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Conversations plate

TV Dinner Night

July 9, 2008 at 7:00 pm

“This evening will explore the ritual of eating as a solitary experience. Participants will bring their own version of a microwavable tv dinner. We will provide a microwave & tv trays. Join us for an international compilation of film shorts on the subject of food & community. The program runs approximately 90 minutes. Curated by omnivores at the fabulous Echo Park Film Center, Lisa Marr & Paolo Davanzo. $5-$10 donation.”
- Tamala Poljak and Anna Oxygen

Conversations That Never Happened

June 28, 2008 6:00 pm to July 19, 2008

Conversations plate

Tamala Poljak and Anna Oxygen have organized an exhibition that incorporates photography, performance, installation, food, and video within various forms of collective consumption - two nights of dinner theater, a temporary cafe, simultaneous TV dinners.

The point of departure for “Conversations That Never Happened” is a series of 200 photographic portraits that Poljak made in her kitchen while dining individually with her friends and neighbors. As a group, the photographs might remind us of “friend lists” on MySpace and Facebook, where sociality is expressed in serial form (as a grid of pictures or a list of comments and testimonials). Do these grids and lists refer to communities? And if so, how do communities relate to their own representations? Over the next few weeks, many of the people depicted in the portraits will be animated through the exhibition: they will eat dinner at TELIC; they will perform as dancers, writers, actors, magicians, comedians…; they will prepare and serve food.

At the opening reception on Saturday, the artists will be serving custom-made pancakes (with shapes made to order!) and fancy drinks; David Scott Stone will do a 3 hour ambient set.

Over the next three weeks:

July 9 - TV Dinner Night
July 12 - Dinner Theater Night #1
July 13 - Dinner Theater Night #2
July 19 - Mystery Picnic Cafe & Closing Performances

Participating artists and performers include: The All Girl Comb Choir, Mecca Vazie Andrews, Jackson Baugh, Lindsay Beamish, Big Swell (Sam Cooper), Christina Billotte, Katie Byron, Cathy de la Cruz, David P Earle, Steve Gregoropoulos, John Hogan, Horse Thieves (Alex Maslansky & Brie Turner O’Banion), Laura Lazarus, Eric Lindley, Claire Mckeown, Sarah Paul Ocampo, Anna Oxygen, Paloma Parfrey, Tamala Poljak, Katie Shook, Becky Stark, David Scott Stone, Tara Tavi, Christopher Wonder.
[ about the artists ]

For the most up to date details, see

To purchase photographs by Tamala Poljak, [ click here ].

Gravity Art installation images

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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 RenĂ© 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.

Super Society of the Spectacle Sunday Cessation

Super Tecmo Bowl

In the interest of discontinuity, we won’t be simultaneously screening the Super Bowl and Society of the Spectacle this year. (See 2006 and 2007) You can do it at home by tuning your television to the Super Bowl and visiting Ubuweb to watch Society of the Spectacle on your computer.

Public and Private Stages

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The nude is a notoriously hackneyed art subject, but it was still something of a surprise that several galleries in Chinatown - almost all of which opened on September 8 - had shows featuring naked (or nearly) people. Amy Bessone’s show at David Kordansky has several large paintings, which turn out to be paintings of photographs of nude porcelain figurines from auction catalogues. The press release refers to an interaction between the work and the viewer, who must “weather” a confrontation with naughty bits. Next door to TELIC at Black Dragon Society, Steve Canaday made several colorful, cartoony paintings of women in bikinis with beer, pets, and chubby thighs.

Finally, at TELIC Miguel Angel Reyes solicited audience members to come on stage and pose in a way that was physically revealing. Some spread their legs, others flashed undergarments, and a surprising number just let the flesh all hang out - all in exchange for the drawing of the session made by Reyes. This is Los Angeles, but I have to reiterate a mild astonishment that members of the general public were willing to do this - well, not pose nude so much as do it on a public stage while audience members shot camera phone photos and videos of the spectacle. Interestingly, Amy Bessone (according to Kordansky’s press release) asks what happens as we stop thinking in terms of the “male gaze” and instead turn the gaze upon ourselves?

Jordan Crandall is asking the same question in his exhibition, I think, but in a very different way. Perhaps one of the strangest things about the drawing session was how not awkward it was. It’s not that the publicly stages erotic figure drawings inverted the gaze - the audience members watching and snapping photos refute that I think - but the quotidian feeling of it all make us think about what we (see other people) do online. And so in the back space, Jordan spent the opening interviewing people one-on-one, trying to get them to confess. While the space was private, the session was obviously filmed and the footage was sent in real-time to a television next to the front door of the gallery. In other words, the inversion was there, in the private, but connected back space - the obverse of the public stage.

I won’t go too far into it, but I was also interested in the performative aspect of it all. Both artists, Jordan and Miguel had personal, intimate exchanges with their subjects, producing an experience rather than an object. Footage from the opening will be screening on the television at the front of the space for the duration of Showing.

See also: Continuous and Discontinuous Being by Georges Bataille

The XL Terrestrials present “The Transmigration of Cinema”

March 30, 2007 at 7:00 pm to 10:00 pm

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A screening program ranging from art flix to mainstream movies to
guerrilla media to ubiquitous online effluvium, all presented in an open
forum theater as an interactive and self-diagnostic application that will
tell us if we are still connected to human consciousness, and how might we
still access a customized and liveable “Operating System” based on
un-programmed desires, community and individuation.
Continue reading…

Daniel Sauter + Osman Khan - We Interrupt Your Regularly Scheduled Program…

January 10, 2004 at 6:00 pm

 Installation view

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