mission

Mission Arts and Performaning Project (MAPP), August 2010

Yesterday I attended the August Mission Arts and Performaning Project (MAPP), where various arts venues, businesses and private homes open themselves up to present artists in the community. This month was actually a lot smaller than the June MAPP, but there was still more than I could see in my brief visit.

I started, as usual, at the Red Poppy Art House, which serves as the hub for MAPP. Here, Red poppy Resident Artist Hersalia Cantoral from Chiapas, Mexico, was holding court in an informal discussion. Some of her drawings were on display alongside other artists.

We then wandered down Folsom Street to the “Blue House” and saw singer/singwriter Vanessa Valencia perform some of her songs. She was particularly focused on an ear infection she was suffering through, and even improvised a song about it with strong encouragement from the audience.

[Bhi Bhiman at L’s Cafe.]

Later, we found ourselves at L’s Cafe listening to another singer songwriter, Bhi Bhiman. His performance was very polished and fun to listen to. I particularly liked his “White Man’s Burden Blues” (or “Rudyard Kipling Blues”), in which he wove references to various peoples around the world who have had…well, “challenging” experiences with Western colonialism into an up-tempo traditional blues song, much to the delight of the audience.  (I am not sure what the deal was with the red clown noses that several people were wearing.) He was giving away free CDs that I was eager but too slow to get – but someone was generous enough to offer me hers, so she gets a big “CatSynth thank you.” By coincidence, there were two paintings by Melisa Phillips on the wall.

[Melisa Phillips at L’s Cafe.  (Click image to enlarge.)]

I have reviewed her work from previous Open Studios, and would be remiss if I did not mention her again. Her works incorporates text, and in more recent pictures, body images into a unified space. Also on display was the work of RUBYSPAM, which I also recognized from a previous event.

Enrique Chagoya at Galería de la Raza. (Click image to enlarge.)

There was overall a good mix between performing art and visual art this time. Our next stop was Galería de la Raza, which was exhibiting YTREBIL, a solo exhibition featuring prints and drawings by Enrique Chagoya. Chagoya has quite an interesting biography, birn in Mexico City in the mid-1950s, studying at the San Francisco Art Institute, and now a professor at Stanford. His works on display included a mix of political, pop culture, cartoon and mythological references, often in surprising combinations. There were numerous caricatures of George W Bush (and at least one of Condoleeza Rice), as well less quickly recognizable references. The iconic image of the exhibit featured the title, here clearly visible as “Liberty” spelled backwards, with dinosaurs running amok in an otherwise comfortable looking living room. I particularly liked some of his longer works that combined mytholigical imagery with cartoon images and narrative structure that one might find in comics. This was featured in his “Illegal Aliens Guide” series, such as the Illegal Alien’s Guide to Critical Theory in which stereotypically attired figures from the US-Mexico border region discuss issues from academic critical theory beneath a large figure with that looks like a Central American mythological figure wearing a white T-Shirt and jeans lying on a platform. There is also the Illegal Alien’s Guide to Relative Surprise Value (maybe I should read that, given my general lack of interest in economics).

Our final stop was Area 2881 to see the latest incarnation of the robotic sculptures and “lumino-kenetic art” by Carl Pisaturo that I had seen at a previous MAPP in 2009. The robots and rotating mechanical pieces of light and motion were on display once again, and this time I got great photographs.

[Robotic and lumino-kinetic art at Area 2881. (Click images to enlarge.)]

There was at least one new piece, a sci-fi-ish floating contraption that was both fish-like and spacecraft-like. I was not able to get a good image of it. Overall, the objects were all impressive in terms of the technical expertise and discipline that went into their creation – it requires not only an understanding of electronics but mechanical and industrial design – as well as the mesmerizing aesthetic quality that kept us viewing them for quite a while when enjoying Area 2881’s signature cocktail. They also had a series of 3D photographs on view. Like a more advanced version of the 3D viewmasters I remember from the late 1970s, one could peer in and see scenes with depth and detail, such as a party in the Castro, and an organist sitting down to begin her performance, and a church with stained glassed windows and vaulted ceilings moving out into the distance.

Elaine Buckholtz, Jars Filmed Inside

During Carnaval a few weeks ago, a friend and I took a break and visited Triple Base in the Mission District, where we saw Elaine Buckholtz’s solo show Jars Films Inside. For this exhibit, Buckholtz has turned the entire gallery into a single immersive work of art that is simultaneously a performance space. Visitors can interact with the objects in the gallery and use them to create their own experience of the work.


[Elaine Buckholtz. Gallery installation view.
Photo courtesy of Triple Base Gallery. (Click to enlarge)]

The first thing one notices upon entering the gallery is the large curved mirror in the center, and the lined with small glass jars, beakers, vials of all sorts filled with various objects. They seem like specimens from a “scientific” collection of a previous century, pretty or interesting things trapped and preserved in jars. The mirror was rotating slowly, and the reflection of the bottles on the wall create a black line that undulates across the surface, and occasionally breaks into two lines that then reconnect.


[Elaine Buckholtz. Installation view with mirror. (Click to enlarge)]

On close inspection, the vessels contain photographic film, glasses, pebbles, tiles and other objects. It seemed they were all selected to play with the light that passes through the glass, obscuring or modifying it.


[Elaine Buckholtz, Jars filmed inside.
Photo courtesy of Triple Base Gallery.]

Indeed, the installation as a whole seems to be about playing with light, both directly an indirectly. There is the light through the jars, the often translucent objects in the jars, and the large central curved mirror reflecting the jars and the viewers. There are also a number of handmade optical devices that viewers can pick up and use to view the light of the installation in even more ways.

This was an exhibit that invited exploration and play. This can be a bit surprising for regular gallery visitors who are used to the tradition of “look but do not touch” in art, and I probably would not have picked anything up without having been invited to do so by the staff and thus missed out on the full experience.

In the basement of the gallery (which is accessed via a trapdoor and a ladder) was Hunter Longe’s installation entitled Perception Projection Delay. It consisted of a large drawing of spiral, with similar moving image projected onto it, given a sense of constant and somewhat disorienting motion.


[Hunter Longe, Perception Projection Delay.]

The clean curves of the spiral, flatness of the screen were a contrast to the rough surfaces of the basement, but the silence and overall darkness seemed to fit together. Especially coming after the vibrant colors and crowds of Carnaval, the calmness of the environment and the patterned motion of the image seemed very inviting, at once meditative and a canvas for fun and imagination, and it captured our attention for some time.

The exhibition will remain on display at Triple Base through July 3, so do check it out if you are in the area.

Mission Arts and Performance Project, June 2010

A couple of weeks ago, I attended the Mission Arts and Performance Project (MAPP), a bi-monthy neighborhood event in the Mission District of San Francisco that transforms homes, garages, cafes and other local businesses into makeshift galleries and performance spaces. I have attended several MAPP events in the past, and this was the largest I had seen in a long time – and while it is great to see the event thriving, it meant that in my limited time I was only able to see a few things.

This time there was a good balance of visual art in addition to performances. I did stop at Wonderland Gallery on 24th street. Several artists were featured, with several pieces that had an urban and/or graphic feel. Gianluca Franzese’s monochrome acrylics of a building in Chinatown the Mission police station caught my attention (in the photo below), as did some abstract geometric drawings by Paul Hayes (I did not get a decent photo, but do check out his flickr site).

[Gianluca Franzese. (Click image to enlarge)]

It was an rather warm evening (as I mentioned in my last article, we have had a few exceptionally warm weekends), perfect for walking around the neighborhood to take things in. At a garage along Folsom Street dubbed “Blue House”, I encountered the jazz trio Calliope. Visually and sonically, they appeared to step out of the 1940s into an blue illuminated garage in 2010:

Calliope

Calliope was followed by Susan Joy Rippberger performing her performance piece Slip Dance. Rippberger has done several visual works and installations focusing on slips as a very symbolic garment from another era. In this piece, she puts on slips from a large pile one at a time, and at the end reverse the process by removing them one by one.

[Susan Joy Rippberger. Slip Dance.]

While watching, I was thinking of the jazz performance right beforehand and thinking how it would be interesting to have vintage music in the background, perhaps from a small radio, as part of the piece.

I briefly stopped at nearby “La Case de los Sentidos” which featured a series of performances along with visual art pieces under the title “Immigration or Displacement? A World without Borders.” I also stopped a couple of times the Red Poppy Art House and was happy to see them participating more fully in this MAPP after their absence at previous events.

Carnival of the Cats / Carnaval de los Gatos #324

We at CatSynth are happy to host another (slightly tardy) edition of Carnival of the Cats

¿Por qué en español? Well, this weekend happened to also be the big Carnaval festival in San Francisco.

I spent most of yesterday at Carnaval with friends, enjoying the music, the rather vibrant and colorful costumes, and the overall energy. Considering that this actually has very little to do with cats, however, let is move on to our regularly scheduled “carnival”:

It’s been a sunny and warm weekend for us. And for others, too. K.T. Cat shows his jungle heritage while enjoying some sunshine outdoors in this great “nature photo” at K T’s Sratching Post.

Our friend Nikita Cat is also enjoying the outdoors in a unique way, as he goes for a stroll outdoors with his dad. Literally, a stroll in a stroller. In addition to being a great way to enjoy some fresh air, it’s helping his dad’s continued recovery and rejuvenation. And he certainly gets some attention from passers by. And this is a lead in to Nikita’s second contribution concerning how much non-felines obsess over cats.

Elisson visits his elder daughter’s new digs and meets some of the animal residents, including Miss Kitty, who has adjusted well to domestic life after being adopted from the streets (I wonder if she should meet Mister Kitty). There is also Minnie, appropriately described as “one tiny ass dawg.”

At Elms in the Yard, Hadi is adjusting well and learning to trust humans after her past experiences (including the vet). As one can see from this image, she is learning not to trust but to quite appreciate belly rubs. Rahel also encountered a visitor in her home while preparing for bed. Fortunately, the stranger turned out to be a neighbors’ cat, and was soon back home safely.

At Dophin’s Dock, Dolphin says “goodbye” to Sigyn. But this story has a happy ending, as Sigyn is going to a new home where she should be able to enjoy a lot of love and attention.

Antics about at Life from a Cat’s Perspective, where Samantha and Clementine have a rough over a paper sack. They have a photo series with the action unfolding. Samantha does not look pleased.

That concludes our Carnival for this week. Thanks to everyone who participated.
(Note, if you had planned to participate but I missed your entry, please leave a comment or contact and I will be happy to add you.)

Double Vision: Hysteresis

A couple of weekends ago, I attended the premier of Hysteresis, a performance described as “70 minutes of non-stop, innovative dance, sound, lights, and costumes informed by a residency at the Museumsquartier in Vienna, Austria.” It was a production of Double Vision, a group known for performances combining dance, music and technology, and took place at Dance Mission Theater here in San Francisco.


[Photo courtesy of Double Vision. Click to see larger version.]

Hysteresis explored the theme of “being alien or observing that which is alien to oneself.” However, for me the performance did not feel alien at all. Indeed, each of the artists’ approach to alien-ness via dance, music, choreography and lighting ended up creating something that felt familiar for me and comforting in its sparseness. The choreography had a feel of individuals going about their business in a city environment, sometimes moving about in wildly different directions, sometimes very static. The lighting had a very geometric and architectural feel. The dancers’ costumes also had an architectural or industrial quality and consisted of simple tunics stitched together from geometric gray and black swatches of cloth and black leggings.

The music held together these elements with industrial and percussive sounds punctuated by references to popular music idioms, as one might hear passing buildings and cars in between traffic and construction. It started with short percussive notes, mostly struck metal and block. At first the sounds were very sparse but later on they formed into complex polyrhythms, sometimes with more standard percussion instruments like kick drums and snare drums mixed in. The sparse texture was interrupted by other sections of music, such as short samples from big-band music, classical (or classically inspired) string music, and passages that sounded like show tunes or brass bands. It was not clear these were found musical objects or composed from sratch. Towards the climax of there piece, there were more sounds that one might consider more “electronic”, such as noise, synthesizer sweeps and sub-bass tones. However, even as the idioms and timbres changed and the music became quite dense, the sparse rhythmic texture from the beginning of the piece kept going, like machinery of a city that never stops. Or almost never stops – there were a few moments where it cut out entirely, and the silence was quite startling.


[Photo courtesy of Double Vision. Click to see larger version.]

The often sparse texture of the music allowed one to focus more on not only the movements of the dancers, but also the sounds they made in terms of the movement of their bodies and breathing. After one particularly loud section everything fell silent, the dancers moved off stage, and one rectangular patch of light kept flickering. This light seemed to be of particular significance (it was the only one that cast a rectangular shape) and appeared occasionally throughout the piece.

The final section began with what sounded like machine or car sounds and moved towards what sounded like an elegant party with piano music, and the faded to silence. It was a strange ending after the very industrial sound throughout the rest of the piece, but it provided an interesting contrast.

Choreography for the piece was by Pauline Jennings, music by Sean Clute, lighting design by Ben Coolik, and costume design by Andrea Campbell.

Sonja Navin and Mike Kimball

I recently visited two openings for artists I met at Open Studios last fall and whose work reflects my interests in highways, architectural images and the urban landscape. The artists take very different approaches, and the shows were in very different parts of the city – but having both openings on the same night was a great opportunity to see them together and simultaneously reflect upon the city itself.

First, I stopped in the relatively quiet West Portal neighborhood for a show at the Greenhouse Cafe featuring Sonja Navin. Navin draws on her architectural background to capture familiar images of the city in her paintings. Perhaps the most “familiar” image was the King Street off-ramp from I-280 in her large painting entitled 280.

[Sonja Navin. 280. Photo courtesy of the artist. (click to enlarge)]

Navin experienced this interchange the way many of us do, i.e., being stuck in traffic, and thus had the opportunity to visualize it in detail. She also had a painting East on N which featured a familiar view along the N-Judah metro line in the Sunset district.

Although her subject matter is often architectural in nature, her painting style features large brush strokes and irregular areas of color rather than the straight lines and precision of architectural drawings. She also had several figurative paintings, and some such as In The Haight combine both character and street elements.

Navin’s exhibition, which also features artist Kacie Erin Smith, will be on display at The Greenhouse Cafe, 329 West Portal Avenue in San Francisco through April 30.

After brief ride over Twin Peaks, I found myself descending into the Mission district for an opening at City Art Gallery, where I was particularly interested to see new works by Mike Kimball.

Like Navin, Kimball’s interpretation of the urban landscape distills it down to basic elements, but his prints and paintings feature very clean lines and simple geometric shapes. One example is his Maritime Plaza, which I immediately recognized (it is a favorite out lunch spot of mine).

[Mike Kimball.  Maritime Plaza.  Image courtesy of the artist.  (click to enlarge.)]

Like the building it represents, the image is framed by the triangules and X-shapes of the seismic bracing. This was one of the first buildings to use this technique, which is now a familiar site on buildings in the Bay Area.

In Division Street, Kimball represents another familiar sight from daily life, the interchange of I-80 and US 101 that sits above Division Street in SOMA. The image is composed of very simple curves and lines and solid colors, from which one can distinguish the elevated structures of the highway and the shadows they cast, as well as details such as the markings (and probably graffiti) on the sides of the trailers.

[Mike Kimball.  Division Street.  Image courtesy of the artist.  (click to enlarge.)]

Trucks and trailers also feature prominently in Kimball’s work. His “Truckograph” series features a similar graphic quality to Division Street. His larger work Meditations on a port looks at the stacks of trailers at the port as an abstract collection of boxes. Kimball bridges the industrial and abstract in this work – close up, one can see the writing and metal texture, but from a distance one simply sees the colored squares.

Kimball’s current exhibition will be on display at City Art Gallery, 828 Valencia Street, through March 28.

William Leavitt, Boyce/Greenlief duo and Karl Evangelista trio

I continue to work through the backlog of art and music reviews by presenting some of the openings and performances I saw on the particularly busy and fun evening of February 19 here in San Francisco. Although the evening included both musical performances and exhibitions of visual art, music was present as a central theme throughout.

First up, we visited Jancar Jones Gallery for the opening of William Leavitt: A Show of Cards. The exhibition featured “over 300 ink drawings on index cards” (though I only counted 248) arranged in three groups on the walls of the gallery.


[William Leavitt, A Show of Cards: Installation View. Photo courtesy of Jancar Jones Gallery. (Click to enlarge.)]

The gallery’s stark white walls presented a great surface for drawings, which were sometimes very sparse and sometimes quite detailed. Many featured musical elements, such as instruments or notes on a staff. There were also mathematical pieces (such as an x-y plot of a sine function), electronic circuit diagrams, architectural drawings, animals and abstract textures.


[Click photos to enlarge.]

It was fun to scan the rows of cards, picking out individual ones for closer inspection and comparison, particular the abstracts and the references to some of my own areas of expertise (e.g., music and electronics). It turns out Leavitt has a long-standing interest in electronic music, and was featured in this article at GetLoFi alongside circuit-bending godfather Reed Ghazala.

William Leavitt, Pyramid Lens Delta. Image courtesy of Jancar Jones Gallery. (Click to enlarge.)

In addition to being works of art in their own right, the cards serve as a source material for chance procedures that Leavitt uses in other works. In particular, a random subset of cards were used to generate a narrative that was incorporated into the text for his play “Pyramid Lens Delta” (the title came from the first three cards in the set). The script for the play was part of the exhibition. The back of the script contained the card set, and glancing through the text one could see where portions of the dialogue seemed to be drawn from the cards, particularly dialogue associated with Ivan, one of the characters in the play.

Leavitt has used chance processes for past works, including a theater piece The Radio which premiered in 2002. This piece includes not only dialogue but also an original score that included musique concrete. I would have liked to have seen this.

After Jancar Jones, we made a brief detour into that ambiguously defined area at the base of Potrero Hill to Project One for The Art of Noise, a visual exhibition coincident with the Noise Pop Festival. It featured large artistically altered portraits of well known musicians, as well as some installations, such Ted Riederer’s piece featuring drums covered in rose petals.

We finally ended up in the Mission District, and after a brief stop for tacos arrived at Bluesix for a pair of musical performances.

The saxophone duo of David Boyce and Phillip Greenlief. As noted in previous reviews, Greenlief’s virtuosic saxophone performances cover a wide variety of instrumental techniques. The duo weaved effortlessly between idiomatic jazz riffs and more free-form sections featuring multiphonics, noise production and vocals. The change between sections was both sudden and subtle; I was immersed in a jazz riff with long up-and-down lines or rhythmic patterns and only later would realize that we had moved to a more non-tonal (i.e., “noisy”) and arhythmic section. They demonstrate that these modes of music making need not be at odds (as they are sometimes portrayed on musician discussion lists) and can be part of a single piece of music. The performance did, however, inspire a short discussion with a friend about what is “experimental music” and why the performances this evening did or did not qualify as “experimental”.

Boyce and Greenlief were followed by the Karl Evangelista Spaceman Explorer Trio, featuring Karl Evangelista on guitar, Cory Wright on baritone sax, and Jordan Glenn on drums. Evangelista in his various groups blends jazz traditions with elements of late-20th-century experimental music. This of course led back to the question of whether or not this performance was “experimental”, particularly given strong jazz foundations on the pieces that we heard. The trio opened with loud driving rhythms and Evangelista and Wright trading long fast melodic runs. The piece “Hurdles” on Evangelista’s MySpace is quite representative. Another piece a somewhat slower groove with strong quarter notes (one might say a little bit “funkier”, more 1970s). Within this context, the melodies, riffs and one-off notes were often atonal, which helps to keep things moving forward. Overall, it was a fast-paced and virtuosic performance.

Readings at Electric Works, and the Snowball Pond Orchestra, December 7

The evening began at Electric Works for readings from the art issue of The Believer.

We spent a few minutes browsing the gallery at Electric Works, which featured work by Paul Madonna. His large-scale pieces included text that seemed only slightly related to the images, which often featured cartoon creatures, commercial art, and little “alien-monster” finger puppets similar to the ones I keep in my office at work.

Michelle Tea presented a reading from her piece about the fifth marriage ceremony of two “sexy performance artists” as an unauthorized event at the 2009 Venice Beinnale. Her descriptions of their costumes were quite detailed and her deadpan delivery of some their odd statements was amusing.The readings Jeff Chang and Michael Paul Mason seemed more like paper presentations at an academic conference, although I was quite intrigued by Mason’s piece on the disappearance of Ford Beckman, a highly successful minimalist artist who somehow went from the inner circles of the art world to working at a Krispy Kreme Donuts in Tulsa, Oklahoma. The examples of Beckman’s work shown in the presentation suggested the sparse geometry and simple patterns of minimalist work, but also a weathered quality that brings out the underlying materials.

The highlight of the evening was the presentation by Eames Demetrios. Demetrios. He is the grandson of the designers Charles and Ray Eames, a filmmaker, and also the Geographer-at-Large for Kcymaerxthaere, “a parallel universe that shares, to some degree, our physical planet.” After chiding the audience on their woeful state of knowledge of Kcymaerxthaere, he presented some examples of how the history and mythology intersect with our physical world, and his work to recognize significant intersections with commemorative plaques. My favorite observation was the many roads named in honor of Earl Frontage. The presentation concluded with a rousing group rendition of “Kymaerica, Sambamba Dier” sung to the tune of America the Beautiful.

After a brief stop for refreshments, it was off to The Makeout Room for the Snowball Pond Orchestra performing Piece to Celebrate the Proximity of Pearl Harbor Day and the Death of John Lennon, the first conducted composition by kingtone (aka Lucio Menegon). (Some readers my recognize Lucio as the host of the Ivy Room experimental-improv series.) “The piece is a a surround sound minimalist-meets-mayhem piece to celebrate the proximity of two events that managed to wake people out of their collective stupor for a moment or two.”

The first two sections appeared to focus more on Pearl Harbor and the last two more on John Lennon. The opening section featured the guitars, as described above. Later on, much darker guitar and string sounds were set against snare drums that sounded at once militaristic and like a clip from a rock solo, followed by long sustained guitar unisons and complex chords. The music gradually took on more of a rock feel as the narrative moved from Pearl Harbor to John Lennon, with quotations from “Helter Skelter” (from the White Album) towards the end.

You can read more about the performance, and see photos and a video clip at the kingtone website.