These are Katie’s photographs on flickr. We’ll upload our own soon from the performances!
July 26, 2008 6:00 pm to August 23, 2008
Nadia Hironaka and Matthew Suib present a monumental video and audio installation examining historical and contemporary representations of cultural anxiety, and the fluid relationship between History and Cinema–where fact and fiction collapse into each other like the folds of a drawn theater curtain.
Comprised of multiple projections and a newly commissioned surround soundtrack by Bird Show, the work synthesizes images and effects from historical panoramas, epic sci-fi and disaster films, and the paintings of Hieronymus Bosch in a fractured, dystopic cityscape dotted with eternal flames and chimeras. Across the expansive video projection, Hollywood splendor usurps mythological and historical narrative in service of political authority and social order. [ Soft Epic website ]
Sound by Ben Vida
Surround sound mix by Nadia Hironaka and Matthew Suib
Nadia Hironaka received her Masters of Fine Art from The Art Institute of Chicago and her Bachelors of Fine Art from The University of the Arts. Currently she resides in Philadelphia and is a professor at The Maryland Institute College of Art. Active within the community she is a supporter of local art venues and in 2007 co-founded Philadelphia’s only video gallery, Screening. She is a 2008 Pennsylvania Council on the Arts fellow and received a Pew Fellowship in the Arts in 2006, other awards include: The Leeway Foundation, Peter Stuyvessant Fish Award in Media Arts, prog:me video artist award, The Black Maria Film Festival, and The New York Short Exposition Film Festival. Her films and video installations have been exhibited internationally in: PULSAR (Venezuela), Rencontres Internationals (Paris/Berlin), The Den Haag Film and Video Festival (The Netherlands), The Center for Contemporary Arts (Kitakyushu, Japan), The Pennsylvania Academy of Fine Arts, Morris Gallery, The Black Maria Film Festival, The Donnell Library (NYC), The Fabric Workshop and Museum (Philadelphia), The Institute of Contemporary Art (Philadelphia), The Galleries at Moore College of Art (Philadelphia), and Vox Populi, (Philadelphia).
Philadelphia-based artist Matthew Suib has exhibited installations, video and audio works and photographs internationally at venues including the Philadelphia Museum of Art, Kunstwerke Berlin, Mercer Union (Toronto), The Corcoran Gallery of Art (D.C.) and PS1 Contemporary Art Center (NYC). Recent exhibitions include Locally Localized Gravity at the Institute of Contemporary Art (Philadelphia), and the 2007 Moscow Biennale. In 2007, Suib co-founded Screening, along with artist Nadia Hironaka. Screening is Philadelphia’s first gallery dedicated to the presentation of innovative and challenging works on video and film. Screening is a project devoted to expanding access to these media and exploring ways that moving image culture influences our understanding and experience of the world. Suib is also a Pennsylvania Council on the Arts fellow, and a former member of the Philadelphia artist collective Vox Populi.
This exhibition and the following events have been organized by Helen Cahng. Supported in part by The Maryland Institute College of Art, the Pennsylvania Council on the Arts, and the Department of Waste Management.
Friday August 1, 8pm
$5 suggested donation
This event is part of a series offered by The Public School (http://www.publicschool.org).
People Watching is a monthly film-screening series with the goal of approaching movies for their anthropological significance, over their contribution to film history or academia. The title of each film will be kept a mystery until the night of the screening.
Although World War II is most highly represented within the war film genre, the Vietnam War is arguably the most prominently featured in films of the past 30 years. Unlike their propagandistic counterparts of WWII, Vietnam War flicks tend to represent the disillusion of the American people towards the war and what it represented. Films such as Apocalypse Now and Full Metal Jacket shocked audiences with their graphic and horrific depictions from the battlefield.
Our next screening will address the effects of war in a different light, with a film commonly categorized as a romantic comedy. This evening’s selection from 1968 is set in middle class Los Angeles where the war in Vietnam and the latent cultural anxiety it produced at home are seen not as the subject, but part of the backdrop for another story….
EVERYONE’S A CURATOR
Saturday, August 16, 7pm
This evening will feature a screening of YouTube videos curated by its audience. All are invited to select their favorite YouTube clip and submit the corresponding URL address to reserve a timeslot. Entries can be reserved ahead of time via Telic’s website or in person on the night of the event. There is no limit to the number of selections any one person can make and are strictly on a first come, first served basis to the first 50 entries. (Due to the large number of videos, please try and keep your selections around 3 minutes or less!)
$5 will reserve your timeslot and automatically enters you into a raffle of prizes donated by local businesses. The winners will be announced at the end of the evening.
July 19, 2008 at 4:00 pm to 9:00 pm
Modeled after cafes in the Pacific Northwest D.I.Y. communities and historically referencing prohibition speakeasies, the cafe will use word of mouth to draw participants to a donation based picnic café, set up in and outside of TELIC. Paloma Parfrey will be recreating traditional picnic foods while Katie Byron reinvents what a picnic means through an installation. There will be performances throughout the day and into the evening evening. Donations will be requested for drinks. Performances will begin at 6pm.
Performers for this event:
christina billotte with laura lazarus
david scott stone
horse thieves (alex maslansky & brie turner o’banion)
big swell (a performance by sam cooper)
About the performers:
christina billotte. best known for her bands autoclave, slant 6 and quixotic. she will be performing with laura lazarus at mystery picnic cafe july 19, 4-9pm.
david scott stone (sometimes referred to as sir dss) is a musician who has recorded and toured with the melvins, unwound, fantômas, the locust, jello biafra, keiji haino, mike patton, adam jones (tool), merzbow, masonna, big business, no age, joe lally and others. recently, (2007-2008) dss has released a record of all modular synthesizer music on “plays the modular synthesizer”, toured italy with joe lally (fugazi) and the sads, is working on a record with anna oxygen, formed the project the sads in early 2007 with musicians aaron rose, dan monick and aska matsumiya. sir dss will be performing at the mystery picnic cafe on july 19, 4-9pm
jackson baugh has been contributing to Los Angeles’ punk underground since a teenager. the guitarist for notorious bands like silver daggers and soddamn inssein, he has also found time for displaying his visual arts, reading his writing and of course the art of pissing on authority with his social activism amongst other things. he will be reading one of his many stories that circumnavigate excess, imaginary friends and procrastination at the mystery picnic cafe july 19, 4-9pm.
big swell is sound from the fourth dimension, channeled by two white octopuses. hail! performance by sam cooper, reel-to-reel, moog, 4-track at the mystery picnic cafe july 19, 4-9pm.
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Above are a few installation images from the Gravity Art show on exhibit from March 1 - April 26. Also, David Pagel’s review of the show in the LA Times (reposted here for ease of reading):
“Gravity Art” is a great little show that presents video art at its very best: direct, accessible, unpretentious and user-friendly. Organized by guest curator René Daalder for Telic Arts Exchange, this whip-smart selection of 31 videos made around the world over the last 40 years is also a refreshing departure from the overproduced emptiness of so much contemporary video, which often exploits movie-size projection, pretends to be installation art and lasts way too long.
In contrast, “Gravity Art” is concise, compelling and stripped to the basics. In the center of the darkened gallery stands a set of metal shelves shaped like the letter X. Mid-size monitors play all the videos all the time. Most of these videos are short. Most are black-and-white. And most are so visually engaging that sound is an afterthought. It comes through as a collective hum and consists mostly of objects and bodies making contact. Dialogue is beside the point.
The atmosphere is charged and decidedly social. It’s hard not to blurt out to strangers, “Come see this!”
Nearly all the videos make you want to watch them more than once, particularly the six delightfully down-to-earth examples from the early 1970s by Bas Jan Ader (1942-75) and the loopy exercises in futility by Vito Acconci, Richard Serra, Gino de Dominicis and Liza May Post. Works by Monsieur Moo, Jacob Tonski and Marco Schuler mix slapstick and stoicism. And Pascual Sisto’s “No Strings Attached” uses simple special effects to transform a common chair into a sort of spastic Fred Astaire by way of the Marx Brothers.
The best thing about “Gravity Art” is that it lets its works play off one another — and invites viewers into the gregarious, every-which-way conversation. It’s not to be missed.
The Public School opened at TELIC with an open house/ orientation and a Richtfest. There have been almost 80 classes proposed with more than 300 people signing up, which is partly due to an article in the LA Weekly, written by Holly Willis about the project last week.
October 27, 2007 6:00 pm to November 24, 2007
OPENING RECEPTION October 27th 6-9pm.
Joe Deutch performance at 8pm
Special Guest: Little Chan
a group show of 13 New York and LA artists exploring the macabre.
Organized by Joshua Callaghan
(Image by Skylar Haskard)
April 14, 2007 6:00 pm to May 19, 2007
Telic Arts Exchange and the Center for Integrated Media at the California Institute of the Arts present a sound installation by the Korean media artist Ki Chul Kim.
“Sound Looking - Rain” is a sound installation that investigates the nature of perception and representation in relation to the Buddhist concept of emptiness. Suspended from the gallery ceiling is a matrix of audio speakers, wires and monofilament, the audio that fills the space is a sound collage of falling rain. Kim’s sound landscape induces us to float between the opposing forms of sight and sound. Kim also references a formal minimalism as we experience the shifting relationships between sound, speakers, the gallery space and our bodies.
This exhibition is made possible in part by the generous support of The Andy Warhol Foundation for the Visual Arts.
February 4, 2007 6:00 pm to February 25, 2007
Heather Bursch’s three screen projection, The Singer Not the Song, uses custom software to convert video into virtual, automated stadium card displays. Video of her hands moving a 15” X 20” red card to catch a range of light values is presented in a 32 X 32 grid format. The cards animate video from pre-rendered sources, referring to the card animations that celebrate unified vision in the stadiums of totalitarian states and at sporting events in the US. The mediating structure of the individual cards, as well as the moving images they collectively animate, highlight the relationship between group identity and an individual self.
October 28, 2006 6:00 pm to December 2, 2006
Mario’s Furniture 2, an installation and interactive game, will be exhibited at TELIC Arts Exchange in Chinatown from October 28th to December 3rd. Created by artists Hillary Mushkin and S.E. Barnet, Mario’s Furniture integrates wireless technology with artistic production and performance. In most video games you just sit on the couch, but when you play Mario’s Furniture you MOVE the couch, in fact you move the whole living room!
Mario’s Furniture began in 2002 as a video installation, including a single night of performance. Four years later, Mario’s Furniture 2 - created with programmer Clay Chaplin and electronic specialist Lorin Parker - is now a wireless environment where viewers become players, physically moving objects before a relentlessly panning camera, all the while watching themselves and their scores in real time on a large-screen projection.
In Mario’s Furniture 2 the body is actualized in real and virtual space simultaneously. Players can’t merely manipulate an avatar with a joystick. Playing Mario’s Furniture involves strenuous physicality, parodying conventional video games in which avatars are put in peril while players sit on a couch. Players must physically move the couch to play the
game. Mario’s emphasizes how camera and screen effect the construction of social relationships. Players see themselves (and not a stand in) under the camera’s scrutiny, humorously mirroring the absurdity of living within the frame.
Mushkin and Barnet look at technological and narrative ways in which video and digital media unfold and complicate meaning. The game critically remarks on aesthetics and narrative boy-logic of computer games while reflecting on theories of the digitally decentered subject. The artists’ racing antics against the camera alludes to Chaplin and Keaton, Mario Brothers, Tomb Raider and the deadline pressed “Extreme Makeover: Home Edition.” Continue reading…
September 8, 2006 6:00 pm to September 9, 2006
In the age of broadcast media, the spectator was passive and removed from systems of production. Progressives surmised that “activated” spectators would be freed from the influences and illusions produced by the few outlets for mass culture; and the Internet seemed to deliver this vision. Rather than conforming to what is offered, consumers have an enormous array of choices that reflect even the most esoteric interests. Popular fads like weblogs, MySpace, and YouTube call the traditional divisions between production and consumption into question.
While art galleries have generally continued to imitate the store from the product-based economy - offering commodities in exchange for money - popular culture, entertainment, and business have largely adapted to a participatory model, involving the consumer in some degree within the process of production, through feedback, customization, and other forms of interaction. Individuals broadcast their own videos (without calling them art), wear their social relations like jewelry, curate, remix, and redistribute existing cultural works. This confusion of production and consumption, of object and experience, runs against the grain of the art gallery, which prefers that the art experience be something quite distinct from the larger culture.
Activated spectators aren ’t as liberated as we thought they might be. The intermingling of production and consumption generates new possibilities and collectivities, but also new limits and antagonisms. TELIC Arts Exchange explores these issues through the “Chung King Common” during the month of September.
Grass - A new, temporary floor surface for TELIC.
Discotopia - An intermittent, site-specific, interactive disco.
Light Show - A new lighting system at TELIC to sequence the space.
Landscape - Recombinant cardboard units that serve multiple functions.
Wishing Well - Fundraising through optical illusion.
Synth-Rocks - Artificial rocks containing a synthesizer for environmental sound.
6 pm - open
6- 9 pm Dawn Kasper - performance - Dead Drunk
7 - 9 pm acks - sound performance - Campfire Song
FRI + SAT (ON GOING)
Dawn Kasper - video sculpture & stills - Evil Series #18 ‘The Chase’
Andy Kopra - video - Canutillo
Tara Kozuback - video - Jump
Fernando Sanchez - video - My Bas Jan Ader
Discotopia - sound installation - by SCI-Arc students (John Ford, Dohyung Kim, Steve Kim, Ayaka Matsushita ,Coffee Polk and Richard Yoo)
11 am AAARG meeting and text trading
1 pm Guthrie Lonergan - lecture, surfing the Internet in public
2 - 6 pm Tom Leeser’s Picnic
2 pm Tom Leeser - talk on Social Interstice and the Art of the Picnic
3 pm Kelly Sears - video
3.30pm Fallen Fruit (Dave Burns, Mathias Viegener, Austin Young)
- presentation + fruit
4.30pm Andy Kopra - video
5 pm Sara Roberts - Earbie sound performance
6 pm Emily Lacy - music
8pm Albert Ortega - sound performance
Saturday’s Picnic is held in partnership with the Center for Integrated Media, CalArts
TELIC would like to thank Superior Sod for its generous grass donation, and Adam Shira from The Good Son for vinyl lettering.
May 27, 2006 6:00 pm to July 15, 2006
Telic Arts Exchange is pleased to present “The Impossibility of the Beach”, the first solo exhibition in the United States for Spanish artist, Pascual Sisto. “The Impossibility of the Beach” includes “Push / Pull”, Sisto’s latest video installation and “28 Years in the Implicate Order”.
In both pieces, Sisto rearranges the mundane through his own digital intervention to produce mesmerizing, impossible realities.
“Push / Pull”, Two channel video loop.
Two video projections face each other in a darkened room. A never-ending, tunnel-like flow of automobiles passes from one screen to the other, approaching in white and receding in red. These opposing, kaleidoscopic images create a suspended state for the viewer, neither coming nor going, in the space in between.
“28 Years in the Implicate Order”, Single channel video loop.
The video consists of a locked off shot of an empty parking lot. A centered sodium vapor light illuminates the night landscape as 28 red balls bounce up and down in a chaotic random order. As the video reaches its mid point, the balls align themselves until they reach the point where they all bounce at the same precise moment, before falling back into chaos.
Born in Ferrol, Spain and raised in Barcelona, Spain, Pascual Sisto graduated with a BFA in film from Art Center College of Design in Pasadena, California. His film work has been shown widely, including the Centre Pompidou in Paris, the Museum of Latin American Art (MALBA) in Buenos Aires, TVE (Spanish Television) and the Los Angeles International Short Film Festival. Recent exhibitions include the Reencontres Internationales Paris/Berlin Festival (Paris, France), Viper Festival (Basel, Switzerland), AKA Gallery (Rome, Italy), Ego Park Gallery (Oakland, USA), Gallery 825 (Los Angeles, USA) and the Los Angeles Municipal Art Gallery at Barnsdall Park (Los Angeles, USA).
October 29, 2005 6:00 pm to December 2, 2005
In this work, appliances and machines are altered, so that their intended uses are drained or bypassed.
Using video loops or feeds, these machines look back at themselves, monitoring, inspecting and displaying their own reasons for being.
Machine Eye View is the first solo exhibition for Ed Coolidge in Los Angeles. At Telic, he will present a new large-scale installation — made specifically to interact with the architecture of the gallery — along with two earlier pieces.
“Air Carrier Inspection” consists of approximately 200 feet of pneumatic PVC tube pieced together to form a loop that will transport a small video camera throughout. A live video feed from within this endless circuit is wirelessly conveyed to a video projection. In “Burning House” a stainless steel fire extinguisher has been modified to hold a small video screen and DVD player. The video playing is looped and cross-dissolved, so that a house inside burns endlessly. The third piece, “VCR Records Itself Recording” is installed in the project room. A small camera is placed inside a VCR, pointed right at the record head then connected into the VCR, which records the signal and sends it to a monitor, showing the VCR recording itself recording.
Edward Coolidge was born in Boston and lives and works in Los Angeles. After receiving BA in Literature from Reed College in Portland, Oregon, he moved to Los Angeles in 1998 and received a MFA from the Art Department at CalArts in 2001. In addition to three solo shows at CalArts, Ed has participated in several group shows in Los Angeles area.
July 16, 2005 6:00 pm to August 13, 2005
Given that we have two installations with nonsensical titles opening this Saturday night, we figured it was as good a time as any to start talking about truth and meaning. (Don’t worry it’ll be quick.) In Plato’s cave, captive prisoners are convinced that the shadows they see and echoes they hear — and they’ve never seen or heard anything else — are the real thing. They see the shadow of a donkey and they call it the “donkey.” Peter Cho’s projection for his Takeluma project attempts to show the shadows cast by the hidden meaning of our spoken utterances. The artist team of Davis & Davis seem to come at it from the opposite direction. Their installation EFAC gives us the shadows and (unlike 1 Year Later, their previous installation at Telic) the artifice, drawing us in while leaving the answers as elusive as ever.
May 28, 2005 6:00 pm to July 2, 2005
Christopher Curtin’s installation, Suspending Disbelief, explores the phenomenological possibilities of video by stretching the medium into a third dimension, depth. As projected video is essentially a flat medium, certain experiences are unattainable in viewing a two-dimensional surface: Suspending Disbelief allows us to see “into” a video projection, extending our experience of vision.
In the installation rotating “blades” nine feet in diameter, made of specially coated cast aluminum form a sculptural foreground-screen and create a very large custom-made fan. These blades turn at a variable velocity before a flat screen such that video of our atmosphere, when projected onto these surfaces, flickers between foreground and background screens. Viewers interpret these pulses of video in the way that we experience the world around us: as a deep field of visual sensations. As the blades speed up or slow down we experience this installation physically as well, as a large gale wind is produced and flows over our bodies in a mixture of air and flickering images. .
December 4, 2004 at 6:00 pm
Breathing Chaos is a new installation work by media artist Sachiko Kodama. A small, black mountain at the center of the gallery grows organically in the glow of many small candles. The heat of the surrounding candles let the mountain move as if it were a living thing, as if it were breathing, shining there in the light. This strange pointed mountain is however, made up of competely inorganic matter; it is a fluid formed by ferro magnetic micro-powder dissolved in a solvent; and it is designed to transform, creating a very sensitive chaos.
October 23, 2004 at 6:00 pm
George W. Bush’s 2002 State of the Union Address was described by many American pundits as “Churchillian.” Somehow, this man, whose speaking gaffes are widely known, was given credit for delivering one of the greatest speeches in modern history.
CHURCHILLIAN II (CHADDER) is an interactive sound installation that breaks this speech into its component parts and reconstructs it physically, portraying the machine behind the speech. Sean Dockray explores discarded technologies in this work to focus on the use and abuse of language in contemporary politics. His installation fills the space - visually, by a giant homemade wooden frame and, aurally, by a robotic voice run through a loud guitar amplifier.
September 11, 2004 at 6:00 pm
An aquatic robotic goose allows you to approach and interact with actual non simulated geese in situ. These biological geese are fully unpredictable and capable of exceedingly rude, challenging and interesting behavior. You are invited to pilot the robotic goose, play with, follow, and attempt communication with the other geese. Try various goose calls and your own goose imitations for your mutual cultural enrichment. See if you can persuade the geese you are worth talking to. If you succeed in any meaningful interaction upload your interpretations. See Video [http://xdesign.ucsd.edu/ooz/goosespeak/]
May 15, 2004 at 6:00 pm
Growth. Expansion. Boundary. Decay. Aggregate layers of abstraction remove every trace of systemic complexity, revealing a living surface. Structured form emerges from the results of thousands of local interactions between autonomous elements.
January 10, 2004 at 6:00 pm
We interrupt your regularly scheduled program… Reinterpreting the broadcast stream by abstraction and time lapse. The installation investigates the very nature of television with its numerous channels, its ubiquity and its perpetual flow. A computer processes every frame of the broadcast in real time by collapsing the television image into a thin slice. A series of these slices are projected back onto the wall next to a television creating a revisualization of the broadcast. In reinterpreting the broadcast stream by abstraction and time lapse, “We interrupt…” paints a reimagined TV landscape. See video
August 16, 2003 at 6:00 pm to 9:00 pm
Sur la table revisits the domestic situation of the table. Events that normally occur on/over a table (the placing of objects, hand gestures, etc…) are amplified through projection and become the basis for interactivity, ultimately changing the visitor’s relation to the table. Using a camera as input, events occurring on/over the table are projected back onto the table so that a historic timeline of events is visualized as a continuous flow of images down the table. [see video]