CalArts, Cafe A
STUDENT AFFAIRS: A bible study.
Andrés Jaque / Office for Political Innovation: Different Kinds of Water Pouring Into a Swimming Pool
Andrés Jaque, "Different Kinds of Water Pouring Into a Swimming Pool (Geoffrey & David Hockney)," 2013. Architectural drawing. Courtesy of the artist.
REDCAT: Opening: Saturday, September 21 | 7-9 pm
Artist Talk: 6 pm
In an interview with Orson Welles in 1964 about the witch-hunt being carried out against Hollywood celebrities during the McCarthy-era, the filmmaker pointed out a strange paradox: while many people during the Second World War had betrayed their friends to save their own lives, in the golden-age of Hollywood, people did it to save their swimming pools. Far from downplaying Orson Welles’ observation, it is nonetheless interesting how these aquatic scenarios and backyard gardens have always been seen as something superficial, destroyers of social cooperation and enemies of the political.
In this first solo project by Andrés Jaque / Office for Political Innovation in Los Angeles, the architect prepares an exhibition, with a series of architectural case studies based in the city of L.A., in which he problematizes the importance of such cases as places of socialization and community, leaving behind the stereotypes that characterize them as disconnected spaces, symbols of ultra-individuality and comfort.
For Andrés Jaque, it is in these interior spaces where decisions are made, the heterogeneity that underlies the garden city is casually discussed, and the conflicts and negotiations of domestic space are established. These are almost invisible architectures, hidden between palapas and high hedges, conceived from the rhythms of the human body and its daily choreography. In that sense, Andrés Jaque understands his work in a way that is very similar to performance art that since the 70s has focused on the body and its relationship to its surroundings, as the main site of artistic practice. This is a dynamic architecture, one that is in constant tension, and that prioritizes its performative quality to engage daily transformations and conflicts.
In the architect’s installation, the body is present through its absence, and the performative quality is represented symbolically by water—one of the main actors in the Californian backyard gardens. It is not arbitrary that this exhibition takes its name from David Hockney’s drawing, "Different Kinds of Waters Pouring into a Swimming Pool, Santa Monica," 1965, made during his first years in the city. Fascinated by the way people in Los Angeles used water to help shape their private gardens into social spaces, the painting shows a series of simple pipes pouring water into a swimming pool that can’t be seen. Although the material quality of water is elusive, its representation reaches a quasi-architectural dimension, without losing its ephemeral and dynamic aspect. As such, each waterfall becomes an exclusive portrait of a common situation. This might read as a metaphor for the everyday stories that the great narratives of urbanism have left out, but these are certainly places where certain forms of citizenship and interaction essential to architectural processes occur.
The exhibition Different Kinds of Water Pouring into a Swimming Pool is accompanied with a small publication by the same name that features an essay by the architect, further discussing the ideas presented in the gallery.
Andrés Jaque and the Office for Political Innovation was founded in Madrid in 2005. This architecture office explores the potential of post-foundational politics and symmetrical approaches to the sociology of technology to rethink architectural practices.
They are authors of reference buildings including Plasencia Clergy House, awarded with the Dionisio Hernández Gil Prize and finalist of the VIII Bienal Española de Arquitectura y Urbanismo; House in Never Never Land, finalist of FAD Awards and Mies van der Rohe European Award. Recently, the Museum of Modern Art of New York (MoMA) acquired IKEA Disobedients as the first architectural performance piece to be included in its collection. In 2012, they presented their intervention PHANTOM. Mies as Rendered Society at Mies van der Rohe Pavilion in Barcelona. Their work has been featured in Gwangju Biennale, 2011, and the Biennale di Venezia 2010.
Andrés Jaque has been Tessenow Stipendiat in Alfred Toepfer Stiftung FVS, and he is now professor at GSAPP Graduate School of Architecture, Planning and Preservation at Columbia University in New York.
CalArts, Butler Building #4
CRITICAL STUDIES: Does the secret to Neo-Liberalism's success lie in the novels of Ayn Rand? Come hear noted cultural studies scholar Lisa Duggan unpack Rand's affective intervention into the twentieth—and twenty-first—century U.S. political landscape. Enjoy a lively discussion with MFA Creative Writing Program and MA Aesthetics & Politics students and faculty as we kick off our Interventions visitors series.
7 - 9 in BB4 Seminar Room, wine and cheese reception to follow.
Lisa Duggan is professor of Social and Cultural Analysis at New York University. She is the author of Sapphic Slashers: Sex, Violence and American Modernity (2000), co-author (with Nan D. Hunter) of Sex Wars: Sexual Dissent and Political Culture (1995), and co-editor (with Lauren Berlant) of Our Monica, Ourselves: The Clinton Affair and National Interest (2001). Her most recent book is Twilight of Equality?: Neoliberalism, Cultural Politics and the Attack on Democracy (2003).
Interventions is a graduate level course required for MFA1 and MA1 students.
CalArts, Bijou Theater
VOLUPTUOUS SLEEP PART 1: LANGUAGE IS A SKIN (16mm, 60 min., 2011)
Forces of Desire. (BB)
“Betzy Bromberg’s Voluptuous Sleep is a mesmerizing two-part 16mm meditation on the nuances of light, sound and feeling as evoked through the poetic artifices of cinema. Bromberg’s close-up lens becomes a tool of infinite discovery that reveals as much about our bodily sensations as it does the natural world. Combined with intricate and perfectly matched soundtracks, Voluptuous Sleep is a rapturous, re-centering antidote to the fragmentation of modern life and offers a new experience of cinematic time and memory. It is also an emotional tour de force.” - Steve Anker
AZ IS ( 16mm, 37 min., 1983)
A descent into a desert underworld. A macabre tale of life and lifelessness. (BB)
“In Az Iz, Bromberg builds what might be considered a jazz opera--it's all saxophone riffs, repetition and fragments, but swells to epic proportions, essaying notions of origins and archetypes. The deepest blues highlight the sky behind three people in the mountains, and later, black-and-white images of twisted and torqued trees resonate with all the mystical glory of Being. Az Iz, with its sense of grandeur and beauty, is downright breathtaking, and the effect is sublime.” - Holly Willis, IFilm
Betzy Bromberg, Director of the Program in Film and Video at California Institute of the Arts, has been making experimental films since 1976. Her newest film, Voluptuous Sleep (2011), premiered at the REDCAT Theater in Los Angeles and had its festival premiere at the 2011 New York Film Festival: Views From The Avant-Garde. Voluptuous Sleep was listed as one of the Best Films for 2011 in both the New York Times (Manohla Dargis) and Indiewire (Andrea Picard). It recently won the Stan Brakhage award at the 50th Ann Arbor Film Festival. Ms. Bromberg presented both Voluptuous Sleep and a Darkness Swallowed (2005) at the Guggenheim Bilbao (Spain) in November, 2011. Voluptuous Sleep recently screened at the Bradford International Film Festival in the United Kingdom as well as the Buenos Aires Festival Internacional de Cine Independiente (BAFICI 2012) and CinemaSpace at the Segal Centre of Performing Arts in Montreal as part of Suoni per il Popolo Avant-Garde Music Festival. Ms. Bromberg had a full retrospective of her films at BAFICI in 2007 where she was honored to have her work presented and screened at the Museo de Arte Latinoamericano de Buenos Aires (MALBA) and other theaters. Her previous film, a Darkness Swallowed(2005) screened at the 2006 Sundance Film Festival as well as the Seoul Film Festival (South Korea), the Athens International Film Festival (Greece), the Bradford International Film Festival (England), the Seattle International Film Festival (Washington), The Centro de Cultura Contemporanea de Barcelona (Spain) and most recently at Ponrepo (Prague, Czech Republic). Ms. Bromberg’s films have shown extensively in museums, cultural venues and festivals within the United States and abroad. Most notably, her work has been presented at the Museum of Modern Art (New York City), Museum of Fine Arts, Boston, the San Francisco Cinemateque, the Harvard Film Archives (Cambridge), Anthology Film Archives (New York City), the National Film Theater (London), The Vootrum Centrum (Belgium) and the Centre Georges Pompidou (France). Previous films have shown at the Rotterdam, London, Edinburgh, Sundance and Vancouver Film Festivals. Ms. Bromberg has also had retrospectives of her films at Film Forum (Los Angeles) and the Cinema Project (Portland).
Previous to becoming the Director of the Program in Film and Video California Institute of the Arts, Ms. Bromberg worked in the Hollywood special effects industry for many years as a supervisor and camerawoman for the production of optical effects in major motion pictures.
- 2011 VOLUPTUOUS SLEEP, 16mm, color/sound, 95min.
- 2005 a DARKNESS SWALLOWED, 16mm, color/sound, 78 min.
- 1996 DIVINITY GRATIS, 16mm, color/sound, 59 min.
- 1988 BODY POLITIC (god melts bad meat), 16mm, color/sound, 40 min.
- 1987 TEMPTATION, 16mm, color/sound, 4 min. (Music Video for Tom Waits)
- 1983 AZ IZ, 16mm, color/sound, 37 min.
- 1981 MARASMUS, 16mm, color/sound, 24 min. (in collaboration with Laura Ewig)
- 1980 SOOTHING THE BRUISE,16mm, color/sound, 21 min.
- 1979 CIAO BELLA, 16mm, color/sound, 13 min.
- 1978 PETIT MAL, 16mm, color/sound, 18 min.
- 1977 YOU CAN PRACTICALLY TASTE IT WITH YOUR EYES, Super-8, color/sound, 45 min. (in collaboration with Lauren Abrams)
- 1977 SCREAMING SUSAN, Super-8, B/W animation, 3 min.
- 1977 TACHYCARDIA, Super-8, hand-processed, color/sound, 80 min.
Welcome to Radar L.A. 2013, your chance to immerse yourself in a world of contemporary theater. We’ve gathered some of the most influential companies from around the globe alongside innovative Los Angeles artists to highlight vibrant interdisciplinary approaches and new forms of theatrical expression.
Taken together, the 18 productions and numerous ancillary events that the festival offers are a rare opportunity—or, as the Los Angeles Times described the first Radar L.A. festival, “a glorious convergence.” Over the span of the festival, you’ll encounter visionary artists and unforgettable works of theater.
We hope you’ll make the most of it, so we are offering a five-event Flex Pass for $75, which makes admission only $15 for most events. With so many theaters in walking distance, you can easily use up your pass in a day!
The festival centers on the extraordinary work of the featured artists, but the experience doesn’t stop once you’ve left the theater. Join artists and fellow theater-lovers each night in the REDCAT Lounge, the late night festival hub where the conversation continues.
From Historic Broadway to Malibu, from UCLA to Culver City and Bunker Hill, theater in Los Angeles will be the talk of the town. We hope that you will be a part of the glorious convergence that is Radar L.A.!