Grand Century at Paramount Ranch
2903 Cornell Road, Agoura Hills, CA 91301
January 30—31, 2016, 11am—5pm
OBSCURE OBJECTS OF DESIRE
Mary Helena Clark
Jean Paul Kelly
Steve Reinke
Ana Vaz
curated by Aily Nash
Program:
Mary Helena Clark, The Dragon is the Frame, 2014, 15m
An experimental detective film made in remembrance: keeping a diary, footnotes of film history, and the puzzle of depression. —Mary Helena Clark
Jean Paul Kelly, The Innocents, 2014, 12m
Partially constructed around a shot-by-shot reenactment of segments from a 1966 Albert and David Maysles documentary, The Innocents features an image stream, an interview with Truman Capote’s desire, and shapes that correspond to the former through the instructions of the latter. —Jean-Paul Kelly
Steve Reinke, Squeezing Sorrow from an Ashtray, 1992, 5m
"We know the air is filled with vibrations we can't hear. We can't consider environment as an object. We know that it's a process While in the case of the astray, we are indeed dealing with an object. It would be extremely interesting to place it in a little anechoic chamber and listen to it through a suitable sound system. Object would become process; we would discover, thanks to a procedure borrowed from science, the meaning of nature through the music of objects." —John Cage
Ana Vaz, Occidente, 2014, 15m
An ecology of signs that speaks of colonial history repeating itself. Subalterns become masters, antiques become reproducible dinner sets, exotic birds become luxury currency, exploration becomes extreme-sport-tourism, monuments become geodata. A spherical voyage eastwards and westwards marking cycles of expansion in a struggle to find one's place, one's seat at the table. —Ana Vaz
*Image courtesy of Mary Helena Clark, The Dragon is the Frame
Art in America
Grand Century at Paramount Ranch
2903 Cornell Road, Agoura Hills, CA 91301
January 30—31, 2016, 11am—5pm
OBSCURE OBJECTS OF DESIRE
Mary Helena Clark
Jean Paul Kelly
Steve Reinke
Ana Vaz
curated by Aily Nash
Program:
Mary Helena Clark, The Dragon is the Frame, 2014, 15m
An experimental detective film made in remembrance: keeping a diary, footnotes of film history, and the puzzle of depression. —Mary Helena Clark
Jean Paul Kelly, The Innocents, 2014, 12m
Partially constructed around a shot-by-shot reenactment of segments from a 1966 Albert and David Maysles documentary, The Innocents features an image stream, an interview with Truman Capote’s desire, and shapes that correspond to the former through the instructions of the latter. —Jean-Paul Kelly
Steve Reinke, Squeezing Sorrow from an Ashtray, 1992, 5m
"We know the air is filled with vibrations we can't hear. We can't consider environment as an object. We know that it's a process While in the case of the astray, we are indeed dealing with an object. It would be extremely interesting to place it in a little anechoic chamber and listen to it through a suitable sound system. Object would become process; we would discover, thanks to a procedure borrowed from science, the meaning of nature through the music of objects." —John Cage
Ana Vaz, Occidente, 2014, 15m
An ecology of signs that speaks of colonial history repeating itself. Subalterns become masters, antiques become reproducible dinner sets, exotic birds become luxury currency, exploration becomes extreme-sport-tourism, monuments become geodata. A spherical voyage eastwards and westwards marking cycles of expansion in a struggle to find one's place, one's seat at the table. —Ana Vaz
*Image courtesy of Mary Helena Clark, The Dragon is the Frame
Art in America
