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Symposium Postcard Image courtesy of the estate of Bas Jan Ader

Mystery Picnic Cafe & Closing Performances

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)
jackson baugh
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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Time-Based Conceptual Art Symposium

April 19, 2008 at 3:00 pm

Symposium Postcard !!!

TELIC presents a symposium on time-based conceptual art at UCLA with the Department of Design | Media Arts and This symposium is held in conjunction with our exhibition, Gravity Art. It is free and open to the public.

Two artists from the exhibition will speak: Guido van der Werve and Marco Schuler.

The curator of the exhibition, Rene Daalder, will give a short talk about Gerry Schum’s film Identifications, which will then be screened.

At the end of the evening, Seven Easy Pieces by Marina Abramovic will be screened for the first time in Los Angeles.

Here is the schedule:

3:00 - Opening reception
3:30 - Introduction by Rene Daalder
4:00 - Marco Schuler presentation
5:00 - Guido van der Werve presentation
6:15 - Screening of Identifications by Gerry Schum
7:15 - Screening of Seven Easy Pieces by Marina Abramovic


EDA (on the ground floor, next to the elevators)
Broad Art Center, UCLA
[ directions ]

Map to Broad Art Center at UCLA

This exhibition is made possible in part with support from the Mondriaan Foundation, Amsterdam, the Consulate General of the Netherlands in New York, The Andy Warhol Foundation for the Visual Arts, and

Mondriaan Foundation

Gravity Art

March 1, 2008 6:00 pm to April 26, 2008

Image courtesy of the estate of Bas Jan Ader


TELIC Arts Exchange becomes a lab for the production of a new genre of art from March 1 through April 26. In light of recent cultural developments, video art, performance art, and conceptual art no longer seem like esoteric, avant-garde enterprises. Social networking and content distribution platforms, such as YouTube, suggest that these forms are becoming normative modes of public address and interaction.

Gravity Art, curated by filmmaker Rene Daalder, is an exhibition that retroactively proposes a genre based on the idea of gravity as a medium. Operating in relation to Daalder’s documentary on Bas Jan Ader, Here is Always Somewhere Else, and his website, this exhibition brings together several generations of conceptual artists through the unlikely, but perfectly obvious conceit of gravity.

One dominant theme of Gravity Art is an interrogation of the legacy of Bas Jan Ader, the conceptual artist from the Netherlands who found himself in various art schools in Southern California in the late 1960’s and early 1970’s. The exhibition itself follows this trajectory: an exhibition at De Appel co-curated by Daalder in Amsterdam called Gravity in Art was a point of departure for this show at TELIC; many of the artists are Dutch; and Daalder himself emigrated from the Netherlands to Los Angeles around the same time as Ader.

Gravity Art features work by are Vito Acconci, Bas Jan Ader, Monsieur Moo, Johanna Billing, Slater Bradley, Lonnie van Brummelen, Daniel Devlin, Gino de Dominicis, Hege Dons Samset, Friedrich Kunath, Gavin Maitland, Ari Marcopoulos, Liza May Post, Willem de Ridder, Pipilotti Rist, Fernando Sanchez, Wim Schippers and Wim Vanderlinden, Richard Serra, Pascual Sisto, Stelarc, Marco Schuler, Joel Tauber, Jacob Tonski, Tsui Kuang-Yu, Marijke van Warmerdam, Guido van der Werve, and Erik Wesselo.

A symposium presented by TELIC and hosted by Daalder at UCLA in April brings several Dutch conceptual artists to Los Angeles, including the renowned Fluxus performer Willem de Ridder and the successful newcomer Guido van der Werve, and a special presentation of Gerry Schum’s rarely seen but highly influential conceptual art film compilation Identifications.

This exhibition is made possible in part with support from the Mondriaan Foundation, Amsterdam, the Consulate General of the Netherlands in New York, The Andy Warhol Foundation for the Visual Arts, and

Rene Daalder: Curator
Aaron Ohlmann: Exhibition Coordination
Jens Hommert: Exhibition Design
Michael Sehnert: Technical Advisor
Pascual Sisto: Special thanks

Mondriaan Foundation

Julie Albright + Terri Senft

October 20, 2007 at 12:00 pm to 9:00 pm

cosmetic surgery demonstration video by Brooke Kellaway, supplemented with diet and fitness plans
Performance by Nina Waisman
Presentation by Julie Albright
Presentation by Terri Senft

Julie Albright is a noted authority in the media and in academia on sexuality, relationships and technology (including the Internet and plastic surgery). She has been quoted in the NY Times, Wall Street Journal, Washington Post, Los Angeles Times, USA Today, on and, among others, on these issues. She is also a research consultant for eHarmony, one of the nation’s largest online matchmaking sites. She recently completed work as Associate Producer on a documentary film on plastic surgery and makeover in popular culture, and is currently working on several journal articles related to Internet dating and sex-seeking behaviors. She is currently a lecturer in the Dept of Sociology at USC. For her presentation at Telic, Julie will speak on the concept of transformation and ‘makeover’ via technology (whether online or in the flesh). Her presentation will concern themes of self-transformation, invention, presentation, performance — including notions of beauty, what people find attractive (driven by media technology), and how these attractions and appearances are managed.

Theresa M. Senft is a Senior Lecturer in Media Studies at the University of East London, U.K. Her work considers how new media has changed our conceptions of the private, the public, the pornographic, and the pedagogic in global society. Her books include Camgirls: Web Celebrity and the Personal as Political in the Age of the Global Brand (2007), History of the Internet, 1843-Present (co-author), and a special issue of Women & Performance devoted to sexuality & cyberspace (co-editor). For her presentation at TELIC, Theresa will address what she sees as the rise of ‘empathy fatigue’ among viewers who routinely consume displays of personal psychic trauma through public media such as webcams. To combat empathy fatigue, Theresa urges us to stop treating many-to-many media as television, and instead begin engaging in ‘tele-ethicality’: a commitment to risk social contracts over one’s networks with others who may or may not be true, or even real. To demonstrate, she relates a true story of a watching a camgirl attempt suicide over her webcam while hundreds of ‘friends’ watched and commented, wondering if what they were witnessing an actual event, or a staged publicity stunt, as a woman was dying before their eyes.

Nina Waisman is an MFA candidate at UCSD. She has shown her work in Berlin, New York, Los Angeles, Dallas, San Francisco, Long Beach, etc. Her work has been reproduced and written about in the Los Angeles Times, the New York Times and the San Diego Union Tribune, among other publications. (see She holds a BFA with distinction from Art Center and a BA, magna cum laude, from Harvard University. Waisman also trained seriously as a classical dancer. This study of movement informs her ongoing creation of interactive installations and performances in which simple acts such as walking raise questions about technology’s impact on a body’s creation of identity and processes of meaning-making. Nina describes her performance at TELIC as follows:
“Gesture and sound have long been employed as mediums of social control, mediums through which a body can be made to transduce social and political formulas. What new forms of bodily targeting and splicing will be effected as our tools and environments gain intelligence? Your footsteps might be swapped out for a gait and pace meant to adjust your mood or style. You might walk in the steps of your idol of the moment - coming closer bodily to the one you wish you could be. You might download tracks to help you learn the productive movement rhythms of successful figures in your field. You train… Subtly, your body gives way, disappears, as you puppet the moves deemed more desirable….”

Ed Coolidge Designs a New Donation Box

July 11, 2007 at 11:00 am to 6:00 pm

Ed Coolidge will spend the day consulting TELIC and designing a new donation box based on his Machine Eye View installation.

It will drop money from up there

Drawing board

Create your own personal geomancy

July 15, 2007 at 6:00 pm to 9:00 pm

Amar Ravva will give on-the-spot Vastu consultations.

Bring floor plans, sketches, or your impeccable memory of your current or future residence- each consultation will cost only $10.


Pirates and Hustlers

June 30, 2007 12:00 pm to July 1, 2007

Fernando Sanchez and Sean Dockray present “Pirates and Hustlers” from Saturday June 30 - July 01, 2007, in front of TELIC Gallery. Noon to 6pm on both days.

Fernando Sanchez will be exhibiting and selling “Los Angeles Bootlegs”: photographs downloaded from the current exhibitions of Los Angeles art galleries web pages. In addition, he will be selling the art list of all the galleries and their corresponding images.

Sean Dockray will be selling dvd’s of art videos downloaded off the internet by some of the greatest artists of all time for $8. Each video is limited to an edition of 8 with the price doubling on each sale, going up to $1,024.

Pirates and Hustlers and the Sunday Dim Sum crowd

Pirates and Hustlers making money money

Pirates and Hustlers outside Telic



Wii Golf Range

June 23, 2007 at 12:00 pm to 6:00 pm

A round of Wii golf will cost $5 from noon to 6pm. The person with the lowest score wins 50% of the total collected from all players. In the event of a tie, players have the option of splitting the winnings or engaging in a winner-take-all playoff at 7pm.

wii golf tournament

Airbrushing history

“Airbrushing history” is an interesting concept, particularly when applied to satellite imaging. I know it’s foolish to suggest that satellite photography makes claims toward authenticity and thruthfulness that regular old SLR photography can’t, but how often do we think about the man behind the satellite camera? Usually only when areas of the map are “blacked out,” censored by some political agenda.

How long will it be before there are hundreds of commercial competitors to Google Maps, all with their own ideologies and manipulations of history. A map that returns Europe to a glacier. One that shows every point on Earth during its most violent. Maybe a low budget map made of images stitched together from photos taken during cloudy weather, nothing but shades of grey.

Of course the giant, high resolution satellite map is a fiction. It’s never really even existed - it’s stored in pieces, only displayed in parts, and made by tiny satellites cutting razor’s edges over the Earth’s surface that add up over time to some simulation of a flattened map. It all reminds me of a story I heard about the very first “satellite photos” which were taken with regular old SLR cameras pointed out of the window of those rickety old 1960’s spaceships.

Google, the ubiquitous internet search business, has been asked by a US congressional committee why it was “airbrushing history” by replacing post-Hurricane Katrina satellite imagery on its map portal with images of the region as it existed before the storm destroyed neighbourhoods, uprooted trees and smashed bridges.

“Google’s use of old imagery appears to be doing the victims of Hurricane Katrina a great injustice,” wrote Brad Miller, who chairs a US House committee, to Google chief executive Eric Schmidt.

The virtual trip through pre-storm New Orleans is a surreal experience of scrolling across a landscape of packed parking lots and marinas full of boats. The reality is very different: entire neighbourhoods are now slab mosaics where houses once stood and shopping malls, churches and marinas are empty of life, or gone entirely.

So far, it’s unclear why the images were changed. Chikai Ohazama, who runs Google Earth, said governments often ask Google - whose corporate motto is “do no evil” - to change its imagery, but New Orleans Mayor Ray Nagin says it had no hand in the matter.

From Google Wipes Katrina off the Map

Some re-enaction links

Davis & Davis - 1 Year Later

April 16, 2005 6:00 pm to May 20, 2005

 Installation detail

1 YEAR LATER is a multi-media installation conflating Robert Frank’s “Covered Car, Long Beach, CA,” Johnny Cash and Men in Black.

This project originated from a parking shortage on the Los Angeles street where artist team, Denise and Scott Davis live. In trying to preserve a parking space to return home to each day, they came up with the idea of a collapsible covered car and for inspiration, turned to Robert Frank’s 1956 photograph to create this decoy. Research into late 50’s Cadillacs led to some of the iconic figures of the time: Men in Black, who drove them; then to Johnny Cash,who drove them, sang about them and was popularly known as the Man in Black.

For this bold installation, a one-to-one scale representation of Frank’s photograph, Davis & Davis jump “one year later” in time to inhabit the scene with these characters. A 1957 model Cadillac decoy is parked and three Men in Black sit within literally undercover, but their logo, the all-seeing eye, is visible in the driver’s side rear window. They are whispering along robotically to Cash’s 1957 release, “Cry, Cry, Cry” , the lyrics to which speak of surveillance, interrogation and threat, hallmarks of Cold War domestic intelligence operations.

This collage of time, space and representational mediums creates a filmic transformation of the original starting point, this 50’s photographic scene, with an uncanny contemporary reflection.

Exhibited at TELIC in collaboration with The Center for Integrated Media at the California Institute for the Arts.

Nate Harrison - The (Quick)time Machine

April 9, 2005 at 9:00 pm

 The (quick) Time Machine, 2003. Two channel DVD projection dimensions variable

The (quick) Time Machine is a re-presentation of the 1960 film adaptation of H. G. Wells’ The Time Machine. The film was separated into every one of its ‘hard’ edits, which were then made into video loops. Each loop was subsequently sequenced according to the original storyline across a 40-block grid, read left to right, top to bottom. At any given moment the audio is in sync with one of the grid spaces, until that space starts looping, at which point the adjacent right block begins, with the audio syncing to it. When the grid fills up the process starts over in the top left corner. The video, through 1000 edits over the length of the original film, ends in the bottom right hand corner. As the narrative of the film is revealed, so too is its edit structure. The result is akin to transforming a film back into its storyboard.

Eitan Mendelowitz - Little Red

September 13, 2003 at 6:00 pm

 Installation view

Little Red is anti-censorware. Armed with a list of obscenities allegedly used by AOL to censor their chat rooms, Little Red reveals the vulgar and prurient subtext in the classic children’s tail “Little Red Riding Hood.” See video