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.