Showing posts with label performance art. Show all posts
Showing posts with label performance art. Show all posts

Tuesday, February 19, 2019

Façade Of Time - A Public Performance In The Streets Of Venice


There were several community events going on around Venice this past weekend, with plenty of chances for everyone to get in on the fun. There was the Black History Month exhibit and conversation at the Venice Library. There was the "Venice Hootenanny" in Oakwood Park put on by the VNC that was really just a small stage, a big Jenga and Connect 4 game, and that's about it. No food, no drink, no bathrooms ... if it weren't for some of Venice's favorite musicians playing (Paul Chesne, Tom Freund, etal ... ) it would have been a complete bust. Better luck (or planning) next time, folks - but at least we had sunshine and friendship, and that's a lot. The coolest event of the weekend was the public performance of Façade Of Time, a kind of dance piece that traveled all through the streets of Venice to the Breakwater.


The Body Weather Laboratory was the organization behind Façade Of Time, and they started their performance at the bridge at the start of the Venice Canals. An otherworldly voice chanted from under the bridge - with its awesome acoustics - and then a little raft emerged with a woman singing. Performers were scattered throughout the crowd gathered, dressed all in blue, and chanting back to the woman. It had the feel of a co-ed monastery, with 60 blue monks of all ages, races, and genders together calling all of Venice to worship.


The monk vibe changed to a bit of a zombie vibe as the performers then all began to walk ultra-slowly across Venice Boulevard and down Strongs Drive to Venice Way. The crowd grew as we all followed behind and along the dancers/walkers, with a reverential silence the entire way. A passerby asked if the whole town was out taking a walk together, and yeah, we were.


There was also a reverence for Venice itself as the performance moved along its streets. Performers would touch a plant, or a fence, or a wall, with such awe and respect that it was like aliens discovering a new place, or like the ancient Tongva people that used to live here having the ultimate respect for nature. It was moving to see ... and to be a part of, just by being there. A tourist girl going by said, "I don't get it. Is this a funeral of some kind?" And in a way, it kind of felt like it. A funeral for Venice ... for art ... for the past ... but as it progressed, and you saw how the experience was affecting people (Venice is still cool! Venice is still out there! Venice is still art!), by the time it was over, it became a true celebration.


That is a goal of the Body Weather Lab, as its mission statement for the piece talked about how they aim to collapse barriers and enable everyone, without hierarchy, to have access to art. This was most evident as the piece moved through Windward Circle, and the streets became more populated. The homeless pushed their carts by as Teslas had to stop for the big group passing in the street (One driver dared to honk, only to be glared at silently by the entire group). The dancers split into four groups, one in each direction of the compass. The woman who had been singing under the bridge was now in the center of Windward Circle, directing her choir.


A mystical New Age-y music was in the air, and everyone was wondering where it was coming from (and why it isn't always being blasted out of Windward Circle?), only to realize that the cars making a tight rotation around the circle were actually all broadcasting the music out of their windows, providing a musical background atmosphere for the chanting performers on all sides. Trippy!


Right then, a man got off of a Big Blue Bus with his bike, and I wish I'd been able to capture his face. Total confusion, but with a smile, like "Where have I just landed?!" This is how I felt long ago when I first stepped on to Ocean Front Walk and knew that this would one day be my home. That this was a magical place, like no other. Imagine just getting off the bus and stepping into this scene ... it made me so happy that our Venice is still capable of blowing someone's mind. In a beautiful way, at that.

The now much larger group processed across Pacific and under the Venice sign, making its way to the Boardwalk. All of the tourists were stopping and staring, wondering ... and then they joined in. This might have been the windiest day I've ever experienced in Venice, and the gale force winds only added to the drama of the performance art happening right in front of everyone's faces.


One group of performers laid down on the ground in Windward Plaza, and individuals took turns hopping up and shouting a Venice street name ... "Electric Avenue!" "Nowita Place!" "Venice Boulevard!" with acknowledgement of the years of art and history in this place. They were laying right where the canals are painted on the sidewalk, so it had an added element of a true sense of place. Everywhere the performance passed, you could almost see the Ghosts of Venice Past. Abbot's Habit was even one of the sponsors (among many, like the Electric Lodge and Venice Community Housing), so you got the sense that this was a piece given to the present from Venice's past - both as a gift - and a warning.


The other group made a circle around the big "V" statue overlooking the beach. They embraced, laughed, circled, and yelled as the wind whipped the whole chorus into a frenzy. Certain performers now brought out little chime and machines that zipped and whirred in the wind, creating a cacophony of sound as the performers came together to process across the sand to the water. 


Everyone basically got some free micro-dermabrasion watching this piece as the sand was violently flinging sand into everyone's faces, but now we were invested and had to see this performance through to the end. All of the dancers stood together in a big line, and the choir director woman led them through a series of higher and lower chants and shrieks as the sun set into the far western horizon. It was a beautiful conclusion to a beautiful experience - and a beautiful Sunday - as the Supermoon grew high above.


I've always said the beach is kind of my church, and never felt that more so than standing there with a big group of people honoring both our town, nature itself - and our place in both.


Congratulations and thanks to the Body Weather Laboratory and everyone involved in making this  memorable day about a dream in Venice come to life. It will stay with us for a long time to come.


May it inspire others to treat Venice with the same respect and adoration, as we together realize that time truly is a façade - and it is what we make of it. So dance in the streets! 


































Thursday, January 24, 2019

The 2019 L.A. Art Show - Massive!

One of my favorite parties of the year was held last night at the L.A. Convention Center, where the kickoff party for the L.A. Art Show opening went down. We took the train and got there late, as usual, so we had our work cut out for us if we wanted to see even a fraction of the huge amount of art that is on display this weekend. MASSIVE amounts of art. You belong here.


We've learned our lesson in years past, and skipped the long lines for drinks that gobble up all your art viewing time, and the food is always gone by the time we get there (we always end up getting street dogs after), so this night was all about the art. And the very excellent people watching that always happens during this opening party - SO good. This is L.A. after all, so there are all sorts of creative artist types walking around, and it's as fun to see as all of the art.


The massive hall is kind of split up into more contemporary/cool art on one side, and the more corporate/law office type of art on the other. There was so much art that when I split up from my brother in the interest of dividing and conquering and seeing the most art in our limited time, when we compared notes later we had almost no overlapping. I hadn't even seen several of his favorite works, and vice versa. It's a LOT to take in, and probably warrants a trip back downtown this weekend to see the things I missed.


The highlight for me (and everyone, I think) is always the Littletopia section, curated by my friends at the Red Truck Gallery from New Orleans.


My favorite art of the entire show is pretty much always pieces from Red Truck, and last night was no different. There were china dishes with irreverent messages ...


There was even a diorama of Jumbo's Clown Room!


I always enjoy catching up with Red Truck owner, Noah Antieau, who told me that they've also opened up a Red Truck Bar in the French Quarter, so now there's even more incentive to get back to the Crescent City and see all of their cool art in person at the source, and throw back a few cocktails with this great bunch of art lovers. Awesome.


There are always crowd pleasers at this show, that you can detect from the crowds of people gathering around to take photos. One of the big ones this year was a prism thing that created infinite angles when you looked inside of it, the Portal Icosahedron, by Anthony James. It was trippy and reminded of my brother Paul's paintings.


A lot of art these days is about its attractiveness for selfies, sadly, and I stopped to look at the great work by Adah Glenn, particularly a work that said "Trust The Process". Great message. On another wall of her booth, there was a piece that said, "Black Girl Magic", with a gorgeous, fancily dressed black girl taking her photo in front of it. Glenn was happy that her work is popular for that, but at the same time wondered if her real message gets lost in the quest for likes. Interesting to consider. Hey, trust the process, right?


There was plenty of performance art this year, and another crowd gathered around a purple painted woman rolling around on the floor with laundry, underneath hula-hoops also strewn with laundry. Sarah Trouche's You Should Wear Your Revolution was meant to symbolize women's emancipation in the tradition of the French movement of "Sans Culottes" - basically "without drawers". Word.


There was an interactive rainforest made from paper that involved all the senses, and even featured Smellavision. When you stuck your head in the little holes that featured butterfly vignettes and things, it smelled like Febreeze or something - or what I like to call "Eau de Lyft Ride". The message was to save nature though, and I'm all for that.


Also on that tip was the lovely (and one of my favorites) work by Cha, Yun Sook, her beautiful Homage To Nature. It was stunning, and it was a delight to meet the artist, who also made her matching outfit. Loved it.


Another favorite was The Lady Of Arlington, 2018 by Mike Stilkey. It was a portrait of a woman done completely on used books. Fantastic!


If you know me, you know I LOVED Prince, by Craig Alan. It was a portrait of Prince, made up of a whole bunch of tiny people.


If you zoomed in, you could see that all the tiny people were different ... like one in a wheelchair, one with a dog, etc. All combining to make the iconic face of our beloved Prince. Wow.


Another kind of performance art/art piece was by Kate Groobey, with her Places Unknown, 2017. It had a work of art on the wall, that the artist then brought to life by dressing in a costume like the piece ... pretty cool.


David Hockney was representing L.A. for the art show, and was showing a gorgeous screen in his classic style that we all wanted for our homes ... Caribbean Tea Time, 1987. The color and style are pure Los Angeles, and it was nice to see this more main stream artist there among all the rest of it.


Not remotely in the main stream was the performance piece by Dorian Wood, Nodrissx/Narcissx. This work won hands-down for the most out there situation of the evening. There was a dark room with a big Pan's Labyrinth meets Saw looking character wrapped in gauze with a hole for its nipple, intoning monk-like chants with a man-servant type guy sitting there. My friend said, "Why are there so many wet wipes scattered around?" Well, we soon found out why ...


The sign explaining the piece invited viewers to come forward and kneel to suckle at the breast protruding from the hole, and to "feed on the artist's breast for as long as they choose." What. The. Hell?! I guess the point was to challenge the artist/audience separation, but I was not down. We saw no takers for the suckling, but I heard later that artist Gary Baseman had a suck. No, gracias.


The past several years of the L.A. Art Show have always featured a hyper-realistic head sculpture by Kazuhiro Tsuji, and this year's marvel is Jimi Hendrix! It's too crazy how these things look so real, from every angle. Another highlight in a year full of highlights, too many to even see in one outing.


The loudspeaker guy was chiming in to kick everyone out while we still raced about trying to see more and find more friends before we got the boot. Near the front entrance where we were all meeting back up, there was a great neon sign, giving encouragement to all artists and those who love them ...


Everything you need is inside you (I believe a Burning Man installation, by Olivia Steele). I love that, and once again left the L.A. Art Show opening with a spring of inspiration and happiness in my step. I encourage one and all to get down to the L.A. Convention Center this weekend to take it all in. You will leave feeling better about the whole world, knowing that there is so much creativity and talent still in it. Art Saves, and we need it now more than ever.

L.A. Art Show 
L.A. Convention Center
January 23-27, 2019
11 am - 7 pm