Jennifer Allora & Guillermo Calzadilla, Apotomē, 2013. Super 16 mm film transferred to HD, sound, 23:05 min.
REDCAT: REDCAT hosts the first Los Angeles presentation by Jennifer Allora (USA, 1974) and Guillermo Calzadilla (Cuba, 1971). Collaborating since 1995, the artists are known for their experimental and interdisciplinary practice. The exhibition features one of their most recent video works, Apotomē (2013), and a new commissioned performance where the artists continue their investigation into the emerging fields of biosemiotics and biomusicology.
In March 1798, two elephants, affectionately named Hans and Parkie, arrived at the National Museum of Natural History in Paris as spoils of war. That same year, on May 29th, a concert was performed in the Jardin de Plantes for the elephants. This experiment was organized not by scientists but rather by musicians, pondering if human music might elicit a reaction in non-human life forms. Allora & Calzadilla’s Apotomē departs from this historic attempt of interspecies communication set against the backdrop of the French Revolution. The very concepts of man, life, nature and the boundaries between them as defined by relations to war, captivity, slavery, and other forms of social and political domination and control emerged with new significance in this period. To this mix is added the question of music, as a possible inter-species meta-language, a proto-linguistic, non-symbolic and affective trans-human mode of communication whose basis is biological and evolutionary.
Apotomē is centered on the bone remains of the two elephants, currently stored in the Zooteque, a vast subterranean storage facility housing thousands of animal specimens. In parallel research, the artists came across vocalist Tim Storms, who has extraordinary vocal gifts allowing him to reach notes as low as G-7 (0.189Hz) – a remarkable eight octaves below the lowest G on a piano. The subsonic notes sung are so low that only animals as large as elephants are able to hear them. In Apotomē, Tim Storms, in his unique vocal range, sings songs from that original concert to the elephants' remains. Songs include "Iphigénie en Tauride" (1779) by Christoph Willibald Gluck; "O ma tendre musette" by Pierre Alexandre Monsigny; and the Revolutionary anthem "Ça ira," among others.
The title Apotomē is an archaic Greek word referring to an arithmetical division of musical sound, an interval of a semitone in the Pythagorean scale slightly greater than half. This arithmetical musical ratio isn’t lacking in exactitude; on the contrary, it’s quite precise. It’s an excess of human sensation. The normal voice cannot produce it, nor can the ear detect it. Apotomē is an irrational remainder or residue, literally meaning, "what is cut off."
For this REDCAT exhibition, the artists present a new performance in which an orchestra plays the entire 1798 concert to the public. Complimentary to the video, this live performance event further explores the intervals between human and non-human, signifier and signified, expression and meaning and their unruly remains.
Jennifer Allora (Philadelphia, Pennsylvania, 1974) and Guillermo Calzadilla (La Habana Cuba, 1971) are among the most active and socially engaged voices on the international art scene; they have had solo shows at the world’s most important museums—including the Museum of Modern Art in New York and the Stedeliijk Museum in Amsterdam—and have taken part in leading international festivals such as Documenta in Kassel, the Venice Biennale, the Whitney Biennial in New York, and the biennials of Gwangju, Sydney, São Paulo, Sharjah, Istanbul and Lyon. In 2011 they represented the United States of America at the 54th International Art Exhibition of the Venice Biennale.
Photo courtesy the artist.
REDCAT: 18+ is a collaborative project that expresses itself through audio, video, social media, and performance. Active since 2011, 18+ has distributed a diverse body of work through web-based platforms such as twitter, YouTube, tumblr, Facebook and mediafire. Operating anonymously and interweaving “original content” with appropriated or “pirated” expressions of others, the varied activities of 18+ question fundamental issues of identity, gender, intellectual property and the role of the body in a post-human or post-internet era. For their REDCAT presentation the duo pairs audio and video material culled from their multiple online platforms.
Please note that space is limited. Guests are encouraged to RSVP: email@example.com
Carole Kim. Courtesy of the artist.
Note: All three works presented each night.
The New Original Works Festival continues with works by Carole Kim, Marsian De Lellis, and d. Sabela grimes.
CAROLE KIM: THE SINGING HEAD
Multi-media artist Carole Kim concocts an intoxicating visual world, using multi-layered projection surfaces, scrims and beautifully constructed sculptural costume pieces. Evocative dancers Oguri and Roxanne Steinberg bring the environment to life, enveloped by a submersive soundscape created by vocalist Carmina Escobar, bassist Mark Dresser and sound designer Paul Chavez. The complex and rich live video imagery is inspired by depictions of single-celled oceanic organisms, radiolaria, by Ernst Haeckel, a 19th-century biologist, philosopher and artist.
MARSIAN DE LELLIS: OBJECT OF HER AFFECTION
A woman who falls in love with inanimate objects discovers that the Golden Gate Bridge has been cheating on her in Marsian De Lellis’ latest table-top puppetry creation. Since her first love-affair — with a baby blanket — Andrea Lowe’s heightened affection has led to a complicated relationship history. Directed by Michele Spears, Object of Her Affection uses puppetry and object theater to explore the oversimplification of sexual identity and attraction, tracing Andrea’s unending search for true love.
"A strong idosyncratic personal aesthetic" —Puppetry International
"Demented, touching, and inherently strange" —Flavorpill
D. SABELA GRIMES: ELECTROGYNOUS
Compelling sound and movement artist d. Sabela grimes transcends the realms of Hip Hop and Afrofuturism in his genre-defying work Electrogynous, mixing poetry, street dance and infectious, otherworldly soundscapes to question hyper-stereotypes of masculinity and femininity in contemporary Black cultures. With technical precision and a keen theatrical intelligence, he draws from sensationalized events and personal anecdotes to engage and implicate the audience with questions on Black male power, sexuality and vulnerability.
Ate9 dANCEcOMPANY. | Photo: Scott Simock.
REDCAT: The 11th annual New Original Works Festival closes with works by John Fleck and Ate9 dANCEcOMPANY.
JOHN FLECK: BLACKTOP HIGHWAY
Unclassifiable performer John Fleck re-invents the gothic horror genre in this horrifyingly hysterical tale of taxidermy, transformation and caged creatures. Fleck’s multi-character solo piece is a brilliantly staged screenplay, inspired by classic horror cinema and Freud’s Theory of Mind (Id, Ego and Super Ego) — all played out on one man’s body. Weaving video with theatrical movement and his remarkable vocal qualities, Fleck leads the audience on a journey into an unknown and darkly hilarious world.
“Fleck is a master at inverting the territory. He tests the boundaries by turning performance excesses and taboos into cultural commentary.” —Artweek Magazine
Ate9 dANCEcOMPANY: FOR NOW
Israeli choreographer Danielle Agami teams up with Persian underground Hip Hop musician Omid Walizadeh in For now, a new work for ten dancers. For now plays between instinct and precision, subtlety and prowess, with jarring physicality and stillness, humor and subtle innuendoes. Agami, who is quickly establishing her new company as a significant force in Southern California’s contemporary dance community, is praised by Dance Magazine for having “the gift of turning awkwardness into something beautiful.”