Issue 26

Issue 25

Issue 24

Issue 23

Issue 22

Issue 21

Issue 20

Issue 19

Letter from the Editor –Lindsay Preston Zappas
Parasites in Love –Travis Diehl
To Crush Absolute On Patrick Staff and
Destroying the Institution
–Jonathan Griffin
Victoria Fu:
Camera Obscured
–Cat Kron
Resurgence of Resistance How Pattern & Decoration's Popularity
Can Help Reshape the Canon
–Catherine Wagley
Trace, Place, Politics Julie Mehretu's Coded Abstractions
–Jessica Simmons
Exquisite L.A.: Featuring: Friedrich Kunath,
Tristan Unrau, and Nevine Mahmoud
–Claressinka Anderson & Joe Pugliese
Buy the Issue In our Online Shop
Reviews April Street
at Vielmetter Los Angeles
–Aaron Horst

Chiraag Bhakta
at Human Resources
–Julie Weitz

Don’t Think: Tom, Joe
and Rick Potts

at POTTS
–Matt Stromberg

Sarah McMenimen
at Garden
–Michael Wright

The Medea Insurrection
at the Wende Museum
–Jennifer Remenchik

(L.A. in N.Y.)
Mike Kelley
at Hauser & Wirth
–Angella d’Avignon

Issue 18

Letter from the Editor –Lindsay Preston Zappas
The Briar and the Tar Nayland Blake at the ICA LA
and Matthew Marks Gallery
–Travis Diehl
Putting Aesthetics
to Hope
Tracking Photography’s Role
in Feminist Communities
– Catherine Wagley
Instagram STARtists
and Bad Painting
– Anna Elise Johnson
Interview with Jamillah James – Lindsay Preston Zappas
Working Artists Featuring Catherine Fairbanks,
Paul Pescador, and Rachel Mason
Text: Lindsay Preston Zappas
Photos: Jeff McLane
Buy the Issue In Our Online Shop
Reviews Children of the Sun
at LADIES’ ROOM
– Jessica Simmons

Derek Paul Jack Boyle
at SMART OBJECTS
–Aaron Horst

Karl Holmqvist
at House of Gaga, Los Angeles
–Lee Purvey

Katja Seib
at Château Shatto
–Ashton Cooper

Jeanette Mundt
at Overduin & Co.
–Matt Stromberg

Issue 17

Letter From the Editor Lindsay Preston Zappas
Green Chip David Hammons
at Hauser & Wirth
–Travis Diehl
Whatever Gets You
Through the Night
The Artists of Dilexi
and Wartime Trauma
–Jonathan Griffin
Generous Collectors How the Grinsteins
Supported Artists
–Catherine Wagley
Interview with
Donna Huanca
–Lindsy Preston Zappas
Working Artist Featuring Ragen Moss, Justen LeRoy,
and Bari Ziperstein
Text: Lindsay Preston Zappas
Photos: Jeff McLane
Buy the Issue In Our Online Shop
Reviews Sarah Lucas
at the Hammer Museum
–Yxta Maya Murray

George Herms and Terence Koh
at Morán Morán
–Matt Stromberg

Hannah Hur
at Bel Ami
–Michael Wright

Sebastian Hernandez
at NAVEL
–Julie Weitz

(L.A. in N.Y.)
Alex Israel
at Greene Naftali
–Rosa Tyhurst

Issue 16

Trulee Hall's Untamed Magic Catherine Wagley
Ingredients for a Braver Art Scene Ceci Moss
I Shit on Your Graves Travis Diehl
Interview with Ruby Neri Jonathan Griffin
Carolee Schneemann and the Art of Saying Yes! Chelsea Beck
Exquisite L.A. Claressinka Anderson
Joe Pugliese
Buy the Issue In Our Online Shop
Reviews Ry Rocklen
at Honor Fraser
–Cat Kron

Rob Thom
at M+B
–Lindsay Preston Zappas

Soul of a Nation: Art in the Age
of Black Power, 1963-1983
at The Broad
–Matt Stromberg

Anna Sew Hoy & Diedrick Brackens
at Various Small Fires
–Aaron Horst

Julia Haft-Candell & Suzan Frecon
at Parrasch Heijnen
–Jessica Simmons

(L.A. in N.Y.)
Shahryar Nashat
at Swiss Institute
–Christie Hayden

Issue 15

Letter From the Editor Lindsay Preston Zappas
Letter to the Editor
Men on Women
Geena Brown
Eyes Without a Voice
Julian Rosefeldt's Manifesto
Christina Catherine Martinez
Seven Minute Dream Machine
Jordan Wolfson's (Female figure)
Travis Diehl
Laughing in Private
Vanessa Place's Rape Jokes
Catherine Wagley
Interview with
Rosha Yaghmai
Laura Brown
Exquisite L.A.
Featuring: Patrick Martinez,
Ramiro Gomez, and John Valadez
Claressinka Anderson
Joe Pugliese
Buy the Issue In our Online Shop
Reviews Outliers and American
Vanguard Art at LACMA
–Jonathan Griffin

Sperm Cult
at LAXART
–Matt Stromberg

Kahlil Joseph
at MOCA PDC
–Jessica Simmons

Ingrid Luche
at Ghebaly Gallery
–Lindsay Preston Zappas

Matt Paweski
at Park View / Paul Soto
–John Zane Zappas

Trenton Doyle Hancock
at Shulamit Nazarian
–Colony Little

(L.A. in N.Y.)
Catherine Opie
at Lehmann Maupin
–Angella d'Avignon

Issue 14

Letter From the Editor Lindsay Preston Zappas
Celeste Dupuy-Spencer and Figurative Religion Catherine Wagley
Lynch in Traffic Travis Diehl
The Remixed Symbology of Nina Chanel Abney Lindsay Preston Zappas
Interview with Kulapat Yantrasast Christie Hayden
Exquisite L.A.
Featuring: Sandra de la Loza, Gloria Galvez, and Steve Wong
Claressinka Anderson
Photos: Joe Pugliese
Buy the Issue In Our Online Shop
Reviews Raúl de Nieves
at Freedman Fitzpatrick
-Aaron Horst

Gertrud Parker
at Parker Gallery
-Ashton Cooper

Robert Yarber
at Nicodim Gallery
-Jonathan Griffin

Nikita Gale
at Commonwealth & Council
-Simone Krug

Lari Pittman
at Regen Projects
-Matt Stromberg

(L.A. in N.Y.)
Eckhaus Latta
at the Whitney Museum
of American Art
-Angella d'Avignon

Issue 13

Letter From the Editor Lindsay Preston Zappas
Letter to the Editor Julie Weitz with Angella d'Avignon
Don't Make
Everything Boring
Catherine Wagley
The Collaborative Art
World of Norm Laich
Matt Stromberg
Oddly Satisfying Art Travis Diehl
Made in L.A. 2018 Reviews Claire de Dobay Rifelj
Jennifer Remenchik
Aaron Horst
Exquisite L.A.
Featuring: Anna Sew Hoy, Guadalupe Rosales, and Shizu Saldamando
Claressinka Anderson
Photos: Joe Pugliese
Buy the Issue In Our Online Shop
Reviews It's Snowing in LA
at AA|LA
–Matthew Lax

Fiona Conner
at the MAK Center
–Thomas Duncan

Show 2
at The Gallery @ Michael's
–Simone Krug

Deborah Roberts
at Luis De Jesus Los Angeles
–Ikechukwu Casmir Onyewuenyi

Mimi Lauter
at Blum & Poe
–Jessica Simmons

(L.A. in N.Y.)
Math Bass
at Mary Boone
–Ashton Cooper

(L.A. in N.Y.)
Condo New York
–Laura Brown

Issue 12

Poetic Energies and
Radical Celebrations:
Senga Nengudi and Maren Hassinger
Simone Krug
Interior States of the Art Travis Diehl
Perennial Bloom:
Florals in Feminism
and Across L.A.
Angella d'Avignon
The Mess We're In Catherine Wagley
Interview with Christina Quarles Ashton Cooper
Object Project
Featuring Suné Woods, Michelle Dizon,
and Yong Soon Min
Lindsay Preston Zappas
Photos: Jeff McLane
Buy the Issue In Our Online Shop
Reviews Meleko Mokgosi
at The Fowler Museum at UCLA
-Jessica Simmons

Chris Kraus
at Chateau Shatto
- Aaron Horst

Ben Sanders
at Ochi Projects
- Matt Stromberg

iris yirei hsu
at the Women's Center
for Creative Work
- Hana Cohn

Harald Szeemann
at the Getty Research Institute
- Olivian Cha

Ali Prosch
at Bed and Breakfast
- Jennifer Remenchik

Reena Spaulings
at Matthew Marks
- Thomas Duncan

Issue 11

Letter from the Editor Lindsay Preston Zappas
Museum as Selfie Station Matt Stromberg
Accessible as Humanly as Possible Catherine Wagley
On Laura Owens on Laura Owens Travis Diehl
Interview with Puppies Puppies Jonathan Griffin
Object Project Lindsay Preston Zappas, Jeff McLane
Buy the Issue In Our Online Shop
Reviews Dulce Dientes
at Rainbow in Spanish
- Aaron Horst

Adrián Villas Rojas
at The Geffen Contemporary at MOCA
- Lindsay Preston Zappas

Nevine Mahmoud
at M+B
- Angella D'Avignon

Radical Women: Latin American Art, 1960- 1985
at the Hammer Museum
- Thomas Duncan

Hannah Greely and William T. Wiley
at Parker Gallery
- Keith J. Varadi

David Hockney
at The Metropolitan Museum of Art (L.A. in N.Y.)
- Ashton Cooper

Edgar Arceneaux
at Yerba Buena Center for the Arts (L.A. in S.F.)
- Hana Cohn

Issue 10

Letter from the Editor Lindsay Preston Zappas
Barely Living with Art:
The Labor of Domestic
Spaces in Los Angeles
Eli Diner
She Wanted Adventure:
Dwan, Butler, Mizuno, Copley
Catherine Wagley
The Languages of
All-Women Exhibitions
Lindsay Preston Zappas
L.A. Povera Travis Diehl
On Eclipses:
When Language
and Photography Fail
Jessica Simmons
Interview with
Hamza Walker
Julie Wietz
Reviews Cheyenne Julien
at Smart Objects

Paul Mpagi Sepuya
at team bungalow

Ravi Jackson
at Richard Telles

Tactility of Line
at Elevator Mondays

Trigger: Gender as a Tool as a Weapon
at the New Museum
(L.A. in N.Y.)
Buy the Issue In Our Online Shop
Object Project
Featuring: Rosha Yaghmai,
Dianna Molzan, and Patrick Jackson
Lindsay Preston Zappas
Photos by Jeff McLane
Pacific Standard Time: LA/LA
Reviews
Regen Projects
Ibid Gallery
One National Gay & Lesbian Archives and MOCA PDC
The Mistake Room
Luis De Jesus Gallery
the University Art Gallery at CSULB
the Autry Museum

Issue 9

Letter from the Editor Lindsay Preston Zappas
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
Buy the Issue In Our Online Shop
Object Project
Featuring: Rebecca Morris,
Linda Stark, Alex Olson
Lindsay Preston Zappas
Photos by Jeff McClane
Reviews Mark Bradford
at the Venice Biennale

Broken Language
at Shulamit Nazarian

Artists of Color
at the Underground Museum

Anthony Lepore & Michael Henry Hayden
at Del Vaz Projects

Home
at LACMA

Analia Saban at
Sprueth Magers

Issue 8

Letter from the Editor Lindsay Preston Zappas
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
Buy the Issue In Our Online Shop
Reviews Alessandro Pessoli
at Marc Foxx

Jennie Jieun Lee
at The Pit

Trisha Baga
at 356 Mission

Jimmie Durham
at The Hammer

Parallel City
at Ms. Barbers

Jason Rhodes
at Hauser & Wirth

Issue 7

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
Buy the Issue In Our Online Shop
Exquisite L.A.
Featuring:
Brenna Youngblood
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

Issue 6

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
Buy the Issue In Our Online Shop
Exquisite L.A.
Featuring:
Analia Saban
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.)

Issue 5

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
Buy the Issue In Our Online Shop
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.)

Issue 4

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
Buy the Issue In Our Online Shop
Interiors and Interiority:
Njideka Akunyili Crosby
Char Jansen
Reviews L.A. Art Fairs

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.)

Issue 3

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
Buy the Issue In Our Online Shop
Share Your Piece
of the Puzzle
Federica Bueti
Amanda Ross-Ho Photographs
Erik Frydenborg
Reviews Honeydew
at Michael Thibault

Fred Tomaselli
at California State University, Fullerton

Trisha Donnelly
at Matthew Marks Gallery

Bradford Kessler
at ASHES/ASHES

Issue 2

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:
Parker Ito
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
Buy the Issue In Our Online Shop
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

Issue 1

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
Buy the Issue In Our Online Shop
Slow View:
Discussion on One Work
Anna Breininger
with Julian Rogers
Reviews Pierre Huyghe
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.)
Distribution
Downtown
Artbook @ Hauser & Wirth
Baert Gallery
Cirrus Gallery
Château Shatto
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François Ghebaly
ICA LA
in lieu
JOAN
MOCA Grand Avenue
Monte Vista Projects
Murmurs
Nicodim Gallery
Night Gallery
OOF Books
Over the Influence
Royale Projects
Sow & Tailor
The Box
Vielmetter Los Angeles
Wilding Cran Gallery
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Bel Ami
Charlie James
LACA
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Tierra del Sol Gallery
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Marta
Smart Objects
Tyler Park Presents
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the Landing
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Various Small Fires
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Et al. (San Francisco, CA)
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Yale University Library (New Haven, CT)

If it’s good for you, it’s fine by me [Si te parece bien, por mí está bien] en Real Pain

Julia Yerger y Harley Hollenstein, Bar (2020). Papel maché, arcilla polimérica, epoxi, resina, esmalte, acrílico y madera, 19 × 91 × 22 pulgadas. Imagen por cortesía de los artistas y de Real Pain.

If it’s good for you, it’s fine by me [Si te parece bien, por mí está bien], una exposición colectiva que se presentó la pasada primavera en Real Pain era, aparentemente, una muestra sobre el bar del barrio. Concebida durante el confinamiento por el Coronavirus, la exposición servía de elegía a nuestros bares locales vaciados, lugares en  los que normalmente podríamos disfrutar de la comunidad de extraños o de la comodidad de la soledad fuera de nuestros hogares. La exposición sugería un archivo frenético, un intento de preservar la textura sensorial y la memoria de estos lugares sagrados. En concreto, se celebraban los elementos sucios de los bares de mala muerte del barrio: vasos de coctel desparejados, carteles de neón parpadeantes, la cera roja goteando de una botella de Maker’s Mark. Desde entonces, los bares reales han empezado a reabrir lentamente; ya no tenemos que confiar en las aproximaciones de galerías de arte a los carteles de neón, al sonido de las pistolas de refrescos o al espantar de los borrachos de bar. Afortunadamente, la exposición ha superado la mera nostalgia y nos ha pedido que consideremos nuestro papel activo dentro de nuestras comunidades, ya que el bar representa un centro de actividad. Dentro de las paredes de Real Pain, los visitantes eran simultáneamente espectadores y participantes en la exposición —las obras de arte, y por extensión la galería, tenían el potencial de transformarse simplemente con nuestra presencia—. Al desestabilizar los papeles de espectador y participante, la exposición provocó una investigación más profunda sobre cómo nuestra presencia, o la falta de ella, informa y define las comunidades que ocupamos más allá de las paredes de la galería.

Mediante el colapso de este turbio espacio espectador y obra de arte, la obra Bar Fly [Borracho de bar] (2021) de Adam Stamp, en la que el artista incubó y liberó moscas verde botella y moscas domésticas en la galería, desempeñó un papel fundamental. La presencia de las moscas no solo aludía sino que recreaba literalmente la visión de las moscas pululando por un bar. Pero al encontrarse con la mano de un visitante agitándose, la mosca y el espectador se convertían instantánea y momentáneamente en una nueva obra de arte, tanto una representación como una recreación de la puesta en escena de ese tugurio.

En Paraphernalia [Parafernalia] (2021) de Lena Daly y Dani Bonnet, seis obras de vidrio numeradas hacen un guiño a su título colectivo, asemejándose a la cristalería de una tabaquería con sus bases pesadas como matraces. Destacando las similitudes entre el estante de un bar, un head shop, un laboratorio de química y una exposición museológica, las esculturas aluden a sus posibles usos alternativos. De hecho, los vasos fueron encargados originalmente no como obras de arte, sino como vasos de coctel funcionales por Datamosh, un bar de Las Vegas. Trasladados de las mesas de cocteles de Las Vegas a los confines de Real Pain, los vasos se convirtieron en recipientes duchampianos llenos de contenido.

Julia Yerger y Harley Hollenstein adoptaron un enfoque más literal para el tema. Su gran (pero técnicamente en miniatura) diorama de sección transversal de un tugurio de dos pies de largo (y dos pies de alto) (acertadamente titulado Bar, 2020) considera cómo una obra de arte puede convertirse en funcional. El diorama se colgó en la pared a una altura que imitaba la barra de un bar —tentando a los visitantes a subirse a un taburete—. En este doble papel, la obra era un símbolo de la exposición en su conjunto, a la vez una alusión representativa y la cosa real a la que se aproximaba. Con un detalle meticuloso, hasta el cuarto de baño con grafitis, el diorama recuerda a las maquetas de los museos de historia natural —recreaciones directas de lugares concretos—. Sin embargo, Bar no representa ningún lugar real. Es más bien una representación destilada e idealizada de uno, una suma de las distintas cualidades que definen un tugurio. Al igual que la exposición en general, Bar carece de gente. Los vasos están medio llenos y las bolas de billar aparecen a mitad de la partida, casi instando al espectador a que coja un taco y tome el siguiente turno. 

Dada la ausencia generalizada de personas en toda la exposición, la única obra figurativa de la muestra destacaba solemnemente. La fotografía en blanco y negro de Reynaldo Rivera, Tina, Mugy’s (1995), muestra a una travesti asiática elegantemente vestida, totalmente absorta en su actuación mientras un hombre en primer plano aplaude. Colocada frente a la entrada principal de la galería, la fotografía llamaba inmediatamente la atención, creando la sensación de estar sentado hombro con hombro con el hombre que aplaude, embelesado por la actuación. En su soledad, sin embargo, la fotografía amplifica la ausencia de figuras en el resto de las obras, enfatizando aún más el papel que nosotros, como visitantes, desempeñamos en la creación de la comunidad tan esencial para que un bar sea un bar.

Muchas de las fotografías documentales de Rivera fueron tomadas en Echo Park, que en su día albergó una próspera escena de bares LGBTQ latinxs. Sin embargo, los prósperos locales que aparecen en su obra han sido sustituidos por bares que atienden a una población más blanca y adinerada. Ahora que Los Angeles se enfrenta a las crisis conjuntas y combinadas de la gentrificación, la Covid19 y el aumento de la desigualdad y que los espacios LGBTQ se ven especialmente afectados, la única fotografía de Rivera sirve como un duro recordatorio de los grupos y espacios más vulnerables a la violencia física y económica del año pasado, así como del importante papel que desempeñan los espacios nocturnos queer en la construcción de la comunidad y la cultura. En su dependencia del espectador para la activación, If it’s good for you nos pidió que consideráramos seriamente el papel de espejo que todos desempeñamos como miembros de la comunidad, a la vez observadores y participantes en la dinamización de la cultura local. Nuestra presencia en estos espacios se convierte entonces en algo activamente político. Los bares que elegimos frecuentar —o evitar— pueden acelerar o impedir la propagación de la gentrificación y, con ello, de una monocultura dependiente de nuestra aceptación pasiva.

Sampson Ohringer es un escritor afincado en Los Angeles, originario de Chicago. Sus intereses de investigación se centran en las redes mundiales de transporte y logística en su intersección con otras disciplinas.


Esta reseña se publicó originalmente en Carla número 25.

Sampson Ohringer is a Los Angeles-based writer, originally from Chicago. His research interests focus on global shipping and logistics networks as they intersect with other disciplines.

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