Women on the Plinth Catherine Wagley
Us & Them, Now & Then:
Reconstituting Group Material
Travis Diehl
The Offerings of EJ Hill
Ikechukwu Casmir Onyewuenyi
Interview with Jenni Sorkin Carmen Winant
Letter to the Editor Lady Parts, Lady Arts
Launch Party August 19th at Blum and Poe
Object Project
Featuring: Rebecca Morris,
Linda Stark, Alex Olson
Lindsay Preston Zappas
Photos by Jeff McClane
Reviews Mark Bradford
at the Venice Biennale
by Thomas Duncan

Broken Language
at Shulamiit Nazarian
by Angella d'Avignon

Artists of Color
at the Underground Museum
by Matt Stromberg

Anthony Lepore & Michael Henry Hayden
at Del Vaz Projects
by Aaron Horst

Home
at LACMA
by Simone Krug

Analia Saban at
Sprueth Magers
by Hana Cohn
Kanye Westworld Travis Diehl
@richardhawkins01 Thomas Duncan
Support Structures: Alice Könitz and LAMOA Catherine Wagley
Interview with Penny Slinger Eliza Swann
Exquisite L.A.
Featuring:
taisha paggett
Ashley Hunt
Young Chung
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Letter to the Editor
Launch Party
Reviews Alessandro Pessoli
by Jonathan Griffin

Jennie Jieun Lee
by Stuart Krimko

Trisha Baga
by Lindsay Preston Zappas

Jimmie Durham
by Molly Larkey

Parallel City
by Hana Cohn

Jason Rhodes
by Matt Stromberg
Generous
Structures
Catherine Wagley
Put on a Happy Face:
On Dynasty Handbag
Travis Diehl
The Limits of Animality:
Simone Forti at ISCP
(L.A. in N.Y.)
Ikechukwu Casmir Onyewuenyi
More Wound Than Ruin:
Evaluating the
"Human Condition"
Jessica Simmons
Launch Party
Exquisite L.A.
Featuring:
Brenna Youngblood
Todd Gray
Rafa Esparza
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Creature by Thomas Duncan
Sam Pulitzer & Peter Wachtler by Stuart Krimko
Karl Haendel by Aaron Horst
Wolfgang Tillmans by Eli Diner
Ma by Claire de Dobay Rifelj
The Rat Bastard Protective Association by Pablo Lopez
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
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USC Fisher Museum of Art (Los Angeles, CA)
Walker Art Center (Minneapolis, MN)
Whitney Museum of American Art, Frances Mulhall Achilles Library (New York, NY)
Yale University Library (New Haven, CT)

Jean-Pascal Flavien & Mika Tajima at Kayne Griffin Corcoran

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Mika Tajima & Jean-Pascal Flavien (2016) (installation view). Image courtesy of the artists and Kayne Griffin Corcoran, Los Angeles. Photo: Robert Wedemeyer.

It seems fitting that Los Angeles born Mika Tajima’s first show in her hometown includes one of her candy-colored Jacuzzi paintings. What could be more quintessentially L.A. than a sunset-ombré hot tub,
 its slick sexy object-ness epitomizing the glamor of Hollywood. Her co-exhibitor Jean-Pascal Flavien likewise embraces the city’s marquee industry with statement house (temporary title) Los Angeles (2016), a diminutive baby pink house—sited in the gallery’s lush courtyard—to be occupied intermittently by two screenwriters over the run of the show. Both artists are preoccupied with people: how we work, how we live, how we communicate, and the way in which the objects and environments that surround us define and manipulate our interactions.

Office furniture has been a source of inspiration for Tajima for some time. In 2011 she made sculptures repurposing an original 1970s Herman Miller Action Office system, the first office “cubicle”. She also has an ongoing series, Furniture Art (a reference to Erik Satie’s Furniture Music [Musique d’ameublement], 1917), a series of infinitely repetitive compositions meant to blend into the background like aural decor. As much as she enjoys the formal possibilities of the everyday office’s visual vocabulary, Tajima’s interest also lies in the role of the workplace itself as a site of production and performance. A number of textile works are included in the show from Tajima’s Negative Entropy series (2015-16): a set of Jacquard-woven “acoustic portraits” of workers recorded in their factories and offices which are then abstracted into patterns for the looms. The end result is as painterly as a Rothko while still distinctly digital in a lo-fi, ’80s sort of way (Jacquard looms are early precursors to modern computers). Here too Tajima fortifies her sensual objects with a consideration of the intricacies of production and labor.

flavien3

Jean-Pascal Flavien, statement house (temporary title) protocol Los Angeles (2016). Various materials, 8.5 x 16.5 x 16.5 feet. Image courtesy of the artists and Kayne Griffin Corcoran, Los Angeles. Photo: Robert Wedemeyer.

In opposition to the many-pronged manifestations of Tajima’s output, Jean-Pascal Flavien’s contribution to the exhibition is singular to the point of being monolithic. A single form—the shape taken from the footprint 
of the built house in the courtyard—is repeated in cutout aluminum sheets hung throughout the main gallery. The intention of the house is to exist as a framework for language, an empty box to be filled with the potential possibility for engagement. As with previous iterations of his house projects, Flavien invites collaborators to inhabit the space, creating texts to compliment and complete the work. For this particular version two screenwriters have occupied the bungalow, composing Tweets that script its daily activities throughout the run of the show.

A perusal of their respective Twitter feeds finds them both funnier and less myopic than I expected from such an intellectually staged feedback loop. This proved to be the saving grace for a project that could have easily read as real-estate-as-performance. Market forces and speculations are briefly addressed in a few early Tweets, but given the current heated conversation on the role of galleries and artists in gentrification, it seems remiss that such issues are mostly ignored. In his formal, repetitive simplicity Flavien attempts to make physical the endlessly possible scenarios of a space. But this openness, inactivated, can start to look more 
like emptiness.

The lynchpin for social practice artwork always lies in collaboration, or how well the participants engage with one another. There is an ever-present danger of the work being swallowed by its own intentions, either closing 
in on itself or opening into gross spectacle. It is clear that both artists are good collaborators, Tajima with the fabricators, translators, and operators that make her objects possible, Flavien with his activating inhabitants. It’s also interesting to find so many objects in a show so preoccupied with interaction. What the objects themselves communicate is harder to quantify. Tajima’s almost archivist eye towards industrial design translates easily into covetable luxury objects. But her works also carry within themselves 
a consideration of their humanity, however artfully abstracted. Flavien’s plans for utopian environments of possibility can seem more like souvenirs on display next to the tourist attraction, shorthand symbols
 for an idealized experience that might never have happened at all.

 

flavien2

Jean-Pascal Flavien, Statement House (Red) (2015). Painted wood, aluminum, steel wool, 6.4 x 11.75 x 11.75 inches. Image courtesy of the artists and Kayne Griffin Corcoran, Los Angeles. Photo: Robert Wedemeyer.

mika3

Mika Tajima, Jean-Pascal Flavien & Mika Tajima (installation view). Image courtesy of the artists and Kayne Griffin Corcoran, Los Angeles. Photo: Robert Wedemeyer.

mika

Mika Tajima, Social Chair (2016). Wood, jacuzzi nozzles, 34 x 60 x 60 inches. Image courtesy of the artists and Kayne Griffin Corcoran, Los Angeles. Photo: Robert Wedemeyer.

Originally published in Carla issue 6