Tag Archives: Paris-LA Magazine

TOBIAS MADISON

O VERMELHO DO MEIO-DIA—a film and exhibition of collages by Tobias Madison—will be on view for one more week at Freedman Fitzpatrick in Los Angeles

The film—which was shot last year in São Paulo during the run-up to the eventual election of a far-right demagogue as Brazil’s president—began as a conversation between the artist, members of the collective MEXA, choreographer Luciana Mugayar, and curator Tobi Maier.

“The translation issues and misunderstandings arising from the situation were integrated into the process. The film became a way to hang out and to ponder upon if it is possible—as a member of MEXA stated in a group discussion—to betray every single image and still be truthful, or to abandon that idea in the first place and instead run an anti-fascist program against yourself.”*

TOBIAS MADISON—

O VERMELHO DO MEIO-DIA*

Through February 3.

Freedman Fitzpatrick

6051 Hollywood Boulevard, #107, Los Angeles.

See “Dream House NYC,” a photographic essay on youth by Tobias Madison, PARIS LA 16 (2019), 25–36.

Tobias Madison, O Vermelho do Meio-Dia (2018), Freedman Fitzpatrick. Images courtesy the artist and the gallery, © Tobias Madison.

HELEN MOLESWORTH READS ONE DAY AT A TIME

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“When I sat in Manny’s lecture hall [in the fall/winter quarter of 1988], I had no inkling of what a curator even did…

“And my current understanding of its operations, demanding a constant oscillation between the big picture and the details—the big picture being the institution of the museum and its central role in the creation of value, the formation of canons, and the presentation of private artistic acts for public experience; the details involving the development of intimacies with both objects and their makers, the why and how of choosing specific objects, the why and how of installing them, and what each act of adjacency in an installation might connote—was still a decade away.” — Helen Molesworth*

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This weekend, ONE DAY AT A TIME—MANNY FARBER AND TERMITE ART curator Helen Molesworth reads her titular catalogue essay in the exhibition’s gallery. Centered on Farber, the essay moves through the elusive definitions of termite art, still life, and the everyday.

HELEN MOLESWORTH READS ONE DAY AT A TIME

Sunday, January 13, at 3 pm.

MOCA Grand Avenue

250 South Grand Avenue, downtown Los Angeles.

See “Under the Volcano: Helen Molesworth in conversation with Dorothée Perret,” PARIS LA 14 (Winter 2016): 29–37.

*Helen Molesworth, “One Day at a Time,” in One Day at a Time: Manny Farber and Termite Art (Los Angeles: Museum of Contemporary Art/Munich: DelMonico Books-Prestel, 2018

CAROLINE SHAW — ANDREW NORMAN — NADIA SIROTA

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“When I wrote Partita for 8 Voices, it was like if you had the little box of eight crayons for a long time, and then you suddenly have the box with 64, with the little pencil sharpener in the back, you kind of go all out.

“I like writing for string quartet because it’s not a wildly new palette, but there’s something constantly exciting about it. I don’t know why we make music, make art, or write… but [there’s] something about it—it’s like you just have to keep carving.” — Caroline Shaw, PARIS LA, 2017*

Join composer-musicians Caroline Shaw and Andrew Norman, the music ensemble Wild Up, and host (and viola player) Nadia Sirota for an “enhanced concert” featuring live performances of Shaw’s and Norman’s work, and free-wheeling conversations about their process.

This celebration of music creation is presented by CAP UCLA in downtown Los Angeles.

NADIA SIROTA—LIVING MUSIC LIVE!

with WILD UP

featuring CAROLINE SHAW

and ANDREW NORMAN

Saturday, January 12, at 8 pm.

Theatre at Ace Hotel

929 South Broadway, Los Angeles.

*“The Lilt and the Friction: Caroline Shaw in conversation with Anh Do and Eli Diner,” PARIS LA 15 (Spring 2017): 61–69.

From top:

Nadia Sirota, a Live Podcast Event with Wild Up featuring Andrew Norman and Caroline Shaw. Photograph by Shervin Lainez.

Andrew Norman. Photograph by Craig T. Matthew.

Caroline Shaw (left), Norman, and Sirota at the Theatre at Ace Hotel, January 12, 2019. Image courtesy CAP UCLA.

Shaw. Photograph by Kait Moreno.

PAUL MPAGI SEPUYA IN CONVERSATION

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Join Paul Mpagi Sepuya for a discussion about his edit of the artwork on display at LACMA’s Study Center, and how it relates to his practice.

ARTISTS ON ART—PAUL MPAGI SEPUYA

Saturday, December 8, at 2 pm.

LACMA, 5905 Wilshire Boulevard, Los Angeles.

Sepuya’s Darkroom Mirror with Roses at Night, a fundraising C-print (below) for Printed Matter, is now available.

See “Death Deluxe,” a portfolio by Item Idem, with photography by Brian Oldham and Paul Mpagi Sepuya, PARISLA 16 (2018).

From top:

All artwork by Paul Mpagi Sepuya.

Study with Two Figures, N.B. and J.T., after R.N.B. (1404), 2015, archival pigment print.

Study Reflecting Dureau, 2017, archival pigment print.

Darkroom Mirror with Roses at Night, 2018. C-print.

Study for a Self Portrait (1504), 2015, archival pigment print.

MALIK GAINES’ ERLKÖNIG

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Marking the opening night of JOURNEYS WITH THE INITIATED, Nick Mauss, Pati Hertling, Ulrike Müller, and Ethan Philbrick will join Malik Gaines for a performance of Gaines’ ERLKÖNIG .

JOURNEYS WITH THE INITIATED—curated by Yesomi Umolu and Katja Rivera, with the participation of Evan Ifekoya, Grada Kilomba, Tiona Nekkia McClodden, and Virginia de Medeiros—is the New York section of the ongoing project Hubert Fichte—Love and Ethnology, and investigates Fichte’s book The Black City—Glosses through a series of texts, videos, photographs, sculpture, sound, and performance at Participant Inc and e-flux.

ERLKÖNIG

Sunday, December 2, at 6:30 pm.

e-flux, 311 East Broadway (at Grand Street), New York City.

TIONA NEKKIA MCCLODDEN and VIRGINIA DE MEDEIROS—

JOURNEYS WITH THE INITIATED

December 2, 2018 through January 13, 2019.

Participant Inc, 253 East Houston Street, #1, New York City.

e-flux, 311 East Broadway (at Grand Street), New York City.

See “Questions of Representation: Malik Gaines in conversation with Barlo Perry,” PARIS LA 16 (2018), 178–181.

Top: Tiona Nekkia McClodden, an offering | six years | a conjecture, 2018. Digital C-prints, two-channel video with sound, audio. Courtesy the artist.

Above image credit: Sternberg Press.

Below: Hubert Fichte with Dan-Maske, 1979. Photograph by Leonore Mau, Fichte’s partner.