After a four year hiatus, Kearny Street Workshop’s APAture festival is back. The previous APAture in 2009 was my first look into the Bay Area’s vibrant scene of emerging Asian Pacific American artists. This time around, I not only attended the festival and gallery exhibition opening, but participated as well as one of the featured musicians. I created a set that featured the dotara, a South Asian folk instrument, as well as a sketch box, DSI Evolver, and analog modular.
The presence of blue and purple in the setup is not an accident, as the color blue was central to this performance. It was part of my costume and the lighting as well.
[© 2013 Susa Cortez/Kearny Street Workshop.]
The piece unfolded with the usual black-cat-blue-light opening, followed by a gradual swelling and fading of sounds from the modular. The dotata and sketch box were fed into the Make Noise echophon for effects reminiscent of old studio tape delays, alongside more modern noisy elements from the other modules. Overall, the performance was well received. For some, it was their first experience with electro-acoustic improvisation, and expressed to me their curiosity about it afterwards.
The opening night also included an opportunity to see the work of the visual artists participating in APAture. There was quite a range of work, and several pieces were quite strong both technically and conceptually. Jessica Tang covered an entire wall with panels connected by strands of red string. A closer look revealed that the panels were successive runs of Google translator on a block of text. The view can observe the decay of meaning and language through her piece:
Yuki Maruyama’s wooden blocks function as 3D versions of manga (comic) frames. The blocks can be assembled into new comic narratives, i.e., an “exquisite corpse”. Having three dimensions, however, allows for more combinations and interpretations of the assembled comic.
More traditional artistic media were represented as well. Wenxin Zhang’s presented stark versions of portraiture and architectural photography.
One of the more amusing pieces was an interactive conceptual work by Alison Ho, in which she invited visitors to stick gold stars with various Asian stereotypes on a blown up image of her face. Her piece was intended to challenge the notion of Asian American’s as a model minority. Clearly, many people were having fun with it.
[© 2013 Susa Cortez/Kearny Street Workshop.]
Other works that piqued my interest was Mido Lee’s starkly beautiful photographs of dead/forlorn trees, including some from desert landscapes; and a minimalist ring of light presented by featured artist Michael Namkung.
APAture has continued throughout October with events focus on different media, including writing, performance, and comics/zines. The next event will be music night on Friday, October 25, at SUB/Mission (2183 Mission Street, San Francisco). If you are in San Francisco, do check it out.
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I-505 is a completely straight, flat, stretch of highway. This is pretty much true of the surrounding landscape as well, but the texture and details against this blank canvas can make for some interesting photos.
I-505 merges into I-5, which continues northward through more of the relatively flat landscape, repeatedly crossing the Sacramento River in the process. Eventually we come to the city of Redding at the northern end of the Sacramento Valley. On my return trip from Portland, I finally had a chance to stop in Redding and visit the Sundial Bridge. This modernist architectural gem spans a wooded section of the Sacramento River completely, a world apart from the town of Redding itself or the strip malls and shopping centers that line the highways. Here, clean modern lines contrast with the natural forms of trees and running water.
After passing Mount Shasta and Black Butte, I-5 descends into a wide valley, passing by the town of Weed, whose welcome sign is a popular backdrop for photographs. This is the start of US 97, which heads northeast towards Klamath Falls and central Oregon as I-5 continues due north through the Cascades towards Portland. The main street in Weed is also Historic US 99. The part of the historic route which returns to I-5 is now California Highway 265, one of the shortest in the system.
