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DTSTART;VALUE=DATE:20171108
DTEND;VALUE=DATE:20171121
DTSTAMP:20181026T193836Z
CREATED:20171025T230152Z
LAST-MODIFIED:20181026T193836Z
UID:3009-1510120800-1511157599@www.h-r.la
SUMMARY:Por que somos e não somos tropicalistas: Moving image from Recife\, Brazil
DESCRIPTION:Opening Wednesday November 8th\, 7-9pm\nOn View November 9th-19th\, Weds-Sun 12-6pm \nBecause we are and we aren’t tropicalists presents recent moving image works by artists and filmmakers from Recife\, Pernambuco\, a city in the north-east of Brazil that is renowned for its film and art scenes. The works depict Recife and the surrounding Pernambucan interior to engage the material realities of its beaches\, squares\, churches\, parks\, tropical urban forests\, and bridges and canals\, as well as the sertão (the arid interior region of the State). These accounts produce fictional visions of the modern built environment\, re-envisioning an urban space marked by rampant real estate speculation and the social movements that contest it. The city’s Other appears in the form of tropical forests and the sertão\, proposing both the fecundity and aridity of these landscapes in jarring opposition to – but continually present in – Recife’s everyday imaginary. \nRecife as a locale is a city of multiple crossings. Located at the confluence of the Beberibe and Capibaribe rivers before they flow into the Atlantic Ocean\, its many waterways\, islands\, and bridges create a unique urban landscape. The works address inclusion in and exclusion from the city’s modernizing narrative (one that extends from Spanish\, Dutch and Portuguese colonization) and the contemporary possibilities for decolonizing these cities and challenging the social codes that govern public space. These artists and filmmakers construct new narratives on the frontiers of the real space of the city with works that oscillate between the status of performance and document. \nThe exhibition takes its name from the Manifesto Tropicalista written by the poet and intellectual Jomard Muniz de Britto in Recife in 1968. This manifesto aligned itself with the 60s tropicalist movements in Rio and São Paulo\, citing the desire to move away from what had become a controlling regionalist discourse. The manifesto identified “transit and trance” as key states of inventiveness\, as well as advocating a creative stance of “madness against stupidity!”. \nCurated by Zanna Gilbert \nJonathas de Andrade\, O Levante | The Uprising\, 2013\nDaniel Santiago\, O Velho Ernest Hemingway e o Mar do Recife | The Old Ernest Hemingway and the Sea of Recife\, 2012\nCristiano Lenhardt\, Guaracys\, 2016\nIrma Brown\, Vadia | Bitch\, 2016\nGabriel Mascaro\, As Aventuras de Paulo Bruscky | The Adventures of Paulo Bruscky\, 2010\nJulio Cavani\, Historia Natural | Natural History\, 2014  \n\nCristiano Lenhardt\, Guaracys\, 2016. Image © Cristiano Lenhardt. \nJonathas de Andrade\, O Levante (The Uprising)\, 2013. Image © Jonathas de Andrade.\nGabriel Mascaro\, As Aventuras de Paulo Bruscky (The Adventures of Paulo Bruscky)\, 2010. © Gabriel Mascaro\nJulio Cavani\, História Natural (Natural History)\, 2014. Image courtesy Pedro Sotero.
URL:https://www.h-r.la/event/por-que-somos-e-nao-somos-tropicalistas-moving-image-from-recife-brazil/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
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DTSTART;TZID=America/Los_Angeles:20171128T080000
DTEND;TZID=America/Los_Angeles:20171217T170000
DTSTAMP:20181026T193836Z
CREATED:20171109T003631Z
LAST-MODIFIED:20181026T193836Z
UID:3047-1511856000-1513530000@www.h-r.la
SUMMARY:A.K. Burns: A Smeary Spot
DESCRIPTION:Opening Reception November 28\, 6-10pm\nOn view November 28 – December 17\nGallery Hours Wednesday – Sunday\, 12-6pm\n  \nVideo installation curated by Clara López Menéndez \n…it was ambiguous\, two-faced. What was inside it and what was outside it depended upon which side of it you were on. \n—Ursula K. Le Guin\, The Dispossessed \nFrom November 28 through December 17\, Human Resources LA is excited to present\, for the first time in California\, A.K. Burns’ video installation A Smeary Spot (2015). This 53-minute 4-channel video installation is the opening episode of a five-part cycle of multi-media works entitled Negative Space (2012-ongoing) that draws on science fiction\, theater\, philosophy\, and quantum theory. Setting up a parallel cosmology\, A Smeary Spot invites a dialogue between ecological fragility\, marginalized bodies\, and their relationship to resources. \nA Smeary Spot explores the metaphorical ‘sun’ as a manifestation of power\, a source of both life and death and around which the other episodes (in Negative Space) circulate. The title\, is borrowed from feminist sci-fi writer Johanna Russ’s book We Who Are About To…. The sun–– “that smeary spot” –– is a dense concentration of heat and light\, an organizing principle of time\, place and ego. What potential emerges when we glance away from the source and settle into the blurry residue of its afterimage? With political urgency\, the work reorients viewers in a ‘speculative present\,’ by which we are invited to imagine an alternative future. \nThis work was shot in two locations: in the deserts of southern Utah and inside a black box theater\, where performers deliver recitations of appropriated and altered texts that compose a loose manifesto on being. Inside this cinematic experience is a surreal narrative of bodies in transition — bodies that change\, move\, slip between\, act and act out. Among these bodies\, the land\, the water\, the waste pile and the theater are not simply stages upon which actions occur. They are sprawling protagonists\, who\, like the sun are permeating and persistent. \nIn a moment when the logic of political power seems unyielding\, this work presents an aesthetic vision—a speculative space that unbinds us from delusional inherited behaviors\, where the present categories of body\, mind\, land\, “one” and “other” are dispersed in favor of a new relationality. Through moving image and an elaborate (6-channel) sound track\, A Smeary Spot allows us to inhabit this metaphysical offering\, decisively rethinking our conception of language and boundaries (political\, social\, bodily) and their ensuing impact in contemporary understandings of politics. \nThis exhibition of A Smeary Spot was made possible with the generous support of The Foundation of Contemporary Arts Emergency Grants\, The Box\, the Hammer Museum\, and Human Resources LA. The video\, A Smeary Spot (2015)\, was produced with support from Creative Capital\, The Kitchen\, Outpost Cuts and Burns Residency\, Callicoon Fine Arts\, and PARTICIPANT INC\, and in conjunction with performers niv Acosta\, Nayland Blake\, Grace Dunham\, Jack Doroshow (aka Flawless Sabrina)\, Macauley Devun\, Marcelo Gutierrez\, Katherine Hubbard\, Lee Maida\, Matana Roberts\, Jen Rosenblit\, Mariana Valencia and soundtrack scored by artist Geo Wyeth. \n  \nSpecial thanks to Chiara Giovando\, Max Krivinsky\, Kandis Williams\, Becky Stafford\, Lydon Macgregor\, Karla Canseco\, Isidro Pérez García\, Adam Otto Lutz and Jaya Inder Kang \nImage: Still from A Smeary Spot (2015).
URL:https://www.h-r.la/event/a-k-burns-a-smeary-spot/
CATEGORIES:exhibition
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