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
Distribution
Downtown
ARTBOOK @ Hauser & Wirth
Baert Gallery
Cirrus Gallery
Château Shatto
Club Pro
Dalton Warehouse
Elevator Mondays
The Geffen Contemporary 
at MOCA
Ghebaly Gallery
ICA LA
LACA
MAMA
Mistake Room
MOCA Grand Avenue
Monte Vista Projects
Night Gallery
The Box
Wilding Cran Gallery
Boyle Heights/ Chinatown
A.G. Geiger
BBQLA
Chimento Contemporary
Charlie James
Human Resources
Ibid Gallery
Ooga Booga
Ooga Twooga
Parrasch Heijnen Gallery
Museum as Retail Space (MaRS)
Nicodim Gallery
Venus Over Los Angeles
Eastside
AWHRHWAR
67 Steps
ESXLA
Otherwild
SADE
Smart Objects
Skibum MacArthur
Westside
18th Street Arts
Ben Maltz Gallery at Otis 
College of Art and Design
Christopher Grimes Gallery
DXIX Projects
Five Car Garage
Team (Bungalow)
Pasadena/ Glendale/ Valley
The Armory Center for the Arts
The Pit
Los Angeles Valley College
Natural
The Art Gallery @ GCC
Mid-City
1301 PE
Big Pictures Los Angeles
California African American Museum
Chainlink Gallery
Commonwealth & Council
David Kordansky Gallery
H I L D E
JOAN
Kayne Griffin Corcoran
LACMA
ltd Los Angeles
Marc Foxx
Shoot the Lobster
Ochi Projects
Park View
Praz-Delavallade
The Landing
SPRÜTH MAGERS
The Underground Museum
USC Fisher Museum of Art
Visitor Welcome Center
Culver City
Anat Ebgi
Arcana Books
Blum & Poe
Cherry and Martin
Honor Fraser
Klowden Mann
Luis De Jesus
Roberts and Tilton
Susanne Vielmetter
Hollywood
Diane Rosenstein
Family Books
GAVLAK
Hannah Hoffman
LACE
LA><ART
M+B
Nino Mier Gallery
Moskowitz Bayse
Noysky Projects
Regen Projects
Shulamit Nazarian
Various Small Fires
South Bay
DMV
Grab Bag Studios
The Torrance Art Museum
Elsewhere in CA
Alter Space (San Francisco)
City Limits (Oakland)
Et al. (San Francisco)
Ever Gold Projects (San Francisco)
fused space (San Francisco)
Gym Standard (San Diego)
Helmuth Projects (San Diego)
Interface Gallery (Oakland)
Jessica Silverman (San Francisco)
Left Field (San Luis Obispo)
San Diego Art Institute (San Diego)
Verve Center for the Arts (Sacramento)
Wattis Institute for Contemporary Art (San Francisco)
Non CA
Artbook @ MoMA PS1 (Long Island City, NY)
Editions Kavi Gupta (Chicago, IL)
Good Weather (North Little Rock, AK)
Nationale (Portland, OR)
Skowhegan School of Painting and Sculpture (Skowhegan, ME)
Small Editions (Brooklyn, NY)
Space 42 (Jacksonville, FL)
Spoonbill & Sugartown (Brooklyn, NY)
Ulises (Philadelphia, PA)
Libraries/ Collections
Bard College, Center for Curatorial Studies Library (Annandale-on-Hudson, NY)
CalArts (Valencia, CA)
Cranbrook Academy of Art (Bloomfield Hills, MI)
El 123 (México City, MX)
John M. Flaxman Library at SAIC (Chicago, IL)
Los Angeles County Museum of Art, Research Library (Los Angeles, CA)
Los Angeles Contemporary Archive (Los Angeles, CA)
Marpha Foundation (Marpha, Nepal)
Maryland Institute College of Art, The Decker Library (Baltimore, MD)
Metropolitan Museum of Art, Thomas J. Watson Library (New York, NY)
Midway Contemporary Art (Minneapolis, MN)
Pepperdine University (Malibu, CA)
Point Loma Nazarene University (San Diego, CA)
School of the Art Institute of Chicago, John M. Flaxman Library (Chicago, IL)
Scholes Library, NYS College of Ceramics at Alfred University (Alfred, NY)
Skowhegan Archives (New York, NY)
Sotheby’s Institute of Art (New York, NY)
Telfair Museum (Savannah, GA)
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)

Material Art Fair, Mexico City

Performance by Jaimie Warren and Friends, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Livia Radwanski.

Performance by Jaimie Warren and Friends, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Livia Radwanski.

After an hour or so spent weaving through the labyrinthine layout of this year’s Material Art Fair in Mexico City, I retreated to the Expo Reforma’s café area to get some air. Soon, a crackling backing track started playing, and I turned to see a woman in a soiled gray sweatsuit holding a microphone. Wearing hideous horror-film make-up—her face bubbling and seemingly about to slough off—she began singing, timidly at first but earnestly. Her sincerity—not to mention her appearance—had me unnerved. As she burst into the chorus, I suddenly recognized the tune: Whitney Houston’s 1985 torch song “All at Once.” She then launched into Joe Cocker & Jennifer Warnes’ “Up Where We Belong,” as four more fleshy, misshapen characters joined her onstage. All in various stages of transformation, (from a fairly normal looking man with a frizzy mullet, to an insect-like creature), I realized they were manifestations of Jeff Goldblum’s character in David Cronenberg’s gross-out classic The Fly (1986). It was a mesmerizing and heartfelt performance, bringing together two elements from ‘80s pop-cultural spectrum: splatter-house cinema and radio-friendly earworms.

Like the “Brundlefly” composite of Cronenberg’s film, Material too is a hybrid: it takes the trade show model that most art fairs are based on and introduces an energetic, not-ready-for-prime-time, and decidedly non-commercial element, conveying the complexity and messiness of art.

This year marked the fair’s third edition (and location), and it was clear that fair organizers Daniela Elbahara, Brett W. Schultz, and Isa Natalia Castilla were still working out the kinks. (According to Schultz, Material will be staying put at the Expo next year, so they’ll have time to fine-tune.) In contrast with last year’s more traditional, open plan, this year’s compressed layout was designed by Mexico-City based architecture studio APRDELESP, in part to accommodate an increased number of participants. The result was a maze-like warren that squeezed smaller galleries into claustrophobic passageways, while pushing others into less traveled corners.

Performance by Jaimie Warren and Friends, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Livia Radwanski.

Performance by Jaimie Warren and Friends, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Livia Radwanski.

“The labyrinth was great for the energy of the fair,” Schultz told me a week after the fair closed. “This is a very different fair ideologically so why should it looks like any other fair? We pushed it really far.” They certainly deserve credit for shaking up the staid, rectilinear model, but I found it maddening trying to figure out which artists went with which gallery, or going over the same paths numerous times, only to discover there were whole sections that I had missed. Others loved the layout, finding that it encouraged conversation, rewarded unfocused wandering, and broke down the rigid traditional fair structure..

Some gallerists played with this confusion, such as Mexico-City based Lodos or Michael Jon Gallery from Miami. The fair neighbors both hung brightly colored, bleach stained weavings by Yann Gerstberger, toying with the assumption that one gallery had usurped some of the other’s real estate. SPF15 from San Diego was all the way in the back; luckily the beach canopy that serves as the project’s mobile home drew me in. And I would have completely missed L.A. space Arturo Bandini had they not recreated the wooden ribbing of their outdoor shack on the one wall they were allotted.

In the center of the maze was an oasis of sorts, a large (for Material) room that was given over to NY art bar Beverly’s. On opening night, it was here that L.A. noise-drag-industrial duo Xina Xurner performed a blistering set as front man Yung Joon Kwok flailed and screamed his way through the throngs. If that scene was too intense, there was always the mini-bar, a small space reached through a side door, where Alison Kuo and Stina Puotinen were holding court, telling fortunes, offering cups of mezcal, and selling small sculptures. This highlights a crucial distinction between other art fairs and Material: performance is given prominence. “Performance is normally one of these disciplines that is excluded, unless it’s something commissioned for the fair, so to have it so deeply integrated into the daily agenda was an interesting experiment,” Schultz said.

Beverly’s, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Ramiro Chaves.

Beverly’s, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Ramiro Chaves.

Material attracts and welcomes smaller galleries and independent artist-run spaces. It is a less expensive fair featuring predominantly less expensive work than larger regional fairs, like MACO, which means that gallerists can show artists that they feel strongly about, without worrying about selling everything (or anything) just to break even. Schultz recounted that a fair member from a non-profit arts center said that an ad in his hometown paper was more expensive than a booth at Material; a novel motivation to participate.

And then there was the Fly. “The Jaimie Warren performance was incredible,” Schultz confided when I asked him to pick some highlights. “It didn’t feel forced or premeditated. That felt special, where you felt that something could happen anywhere at any moment.” How many other fairs can you honestly say that about? As larger, more traditional fairs like Paris Photo L.A. are folding as a result of flagging sales, Material has found a sweet spot between commerce and community, appealing to an emerging collector class drawn by its fresh approach, rather than the bombast and exclusivity of established art fair behemoths.

Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: PJ Rountree.

Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: PJ Rountree.

Xina Xurner at Beverly’s, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Livia Radwanski.

Xina Xurner at Beverly’s, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Livia Radwanski.

Work by Santiago Taccetti and Asger Dybvad Larsen at Galerie Rolando Anselmi, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Ramiro Chaves.

Work by Santiago Taccetti and Asger Dybvad Larsen at Galerie Rolando Anselmi, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Ramiro Chaves.

Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: PJ Rountree.

Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: PJ Rountree.

Work by Megan Rooney at Seventeen Gallery, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Ramiro Chaves.

Work by Megan Rooney at Seventeen Gallery, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Ramiro Chaves.

 

2016-07-12 (3)Originally published in Carla Issue 4.