09/21/2014 - 09/26/2014
09/22/2014 - 09/28/2014
Pablo Bronstein, Primitive facade variations (2014), ink and watercolour on paper 6 parts, each part: 115 x 200 cm / 45.2 x 78.7 in approx (unframed). | Courtesy of Herald St, London and Franco Noero, Turin
REDCAT: Opening reception: Friday, January 24, 6–9pm
Daily performances: 3–6pm, or through intermission
Exhibition hours: Tuesday–Sunday 12–6pm
The work of London-based artist Pablo Bronstein (Buenos Aires, 1977) is distinguished by a series of projects and public interventions in which he assumes the roles of art historian, architect and choreographer as he reconstructs historical moments and mimics them in tableaux vivants. Camouflaged within the guise of history and imitating architectural forms or urban lifestyles from a certain era, Bronstein reinvents the past with great subtlety and perception.
The newly commissioned project that Pablo Bronstein creates at REDCAT functions as a "staged essay" where the artist articulates, by means of a series of drawings and furniture, the origins of architecture from the naturalistic perspective of the Enlightenment. In a certain way, Bronstein satirizes the insistence with which the architectural culture of the Enlightenment sought to guarantee a "nature" uncontaminated by historical events.
In the gallery, a series of drawings and furniture/buildings appear and together create a traditional 18th-century room. Each unit changes shape and location by means of a set choreography, transforming the suite into an urban plaza reminiscent of the idealized view of a city in traditional Renaissance painting. The intricate setting is activated by a performer who opens, closes and rearranges the objects in the exhibition, and then returns them to their initial state. In their open position, these objects create a complex pattern, imitating the possible uses of a bourgeois city. In their closed position, they return to the rigid and symmetrical grid of the room, an abstract representation of State power and order. Each of these pieces also functions as a sign that refers indirectly to the search for the first building or an architectural model of universal validity. By exaggerating their decorative and constructive morphology, these pieces seem to have an essential and practical function of creating a "real architecture" that emphasizes not the mythological or religious perspectives that dominated in the past, but the archeological interests of Enlightenment thinkers and the historical research into the era.
However, the inherent contradictions that Pablo Bronstein establishes between the drawings and furniture/buildings—the shapes they refer to, their irreducibility to pure theory or mere physicality, functionality or artifice—are also ironic comments about the role of art historians, highlighting the pleasure but also the danger of historical discourse. Pablo Bronstein establishes processes that enable fissures between the past and present, the human and inanimate and, above all, between the practice of history and lived experience. He also questions the common ground between the construction of discourse and the subject of study, as well as our own body and the way we look through objects, involuntarily searching for their capacity to reveal a history to us. As in any historical discourse, Pablo Bronstein creates a temporary, incomplete setting, one that can always change shape, demonstrating to us that there is no single origin, and that the original always seems to be preceded by its copy.
Pablo Bronstein (b. 1977, Buenos Aires) lives and works in London. Solo shows include Centre d’Art Contemporain Genève (2013); Institute of Contemporary Art, London (2011); Kunsthal Charlottenborg, Copenhagen (2011); Sculpture Court, Tate Britain, London (2010); The Metropolitan Museum of Art, New York (2009); and Städtische Galerie im Lenbachhaus und Kunstbau, Munich (2007).
Pablo Bronstein has participated in numerous group exhibitions, including Tate Live: Performance Room at Tate Modern, London (2012); MOVE: Choreographing You at Hayward Gallery, London, Haus der Kunst, Munich, and K20, Dusseldorf (2010–2011); and The Garden of Forking Paths at Migros Museum für Gegenwartskunst, Zurich. Pablo Bronstein has participated in Manifesta 8 (2010–2011); Performa 07; The Second Biennial of Visual Arts, New York (2007); and at the Tate Triennale, Tate Britain, London (2006).
His books Postmodern Architecture in London (2007), Ornamental Designs (2008), and Gilded Keyholes (2013) have been published by König Books.
The exhibition will be accompanied by a small publication with an essay from Ellis Woodman (architecture critic and executive editor of BD, London, UK.)
CalArts, Coffeehouse Theater
THEATER: An improvisational dancetastic electronic/DJ audiovisual extravaganza.
D300 Gallery: Weng San Sit MFA 2 PHOTO/MEDIA
D301 Gallery: Nicholas Johnston MFA 2 ART
L-Shape Gallery: CLOSED
Main Gallery: Mary Beltran MFA 1 PHOTO/MEDIA
A402 Gallery: Svetlana Romanova MFA 2 ART
Lime Gallery: Kate Kendall MFA 1 ART
Mint Gallery: Jennifer Remenchik MFA 1 ART
MUSIC: The Composition Program presents visiting artist Earl Howard, as part of the Graduate Composers' Forum.
Earl Howard has been performing his compositions in the United States and Europe for over thirty years. His recent compositions include music for live electronics, electronic tape music as well as music for electronics and instruments. Earl Howard's method of creating orchestrated sounds with electronics and adding live, improvisational performance creates a unique, densely layered composition.
Earl has performed for enthusiastic audiences at numerous venues including Merkin Hall, the Whitney Museum, The Kitchen, The Knitting Factory, Roulette, and Carnegie Recital Hall. In 2011 Earl Howard received a Guggenheim Fellowship. In 2004 his first sound installation was commissioned for the Tiffany Collection at the Queens Museum of Art. In the spring of 2003 Howard had a Regents Fellowship at UCSD. Howard received three New York Foundation for the Arts Fellowships. In 1998 Howard was the recipient of Harvard's Fromm Foundation Commission. He graduated from California Institute of the Arts in Music Composition in 1974.
Recently Howard has performed frequently at the Location 1, UCSB, the Herbst Theater, Tonics, The Stone, and Merkin Hall with improvisers including; Georg Graewe, Mari Kimura, Mark Dresser, Yuko Fujiyama, Evan Parker, Thomas Buckner, and George Lewis.
CalArts, The Wild Beast
MUSIC: The Instrumental Performance Program presents visiting artist Daniel Rosenboom, as part of the Performance Forum.
Daniel Aaron Rosenboom is a creative and prolific trumpet artist, composer, and producer. Named the “Face To Watch” in Jazz for 2013 by the Los Angeles Times, he has been recognized with grants and awards from ASCAP, the Yvar Mikhashoff Trust for New Music, the American Composers Forum, and the Meet the Composer foundation.
Rosenboom has recorded six full-length albums under his own name, and the most recent, Fire Keeper, will be released on Orenda Records on March 18th, 2014. Additionally, he has released three full-length albums with his “hardcore-Balkan-jazz-rock” group PLOTZ!, four full-length albums with his “spontaneous composition” jazz-rock group DR. MiNT, and has appeared as a featured collaborator on albums by Vinny Golia, Harris Eisenstadt, Trevor Anderies, Dorian Wood, David Rosenboom, RootSystem, Geoff Gallegos’s NineNet, Killsonic, Got Monk?, and The Industrial Jazz Group.
Daniel has toured the world as the trumpet soloist for multi-platinum pop superstar, Josh Groban, and has appeared as a soloist and collaborator on festivals and in recitals. Daniel plays regularly with The Daniel Rosenboom Quintet and Septet, PLOTZ!, the Vinny Golia Sextet, DR. MiNT, and the Modern Brass Quintet. As a classical freelance musician and noted interpreter of modern and avant-garde music, he regularly performs with some of the elite groups and musicians in Los Angeles, including the Los Angeles Philharmonic New Music Group, Monday Evening Concerts, and many of the regional orchestras in the LA area.
In January of 2013 he founded Creative Underground Los Angeles, a collective of musicians, visual artists, dancers, and writers focused on the rapid and consistent production of high-quality, inter-disciplinary fringe art, and the galvanization of a thriving but often disparate scene of creative, experimental artists.
In January of 2014, he founded his own record label, Orenda Records, in an effort to promote his community of like-minded musicians.
Daniel holds degrees from the Eastman School of Music, UCLA, and California Institute of the Arts.
CalArts, F200, A102
ART: A lecture with slides from a projector.
Denise Gonzales Crisp is Professor of Graphic Design, in the College of Design at North Carolina State University, where she served as Department Chair from 2002 to 2006. Prior to arriving at the college in Fall 2002, Gonzales Crisp was senior designer for Art Center College of Design in Pasadena, California, and principal of the studio SuperStove! designing projects such as Artext magazine, Southern California Institute of Architecture lecture series, and books for independent presses. Her design and writing have been published internationally, including KAK (RU), Graphis, Émigré, Metropolis, Eye (UK), Print, and Items (NL) magazines, and in juried competitions such as ACD 100, Communication Arts, I.D., and Graphis. Her work was featured in the 2002 exhibition East Coast/West Coast Dreams, (Paris), in the 2005 anthology All Access: The Making of Thirty Extraordinary Graphic Designers, and the 2009 exhibition Dimension+Typography (Chicago). Juried and commissioned essays are included in Design and Culture Journal, Items Magazine, and Design Observer, plus Design Research, The Design Dictionary and several other anthology volumes.
Gonzales Crisp has lectured widely, and has been a featured speaker at TypeCon 2010 (Los Angeles), ATypI 2009 (Mexico City), the Walker Art Center (Minneapolis), GraficEurope (Berlin), RMIT (Melbourne), ArtCity (Calgary), and numerous colleges and universities including California Institute of the Arts, Yale, Parsons, Maryland Institute College of Art, Cranbrook Academy of Art, Art Center, and California College of the Arts.
Teaching positions include core faculty in the graduate Media Design Program at Art Center College of Design in Pasadena, California, and a 12 year part-time appointment at Art Center in the undergraduate graphic design program. Additionally Gonzales Crisp has held regular part-time appointments at California Institute of the Arts and Otis Art Institute.
Her research areas include defining the DecoRational (a term she coined); defending and writing alternative design discourse; and most recently, a speculative project, “Tools That Make Type.” She is the author of Relational Typography: Systems, Context, Form, Message (working title), Thames & Hudson, Fall 2011. Additional current work includes co-curating an exhibition for the Contemporary Art Museum (CAM), Raleigh, entitled Deep Surface: Contemporary Ornament and Pattern (September 2011), and creating new work for the exhibition Getting Upper, curated by Amos Klausner for the Pasadena Museum of California Art (May 2011).
CalArts, Roy O. Disney Music Hall
MUSIC: Not another boring classical concert? Hopefully not! Check out an evening of music by Beethoven, Brahms and Ravel, with guest violinist, Yu-Ting Wu.