Wednesday, September 30, 2009

Jim Ovelmen

Export | San Fernando Valley/Beijing, part 2

Jim Ovelmen, 2009

Part I Export| San Fernando Valley/ Beijing
Part II Export| San Fernando Valley/ Pyongyang
Part III Export | TBA

Export is a series of video, installations, animations and performances that address the perceived export product from specific zones; locales; areas; places in world’s address.

Dissimilar thoughts:

Export San Fernando Valley and the adult entertainment industry presents a world of videos, adult toys, and products such as healing and longevity powders. The San Fernando Valley provides 90% of the world’s supply of sex toys. It is a planet storehouse for inconspicuous consumption worldwide.

The export of a locale, or the perception of the export is compared with product or cultural export on the other side of the world; in another inconspicuous way, may be directly related or may have a global influence on one another.

(1) Marti-Gras beaded necklaces that are mass distributed for flirtation or erotic I.O.U.s in New Orleans, are mass produced in only a few large factories in China, by armies of young women who have no idea what the beads are used for.
(2) The mass-mind control of North Korea artistically displayed in pageants and games at Pyongyang Stadium: It can be seen as a graphic influence on China’s 2008 Olympic Opening at Beijing as well, in (Bird Nest stadium)
(3) The form of the pole dancer, and strip club format can be seen area world influence and the erotic objectification of the female form in motion in hip hop music and videos that has reached almost every corner of the planet.
(4) Replicas and molds of actual porn star’s genitals are an immortalization of recreational sex born in the San Fernando Valley.
(5) Honey Lee, Korean model, actress, musician, is a product of the strict decorum of an idea Korean woman. An expert at modern posturing of magazine pages, as well as an expert at traditional Korean musical instruments. This raises the resemblance to the strict modeling of Chinese opera and the minimal implementation to create drama and the imagination of the inner-life of stage characters.
(6) The make-up pattern and decorum of the Geisha in Japanese culture and the costumed actress in the 17th century in Chinese Opera. (to Boy George, Ziggy Stardust, and Bjork)
(7) Las Vegas in the 1970’ s and 80’s: big animatronic Cowboy on Freemont Street.

Impossibility of simultaneous events

In Einstein’s famous relativity: “There are no instantaneous reactions in nature”
Simultaneous events in one frame of reference would not necessarily be simultaneous when viewed from a different frame…
A “stationary” person observing an event versus a person traveling near the speed of light would not perceive a hammer hitting a nail , and the nail going into the wood as simultaneous. Somewhat similar to sound and distance: when you see someone hammering a nail from far away, the sound is late, yet for the hammerer, it is instant. In the case of light, seeing an event, just replace distance with time (or speed)… and you get the idea.

(1) Simultaneities: what are the quadrillions of “events” big and small that interact; or are merely being observed? How many trillions of those events have overt or broader influence? How can more subtle influence be perceived if out of important sequence? What about events that affect all: wars, economic collapse, earthquakes, Michael Jackson ☺, and other disasters; how do these perturbations turn the minutiae of cultural consciousness? Peculiarities, penchants, speech, thought, idiosyncrasy, good and bad habits?
(2) What systems are inconspicuous anymore?
Developed countries have the Internet and our every self-indulgent move is recorded. We are much too aware of every-type of consumption in America.
What is inconspicuous? We can see how many hits, consumption, and exhaustive analysis of an uploaded YouTube video of our pet …instantaneously. But what is still hidden? There must be something that will not be revealed in our over-exposed private lives. Developing countries and emerging democracies have billions of people we know absolutely nothing about, and they know nothing about us. We are too busy with our local preoccupations, ironically inward in the face of global access. What are these inscrutable strings that still evasively connect us? Have we in common a strangely different yet parallel track with one another.

Tuesday, September 29, 2009

Haven Lin-Kirk

Seeking Comfort

Monday, September 28, 2009

John O'Brien

Portraiture and the like
curated by John O'Brien :
Jordan Biren, Daniel Brodo, Mery Lynn McCorkle, John O'Brien,
Cielo Pessione, Giorgio Pessione and Charlene Roth

Sunday, September 27, 2009

Saturday, September 26, 2009

Justin Moore

Exotic Big Game Hunting

Friday, September 25, 2009

Tricia Lawless Murray

curated by tricia lawless murray:
marc adelman, stephanie allespach, victor cobo, anne colvin, catherine daly, amber fox, phyllis green, jason hanasik, evah hart, micol hebron, elise irving, zsolt kadar, Ali Kheradyar,
tricia lawless murray, leigh mccarthy, christopher picon,
nancy popp, jessica rosen, amy Sampson, david sotelo, felis stella, casey stroud and museum of viral memory,

Thursday, September 24, 2009

Alice Clements


The title of this show is “Stillness." It is a very spare show, which creates visual stillness—a lot of empty white space. There are several small elements that move very slightly in the air, which create a sense of stillness relative to their movement. Stillness is only observable relative to its opposite.

The word also invokes its opposite, demonstrated by the visual clutter and movement of the Raquel Welch piece leaning precariously against a wall. The implied movement of the collapse of the piece creates an imagination of movement, as well as tension. Stillness may coincide with tension, as in the still before the storm, or it may suggest a peaceful tranquility. Stillness also has a sense of purity or achievement—as of a master who has figured things out and can be still and peaceful, not move around so much. There is a sense of fulfillment to the word—when you are satisfied with what you have done, and you can stop working. Stillness is a rare phenomenon because life is for the most part change and chaos. Though too much stillness can be depressing and stultifying.

A cluttered and chaotic piece is placed in the edge of a mostly empty space. There is an area of movement within the stillness. This makes the movement/clutter area something to examine and observe from all angles and distances. The space is unbalanced in an interesting way.

Wednesday, September 23, 2009

Robert Kingston

curated by Robert Kingston
Carlos Durazo, Randy Leifer, John McCarthy, Peter Nagy,
Pamela Taguinot, Kevin Ware

Tuesday, September 22, 2009

Joseph Santarromana & William Roper

Bleu, Les Malambing: an installation

In this exhibition Les Malambing, an ongoing collaboration between Joey Santarromana and Bill Roper, further explore the relationship that began with Malambing Thang.


Les Malambing's collaboration began with a series of three works that included two installations and a live performance that sought, identified, explored and expanded representations of personal history (real and mythic), identity, culture and geographic location. The interaction between their distinct personalities is marked by tension and humor.

The color blue while inducing feelings of calmness and serenity can also call forth emotions of sadness and aloofness. Perhaps strangest of all, it is the color of loyalty. Bleu, as a meditation on alienation and self-knowledge contrasts the antic jinks of Les Malambing's past collaborations.

Monday, September 21, 2009

Andrew West

The city did it.

The city did it is the second public installment of the first part of Hillraiser - a painting experiment which investigates a hypothetical second cycle of destruction and renewal of the Bunker HIll neighborhood of Los Angeles. The paintings which comprise The city did it are based around one of the few Victorian mansions to be saved from the wrecking ball, only to perish by arson several months later. The title is a quote from local artist Llyn Foulkes' on-the-spot assessment of the damage, on the morning of October 10, 1969.

Thanks to Heritage Square Museum for assistance with images and historical material.