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DTSTART;VALUE=DATE:20120518
DTEND;VALUE=DATE:20120521
DTSTAMP:20260608T053324
CREATED:20160522T205146Z
LAST-MODIFIED:20160522T205146Z
UID:1829-1337320800-1337493599@www.h-r.la
SUMMARY:Teenage Wasteland for the Arts
DESCRIPTION:Participating Artists:\nMax Wortman\, Anais Hinojosa\, Nina Arsenian\, Andrew Becerra\, Sam Hinsvark\, Jacob Small\, Val Koziak\, Alisa Cacho-Sousa\, and Finn West \nTeenage Wasteland of the Arts is an artist collective for teens aged 14-19. The collective was founded by both teens and adults in September of 2011. Since January this year \, members of the collective have met once a week for 2 hours at a time\, at Human Resources\, preparing work for this show.  All the work in the show is made by teen members of the collective. \nWe are currently in the middle of a fundraiser for the program –please check out our KICKSTARTER PAGE: \nhttp://www.kickstarter.com/projects/1373562771/twa-dogma-2012 \nOur goal as an art collective is to create an inspiring\, philosophical environment for teen artists to express their fears\, dreams and nightmares\, their hopes\, angst and oppression\, in a positive and safe way.  This February\, members of Teenage Wasteland of the Arts wrote their own artist dogma\, aptly named TWA DOGMA 2012\, which has served as inspirational guidelines to frame the work made by the collective this spring. \nFor more information on the collective please visit our website: \nwww.wastelandofthearts.com \nTWA DOGMA 2012 \nEvery piece must have an element of collage \nWork made under the dogma must be a time-based piece \nWork must be explicit \nEveryone must accept everyone else’s opinon/pages \nEveryone is a real fascist \nArt is not a means but an end \nArt is not one or the other \nDIT (do it together) \nBinary thinking is prohibited \nThere is no sexuality \nAll rules must be broken \nArt goes to museums to die – Art cannot breathe under glass \nThe process of meandering is necessary \nWe are post-post-modern
URL:https://www.h-r.la/event/teenage-wasteland-for-the-arts/
CATEGORIES:exhibition
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DTSTART;VALUE=DATE:20120522
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LAST-MODIFIED:20160523T095430Z
UID:1844-1337666400-1338184799@www.h-r.la
SUMMARY:Performances of Breaking and Entering
DESCRIPTION:  \n \nInstallation 22-27 May\nPerformances 25\, 26 May at 8pm\, 27 May at 7pm\nClosing reception 27 May\ntickets: https://www.brownpapertickets.com/event/244080 \n“If first we can think about war as a machine of progress – it absolutely moves us forward in terms of technology\, resource accumulation and territorial expansion – we see that war is an abuse of nature\, first through its fundamental belief in technology (not necessarily opposing nature\, but certainly questioning nature as bankrupt\, or inadequate)\, and secondly through the covert agenda of resource accumulation (also a further fueling of technology). \nThe question of gender roles in relation to war in these terms is tricky. If we acknowledge that war is a primary trope of masculinity\, and that during wartime\, normative gender roles are re-inscribed\, then perhaps the technological dimension of war preserves nature in a romantic and pastoral vision – as a site to conquer. If progress is a function of conflict\, then nature would have to be fixed in an ideological position of inferiority and incompetence\, something to conflict against and over-rule. War fuels progress in terms of technological development and capital accumulation – at the expense of the natural. Proponents of technology say that there is no such thing as the natural\, which is akin to saying the slave is merely property…….”\nArtist Arjuna Neuman \nArtist Arjuna Neuman will present a gallery installation in response to an original text conceived by Kestrel Burley that explores the relationship between war\, sexuality and pornography. A series of vignettes devised from the same text using post-dramatic performance techniques will take place during the exhibit\, whereby performers will work to incorporate the environmental elements as “characters” in their performance. Audio and visual textures will transform the installation from a purgatorial space with the threat of action – into a theatrical space – a place of action. \nIt was of interest to both parties to operate outside of the theatrical norm\, where a set designer generally operates in service to the vision of the director. Instead\, Neuman would independently create an installation in response to the themes of the text\, and would operate with an almost absolute degree of autonomy. In this way\, he would participate in the project as almost a “co-writer” through his intuitive\, visual interpretations of the text. The performances would take place in the final days of the exhibition\, when the ensemble had spent time rehearsing in the installationand absorbing Neuman’s environmental elements. \nNeuman naturally works with specificity and thoughtful attention to detail\, going to great lengths to obtain materials that have relevant meaning\, each object containing a story within itself. Theatre\, by contrast\, naturally uses bold visual strokes that depend on the suspension of reality to create illusion. Installation work is also experiential and environmental\, whereas performance is most often experienced at a distance through a presentational format. The challenge of negotiating these approaches – of Neuman forced to consider the theatrical potential of his work while theatre is forced to acknowledge the present\, the real\, through object – has fostered a unique and multi-layered dialogue on the show’s themes. \nWebsite: www.breakingandenteringla.com
URL:https://www.h-r.la/event/performances-of-breaking-and-entering/
CATEGORIES:exhibition
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