Redcat

Monday, November 19, 2012 | 8:30 pm | Redcat

Thom Andersen Meets Souto de Moura: Reconversão

Portugal/USA, 65 mins, video

With Reconversão (Reconversion), Thom Andersen opens another fascinating chapter of his ongoing investigation of architectural landscapes, their filmic representation, and their relation to history, by focusing on 17 buildings and projects by the often-controversial Portuguese architect Eduardo Souto de Moura—winner of the 2011 Pritzker Prize. Echoing Dziga Vertov’s concepts and Eadweard Muybridge’s techniques (shooting only one or two frames per second), Andersen masterfully brings forward what makes Souto de Moura an original: the incorporation of the passing of time into architectural designs, positing them within a history fraught with class struggle and societal changes, in a continuum with ruins—from which they may originate, and to which they will return—and with nature—which they frame, and by which they are framed.

In person: Thom Andersen

Redcat

-JO

Tony Cokes | 
Retro (Pop, Terror, Critique)
September 16, 2012 to November 11, 2012

Redcat

Retro (Pop, Terror, Critique), Tony Cokes’ first solo exhibition in Los Angeles, brings together over 45 videos and text animations from the past 15 years. Taking the form of a new multichannel installation conceived for REDCAT by the artist, the exhibition offers a survey of Cokes’ recent output, while subjecting his own artistic practice to the looping processes of use and reuse. The repurposing of existing works to this end furthers the repetition of images, sounds and texts that has been characteristic of the artist’s work since his acclaimed Black Celebration (1988), which pairs newsreel footage of uprisings in urban black neighborhoods in the 1960s with textual commentary and popular music references from the 1980s.

“Pop Manifestos” (1997–present), “The Evil Series” (2001–present) and “Art Critique Series” (2008–present) are brought together for the first time in a series of eight programs that rotate each week of the installation’s eight-week run at REDCAT. Cokes’ extensive project maps a set of ongoing and concurrent interests that treat the discourses of cultural studies, media theory and art criticism as readymade systems of reference. Having described how perceptions of race, gender and class are perpetuated in the entertainment industry by what he calls the “representational regimes of image and sound,” Cokes’ videos indiscriminately redeploy texts from recent critical theory––whether borrowed from his own writing or from others––to reveal the complicity of critique as yet another form in the process of media representation.

An online catalogue of the videos included in Retro (Pop, Terror, Critique) is available for streaming throughout the exhibition attonycokes.redcat.org.

Tony Cokes (b. 1956, Richmond, VA) currently lives and works in Providence, Rhode Island where he is Professor in Media Production in the Department of Modern Culture and Media at Brown University. His video, sound and multi-media installations have appeared in exhibitions and screenings at The Museum of Modern Art and The New Museum of Contemporary Art, New York; The Institute of Contemporary Art, Boston; MuHKA, Antwerp, Belgium; MACBA, Barcelona; and the Centre Georges Pompidou and La Cinémathèque Française, Paris. He has been included in such notable exhibitions as the 1st Berlin Documentary Forum at the House of World Cultures in Berlin (2010); the Whitney Biennial at the Whitney Museum of American Art in New York (2002, 1991); and Documenta X in Kassel, Germany (1997). His work also has received regular support from media-art festivals including Freewaves in Los Angeles; the Rotterdam International Film Festival in Rotterdam, The Netherlands; Rencontres Internationales Paris/Berlin/Madrid; the Oberhausen Short Film Festival in Oberhausen, Germany; and the Impakt Festival in Utrecht, The Netherlands. In 2008–09, Cokes was a Resident Scholar/Artist-in-Residence at the Getty Research Institute, Los Angeles.

Gallery Hours 
Tues–Sun, 12pm–6pm or Intermission

Admission
FREE

-JO

FILM AT REDCAT PRESENTS | Mon May 21 | 8:30 pm 
Jack H. Skirball Screening Series
$10  [students $8, CalArts $5]

New Day at 40 A Community’s Celebration 

REDCAT is proud to mark the 40th anniversary of New Day Films by hosting a celebratory screening of work by two of its Los Angeles-based members, Anayansi Prado’s Niños en Tierra de Nadie (Children in No Man’s Land) and Adele Horne’s The Tailenders. The collective was created by filmmakers Julia Reichert, Jim Klein, Amalie R. Rothschild and Liane Brandon when Klein and Reichert failed to secure distribution for Growing Up Female (1971), about the social constraints placed on women aged 4 to 35. In the early 1970s the act of hearing women’s voices was perceived as a “radical,” and New Day welcomed the work of filmmakers—both men and women—who were challenging the political status quo in terms of gender, social and racial inequality. Today, New Day Films counts about 120 members, whose films have won Academy Awards, Emmys, and premiered at major film festivals, and cover issues as diverse as immigration, human rights, LGBT, disability, addiction, criminal justice, youth and aging.

In person: New Day Members Adele Horne, Ann Kaneko, Meena Nanji, Anayansi Prado and Jonathan Skurnik

Curated by Steve Anker and Bérénice Reynaud in collaboration with New Day Films.

-JO

Naomi Uman: The Ukrainian Time Machine
Monday, December 12, 2011 | 8:30pm | REDCAT

FRAGMENTS FROM A DIARY | Los Angeles premiere
In 2006, experimental filmmaker Naomi Uman returned to the land her great-grandparents had left a hundred years earlier. Living among the babushky of a tiny Ukrainian village, she discovered a lifestyle that didn’t seem to have changed much in a century, and set out to make a series of “precise miniatures of a rural life that’s fading” (Robert Flaherty Seminar) shot in 16mm, while keeping a video diary. In Kalendar (2008, 16mm, silent, 11 min.), a series of exquisite snapshots examine the meanings of the months in the Ukrainian calendar. Videodiary 2-1-2006 to Present (2011, video, 83 min.) reframes the previous elements into a larger narrative struggling with issues of identity, gender, and her intimate connection with the history of Judaism and global immigration.

In person: Naomi Uman

Curated by Steve Anker and Bérénice Reynaud.

-JO 

The Experimental Impulse

November 18, 2011 – January 15, 2012
Opening reception: Saturday, November 19 | 6–9pm

Presented as part Pacific Standard Time.

The Experimental Impulse explores the pivotal role of experimentation in Los Angeles in the years immediately following the city’s emergence as a vital artistic center. The exhibition offers new insights into the understanding of developments in critical art practice after 1965 and bridges the gap between these histories and more recent approaches to artmaking. Consisting exclusively of reproductions and facsimiles of materials culled from publications, institutions, and personal collections, as well as a series of recent video and audio interviews conducted for the exhibition, The Experimental Impulse reflects on the networks of exchange and support structures that underlie the history of art in Los Angeles. With contributions by participants in “The Experimental Impulse” seminars at CalArts’ School of Art (2009/10 and 2010/11), the exhibition operates from a position that context informs content and develops an open-ended methodology that has been characteristic of CalArts since its founding. Conceived from the perspective of artists and art students who currently live and work in the city, the exhibition’s curatorial approach reexamines the very notion of historical representation and aims to embody the principles of experimentation. 

In conjunction with the exhibition at REDCATEast of Borneo, a collaborative art journal and multimedia archive, hosts a selection of commissioned essays, documentation, interviews and research materials related to the process of organizing The Experimental Impulse. Edited by Stacey Allan, this archival component to the exhibition offers an alternative immaterial approach to the role of catalogues and print publications.

Co-organized by Thomas Lawson and Aram Moshayedi

Exhibition design by Martin Kersels and Thomas Lawson

– JO

The Forgotten Space
Saturday, October 8, 2011 | 7:30 pm | Free
Los Angeles Premiere
2010 | 112 min. | Allan Sekula & Noël Burch.

This new essay film by Allan Sekula and Noël Burch looks at everyday people whose role in the global economy goes largely undocumented: displaced farmers and villagers in Holland and Belgium, underpaid truck drivers in Los Angeles, tent city occupants in Ontario, California, seafarers aboard mega-ships shuffling between Asia and Europe, factory workers and Filipino maids in China. Drawing from interviews, archival materials and footage from films such as Josef von Sternberg’s The Salvation Hunters, The Forgotten Space offers a lucid and lyrical portrait of worker’s conditions, the inhuman scale of sea trade, the imbalance of international trade and the secret lives of port cities.  Sekula and Burch closely track the seemingly minor details obscured by the pervasive illusion of an interconnected, “flat” world economy. The film intermingles Sekula’s incisive commentary with astounding vistas of industry—from cavernous factory floors to crowded cityscapes—and intimate first-person testimonies.

Over forty years, Sekula’s photography and writing has focused on the conditions of laborers and The Forgotten Space is based upon his book and exhibition project Fish Story. Burch, an author of such seminal works of cinematic scholarship as Theory of Film Practice and To the Distant Observer: Form and Meaning in the Japanese, is co-director with Thom Andersen of Red Hollywood and, with Sekula, of Reagan Tape, which will be screened as part ofthe exhibition Under the Big Black Sun: California Art 1974-1981  at the Museum of Contemporary Art. The Forgotten Space won a Special Orizonti Jury Prize at the 2010 Venice Film Festival. “I’m sure that I learned a lot more from The Forgotten Space than I did from any other feature that I saw last year, fiction or nonfiction… The film’s most haunting and persistent image is the multicolored and anonymous rectangular steel containers loaded on the ships, evoking giant versions of children’s building blocks while never betraying what their actual contents might be—an apt illustration of the concealments and shiny surfaces of the globalized economy itself.”—Jonathan Rosenbaum.

Bing Theater | Free, no reservations | This screening will be followed by a discussion with Allan Sekula, Bérénice Reynaud (Co-Curator, Film at REDCAT) and other guests to be announced.

JESSE JONES: THE STRUGGLE AGAINST OURSELVES
July 1, 2011 – August 28, 2011 | at REDCAT

“For her first solo exhibition in the U.S., Dublin-based artist Jesse Jones, whose work focuses on the political and social history of cinema, presents a newly commissioned 16mm film titled The Struggle Against Ourselves. Produced in collaboration with students from CalArts’ Schools of Film/Video and Theater and commissioned by REDCAT, Jones’ latest project uses the pioneering Russian theater director Vsevolod Meyerhold’s studies in biomechanics as a point of departure. Situated at the intersection of constructivist theater and its eventual appropriation by mass culture à la Busby Berkeley, the new project is presented alongside The Spectre and the Sphere (2008)—a film depicting a ghostly performance of “The Internationale” on a theremin by the great niece of its inventor Lydia Kavina. Brought together at REDCAT for the first time, the works reflect Jones’ desire to retrieve the artifacts of cultural history and revolutionary politics through performance, filmic re-enactment and theatrical staging.”

-JO 

The Ballad of Genesis and Lady Jaye
(France , USA, 2011, 75 mins)
Directed By: Marie Losier

Presented by OUTFEST 2011
Saturday, July 9th at 7pm | REDCAT

“THE BALLAD OF GENESIS AND LADY JAYE is a tender portrait of rebel performance artist and music pioneer Genesis Breyer P-Orridge (Throbbing Gristle and Psychic TV) and her soul mate and collaborator, Lady Jaye. P-Orridge’s contributions to the industrial and underground music scene in the 1970s take backseat to the couple’s great love affair and daring gender and identity transformations they underwent for their Pandrogyne project, where the pair received surgical procedures to merge into a third pandrogynous being. Winner of the Teddy for Best Documentary at 2011 Berlinale.”

-JO