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DTSTART;TZID=America/Los_Angeles:20250218T180000
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UID:8641-1739901600-1741543200@www.h-r.la
SUMMARY:Cristóbal Gracia - Paladio / Palladium
DESCRIPTION:Opening February 18\, 6-8pmGallery hours: Saturday and Sunday\, 12-5pm \n\n\n\n\n\n\n\nIn this video\, Cristóbal Gracia digs into futurist mythologies to offer a critical characterization of the identity drive: a product? an artifice? a ritual of seduction? Perhaps\, simply\, a speculative dance to captivate the gaze of the great Other. \n\n\n\nEn esta pieza de video\, Cristóbal Gracia excava en mitologías futuristas para ofrecer una caracterización crítica de la pulsión identitaria: ¿un producto? ¿un artificio? ¿un ritual de seducción? Quizás\, simplemente\, una danza especulativa para cautivar la mirada del gran Otrx. \n\n\n\n \n\n\n\n \n\n\n\nAt the beginning of this century\, a unique spectacle took place at the Palladium club in the port of Acapulco. A ritual that brought together visitors from the upper middle classes of Mexico as well as spring breakers who\, knowingly or not\, had inherited the exotizing impulse of beatnik poetry. What they witnessed was a kind of postmodern black mass\, where nostalgia for pre-Columbian grandeur and the certainty of a futuristic dystopia were intertwined. At the center of it all\, a prehispanic warrior with silver skin holding a torch in his hand. His mouth repeated a dark litany\, full of references to science fiction films\, video games and comic books. With it he prepared his body for the frenzy that lit up the night with neon lights and strobes\, merging with the decades of splendor of Acapulco\, the tourist destination par excellence of the Mexican republic; a glory that already had its days numbered. \n\n\n\nIn this video installation\, Cristóbal Gracia brings back the mythical show of the Azteca de Plata (Silver Aztec) to offer a critical characterization of the identity drive. First\, by showing the laborious protocols of prior preparation and subsequent cleaning\, it is possible to see the degree of artificiality and effort required to embody a construction of this type. As a result\, what is obtained is an ideal\, both physical and political\, impossible to sustain in a prolonged manner: the existence of this Promethean being is ephemeral by definition. On the other hand\, by recreating this spectacle on at least three levels—on camera\, replicated by one of the multiple imitators of the original show and with the presence of the action figure inspired by it—Gracia points out the impossibility of keeping intact the narratives that seek to define human groups; each iteration generates difference\, nothing remains identical to itself. \n\n\n\nLet’s be clear: this appeal to the founding myths of Mexican identity was detonated to enrich the leisure of external gazes to this tale. And perhaps the greatest confrontation of this installation takes place thanks to the silence and solitude that surround the warriors because\, in their absence\, the gaze of the Other takes on all its weight. What remains\, then\, of this founding narrative when the bodies that wear themselves out to embody it do so for external enjoyment: a product? a caricature? an artifice? a toy? a ritual of seduction? \n\n\n\nFinally\, Gracia also draws our attention to the pictorial and performative gestures involved in the production and deployment of this speculative dance. In doing so\, he reminds us of the role that art history has played in the construction of identity narratives of nation-states in the West. But\, above all\, he accurately points to the prominence that identity affirmation has in current political art. Thus\, Gracia neither condemns nor celebrates. On the contrary\, in the same way as happened during those nights in Acapulco\, he invites us to dance a silent dance with that demon that is all identity. \n\n\n\nGustavo A. Cruz Cerna
URL:https://www.h-r.la/event/cristobal-gracia-paladio-palladium/
CATEGORIES:exhibition,screening
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DTSTAMP:20250319T051527Z
CREATED:20250315T024059Z
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SUMMARY:BUL
DESCRIPTION:Opening reception and book launch: Saturday\, March 29\, 6 – 9pmClosing performance: Wednesday\, April 9\, 7:30pm  \n\n\n\nBUL is a multi-media installation of Christine Yerie Lee’s experimental rock opera BUL (2023) and its newly completed sequel SWAN SONG (2025). This ongoing project is inspired by both the Korean folktale of the Bulgasari\, an iron-eating monster who liberates the oppressed by devouring the weapons of the corrupt\, and the North Korean film Pulgasari (1985)\, a Godzilla-esque work that was directed by South Korean Shin Sang-Ok while being held captive by North Korean leader Kim Jong Il. BUL reimagines the ancient monster and forms an untimely meditation on ancestry\, kinship\, and what the future owes the past. \n\n\n\nWritten in five acts\, BUL (2023) reimagines the monster as an orphan named BUL who finds herself in the throes of love in the City of Angels. Through pastiches of 20th century cultural forms such as the pop song\, black box theater\, and music videos\, BUL shapeshifts through different dimensions to survive the changing times. The project includes personal memoir\, collaborative scores\, choreography inspired by communist political gestures\, and an original soundtrack. Lyrics were crowdsourced from Lee’s community then stitched into a collective sonic love history by LA-based band muff. \n\n\n\nWhile BUL is built upon the harmonic melodies and lyricism of pop songs\, SWAN SONG gear-shifts into dissonance and glitches as modality. Conceived as an instrumental opera and visualized as a silent film\, SWAN SONG depicts an intergenerational encounter between a now world-weary BUL and her estranged human great-great-great-granddaughter\, CY at the Salton Sea in Imperial County\, California. Their transmission is expressed in a “monster language” composed of ancient and contemporary instrumentation and movement choreography. BUL’s voice is expressed through the saenghwang\, an ancient Korean free reed mouth organ said to echo a phoenix’s cry\, while CY is voiced by the harmonica\, an instrument that descends from the saenghwang. The soundscape merges the Korean folk tradition of pansori (musical storytelling) and the American blues\, and evokes an imaginative ancestral lineage and dialogue between past\, present and future. \n\n\n\nThe final act features five performers enacting shifting poetics of relations by using the languages of synchronized animal movements (starling murmurations\, ant death circles\, locust swarms)\, pop culture (the wave\, line dancing)\, traditional Korean dance\, and also choreography that references and abstracts geopolitical borders between the U.S.\, Russia\, China\, North Korea\, and South Korea. If BUL focuses on the ecstasies and tragedies of the relationship between self and other\, SWAN SONG complicates the desire to belong to something greater than oneself by asking: Where do the self and the collective body begin and end? Who defines a border? How do we become borderless? \n\n\n\nThe opening reception will also host the book launch of BUL (2025) published with FRIEND EDITIONS (New York). The exhibition closes with the open-mic event “Bulgasari LA” with permission from original event founder Lee Han-joo. Bulgasari events began in Seoul in 2003 and are an ongoing showcase of experimental music\, avant-garde art collaborations\, and improvisational performances. \n\n\n\nThe project was funded in part by the College Art Association’s Visual Arts Fellowship\, multiple grants from the California Institute of the Arts\, and the Foundation for Contemporary Arts Emergency Grant. BUL is organized by Ajani Brannum.
URL:https://www.h-r.la/event/bul/
CATEGORIES:exhibition,music/sound,performance
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