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Museum as Selfie Station Matt Stromberg
Accessible as Humanly as Possible Catherine Wagley
On Laura Owens on Laura Owens Travis Diehl
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Object Project Lindsay Preston Zappas, Jeff McLane
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at Rainbow in Spanish
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Adrián Villas Rojas
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Nevine Mahmoud
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Radical Women: Latin American Art, 1960- 1985
at the Hammer Museum
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Hannah Greely and William T. Wiley
at Parker Gallery
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David Hockney
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Edgar Arceneaux
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Eli Diner
She Wanted Adventure:
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The Languages of
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Paul Mpagi Sepuya
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Ravi Jackson
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Tactility of Line
at Elevator Mondays

Trigger: Gender as a Tool as a Weapon
at the New Museum
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Lindsay Preston Zappas
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the Autry Museum
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Women on the Plinth Catherine Wagley
Us & Them, Now & Then:
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Travis Diehl
The Offerings of EJ Hill
Ikechukwu Casmir Onyewuenyi
Interview with Jenni Sorkin Carmen Winant
Letter to the Editor Lady Parts, Lady Arts
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Broken Language
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Artists of Color
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Anthony Lepore & Michael Henry Hayden
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Home
at LACMA

Analia Saban at
Sprueth Magers
Letter from the Editor Lindsay Preston Zappas
Kanye Westworld Travis Diehl
@richardhawkins01 Thomas Duncan
Support Structures:
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Eliza Swann
Exquisite L.A.
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Young Chung
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at Marc Foxx

Jennie Jieun Lee
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Trisha Baga
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Jimmie Durham
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Parallel City
at Ms. Barbers

Jason Rhodes
at Hauser & Wirth
Letter from the Editor Lindsay Preston Zappas
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 February 18, 2017
at Shulamit Nazarian
Exquisite L.A.
Featuring:
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Todd Gray
Rafa Esparza
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Creature
at The Broad

Sam Pulitzer & Peter Wachtler
at House of Gaga // Reena Spaulings Fine Art

Karl Haendel
at Susanne Vielmetter

Wolfgang Tillmans
at Regen Projects

Ma
at Chateau Shatto

The Rat Bastard Protective Association
at the Landing
Letter from the Editor Lindsay Preston Zappas
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:
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Ry Rocklen
Sarah Cain
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews
Made in L.A. 2016
at The Hammer Museum

Doug Aitken
at The Geffen Contemporary at MOCA

Mertzbau
at Tif Sigfrids

Jean-Pascal Flavian and Mika Tajima
at Kayne Griffin Corcoran

Mark A. Rodruigez
at Park View

The Weeping Line
Organized by Alter Space
at Four Six One Nine
(S.F. in L.A.)
Letter form the Editor Lindsay Preston Zappas
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 Revolution in the Making
at Hauser Wirth & Schimmel

Carl Cheng
at Cherry and Martin

Joan Snyder
at Parrasch Heijnen Gallery

Elanor Antin
at Diane Rosenstein

Performing the Grid
at Ben Maltz Gallery
at Otis College of Art & Design

Laura Owens
at The Wattis Institute
(L.A. in S.F.)
Letter from the Editor Lindsay Preston Zappas
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:
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Char Jansen
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Material Art Fair, Mexico City

Rain Room
at LACMA

Evan Holloway
at David Kordansky Gallery

Histories of a Vanishing Present: A Prologue
at The Mistake Room

Carter Mull
at fused space
(L.A. in S.F.)

Awol Erizku
at FLAG Art Foundation
(L.A. in N.Y.)
Letter from the Editor Lindsay Preston Zappas
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
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at Michael Thibault

Fred Tomaselli
at California State University, Fullerton

Trisha Donnelly
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Bradford Kessler
at ASHES/ASHES
Letter from the Editor Lindsay Preston Zappas
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:
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at Kaldi, Smart Objects,
White Cube, and
Château Shatto
Evan Moffitt
Melrose Hustle Keith Vaughn
Reviews Mary Ried Kelley
at The Hammer Museum

Tongues Untied
at MOCA Pacific Design Center

No Joke
at Tanya Leighton
(L.A. in Berlin)
Snap Reviews Martin Basher at Anat Ebgi
Body Parts I-V at ASHES ASHES
Eve Fowler at Mier Gallery
Matt Siegle at Park View
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
Letter from the Editor Lindsay Preston Zappas
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
Launch Party Carla Issue 1
Slow View:
Discussion on One Work
Anna Breininger
with Julian Rogers
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at LACMA

Mernet Larsen
at Various Small Fires

John Currin
at Gagosian, Beverly Hills

Pat O'Niell
at Cherry and Martin

A New Rhythm
at Park View

Unwatchable Scenes and
Other Unreliable Images...
at Public Fiction

Charles Gaines
at The Hammer Museum

Henry Taylor
at Blum & Poe/ Untitled
(L.A. in N.Y.)
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Made in L.A.
a, the, though, only

at The Hammer Museum

Kenzi Shiokava, Made in L.A. 2016: a, the, though, only (2016) (installation view). June 12–August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

Kenzi Shiokava, Made in L.A. 2016: a, the, though, only (2016) (installation view). June 12–August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

The biennial occupies a particular space in the art ecosystem, often aiming to have a specific regional focus, and be of the moment. Given the pluralistic nature of art and culture in late capitalism, using contemporaneity and adjacency as an organizing principle often ends up forcing connections between too many aesthetic ideas, resulting in cacophony. Made in L.A. 2016: a, the, though, only upends those expectations, pretending to be neither local (the artists are not all Los Angeles-based), nor particularly current (many of the works in the show were made before 2000), nor comprehensive (there are only 26 artists in the exhibition). Much of the work was not even intended for a gallery or museum context when it was made. The curators Hamza Walker and Aram Moshayedi mostly eschewed traditional, self-contained objects, instead giving a small group of artists ample space for installations that in one way or another present cultural, archeological, or sociological inquiries: What kinds of systems are at play here? How does our labor create meaning? How can these processes become more open and expansive?

In Rafa Esparza’s work, tierra (2016), objects which have been buried and unearthed are displayed 
on a floor of bricks which were made by Esparza, his father, and other family and friends. The labor and the laborers, often elided
in the artistic presentation, are here foregrounded.
 In burying these objects before putting them on display, Esparza employs
a form of ritual that brings attention to how the earth is an active participant in all our human activities. Lauren Davis Fisher also emphasizes labor in her installation SET TESTS (2016), turning sculpture into an open-ended activity where the elements are changed every week. The work then culminated in a formal performance at the end of the exhibit. This ongoing performance changes the static nature of sculpture into a system of fluid aesthetic relationships, where the objects’ identity, function, and relationship to each other remains in motion, subject to change. Both these works, along with the films of Laida Lertxundi, integrate the materiality of their creation into their presentation so that the story of the making of the works was felt in their physical presence.

Lauren Davis Fisher, Made in L.A. 2016: a, the, though, only (2016) (installation view). June 12–August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

Lauren Davis Fisher, Made in L.A. 2016: a, the, though, only (2016) (installation view). June 12–August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

Across the exhibition, many other works are sites where different kinds of descriptive systems and categories of knowledge are rendered visible. The artist is sometimes creating, but more often gathering, organizing, transcribing, and unearthing. Often, this involves a transforming of that which is controlled, prescribed, and defined into something more
open, interpretable, and felt. For instance, musical notation is traditionally a specialized language that is designed to precisely replicate the performance of a given piece of music. In the case of Wadada Leo Smith’s scores, this constrictive language is discarded and replaced with a form of visual syntax, that instead creates a loose, free-form structure upon which to improvise. Smith does this in part by combining the visual language of painting with the structure of musical notation, thereby cross contaminating both systems. Similarly, Arthur Jafa’s books are culled from magazines and other commercial sources, where they are part of a system intended either to sell a product or tell a story. Here, the images form a kind of open-ended cosmos, in which relationships are fluid and intuitive. In changing the dynamics of these images and their circulation, Jafa gives the viewer tacit permission to see all images differently, and to recombine them using logics other than the ones initially intended. Both Jafa’s and Smith’s recon- figurations have powerful ramifications, creating options and freedom out of prescription and definition.

However, the inclusion of so many large and fragmented installations came at the expense of more self-contained art objects, like painting, sculpture, and drawing. This, and 
the overuse of vitrines and other display systems, created a visual dryness that prompted viewer fatigue. Given the relative scarcity of painting and sculpture in the exhibition, the choice to include two frequently exhibited Los Angeles artists working in these mediums was disconcerting. In particular, Sterling Ruby’s welding tables felt extraneous and overweening, and the happily variegated paintings of Rebecca Morris felt out of place in this context. Counterbalancing these odd inclusions, Walker and Moshayedi unearthed dynamic oeuvres from relatively obscure artists: the unsettlingly beautiful assemblages of Kenzi Shiokava, and Huguette Caland’s heterogeneous, erotic body of work. It was a joy and a surprise to discover these artists here, in what was a deeply appreciated act of art historical excavation.

An important function of art objects is to engage the types of understanding that come through the senses, speaking to the body through a synesthetic engagement with intentional, haptic objects. Walker and Moshayedi instead chose works that unpack the complex systems and representations that are
in play in contemporary global culture. When artists such as Daniel Small and Gala Porras Kim bring to light the inherent biases 
in Western constructions
of race and cultural otherness, or Martine Syms and Kenneth Tam unfold the vulnerability in gendered bodies and spaces, they are speaking to how these cultural constructions play out in everyday life. The work in this iteration of Made in L.A. created space for imagining other kinds of structures by bringing our attention to these kinds of systems and the labor that operates in the creation of culture.

Huguette Caland, Made in L.A. 2016: a, the, though, only (2016) (installation view). June 12–August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

Huguette Caland, Made in L.A. 2016: a, the, though, only (2016) (installation view). June 12–August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

Gala Porras-Kim, Made in L.A. 2016: a, the, though, only (2016) (installation view). June 12–August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

Gala Porras-Kim, Made in L.A. 2016: a, the, though, only (2016) (installation view). June 12–August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

Kenneth Tam, Breakfast in Bed (2016) (installation view). Made in L.A. 2016: a, the, though, only, June 12 – August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

Kenneth Tam, Made in L.A. 2016: a, the, though, only (2016) (installation view). June 12–August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

 

Originally published in Carla issue 6