Kenneth Tam
's Basement
Travis Diehl
The Female
Cool School
Catherine Wagley
The Rise
of the L.A.
Art Witch
Amanda Yates Garcia
Interview with
Mernet Larsen
Julie Weitz
Agnes Martin
at LACMA
Jessica Simmons
Launch Party Carla Issue 6
Exquisite L.A.
Featuring:
Analia Saban
Ry Rocklen
Sarah Cain
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews:
Made in L.A. 2016
Doug Aitken Electric Earth
Mertzbau

Jean-Pascal Flavian and Mika Tajima
Mark A. Rodruigez
The Weeping Line
Molly Larkey, Aaron Horst,
Keith J. Varadi, Katie Bode,
Stuart Krimko, Matt Stromberg
Non-Fiction
at The Underground Museum
Catherine Wagley
The Art of Birth Carmen Winant
Escape from Bunker Hill
John Knight
at REDCAT
Travis Diehl
Ed Boreal Speaks Benjamin Lord
Art Advice (from Men) Sarah Weber
Routine Pleasures
at the MAK Center
Jonathan Griffin
Launch Party Carla Issue 5
Exquisite L.A.
Featuring:
Fay Ray
John Baldessari
Claire Kennedy
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Hana Cohn, Eli Diner,
Claire De Dobay Rifelj,
Katie Bode, Molly Larkey,
Keith J. Varadi
Moon, laub, and Love Catherine Wagley
Walk Artisanal Jonathan Griffin
Reconsidering
Marva Marrow's
Inside the L.A. Artist
Anthony Pearson
Mystery Science Thater
Diana Thater
at LACMA
Aaron Horst
Informal Feminisms Federica Bueti and Jan Verwoert
Marva Marrow Photographs
Lita Albuquerque
Launch Party Carla Issue 4
Interiors and Interiority:
Njideka Akunyili Crosby
Char Jansen
Reviews Claire de Dobay Rifelj,
Matt Stromberg, Hana Cohn,
Lindsay Preston Zappas,
Simone Krug, Keith Vaughn,
Ikechukwu Casmir Onyewuenyi
Le Louvre, Las Vegas Evan Moffitt
iPhones, Flesh,
and the Word
F.B.I.
at Arturo Bandini
Lindsay Preston Zappas
Women Talking About Barney Catherine Wagley
Lingua Ignota
Faith Wilding
at The Armory Center
for the Arts
and LOUDHAILER
Benjamin Lord
A Conversation
with Amalia Ulman
Char Jansen
How We Practice Carmen Winant
Launch Party Carla Issue 3
Share Your Piece of the Puzzle Federica Bueti
Amanda Ross-Ho Photographs
Erik Frydenborg
Reviews Eli Diner, Jonathan Griffin,
Don Edler, Aaron Horst
Hot Tears Carmen Winant
Slow View:
Molly Larkey
Anna Breininger and Kate Whitlock
Americanicity's Paintings
Orion Martin
at Favorite Goods
Tracy Jeanne Rosenthal
Layers of Leimert Park Catherine Wagley
Junkspace Junk Food
Parker Ito
at Kaldi, Smart Objects,
White Cube, and
Château Shatto
Evan Moffitt
Melrose Hustle Keith Vaughn
Reviews Benjamin Lord, Aaron Horst, Stephen Kent
Top-Down Bottom-Up Jenny Gagalka
Snap Reviews Aaron Horst, Char Jansen, Randy Rice, Lindsay Preston Zappas
Max Maslansky Photographs
Monica Majoli
at the Tom of Finland Foundation
White Lee, Black Lee
William Pope.L’s Reenactor
Travis Diehl
Dora Budor Interview Char Jensen
MEAT PHYSICS/
Metaphysical L.A.
Travis Diehl
Art for Art’s Sake:
L.A. in the 1990s
Anthony Pearson
A Dialogue in Two
Synchronous Atmospheres
Erik Morse
with Alexandra Grant
SOGTFO
at François Ghebaly
Jonathan Griffin
#studio #visit
with #devin #kenny
@barnettcohen
Mateo Tannatt
Photographs
Jibade-Khalil Huffman
VESSEL // CINS and
VESSEL // PERF
Ben Medansky
I've been a lot of places,
seen so many faces
Nora Slade
Launch Party Carla Issue 1
Slow View:
Discussion on One Work
Anna Breininger
with Julian Rogers
Reviews Tracy Jeanne Rosenthal, Catherine Wagley, Keith Vaughn, Aaron Horst, Kate Wolf, Mateo Tannatt, Evan Moffitt, Cal Siegel
We’re in This Together Lauren Cherry & Max Springer
Distribution
Downtown
ARTBOOK @ Hauser Wirth
    & Schimmel
917 E. 3rd St.
Los Angeles, CA 90013

Central Park
412 W. 6th St. #615
Los Angeles, CA 90014

CES Gallery
711 Mateo St.
Los Angeles, CA 90021

Cirrus Gallery
2011 S. Santa Fe Ave.
Los Angeles, CA 90021

Château Shatto
406 W. Pico Blvd.
Los Angeles, CA 90015

Club Pro
1525 S. Main St.
Los Angeles, CA 90015

Fahrenheit
2245 E. Washington Blvd.
Los Angeles, CA 90021

Ghebaly Gallery
2245 E. Washington Blvd.
Los Angeles, CA 90021

The Geffen Contemporary
    & at MOCA
152 N. Central Ave.
Los Angeles, CA 90012

Harmony Murphy
358 E. 2nd St.
Los Angeles, CA 90012

LACA
2245 E. Washington Blvd.
Los Angeles, CA 90021

MAMA
1242 Palmetto St.
Los Angeles, CA 90013

Mistake Room
1811 E. 20th St.
Los Angeles, CA 90058

MOCA Grand Avenue
250 S. Grand Ave.
Los Angeles, CA 90012

Night Gallery
2276 E. 16th St.
Los Angeles, CA 90021

The Box
805 Traction Ave.
Los Angeles, CA 90013

Wilding Cran Gallery
939 S. Santa Fe Ave.
Los Angeles, CA 90021
Chinatown
A.G. Geiger
502 Chung King Ct.
Los Angeles, CA 90012

EMBASSY
422 Ord St., Suite G
Los Angeles, CA 90012

Human Resources
410 Cottage Home St.
Los Angeles CA, 90012

Ooga Booga
943 N. Broadway
Los Angeles, CA 90012
Mid-City
1301PE
6150 Wilshire Blvd.
Los Angeles, CA 90048

Chainlink Gallery
1051 S. Fairfax Ave.
Los Angeles, CA 90019

Commonwealth and Council
3006 W. 7th St. #220
Los Angeles CA 90005

David Kordansky Gallery
5130 W. Edgewood Pl.
Los Angeles, CA 90019

HILDE
4727 W. Washington
Los Angeles, CA 90016

JOAN
4300 W. Jefferson Blvd. #1
Los Angeles, CA 90016

Kayne Griffin Corcoran
1201 S. La Brea Ave.
Los Angeles, CA 90019

ltd Los Angeles
1119 S. La Brea Ave.
Los Angeles, CA 90019

Marc Foxx
6150 Wilshire Blvd. #5
Los Angeles, CA 90048

Martos Gallery
3315 W. Washington Blvd.
Los Angeles, CA 90018

Ochi Projects
3301 W. Washington Blvd.
Los Angeles, CA 90018

The Landing
5118 W. Jefferson Blvd.
Los Angeles, CA 90016

Park View
836 S. Park View St. Unit 8
Los Angeles, CA 90057

Skibum MacArthur
712 S. Grand View St., #204
Los Angeles, CA 90057

SPRÜTH MAGERS
5900 Wilshire Blvd.
Los Angeles, CA 90036

The Underground Museum
3508 W. Washington Blvd.
Los Angeles, CA 90018

VACANCY
2524 1/2 James M. Wood Blvd.
Los Angeles, CA 90006

Visitor Welcome Center
3006 W. 7th St., Suite #200A
Los Angeles, CA 90005
Culver City
Arcana Books
8675 W. Washington Blvd.
Culver City, CA 90232

Blum and Poe
2727 S. La Cienega
Los Angeles, CA 90034

Cherry and Martin
2712 S. La Cienega Blvd.
Los Angeles, CA 90034

Honor Fraser
2622 S. La Cienega Blvd.
Los Angeles, CA 90034

Klowden Mann
6023 Washington Blvd.
Culver City, CA 90232

Luis De Jesus
2685 S. La Cienega Blvd.
Los Angeles, CA 90034

MiM Gallery
2636 La Cienega Blvd.
Los Angeles, CA 90034

Roberts and Tilton
5801 Washington Blvd.
Culver City, CA 90232

Samuel Freeman
2639 S. La Cienega Blvd.
Los Angeles, CA 90034

Susanne Vielmetter
6006 Washington Blvd.
Culver City, CA 90232
Silverlake/ Echo Park
Smart Objects
1828 W. Sunset Blvd.
Los Angeles, CA 90026

Otherwild
1768 N. Vermont Ave.
Los Angeles, CA 90021
Hollywood
Diane Rosenstein
831 Highland Ave.
Los Angeles, CA 90038

Family Books
436 N. Fairfax Ave.
Los Angeles, CA 90036

GAVLAK
1034 N. Highland Ave.
Los Angeles, CA 90038

Hannah Hoffman
1010 Highland Ave.
Los Angeles, CA 90038

LAXART
7000 Santa Monica Blvd.
West Hollywood, CA 90038

M+B
612 N. Almont Dr.
Los Angeles, CA 90069

Mier
1107 Greenacre Ave.
Los Angeles, CA 90046

Moskowitz Bayse
743 N. La Brea Ave.
Los Angeles, CA 90038

Regen Projects
6750 Santa Monica Blvd.
LLos Angeles, CA 90038

Shulamit Nazarian
616 N. La Brea
Los Angeles, CA 90036

Various Small Fires
812 Highland Ave.
Los Angeles, CA 90038
Westside
18th Street Arts
1639 18th St.
Santa Monica, CA 90404

Ben Maltz Gallery at Otis
    &College of Art and Design
9045 Lincoln Blvd.
Los Angeles, CA 90045

Christopher Grimes Gallery
916 Colorado Ave.
Santa Monica, CA 90401

DXIX Projects
519 Santa Clara Ave.
Los Angeles, CA 90291

Five Car Garage
(Emma Gray HQ)

Team (Bungalow)
306 Windward Ave.
Venice, CA 90291
Eastside
ACME
2939 Denby Ave.
Los Angeles, CA 90039

ESXLA
602 Moulton Ave.
Los Angeles, CA 90031

SADE
204 S. Avenue 19
Los Angeles, CA 90031
Boyle Heights
BBQLA
2315 Jesse St.
Los Angeles, CA 90023

Chimento Contemporary
622 S. Anderson St., #105
Los Angeles, CA 90023

Ibid.
670 S. Anderson St.
Los Angeles, CA 90023

Ooga Twooga
356 Mission Rd.
Los Angeles, CA 90033

Parrasch Heijnen Gallery
1326 S. Boyle Ave.
Los Angeles, CA 90023

Museum as Retail Space (MaRS)
649 S. Anderson St.
Los Angeles, CA 90023

Nicodim Gallery
571 S. Anderson St.
Los Angeles, CA 90033

Venus Over Los Angeles
601 S. Anderson St.
Los Angeles, CA 90023
Pasadena/ Glendale/ Valley
The Armory Center for the Arts
145 N. Raymond Ave.
Pasadena, CA 91103

Los Angeles Valley College
5800 Fulton Ave.
Valley Glen, CA 91401

Natural
15168 Raymer St.
Van Nuys, CA 91405

The Pit
918 Ruberta Ave.
Glendale, CA 91201

iPhones, Flesh, and The Word

F.B.I. at Arturo Bandini

F.B.I., (installation view) (2015). Image courtesy of Arturo Bandini.

F.B.I. (installation view) (2015). Image courtesy of Arturo Bandini.

If you were lucky enough to receive a text message invitation the day before, you may have found yourself at the opening for F.B.I., an eight person exhibition at Arturo Bandini, a parking-lot-cum-exhibition space. When I asked for a press release, the gallery co-founders responded with a rehearsed candid glib: “We don’t do press-releases, just text messages.” While this sort of invite-only exclusivity can be problematic, Bandini founders Michael Dopp and Isaac Resnikoff, have a pension for stunted, byte-sized poetic language. Exhibition titles such as Thank You PF Changs or Ansel Addams Family Values are punny and evocative and are surely part of this strategy. The title F.B.I. contains an evocative euphemism: Female Body Inspector. Combined with it’s more obvious reference to federal police forces, the title casts a gruesome flavor over the work presented, which happens to all include depictions of the body.

The 14 x 8 foot space is an impermanent outdoor/indoor hybrid structure. For F.B.I., a small pedestal appendage was added in the gallery’s iconic white stucco aesthetic to support Ken Tam’s sculptural torso work. The gallery’s body, like a starfish, looses or gains limbs, as needed, while its mass increases as more stucco—or “putz” as the gallerists are fond of calling it—gets slopped on after each exhibition; an aesthetic design of the architecture, but also a brilliantly convenient solution for wall patching. Its exterior walls are protected by a sizable overhang that supports the gallery’s dramatic fluorescents. It’s no accident that this lighting system improves the visual quality of the work exhibited when viewed online.[1] The gallery’s preferred mode of presentation caters to digital platforms like Instagram, so essential to creating and maintaining hype these days.

Kenneth Tam (2015). Image courtesy of Arturo Bandini.

Kenneth Tam (2015). Image courtesy of Arturo Bandini.

That each Bandini experience starts with a smartphone is particularly pertinent to the works in F.B.I., which the curators dubbed “the body parts show.” Our smart phones are our secondary brains, extra appendages which we conveniently store in our back pockets. In his book Neomaterialism, Joshua Simon explains that our bodily connections to our electronic devices go beyond just the storage of mental information. He dubs our devices “self-portraits: …iPhones and iPads are dominated by shiny buttonless surfaces…The traces of our body on these screens and surfaces leave marks by our fingers and hands caressing and touching them.”[2] Our phones literally become depositories for pieces of ourselves: oils and body fats. Simon also discusses Apple’s brand mixture of temptation and knowledge manifested in their logo, which alludes to the forbidden fruit of Genesis. Similarly to Adam and Eve, who covered their bodies with fig leaves after realizing they were naked, we cover our iPhones with cases and protective layers. They are too fragile and erotic to be exposed.

Nik Gelormino (2015). Image courtesy of Arturo Bandini.

Nik Gelormino (2015). Image courtesy of Arturo Bandini.

Like Adam and Eve, post-original-sin, the bodies in F.B.I. seem to be coming to terms with their own sexuality, while also contending with their physical mortality. Chanel Von Habsburg-Lothringen’s digital photo collage, Granny Lingerie (2015), displays an alluring mix of covering and exposure. The piece greets visitors, and acts as a sort of emblem for the exhibition: two women wearing nude color masks pose over a background of breasts clad in a light pink Playtex bra. The women in the foreground stand awkwardly, the older of the two wearing orthopedic shoes and attempting an awkward contrapposto, while her youthful counterpart bends down into a half-squat. The distorted perceptual field of the photograph disrupts our notions of stable bodies, and instead flirts with our physical limitations. This is the body in various stages of health and decay.

Chanel Von Habsburg-Lothringen, Granny Lingerie (2015). Image courtesy of Arturo Bandini.

Chanel Von Habsburg-Lothringen, Granny Lingerie (2015). Image courtesy of Arturo Bandini.

Masks are a potent signifier elsewhere in the exhibition. Roni Shneior’s Candle Holder (2014) sits dismissed in the corner of the parking lot, as if it has been put in a time-out. The piece is a two-sided ceramic face from the upper lip down, its mouth agape on either side. A lit candle rests inside the head, and the piece is tilted so that molten wax dregs drip cum-like from the mouth on one side, and spew aggressively from the other. Akin to the mask’s ability to either conceal or heighten emotion, sexuality and banality meld into a seamless dichotomy, all installed atop a dusty paint-bucket-pedestal.

Roni Shneior, Untitled (2015). Image courtesy of Arturo Bandini.

Roni Shneior, Candle Holder (2014). Image courtesy of Arturo Bandini.

Shana Lutker presents the body with a more fragmented and symbolic approach in Creation Matters (with Nosers) (2015). Flesh colored cartoonish ceramic noses—or are they phalluses?—are tacked atop a mirror whose vinyl text reads: Dear M., Creation Matters Little to Us. The title-case sentence reads like a title of a book or essay: a manifesto that rails against Creation, whether Biblical or artistic. The formal similarities between phallus and nose mirror both appendages’ ability to exert status and power (i.e., turning up one’s nose).

Shana Lutker, Creation Matters (with Nosers) (2015). Image courtesy of Arturo Bandini.

Shana Lutker, Creation Matters (with Nosers) (2015). Image courtesy of Arturo Bandini.

Inside the gallery space, was Roni Shneior’s Untitled (2015) robotic sculpture—a skin-colored oval mass outfitted with a blinking doll eye. The work’s stilted robotics are haunting and sad, like a post-traumatic All Seeing Eye. It emitted loud metronomic clicks like a calculated pacing device for moving through the exhibition. The monotonous sound ominously ticked away the time, like a reminder of our slow march towards death.

Roni Shneior (2015). Image courtesy of Arturo Bandini.

Roni Shneior (2015). Image courtesy of Arturo Bandini.

Perhaps, though, the most palpable body in the exhibition was the gallery space itself. All the works in the show had to contend with and adhere to its back. It was in part due to Bandini’s monolithic/heroic architecture and harsh fluorescent lighting that the bodies in F.B.I. felt so abject. By comparison to Bandini’s fertile, pure, and stable surface, the bodies on view were limp, decaying, and caught in various stages of longing. If the artworks were collectively Eve, ashamed of her sexuality and aware of her changing body, Bandini was God, overbearing and omnipresent. In the beginning was the Word. And the Word was a text message.

F.B.I., (installation view) (2015). Image courtesy of Arturo Bandini.

F.B.I. (installation view) (2015). Image courtesy of Arturo Bandini.

[1] A recent article in X-Tra tracked the upswing of digital art platforms like Artsy and Contemporary Art Daily, and the effects that normalizing our digital art viewing experience has had on many gallery environments, who are replacing traditional spot lighting with a more homogenized flourescent. João Enxuto and Erica Love, “Genetic Drift: Artsy and the Future of Art”, X-Tra, Winter 2015, Volume 17 Number 2. Print.

[2] Joshua Simon, Neomaterialism, Sternberg Press, 2013. P. 89-90

2016-07-12 (1)

Originally published in Carla Issue 3.