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Rachel Mayeri: Primate Cinema

Rachel Mayeri: Primate Cinema

May 3, 2008 12:00 pm to June 22, 2008

Field Station Hollywood: May 3 - May 29
Primate Cinema Exhibition: June 11 - June 22
Talk and Screening: May 24 at 6pm
Opening Reception: June 14 at 6pm.

Jane G

Primates and their on-screen dramas are the subject of an exhibition presented at TELIC Arts Exchange by Los Angeles artist Rachel Mayeri.

The exhibition is an installation of several video experiments on the human animal, including “Jane Goodall and the Wild Chimpanzees,” “How to Act like an Animal,” and “Baboons as Friends.”

In the video series “Primate Cinema,” Mayeri transforms TELIC Arts Exchange into an observation platform for viewing the social, sexual and political behavior of human and nonhuman primates.

Mayeri’s work enables viewers to observe human nature at a safe distance through the lenses of primatology and media studies.

Jane Goodall and The Wild Chimpanzees (10 minutes, 2008)
A live performance of a nature documentary, “Jane Goodall and The Wild Chimpanzees” was developed and videotaped during a three week workshop at TELIC in May. The edited video explores what it means to be animal, and how documentary dramatizes nature. The performers are: Suzan Averitt, Claire Cronin, Penny Folger, Estela Garcia, Dave Johnson, Diane Lefer, Adam Overton, and Joe Seeley.

How to Act like an Animal (5 minutes, 2008)
This video is one of several exercises from the “How to Act like an Animal” workshop, which was co-led with primatologist Deborah Forster and physical theatre director Alyssa Ravenwood. Through observation and imitation of a nature documentary, human performers play chimpanzees–hunting, killing, and sharing the meat of a colobus monkey.

Baboons as Friends (6 minutes, 2007)
The first of the “Primate Cinema” series, “Baboons as Friends,” translates a primate social drama for human audiences. A two-channel installation, “Baboons as Friends” juxtaposes field footage of baboons with a reenactment by human actors, shot in film noir style. A tale of lust, jealousy, sex, and violence transpires simultaneously in human and nonhuman worlds. Beastly males, instinctively attracted to a femme fatale, fight to win her, but most are doomed to fail. The story of sexual selection is presented across species, the dark genre of film noir re-mapping the savannah to the urban jungle.

Rachel Mayeri: Primate Cinema

Field Station Hollywood
Primate Research Laboratory and Performance Workshop
Ongoing in May at TELIC Arts Exchange

In May, TELIC Arts Exchange will be a laboratory for primate research and video production, and will be open to visitors. As part of TELIC’s Public School, Mayeri will lead a workshop on “How to Act like an Animal.” The workshop will explore primate social structure, communication, and movement in a series of performative experiments, with contributions by primatologist Deborah Forster. The workshop will form the basis for a video to be shot at TELIC Arts Exchange in May and screened in June as part of Primate Cinema. Participation in the free workshop, offered as part of TELIC’s Public School, is limited to 15 people. To inquire, please follow the link below:

http://thepublicschool.org/105/how-to-act-like-an-animal/

Primate Cinema:
Baboons as Friends

The first of the “Primate Cinema” series, “Baboons as Friends,” translates a primate social drama for human audiences. A two-channel installation, “Baboons as Friends” juxtaposes field footage of baboons with a reenactment by human actors, shot in film noir style. A tale of lust, jealousy, sex, and violence transpires simultaneously in human and nonhuman worlds. Beastly males, instinctively attracted to a femme fatale, fight to win her, but most are doomed to fail. The story of sexual selection is presented across species, the dark genre of film noir re-mapping the savannah to the urban jungle.

“Baboons as Friends” was screened at the Museum of Contemporary Art in Denmark and received a Semifinalist honor for an International Visualization Competition sponsored by the National Science Foundation and the Journal Science. It was made in collaboration with primatologist, Deborah Forster, whose research and footage of wild baboons in Kenya is featured in the video. “Baboons as Friends” is played by actors Camillia Sanes, Patrick Mulderrig, Shaun Madden, Randy Tobin, and Andrew Maxwell. Liz Rubin, director of photography, captured their primate behavior in high definition video in a Chinatown bar.

http://www.soft-science.org/primate.html

Primatologists on Acting in the Animal Kingdom
Talk and Screening of “Primate Cinema: Baboons as Friends”
May 24, 6 PM, TELIC Arts Exchange

On May 24, primatologists Deborah Forster and Rebecca Frank will give talks, followed by a screening of “Primate Cinema: Baboons as Friends.” Deborah Forster has worked with primates at the San Diego Zoo, and researched wild baboons in Kenya. Forster’s talk will be on the how and why of acting and motor mimicry in the animal kingdom, examining videos of “walking” octopuses, painting elephants, and aping orangutans. Dr. Frank, who researches female social behavior and cooperation, will analyze the group dynamics of a Reality TV show.

Rachel Mayeri

Rachel Mayeri is a Los Angeles-based artist working at the intersection of science and art. Her videos, installations, and writing projects explore topics ranging from the history of special effects to the human animal. Videos include “Stories from the Genome: An Animated History of Reproduction,” animations for “Biospheria: An Environmental Opera,” and “The Anatomical Theater of Peter the Great.” Mayeri programmed the anthology “Soft Science,” distributed by Video Data Bank, and her essay “Soft Science: Artists’ Experiments with Science Documentary” is published in Tactical Biopolitics: Art, Activism, and Technoscience (MIT Press, 2008). Her videos have shown at Pacific Film Archive, The Center for Art and Media in Germany, and P.S.1 in New York. The recipient of grants from Creative Capital Foundation, The Mellon Foundation, and California Council for the Humanities, Rachel Mayeri is a guest curator of the Museum of Jurassic Technology and Associate Professor of Media Studies at Harvey Mudd College.

http://www.soft-science.org/mayeri.html

The exhibition at TELIC is supported in part by a grant from the Durfee Foundation.

Here is Always Somewhere Else screening

March 15, 2008 at 7:00 pmMarch 29, 2008 at 7:00 pmApril 12, 2008 at 7:00 pmApril 26, 2008 at 7:00 pm

TELIC will screen Here Is Always Somewhere Else: The life of Bas Jan Ader on four occasions during the Gravity Art exhibition - at 7pm on March 15, March 29, April 12, and April 26.

Here is Always Somewhere Else

Film about the life and work of Dutch/Californian conceptual artist Bas Jan Ader, who in 1975 disappeared under mysterious circumstances at sea in the smallest boat ever to cross the Atlantic. As seen through the eyes of fellow emigrant filmmaker Rene Daalder, the picture becomes a sweeping overview of contemporary art films as well as an epic saga of the transformative powers of the ocean. Featuring artists Tacita Dean, Rodney Graham, Marcel Broodthaers, Ger van Elk, Charles Ray, Wim T. Schippers, Chris Burden, Fiona Tan, Pipilotti Rist and many others.

source: renedaalder.com

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 basjanader.com.

Mondriaan Foundation

HEATHER BURSCH : The Singer Not the Song

February 4, 2007 6:00 pm to February 25, 2007

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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.
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SECOND STRAIGHT SUPER SOCIETY OF THE SPECTACLE SUNDAY

February 4, 2007 at 5:00 pm

Second Straight Super Society of the Spectacle

This is our second annual simultaneous screening of the “Society of the Spectacle” (1973) & the Super Bowl (live). There will be a halftime show with Anna Oxygen performing, and videos from Heather Bursch (”The Singer Not the Song”) and Javier Morales & John Michael Boling (”The Church of the Future”). French fare and American snacks will be available all day.

Heather Bursch’s three-channel video installation, “The Singer Not the Song,” will be exhibited from February 4 until February 25.

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Mario’s Furniture 2 : A Mushkin-Barnet Game

October 28, 2006 6:00 pm to December 2, 2006

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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…

Pascual Sisto - The Impossibility of the Beach

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.

Pascual Sisto video still

“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.

Pascual Sisto video still

“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.

Biography

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).

George Legrady - Algorithmic Visualizations

January 21, 2006 6:00 pm to February 25, 2006

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The exhibition will present three projects from George Legrady’s recent body of work.

Algorithmic Visualizations
2002-present
Animation Projection and Digital prints, 32 x 42″ each

“Algorithmic Visualizations” consists of images created directly from mathematical equations that have their origins in image processing algorithms.

Making Visible the Invisible
2005

A 2 screen display of a commission for the Rem Koolhaas designed Seattle Public Library, featuring visualizations that are based on statistical analyses of the circulation of non-fiction books catalogued according to the Dewey decimal system going in and out of the library’s collection.

Kinetic Flow
2006
Vermont/Santa Monica Station, Los Angeles MetroRail

Preview of a visualization for a leaning 18′ x 24′ concrete wall above a staircase and escalator unit at the entrance of the station. The design concept for the image has been to engage the kinetic experience of the downward movement on both escalator and staircase, one smooth, the other sequential. The algorithmically generated abstract visual rendition uses statistical data sampled from LA metro traffic circulation to seed the image generating equation.

George Legrady screenshot

Ed Coolidge - Machine Eye View

October 29, 2005 6:00 pm to December 2, 2005

Ed Coolidge installation view
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.

Ed Coolidge video stills

Scott Snibbe - Visceral Cinema: Chien

September 10, 2005 6:00 pm to October 16, 2005

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Visceral Cinema: Chien re-imagines the surrealist masterpiece Un Chien Andalou, by Salvador Dalí and Luis Buñuel. The work combines key moments from the film with viewers’ shadows to form interactive projections. All of the action occurs in silhouette. Initially, viewers see a large video projection of a man pulling a grand piano towards the viewer. When viewers walk between the projector and the projection, their shadows affect the projected man’s actions. If a viewer moves between the man and the piano, the piano is pushed back, causing the man to strain harder and lose ground. If a viewer intersects the man, the man dissolves into ants at their point of intersection, and the ants gradually overtake the entire screen. This application of surrealist techniques to an interactive setting plays with viewers’ sense of image, representation, shadow, body, and self.

Scott Snibbe installation view

This exhibit is shown in collaboration with the Center for Integrated Media at the California Institute of the Arts.

Christopher Curtin - Suspending Disbelief

May 28, 2005 6:00 pm to July 2, 2005

Installation view

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. .
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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.

Sachiko Kodama - Breathing Chaos

December 4, 2004 at 6:00 pm

Sachiko Kodama

Kodama_Exhibit1

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.

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Natalie Jeremijenko - A Game Goose

September 11, 2004 at 6:00 pm

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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/]

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Michael Chu - Fishscape

June 26, 2004 at 6:00 pm

Screenshot
“Fishscape” is about the reinterpretation of a physical fish space into a digital one where seemingly simple motion is transformed into an orchestrated landscape of hues that begins to visually express a certain aesthetics of shape and movement. The ordinary twist and turns of goldfishes are converted into a disply of color and light that permeates the screen only for that brief moment in time… until they swim by again.  See video

Casey Reas - TI

May 15, 2004 at 6:00 pm

Installation view
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. 

Zehao Chang - 11:11pm

March 20, 2004 at 6:00 pm

 Installation view

As people speed down a quiet street in their cars at night, passing by motels and homes, their moving headlights casts a beautiful display of lights and shadows through partially open venetian blinds. The brief intrusions of the passing strangers into another’s living space highlights the inherent ephemerality of bonds and of connections, and in their wake all that remains is memory and afterimages.  See video

Peter Cho - Money Plus

February 14, 2004 at 6:00 pm

 Screenshot

Money Plus looks for money on the Internet by querying the Google search engine in real time. This project revisualizes and recontexualizes a simple web search. Viewers can ask for money + another term, ie “money and the meaning of life.”  See video

Pete Connolly - Flood

December 13, 2003 at 6:00 pm

 Screenshot

‘Flood’ is a visual representation of internet saturation. It extracts current news headlines from the internet in different languages and injects them into a constantly evolving soup of letterforms. See video

OSMAN KHAN - Sur la Table

August 16, 2003 at 6:00 pm to 9:00 pm

OSMAN KHAN - Sur La Table

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]