 DTSTAMP:20140930T220125 DTSTART:20140913T180000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Aftermarket Interior\, Factory Paint\, Joe Reihsen UID:346815 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The 2013 -2015 exhibition year at Angels Gate Cultural Cente r marks the beginning of a larger concept that explores our local community ’s stories and personal narratives in the galleries. We hope to generate di alogue about how\, as a community\, we can share and communicate regardless of differing opinions and ideologies. The gallery will be turned into an e xperimental space where art and art-making become part of an ongoing conver sation about the community. Through partnerships with local non-profits\, a rtists\, storytellers and the community at large\, the galleries hope to ca pture a slice of Americana that is unique within our nation and particular to Los Angeles. Artist's work will rotate on an ongoing basis. 


DTEND:20150619 DTSTAMP:20140930T220125 DTSTART:20130512 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Gettin' Off the Ground: Contemporary Stories from an American Commu nity UID:276487 END:VEVENT BEGIN:VEVENT DTEND:20130512T200000 DTSTAMP:20140930T220125 DTSTART:20130512T180000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Gettin' Off the Ground: Contemporary Stories from an American Commu nity UID:276488 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Angels Gate Cultural Center (AGCC) exhibition cycle 2013-201 5 explores how stories within the community shape the collective \;cons ciousness \;in San Pedro and South Bay area. For 2014\, Los Angeles bas ed artist Fausto Fernandez was selected to work on the next iteration of th e exhibition cycle. The collaboration marks \;the beginning of a year-l ong partnership with the \;Southwest Regional Council of \;Carpente rs\, \;the Pile Drivers\, Bridge\, Dock and Wharf Builders Local Union 2375 whereby \;AGCC will explore the stories of members and their famil ies\, the history of the labor movement in San Pedro and how this impacts t he community at large. \;

DTEND:20150109 DTSTAMP:20140930T220125 DTSTART:20140209 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Supporting Structures: A Community Arts Project\, Fausto Fernandez UID:318539 END:VEVENT BEGIN:VEVENT DTEND:20140209T160000 DTSTAMP:20140930T220125 DTSTART:20140209T140000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Supporting Structures: A Community Arts Project\, Fausto Fernandez UID:318540 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Angles Gallery is very pleased to present \;Transmogrification of the Ordinary. \;This g roup exhibition will address representations of the domestic object in fine art\, including issues of still life\, consumerism\, gender\, and identity .  \;Exploring destabilization and the transformative shifts in cultura l and aesthetic value that elevate the ordinary to art\, the exhibition exa mines how everyday objects can be lifted from the mundane.

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DTEND:20141101 DTSTAMP:20140930T220125 DTSTART:20140913 GEO:34.0331789;-118.374812 LOCATION:Angles Gallery\,2754 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Transmogrification of the Ordinary\, Sean Duffy\, Hannah Greely\, M atthias Merkel Hess\, Ben Jackel\, Patrick Jackson\, Dwyer Kilcollin\, Jose ph Kohnke\, Olga Koumoundouros\, Dana Maiden\, Kristen Morgin\, Rory McAuli ffe\, Kaz Oshiro\, Joel Otterson\, Anthony Pearson\, Yuval Pudik\, Ross Rud el\, George Stoll\, Emily Sudd UID:354132 END:VEVENT BEGIN:VEVENT DTEND:20140913T200000 DTSTAMP:20140930T220125 DTSTART:20140913T180000 GEO:34.0331789;-118.374812 LOCATION:Angles Gallery\,2754 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Transmogrification of the Ordinary\, Sean Duffy\, Hannah Greely\, M atthias Merkel Hess\, Ben Jackel\, Patrick Jackson\, Dwyer Kilcollin\, Jose ph Kohnke\, Olga Koumoundouros\, Dana Maiden\, Rory McAuliffe\, Kristen Mor gin\, Kaz Oshiro\, Joel Otterson\, Anthony Pearson\, Yuval Pudik\, Ross Rud el\, George Stoll\, Emily Sudd UID:354133 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;In the beginning\, pure colour\, the universal s oul in which the human soul was bathing in a state of earthly paradise\, wa s mastered by the invasion of the line\, imprisoned\, compartmentalized\, c ut apart\, returned to slavery.  \;In the joy and delirium of its guile ful victory\, line subjugated man and imprinted upon him its abstract rhyth m.&rdquo\;
 \; \; \;  \;  \; &nb sp\;  \;  \;  \;  \;  \;  \;  \;  \;  \ ;  \;  \;  \;  \;  \;  \;  \;  \;  \; & nbsp\;  \;  \;  \;  \;  \;  \;  \;  \; &nbs p\;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \; &n bsp\;  \;  \;  \;  \;  \;  \;  \;  \;   \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;&nbs p\;- Yves Klein

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 \;  \; For his proposed film&nb sp\;La \;guerre\, Yves Klein declares color the victo r in the historically entrenched debate over the supremacy of line vs.  \;color. Playing the role of the villain\, line is the oppressive force tha t imprisons color&rsquo\;s vitality. Elusive and unfettered\, color not onl y trumps line in its purity\, but embodies the true nature of the human sou l. In \;Informal Forms\, curator Noam Segal draws a parallel b etween Klein&rsquo\;s vision of color as the mercurial maverick and the bou ndary-breaking vigor of the abstract form. In the face of confinement\, abs traction defies its borders\, and in its transgression\, defines its own. S egal writes\, \;&ldquo\;The works shown in this exhibition challenge la nguage and disrupt coherent categorical conception. They \;strive towar ds singularity\, towards an inconstant \;gaze that presents each phenom enon in its own right.&rdquo\;

DTEND:20141101 DTSTAMP:20140930T220125 DTSTART:20140913 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:Informal Forms\, Vlatka Horvat\, Ulla von Brandenburg\, Karl Haende l\, Nahum Tevet\, Jan Tichy\, Shahar Yahalom\, Guy Yanai UID:354637 END:VEVENT BEGIN:VEVENT DTEND:20140913T210000 DTSTAMP:20140930T220125 DTSTART:20140913T180000 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:Informal Forms\, Karl Haendel\, Vlatka Horvat\, Nahum Tevet\, Jan T ichy\, Ulla von Brandenburg\, Shahar Yahalom\, Guy Yanai UID:354638 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Fifth Wall \; is inspired by multiple sources: the unique architecture of the Armory&rsqu o\;s Raymond Avenue building\; German modernist theater practitioner Bertol t Brecht&rsquo\;s notion of dialectical theater\, including the breakdown o f the &ldquo\;fourth wall&rdquo\; and the emphasis of function over the bin ary considerations of form and content\; and artwork that challenges the au thority of a fixed point of view and suggests a deeper form of reciprocal e ngagement\; and the Armory&rsquo\;s 25th \;year of programmi ng.

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The Fifth Wall \;con sists of works on paper\, sculpture\, painting\, video\, and photography by seven artists from Los Angeles\, rural Connecticut\, Warsaw\, and Berlin. Each has created works that take into consideration alternate\, or &ldquo\; wrong&rdquo\; points of view or perspectives. Alice Kö\;nitz&rsquo\;s&n bsp\;Los Angeles Museum of Art\, \;a c. 13&rsquo\; x 10&rsquo\ ; x 10&rsquo\; outdoor sculpture that also functions as a museum\, will be moved from the driveway of her Eagle Rock studio and re-installed in the Ar mory&rsquo\;s Caldwell Gallery\, where it will provide a literal and metaph orical platform for performances to be staged during the run of the exhibit ion. Evan Holloway&rsquo\;s delicate line drawings of the sides of epic ste el sculptures by David Smith\, and Marco Rios&rsquo\;s &lsquo\;repaintings& rsquo\; in oil on canvas of his childhood abstractions\, consider artworks from unexpected spatial or temporal disruptions. Interior spaces are recons idered by Corrina Schnitt\, who has created a video that shows household an d domestic farm animals slowly being introduced into a living room and the mayhem that ensues\, and Farrah Karapetian\, who uses photograms to render images of architectural interiors in three dimensions. Our physical senses of sight and sound are challenged by Tom Friedman\, who confronts basic ass umptions about daily life through unexpected use of familiar materials\, an d Artur Zmijewski\, a visual artist and filmmaker who has created lyrical a udio/visual works with deaf/mute children.

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Drawing from Brecht&rsquo\;s theatrical practice\, the show invites c ritical self-reflectivity in the viewer. The works in this exhibition &ldqu o\;show what is shown in the showing\,&rdquo\; to borrow Brecht&rsquo\;s ph rasing. The viewer is made aware of ideas of labor\, point of view\, and ar chitectural and social constructs that affect their perception of a piece o f work. This show seeks to de-familiarize viewers with their own experience of art\, and to produce a feeling of strangeness toward what would otherwi se have been considered only in a canonical context. Brecht&rsquo\;s word f or this was the \;Verfremdungseffekt\, or &ldquo\;alienation e ffect&rdquo\; which\, when applied to art\, can offer new content in even t he most familiar contexts. Just as Brecht wanted his audience to remain awa re of the falsity of the spectacle\, \;The Fifth Wall \;se eks to remind the viewer of the fallacy of point of view. It provides famil iarity of subject matter with an estrangement to the object&rsquo\;s origin al context.

DTEND:20141214 DTSTAMP:20140930T220125 DTSTART:20140713 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:The Fifth Wall\, Tom Friedman\, Evan Holloway\, Farrah Karapetian\, Alice Könitz\, Marco Rios\, Corinna Schnitt\, Artur Zmijewski UID:336642 END:VEVENT BEGIN:VEVENT DTEND:20140712T210000 DTSTAMP:20140930T220125 DTSTART:20140712T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:The Fifth Wall\, Tom Friedman\, Evan Holloway\, Farrah Karapetian\, Alice Könitz\, Marco Rios\, Corinna Schnitt\, Artur Zmijewski UID:336643 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Big City Forum (BCF) will occupy the second-floor Mezzanine Galleries at Armory Center for the Arts from Sunday\, July 13 through Sunda y\, December 14\, 2014\, during Phase II of its 15-month residency entitled  \;City of Hope\, City of Resistance: Research and Actions at the U rban Level. With the Armory as a host venue\, BCF\, a project founded by Leonardo Bravo\, will design and build a dynamic reading room/library as a site from which to present three exhibitions\, conduct film screenings\, and hold a series of conversations\, workshops\, and other discursive even ts. The first exhibition\, from Sunday\, July 13 through Sunday\, August 31 \, will feature \;The Queen&rsquo\;s English\, work by Martine Syms with photographer Cat Roif. A reception\, free and open to the public \, will take place on Saturday\, July 12\, from 7-9pm. Big City Forum&rsquo \;s residency \;City of Hope\, City of Resistance: Research and Act ions at the Urban Level \;is being facilitated by Armory&rsquo\;s Gallery Director / Chief Curator Irene Tsatsos.

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The City of Hop e/City of Resistance \;reading room/library\, a central element of BCF&rsquo\;s residency at the Armory\, is designed by Los Angeles-based ar tist Jeff Cain of Shed Research Institute to frame and facilitate conversat ions and engagement around the key questions raised during the residency an d meant to serve as a dynamic\, interactive platform for diverse\, shared c reativity. A dynamic\, evolving set of programs within this context\, with special guest contributors\, will be featured in an exhibition format every two months. Programmatic continuity throughout BCF&rsquo\;s occupancy of t he Armory will be in the recommended reading shelf\, comprised of books con tributed by past BCF participants\, with each book to include a small biogr aphy and statement from each contributor.

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About Guest Contr ibutors Martine Syms and Cat Roif
Featured guest contributors will be introduced throughout BCF&rsquo\;s occupancy of the Armory. The fi rst of three sets of guest contributors are Martine Syms with Cat Roif\, wh ose work will be displayed from July 12-August 31\, 2014. \;The Que en&rsquo\;s English\, a project by Syms\, takes inspiration from libra rian JR Roberts&rsquo\;s 1981 annotated bibliography \;Black Lesbia ns\, a book whose cover she was drawn to when browsing at a used books tore with a specific intention not to purchase anything.

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The Qu een&rsquo\;s English \;gathers books from the chapter of \;Black Lesbians \;entitled &ldquo\;Literature &\; Criticism.&rd quo\; It also features a series of photographic diptychs in collaboration w ith Roif\, along with other source materials\, to consider the role of &ldq uo\;the reader&rdquo\; as a position of power. About this notion\, and in r esponse to her project entitledReading Trayvon Martin\, Syms notes \, &ldquo\;Here\, reading\, once considered a solitary endeavor\, is re-exa mined as an active stance through the added dimensions of posting\, sharing \, reframing\, and thus contributing to a broader conversation across socia l media. The act of bookmarking becomes synonymous with the process of stak ing out a position\, publicly declaring a side or a perspective.&rdquo\;

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About \;The Queen&rsquo\;s English\, and her work in gen eral\, Syms says\, &ldquo\;I consider much of my work an excursus from a pr imary text. I&rsquo\;m engaged in trying to read what&rsquo\;s not there.&r dquo\; The introduction of \;Black Lesbians \;states: &ldq uo\;As this bibliography undoubtedly proves\, a body of [Black lesbian] lit erature exists\, although it is often hidden or unidentified for reasons di rectly related to the social\, political\, and economic realities of being Black\, female\, and lesbian.&rdquo\;

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Martine Syms is an artist and &ldquo\;conceptual entrepreneur&rdquo\; based in Los Angeles. Her work exp lores themes as varied as Afrofuturism\, queer theory\, the power of langua ge\, and the spiritual nature of the color purple. From 2007-2011\, she dir ected Golden Age\, a project space she founded in Chicago that focused on e xhibitions\, performances\, and printed matter\, and where she organized ov er fifty innovative cultural projects ranging from film screenings to inter active online exhibitions. She also initiated Dominica Publishing\, which i ncludes a catalogue of ten titles by international\, emerging artists. Syms has lectured at Light Industry in Brooklyn\; Project Row Houses and the Ho uston Museum of African American Art\, both in Houston\; South by Southwest in Austin\; California Institute of the Arts\, Valencia\; University of Ch icago and the Museum of Contemporary Art in Chicago\; Johns Hopkins Univers ity and Maryland Institute College of Art\, both in Baltimore\; and MoMA P. S.1 in Queens\, among other venues. Her artwork has been exhibited and scre ened at the New Museum in New York\; Museum of Contemporary Art and School of the Art Institute of Chicago\; Capricious Space in Brooklyn\; The Wassai c Project in upstate New York\; and at White Flag Projects in St. Louis. Sy ms is a graduate of the School of the Art Institute of Chicago with a degre e in Film\, Video\, and New Media.

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Cat Roif is a Los Angeles-based photographer\, photo stylist\, and editor who experiments with the relation ships between color and light\; figure and landscape\; and sex\, maximalism \, and opulence. Her work has appeared in \;Spin\, \;R olling Stone\, \;Nasty Gal\, and more. Roif was raised in &ldquo\;late Post-modern Miami\,&rdquo\; attended Savannah College of Art and Design in Georgia\, and earned her BFA in Photography in 2010 from the School of Visual Arts in New York.

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About \;City of Hope\, City of Resistance: Research and Actions at the Urban Level
Los Angeles is at a pivotal moment of transition and transformat ion. Social fragmentation and isolation is giving way to a celebration of p lurality and difference\; identities and communities are coalescing around collective\, design-based solutions.

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City of Hope\, City of Res istance: Research and Actions at the Urban Level \;is Big City For um&rsquo\;s 15-month\, three-part residency at Armory Center for the Arts\; it brings together the creative forces of numerous participants across the fields of architecture\, urban design\, contemporary art\, new media\, and social and community activism. The residency explores\, discusses\, and pr oduces various forms of social space from community-based initiatives\; new physical and social architectures\; individual and collective actions that have affected public civic engagement\; and ideas and actions that will in fluence life in the region in constructive\, positive ways.

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The pro ject is organized in three separate phases. Phase I\, from January through June 2014\, has focused on research\; Phase II\, from July through December 2014\, is the occupation of the Armory Center for the Arts\; Phase II\, fr om January through March 2015\, will consolidate the ideas generated throug hout 2014 into a publication\, to be released in spring 2015.

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About Big City Forum
Big City Forum (BCF)\, founded in 200 8 by Los Angeles-based artist\, educator\, and activist Leonardo Bravo and co-directed with artist/graphic designer River Jukes-Hudson since 2013\, is an independent\, interdisciplinary project that explores the intersection between design-based creative disciplines within the context of public spac e\, the built environment\, and social change.

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About Big Ci ty Forum in Residence at the Armory
The residency \;C ity of Hope\, City of Resistance: Research and Actions at the Urban Level \;builds upon an existing collaboration between the Exhibitions Dep artment at the Armory and BCF\, which has been crucial in advancing public discourse on the notion of social and civic engagement within the built env ironment. Since spring 2012 BCF has been in residence at the Armory\, upon the invitation of Armory&rsquo\;s Gallery Director/Chief Curator Irene Tsat sos\, during which time it has programmed two seasons of lively\, discursiv e events (Mapping LA \;in 2012 and \;Transforming the Social \;in 2013) comprised of a series panels of leading architec ts\, theorists\, and planners who\, along with a room of engaged participan ts\, have explored current creative practices that inform the landscape\, c ulture\, and geography of Los Angeles. Along with the programmatic ambition s and theoretical investigations described above\, \;City of Hope\, City of Resistance: Research and Actions at the Urban Level \;ser ves as an incubation period for Big City Forum as it develops plans to laun ch future programmatic platforms. Big City Forum&rsquo\;s residency at Armo ry Center for the Arts is being supported with funding from the National En dowment for the Arts. \;

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DTEND:20150130 DTSTAMP:20140930T220125 DTSTART:20140713 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:City of Hope\, City of Resistance: Research and Actions at the Urba n Level \, Martine Syms with photographer Cat Roif UID:336648 END:VEVENT BEGIN:VEVENT DTEND:20140712T210000 DTSTAMP:20140930T220125 DTSTART:20140712T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:City of Hope\, City of Resistance: Research and Actions at the Urba n Level \, Martine Syms with photographer Cat Roif UID:336649 END:VEVENT BEGIN:VEVENT DESCRIPTION:

New art exhibition APPEARANCE OR REALITY opens September 6\, 2014 at Artspace Warehouse. Featured artists include \;Amber Goldhammer\, \;Petra R&oum l\;s-Nickel\, \;Heny Steinberg\, \;< a class="pink" href="http://www.artspacewarehouse.com/artists/JudyZimbert.h tml" rel="nofollow">Judy Zimbert\, and \;Be rnhard Zimmer.

DTEND:20141017 DTSTAMP:20140930T220125 DTSTART:20140906 GEO:34.0760122;-118.3501977 LOCATION:Artspace Warehouse\,7358 Beverly Boulevard \nLos Angeles\, CA 9003 6 SEQUENCE:0 SUMMARY:APPEARANCE OR REALITY\, Bernhard Zimmer\, Amber Goldhammer\, Petra Rös-Nickel\, Heny Steinberg\, Judy Zimbert UID:354834 END:VEVENT BEGIN:VEVENT DTEND:20140906T200000 DTSTAMP:20140930T220125 DTSTART:20140906T180000 GEO:34.0760122;-118.3501977 LOCATION:Artspace Warehouse\,7358 Beverly Boulevard \nLos Angeles\, CA 9003 6 SEQUENCE:0 SUMMARY:APPEARANCE OR REALITY\, Amber Goldhammer\, Petra Rös-Nickel\, Heny Steinberg\, Judy Zimbert\, Bernhard Zimmer UID:354835 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Beasts and Trees\, Cities and Seas

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Bodies of work by Suzanne Unrein and Gay Summer Rick

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Opening Reception: Saturday\, October 4th\, 6-10pm

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Show Duration: September 28th through October 21st

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Second Event: Saturday October 18\, 5-7pm  \;

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Loca tion: bG Gallery (Bleicher/Gorman)\, 2525 Michigan Ave #G8A\, Santa Monica Ca 90404

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T+1 310 906 4211

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Hours: Tuesda y-Saturday 11:30-6pm

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bgartdealings.com

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Press Contact: Shaye Nelson shaye@bgartdealings.com\, 323 7881339

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bG Gallery Ber gamot Station presents Beasts and Trees\, Cities and Seas\, a two person ex hibition featuring bodies of work from artists Suzanne Unrein and Gay Summe r Rick. Both artists juxtapose the natural world against human existence\, reminding the viewer that they\, too\, are a volatile organic entity.

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Gay Summer Rick&rsquo\;s new series City and Coast\, depicts u rban habitats vibrating alongside Southern California&rsquo\;s ephemeral co astline. The dynamic relationship between the two environments is heightene d by the artist&rsquo\;s choice of palette knife instead of brush. Her dist inctive painting style creates an arresting color field in which the city&r squo\;s sharp edges dissolve into the impressionistic embrace of sand\, sea and sky. Rick&rsquo\;s ultimate intention: to transcend the visual by evok ing the emotional experience of a place.

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Suzanne Unrein s tages glorious confrontations: man and beast\, beast and beast\, the dual n ature of man and the beast within - even the artist&rsquo\;s floral still-l ife paintings hint at the battle between life and decay. Confident\, expres sive brushstrokes and a rich color palette follow line and composition in a loose interplay of the abstract and the representational. Underlying the t ense beauty of Unrein&rsquo\;s work is a common theme:  \;creation and destruction are the consequence of being alive.

DTEND:20141021 DTSTAMP:20140930T220125 DTSTART:20140928 GEO:34.0279746;-118.4679684 LOCATION:bG BLEICHER/GORMAN\,Bergamot Station\, 2525 Michigan Ave space G8A \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Beasts and Trees\, Cites and Seas\, Gay Summer Rick\, Suzanne Unrei n UID:356643 END:VEVENT BEGIN:VEVENT DTEND:20141004T220000 DTSTAMP:20140930T220125 DTSTART:20141004T180000 GEO:34.0279746;-118.4679684 LOCATION:bG BLEICHER/GORMAN\,Bergamot Station\, 2525 Michigan Ave space G8A \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Beasts and Trees\, Cites and Seas\, Gay Summer Rick\, Suzanne Unrei n UID:356644 END:VEVENT BEGIN:VEVENT DESCRIPTION:

bG Gallery Bergamot Station presents Beasts and Tr ees\, Cities and Seas\, a two person exhibition featuring bodies of work fr om artists Gay Summer Rick and Suzanne Unrein. Both artists juxtapose the n atural world against human existence\, reminding the viewer that they\, too \, are a volatile organic entity.

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Suzanne Unrein stages g lorious confrontations: man and beast\, beast and beast\, the dual nature o f man and the beast within - even the artist&rsquo\;s floral still-life pai ntings hint at the battle between life and decay. Confident\, expressive br ushstrokes and a rich color palette follow line and composition in a loose interplay of the abstract and the representational. Underlying the tense be auty of Unrein&rsquo\;s work is a common theme:  \;creation and destruc tion are the consequence of being alive.

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Gay Summer Rick& rsquo\;s new series City and Coast\, depicts urban habitats vibrating along side Southern California&rsquo\;s ephemeral coastline. The dynamic relation ship between the two environments is heightened by the artist&rsquo\;s choi ce of palette knife instead of brush. Her distinctive painting style create s an arresting color field in which the city&rsquo\;s sharp edges dissolve into the impressionistic embrace of sand\, sea and sky. Rick&rsquo\;s ultim ate intention: to transcend the visual by evoking the emotional experience of a place.

DTEND:20141021 DTSTAMP:20140930T220126 DTSTART:20140928 GEO:34.0279746;-118.4679684 LOCATION:bG BLEICHER/GORMAN\,Bergamot Station\, 2525 Michigan Ave space G8A \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Beasts and Trees\, Cites and Seas\, Gay Summer Rick\, Suzanne Unrei n UID:357288 END:VEVENT BEGIN:VEVENT DTEND:20141004T220000 DTSTAMP:20140930T220126 DTSTART:20141004T180000 GEO:34.0279746;-118.4679684 LOCATION:bG BLEICHER/GORMAN\,Bergamot Station\, 2525 Michigan Ave space G8A \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Beasts and Trees\, Cites and Seas\, Gay Summer Rick\, Suzanne Unrei n UID:357289 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Blum &\; Poe announces& nbsp\;From All Sides: Tansaekhwa on Abstraction\, \;a large-scale survey of Korean monochromatic painting from the 1960s to the 1980s. Consis ting of more than thirty-five seminal paintings\, the show is the first maj or overview of Tansaekhwa in North America\, focusing on six of its most re presentative artists: Chung Sang-hwa\, Ha Chonghyun\, Kwon Young-woo\, Lee Ufan\, Park Seobo\, and Yun Hyongkeun.  \; \;

From the m id-1960s and especially during the 1970s\, Tansaekhwa artists variously pus hed paint\, soaked canvas\, dragged pencils\, ripped paper\, and otherwise manipulated materials in ways that productively troubled the distinctions s eparating ink painting from oil\, painting from sculpture\, and object from viewer. Mostly rendered in white\, cream\, black\, brown\, and other neutr al hues\, Tansaekhwa works invited and deflected the gaze of the viewer in ways that enabled audiences to affirm their own sense of presence\, an effe ct with significant implications against the backdrop of authoritarian Sout h Korea. By the early 1980s\, Tansaekhwa was the first Korean artistic move ment to be successfully promoted internationally. Viewers in Seoul\, Tokyo\ , Taipei\, and Paris saw in its most representative examples the possibilit y of imagining what a distinct contemporary Asian art might look like\, thu s setting off a pattern of recognition that anticipated what is described a s contemporary art's "global turn."  \; \;

The show is c urated by Joan Kee\, Associate Professor of History of Art at the Universit y of Michigan and a leading authority on contemporary Asian art. Her book\,  \;Contemporary Korean Art: Tansaekhwa and the Urgency of Method \;(University of Minnesota Press\, 2013)\, was one of four finalists for the Charles Rufus Morey Award\, which honors an especially distinguish ed book in art history by the College Art Association. The exhibition will be accompanied by a substantial catalogue with over one hundred images\, na rrative artist biographies\, twelve newly translated artist texts\, and a s cholarly essay by the curator featuring previously unpublished archival sou rces.

DTEND:20141108 DTSTAMP:20140930T220126 DTSTART:20140913 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:From All Sides: Tansaekhwa on Abstraction\, Ha Chonghyun\, Kwon You ng-woo\, Lee Ufan\, Park Seobo\, Yun Hyongkeun UID:350696 END:VEVENT BEGIN:VEVENT DTEND:20140913T200000 DTSTAMP:20140930T220126 DTSTART:20140913T180000 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:From All Sides: Tansaekhwa on Abstraction\, Ha Chonghyun\, Yun Hyon gkeun\, Park Seobo\, Lee Ufan\, Kwon Young-woo UID:350697 END:VEVENT END:VCALENDAR