MARATHON SCREENINGS
Erdem Taşdelen
March 1st, 2-8pm
Still from Wild Child, 2015
Adjunct Positions is excited to collaborate with MARATHON SCREENINGS in presenting two works by Turkish-Canadian artist Erdem Taşdelen on Sunday March 1st, 2020.
Wild Child, 2015, a two part video installation, will be open for viewing 2-6pm, followed by an evening screening at 6pm of I Am Manifest Proof of Deviation, 2018 and conversation with curator and writer Suzy Halajian.
RSVP required due to limited seating. Please contact Adjunct Positions for RSVP information.
Erdem Taşdelen is a Turkish-Canadian artist whose diverse projects bring structures of power into question within the context of culturally learned behaviors, where he often draws from unique historical narratives to address the complexities of current socio-political issues. I Am Manifest Proof of Deviation is a speculative take on what forced political confessions might look like in the age of facial reenactment and artificial voice technologies. The project is inspired by a text performed in 1987 by Mehdi Hashemi, an Iranian Revolutionary Guard who was identified as having worked against the Islamic Republic and told that his crimes would be pardoned if he confessed them on state television. Wild Child is a two-part video installation that takes as its starting point An Historical Account of the Discovery and Education of a Savage Man by Jean Marc Gaspard Itard, a physician who took on the task of caring for a feral boy found in Aveyron, France in 1798. Taşdelen adapts this story to satirically draw attention to the mechanics at work in the representation of fantasies about human nature, while blending reality and fiction in a way that deliberately befuddles the viewer.
Taşdelen’s exhibitions include: Mercer Union, Toronto; Contemporary Art Gallery, Vancouver; Museum für Gegenwartskunst Siegen; VOX Centre de l’image contemporaine, Montreal; Pera Museum, Istanbul; Or Gallery, Vancouver; Museum für Neue Kunst, Freiburg; Kunstverein Hannover; ARTER, Istanbul; Haus Konstruktiv, Zurich; and MAK, Vienna. He has been awarded the Joseph S. Stauffer Prize by the Canada Council for the Arts (2016), the Charles Pachter Prize by the Hnatyshyn Foundation (2014), and was long-listed for the Sobey Art Award in 2019.
MARATHON SCREENINGS is a series of salon-style film & video presentations that invites international and LA-based artists to share their work and engage in meaningful dialogue. Taking place at a private residence or artist-run space, each screening begins or ends with a communal dinner. Highlighting minority voices with an emphasis on women and artists of color, the program includes films that range from short, conceptual videos to feature-length experimental documentaries, as well as performances and lectures. Intimate and thoughtful, the gatherings allow for invited artists to connect with attending participants and generate critical discussions about individual identity, representation, and historical consciousness in a shifting geopolitical landscape.
The series is organized by LA-based independent curator Asha Bukojemsky.
Molly's Mandrake Market
Help us send Molly to Germany for B->LA Connect!
Sunday, May 26th, 2-6pm
As part of the art exchange B-LA connect, Adjunct Postitions is excited to be sending Molly Shea to Berlin to represent us and exhibit at our partner gallery Horse and Pony.
In anticipation of this exhibition in Berlin, Molly will be selling her strange assortment of ceramics including mugs made of her face pressing, chia pets, bowls, snake necklaces and more. She will also be reading tarot throughout the day. Come sunset, Molly will do a dramatic reading as the mandrake witch. There will be a mulled wine ceremony where guests may drink cursed mandrake juice and potentially smoke from one of her mandrake children.
More about Molly's show at Horse and Pony:
Molly Jo Shea, an artist and performer living in Los Angeles, is creating a body of work surrounding the terrifying folklore of the Mandrake Root for her show at Horse and Pony Gallery in Berlin.
Deemed the first genetic engineering horror story, the mandrake (or Alraune), history is more relevant now than ever, since news that the first human children have been CRISPR edited.
In an immersive performance at the Berlin gallery, Molly will be using special effects makeup to transform into the role of the witch-like creature who creates the Alraune. Also travelling with her to Berlin will be her brood of root-like ceramics to be unearthed, feared, and smoked from.
www.mollyjoshea.com
About B-LA Connect:
Over the next two years an exhibition and exchange project will take place between artist/curator run project spaces and collectives from Berlin and Los Angeles.
In June 2019, 20 art spaces from Los Angeles will exhibit in 22 art spaces from Berlin. The interdisciplinary program includes art exhibitions, film screenings, performances, talks, and more. The following year, in 2020, the Berlin art spaces will travel to LA for a return visit.
B-LA CONNECT is an international cultural exchange bringing together members of different art spheres and scenes from both cities. New opportunities for interacting and connecting with each other are created and extended inside and between the two cities.
B-LA CONNECT seeks to advance the cultural partnership between Berlin and Los Angeles. B-LA CONNECT wants to celebrate urban diversity, show presence and stand against reactionary forces. Berlin and Los Angeles share the urban self-image of being the world in small, a place of cultural diversity and individual freedom. In light of the rising authoritarian and regressive currents worldwide the two cities stand for a liberal and cosmopolitan openness.
B-LA CONNECT wants to build bridges where others erect walls.
Concept, Direction, Coordination Berlin:
Daniel Wiesenfeld (HilbertRaum)
Co-Direction, Coordination LA:
Carl Baratta (Tiger Strikes Asteroid)
Max Presneill (Durden and Ray, Torrance Art Museum)
info@b-la-connect.org
info@hilbertraum.org
https://www.b-la-connect.org/
instagram: @b_la_connect
Johanna Breiding and Shoghig Halajian
The Rebel Body
March 30th - May 11th, 2019
Adjunct Positions is proud to present The Rebel Body, a new collaborative film by Johanna Breiding and Shoghig Halajian. The show opens Saturday, March 30th, from 6-9pm and runs through May 11th. Gallery hours are Saturdays, 3-5pm.
The Rebel Body, 2019 — Video installation, 29:44min, HD Video, Sound
Please note: this film will restart every 30 minutes during gallery hours
The Rebel Body explores place as a memory-keeper and the landscape as a witness to buried histories of violence. The project consists of a film, titled The Rebel Body, that takes the murder of Anna Göldi (1782), the last person to be executed for witchcraft in Europe, as its point of departure. The film tracks Göldi’s final route through Glarus, Switzerland, and records the varying ways that town residents recount and circulate her story today. By searching, the filmmakers ask: How does the story of Göldi’s persecution haunt the present? How can future generations enter a history that has left no personal trace behind?
The project’s impetus formed decades ago during Breiding’s childhood—the artist grew up near Glarus and alongside the knowledge of Göldi’s death. The Rebel Body depicts the two filmmakers’ search for Göldi as they engage town residents and professionals, including a midwife, a priest, a tectonic geologist, a retired politician and others who present their own interpretations of her story and discuss the resonance of this history on today. The film uses gossip as a storytelling structure that weaves together narration by various individuals. In doing so, it attempts to unsettle a strategy of social control that was so integral to the moral formation of the witch hunts—gossip and hearsay.
On September 20, 2007 the Swiss parliament acknowledged Anna Göldi's case as a “miscarriage of justice" and, 226 years after her death, exonerated her of criminal charges. Göldi is one of countless women who were persecuted for witchcraft—it was primarily midwifes and healers, as well as the unwed, the poor, the outspoken, and the elderly who were accused of conspiring against the church. The project’s title and subject are inspired by the writings of theorist Silvia Federici, who outlines how the demonization of the female body—the rebel body—was vital to the development of a capitalist system, as it contributed to the breakdown of social relations and the privatization of land.
Instead of constructing a chronological narrative of Göldi’s life, the filmmakers highlight the role of the impossible witness, and document the landscapes that contain history. As they travel through the different layers of the region, they search for scars in the landscape and imagine how place manifests absence. Inserting their own bodies into this site, they attempt to physically carry her story through space and, in doing so, ask: When power obstructs the very person we desire, can we access her story through the rocks?
Participants include: Silvia Federici, and the residents of Glarus and Elm: Kurt Annen, Helen Creo, Mark Feldmann, Hans Rhyner, Kaspar Rhyner, Annarös Streiff, Beat Wüthrich and Barbara Zweifel-Schielly.
Editing + sound design: Katrin Ebersohn
Composer: Carolyn Pennypacker Riggs
About the artists
Johanna Breiding is a Los Angeles based artist and educator who works in photography, video, and collaboration to represent subjects that are marked deviant or illegible, and to experiment with forms of world-making that offer an alternative to state-sanctioned legitimation.
Shoghig Halajian is a curator and writer based in Los Angeles. Her work focuses on queer and feminist histories, and the photographic archive through a critical race and gender studies lens. She is on the Board of Directors at Human Resources LA, and previously served as Assistant Director at LACE (Los Angeles Contemporary Exhibitions).
The Rebel Body, 2019 — Video installation, 29:44min, HD Video, Sound
Please note: this film will restart every 30 minutes during gallery hours
The Rebel Body explores place as a memory-keeper and the landscape as a witness to buried histories of violence. The project consists of a film, titled The Rebel Body, that takes the murder of Anna Göldi (1782), the last person to be executed for witchcraft in Europe, as its point of departure. The film tracks Göldi’s final route through Glarus, Switzerland, and records the varying ways that town residents recount and circulate her story today. By searching, the filmmakers ask: How does the story of Göldi’s persecution haunt the present? How can future generations enter a history that has left no personal trace behind?
The project’s impetus formed decades ago during Breiding’s childhood—the artist grew up near Glarus and alongside the knowledge of Göldi’s death. The Rebel Body depicts the two filmmakers’ search for Göldi as they engage town residents and professionals, including a midwife, a priest, a tectonic geologist, a retired politician and others who present their own interpretations of her story and discuss the resonance of this history on today. The film uses gossip as a storytelling structure that weaves together narration by various individuals. In doing so, it attempts to unsettle a strategy of social control that was so integral to the moral formation of the witch hunts—gossip and hearsay.
On September 20, 2007 the Swiss parliament acknowledged Anna Göldi's case as a “miscarriage of justice" and, 226 years after her death, exonerated her of criminal charges. Göldi is one of countless women who were persecuted for witchcraft—it was primarily midwifes and healers, as well as the unwed, the poor, the outspoken, and the elderly who were accused of conspiring against the church. The project’s title and subject are inspired by the writings of theorist Silvia Federici, who outlines how the demonization of the female body—the rebel body—was vital to the development of a capitalist system, as it contributed to the breakdown of social relations and the privatization of land.
Instead of constructing a chronological narrative of Göldi’s life, the filmmakers highlight the role of the impossible witness, and document the landscapes that contain history. As they travel through the different layers of the region, they search for scars in the landscape and imagine how place manifests absence. Inserting their own bodies into this site, they attempt to physically carry her story through space and, in doing so, ask: When power obstructs the very person we desire, can we access her story through the rocks?
Participants include: Silvia Federici, and the residents of Glarus and Elm: Kurt Annen, Helen Creo, Mark Feldmann, Hans Rhyner, Kaspar Rhyner, Annarös Streiff, Beat Wüthrich and Barbara Zweifel-Schielly.
Editing + sound design: Katrin Ebersohn
Composer: Carolyn Pennypacker Riggs
About the artists
Johanna Breiding is a Los Angeles based artist and educator who works in photography, video, and collaboration to represent subjects that are marked deviant or illegible, and to experiment with forms of world-making that offer an alternative to state-sanctioned legitimation.
Shoghig Halajian is a curator and writer based in Los Angeles. Her work focuses on queer and feminist histories, and the photographic archive through a critical race and gender studies lens. She is on the Board of Directors at Human Resources LA, and previously served as Assistant Director at LACE (Los Angeles Contemporary Exhibitions).
Anna Mayer
Admit, Emit
September 23th - November 10th, 2018
Closing Reception November 10th from 3-5pm
Admit, Emit
September 23th - November 10th, 2018
Closing Reception November 10th from 3-5pm
Image: Unobliterated Coil Vessel, 2018 (detail), obvara fired clay, 7" H x 7.5" diameter
Adjunct Positions is pleased to present an installation of new works by Anna Mayer, Admit, Emit. The show opens on Sunday, September 23rd from 4-7pm and runs through November 4th. Gallery hours are 3-5pm during the course of the exhibition.
For the exhibition, Mayer presents new sculptures in ceramic, plaster, steel, and fire. With special attention to the unique architecture of Adjunct Positions, where two exhibition spaces are stacked on top of each other, Admit, Emit highlights the various ways in which Mayer produces heat--from within her own body and through sculpture and ceramic processes. The gallery's structure frames Mayer's ongoing engagement with burial practices and the excavation of consciousness.
Mayer has produced two portable kiln sculptures for the gallery's garage. Their decorative patterns bring together Victorian mourning practices and present-day destruction by fire. Vessels that house creation and incineration, each kiln is artwork and tool. Keeping them company are photographic self portraits that reveal Mayer's movement between dull(ed) and flush(ed). Her overt self display is with a high degree of vulgarity. She insists on limelight. Her grief reflects losses local and global.
We are devastated by heat. It obliterates. She steams. Emit.
Two branched ceramic sculptures from Mayer's Utteruent series will be fired in the kilns and then covered with lime plaster inside and out. At the conclusion of the show they will be buried on site. The lime will intensify the alkaline Southern California soil, effectively preventing any growth in the garden above the sculptures indefinitely. If life gives you lime, make nothing!
The opening reception will also mark the 10th anniversary of Mayer’s Fireful of Fear project. The ceramic slabs she placed in the Malibu, CA landscape in 2008 will remain there until they are fired by wildfire.
For the exhibition, Mayer presents new sculptures in ceramic, plaster, steel, and fire. With special attention to the unique architecture of Adjunct Positions, where two exhibition spaces are stacked on top of each other, Admit, Emit highlights the various ways in which Mayer produces heat--from within her own body and through sculpture and ceramic processes. The gallery's structure frames Mayer's ongoing engagement with burial practices and the excavation of consciousness.
Mayer has produced two portable kiln sculptures for the gallery's garage. Their decorative patterns bring together Victorian mourning practices and present-day destruction by fire. Vessels that house creation and incineration, each kiln is artwork and tool. Keeping them company are photographic self portraits that reveal Mayer's movement between dull(ed) and flush(ed). Her overt self display is with a high degree of vulgarity. She insists on limelight. Her grief reflects losses local and global.
We are devastated by heat. It obliterates. She steams. Emit.
Two branched ceramic sculptures from Mayer's Utteruent series will be fired in the kilns and then covered with lime plaster inside and out. At the conclusion of the show they will be buried on site. The lime will intensify the alkaline Southern California soil, effectively preventing any growth in the garden above the sculptures indefinitely. If life gives you lime, make nothing!
The opening reception will also mark the 10th anniversary of Mayer’s Fireful of Fear project. The ceramic slabs she placed in the Malibu, CA landscape in 2008 will remain there until they are fired by wildfire.
Anna Mayer lives and works in Los Angeles and Houston. She received her MFA from CalArts in 2007. Selected exhibitions include Galerie Catherine Bastide (BR), Ballroom Marfa (TX), Kendall Koppe (UK), Commonwealth & Council (LA), Night Gallery (LA), Klaus Von Nichtssagend (NY), Machine Project (LA), Hammer Museum (LA), Luckman Gallery at CalState LA, and Pomona Musem (CA). In 2014 she, along with UK artist Laura Aldridge, enacted a large-scale social sculpture at the Glasgow International biennial. Mayer’s writing has appeared in X-TRA Contemporary Art Quarterly and ART21 Magazine, as well as in her artist’s book, Loose Lips Loosen Lips. In addition to her solo practice, Mayer works with Jemima Wyman as part of the collaborative duo CamLab, which has staged events and exhibited in Los Angeles at MOCA, the Hammer Museum, Armory Center for the Arts, and Wildness at the Silver Platter. In Fall 2015 CamLab was the Wanlass Visiting Artist at Occidental College, and in 2017 they received a Fellowship from The Woman’s Building and Metabolic Studio (CA). Mayer is Assistant Professor of Sculpture at the University of Houston.
WHAT WAS I THINKING
Orr Herz
March 17th - April 28th, 2018
Orr Herz
March 17th - April 28th, 2018
Image: Orr Herz, Completely Awake (detail), Inkjet print, MDF, paint, fan, metal. 2018
Adjunct Positions is pleased to present a solo exhibition of new work by Orr Herz, WHAT WAS I THINKING. The exhibition opens Saturday March 17th from 7-10pm and runs through April 28th.
Shuttlecocks and flies, suspended in unseen currents, hover around the pig emerging from the mouthpieces of the inverted trumpets; a description of the elements in one of Orr Herz’s drawings is like the set up for a walks-into-the-bar joke. The improbable variety of the cast might prepare you for a punchline, while the individual elements are funny in their own right—“shuttlecock,” yes? The word goes back to Victorian times, with the sport’s hitting back-and-forth as the shuttle (as in loom) and the feathered portion getting us to Rooster.
The etymology floats within the word, fluttering within the drawing, which itself is inlaid into a freestanding, painted MDF frame that also houses a home grade fan, plugged-in and blowing straight ahead, all coming together as the sculpture Completely Awake, 2018. This piece, like all the works in the show, brings to mind a palimpsest, with completed forms effaced and repurposed into a new whole while still bearing the traces of the changes. It’s an odd evocation, given that Adobe Illustrator has been an important tool for Orr’s drawings since 2013. Illustrator’s vector-based virtual spaces remove any trace of an alteration to an image—there is no vellum to rub through, not even a layer to change the opacity. Instead, you have anchor points, around which the pictures that you desire must wrap.
When I visited Orr last month, he had a massive facsimile of Carl Jung’s The Red Book on top of his work table. Jung’s anachronistic illuminated manuscript is apt here: the playful, immediately recognizable imagery within Orr’s Illustrator-space line work is not only a joyful play between form and content, weight and weightlessness, silence and sound—although it is all of that—but the nameable elements become idée fixes around which our psychological experience of the imagery must warp.
--David Muenzer
The etymology floats within the word, fluttering within the drawing, which itself is inlaid into a freestanding, painted MDF frame that also houses a home grade fan, plugged-in and blowing straight ahead, all coming together as the sculpture Completely Awake, 2018. This piece, like all the works in the show, brings to mind a palimpsest, with completed forms effaced and repurposed into a new whole while still bearing the traces of the changes. It’s an odd evocation, given that Adobe Illustrator has been an important tool for Orr’s drawings since 2013. Illustrator’s vector-based virtual spaces remove any trace of an alteration to an image—there is no vellum to rub through, not even a layer to change the opacity. Instead, you have anchor points, around which the pictures that you desire must wrap.
When I visited Orr last month, he had a massive facsimile of Carl Jung’s The Red Book on top of his work table. Jung’s anachronistic illuminated manuscript is apt here: the playful, immediately recognizable imagery within Orr’s Illustrator-space line work is not only a joyful play between form and content, weight and weightlessness, silence and sound—although it is all of that—but the nameable elements become idée fixes around which our psychological experience of the imagery must warp.
--David Muenzer
Orr Herz (b. Tel Aviv, 1980) is a Los Angeles-based artist. Herz has exhibited in Los Angeles at CES gallery, Night Gallery, 356 Mission Road, Roberts & Tilton, and Chins Push Gallery. He has exhibited in Israel at MoBY Museum of Bat Yam, Braveman Gallery, Raw Art Gallery and Barbur Gallery. Herz received his his BA in History from Tel Aviv University, Israel; BFA from Bezalel Academy, Jerusalem, Israel; and his MFA from University of Southern California, Los Angeles. His work was recently reviewed in Artforum and CARLA magazine.
Regina Mamou
How the West Was Won
January 13 - February 24, 2018
Closing Reception: Saturday, February 24th, 7-9pm
Gallery open Saturdays 3-5pm and by appointment
Adjunct Positions presents How the West Was Won, an exhibition of prints, performance, video, and installation by Regina Mamou.
KIMILSUNGIA FULL BLOWN ALL OVER THE WORLD
(With emotion With Veneration)
Kimilsungia of loyalty is blown
beautifully
In remote countries across oceans
and mountains
Its red flowers are pervaded
With deep reverence for the leader
Loyal flower named after the
great leader
Every blossom throws us a welcome smile.
They are full-blown in the beautiful land
Expressing the best wishes of all.
www.reginamamou.com/
Regina Mamou (b. 1983, Southfield, Michigan) is a Los Angeles based artist. She holds an MFA from the School of the Art Institute of Chicago, a BFA from the Rhode Island School of Design, and was a Fulbright fellow to Jordan. Mamou grew up with the awareness of the implications of political ideology intertwined with religion. Mamou's mother, who is Polish-American, and Mamou's father, who is a Christian-Chaldean from Iraq, raised her multiculturally. As a former priest, Mamou's father left the clergy, and Iraq, for fear of persecution. This need to understand ideologies has been the focus of her work since she started investigating utopias throughout the US. Mamou's travels have allowed her to not only examine the implications of social utopias but also the struggle to create community through a dystopian future.
Thank you to Grow Your Own Media for their participating in the event.
Luke Aleckson
Liberator II: Ghost Gunner
June 17 - July 22, 2017
Future Fatigue (Cruise Control): The future was exciting, but we became accustomed to exponential advances in everything. Floating astronauts, we were going 1000 miles per hour, but were bored and boring.
Asymptote (The Quickening) : coming closer and closer to zero or closer and closer to eternity, faster and faster, but never arriving at either.
Exponential Violence (Risk Addiction): At an asymptotic velocity, existential threats blurred into one another.
The Edge Effect (. . . And the Legend Continues): At a certain point, digital renderings became nearly indistinguishable from photographs. Especially when looking at images of things we couldn’t experience firsthand, from deep space to the atomic. We seemed to remember someone coining the term “edge effect” to describe this phenomenon, way back when, but google searches turned up nothing. Memory failed.
Memory Fails (I Want To Believe): All digital information existed physically somewhere. Much of it lived in server farms in remote areas of rural America. Without intentional backups of these servers, these were the places where information could disappear in a real and final ways (in the event of a system failure).
Digital Revolutionaries (Re-Entry): Advances in digital manufacturing allowed for a parallel blurring of realities: digital information being materialized into objects. The resulting objects felt like renderings, even in front of ones eyes.
Revolutionary Renderings (Beyond Cyberspace): the most revolutionary architecture is unmade. But it can still make things happen.
Info Wars (Dark Territory): Its was seemingly appropriate to discuss the failures of techno-utopian visions of a universally-enlightened public. Information had been weaponized. We found ourselves vulnerable and exposed in a new dark age, when all information was mediated by far-off experts, real or invented.
New Dark Age (The Cradle of Life): We needed to protect ourselves in the new dark ages, when all information would be mediated by far-off experts, real or imagined.
Viral Weaponry (The Quest for Peace): As information was translated into objects, weaponized information became physical, opening up the inevitability of viral weaponry.
The Liberator (Ghost Gunner): "The Liberator is a physible, 3D-printable single shot handgun, the first such printable firearm design made widely available online. The open source firm Defense Distributed designed the gun and released the plans on the Internet on May 6, 2013. The plans were downloaded over 100,000 times in the two days before the United States Department of State demanded that Defense Distributed retract the plans.” Source: https://en.wikipedia.org/wiki/Liberator_(gun)
Trace Threats (. . . ): Plastic guns made the threat of violence nearly invisible, faint traces paradoxically oscillating between existential and insignificant threats. They were potentially everywhere, but there were so much more virally spreading threats to occupy our time. The scope and sheer number of threats were beyond the individual person’s ability to process without overwhelming fatigue.
Asymptote (The Quickening) : coming closer and closer to zero or closer and closer to eternity, faster and faster, but never arriving at either.
Exponential Violence (Risk Addiction): At an asymptotic velocity, existential threats blurred into one another.
The Edge Effect (. . . And the Legend Continues): At a certain point, digital renderings became nearly indistinguishable from photographs. Especially when looking at images of things we couldn’t experience firsthand, from deep space to the atomic. We seemed to remember someone coining the term “edge effect” to describe this phenomenon, way back when, but google searches turned up nothing. Memory failed.
Memory Fails (I Want To Believe): All digital information existed physically somewhere. Much of it lived in server farms in remote areas of rural America. Without intentional backups of these servers, these were the places where information could disappear in a real and final ways (in the event of a system failure).
Digital Revolutionaries (Re-Entry): Advances in digital manufacturing allowed for a parallel blurring of realities: digital information being materialized into objects. The resulting objects felt like renderings, even in front of ones eyes.
Revolutionary Renderings (Beyond Cyberspace): the most revolutionary architecture is unmade. But it can still make things happen.
Info Wars (Dark Territory): Its was seemingly appropriate to discuss the failures of techno-utopian visions of a universally-enlightened public. Information had been weaponized. We found ourselves vulnerable and exposed in a new dark age, when all information was mediated by far-off experts, real or invented.
New Dark Age (The Cradle of Life): We needed to protect ourselves in the new dark ages, when all information would be mediated by far-off experts, real or imagined.
Viral Weaponry (The Quest for Peace): As information was translated into objects, weaponized information became physical, opening up the inevitability of viral weaponry.
The Liberator (Ghost Gunner): "The Liberator is a physible, 3D-printable single shot handgun, the first such printable firearm design made widely available online. The open source firm Defense Distributed designed the gun and released the plans on the Internet on May 6, 2013. The plans were downloaded over 100,000 times in the two days before the United States Department of State demanded that Defense Distributed retract the plans.” Source: https://en.wikipedia.org/wiki/Liberator_(gun)
Trace Threats (. . . ): Plastic guns made the threat of violence nearly invisible, faint traces paradoxically oscillating between existential and insignificant threats. They were potentially everywhere, but there were so much more virally spreading threats to occupy our time. The scope and sheer number of threats were beyond the individual person’s ability to process without overwhelming fatigue.
On display at Adjunct Positions is Aleckson's installation of banners, flags, and digital prints throughout the main gallery as well as inside and around the Adjunct house.
About the Artist:
Luke Aleckson is a Los Angeles-based artist. Recent solo exhibitions of his work have been held at Julius Caesar in Chicago, IL, The Minneapolis Institute of Arts, and The Suburban in Oak Park, IL. He received is MFA in Sculpture from the School of the Art Institute of Chicago.
About the Artist:
Luke Aleckson is a Los Angeles-based artist. Recent solo exhibitions of his work have been held at Julius Caesar in Chicago, IL, The Minneapolis Institute of Arts, and The Suburban in Oak Park, IL. He received is MFA in Sculpture from the School of the Art Institute of Chicago.
Paul Pescador
March 25 - April 29, 2017
Adjunct Positions presents Paul Pescador's The Year After: Season 2. The exhibition consists of an installation of short films, each under five minutes in length. The films focus on working in customer service, more specifically an ice cream/pretzel stand in a Southern California Westfield mall and the daily interactions, conflicts, and drama that come from a job. Each episode portrays a series of characters made from cardboard boxes and everyday materials. In each scene these idiosyncratic characters encounter minor occurrences that are exasperated by the banality of the everyday activity that surrounds them. Pescador performs as well an animates each of the puppets, shifting back forth between voices and characters. The Year After: Season 2 is presented in chronological order, mimicking the repetitive structure of sitcom television. Within this format, conflicts occur and are resolved by the end of each episode, providing a sense of humor and comfort in its familiarity.
This is the second iteration of this project, The Year After: Season 1 exhibition in 2013 for the online gallery Light & Wire and is available for viewing.
Paul Pescador is a artist, filmmaker and writer working in Los Angeles, MFA from University of California, Irvine and BA from University of Southern California. He produces abstract narratives that incorporates his own personal experiences: ranging from banal conversations and quarrels to more serious trauma and injury. His practice uses drawing, film, photography, and performance to discuss the intimacy and awkwardness of one’s relationship to the world and the individuals and objects which exist within it. Recent exhibitions, projects, and screenings include: LAND at The Gamble House, Pasadena (2016); Vacancy, Los Angeles (2016); PSSST, Los Angeles (2016); Ashes/Ashes, Los Angeles (2016); Park View, Los Angeles (2014); Anthony Greaney, Boston (2013); the Vista Theater, Los Angeles (2012); and Human Resources, Los Angeles (2011). Recent performances include: Machine Projects, Los Angeles; (2016); Klausgallery.net (2016); Los Angeles Contemporary Archives (2016); Performa 2015; Colony, New York (2015); metro pcs (2015); UC Berkeley: Durham Studio Theater (2015); PAM, Los Angeles (2015); Sweety’s, Boston (2014); Hammer Museum, with KCHUNG TV, Los Angeles (2014); REDCAT, Los Angeles (2014); Guggenheim Gallery at Chapman University, Los Angeles (2012); and ForYourArt, Los Angeles (2012).
This is the second iteration of this project, The Year After: Season 1 exhibition in 2013 for the online gallery Light & Wire and is available for viewing.
Paul Pescador is a artist, filmmaker and writer working in Los Angeles, MFA from University of California, Irvine and BA from University of Southern California. He produces abstract narratives that incorporates his own personal experiences: ranging from banal conversations and quarrels to more serious trauma and injury. His practice uses drawing, film, photography, and performance to discuss the intimacy and awkwardness of one’s relationship to the world and the individuals and objects which exist within it. Recent exhibitions, projects, and screenings include: LAND at The Gamble House, Pasadena (2016); Vacancy, Los Angeles (2016); PSSST, Los Angeles (2016); Ashes/Ashes, Los Angeles (2016); Park View, Los Angeles (2014); Anthony Greaney, Boston (2013); the Vista Theater, Los Angeles (2012); and Human Resources, Los Angeles (2011). Recent performances include: Machine Projects, Los Angeles; (2016); Klausgallery.net (2016); Los Angeles Contemporary Archives (2016); Performa 2015; Colony, New York (2015); metro pcs (2015); UC Berkeley: Durham Studio Theater (2015); PAM, Los Angeles (2015); Sweety’s, Boston (2014); Hammer Museum, with KCHUNG TV, Los Angeles (2014); REDCAT, Los Angeles (2014); Guggenheim Gallery at Chapman University, Los Angeles (2012); and ForYourArt, Los Angeles (2012).
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The linked pdf is an essay on Paul's show, written by Art Critic and Culture writer Alicia Eler.
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Adjunct Positions Survey Show at Cerritos College FAR Bazaar
January 28 – January 29
Jan 28 and 29th, 10 AM to 10 PM
Cerritos College
11110 Alondra Blvd, Cerritos, California 90650
January 28 – January 29
Jan 28 and 29th, 10 AM to 10 PM
Cerritos College
11110 Alondra Blvd, Cerritos, California 90650
Masood Kamandy and Tara Kelton
November 12th - December 17th 2016
Masood Kamandy & Tara Kelton
November 12 - December 17, 2016
Adjunct Positions presents a two person exhibition of works by Masood Kamandy and Tara Kelton. The work for this show navigates the at times elegant, and at times awkward relationship of humans to technology. Video, installation, and 2D works by the artists explore the digital and technological landscape and the human place within it.
Both artists employ digital automation in their work; Masood through coding his own smartphone filters to produce images which are a collaboration between artist and the automated process, and Tara, using commonplace robot technology (Roomba, Digital Portrait Booths) and found objects, both digital and artifact.
Tara’s work resides in the uncanny valley between human experience of the physical world, and our experience mediated by technology. Her work humorously points to the many instances where technology fails to deliver on authenticity, but also asks questions about how our perception is being altered through our relationship to technology. "Homeward" consists of a Roomba, tirelessly circling the gallery with a projector mounted on it, projecting a loop of nature videos which are taken from virtual treadmill walking videos. Her video "Leonardo" documents a Leonardo drawing machine in a Connecticut mall, made to create a self-portrait, as the artist holds a mirror before the machine. Tara’s cell phone rubbings remind us that cutting edge technology of the future quickly becomes historical artifact.
Masood's work provides glimpses into the moments where technology achieves something human. In many ways, his work for this show draws on the original Greek understanding of technology- as something that is inherently an extension of humanness, and a discourse (ology) about how we gain things and experiences (techne). In one video work a mesmerizing series of intersecting circles slowly spin in a looped abstraction, but for a few brief seconds, the shapes coalesce to give us the image of whiffle balls on a table top. In "Mulholland" he developed a digital process to isolate the yellow line in the center of the road from video documentation of his drive along the historic Los Angeles street. The result is a pared down, hypnotic video which reminds us of the distillation of experience through digital mediation.
Masood Kamandy (b. 1981 in Colorado) is a Los Angeles based artist and creative technologist working with code and lens-based media. Masood received his MFA from the University of California Los Angeles (2012) and his BFA from the School of Visual Arts (2004). He has had solo exhibitions in Los Angeles and The Netherlands and been shown at the The Contemporary Jewish Museum in San Francisco (2015), The Sharjah Museum (2014), The Torrance Art Museum (2012), UCLA New Wight Gallery (Los Angeles, 2012), and Control Room (Los Angeles, 2011). He participated in dOCUMENTA(13) in both Kassel and Kabul (Summer 2012). Kamandy founded the first photography department at Kabul University (2002–05). Kamandy has been recognized by the Art Directors Club in New York and the American Photography Annual. Kamandy is an arts educator in Los Angeles.
Kamandy's artworks are in the permanent collection of the Los Angeles County Museum of Art and the US State Department's Office of Art in Embassies.
Tara Kelton is an artist and graphic designer living in Bangalore, India. She received her MFA from the Yale School of Art in 2009. Her video, print, and web-based works investigate moments in which technology influences our perception of the physical world. Tara has had solo exhibitions of her work at Banner Repeater + or-bits.com (UK) and at GallerySKE (India). Her work has also been shown at the ZKM (Germany), the Kochi Muziris Biennale (India), Clark House Initiative (India), Vox Populi (USA), the Queens Museum of Art (USA), Franklin Street Works (USA) and the Centre for Internet and Society (India). Tara sometimes teaches at the Srishti School of Art, Design and Technology and she is also director of T-A-J, a residency program in Bangalore.
November 12 - December 17, 2016
Adjunct Positions presents a two person exhibition of works by Masood Kamandy and Tara Kelton. The work for this show navigates the at times elegant, and at times awkward relationship of humans to technology. Video, installation, and 2D works by the artists explore the digital and technological landscape and the human place within it.
Both artists employ digital automation in their work; Masood through coding his own smartphone filters to produce images which are a collaboration between artist and the automated process, and Tara, using commonplace robot technology (Roomba, Digital Portrait Booths) and found objects, both digital and artifact.
Tara’s work resides in the uncanny valley between human experience of the physical world, and our experience mediated by technology. Her work humorously points to the many instances where technology fails to deliver on authenticity, but also asks questions about how our perception is being altered through our relationship to technology. "Homeward" consists of a Roomba, tirelessly circling the gallery with a projector mounted on it, projecting a loop of nature videos which are taken from virtual treadmill walking videos. Her video "Leonardo" documents a Leonardo drawing machine in a Connecticut mall, made to create a self-portrait, as the artist holds a mirror before the machine. Tara’s cell phone rubbings remind us that cutting edge technology of the future quickly becomes historical artifact.
Masood's work provides glimpses into the moments where technology achieves something human. In many ways, his work for this show draws on the original Greek understanding of technology- as something that is inherently an extension of humanness, and a discourse (ology) about how we gain things and experiences (techne). In one video work a mesmerizing series of intersecting circles slowly spin in a looped abstraction, but for a few brief seconds, the shapes coalesce to give us the image of whiffle balls on a table top. In "Mulholland" he developed a digital process to isolate the yellow line in the center of the road from video documentation of his drive along the historic Los Angeles street. The result is a pared down, hypnotic video which reminds us of the distillation of experience through digital mediation.
Masood Kamandy (b. 1981 in Colorado) is a Los Angeles based artist and creative technologist working with code and lens-based media. Masood received his MFA from the University of California Los Angeles (2012) and his BFA from the School of Visual Arts (2004). He has had solo exhibitions in Los Angeles and The Netherlands and been shown at the The Contemporary Jewish Museum in San Francisco (2015), The Sharjah Museum (2014), The Torrance Art Museum (2012), UCLA New Wight Gallery (Los Angeles, 2012), and Control Room (Los Angeles, 2011). He participated in dOCUMENTA(13) in both Kassel and Kabul (Summer 2012). Kamandy founded the first photography department at Kabul University (2002–05). Kamandy has been recognized by the Art Directors Club in New York and the American Photography Annual. Kamandy is an arts educator in Los Angeles.
Kamandy's artworks are in the permanent collection of the Los Angeles County Museum of Art and the US State Department's Office of Art in Embassies.
Tara Kelton is an artist and graphic designer living in Bangalore, India. She received her MFA from the Yale School of Art in 2009. Her video, print, and web-based works investigate moments in which technology influences our perception of the physical world. Tara has had solo exhibitions of her work at Banner Repeater + or-bits.com (UK) and at GallerySKE (India). Her work has also been shown at the ZKM (Germany), the Kochi Muziris Biennale (India), Clark House Initiative (India), Vox Populi (USA), the Queens Museum of Art (USA), Franklin Street Works (USA) and the Centre for Internet and Society (India). Tara sometimes teaches at the Srishti School of Art, Design and Technology and she is also director of T-A-J, a residency program in Bangalore.
Carmen Argote
Houses he wanted to build
November 7th - December 12th, 2015
Gallery open Saturdays 3-5pm and by appointment
Above: Carmen's father's drawing of a house he wanted to build, from a portfolio of house drawings. Jorge Javier Argote 1986
Photo by Craig Kirk
Photo by Craig Kirk
Adjunct Position presents a series of sculptural works and a large scale installation by Carmen Argote. This new work explores architectural space as a cultural accomodator for personal history.
For her site-specific installation, Argote hangs a series of mantas, a muslin cloth treated with paint and graphite rubbings, to create an exterior layer hanging from the eaves of the Adjunct Positions home. On these hanging mantas, which re-create the full front face of the house, Argote combines architectural rubbings of the house itself with an overlay of painted structures from her father’s architectural drawings.
Argote's father, an architect in Guadalajara, Mexico, created architectural renderings of houses that he wanted to build, all rendered in a 1970's style incorporating light tangerine, pink, and light blue sections on their facades, which reflect the standard of his architectural education in Mexico.
Conceptually, the installation stems from Argote's personal relationship to the possibility of homeownership, her parents’ relationship to housing, and her immigrant experience as it relates to the Los Angeles landscape. In this way Argote overlays a personal history onto the facade of the gallery home, a continuation of an artmaking process focused on her father's longing to return to Guadalajara. By extension the work also forms Argote's own longing for home outside of an actual structure as an imagined architecture.
“The notion of the architectural footprint and layout, the mental imprint of movement through a space, and the perimeter shape of home continue to be a major focus in my art making. I build from these notions outward. I tend to start in interiors of the spaces that I inhabit.” - Carmen Argote
Within the lower gallery at Adjunct Positions, Argote displays a series of sculptures inspired by a simple laundry folding tool, which Argote has co-opted as a sculptural form. These sculptures are reminiscent of both architectural structure and the physical movement which translates loose fabric into folded structure. They embody the ritual of folding, a process of layering over onto itself, so that one part of it covers another. The folded structures, like the installation, are of a human scale, yet transform into architectural models through repetition and play.
About The Artist:
Carmen Argote is a Los Angeles based artist whose work focuses on the exploration of personal history through architecture and the spaces that she inhabits. Argote uses the action of prolonged interaction with a space as a way to begin to understand it. Inhabiting a space allows Argote to connect to the site through use, allowing time for her to develop and accumulate daily rituals that help her understand the place through habit. Argote approaches a residency as part of her process. Working from a site allows her to explore and reflect her concepts in a wide range of materials, media, and programing events, although primarily creating site responsive installations.
By remembering her childhood experiences within the Los Angeles landscape, Argote traces the influences of those immediate surroundings to ideas of identity, place-making, and notions of home. She explores her own immigrant identity through memory and architecture, predominantly focusing on spaces that have had an ongoing presence in her life, either directly such as her childhood home, or places that are familiar through storytelling, such as houses in Guadalajara.
Argote states that the intention of her practice is to be more able to see the invisible in front of her, a visual cultural inheritance that is intuitively understood and felt but not articulated, and to create a cultural valuing of such sites that have influenced her.
Argote received her MFA from UCLA in 2007 and attended the Skowhegan School of Painting and Sculpture in 2009. Argote exhibited at the Vincent Price Museum 2013, and was commissioned for the Metro Expo Line station at 17th/SMC station in Santa Monica. Her recent dual-site exhibition, A Vast Furniture, opened April 2015 at the MAK Center for Art and Architecture and in the desert at a High Desert Test Sites location in Wonder Valley.
For her site-specific installation, Argote hangs a series of mantas, a muslin cloth treated with paint and graphite rubbings, to create an exterior layer hanging from the eaves of the Adjunct Positions home. On these hanging mantas, which re-create the full front face of the house, Argote combines architectural rubbings of the house itself with an overlay of painted structures from her father’s architectural drawings.
Argote's father, an architect in Guadalajara, Mexico, created architectural renderings of houses that he wanted to build, all rendered in a 1970's style incorporating light tangerine, pink, and light blue sections on their facades, which reflect the standard of his architectural education in Mexico.
Conceptually, the installation stems from Argote's personal relationship to the possibility of homeownership, her parents’ relationship to housing, and her immigrant experience as it relates to the Los Angeles landscape. In this way Argote overlays a personal history onto the facade of the gallery home, a continuation of an artmaking process focused on her father's longing to return to Guadalajara. By extension the work also forms Argote's own longing for home outside of an actual structure as an imagined architecture.
“The notion of the architectural footprint and layout, the mental imprint of movement through a space, and the perimeter shape of home continue to be a major focus in my art making. I build from these notions outward. I tend to start in interiors of the spaces that I inhabit.” - Carmen Argote
Within the lower gallery at Adjunct Positions, Argote displays a series of sculptures inspired by a simple laundry folding tool, which Argote has co-opted as a sculptural form. These sculptures are reminiscent of both architectural structure and the physical movement which translates loose fabric into folded structure. They embody the ritual of folding, a process of layering over onto itself, so that one part of it covers another. The folded structures, like the installation, are of a human scale, yet transform into architectural models through repetition and play.
About The Artist:
Carmen Argote is a Los Angeles based artist whose work focuses on the exploration of personal history through architecture and the spaces that she inhabits. Argote uses the action of prolonged interaction with a space as a way to begin to understand it. Inhabiting a space allows Argote to connect to the site through use, allowing time for her to develop and accumulate daily rituals that help her understand the place through habit. Argote approaches a residency as part of her process. Working from a site allows her to explore and reflect her concepts in a wide range of materials, media, and programing events, although primarily creating site responsive installations.
By remembering her childhood experiences within the Los Angeles landscape, Argote traces the influences of those immediate surroundings to ideas of identity, place-making, and notions of home. She explores her own immigrant identity through memory and architecture, predominantly focusing on spaces that have had an ongoing presence in her life, either directly such as her childhood home, or places that are familiar through storytelling, such as houses in Guadalajara.
Argote states that the intention of her practice is to be more able to see the invisible in front of her, a visual cultural inheritance that is intuitively understood and felt but not articulated, and to create a cultural valuing of such sites that have influenced her.
Argote received her MFA from UCLA in 2007 and attended the Skowhegan School of Painting and Sculpture in 2009. Argote exhibited at the Vincent Price Museum 2013, and was commissioned for the Metro Expo Line station at 17th/SMC station in Santa Monica. Her recent dual-site exhibition, A Vast Furniture, opened April 2015 at the MAK Center for Art and Architecture and in the desert at a High Desert Test Sites location in Wonder Valley.
JANE CHANG MI - THE TASTE OF PURITY
August 14th - September 19th, 2015
Jane Chang Mi, Le Goût de la Pureté (The Taste of Purity), 2014, archival inkjet print, 32" x 48"
Jane Chang Mi - The Taste Of Purity
“A new movement in land politics and postcolonial ecology is developing where a multi-perspective view of a subject can exist and be explored. Based on an interdisciplinary, research-based practice and through the interconnectedness of the works, a non-linear narrative then emerges, breaking through the historic view of either romanticizing or subjugating the landscape. This form of exploring subjects an amalgamation of objects across artistic disciplines and the boundaries of time and space. The contemporary discourse also allows for other types of communication techniques to unfold such as the sensory or the experiential. And thus, for those who have lost their speech to impart their stories through other means.
The environments of the Earth belong to all of us as a collective heritage. No one truly lays claim to her; there are neither indigenous or traditional histories nor imposed colonial narratives, only pure unadulterated experiences of nature. The Earth is inclusive of all human beings. I seek to capture and express this collective relationship and understanding of the human and the natural, a particularly poignant theme at this time in the world. I aim to create an aesthetic of interconnectivity that can be uniquely experienced.” — Jane Chang Mi
On display at Adjunct Positions are a series of video and photographic works developed during Mi’s visits to the archipelagos of French Polynesia and to the wilderness of Antarctica. Through this work, Mi transports the viewer to a place which is represented literally as itself, and poetically, as something accessible trans-context. The work suggests simultaneously the sociopolitical undercurrents of these places and their visitors, the immediacy of new experiences, and the universality of natural phenomena as they are observed during travel.
About The Artist:
Jane Chang Mi’s practice is informed by her training as an ocean engineer. She considers land politics and postcolonial ecologies through her interdisciplinary and research-based work, exploring the traditions and narratives associated with environment.
Mi aims to express our contemporary relationship to nature and each other. Utilizing art, she augments her science and engineering background, to work through these multi-layered and complex subjects; less constrained by linguistic signifiers, enabling communication across cultures and barriers. Permitting contact with a greater community on a global and international scale, where the multi-dimensionality and multi-vocality of human experience can be more fully expressed. She considers our past, present, and future as we journey towards a technologically oriented society.
Her work has been exhibited both nationally and internationally, most recently at Art House SomoS in Berlin, Germany and Satoshi Koyama Gallery in Tokyo, Japan. She has been an Artist in Residence at START House a program run by Art Dubai in Amman, Jordan, a participant on the Arctic Circle Program departing Spitsbergen, a recipient of University of California Institute for Research in the Arts and a fellow at the East West Center at the University of Hawaii, Manoa.
She is currently based in Los Angeles, where she recently received a Master of Fine Arts from the University of California, Los Angeles.
segments | partitions | intervals
Sophie Lee and Cybele Lyle
May 15th - June 20th, 2015
Opening Reception Friday May 15th, 7-9 pm
Gallery open Saturdays 3-5pm and by appointment.
Adjunct Positions presents segments|partitions|intervals, works by Sophie Lee and Cybele Lyle that explore ordinary, intimate and illusionistic space, perceptions of scale, and a blurring of the work with its architectural environment. Sophie Lee’s installation, located in a new gallery space bisecting the living room and dining room at the Adjunct Positions house, is a formal study of space and objects that plays off domestic architectures and implied furniture. Cybele Lyle’s formally abstract but intimate installation in the lower gallery space, a repurposed cement garage, considers scale, interior and exterior space, constructed and found architecture, and an expansive sense of landscape.
Cybele Lyle, I Feel A World Around Me (working title)
Cybele approached her work for this exhibition intuitively, beginning with her initial visit to Adjunct Positions where she had a strong visceral reaction to the garage gallery space. She described the space as both cold (in its cement-ness) and comforting at the same time, and worked from that response, quickly developing a sense of the work she wanted to create. In the past her work has used images of nature and architecture, breaking down private and public by shifting ideas of interior and exterior space. In this new piece she creates a situation where inside and outside become one and the same. For Cybele, this opens up a very real and present, but invisible, sense of time and space.
Sophie Lee, Object Relations
Continuing her investigation of the formal, phenomenological, and psychological manifestations of spaces, Sophie Lee presents Object Relations at Adjunct Positions, a space that blurs the line between a formal gallery and a domestic environment. Working within the language of abstraction, the piece asks how visual meaning is made through a myriad of spatial relationships, and in doing so suggests that meaning is not contained within one object, but is made in its relation to others. The piece figures the instability of object and subject relations as they are mutually constructed somewhere between the boundaries of their forms.
About The Artists:
Sophie Lee
Sophie Lee’s work is an inquiry into the possibilities of painting and the metaphorical resonances of space. Distinctions between sculpture and painting are blurred; the “painting” often includes the surrounding architecture and the movement of the viewer within the gallery. The resulting forms are philosophical inquiries into perception, embodiment, and the history of abstraction.
Sophie Lee has a BA from Mills College and an MFA from the University of California, Irvine. Her work has recently been included in exhibitions at the Glendale Community College Art Gallery; Los Angeles, Commonwealth and Council; Los Angeles, Human Resources, Los Angeles; The Armory Center for the Arts, Pasadena; and Beacon Arts Building, Inglewood. She currently lives and works in Los Angeles.
Cybele Lyle
Using various strategies of documentation, Cybele Lyle’s work examines issues of identity and social representation by focusing the lens on herself and her community. She explores the connections between constructed space and constructed subjectivity through sculpture, photography, video and projection. The spaces she creates – queer, safe, architectural and emotional – form a critically reconstructed mirror of reality, an alternative environment in which all forms of intimacy are allowed to be visible. She uses social and visual material of her own life to represent spaces of transformative potential and desire.
Cybele Lyle is a San Francisco based artist whose installation, video and 2D work reconstructs the architecture and natural environment around her into an alternate vision of interior and exterior space. Cybele graduated from Oberlin College with a BA in Environmental Studies, then went on to get a BFA from Califonia College of Arts and Crafts in Printmaking and an MFA in Painting from Hunter College in New York in 2007. She has held residencies at Ox-Bow, Project 387, Atlantic Center for the Arts and the Bemis Center for Contemporary Art. Her works have been exhibited across the United States including at the Yerba Buena Center for the Arts, Hunter College, Bemis Center, San Francisco Arts Commission, and Et al. Gallery in San Francisco, among others. Cybele is a recipient of the Kala Fellowship, the Yozo Hamaguchi Printmaking award, the Tony Smith Award and was a finalist for the 2012 SF MoMA SECA award. She currently has a studio at Real Time and Space in Oakland and is represented by Et al. Gallery in San Francisco.
Cybele Lyle, I Feel A World Around Me (working title)
Cybele approached her work for this exhibition intuitively, beginning with her initial visit to Adjunct Positions where she had a strong visceral reaction to the garage gallery space. She described the space as both cold (in its cement-ness) and comforting at the same time, and worked from that response, quickly developing a sense of the work she wanted to create. In the past her work has used images of nature and architecture, breaking down private and public by shifting ideas of interior and exterior space. In this new piece she creates a situation where inside and outside become one and the same. For Cybele, this opens up a very real and present, but invisible, sense of time and space.
Sophie Lee, Object Relations
Continuing her investigation of the formal, phenomenological, and psychological manifestations of spaces, Sophie Lee presents Object Relations at Adjunct Positions, a space that blurs the line between a formal gallery and a domestic environment. Working within the language of abstraction, the piece asks how visual meaning is made through a myriad of spatial relationships, and in doing so suggests that meaning is not contained within one object, but is made in its relation to others. The piece figures the instability of object and subject relations as they are mutually constructed somewhere between the boundaries of their forms.
About The Artists:
Sophie Lee
Sophie Lee’s work is an inquiry into the possibilities of painting and the metaphorical resonances of space. Distinctions between sculpture and painting are blurred; the “painting” often includes the surrounding architecture and the movement of the viewer within the gallery. The resulting forms are philosophical inquiries into perception, embodiment, and the history of abstraction.
Sophie Lee has a BA from Mills College and an MFA from the University of California, Irvine. Her work has recently been included in exhibitions at the Glendale Community College Art Gallery; Los Angeles, Commonwealth and Council; Los Angeles, Human Resources, Los Angeles; The Armory Center for the Arts, Pasadena; and Beacon Arts Building, Inglewood. She currently lives and works in Los Angeles.
Cybele Lyle
Using various strategies of documentation, Cybele Lyle’s work examines issues of identity and social representation by focusing the lens on herself and her community. She explores the connections between constructed space and constructed subjectivity through sculpture, photography, video and projection. The spaces she creates – queer, safe, architectural and emotional – form a critically reconstructed mirror of reality, an alternative environment in which all forms of intimacy are allowed to be visible. She uses social and visual material of her own life to represent spaces of transformative potential and desire.
Cybele Lyle is a San Francisco based artist whose installation, video and 2D work reconstructs the architecture and natural environment around her into an alternate vision of interior and exterior space. Cybele graduated from Oberlin College with a BA in Environmental Studies, then went on to get a BFA from Califonia College of Arts and Crafts in Printmaking and an MFA in Painting from Hunter College in New York in 2007. She has held residencies at Ox-Bow, Project 387, Atlantic Center for the Arts and the Bemis Center for Contemporary Art. Her works have been exhibited across the United States including at the Yerba Buena Center for the Arts, Hunter College, Bemis Center, San Francisco Arts Commission, and Et al. Gallery in San Francisco, among others. Cybele is a recipient of the Kala Fellowship, the Yozo Hamaguchi Printmaking award, the Tony Smith Award and was a finalist for the 2012 SF MoMA SECA award. She currently has a studio at Real Time and Space in Oakland and is represented by Et al. Gallery in San Francisco.
images: left: Sophie Lee, Object Relations, 2013. Photo: Yongho Kim, right: Cybele Lyle, Boxed Out (detail) 2014
Carole Frances Lung
Factory to Factory: by and for the organization
October 18 - November 29, 2014
Gallery open Saturdays 4-6pm and by appointment.
Factory to Factory: by and for the organization
October 18 - November 29, 2014
Gallery open Saturdays 4-6pm and by appointment.
Adjunct Positions presents new work from Carole Frances Lung, Factory to Factory: by and for the organization, an exhibition of hand stitched banners, metal sculptures and video. This exhibition premiers Carole's durational video: Frau Fiber vs. the Industrial Knitting Machine; exploring the factory, the value of production and the need to produce. The works for this exhibition were produced during Carole's summer fellowship at the John Michael Kohler Arts Center, Arts and Industry Residency, and touch upon the topics of mass production, mass consumption, and associated human costs.
Opening Reception: Saturday October 18th, 6-8pm
Closing Event: Saturday Nov. 22, 7:30 pm, Labor Song Sing Along with Emily Lacy and Frau Fiber.
Opening Reception: Saturday October 18th, 6-8pm
Closing Event: Saturday Nov. 22, 7:30 pm, Labor Song Sing Along with Emily Lacy and Frau Fiber.
Factory to Factory: by and for the organization, an exhibition of hand stitched banners, metal sculptures and premiering Frau Fiber vs. the Industrial Knitting Machine a durational video exploring the factory, the value of production and the need to produce.
Closing event Saturday Nov. 22, 7:30 pm, Labor Song Sing Along with Emily Lacy and Frau Fiber.
The works for this exhibition were produced at the John Michael Kohler Arts Center, Arts and Industry Residency, Summer 2014.
Carole Frances Lung is an artist, activist, and scholar living in Long Beach, CA. Through her alter ego Frau Fiber, Carole utilizes a hybrid of playful activism, cultural criticism, research and spirited crafting of one of a kind garment production performances She investigates the human cost of mass production and consumption, addressing issues of value and time through the thoroughly hand-made construction and salvaging of garments. Her performances have been exhibited at Jane Addams Hull House Museum, Craft and Folk Art Museum, Museum of Contemporary Craft Portland, Sullivan Galleries, SAIC, Chicago IL, Ben Maltz Gallery, OTIS College of Art and Design, LA CA, Catherine Smith Gallery, Appalachian State University Boone NC and the Ghetto Biennale Port Au Prince Haiti. Publications include: Chicago Arts News, American Craft Council: Shaping the Future of Craft, Art in America, and Art Papers. She has lectured at Museum of Contemporary Art Denver, Feminism and Co series, Craftivsim; Creativity and Ingenuity Symposium, at Haystack Mountain School of Craft, in Deer Isle, Maine and at the Textile Society of America symposium in Washington DC. She has been awarded: Kohler Arts and Industry Residency, Craft Creativity and Design Center Grant, CSULA creative leave 2014, creative mini grant 2014, 2013, nominated for the Louis Comfort Tiffany award, At the Edge Gallery 400 award and Fred A. Hillbruner Artist Book Fellowship. Carole currently maintains the Institute for Labor Generosity Workers and Uniforms, Frau Fiber’s headquarters and experimental factory at 322 East 3rd Street in downtown Long Beach, and is an Assistant Professor in the Department of Art, Fashion and Textile option at California State University Los Angeles.
Frau Fiber vs. The Industrial Knitting Machine
Video Still by Erik Ljung
Aug 28, 2014
4.5 hours production period
Frau Fiber 1 tube sock
The Machine 99 tube socksWigwam, the performance sock company
Sheboygan WI
http://fraufiber.wordpress.com/
Closing event Saturday Nov. 22, 7:30 pm, Labor Song Sing Along with Emily Lacy and Frau Fiber.
The works for this exhibition were produced at the John Michael Kohler Arts Center, Arts and Industry Residency, Summer 2014.
Carole Frances Lung is an artist, activist, and scholar living in Long Beach, CA. Through her alter ego Frau Fiber, Carole utilizes a hybrid of playful activism, cultural criticism, research and spirited crafting of one of a kind garment production performances She investigates the human cost of mass production and consumption, addressing issues of value and time through the thoroughly hand-made construction and salvaging of garments. Her performances have been exhibited at Jane Addams Hull House Museum, Craft and Folk Art Museum, Museum of Contemporary Craft Portland, Sullivan Galleries, SAIC, Chicago IL, Ben Maltz Gallery, OTIS College of Art and Design, LA CA, Catherine Smith Gallery, Appalachian State University Boone NC and the Ghetto Biennale Port Au Prince Haiti. Publications include: Chicago Arts News, American Craft Council: Shaping the Future of Craft, Art in America, and Art Papers. She has lectured at Museum of Contemporary Art Denver, Feminism and Co series, Craftivsim; Creativity and Ingenuity Symposium, at Haystack Mountain School of Craft, in Deer Isle, Maine and at the Textile Society of America symposium in Washington DC. She has been awarded: Kohler Arts and Industry Residency, Craft Creativity and Design Center Grant, CSULA creative leave 2014, creative mini grant 2014, 2013, nominated for the Louis Comfort Tiffany award, At the Edge Gallery 400 award and Fred A. Hillbruner Artist Book Fellowship. Carole currently maintains the Institute for Labor Generosity Workers and Uniforms, Frau Fiber’s headquarters and experimental factory at 322 East 3rd Street in downtown Long Beach, and is an Assistant Professor in the Department of Art, Fashion and Textile option at California State University Los Angeles.
Frau Fiber vs. The Industrial Knitting Machine
Video Still by Erik Ljung
Aug 28, 2014
4.5 hours production period
Frau Fiber 1 tube sock
The Machine 99 tube socksWigwam, the performance sock company
Sheboygan WI
http://fraufiber.wordpress.com/
Alicia Eler
Writer in Residence
September 15 - October 10, 2014
Adjunct Positions is pleased to host our first Writer in Residence, Alicia Eler. For this three-week appointment, Alicia will focus on the editing process as it relates to Los Angeles. Alicia is an art critic and culture journalist whose coverage of selfie culture is featured in New York Magazine, Washington Post, Psychology Today, Gigaom, and Colorlines. Her fictional writings on adolescent sexualities appear in Illuminati Girl Gang and Projecttile Lit. Alicia is currently writing for Artforum, DailyWorth, KCET Los Angeles and Hyperallergic. She is based in Los Angeles.
Please join us on October 25th at 5pm, when Alica will present the findings from her editorial investigations.
http://aliciaeler.com/
Please join us on October 25th at 5pm, when Alica will present the findings from her editorial investigations.
http://aliciaeler.com/
Our recent Writer in Residence, Alicia Eler will present her writings, Editing Los Angeles, an essay, a collection of jokes, and other absurd stories at 5pm. The gallery will be open 4-6pm. BYO grillables to BBQ.
August 9-31, 2014
Jenny Yurshansky
Blacklisted: A Planted Allegory (Detention)
Adjunct Positions presents Jenny Yurshansky’s work entitled, Blacklisted: A Planted Allegory (Detention). This work stems from Yurshansky’s larger umbrella project, Blacklisted: A Planted Allegory, developed in 2014 during her two month period as an Artist-in-Residence at Pitzer College Art Galleries. This deeply researched, multi-modal project investigates the distinction between native versus invasive species as determined by California Invasive Species Advisory Committee (CISAC), a scientific organization that has created a “living list” of invasive species. The discourse surrounding a list of “invasive” or “alien” flora has interesting and fruitful correlations to policies regarding immigration, multiculturalism, and evolving ideas about national identities that are inherently tied to the identity of border cultures, specifically in California, a location that has carried the name of a number of nations through the historical record. The project allows viewers to engage in a meaningful and nuanced way with how these issues are thought of, in direct and applicable terms. By focusing on the cultural bias that plays into scientific criteria and discourse around how, why, and by whom these listed plants are considered to be invasive, a space is opened up for a parallel discussion regarding immigration and border policies.
The project’s research involved collecting, studying, and transplanting invasive plants which were found growing on the campuses of the Claremont Colleges and their affiliated institutions. By restricting the investigation to vegetation classified as alien-invasive species by CISAC, a determination was made as to which so-called invasive species have infiltrated that site. The execution of this project followed strict scientific methodologies and research strategies and uses the findings to draw broader interdisciplinary cultural inferences to the topic of the immigrant ecology of invasive species.
Adjunct Positions will exhibit an element of this project entitled, Blacklisted: A Planted Allegory (Detention). The work is a rear lit photograph. It is the end result of the studio and field work carried out during Yurshansky’s residency at Pitzer College Art Galleries. The image, displayed in a lightbox, depicts the invasive plants Yurshansky collected in the field and set before an array of fluorescent grow lights, a poor substitute for natural growing conditions. The plants are obscured from the camera by a white screen which picks up only the cast shadows of the plants. The image documents the last day of a month during which the targeted plants were rounded up and brought indoors in an, not always successful, attempt to keep them alive before they were cast out.
Opening January 24, 2015, Pitzer College Art Galleries will exhibit the full project which will consist of four works and an accompanying travelogue. The works will include a comprehensive index of the invasive species found on-site, a large-scale projection—a portrait of all the plants collected and a record of their growth during the month of June 2014—and a light box image of their incubated sequestration. The exhibition also features two sculptural works, one of which is an index of the more than one hundred plants collected, in the style of a classic botanical herbaria, rendered in detailed handmade paper silhouettes. The second sculpture refers to the Harvard Natural History Museum’s, Ware Glass Botanical Collection; providing a window into the common presence in 1892 of what are now rare California native plants. This piece which features a seemingly empty vitrine is a nod to the ultimate implied end that are the fears wrapped up in the debate about the resistance to the encroachment of alien species.
About the artist:
Jenny Yurshansky’s practice includes a combination of sculptures, installations, and site specific interventions, which often manipulate ordinary materials into physical realities that defy phenomenal logic. Though a conceptual approach is used to define the parameters of each project, she also employs an aesthetic sense of materiality so that a tension is established between the poetic and empiric. Yurshansky often makes use of negative space and erasure in her work in order to create a place for deductive reasoning, so that it may be possible to determine that which is known by first establishing what is not known. As a whole her practice is engaged with an immediacy of time and space; one that is collapsed into the intangible moment of an ever-vanishing present.
Jenny Yurshansky is an American artist who was born in Rome. She received her MFA in Visual Art from UC Irvine and was a participant in the post‐graduate Critical Studies course at the Malmö Art Academy. She is the co-founder and co-director of Persbo Studio an artist residency, sculpture park, and creative space in Sweden. In 2014 she was an Artist-in-Residence at Pitzer College Art Galleries, developing a site-specific project for a solo show in 2015. This year she will also be a Guest Artist Researcher at the Royal Institute of Art in Stockholm. In 2012 she was an invited Artist-in-Residence connected to the exhibition Odor Water Limo in northern Norway. In 2010 Yurshansky was the first international artist awarded the Maria Bonnier Stipend from Bonniers Konsthall in Stockholm, the prize was awarded along with an exhibition. In 2010 she was invited for a residency and solo exhibition at Galleri Rostrum in Malmö and workspace in Los Angeles. Yurshansky has also participated in group shows at the Aldrich Museum of Contemporary Art, Laguna Beach Art Museum, MAK Center, and LAXART, the Torrance Art Museum, the Armory Center for the Arts, the 7th Istanbul Biennial, the Hammer Museum, Rooseum Center for Contemporary Art in Malmö, and the Toyota Museum. She is the recipient of numerous artist and curatorial grants.
www.jennyyurshanky.com
pressrelease.pdf
The project’s research involved collecting, studying, and transplanting invasive plants which were found growing on the campuses of the Claremont Colleges and their affiliated institutions. By restricting the investigation to vegetation classified as alien-invasive species by CISAC, a determination was made as to which so-called invasive species have infiltrated that site. The execution of this project followed strict scientific methodologies and research strategies and uses the findings to draw broader interdisciplinary cultural inferences to the topic of the immigrant ecology of invasive species.
Adjunct Positions will exhibit an element of this project entitled, Blacklisted: A Planted Allegory (Detention). The work is a rear lit photograph. It is the end result of the studio and field work carried out during Yurshansky’s residency at Pitzer College Art Galleries. The image, displayed in a lightbox, depicts the invasive plants Yurshansky collected in the field and set before an array of fluorescent grow lights, a poor substitute for natural growing conditions. The plants are obscured from the camera by a white screen which picks up only the cast shadows of the plants. The image documents the last day of a month during which the targeted plants were rounded up and brought indoors in an, not always successful, attempt to keep them alive before they were cast out.
Opening January 24, 2015, Pitzer College Art Galleries will exhibit the full project which will consist of four works and an accompanying travelogue. The works will include a comprehensive index of the invasive species found on-site, a large-scale projection—a portrait of all the plants collected and a record of their growth during the month of June 2014—and a light box image of their incubated sequestration. The exhibition also features two sculptural works, one of which is an index of the more than one hundred plants collected, in the style of a classic botanical herbaria, rendered in detailed handmade paper silhouettes. The second sculpture refers to the Harvard Natural History Museum’s, Ware Glass Botanical Collection; providing a window into the common presence in 1892 of what are now rare California native plants. This piece which features a seemingly empty vitrine is a nod to the ultimate implied end that are the fears wrapped up in the debate about the resistance to the encroachment of alien species.
About the artist:
Jenny Yurshansky’s practice includes a combination of sculptures, installations, and site specific interventions, which often manipulate ordinary materials into physical realities that defy phenomenal logic. Though a conceptual approach is used to define the parameters of each project, she also employs an aesthetic sense of materiality so that a tension is established between the poetic and empiric. Yurshansky often makes use of negative space and erasure in her work in order to create a place for deductive reasoning, so that it may be possible to determine that which is known by first establishing what is not known. As a whole her practice is engaged with an immediacy of time and space; one that is collapsed into the intangible moment of an ever-vanishing present.
Jenny Yurshansky is an American artist who was born in Rome. She received her MFA in Visual Art from UC Irvine and was a participant in the post‐graduate Critical Studies course at the Malmö Art Academy. She is the co-founder and co-director of Persbo Studio an artist residency, sculpture park, and creative space in Sweden. In 2014 she was an Artist-in-Residence at Pitzer College Art Galleries, developing a site-specific project for a solo show in 2015. This year she will also be a Guest Artist Researcher at the Royal Institute of Art in Stockholm. In 2012 she was an invited Artist-in-Residence connected to the exhibition Odor Water Limo in northern Norway. In 2010 Yurshansky was the first international artist awarded the Maria Bonnier Stipend from Bonniers Konsthall in Stockholm, the prize was awarded along with an exhibition. In 2010 she was invited for a residency and solo exhibition at Galleri Rostrum in Malmö and workspace in Los Angeles. Yurshansky has also participated in group shows at the Aldrich Museum of Contemporary Art, Laguna Beach Art Museum, MAK Center, and LAXART, the Torrance Art Museum, the Armory Center for the Arts, the 7th Istanbul Biennial, the Hammer Museum, Rooseum Center for Contemporary Art in Malmö, and the Toyota Museum. She is the recipient of numerous artist and curatorial grants.
www.jennyyurshanky.com
pressrelease.pdf
This project was produced with the generous support of:
Sarah Jones
Opaline Fizz
April 26, 2014 - May 31, 2014
Maura Brewer
Nature is Outside comprised a series of prints and videos exploring the relationship between the apparent boundaries of the physical body and its permeability to the surrounding environment. Drawing on text and images from science and philosophy, these works explored the limits of subjectivity, destabilizing a sense of a discrete, autonomous self. Adjunct Positions was delighted to work with Brewer, an artist whose work is simultaneously smart, elegant, and subtly comical.
Works on show were Retinal Afterimage (1–4), a series of prints based on nineteenth century scientist Jan Purkinje’s drawings of retinal afterimages. In 1823, he produced a series of drawings of the images that appear in the eye after looking at a bright light. Selections of these images were reproduced in glow-in-the-dark ink, recreating the original optical experience. The images were viewed on a timed light, visually alternating between the ‘positive’ silhouette of the afterimages and its dark, glowing ‘negative’.
Nature is Outside is a short video that explores the art object in relation to ideas about natural beauty and subjective expression. Drawing on Kant’s discussion of artistic genius in Critique of Judgment, Nature is Outside questions the relationship between external beauty found in the natural world and internal beauty expressed by the artist. Sea is an animation that traces the evolutionary development of eyes to conditions in the prehistoric ocean. In Sea, tears are the link between figure and landscape, serving as a reminder of our oceanic beginnings. The animation is accompanied by Smokey Robinson’s 1965 song ‘The Tracks of My Tears’.
Works on show were Retinal Afterimage (1–4), a series of prints based on nineteenth century scientist Jan Purkinje’s drawings of retinal afterimages. In 1823, he produced a series of drawings of the images that appear in the eye after looking at a bright light. Selections of these images were reproduced in glow-in-the-dark ink, recreating the original optical experience. The images were viewed on a timed light, visually alternating between the ‘positive’ silhouette of the afterimages and its dark, glowing ‘negative’.
Nature is Outside is a short video that explores the art object in relation to ideas about natural beauty and subjective expression. Drawing on Kant’s discussion of artistic genius in Critique of Judgment, Nature is Outside questions the relationship between external beauty found in the natural world and internal beauty expressed by the artist. Sea is an animation that traces the evolutionary development of eyes to conditions in the prehistoric ocean. In Sea, tears are the link between figure and landscape, serving as a reminder of our oceanic beginnings. The animation is accompanied by Smokey Robinson’s 1965 song ‘The Tracks of My Tears’.
About the Artist:
Maura Brewer’s videos, animations and drawings explore the relationship between popular media and limits of subjectivity. Her approach is research driven, combining found films, television shows, educational media, and other cultural ephemera with constructed elements: hand drawn animations, staged video and voice over narration. Drawing parallels between appropriated media and personal history, Brewer’s work reveals the ways that popular media alternately consolidates and destabilizes the subject through a web of identifications.
maurabrewer.com
Maura Brewer’s videos, animations and drawings explore the relationship between popular media and limits of subjectivity. Her approach is research driven, combining found films, television shows, educational media, and other cultural ephemera with constructed elements: hand drawn animations, staged video and voice over narration. Drawing parallels between appropriated media and personal history, Brewer’s work reveals the ways that popular media alternately consolidates and destabilizes the subject through a web of identifications.
maurabrewer.com
Sara Schnadt - Drafting Universes September/October 2013
For its inaugural exhibition, Adjunct Positions hosted Sara Schnadt's site specific installation and performance, Drafting Universes. The project was presented in collaboration with Craftswoman House Temporary Residence.
About the artist:
Sara Schnadt explores technology in her work both as subject and media. Her installations and performances use found objects, interactivity, projection, spatial illusions, and movement derived from common gestures. Much of her work involves representations or data that translate large quantities of socially resonant information into poetic forms, including data visualization. Schnadt often performs within accompanying sculptural environments, or sites works within functioning everyday spaces, attempting to articulate the personal within virtual and technological innovation.
Artist Website
Sara Schnadt: Drafting Universes
Review of the show: fantastic-heliotherapy
Sara Schnadt explores technology in her work both as subject and media. Her installations and performances use found objects, interactivity, projection, spatial illusions, and movement derived from common gestures. Much of her work involves representations or data that translate large quantities of socially resonant information into poetic forms, including data visualization. Schnadt often performs within accompanying sculptural environments, or sites works within functioning everyday spaces, attempting to articulate the personal within virtual and technological innovation.
Artist Website
Sara Schnadt: Drafting Universes
Review of the show: fantastic-heliotherapy